Entertainment

The 33 best comedy specials of 2025

Published

1 month ago

December 10, 2025

Wow, 2025 — in the race to dismantle civilization, you certainly outdid yourself. And it took some brilliant stand-ups this year to take our problems big and small and turn them into jokes that reminded us that what we’re going through isn’t so bad or at least offer solace that things could always be worse. The best comedy specials even found a way to bring humanity together. From arena-level acts to L.A.’s favorite local comics, these were our favorite comedy specials from 2025.

Frankie Quiñones, “Damn, That’s Crazy” (Hulu)

In his Hulu debut “Damn That’s Crazy,” comedy sketchmaster Frankie Quiñones, who earned viral fame for his Cholofit character, does all the heavy lifting as himself. And at certain points, he definitely gets heavy. Directed by Ali Wong, the special takes viewers on a journey of relationship baggage, pandemic-related sex addictions and unresolved family trauma over sexual abuse he endured when he was a child. Yet still — there are plenty of laughs along the way. It’s the type of thing that people will certainly label as brave, but only because it succeeds without trying to be. (Nate Jackson)

Andrew Schulz: LIFE. Andrew Schulz at the Beacon Theatre in New York, NY. Cr. Clifton Prescod/Netflix © 2025

Andrew Schulz, “Life” (Netflix)

It’s easy to be fooled into thinking Andrew Schulz is living his best life when he’s in the spotlight. But the stand-up comic and successful podcaster has been through his own share of problems too, like his and his wife’s efforts to have a baby. It was an ordeal that inspired a refreshingly honest core of his latest hour titled, simply, “Life,” which focused on struggles with conception, IVF and new fatherhood. Though 2025 was a year when his name was often linked to the manosphere led by Joe Rogan, Schulz’s special puts less effort into shock humor and any alt-right political agendas (though there is a touch of that here and there) as he leads with his personal story that shows a side to him as a parent that makes it not just funny, but also a compelling watch. (N.J.)

Our picks for this year’s best in arts and entertainment.

Sebastian Maniscalco, “It Ain’t Right” (Hulu)

In his seventh special, “It Ain’t Right,” Sebastian Maniscalco continues his streak as the Michael Jordan of disgruntled dad humor. As an arena-level act, the 51-year-old Chicago-bred comic still has the rubber-limbed athleticism and animated bravado that allows every one of his punchlines to be seen from space (or at least the cheap seats). But the over-the-top exaggeration he’s known for is always rooted in humility and shame — as with any good Italian. The infirmities of getting older are also a key source of laughter in this new hour, from the struggle of putting on socks, going to bed with sleep apnea or taking his family to the zoo. Like the title of the special, a lot of the stress Maniscalco continues to put up with as a superstar comic doesn’t seem right, but thankfully it’s still funny. (N.J.)

Bill Burr, “Drop Dead Years” (Hulu)

No one detonates a room with honesty and irritation quite like Bill Burr, and his latest, “Drop Dead Years,” shows the comedian in his fully evolved form. His rants remain forever epic as he talks about outlawing war, freedom of kids’ speech, social acceptance, (not) thinking positive and fake political empathy. He even turns inward, questioning his own need to be likable and empathetic. Burr may joke that he’s a broken man, but as fans would expect, he pieces it together beautifully in this special. (Ali Lerman)

Jordan Jensen, “Take Me With You” (Netflix)

Jordan Jensen’s comedy is hard to categorize, just like the rest of her. And while that’s generally how we like our funny people — layered, nuanced, tortured — it tends to wreak havoc on the actual lives of the comics themselves. Not quite fitting in a box (even though she definitely knows how to build one) has been Jensen’s shtick since birth. She grew up in upstate New York, raised in a heavy-construction family that included three lesbian moms and a dad who died when she was young. Because of that unconventional background, she says her level of hormone-fueled boy craziness mixed with her rugged ability to swing a hammer basically turned her into “a gay man.” Somewhere in her teens she entered a “fat mall goth” phase that she’s never left, even after becoming a popular comedian worthy of a Netflix special. Combining her inner Hot Topic teen with freak-flag feminism and alpha-male energy, her style makes not fitting in feel like one of the coolest things you can do — because it is. (N.J.)

Atsuko Okatsuka, “Father” (Hulu)

There were a lot of specials that came out this year, but only one featured a perfectly coiffed bowl haircut, because only Atsuko Okatsuka could pull it off. In her latest for Hulu, “Father,” Okatsuka makes a great case for codependency as she talks about living a tandem life with her husband Ryan, their choice not to have kids, the downside to having “a story,” and she also pulls back the pompoms on the dark side of cheerleading. Okatsuka’s movements are just as witty as her words, her energy is infectious, and “Father” is as refreshingly unpredictable as she is. (A.L.)

Gabriel Iglesias in a bright hawaiian shirt

Gabriel Iglesias, “Legend of Fluffy” (Netflix)

In the pantheon of stand-up comedy’s living legends, few names carry more weight than Fluffy‘s. In “Legend of Fluffy,” which premiered on Netflix in January, the comedian born Gabriel Iglesias takes fans through a giant retrospective of his career in comedy while zooming in on certain aspects of life: dating as a newly single man, trying to age gracefully, and a robbery that happened at his former home in Long Beach. It’s the type of special that is loud (just like his Hawaiian shirts) but also contains a positive message about refusing to give up on your dreams even in the face of obstacles, doubt or a near-death experience on a private jet. (N.J.)

