Aasif Mandvi, Actor, Writer, Correspondent for the Daily Show

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Aasif Mandvi, Actor, Writer, Correspondent for The Daily Show Aasif Mandvi is widely known for his work as a correspondent on Comedy Central’s The Daily Show with John Stewart. Also a renowned theater actor, Mandvi starred in the critically acclaimed production of Ayad Akhtar’s play Disgraced at Lincoln Center. Mandvi’s recent work includes The Internship (2013), wherein he stars alongside Will Ferrell, Owen Wilson, and Vince Vaughn. His other upcoming projects include Million Dollar Arm alongside John Hamm. Mandvi is the recipient of the 1999 OBIE Award for his critically acclaimed play Sakina’s Restaurant. Mandvi both performed and conceived this one- man show, which later became the inspiration for his feature film Today’s Special. Additional New York stage credits include the Broadway revival of Oklahoma, directed by Trevor Nunn, Homebody/Kabul by Tony Kushner, subUrbia by Eric Bogosian, and Trudy Blue by Marcia Norman. Mandvi’s film credits include M Night Shyamalan's The Last Airbender, Merchant/Ivory’s The Mystic Masseur, The Proposal with Sandra Bullock, Ghost Town with Ricky Gervais, Music and Lyrics with Hugh Grant and Drew Barrymore, Spiderman 2, Freedomland, The Siege, and Analyze This. Additional feature film credits include It’s Kind of a Funny Story, Ruby Sparks, Premium Rush and Margin Call. Aasif has a recurring role on the new FOX show Us & Them. Notable television credits include Curb Your Enthusiasm, Sex and the City, Sleeper Cell, The Sopranos, The Bedford Diaries, Oz, CSI, Law & Order, and Tanner on Tanner, directed by Robert Altman. He is also known for recurring roles on Jericho and ER. .

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John Oliver, Burkean Frames, and the Performance of Public Intellect Gabriel Francis Nott Bates College, [email protected]
Bates College SCARAB Honors Theses Capstone Projects 5-2017 Not a Laughing Matter: John Oliver, Burkean Frames, and the Performance of Public Intellect Gabriel Francis Nott Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Nott, Gabriel Francis, "Not a Laughing Matter: John Oliver, Burkean Frames, and the Performance of Public Intellect" (2017). Honors Theses. 198. http://scarab.bates.edu/honorstheses/198 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. Nott 1 Not a Laughing Matter: John Oliver, Burkean Frames, and the Performance of Public Intellect An Honors Thesis Presented to The Faculty of the Department of Rhetoric Bates College In partial fulfilment of the requirements for the Degree of Bachelor of Arts By Gabriel Nott Lewiston, Maine March 24, 2017 Nott 2 Table of Contents Acknowledgements 3 “Our Main Story Tonight Is…”: Introducing John Oliver 4 The Men Behind the Desk: A History of the Political Comedy News Host 10 Watching the Watchers: A Review of Existing Literature 33 Burkean Frames: A Theoretical Foundation 43 Laughing and Learning: John Oliver’s Comic Performance of Public Intellect 63 John Oliver and the Performance of Public Intellect 65 John Oliver, the Comic Comic 70 Oliver vs. the Walking, Talking Brush Fire 78 Oliver’s Barrier 84 John Oliver and the News Media 86 “That’s Our Show”: John Oliver and the Future of Civic Discourse 89 Works Cited 92 Nott 3 Acknowledgements Though mine is the only name appearing on the cover page of this thesis, it would be folly on my part not to acknowledge that this work is the product of the efforts of many people other than myself, a fact for which I am endlessly grateful.
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ÂI Try to Write Things on a Very Personal Place So They Resonate Into A
M THE STORYTELLERS Mandvi with THE MAGAZINE 8 Top Chef host Padma Lakshmi. India Abroad November 14, 2014 ry acter that no one was writing because they did not have a point of view a ve In the hilarious and the poignant about those people in the way that I did. gs on So I started writing characters based on myself, my parents, my family thin stories in Aasif Mandvi’s memoir and people I grew up with and stuff like that. I started writing these char - write nate acters that actually represented South Asians in a real way, at least ry to reso No Land’s Man, Arthur J Pais attempting to. ÂI t they What happened from that was that a lot of South Asians came to see e so finds a reflection on identity, race, Sakina’s Restaurant . It was a revelation, I think, for a lot of South Asian plac Ê audiences because they had never seen that play that was done by a South onal text and dislocation. Photographs by Asian about a South Asian family, that was done on the mainstream pers l con American stage! ltura Those of us who were not artists, those of us who were not actors, felt er cu Paresh Gandhi empowered by what you had done. It showed us we could aspire to be what a larg we wanted to and did not have to kill our identity. into ver two decades ago, Aasif Mandvi, who was wait - Yes! We got bus loads of South Asians coming from New Jersey, ing tables in New York, broke the rules and whis - Connecticut and Long Island.
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