
Whitney Cummings: Can I Touch It?
2019

2010
TV-MADirector
John Fortenberry
Runtime
48 minutes
Average Rating
No ratings yetSynopsis
Taped at Washington D.C.’s Sidney Harmon Hall, “Whitney Cummings: Money Shot” features Cummings commenting on male strippers, fake boobs and getting spanked in the bedroom, among other things, in this hilarious performance. It’s not every day a funny lady reveals the best way to punish a boyfriend, what it’s really like to date a vampire, the similarities between The Food Network and porn and the “emotional ninja” tactics all women have at their disposal!
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The special focuses on personal observational comedy rather than queer-coded subtext. It lacks explicit depictions of LGBTQ+ characters, centering instead on traditional dating dynamics within a framework of sexual liberation.
Gender Representation
Cummings disrupts conventional hierarchies by reframing power dynamics through female agency. She deconstructs male dominance in dating, providing a meaningful subversion of submissive feminine tropes.
Racial & Ethnic Diversity
As a solo performance by a white comedian, the special lacks significant racial or ethnic diversity. The focus remains on the performer's individual lived experience.
Religious & Cultural Diversity
The work adopts a postmodern approach to social conduct, prioritizing personal truth over religious or traditional moral codes. It emphasizes sexual liberation and deconstructs conservative social etiquette.
Disability Representation
There is no discernible engagement with disability representation, neurodivergence, or physical impairment in this performance.
Strengths
Areas for Improvement
AI Analysis
Whitney Cummings: Money Shot is a specialized comedic work that excels at subverting gendered expectations. By centering female perspectives on sexual autonomy and interpersonal control, it successfully challenges patriarchal structures and traditional romantic hierarchies. However, the special's impact on broader intersectional metrics is limited. The solo stand-up format inherently restricts the scope for diverse casting and varied storytelling, resulting in low scores for racial and LGBTQ+ representation. Ultimately, the performance is a study in individual empowerment. While it lacks a wide breadth of cultural and ethnic perspectives, it offers a strong, singular voice regarding modern female agency.

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