\n\tThe work of being a comedian and fielding comedy projects hasn\u2019t been the same since the pandemic \u2014 in good and not-so-good ways. <\/p>\n
\n\tThat\u2019s one of many takeaways from a deep conversation about the business of comedy with Blair Kohan<\/a> and Jason Heyman<\/a>, UTA<\/a> board members and partners, featured on the latest episode of Variety\u2018s \u201cStrictly Business<\/a>\u201d podcast. Kohan and Heyman are longtime colleagues who have been in the trenches together and know each other\u2019s rhythms and strengths, like any good buddy act. <\/p>\n \n\tThe two address head on the challenges that traditional adult comedies have faced in recent years at the box office, and the fact that sitcoms are few and far between on network television these days. And yet, the pair emphasize, there\u2019s more talent bursting from all corners and more avenues for expressing comedy than ever before. <\/p>\n \n\t\u201cI think people want to laugh in community. I think what\u2019s driving this live experience [boom] is being together in a room and laughing together,\u201d Kohan says. \u201cWhen we talk about all these great movies, these great comedies of the last 25-50 years, it was going to the theater and laughing in community. And I think we are missing that.\u201d<\/p>\n \n\tHeyman sees opportunity in the disruption around the network TV system that was once crucial for building the careers of comedy stars. <\/p>\n \n\t\u201cCan a \u2018Modern Family\u2019 exist again? Can an \u2018Everybody Loves Raymond\u2019 exist? It\u2019s a really good question,\u201d Heyman asks. \u201cThe good side of it is that schedule, that routine that we all grew up with \u2014 pilot season and upfronts and fall schedule and all of that \u2014 that\u2019s all gone. So you have a little more flexibility and the talent can go off to do other things, come back when they feel creatively inspired,\u201d Hayman says.<\/p>\n \n\tKohan notes that stars that emerge out of social media platforms can often have more control over their material when they do work with mainstream Hollywood, citing Rachel Sennott and her new HBO series \u201cI Love L.A.\u201d as an example. Kohan calls it a \u201creverse-incubation\u201d effect.<\/p>\n \n\t\u201cWe always talk about the heyday of Comedy Central and Funny or Die and those incubators. \u2018SNL,\u2019 which is still there and still incubating, identifying, discovering. We miss those days because that\u2019s where we were able to launch talent. It\u2019s where we discovered talent,\u201d she says. \u201cWith social media, we have comedians like Matt Rife. Nate Bargatze Leanne Morgan, Ali Wong, who are developing their audience directly, and so we have this reverse-incubation thing where the Netflixes and the Amazons and HBOs attach to them after they\u2019ve already created this platform for themselves. So they have a little bit more control and understanding about what their audience is looking for. The loss of Comedy Central and, Funny or Die has been replaced by, Instagram, YouTube and TikTok.\u201d<\/p>\n \n\tHeyman, who has had a long association with Will Ferrell and other multihyphenate comedians, says the low volume of comedy movies reaching the theatrical box office situation is concerning.<\/p>\n \n\t\u201cIf you don\u2019t build it, they won\u2019t come. So at a certain point, someone has to take the shot,\u201d Heyman says. \u201cBecause if you don\u2019t build it, I can guarantee you they won\u2019t come. People largely now don\u2019t even think about going to the theater to see an R-rated comedy. If you\u2019re a 20-year-old kid going out with your buddies, It\u2019s not something you even consider doing.\u201d<\/p>\n \n\t(Pictured: Blair Kohan and Jason Heyman outside UTA\u2019s headquarters in Beverly Hills)<\/p>\n