7月初在洛杉磯的喜劇俱樂部“笑聲工廠”，蒂凡尼·哈迪斯又說起了男女那些事，省錢攻略，還有穿之前走紅毯的舊“戰(zhàn)袍”，說得很嗨。

這位憑借出演《嗨翻姐妹行》（Girls Trip）一片爆紅的女星不無嘲諷地吐槽道：“我身上穿的都是可回收的?？喟?。每分錢都靠省。我窮太久了，根本沒錢買新衣服，只能反復穿?！?

哈迪斯從14歲就開始在笑聲工廠的兒童夏令營表演單口喜劇，最近和流媒體視頻服務商Netflix簽約，也許下次參加獎項表演時能多點錢置辦新行頭。畢竟，現(xiàn)在無論問哪位喜劇明星，他們都會說觀眾全去Netflix看脫口秀。

登臺表演以前，哈迪斯說：“我的合約是做動漫片，跟一般的單口喜劇合約很不一樣?！钡罱K結(jié)果應該是一樣的，就是好萊塢大公司開出的可觀報酬?！癗etflix是做喜劇的新門路，是曝光的新方式?！惫纤惯@樣認為。

但笑聲工廠的老板杰米·馬薩達對Netflix招徠喜劇人才有不同的看法。馬薩達指出，只要發(fā)現(xiàn)喜劇演員在YouTube、推特、Instagram和Facebook等社交媒體上累積龐大的粉絲，數(shù)字巨頭Netflix就迅速簽約招入麾下，有點像饑不擇食的禿鷲。馬薩達稱，Netflix對演員今后發(fā)展并不關心，只想趁熱大賺一筆，很容易判斷，因為Netflix根本不搭理沒粉絲的喜劇演員。

馬薩達稱：“Netflix不是因為喜歡喜劇而進軍該領域?！彼硎?，Netflix經(jīng)常派星探到笑聲工廠，看表演是次要的，主要目的是挖人。他解釋說：“這是Netflix社交媒體營銷的一部分，能幫他們賺很多錢?！?

馬薩達說他跟Netflix的首席內(nèi)容官泰德·薩蘭多斯聊過，薩蘭多斯負責挖掘在社交媒體上活躍的喜劇表演者?！八鞔_告訴我想找粉絲多的喜劇演員，”馬薩達說，“只要挖去Netflix，粉絲就會跟著過去?！?

《財富》雜志記者曾多次請求就有關報道置評，Netflix均未回應。

至少從現(xiàn)狀判斷，馬薩達說得不無道理。舉例來說，哈迪斯在Facebook、Instagram和推特的粉絲達到430萬。將搭檔哈迪斯在Netflix表演動畫脫口秀的黃阿麗在社交媒體上擁有約120萬粉絲。

今年5月，黃阿麗首次與Netflix合作推出單口喜劇。最近，她出席了好萊塢舉辦的一場叫“Netflix是個笑話”的活動，表示和Netflix簽約改變了職業(yè)發(fā)展。

她說：“在我的家鄉(xiāng)舊金山，票賣得很好。而在以前門票不可能售罄的地方，如今在Live Nation上30秒鐘就一售而空?！?

1979年向朋友借了1萬美元成立笑聲工廠以來，馬薩達目睹過無數(shù)喜劇演員在日落大道上著名的俱樂部里磨煉脫口秀技術。除了哈迪斯和黃阿麗，像凱文·哈特、德翁·科爾、克里斯·德埃利亞、甚至戴夫·查普爾等等在好萊塢闖出聲名的喜劇明星也會抽空在這里表演。

馬薩達說，他專門投入時間幫助喜劇演員磨練演技，也目睹了一些演員發(fā)家致富，不少是因為和Netflix合作。據(jù)公開報道，Netflix分別同杰瑞·史菲德和查普爾簽下了價值1億美元和6000萬美元的合約?？死锼埂ぢ蹇恕住な婺?、加布里埃爾·伊格萊西亞斯等多位演員也都和Netflix簽了報酬優(yōu)厚的合約。

雖然馬薩達有各種擔憂，但伊格萊西亞斯認為，Netflix絕對是觸達全球觀眾的最佳方式。

拜倫·艾倫制作的一期喜劇游戲節(jié)目《Funny You Should Ask》曾在加州庫維市采訪伊格萊西亞斯，他當時表示：“Netflix就是最大的媒體平臺，沒有之一。他們掌控著喜劇市場?！?

伊格萊西亞斯曾出演美國廣播公司（ABC）拍攝的情景喜劇《笑對人生》（Cristela）和電影《魔力麥克2》（Magic Mike XXL），今年9月還將在Netflix推出個人節(jié)目。他說自己主動抓住了與Netflix合作的機會。

“以前我的節(jié)目都在喜劇頻道Comedy Central播出，但一有機會我就趕緊跟Netflix合作，這是與時俱進。Netflix掌握各種渠道，什么都能推廣，作者能充分享受創(chuàng)作自由?！彼@樣回憶。

但讓一家公司掌握喜劇資源并不一定對所有人都好。

馬薩達指出：“告訴你，（笑聲工廠）這里還有20名喜劇演員，他們的表演質(zhì)量都很高，但在社交媒體上沒有什么粉絲。Netflix給他們機會做節(jié)目么？不會。”

