To write the screenplay, Reitman hired Meatballs and Stripes co-writer Len Blum. slobs comedy by a producer who nearly has a monopoly on them: Ivan Reitman, who earlier produced or directed Animal House, Meatballs, Stripes, Ghostbusters, and Twins. Stern’s memoir was re-conceived as a slob vs. It’s equally obsessed with convincing detractors that they have grossly misjudged the man, and allowed silly sideshows to mask his good heart, sharp mind, and fundamental decency. It sets out to prove to Stern diehards that their pathological devotion to this ridiculous man and his lurid obsessions are wholly justified. Private Parts has an unmistakable agenda. So when it came time to adapt Stern’s bestselling 1993 memoir Private Parts for the big screen, the filmmakers foregrounded his courtship and marriage at least partially as a way of making Stern acceptable to people who know of him primarily through trademark bits like the Butt Bongo Fiesta, and might be inclined to find him a little distasteful. But pair Stern with a strong black woman, and suddenly it’s something else entirely: a much more socially acceptable cavalcade of ambiguously racist, sexist, homophobic, and ableist comedy bits laughed at, and by extension, presumably acceptable to, a strong black woman. Remove her, and Stern’s show is a bunch of heterosexual creeps engaging in an offensive cavalcade of racist, sexist, homophobic, and ableist comedy bits.
PRIVATE PARTS HOWARD STERN PART 1 PROFESSIONAL
The success and durability of Stern’s professional pairing with sidekick Robin Quivers was equally important in making his shtick palatable.
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That show sounds too off-putting ever to take off the way The Howard Stern Show did, but make the show about a faithful, happily married man attempting to either resist the advances of the sexy, nubile, scantily women he lures into his studio, or to be as sexual as possible with them without crossing the boundaries of monogamy, and Stern’s narrative suddenly becomes one of heroic self-denial and noble forbearance.
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Remove Stern’s oft-discussed association with a smart, serious social worker who deserves sainthood for her ability to put up with her husband’s ribald antics, and the early incarnation of his show becomes a deeply creepy affair about a towering pervert attempting to have sex with the sexy, nubile, scantily clad women he lures into his studio. It’s hard to overstate what a central role Howard Stern’s marriage played in making his shtick palatable to a national audience in the early days of his career.