Entertainment
John Mulaney's 'Everybody's in L.A.': A guide to the hyperlocal references
John Mulaney, a Chicago native and former New Yorker, is a recent transplant to L.A. In his latest project with Netflix, “Everybody’s in L.A.,” the stand-up comedian explores the city he describes as a place that simultaneously “confuses and fascinates” him.
The show, which has a pseudo-late night format and features actor and comedian Richard Kind as the announcer, began May 3 as part of the Netflix Is a Joke Festival. It streamed live and ended Friday (all six episodes are available to watch). Mulaney also performed at the Hollywood Bowl on Saturday in one of the festival’s most anticipated shows.
The show calls on the aesthetics of a ’70s living room for its set, the sketch humor of “Saturday Night Live” and the production chaos of Netflix’s recent ventures into the livestreaming space. Mulaney enlists comedians in town for the festival and L.A.-based experts to “try to figure out just what the hell is going on here.”
John Mulaney in a scene from Episode 1 of “Everybody’s in L.A.”
(ADAM ROSE/Adam Rose/NETFLIX)
With a number of topics specific to Southern California setting the tone and theme for each episode, some humor might be lost on the crowd of non-Angelenos tuning in. Here is a guide to some of the L.A. people, places and things discussed in each episode of “Everybody’s in L.A.”
Ongoing
Saymo delivery bot
The Saymo delivery bot has rolled through the show each night, bringing guests snacks and ginger ale.
(Adam Rose / Netflix)
Based on the many food delivery robots that roll through the streets of L.A., Mulaney and company created the Saymo, perhaps a play on the Waymo self-driving cars that are permeating the city. The robot has appeared in each episode, providing snacks and beverages — ginger ale in particular (Mulaney: “It’s not just for sick”) — to guests on the show. Jon Stewart, who mentioned frequently that he is not from L.A. (“The Daily Show” host is from New Jersey), jumped up as the bot approached the stage in the second episode and called it a “rolling toilet” after remarking that he had never seen a robot like that before.
Episode 6
La Brea Tar Pits
Paleontologist Emily Lindsey, the associate curator and excavation site director of the La Brea Tar Pits, was one of Mulaney’s guests on Friday’s final episode. She described the pits as “the most important Ice Age fossil site in the world,” but tar pits is a misnomer — it’s actually asphalt that bubbles up through the site. That asphalt is what trapped many prehistoric animals, like saber-toothed cats, mammoths and giant sloths, whose excavated remains are now on display at the site’s museum. Located in Mid-City, the site is home to more than 100 pits where fossil excavations, which began in the early 1900s, continue to this day.
Mayor Karen Bass
The episode’s topic was the future of L.A., and the city’s leader called into the show to weigh in. Bass, the 43rd mayor of Los Angeles, said, “The future of L.A. is incredible.” Mulaney interjected, “Yeah, but you’re the mayor.” She didn’t give specific details about the city’s future, but instead emphasized its diverse culture and said L.A. was the “entertainment capital of the world.” Comedian Mike Birbiglia, a guest (and New Yorker, as Mulaney noted), asked the mayor if “we’re supposed to eat almonds or not,” which she replied by saying “we eat healthy.” Fellow comedian and guest Hannah Gadsby said she didn’t share the mayor’s optimism about L.A.: “From the outside, it doesn’t look like a healthy place.” Bass, however, was undeterred.
John Carpenter
John Carpenter, left, with John Mulaney in the final episode of “Everybody’s in L.A.”
(Adam Rose/Netflix)
The renowned director and master of horror arrived midway through the episode, and he turned out to be L.A.’s biggest hype man. Carpenter spoke about arriving in Los Angeles from Kentucky to attend USC, explaining that he quickly fell for the city. “The weather, the people — L.A. for me was paradise. I’ve lived here ever since and I love it. Love every inch of it.” But what does he think the future holds for the city? Carpenter predicts Mexico will take over the city and then later the “long-awaited Doobie Brothers prophecy takes place: California breaks off into the sea.”
Episode 5
Earthquakes
The penultimate episode’s theme was to be expected — a show about life in L.A. wouldn’t be complete without discussing earthquakes. When Mulaney introduced the theme, the audience roared, to which he said, “Hey, don’t clap too hard, we’ll start one.” Mulaney then discussed the frequency of earthquakes in Southern California because of its location between the Pacific Plate and the North American Plate. He also noted that this year marked the 30th anniversary of the Northridge earthquake, which caused $40 billion in damage.
One of the prerecorded segments featured an interview with an L.A. woman whose home video showing her family during an earthquake — which captured her panicked husband running out of the shower naked — won a cash prize on “America’s Funniest Home Videos.”
