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    funny money

    Bill Maher's new stand-up special brings a first for new media and Obama's SuperPAC

    Brendan K. O'Grady
    Mar 3, 2012 | 9:12 am
    • Bill Maher
    • Bill Maher donates $1 million to Obama's super PAC, to support the president'sreelection.

    Bill Maher is putting his money where his mouth is. The acerbic, politically-inclined comedian and television personality will be coming to Texas Sunday to play San Antonio’s Majestic Theater, less than two weeks from the day he made national headlines during an unconventional comedy special.

    On Feb. 23, Maher released his latest hour-long stand-up performance, CrazyStupidPolitics: Live from Silicon Valley — not on HBO (where most of his previous concert films, as well as his regular talk show Real Time with Bill Maher, have aired), but as an stream on Yahoo.com. Billed as “the world’s first live internet stand-up special," this move toward a new media model might have been a surprising decision if made by most other comics of Maher’s generation (he just turned 56).

    Instead, it was a natural progression for a career that has undergone several (forced) evolutionary steps in recent years. Having been exiled from ABC's Politically Incorrect in the wake of 9/11 for expressing views that advertisers deemed, well, politically incorrect, Maher made the move to premium cable, where his weekly program has integrated a web-exclusive post-show segment after every episode since 2006.

    Given his proclivity to seek out the most progressive platforms possible for his equally progressive political views, there was perhaps no better candidate than Maher to test the waters of a streaming stand-up special.

    Given his proclivity to seek out the most progressive platforms possible for his equally progressive political views, there was perhaps no better candidate than Maher to test the waters of a streaming stand-up special — even if it meant sacrificing some potential profitability for the chance to explore the freedom of the web.

    After all, as he is so fond of pointing out, he’s already got plenty of money. The material in this hour-and-change special is pretty standard Maher fare, filled with somewhat predictable potshots at the most prominent figures of the political campaign season and several easy cultural targets (not to mention his old favorite: religion). The show plays like a competent set of greatest hits from recent Real Time monologues, professionally delivered to an adoring crowd that dutifully breaks for applause in all the expected places.

    If at times Maher seems on auto-pilot, his audience certainly forgives him. After all, this is his 10th live comedy special, and he certainly deserves points for doing something different with its unusual, even boundary-pushing release. But then, something remarkably interesting happens: In the middle, Maher momentarily stops the show to announce that he is donating a million dollars to Priorities USA Action, Barack Obama's reelection Super PAC. Yes, with an oversized check and everything.

    In doing so, Maher has made the decision to publicly position himself as a new kind of media figure. He is no longer merely a mouthpiece for the specific political ideologies that he has espoused on his regularly televised discussions and debates — he has made a substantial and brazenly public investment in aligning his beliefs with that of an actual political lobby.

    Now Maher is not only one of the most prominent media figures to openly support the Obama administration, he’s also one of its biggest individual investors. And he’ll still be on TV every week backing it all up.

    If speech is money, Maher made a very loud statement indeed. It’s not the same type of statement being toyed with by Stephen Colbert's own Super PAC, which impishly delights in a specific type of system-gaming intended to highlight the absurdity of the current state of campaign finance laws. Anonymity is an integral part of the joke underlying Colbert’s “Americans for a Better Tomorrow Tomorrow,” which Colbert (and sometimes Jon Stewart) has deliberately run as a shadowy organization that refuses to reveal its donor list even as it peddles its own million-dollar influence.

    Maher, on the other hand, seems to want the personal satisfaction of backing up his barbs in the same way conservative billionaires have been doing since the Supreme Court’s ruling in Citizens United by placing his views in direct competition with the other side's dollar.

    He has chosen to occupy a gray area that includes both entertainment and action — satire with real stakes. In the future, comedy specials like CrazyStupidPolitics are likely to carry less importance as newsworthy indicators of the online marketplace's emerging viability, and even less relevance as actual works of humor. But perhaps someday we will look back at moments like this for what they really are: Real-time dispatches from the front lines of America’s ongoing culture war.

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    news/entertainment

    Movie Review

    Twin sisters set out for revenge in Tarantino-esque film 'Is God Is'

    Alex Bentley
    May 15, 2026 | 10:00 am
    Kara Young and Mallori Johnson in Is God Is
    Photo by Patti Perret
    Kara Young and Mallori Johnson in Is God Is.

    The revenge story is one of the most enduring in all of cinema as it can be adapted to multiple different genres. It most naturally fits in the action/thriller genre, but comedies, dramas, Westerns, and more have made good use of characters seeking revenge. The new film Is God Is demonstrates that malleability by detailing an intensely personal story that turns into something bigger.

    Twins Racine (Kara Young) and Anaia (Mallori Johnson) have lived a difficult life, going in and out of foster care and forced to endure stares and taunts because each bears burn scars from a childhood attack. Racine, whose scars are “only” on her left arm, has developed into the protector of Anaia, who suffered burns over much of her face.

    An unexpected call from their mother, Ruby (Vivica A. Fox), who was burned almost beyond recognition in the attack, gives them a purpose: Seeking revenge on the man who ruined their lives. Setting out in a barely working car and with only a small amount of direction, the sisters attempt to fulfill the mission without losing their souls.

    Written and directed by first-time feature filmmaker Aleasha Harris, the film may remind some viewers of Quentin Tarantino’s Kill Bill, and not just because Fox has small roles in both films. Harris has a knack for dialogue, especially between the twins, that ably gets across the story exposition and entertains at the same time. There are many instances where she has the sisters hold silent conversations told on screen via subtitles to convey twin-speak, a method that deepens their connection and draws the viewer in.

    Harris also has her characters engage in the type of shocking violence that Tarantino has used to great effect. The difference here, though, is that even though the story is heightened to a certain degree, the egregious nature of the crime perpetrated upon the girls and their mother makes the whole thing feel bracingly real. This revenge plot is not meant to merely entertain; it’s designed to put the audience in Racine and Anaia’s shoes and fully embrace the call for justice.

    There are a few times when the lack of experience by Harris shows up, especially in the climactic sequence where the stunt work could have used some more precision. But overall, it’s a self-assured filmmaking debut for the playwright-turned-director, who’s adapted her own play with a richness and depth that is not often found from someone stepping behind the camera for the first time.

    Young and Johnson don’t especially look alike, but they embody the essence of twin sisters, and it’s their chemistry together that makes the story as impactful as it is. They’re joined by other strong female performances by Fox, Erika Alexander, and Janelle Monáe, each of whom brings a different vibe. And anyone who loves This is Us or Paradise should prepare themselves for a completely different kind of role for Sterling K. Brown.

    Is God Is uses a variety of inspirations for its storytelling, but in the end it becomes its own thing. The filmmaking world can always stand to have another strong Black voice, and Harris has made an auspicious debut, one that should have cinephiles wondering what she’ll do next.

    ---

    Is God Is opens in theaters on May 15.

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