The humor and pathos of “Louie” come not only from the occasional funny feelings that he has about his privileges — which include walking through the city in relative safety and the expectation of sleeping with women who are much better looking than he is — but also, more profoundly, from his knowledge that the conceptual and imaginative foundations of those privileges have crumbled beneath him. He is the center of attention, but he’s not entirely comfortable with that. He suspects that there might be other, more interesting stories around him, funnier jokes, more dramatic identity crises, and he knows that he can’t claim them as his own. He is above all aware of a force in his life, in his world, that by turns bedevils him and gives him hope, even though it isn’t really about him at all. It’s called feminism.
A. O. Scott, “The Post-Man: Charting the final, exhausted collapse of the adult white male, from Huck Finn to ‘Mad Men’ (with stops at Tony Soprano, Beyoncé, Apatow, ‘Girls,’ ‘Louie,’ ‘Orange Is the New Black,’ Miley, Updike, ‘Weeds’…)”, The New York Times Magazine (14 September 2014), 41.