NOW ON MAX! Pee-wee as Himself, directed by Matt Wolf, is a two-part documentary streaming on Max that dives deep into the life of Paul Reubens, the man behind the legendary Pee-wee Herman.
The first installment traces Reubens’ childhood in Sarasota, Florida, where his imagination flourished thanks to his parents’ support. Early footage, home videos, and interviews reveal his fascination with circus culture and his rise as a performer—from local theater to CalArts to the Groundlings, where Pee-wee Herman was born. The film shows how the Pee-wee persona started as a bit during improv shows and blossomed into a full-blown phenomenon, aided by friends like Phil Hartman and Cassandra Peterson. His big break came when a live stage show evolved into Pee-wee’s Playhouse, setting the stage for widespread acclaim.
Part two shifts into darker territory, detailing Reubens’ struggle with identity and the cost of hiding his sexuality in the conservative 1980s. The documentary explores the 1991 arrest in an adult theater and the later child pornography charges—both of which nearly ended his career. Reubens, a meticulous artist and private person, initially abandoned the documentary to maintain creative control, only granting final approval shortly before his death from cancer, which he had kept secret from nearly everyone. Despite the turmoil, the film celebrates his cultural impact, the careers launched by Pee-wee’s Playhouse, and the enduring joy he brought to fans.
Pee-wee as Himself is a loving, somewhat bittersweet documentary about Paul Reubens. While everyone involved thought this would be a typical documentary about this comedy icon, what no one knew was that Reubens had been fighting cancer and would pass away shortly before the documentary was completed.
“…from local theater to CalArts to the Groundlings, where Pee-wee Herman was born.”
As a tribute, Pee-wee as Himself strikes the right balance between reverence and raw honesty. The film doesn’t shy away from the complicated legacy of Paul Reubens, showing a man constantly at odds with his public image. His perfectionism, loneliness, and personal sacrifices are portrayed with empathy and detail. It’s a layered portrait of an artist who built an empire from his imagination, then spent the rest of his life trying to live outside its shadow.
What works best is Paul Reubens himself. He comes across as a reluctant, sometimes oblivious subject who is constantly in need of control over his narrative, and it’s hilarious. Then filmmaker Wolf lifts the curtain on what it was like working with Reubens, who was often conflicted—having second, third, and even fourth thoughts about participating in the documentary.
What struck me the most was the idea that Paul Reubens was a popular guy among his friends. He came from a loving family and kept secret his sexual orientation, fearing it would have derailed his career from the start. As a student of comedy, Reubens’ meticulous approach to comedy and theater is invaluable.
Pee-wee as Himself is essential viewing for anyone who grew up with Pee-wee Herman or admired Paul Reubens’ comedic genius. Director Matt Wolf handles the story with care and compassion, offering fans an intimate look at the man behind the bowtie. Reubens’ final act was giving us this documentary—and it’s a bittersweet farewell that leaves a lasting impression.
"…His final act was giving us this documentary…"
