Sarah Silverman: PostMortem (2025)

The story opens in 1970 with a confrontation over money and respect. Professional tennis star Billie Jean King meets with her manager Gladys Heldman and they face Jack Kramer, a powerful promoter who has put together a tournament that pays the top female prize at only one-eighth the amount awarded to the men, even though the women and men pull in roughly the same crowds. King and Heldman tell Kramer they will walk away and start their own circuit if the terms do not change. Kramer refuses, arguing that women's tennis is inferior and refusing to adjust the purse. In response, Billie Jean King and a group of fellow players--Julie Heldman, Valerie Ziegenfuss, Judy Dalton, Kristy Pigeon, Peaches Bartkowicz, Kerry Melville Reid, Nancy Richey, and Rosie Casals--sign on as the "Original 9," a breakaway contingent that will launch what becomes the Women's Tennis Association tour. After they formalize their alliance, the U.S. Lawn Tennis Association bars them from participating in its tournaments, cutting them off from traditional events and forcing the nascent women's tour to struggle in its early days.

As the women fight for a platform, Billie Jean King's private life grows complicated. She becomes romantically involved with Marilyn Barnett, her hairdresser, and those encounters threaten her marriage to Larry King. She and Larry try to keep the marriage intact while the affair raises tensions and creates personal turmoil that she must manage alongside her leadership role in the new tour.

Across the country, former men's champion Bobby Riggs faces his own unraveling. Riggs lives with his wife Priscilla Whelan, who comes from wealth, but his compulsive gambling and reckless behavior strain their marriage. When Riggs brings home a Rolls-Royce he has won in a bet and tries to conceal it, Priscilla forces him out of the house. Cast out and embittered, Riggs concocts a publicity-driven plan: he will take out a challenge against the best woman player in the world to prove that, despite being 55 years old, he can still beat any woman. He begins making bold public claims that he can defeat the top female competitor, using media appearances and provocations to push his agenda.

The breakaway women's circuit endures hardship but gains ground over the next several years. The players continue to press for parity and recognition, and their efforts coalesce into the formation of the Women's Tennis Association in 1973. While Billie Jean King and her colleagues work to solidify the tour, Bobby Riggs keeps taunting the women's game with his challenge, seeking a high-profile match to prove his point.

Riggs manages to persuade Margaret Court, who recently overtook King to become World No. 1, to accept a match in May 1973. Court travels to face Riggs and the older male player defeats her easily, lending credibility to Riggs's claims and intensifying public pressure on King to take him on. After Riggs's victory over Court, King decides she must respond to his provocation to defend the integrity of women's tennis and the gains her tour has achieved. She agrees to play Riggs but insists on controlling the terms: she demands final authority over the match arrangements, from venue and promotion to who will have input during the broadcast.

As preparations begin, Billie Jean King shifts into a rigorous training regimen. She focuses on sharpening her skills, conditioning, and mental readiness, treating the encounter with Riggs as a competitive match rather than a publicity stunt. In contrast, Riggs approaches the buildup with a relaxed swagger, using showmanship and spectacle to stoke public interest and bait his opponent. The negotiations over the match become contentious when King objects to Jack Kramer serving as a game announcer for the broadcast. Kramer had been part of the earlier disputes over prize money and is a controversial figure to the women's movement; King makes clear that she will not play if Kramer participates as an announcer. Faced with her ultimatum and the risk of losing the marquee event, Kramer removes himself from the announcing role.

On match day, the contest unfolds under heavy attention. The play begins slowly; King has difficulty finding an immediate rhythm as Riggs's antics and the charged atmosphere press on her. Riggs attempts to disrupt her concentration with mind games and patter, and the match's opening stretches see him taking initiative with clever placements and volleys, testing King's responses. King remains deliberate and patient, refusing to let the early exchanges dictate the outcome. She adjusts her strategy, raising the intensity of her serves and focusing on deep returns that force Riggs to chase. As the match progresses, King converts her training into tangible gains on court: she hits with greater accuracy, moves with sharper footwork, and counters Riggs's unorthodox tactics. The momentum shifts steadily to King, and she closes out the match with decisive play, securing victory and delivering a high-profile win that changes public perceptions about women's tennis.

After the match, public and institutional reactions follow. The victory cements the progress the women had been fighting for and gives the WTA Tour a significant boost in credibility and visibility. The story's textual epilogue records further developments in the characters' lives: Billie Jean King divorces her husband in the 1980s, continues her career, and retires from professional tennis in 1990. In later years she begins and maintains a long-term same-sex relationship. Bobby Riggs, after his public defeat, reconciles with his wife Priscilla but never quits his gambling habit, and his addiction continues to shape his behavior.

