Pete Davidson (February 2020): Chapter 23 Summary and Analysis

⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.

Summary

The conversation opens with Apatow recalling Davidson's persistent invitations to watch movies in the basement “man cave” of his mother's house, a space where Davidson had built a personal cinema. Davidson explains that his grandfather, whose own father owned a movie theater, was the source of his film education. The grandfather babysat him and made him watch classic films, introducing him to actors like Ernest Borgnine. When the grandfather got a camera, they began making their own movies, often involving dangerous stunts that alarmed Davidson's mother. As a teenager, Davidson and his friends made Jackass-style videos, including jumping through a thorn bush in their underwear.

Moving to The King of Staten Island, Davidson discusses the experience of making a film without his grandfather, though his grandfather appears in it and gets a big laugh. Davidson describes his grandfather's confusion on set, not understanding that a single scene can take hours, and his humorous complaints about the director. Davidson's hope for the film was that his friends would shine, and he was pleased that they all delivered.

Apatow then recalls their first meeting: Amy Schumer recommended Davidson for a small role in Trainwreck when Davidson was nineteen. Davidson remembers being nervous and unprepared, but he got to improvise with Bill Hader. Hader later recommended Davidson to Lorne Michaels, leading to his spot on Saturday Night Live. The script for The King of Staten Island evolved from two ideas: one about a mother who hasn't dated, and another about Davidson's own life. Apatow pushed Davidson to make it more personal, and Davidson admits that making a movie about yourself is harder than talking about your past.

The interview then turns to Davidson's father, a firefighter who died on 9/11 when Davidson was seven. Davidson describes the White House ceremony where he received the Medal of Valor on behalf of his father, shaking hands with President George Bush, and his sister fainting in the heat. He reflects on the public spectacle of his grief, with cameras and well-wishers constantly inserting themselves, making it impossible to grieve privately. He recalls switching schools a week before 9/11 and the awkward attempts of classmates to befriend him. He also shares a video of a football coach making a bizarre speech two weeks after the attacks, using 9/11 to berate parents.

Davidson explains that he started doing stand-up at sixteen, partly because he had no friends and was dealing with anxiety that caused him to pull out his hair. His mother made a deal: he could go to Manhattan to perform if he stayed in school. He found a community of comedians who accepted him, describing open mics as an “AA meeting with jokes.” Comedy became a healing outlet, and he found purpose in making people laugh.

He discusses Bill Burr as a mentor, whom he met at sixteen and who advised him to “not sign anything.” Burr later played his father in the film. Davidson also talks about leaving his Staten Island friend group, who were moving toward harder drugs, and how his mother helped him find an apartment in Brooklyn. He reflects on his complicated relationship with Staten Island, loving it but seeing its flaws.

The chapter ends with a discussion of the film's dedication to his father, which makes Davidson uncomfortable because he doesn't want sympathy. He explains that the dedication is a way of saying his father is okay, and that the little kid in the photo grew up and made the movie.

Key Events

Davidson's grandfather introduces him to classic films and they make home movies together.
Davidson makes Jackass-style stunt videos with friends in Staten Island.
Amy Schumer recommends Davidson to Apatow for Trainwreck, leading to his first film role.
Bill Hader recommends Davidson to Lorne Michaels, landing him on SNL.
Davidson and Apatow develop The King of Staten Island by combining two script ideas.
Davidson's father dies on 9/11 when Davidson is seven; he receives the Medal of Valor at the White House.
Davidson starts stand-up at sixteen, with his mother's permission to travel to Manhattan if he stays in school.
He meets Bill Burr, who becomes a mentor and later plays his father in the film.
Davidson leaves his Staten Island friend group to pursue comedy full-time.
The film includes a dedication to his father, which makes Davidson uncomfortable.

Character Development

Pete Davidson emerges as a person who has channeled trauma into creativity. His early film education from his grandfather gave him a love of storytelling, and his home movies were a precursor to his later work. The loss of his father at age seven forced him to confront grief in a public and often intrusive way, but he found an escape in stand-up comedy. His decision to leave his Staten Island friends shows a self-protective instinct, and his relationship with his mother evolves from one of dependence to one of mutual care, as the film becomes a “love letter” to her. Davidson's discomfort with the film's dedication reveals his desire to be seen as an artist rather than a sympathy case. He also grows in his understanding of his father's humanity, learning that his father had flaws but still was a hero.

Themes, Symbols, or Motifs

Grief and Public Spectacle: Davidson's grief is constantly interrupted by cameras, politicians, and well-wishers, making it impossible to process privately. The White House ceremony and the football coach's speech are examples of how others co-opt his loss.
Comedy as Healing: Davidson describes open mics as an “AA meeting with jokes,” and the first time he got a laugh was the first time he felt happy. Comedy gives him purpose and a community.
Autobiographical Art as Therapy: The King of Staten Island is a fictionalized version of Davidson's life, allowing him to revisit his past and reframe it. The film's dedication to his father is a way of saying “he's okay.”
The Hero Father Legacy: Davidson struggles with the weight of his father's heroism, fearing he'll “ruin the family name.” Learning that his father had his own issues frees him from the idea of perfection.
Mother's Sacrifice: Davidson's mother supports his comedy career, making a deal that he stay in school, and later helps him move to Brooklyn. The film is his way of telling her she doesn't have to sacrifice her life for him.
Firefighter Brotherhood: The firefighter friends who appear in the film represent a community that still honors Davidson's father, meeting annually on his birthday to listen to Creedence. The film aims to show the reality of their dangerous work.

Why This Chapter Matters

This chapter provides a raw and personal look at how Pete Davidson transformed childhood trauma into a successful comedy career and a feature film. It reveals the origins of his comedic voice and the emotional underpinnings of The King of Staten Island. For readers, it offers insight into the therapeutic power of art and the complexities of grieving in the public eye. Apatow's interview style allows Davidson to reflect on his past with honesty, making this chapter a poignant exploration of loss, healing, and the redemptive nature of creativity.

Study Questions and Answers

1. How did Pete Davidson's grandfather influence his filmmaking career?

Davidson's grandfather, whose father owned a movie theater, introduced him to classic films and made home movies with him. These early experiences sparked Davidson's love of film and taught him the basics of storytelling and performance, which later informed his work on The King of Staten Island.

2. What role did comedy play in Davidson's healing process after his father's death?

Comedy provided Davidson with an outlet and a community. He started doing stand-up at sixteen, and the first time he got a laugh was the first time he felt happy. Open mics felt like an “AA meeting with jokes,” allowing him to process his grief through humor and connect with others who had similar struggles.

3. Why does Davidson feel uncomfortable with the dedication to his father at the end of the film?

Davidson doesn't want people to think he's seeking sympathy. He hopes the audience enjoys the movie and relates to it, rather than focusing on his personal loss. The dedication feels like a reminder of his tragedy, but he understands its purpose as a way of honoring his father and showing that he's okay.