Lucy Jones
Renowned seismologist Dr. Lucy Jones, who has been called the “Beyoncé of earthquakes,” joined the show to add some expertise . She told viewers that if they are in Los Angeles, they are within a few miles of an earthquake fault line. She answered questions from inquisitive fellow panelists and live callers. She also said the advice to stand in a door frame during an earthquake is dated guidance — she recommends getting under a hard surface like a desk or table. Jones also mentioned how the recent earthquake in New Jersey “ruined” her day because she had to make several TV appearances.
Los Lobos
Los Lobos perform on “Everybody’s in L.A.”
(Adam Rose / Netflix)
The Mexican American rock band was the evening’s musical guest, performing hit song “La Bamba.” The band originated in East Los Angeles in the 1970s and reached international fame in 1987 when their rendition of the song topped the charts, thanks to the Ritchie Valens biopic named after “La Bamba.” Founding band members David Hidalgo and Louie Perez met at Garfield High School in East L.A., where the group recently performed a concert commemorating the band’s 50th anniversary in November.
Episode 4
The Paranormal
Cassandra Peterson, best known as Elvira, Mistress of the Dark, on Episode 4 of Netflix’s “Everybody’s in L.A.”
(Adam Rose/Netflix)
Mulaney promised the paranormal-themed fourth episode would be full of “a lot of spooky s—,” which is also a phrase he used to describe L.A. after saying that many people have reported paranormal experiences and haunted houses in the city. He then mentioned the large population of Angelenos who are into “amulets and candles and oils and incense.” After satirizing the horoscope-reading population, he said, “Sometimes the witchy s— gets so intense that they basically become Catholic.”
The spooky theme remained the focus of conversations with live callers and of the episode’s guests, including horror royalty Cassandra Peterson, better known as Elvira, Mistress of the Dark. Peterson described experiencing paranormal activity in her L.A. home many years ago, saying the situation became so dire she had to call in an exorcist.
Kerry Gaynor
Kerry Gaynor, left, helped John Mulaney to quit smoking.
(Ryan West / Netflix)
Over his 40-year career, Kerry Gaynor developed a method of hypnotherapy that has helped many people, including A-list celebrities, to quit smoking, drinking and using drugs, or kick other bad habits. Mulaney said that he visited Gaynor in 2021, skeptical that the therapist could help him drop his 26-year smoking habit. After two sessions together, Mulaney said he quit cold turkey and has not used any nicotine since. Other celebrities who have used Gaynor’s services include Martin Sheen, Heather Locklear, Aaron Eckhart and Emily Procter. Gaynor said his method of hypnotherapy is successful because he taps into the subconscious mind to help clients fully understand how their addiction could be killing them. He also said that many of his clients don’t experience withdrawal or cravings.
Plaque marking the center of L.A.
In one of the many random prerecorded segments that Mulaney’s show plays between live segments, the camera pans in on an unassuming plaque in a grassy area, marking the exact center of the city. It reads in haphazardly hand-stamped letters: “Exact center, point of balance of the plane of the City of Los Angeles,” and is situated near the parking lot of Franklin Canyon Park, between the San Fernando Valley and Beverly Hills. Allan E. Edwards, a former U.S. Geologic Survey employee, determined the point in December 1990, even if on a map it doesn’t appear to be the city’s center.
Episode 3
Helicopters
Mulaney cracked several one-liners about the episode’s aviation theme, calling a chopper circling an STD billboard “the official bird of Los Angeles.” As he introduced the theme, he said: “They’re everywhere in L.A., they hover and they give you a headache. No, I’m not talking about actors,” before Kind interrupted with an emphatic “F— actors!” In addition to helicopter journalist Zoey Tur, Mulaney hosted comedian Nate Bargatze, who said his 2021 special filmed at Universal Studios was interrupted by a helicopter police chase. “That’s just L.A.,” Bargatze said before Mulaney interjected, “That’s just what happens when you film at Universal CityWalk.” To cap off the discussion, Mulaney took live calls from at-home viewers, as he has done throughout the show’s run, and one caller pointed out that Disney parks, including Disneyland in Anaheim, are no-fly zones, which Tur confirmed. Unfortunately for Bargatze, Universal is fair game.
Zoey Tur
Zoey Tur and John Mulaney on the set of “Everybody’s in LA.”
(Ryan West / Netflix)
The L.A.-based journalist known for pioneering live reporting from a helicopter was the expert guest for Tuesday’s episode. Tur, who was identified as a “helicopter queen,” said her career materialized when she grew frustrated working as a journalist in L.A. because she couldn’t get to timely stories fast enough thanks to the city’s infamous traffic. She said she bought a helicopter in 1977 and learned how to fly with the help of off-duty L.A. Fire Department pilots. Tur has covered global news stories, from O.J. Simpson’s white Bronco chase to the 1992 Los Angeles riots and other major local watershed moments, during her storied career.
