In a recent episode of the “Kelly Mantle Show,” comedian Margaret Cho unveiled a long-standing tension with Ellen DeGeneres, highlighting her unpleasant experiences with the fellow comedian over the years. Cho recounted her early career moments when she opened for DeGeneres in the late 1980s. Despite their shared history, she expressed her disbelief and disappointment that DeGeneres would behave as if they were strangers during their encounters, especially when Cho appeared on DeGeneres’ talk show in the 2000s. This experience left Cho feeling uneasy, with her calling out DeGeneres for acting “creepy” and dismissive of their past connection. This candid revelation sheds light on Cho’s underlying emotional response and the complexities of their professional relationship.
During their conversation, Cho shared an anecdote about attending a David Bowie concert in an elaborate outfit, which Bowie praised during her appearance on “The Ellen DeGeneres Show.” However, she claimed that this flattering moment was cut from the episode, exacerbating her frustration. A close friend who was a producer on the show informed her of Bowie’s compliments, confirming that DeGeneres chose to omit the compliment, leaving Cho feeling disrespected. This incident underscores the perception of DeGeneres as someone who may not value or acknowledge the contributions of her peers, particularly those within the same community. Cho’s decision to take this personally speaks to the emotional weight these experiences carried for her.
Cho’s critique of DeGeneres was echoed by fellow comedian Rosie O’Donnell, who expressed her own mixed feelings about the talk show host. In previous interviews, O’Donnell acknowledged a sense of unresolved issues between them but harbored no malice toward DeGeneres. O’Donnell emphasized the need for unity among gay comedians, particularly highlighting the current societal threats faced by the LGBTQIA+ community. Her recognition of DeGeneres’ recent relocation to the English countryside following Trump’s election indicates a broader context in which political and personal sentiments intertwine, further complicating the friendship dynamic.
Adding another layer to the narrative, Kathy Griffin has also voiced her grievances against DeGeneres, expressing a strong, almost visceral contempt for the comedian. In a recent YouTube segment, Griffin described her feelings as an “epic loathing,” attributing part of it to jealousy over DeGeneres’ immense success. Griffin’s openness regarding her feelings towards DeGeneres highlights a trend among comedians who have grappled with their relationships in the industry, especially in the realm of female comedians. The competitive atmosphere often exacerbates tensions, leading some to feel overshadowed by the success of others, which in Griffin’s case has manifested as bitterness.
Interestingly, DeGeneres has largely retreated from the public eye since her move to the U.K., signaling a shift in her engagement with both the entertainment industry and her critics. Her periodic posts on social media from her English farmhouse suggest a desire for privacy and a more peaceful existence away from the Hollywood spotlight. This decision to step back may reflect her response to the mounting criticisms from peers and the changing landscape of celebrity culture, where accountability and openness are increasingly demanded.
Ultimately, these confrontations and revelations among female comedians like Cho, O’Donnell, and Griffin point to a larger conversation about the complexities of friendships and rivalries within the entertainment industry. Their experiences raise critical questions about visibility, respect, and support among artists, particularly in the traditionally male-dominated world of comedy. As the discourse evolves, these voices will likely continue to interplay, contributing to the ongoing conversation about unity and recognition in the LGBTQIA+ community in light of broader societal challenges.
