![]() Instead it’s almost ho-hum: some opera, some ejaculate, some laundry, the day rolls along.Įven that level of placid, straightforward unflappability could make for an interesting approach: Here’s Pete Davidson’s wild life, presented as though everything is totally normal! But in the case of the mom-cumming and also in the show more broadly, Bupkis never figures out what the next idea is. Bupkis seems to want its audience to yell, “AHHH OH MY GOD PETE DAVIDSON CAME ON HIS MOM,” but the scene itself would be more effective if it’d gone either more demure (and therefore suggestive) or more disgusting (and therefore shocking). And not to put too fine a point on it, but … the cum doesn’t land on her face? Or her skin? It’s a private moment between the two of them, and then they both move on. The scene itself is set to an operatic aria meant to underline the rising tension, but the specific choice here is Rossini’s “Largo al factotum” from the Barber of Seville, a piece of music with such a long legacy of being used for over-the-top absurdity that its use here feels like a shrug. Pete Davidson doesn’t seem that upset about it. The pieces are all in place for a show about celebrity and media and notoriety, arrested development, and what happens to a parent-child dynamic after the other parent dies.Įxcept even in this scene, which clearly hopes to make “Pete Davidson cums on his mom” into a big interrobang of an opening, Bupkis isn’t sure where to go next. It’s also an attempt to set up one of the show’s key dynamics: this intense, interwoven, too-close, literally and figuratively messy relationship between Pete Davidson and his mom. She’s coming down the stairs, he’s cumming directly onto the athleisure top she’s wearing.Īt times, Bupkis seems to be aiming for “pretty gross,” and this scene does fit the bill. ![]() She’s knocking on the door, he’s knocking on himself. She’s getting the basket ready, he’s still wearing the headset while stumbling over to find some lotion. ![]() The scene cuts back and forth between them - she’s upstairs sorting the mail, he’s downstairs scrolling through a menu of porn choices. The establishing circumstance here is that the Bupkis version of Pete Davidson, who lives with his mother, has had a depressing evening of Googling himself and decides to watch porn on a VR headset in the basement. To be more specific: The actor and comedian Pete Davidson, who is playing an actor and comedian named Pete Davidson with a career and family history very close to that of real-life Pete Davidson, ejaculates on his mother, played in this show by not–actual–Pete Davidson–parent Edie Falco. In the first scene of Bupkis, Pete Davidson ejaculates on his mom. Nevertheless, this opening scene does hope to be surprising, and I’m about to ruin that surprise. Calling this a spoiler feels a little weird: Bupkis is much more about vibes than plot, and the advantage of vibe-based storytelling is that it really doesn’t matter what happens. To illustrate this, I must now describe the opening scene of Bupkis in detail and at length. ![]() But Bupkis is not always sure about what to do with that curiosity or how to capitalize on it beyond “Hey, here’s Pete Davidson doing something wild!” And the biggest misstep of that model is that even while its main offering is Pete Davidson Doing Something, Bupkis doesn’t commit to making that something wild enough. It’s not necessarily a misguided assumption - there is ample, overwhelming, and persistent evidence that, yes, a sizable number of people want to know about Pete Davidson. Bupkis, Peacock’s new semi-autobiographical Pete Davidson comedy, banks a lot on the audience’s inherent interest in Pete Davidson. ![]()
0 Comments
Leave a Reply. |