Carl (Walken), an account executive, has returned to work from needing a leave for psychiatric problems. I think I was as giddy to meet her as is possible for me. When Pat goes to get a haircut, the hairdresser (Julia Sweeney wrote, "Christine Zander and I wrote this sketch about Pat – personally I think this is the very best one of all the Pat sketches. But “as an artist, I don’t want to never hurt anyone’s feelings.”Sweeney reckons with the consequences of Pat in a story line on “Work in Progress.” But she does not disown the role. twins." “It really feels like that character is just about making fun of someone where you can’t tell if it’s a man or a woman.”Sweeney played the role in more than a dozen sketches that placed Pat in everyday settings — But the character also has an ugly underside that its creator never intended. Maybe she's gay. Sweeney has said, "I'd been an accountant for like five years, and there was one person I worked with in particular who had a lot of mannerisms like Pat. “As a person, of course I don’t want to hurt anyone’s feelings,” she said.The problem of Pat represents an increasingly persistent debate in comedy: What happens when a joke, character or routine is re-examined outside of the era in which it was made and is deemed insensitive by contemporary standards? The Graham tries to warn Pat about Hedra, but they can't understand why anyone would obsess. I’m not responsible if they take it negatively, either. Over the years, Pat has become a cultural cudgel used to mock those with unfamiliar gender expressions — an all-purpose insult hurled at people who do not fit conventional definitions of masculinity or femininity.“That sucked, because it was never a compliment,” McEnany said. As Sweeney explained it, “I didn’t do that character to make anyone feel bad,” she said. So she made Pat androgynous in appearance and oblivious to other people’s uncertainty about Pat’s gender.“Pat doesn’t know that Pat comes off in an androgynous way,” Sweeney said. )As she has reflected on those experiences, McEnany said, “Julia Sweeney didn’t ruin my life; what ruined my life is people’s bigotry and their reaction to this character.”But while McEnany was preparing the pilot episode of “Work in Progress,” she and her collaborators decided to include a fictionalized incarnation of Julia Sweeney as a recurring character on the show — one who would be portrayed by the actress, and whom McEnany (who is also playing a heightened version of herself) would confront and later befriend.McEnany did not previously know Sweeney before approaching her about the role, but she said that their real-life relationship has come to follow a similar trajectory.“She and I do not see totally eye-to-eye on Pat, and that’s O.K., because I love her,” McEnany said. But the character also has an ugly underside that its creator never intended.Sweeney never expected Pat, whom she created at the Groundlings, to become an “S.N.L.” mainstay.“As a person, of course I don’t want to hurt anyone’s feelings,” Sweeney said. "Well, maybe she's in love with you. It’s PatJulia Sweeney’s Pat, left, was popular enough on “S.N.L.” to inspire a movie. Directed by Adam Bernstein. But she does not disown the role. The character's popularity gave rise to a feature-length 1994 film called Pat meets Chris, another sexually-ambiguous character, played by Dave Foley. Graham says, "Just look at the two of you. “It was aggressive. The comedic misadventures of a person of indeterminate gender. Like I couldn't quite pull off being in drag convincingly enough. In her new Showtime comedy “Work in Progress,” Abby McEnany, left, discusses her past hurtful Pat comparisons with Sweeney, who plays a version of herself on the show. Pat is hired by a new firm. “On the other hand, I created a character and then people happened to look like that character. Aired October 24, 1992 (Season 18, Episode 4). The film was based on the Saturday Night Live character Pat, created by Sweeney, an androgynous misfit whose sex is never revealed. Or, or straight. For example, Sweeney said that her husband, whom she described as a “tall, thin, supernerdy scientist,” was bullied as a child because he looked like “The person who created Poindexter, should they feel bad?” she asked.While Sweeney considered it a worthwhile endeavor to look back at past efforts and consider how cultural standards have evolved, she said we should be careful not to reflexively dismiss performers or works that are deemed out of step.In another 30 years, she said, “It could be that people will watch movies from now, that are the most politically correct, and you know what they might say? In a spoof of the movie Aired on May 14, 1994 (Season 19, Episode 20). “The dream is to be able to walk into a room, being the subject and not the object — to not be afraid that we’re going to be pointed at for not fitting in.”Soloway expressed admiration for Sweeney, describing her as “important to the history of comedy and the history of women in comedy.” While Soloway said they wished that Sweeney would offer “a huge blanket apology to all nonbinary people for making fun of their essence,” the fact that she did not, Soloway said, “doesn’t make her a bad person. But times have changed so quickly that even things that seemed right three years ago are no longer right.”Sweeney said that she was willing to listen to criticism of Pat and did not dismiss anyone who felt hurt by the character. “Because I have done so many wrong things.”But she cautioned that even the most innocuous cultural offerings can boomerang in unexpected ways. As the co-workers gather in the office, he expresses his extreme perplexity and discomfort around Pat to Phil Hartman. Pat gives Pat's typical ambiguity, telling of the situation where Pat was on a Aired March 20, 1993 (Season 18, Episode 16). Taking place again at the office, Sweeney wrote on her website, "I lerve Catherine O'Hara!!!! Soloway said that Pat was emblematic of an era in “S.N.L.” history when the program was tilted toward its male cast members, Soloway said that Pat had taught a generation of viewers to see gender nonconforming people as outsiders, rather than people who have the right to participate in art, media and comedy.“We’re looking to be the person who decides what’s funny,” Soloway said.
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