And then — of course — the episode changed. It didn’t just become unbad; it became incredible. The more I think about it, the more I suspect the interaction with Dane Cook might be the strongest seven-minute stretch I’ve ever seen on television: It’s realer than any reality show, more emotionally complicated than most 300-page memoirs, yet still awkward and severe and (somehow) easy to watch. I want to know everything about this scene — I want to know if this conversation truly happened, I want to know Cook’s views on his involvement, and I want to know C.K.’s deeper intent. And I can tell I’m not the only one who feels this way. What’s so distinctly compelling about this season of Louie is how everyone seems to collectively realize that what C.K. is doing is not only cool, but also authentically artful and unnaturally profound. There’s no debate over its value because there’s no contradictory position to take. It’s not polarizing in any important way: If you’re watching this show, you intuitively know it’s fantastic (and substantially unlike the way fantastic TV typically is).
I said a while ago that there were a couple of episodes of the first season of Louie that were among the best television I’ve ever seen. Season 2 is, as Klosterman says, better in every way. Louis C.K. is the Martin Scorcese of comedy: a comedian’s comedian who intuitively knows and respects every detail of his craft, yet he is not insular, he is a consummate entertainer.
Long story short, I want to have Louie’s babies.
I am totally in awe of Louis CK. Deep, deep intelligence — emotional intelligence — combined with unflinching commitment to honesty. Sometimes it’s uncomrtable to watch, but it’s the kind of prgram you tend to think about long after watching.