Old punks
Mulaney introduced a prerecorded segment featuring L.A. punk musicians from the 1970s and ’80s by calling the city home to some of the “best punk bands ever.” Fred Armisen was tasked with interviewing L.A.’s punk elders in a focus group, where he spoke with such musical legends as Lee Ving of Fear, Mike Watt of the Minutemen and Exene Cervenka of X. He asked them about their glory days, and Don Bolles of the Germs noted that the group of 11 prolific punk musicians probably had never been assembled together before.
Armisen also showed them a series of photos and asked them to react — a shot of Ronald Reagan elicited a chorus of boos, and Kid Congo Powers called him a “f— monster.” The group’s final activity was to create a theme song for the L.A. tourist board. Titles like “Please Don’t Move Here” and “You’ll Be Famous for a Minute” ultimately were shot down in favor of “Ghosty Ghost Place Superstar,” an anthem the group improvised together to close out the segment.
Episode 2
Palm trees
In a monologue, Mulaney did a deep dive on the picturesque trees that line L.A.’s streets. He noted that they are not native plants and that they were brought in to beautify the city about 100 years ago, which is roughly their lifespan, meaning that many of the area’s palm trees will die soon. He also added that the trees use a lot of water and don’t improve air quality, saying they are “gorgeous but useless, like the fountain at the Grove or Gavin Newsom.” Amanda Begley, a senior leader at nonprofit TreePeople, came on to confirm the facts from Mulaney’s monologue and said palm trees are technically a type of grass.
Warren G
Warren G brought the house down with a performance of his hit “Regulate.”
(Adam Rose / Netflix)
From Long Beach, rapper, record producer and DJ Warren G was the musical guest on the second episode. After his performance of “Regulate,” comedian and guest Gabriel Iglesias gave the rapper a standing ovation. Mulaney also noted that Stewart, another guest on the panel, had Warren G as a guest on his show 30 years ago, where he sang the same song. The rapper is an instrumental figure in the rise of the West Coast rap scene in the ’90s, working with the likes of Snoop Dogg, Nate Dogg and Dr. Dre.
James Goldstein
Andy Samberg took on the role of L.A. pseudo-celebrity James Goldstein, who is known for sitting courtside at Lakers and Clippers games.
(Adam Rose / Netflix)
Mulaney enlisted friend Andy Samberg to take on the role of James Goldstein, an L.A. businessman known for sitting courtside at Lakers and Clippers games. Mulaney introduced the bit by saying that his show, just like a Lakers game, attracts well-known guests in the front row and hinted at more cameos in coming episodes. Samberg sported a long white wig and a sequined jacket with a cowboy hat, mimicking Goldstein’s singular style. During the segment, Stewart called Goldstein a “robber baron,” saying that he made his fortune off the high rent he charges at the mobile home parks he owns.
Episode 1
Coyotes
Coyotes, the wolf-adjacent animals that are prevalent in the Greater L.A. area, are not particularly well liked by Angelenos, especially those who have dogs and fear the animals will attack their pets. Mulaney made the animal the topic of his first episode, which featured a coyote expert and local callers sharing stories about their encounters with them. Tony Tucci, chair and co-founder of Citizens for Los Angeles Wildlife, came on to share what to do if you see a coyote in the wild, saying that it’s important to make yourself “larger than life” and generate a lot of noise. Jerry Seinfeld, a fellow guest on the show, mocked Tucci’s suggestions, which included traveling with an air horn tied around your neck.
Ray J
Mulaney brought R&B singer and television personality Ray J onto the show and described him as a “Black Forrest Gump,” noting that he had been a part of several cultural touchstones of the 21st century — though no mention of Kim Kardashian. During his interview on the show, Ray J discussed how he is in the process of divorcing his wife, Princess Love, to whom he has been married since 2016. The couple previously announced they were divorcing three times but called it off each time, until his wife in February said they had separated and were pursuing a divorce. “She was mad,” Ray J said after saying that he is heading to Africa to find his “queen.”
Lou Adler
Will Ferrell transformed into L.A. personality Lou Adler in a segment highlighting a VIP audience member.
(Adam Rose / Netflix)
Will Ferrell appeared as Lou Adler, the record and film producer and co-owner of the Roxy Theatre in West Hollywood. Adler has worked with music legends like the Mamas & the Papas and Carole King and produced films including Cheech and Chong’s “Up in Smoke” and “The Rocky Horror Picture Show.” Ferrell donned Adler’s famous look — a beret and colored sunglasses — and tried to cajole Mulaney into partying with him in a hilarious bit.
Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
Entertainment
Review: Monica Lewinsky, a saint? This devastatingly smart romance goes there
Book Review
Dear Monica Lewinsky
By Julia Langbein
Doubleday: 320 pages, $30
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First loves can be beautiful or traumatic, sometimes both. They are almost always intense, with emotions on speed dial and hormones running amok. Nothing like the durable consolations of late-life romance, but headier, more exciting and, in the worst cases, far more damaging.
