On May 7, 2022, the inaugural Netflix Is a Joke festival’s “Stand Out” show welcomed to the Greek Theatre stage 22 diverse LGBTQ+ comedians, including Eddie (Suzy) Izzard, Wanda Sykes, Lily Tomlin, Sandra Bernhardt, Rosie O’Donnell, Trixie Mattel, Tig Notaro, Sam Jay, Mae Martin, Joel Kim Booster, Fortune Feimster and Bob the Drag Queen. In the wings, documentary director Page Hurwitz kept cameras rolling and conversations flowing.
Premiering at the Tribeca Festival June 7 and reaching Netflix June 18, Hurwitz’s “Outstanding: A Comedy Revolution” dives deep into the history of stand-up trailblazers like Moms Mabley (out in the 1920s in her 20s) and Robin Tyler (the 1950s, age 16) who demanded equality.
By the late ’70s, Tomlin explains, “Comedy became an act of resistance,” in the face of Anita Bryant’s “Save Our Children” discrimination campaign. Bernhardt experienced a parallel battle with Ronald Reagan in the ’80s. (Historical turns of progress inevitably meet religious persecution.) As a young comic during the AIDS crisis, Todd Glass heard hurtful cracks from Eddie Murphy, Sam Kinison and Andrew “Dice” Clay. He grew fearful of being outed even as Margaret Cho, Rosie O’Donnell and Ellen DeGeneres rose to stardom through the ’90s.
Elsewhere, mustachioed history/political science buff Guy Branum lends context to jaw-dropping archival footage, Hannah Gadsby speaks to the rise of identity-forward material, and River Butcher and Solomon Georgio pay homage to Izzard’s influence around the globe.
On the local film front, comic and cartoonist Mo Welch’s “Dad Jokes,” a stand-up special/documentary partially filmed at the Lodge Room in Highland Park, debuts on YouTube June 14. Pioneering trans activist Tuesday Thomas gets the doc treatment with “The Trash Goes Out on Tuesday,” premiering June 12 at the Independent Filmmakers Showcase at Regal L.A. Live.
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Fifi Dosch poses for a portrait.
(Fifi Dosch)
Elsewhere across Los Angeles:
Trixie Mattel’s packed calendar for WeHo Pride 2024 — “one of my favorite Prides in the universe” — includes June 2’s annual Santa Monica Boulevard parade. (The Comedy Store returns with its own comedian-packed float.) Enthuses Mattel, “I’ve attended, I’ve hosted, and I always have the time of my life.”
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On June 7, Fifi Dosch hosts “a kind of on the hush-hush” but “very trans, very kinky comedy show and art exhibit” at a secret Van Nuys locale dubbed the Greenhouse. “We don’t advertise the address freely,” Dosch cautions of the “really fun trans refuge and party,” but for attendees who message @greenhouse.comedy.and.art on Instagram, “We’ll give the address if we can prove you’re not a cop.” Art show begins at 6 p.m. with comedy at 8. Previews Dosch, “I’ll be hosting in a hammer-and-sickle bikini.”
Cantiq
June 21 at Echo Park’s inclusive lingerie store, Sammy Mowrey’s “Boyfriend: A Queer Comedy Show” brings aboard Jake Noll and Pluto Papaya, “some of my favorite queer comedians in L.A., opening for me while I run my half-hour set.” Intending to tape the special within the next six to eight months, Mowry says, “I’m trying to get the feel of the flow.”
Comedian Cameron Esposito at the Bergamot Comedy Fest at the Crow on April 5, 2024.
(Michael Blackshire / Los Angeles Times)
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The Crow
In Santa Monica, a new Family Pride weekend launches with safe, all-ages events. June 14 at 7 and 9 p.m., the Crow’s signature “Storyectomy” series returns with community and allies getting personal alongside headliners like Cameron Esposito. June 15 at the Santa Monica Pier, the Crow hosts free “Fierce Fables: Drag Queen Pride — Family Edition!” storytelling at the Carousel from 10 a.m. to 1 p.m., along with face painting, a Family Pride parade and dance numbers from Pickle Drag Queen, Pandora Boxx and Johnny Gentleman.
