“Titties” was always her first choice for the pilot: “It’s if Karen could be who she wants to be and as powerful as she could be, and everyone could feel great about themselves,” Everett says. She already has an arsenal of material stemming from her album Pound It, as well as her live act.
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The plan, should the show get picked up for a full season, is for Everett to do a song in every episode. “You give them what they want up front, and then show what you really want to show as things unfold.”
“I think people know me, and they expect a certain level of like audacity,” she says. The bawdy side of her persona is most prominent in Love You More’s opening sequence, which features full-frontal male nudity-a moment that was Goldthwait’s suggestion. Everett raved especially about Margaret Muller’s improv work: “I swear I wet my pants about 10 times.” In factoring their stories into Karen’s journey, she says, the goal was “to be honest and not exploitative.”Įverett is known for her raucous, wine-soaked live acts, where audience participation means accepting the possibility of Everett’s boobs enveloping your face. They join seven others as the residents of Jane Berger House, who are not defined solely by their D.S.
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That’s why it just seemed to make so much sense.”Īctors with Down syndrome have broken out before on TV shows like Glee, as well as American Horror Story and The Secret Life of the American Teenager, two series that respectively featured Love You More stars Jamie Brewer and Luke Zimmerman. “And I think it’s a really interesting counterpoint.
“It’s interesting that a person that doesn’t feel worthy of love works in a home with people that give you so much love,” says Everett. She’s more than a counselor at Jane Berger: she’s a champion and big sister for its residents, subject to both teasing and affection. That’s why Strauss and King came up with the idea of having Karen work with people who have Down syndrome. “My stage show is a lot of, you know, tits and money notes and stuff, but we knew that we couldn’t sustain a whole world around that.” “We wanted a world that felt real,” Everett says. Rather, when a one-night stand asks her what she does, she explains she’s a mental health-care professional. But Love You More doesn’t go the well-trodden route of Seinfeld or Crashing Karen is not an aspiring Bridget Everett-type, singing fiery karaoke renditions of Janis Joplin tunes. It’s a quasi-musical that features a rousing rendition of her song “Titties,” in which she encourages women to put what they have in the air. Love You More, which Everett developed alongside director Bobcat Goldthwait, producer Carolyn Strauss, and Sex and the City’s Michael Patrick King, is something of a roman à clef, drawing at times from Everett’s own experiences. In the context of the show, it’s something Everett’s character, Karen, reflexively repeats to Ruth ( Margaret Muller), one of the young women at the Jane Berger House-the home for people with Down syndrome where Karen works.
Now she’s using the phrase as the title of her Amazon pilot, which debuted earlier this month. It’s her default response when someone expresses their affection to her: “‘Love you more.’ Just trying to like, fucking deflect it, and not really take it in,” she explains to Vanity Fair.
Bridget Everett, the alt-cabaret performer beloved by Amy Schumer and Ad-Rock, says “love you more” a lot.
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