RE:VIEW ~ “Pee-wee as Himself” (2025)
I was born at the right time to be a fan of the phenomenon that was Pee-wee Herman. Because he broke into the larger market of this continent’s awareness through the Home Box Office Network (before it was merely ‘HBO’ or any of the many variations they’ve recently tried for a few weeks at a a time), I only knew of his existence through others’ characterizing him as whatever they thought. ‘Weird’ was a recurring adjective.
Looking at the character today, it’s both incredibly naïf as well as attractive specifically because of that naïveté. The notion that ‘you can realize your dreams if you truly believe in them and yourself' is far superior to the doom-and-gloom we resist each and every day; the late-’80s and early ’90s were little different politically and economically.
Paul Reubens, while not the progenitor of Performance Art, may be the first to create a character which was used in all public appearances of an act as though it was a real person. Certainly he was the first to reach this level of pop culture recognition with the technique; previous instances being David Bowie’s various short-lived roles, as well as long-term but low level uses such as Bob Dylan’s on-going persona and Sun Ra’s claim to be simultaneously the Ancient Egyptian god Ra and an alien from Saturn on a mission to preach peace.
But none of those had a series on HBO, or MTV, or a stage production on Broadway based on that same TV show.
Because of Mr Reuben’s deeply felt desire to keep his private life as private as possible — even to remain entirely anonymous if possible — meant that he was never in a position to see his own name on the marquee, or to hear the plaudits for writing be ascribed to him. He freely admitted that this was his mistake, and that it was something for which no one should feel sorry for him as a result. As far as ‘mistakes’ go, it wasn’t so bad a result.
But this also meant that when something in Mr Reubens’ private life came to the surface in public, the only image people had to associate with the event was the innocent, man-boy character of Mr Herman. This created a disconnect for people which leant itself all too easily to making jokes at Mr Herman's expense.
Mr Herman was an eight-year-old boy at heart, possessing an unbreakable positivity which found its genesis in the Walt Disney Studios’ Pollyanna, and which touched the hearts of millions crying out for some hope in a time of darkness.
As far as the image existed, Pee-wee Herman did not go to porn theatres.
Sadly, Paul Reubens was found in one in Florida, with police claiming he had exposed, and was fondling, himself in a lewd manner. He wasn’t, but this was hardly the first time Florida authorities had claimed things which they deemed lewd had occurred when they had not.
The notion of Mr Herman pleasuring himself basically wrote the jokes for people. His first name was just too big a target not to be included in a punchline.
This revelation of the most private aspect of Mr Reubens' life — a revelation which included that he was gay — was basically his worst nightmare come to life. He never fully recovered from this, despite the subsequent successes he achieved.
In the early naughties he was again charged with obscenity, this time initially with the accusation of possession of child pornography. Once more, this was not the case, but the public image of anyone associated with the material was enough to drive him into privacy again. He agreed to possessing ‘obscene material,’ but there was never any basis to the previous charge and which he repeatedly vehemently denied.
This two-part series deals with all of that, and more. So very much more.
It’s a journey of filled with kitsch, mid-century modern style, anarchic children’s reality, and unmitigated glee.
Also included is an amateur psychological examination of a performer trying to be as anonymously famous as they can be.
Highly recommended, no matter your awareness or appreciation of the works of Mr Reubens.
★★★★★