Across the narrative, no character deaths occur; the principal conflicts center on professional disputes, personal relationships, and a public spectacle rather than fatal violence. The final scenes close with King's win standing as the conclusive event: she walks off the court having defended the legitimacy of women's tennis, her tour strengthened by the exposure the match brings, and the women who formed the Original 9 continuing into the future with a more secure platform for their sport. The film ends with the factual notes on the subsequent personal and professional trajectories of Billie Jean King and Bobby Riggs, marking the end of the chronicle as the credits roll.

The ending of Sarah Silverman: PostMortem (2025) is a poignant yet humorous reflection on loss and family. Sarah Silverman concludes her stand-up special by sharing intimate memories of her parents' final days, highlighting the absurdities and emotional complexities of grief. The special closes with a sense of connection and healing, as Silverman honors her parents' lives and the enduring bonds with her siblings, leaving the audience with a blend of laughter and heartfelt remembrance.

In the final scenes of Sarah Silverman: PostMortem, the narrative unfolds with Sarah on stage at The Beacon Theatre in New York City, delivering her deeply personal comedy special. She begins by recounting the surreal experience of hearing her mother's last words, capturing the emotional weight of that moment with her characteristic wit and vulnerability. This sets the tone for the rest of the special, where she navigates the strange and often absurd realities of death and funeral planning.

As the show progresses, Sarah shares anecdotes about the chaotic and sometimes comical process of arranging her parents' funerals, including the unexpected "deal of a lifetime" she jokes about while dealing with funeral homes. These moments are interspersed with reflections on her Jewish heritage, including references to Yiddish expressions and cultural practices around death, such as speedy burials in pine boxes and family traditions like bagel brunches.

The narrative then shifts to more intimate family moments, featuring Sarah's interactions with her three sisters and longtime boyfriend, comedian Rory Albanese. She highlights the closeness of her family, their shared grief, and the ways they support each other. A particularly touching segment involves the story of her father, Schleppy, and the recordings her family made of his doctor appointments, which they shared via WhatsApp--a practical yet poignant detail that underscores their efforts to stay connected and prepared.

In the closing moments, Sarah reflects on the spirit of her Jewish family, the joy found in shared memories, and the bittersweet nature of saying goodbye. The special ends with a tribute to her parents, Beth Ann and Janice, shown through beautiful photographs during the credits, reinforcing the personal and emotional core of the performance.

Regarding the fate of the main participants at the end: Sarah Silverman remains alive, carrying forward the legacy and memories of her parents. Her parents, who both passed away in 2023 within days of each other, are honored and remembered throughout the special. Her siblings and boyfriend are portrayed as integral parts of her support system, sharing in the grief and healing process.

This ending scene-by-scene narrative captures the blend of humor and heartbreak that defines PostMortem, emphasizing the human experience of loss, the absurdity found in grief, and the enduring power of family bonds.

Yes, the movie Sarah Silverman: PostMortem (2025) does have a post-credit scene. According to viewer notes and reviews, the post-credit scene features comedian Jeff Ross participating in a moment that is described as "something beautiful," which adds a touching and unexpected element after the main special concludes. This scene complements the overall tone of the special, which blends humor with heartfelt reflections on loss and remembrance.

Sarah Silverman shares vivid and personal stories about her parents and stepmother, painting their personalities so vividly that viewers feel like they know them. She recounts moments such as deathbed binge-watching and family antics, including an ill-timed fart, which bring humor and humanity to her grieving process.

Sarah Silverman transforms her grief into comedy by finding humor in funeral planning, final moments with her mother, and the realities of death. Her timing and storytelling guide the audience through a bittersweet experience that moves from laughter to tears, making the heavy topic of loss more approachable and cathartic.

Sarah Silverman shares deeply personal experiences including hearing her mother's last words, planning funeral arrangements, and moments like deathbed binge-watching and an ill-timed fart, which she uses to find humor and solace in the face of grief.

She uses sharply observed comedy and her trademark wit to explore the absurdity of grief and death, transforming deeply emotional and personal moments into humor without losing emotional depth, such as joking about funeral planning as 'the deal of a lifetime'.

The special is primarily focused on Sarah Silverman herself, but it includes appearances such as Jeff Ross, who is noted in the credits as part of the special, contributing to its emotional and comedic tone.

The movie Sarah Silverman: PostMortem (2025) is not family friendly and carries an R rating, indicating it is intended for mature audiences. It contains moderate profanity but no sex, nudity, violence, gore, or frightening/intense scenes.

Potentially objectionable or upsetting aspects for children or sensitive viewers include:

• The subject matter centers on grief and the death of parents, which may be emotionally heavy or distressing.
• The humor involves dark comedy about death, funeral planning, and final moments with loved ones, which might be uncomfortable or inappropriate for younger audiences.
• Some jokes include ill-timed bodily humor (e.g., a fart joke) and stand-up comedy style pauses and audience interactions that may not appeal to all viewers.

Overall, the special is a candid, comedic exploration of loss and mourning, best suited for adults comfortable with mature themes and moderate language.