I haven’t seen it, probably won’t have an opportunity to see it, and have no desire to see it, but Alexandra Schwartz reviews it. It sounds like it’s just Louis CK playing himself (as he always does), and it sounds rather sad and ugly.

The only generous way to read “I Love You, Daddy” is as a portrait of male cowardice. What kind of man would be so shamefully pathetic as to avoid confronting the famous geezer who may or may not be screwing his underage daughter because that geezer has offered to read his latest script? The same man, presumably, who winces but doesn’t intervene as his dumbo comedian buddy (Charlie Day) describes, at gleeful length, all the ways that the man’s daughter has probably been fucked on spring break. As is often the case with the roles that Louis writes for himself, there is a strong note of masochistic pleasure in this extreme passivity. Louis, famously obsessive and controlling of his work—he writes, he directs, he edits, he acts, he produces, he distributes, he does it all—likes to play losers who are at the mercy of others. Often, those others are women. It’s hard not to wonder, in the wake of Thursday’s revelations, to what extent Louis has used this persona to shield his reputation. But cowardice is not just an avoidance of a moral stance; it is a moral stance, too, and not a flattering one.

His character always seems to wallow in his failings as a man, which at first is part of the appeal — at least he’s aware of his shortcomings. Unfortunately, it’s always coupled to an even lower opinion of women, who must be kind of dim and oblivious to be willing to associate with such an unappealing character. At least now we’re all seeing through the pretense to recognize that there’s not much thoughtfulness there — he’s just another opportunist with a schtick.