Even decades later, Jean Dornan, the protagonist of Julia Langbein’s smart, poignant and involving novel “Dear Monica Lewinsky,” can’t recollect her own first love in tranquility. Its after-effects have derailed her life, and an unexpected email invitation to attend a retirement party in France honoring her former lover sends her into a tailspin.
An agitated Jean finds herself praying to none other than Monica Lewinsky, the patron saint of bad romantic choices, or as Langbein puts it, “of those who suffer venal public shaming and patriarchal cruelty.” In Langbein’s comic, but also deadly serious, imagination, this is no mere metaphor. The martyred Monica has literally been transfigured into a saint. And why not? Surely, she has suffered enough to qualify.
Jean and Monica have in common a disastrous liaison with an attractive, powerful, married older man. Monica was humiliated, reviled, then merely defined by her missteps. Meanwhile, her arguably more culpable sexual partner survived impeachment, retained both his political popularity and his marriage and enjoyed a lucrative post-presidency.
Jean’s brief fling during the summer of 1998 coincided with the public airing of Monica’s doomed romance. Jean’s passion took a more private toll, but she still lives with what Monica calls “this deepening suspicion that your existence is a remnant of an event long since concluded.”
Though framed by a fantastical conceit, “Dear Monica Lewinsky” is at its core a realist novel, influenced by the feminism of #MeToo and precise in its delineation of character and place. Langbein’s Monica — having finally transcended her past and ascended to spiritual omniscience — becomes Jean’s interlocutor. Together, they relive the fateful weeks that Jean spent studying the Romanesque churches of medieval France and charming David Harwell, the Rutgers University medieval art professor co-leading the summer program.
Every now and again, Monica, as much savvy therapist as all-knowing seer, interrupts Jean’s first-person account to offer guidance. Threaded through the narrative, as contrast and commentary, is a martyrology of female saints. These colloquially rendered portraits, reflecting a punitive, patriarchal morality, describe girls and women who would rather endure torture or even death than sully their sexual purity — stories so extreme that they seem satirical.
The portraits play off the novel’s milieu: a series of churches, as well as the medieval French castle that is home to an eccentric and mostly absent prince. The utility of religious doctrine and practice is another of the book’s themes. One graduate student, Patrick, is a devoted Roman Catholic, unquestioning in his faith. Others are merely devout enthusiasts of medieval architecture. Judith, a doctoral candidate at Harvard, has an addiction of her own: an eating disorder that threatens to disable her.
A rising junior at Rutgers, Jean is one of just two undergraduates in the program. Her initial dull, daunting task involves measuring and otherwise assessing the churches’ “apertures” — windows and doors. Later, she is assigned to collaborate on a guidebook and write a term paper.
A language major unversed in art, architecture or medieval history, Jean feels overwhelmed at times. But she does have useful talents: fluent French and the ability to conjure delicious Sunday dinners for her bedazzled colleagues. (The author of the 2023 novel “American Mermaid,” Langbein has both a doctorate in art history and a James Beard Foundation Journalism Award for food writing, and her expertise in both fields is evident.)
As the summer wanes, Jean’s fixation on David grows. Langbein excels at depicting the obsessive nature of illicit, unfulfilled desire — how it swamps judgment and just about everything else. A quarter-century Jean’s senior, David is trying to finish a stalled book project, laboring in the shadow of his more prolific and successful wife, Ann. An expert on the erotically charged religious life of nuns and the art it produced, she shows up briefly in the story and then conveniently disappears.
David is smooth, seductive and, to 19-year-old Jean, far more appealing than the fumbling schoolboys she has known. But he turns out to be no more grown-up or emotionally mature. After the flirtation and its consummation, David beats a hasty (and unsurprising) retreat. Then he does something worse: He allows his guilt to shred his integrity.
In the aftermath of that summer, a wounded Jean stumbles through her last two years of college, “berserk, unfocused, humiliating.” She abandons her academic and career ambitions, takes a job as a court interpreter, and marries Michael, an affable nurse who has little idea of her emotional burdens.
Then that invitation, inspiring “a racy heat,” arrives, and Jean must decide whether to confront her past or keep running from it. Is there really much of a choice? Fortunately, she has the saintly Monica as her guide. More clear-eyed now, Jean must reject her martyrdom and reclaim her own truth and agency. If she does, David, at least in the realm of the imagination, may finally get his comeuppance.
Klein, a three-time finalist for the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing, is a cultural reporter and critic in Philadelphia.
Movie Reviews
‘I Swear’ Review – Heart Sans Sap, Cursing Aplenty
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
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