Back at the venue’s Bergamot Station home base that afternoon, programming includes family-friendly improv from Pull My Finger, a youth open mic, the “BYOB(Baby)” comedy show, music from singer-songwriter Abby Posner and “I Gotta Crow” stand-up with Nina Nguyen, Jeffrey Jay, Jeena Bloom, Zoe Zakson and Jackie Monahan.
Dynasty Typewriter
A double dose of “Josh Thomas: Let’s Tidy Up” comes clean in Westlake June 2 and 3, Natalie Rotter-Laitman does an hour June 17, Drew Droege’s new “Messy White Gays” play gets dirty June 24, and Nikki Levy hosts “Don’t Tell My Mother” June 25 with Rachel Scanlon, Vico Ortiz, Jen Kober and musical guests Ezra & the Pussyboys.
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The board of directors/comedians at alt-comedy venue the Elysian Theater.
(Francine Orr / Los Angeles Times)
The Elysian
Frogtown’s favorite comedy theater offers “Joe Castle Baker: Something to Think About” June 8, the descriptively named “Cameron Esposito Is Taping a Thing” June 9, “Twin Flames” June 16, “Big Dad Energy” June 27 and “Gentlemen’s Club” June 30. Longtime scene producer Sam Varela’s Naked Comedy brand further sweetens the Elysian calendar with June 4’s clowning collage “Self-Portraits With Shan Fahey” and June 8’s “Ahamed Weinberg Presents: Repentance,” a Downtown Women’s Shelter fundraiser with Esposito, Brendan Scannell and host Titi Lee.
Additional Naked Comedy productions include live-animated show “Picture This! Pride Edition” at the Virgil June 21 and Quei Tann’s “The QT Comedy Show!” Hollywood Fringe festival run with rotating lineups June 16, 21, 23, 27 and 29 at the Los Angeles LGBT Center.
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Aparna Nancherla.
(Mariah Tauger/Los Angeles Times)
The Improv
On June 6 at the Lab, “Nori Reed and Lovers” gets busy with Sam Oh, EJ Marcus, Rachel Pegram and Aparna Nancherla. June 24’s “The Mav & Kalea Show” finds Mav Viola and Kalea McNeill doing time up top plus hosting four of their TBA comedy pals.
Largo Before Ellen DeGeneres begins touring in late June en route to filming her final-ever special, two DeGeneres test dates were extended to four: June 4, 5, 12 and 13. Tig Notaro’s monthly “Tig Has Friends” slot momentarily shifts to Notaro and partner Stephanie Allynne’s “She Said, She Said” June 16.
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Lyric Hyperion
From the heart of Silver Lake, “Haley Stiel Works on Some Things” June 1, Rachel Kaly brings “Major LOL Vibes” June 2, “Planet Courtney” takes orbit June 6, “Hannah Einbinder Presents Friends and New Material” June 21, “two rogue lesbian nuns take over” in “Divine Perversions: A Sapphic Mass” June 23 and Titi Lee turns “Good Girl Gone Baddie” June 30.
Nico’s
Atwater Village’s newbie wine shop only opened in January, but its Baby Battista bar venue has already become an alt hot spot. “Ever Mainard and Their Mostly Gay Friends” donate 100% of ticket sales to the Fund Texas Choice nonprofit June 11, with Mainard returning June 27 for solo-show-in-progress “Ottis.” (Mainard’s “Y’all Gay Podcast” co-host Ali Clayton releases debut comedy album “Country Queer” May 31, a mere 15 years into her career.) June 25 at Nico’s, Naked Comedy and Jeena Bloom’s “Cruising Comedy” promises “the hottest and hardest stand-up comedy action you can handle!”
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The Hollywood sketch and improv mecca pits “Gays vs. Straights,” in a “gameshow death match” June 1, the venue’s first all trans/gender-nonconforming/nonbinary improv team delivers “QT’s Present…Joy!” June 2, Jesse Esparza and Dan Leahy a.k.a. “Two Loud Gays” perform “very loud, very gay” sketch June 4, the all-queer cast of “Conversion Camp” variety gets campy June 5, and “Dating Gayme” makes matches with a “1/2 Homosexual Dating Show, 1/2 Queer Improv Spectacular” June 16.
At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.
When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.
After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.
Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.
The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”
“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”
The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.
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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.
(Refik Anadol Studio for Dataland)
Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”
“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”
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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.
Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.
“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”
“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”
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