馬薩達提到，雖然一些喜劇演員沒機會跟Netflix簽約，好在還能通過互聯(lián)網(wǎng)方便地找到觀眾。

他還說，現(xiàn)在喜劇演員已經(jīng)不需要簽經(jīng)紀公司或經(jīng)紀人，就能獲得穩(wěn)定的報酬。

馬薩達稱：“我這以前有一個喜劇演員，因為有龐大的社交媒體粉絲，他炒了自己的經(jīng)理人和經(jīng)紀。他在個人網(wǎng)站上宣布：‘如果有誰想看我的演出，請打電話聯(lián)系我?！瓦@樣不斷接活。有一次他去一個地方表演，觀眾達到1.2萬人。”這是實實在在的數(shù)字，可不是兒戲。（財富中文網(wǎng)）

譯者：Pessy

審校：夏林

Riffing about taking a sabbatical from sex, being thrifty and re-wearing the same red carpet gowns, Tiffany Haddish was on fire early July at the Laugh Factory in Los Angeles.

“All my sh– is recycled. F–k that. I save all my dollars,” quipped the Girls Tripstar. “I been broke too motherfu–ing long to be wasting money on fabrics that I can reuse.”

But after recently inking a deal with Netflix, the comedian, who started doing stand-up at age 14 in the Laugh Factory’s summer kids comedy camp, might be able to splurge on some new threads for her next award show appearance. After all, ask just about any comedian, and they’ll tell you Netflix has become the go-to place to watch stand-up comedy on television.

“My deal is to do a cartoon, so it’s very different from what the average stand-up comic’s deal might be,” said Haddish before taking the stage. But the end result—a good paycheck from a Hollywood powerhouse—is all the same. “Netflix is a new lane for comics and a way to get exposure,” she said.

But Jamie Masada, the Laugh Factory’s owner, has a different perspective on Netflix’s growing library of stand-up comedy specials. Seeing the digital giant as a bit of a comedy vulture—essentially swooping in to sign comics after they’ve built huge followings on YouTube, Twitter, Instagram and Facebook—Masada said Netflix is more about making big bucks than boosting careers, because it ignores comedians who lack social media followings.

“Netflix just didn’t decide ‘oh I’m going to give a break to comics because we like comics,’” said Masada who claims Netflix frequently sends talent scouts to his club, though they’re looking for more than just laughs. “It’s their social media part of it,” he said. “It brings in millions and millions of dollars to Netflix.”

According to Masada, who said he’s met with Chief Content Officer Ted Sarandos, the directive to pursue comedians who are active on social media comes from the top. “He told me he wants to get comedians with good followings,” Masada said. “He would put them on Netflix and their followers would come.”

Netflix did not respond to multiple requests for comment for this story.

Circumstantially, at least, there’s some merit to Masada’s claim. For example, Haddish reaches 4.3 million followers between Facebook, Instagram, and Twitter. Ali Wong, who will be Haddish’s co-star on Netflix’s animated show, connects with around 1.2 million fans via social.

At a recent promotional event in Hollywood called Netflix Is a Joke, Wong, who had her Netflix stand-up special premiere in May, noted that inking a deal with the streaming giant changed the trajectory of her career.

“The ticket sales went up in my hometown San Francisco, and literally at the same place where I couldn’t sell out all the tickets, they sold out within 30 seconds on Live Nation,” she said.

Masada has watched countless comics perfect their stand-up routines at the Laugh Factory since founding the iconic Sunset Strip club in 1979 with a $10,000 loan from a friend. In addition to Haddish and Wong, comics like Kevin Hart, Deon Cole, Chris D’Elia, and even Dave Chappelle caught breaks here.

Masada said he’s put in the time to help comedians hone their skills. He’s also seen some get rich—many from Netflix. According to published reports, Netflix signed Jerry Seinfeld and Chappelle to massive deals worth $100 million and $60 million respectively. Chris Rock, Amy Schumer, Gabriel Iglesias and many others have also inked lucrative agreements with the company.

Despite Masada’s concerns, Iglesias believes Netflix is the absolute best way to reach a global audience.

“Netflix is the biggest media outlet out there, period. They took over the comedy game,” Iglesias said during an interview in Culver City, Calif., on the set of Byron Allen’s Funny You Should Ask.

Iglesias has had roles in the ABC sitcom Cristela and the film Magic Mike XXL, and will be taping his upcoming Netflix special in September. He said he jumped at the chance to partner with the streaming company.

“All my specials used to air on Comedy Central, and once I had the opportunity to go Netflix, that was the way to go,” he said. “They get it in every which way. They promote everything. They give you creative freedom.”

But this much power resting in one company’s hands isn’t good for everyone.

“I could show you another 20 comedians who are here. You’d die from how funny they are,” said Masada. “But they don’t have the followers on social media. Does Netflix give them a special? No.”

Still, for stand-up comics not lucky enough to land a Netflix deal, Masada says thanks to the internet, it’s easier than ever to find an audience.

In fact, it’s no longer necessary for comedians to have a booking agent or manager to get paying gigs, he adds.

“I had a comedian, he fired his manager and agent because he had a good following on social media,” Masada said. “He put on his website ‘If anybody wants to book me, please call me,’ and he got bookings. One place he went, he brought in 12,000 people to his show.” Those kinds of numbers, they’re no joke.