Jo Koy’s Unforgettbly Irreversible Golden Flop

  If Jo Koy was your favorite Filipino C-list comedian, then his A-list-level-of-attention, secondhand-embarrassment-inducing Golden Globes monologue marks the end of an unsurprisingly not-so-successful comedy career. As the Filipino community has been commenting across TikTok, X, and Instagram, “WE DON’T CLAIM HIM”! 

   Starting weakly with his most distasteful lines within just the first __ minutes of his monologue, the laughs heard on camera could not contrast the heavy silence of celebrities even more when the camera, panned to Barbie director Greta Gerwig and co-star actor Ryan Gosling.

  Without even considering the unfunny jokes that sound like they were quoted from a low-budget, raunchy comedy movie, Koy seemed to be completely overstimulated by his first exposure to Hollywood’s sophisticated setting. Within just the first 30 seconds of his monologue, Koy already lost the crowd, filling his awkward pauses with “Look at this moment, look at this room, look around.” and various “Look who’s here!” diversions. To Koy’s dismay,  the camera’s panning to celebrities he shouted out such as Robert DeNiro and Kevin Cosner gave him neither reassurance that he started great nor a quick-witty, improvisational one-liner to lighten the room. Babbling how “we all dreamt of this moment, to a crowd in which the Golden Globes are just another evening to dress up, Koy’s bland comedic execution is already enough of a reason to never return to another Hollywood stage again.

  As his painful-to-watch disaster continued, the audacity–as a comedian to bash your joke writers is what entirely lost the crowd–and all of America along with it. 

  After stereotypically sexualizing a world-wide, feminist, million-dollar-revenue-generating blockbuster, summing the entire movie to Barbie’s turning point “when she goes from perfect beauty to bad breath, cellulite, and flat feet,” Koy attempted to justify the audience’s poor reception of the joke and straight faces admitting, “Some [of these joke] I wrote some other people wrote.” 

  Barbie is beautifully impactful, 

With elaborate and extravagant marketing genius throughout 2023 that generated Mattel over $125 million dollars in revenue, Barbie’s global scale spread the message that being a woman comes with always performing for someone else. As co-star America Ferrera’s vulnerably genuine speech in the film, being a woman comes with never finding the perfect balance of anything to please anyone. From appearances to career life, Ferrera’s character Gloria touched viewers everywhere that our experience greatly contrasts stereotypical Barbie’s connotive images–this is why the film was created in the first place. 

  In comparing Barbie to release-date twin Oppenheimer, stating it was “based on a 721-page Pulitzer Prize-winning book about the Manhattan Project. And Barbie is on a plastic doll with big boobies,” Koy misses the mark entirely in his interpretation on both films that generated more than he is worth–of which Gerwig’s film surpassed Nolan’s as Warner Brothers’ highest-grossing film in the past 100 years. 

  Nolan showcases Julius Robert Oppenhiemer’s scientific breakthrough with its paradoxical, inadvertent unleashing of a planet-destroying weapon that Nolan claims his preventative, nuclear containment measures “post-1945 reflect those of a deeply guilty man, very aware of the consequences of his actions”–not just masculine scientific discovery. Gerwig introduces leading actress Margot Robbie’s character “stereotypical Barbie” to public physical harassment, sexualizing in the workplace, a patriarchal society, and underestimation of her potential as a woman–not just feminine obsession over physical appearance deterioration. 

  Although Koy claimed to have watched every single Golden Globes nomination in the 10 days he had to prepare for the role–something that in itself should have generated original content without any help from joke writers and pure and genuine comedic creativity–it is difficult to determine whether he is more out of touch with female empowerment–in which he told the LA Times, “I praise and shine light on women, from my ex-wife to my mom”–or comedy in general.

  There is no way any successful comedian would not pick themselves up after a poorly received joke–it is part of the job if you ever want to improve on your ability to please the crowd (which was the whole point they hired him), read their responses, and recover. Adaptability is just part of public speaking and maintaining their attention correctly. He indeed had their attention–along with the internet for days–but in the worst, career-ending way possible. 

  Kevin Hart defended Koy sharing, “Jo Koy sells out arenas all over, this is not anything Jo Koy needs to make a moment out of.” Sharing how every comedian has “bumps” with tough crowds, Hart provides the alternate perspective that Koy’s performance is not indicative on his comedic ability. But after such a widespread “cancelling” of Jo Koy, any upcoming performances of his will never surpass the level of scrutiny this pivotal one had. 

  I just cannot wait to see what weekly comedy show Saturday Night Live has to pitch on this after their holiday break on Jan. 20 with guest host Jacob Elordi. 

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