There this thing which happen when comedians create autobiographical material and then cast themselves in it. Like, it’s an extension of everything they put up on stage, the way they turn experiences into stories, how their life is deliberately distorted around this stage persona they create. Everything around a comedian has to turn into comedy. Otherwise it never happened. It’s where the power of confession comedians comes from, the most unexpected thing we could possibly see on the stage is life.
Let’s be frank here: at its best, Miss Sloane is a mid-tier, House of Cards level, sub-Sorkin-at-his-best tale of fictionalised (and mostly depoliticised) demi-ethical political manoeuvring and personal conduct.