Marc Maron, “Panicked” (HBO)

The L.A. comedy scene’s favorite curmudgeon is still finding the will to propel himself forward, hurtling over one existential crisis after another. Many of them come out in his latest HBO special, “Panicked,” where he zooms in on the indignities of not only growing old but finding ways to care for an aging dad whom he describes as “newly demented.” Between bits about being unlucky in love, we see flashes of pain held over from the death of his partner Lynn Shelton. But that vulnerability one might ordinarily save for therapy comes out in the form of genius, nonsensical segues to bits about rat poop under his house, Hitler’s fashion choices, the saving power of Taylor Swift and more from Maron’s endearing, hopelessly twisted psyche. (N.J.)

Nate Jackson, “Super Funny” (Netflix)

There’s a reason Nate Jackson’s debut Netflix special arrives during barbecue season. Perched on a stool under the spotlight at his shows, the comedian spends most of the evening delivering hospital-worthy third-degree burns to crowd members who want the smoke. Throughout his quick-witted hour of crowd work on “Super Funny,” Jackson finds a way to weave the stories of his random audience members together in a way that makes the whole show feel pre-planned. Meanwhile, even as Jackson is busy making fans the butt of his comedic freestyle, the person laughing the hardest in the crowd is usually the roastee. It’s the mark of good crowd work that’s not simply well done but, more important, done well. (N.J.)

Leanne Morgan, “Unspeakable Things” (Netflix)

Most comics are used to getting better with age but not necessarily bigger. Though she’s just turned 60 years old, one of comedian Leanne Morgan’s funniest jokes about herself is about just how big she’s gotten —not in terms of her career but her figure. It’s one of the first lines that escapes her mouth in her latest Netflix special, “Unspeakable Things.” But despite her jokes about not fitting into the typical Hollywood mold, it’s clear that Morgan’s life and career have certainly changed for the better since her hit 2023 Netflix debut, “I Am Every Woman.” As she grabbed the mic again for the streamer in 2025 — this time on a glitzy stage wearing a golden gown — her unvarnished style of storytelling shows us why she’s resonating with much of America. There’s just no substitute for a whip-smart Southern woman telling it like it is. (N.J.)

Iliza Shlesinger, “A Different Animal” (Prime Video)

Comedian Iliza Shlesinger takes the word “special” very seriously, and not just because she’s done a lot of them (seven). It’s because when she hits the stage, the goal is to leave a mark. In her latest, “A Different Animal,” Shlesinger dives into her evolution as a mother of two dealing with “mom brain” while proudly upholding her role as an elder millennial who can school Gen Z and Alpha newbies on what’s up with a mixture of wisdom, wit and wild animal noises. (N.J.)

Ralph Barbosa, “Planet Bosa” (Hulu)

Garnering nationwide buzz since his debut Netflix special “Cowabunga,” Ralph Barbosa has reached the top of his game in “Planet Bosa,” his latest hour on Hulu. Aside from getting more comfortable on stage, the 28-year-old exudes an energy in this new phase of his career that’s a welcome surprise from a guy whose packed schedule barely leaves time for sleep. The new special delves into his dating life, family woes as a young single dad and writing cleverly authentic jokes about the shocking ICE raids that have led to widespread detention and deportation of immigrants. (N.J.)

Jim Gaffigan, “Live From Old Forester” (YouTube)

Raise your glass to Jim Gaffigan for being THE pre-party for Thanksgiving with his latest offering, “Live From Old Forester: The Bourbon Set.” Dedicated to his love of the spirit, Gaffigan’s “passion project” is already at over 3 million views and is packed with bourbon history and facts, wacky bourbon names, and consumption stories that even someone who covets Fighting Cock over Blanton’s would connect with. And of course, between the mash bills and tasting notes, he still manages to slip in plenty of self-roasting. Gaffigan called this special “niche,” but the truth is, when he’s the symposiarch, “The Bourbon Set” is an oak barrel of straight-up laughs for the masses. (A.L.)

Steph Tolev, “Filth Queen” (Netflix)

Blunt, unapologetic, insanely funny and owning the crown of “Filth Queen,” Steph Tolev knocked it out of the smutty park with her first Netflix special. Produced by Bill Burr and filmed at the Paradise Rock Club in Boston, her show rips through bodily functions, dating gone wrong and, spoiler, the messy truths about women. Her energy is next level, her confidence is all I want for Christmas, and no matter your gender, or if you’re holding in gas or not, Tolev is giving everyone (except maybe your parents) permission to laugh at the good, the bad and the hairy. (A.L.)

Cristela Alonzo, “Upper Classy”

In the third installment of the Texas comedian’s “Classy” trilogy (“Lower Classy” was in 2017, and “Middle Classy” in 2022), Alonzo definitely saved the most class for last. “Upper Classy,” her latest special, is by far her most vulnerable, which the comedian says is necessary, especially during this political moment when people like her are spoken about in the news, but not spoken to. She gives us her rags-to-riches story of growing up in an abandoned diner with her family, pairing that against her life now and enjoying the childhood she never had — and the ability to keep all her bills on autopay. After being taught to work hard in an immigrant household, Alonzo is learning how to live hard — and have fun — in her 40s (including taking swimming lessons). With her glow-up complete, Alonzo still makes it a point to rep her Mexican roots with pride. (N.J.)

Ali Siddiq, “Rugged” (YouTube)

Switching back and forth between high-energy and effortless cool, Ali Siddiq captivates as he shares (and acts out) insane family stories in “Rugged.” A master of storytelling, Siddiq talks about staying honest, teenagers and their antics, and getting mad about things that aren’t even happening, all while keeping each one of his bits hilarious to the end. Siddiq might not be the king in his own castle, but he’s certainly a king among comedians, and “Rugged” proved it this year. (Fun fact: Siddiq released two specials in 2025, the other being “My Two Sons,” which is equally as great and also on YouTube.) (A.L.)

Jim Norton, “Unconceivable” (YouTube)

Filmed at the Comedy Cellar in New York, Jim Norton’s newest hour, “Unconceivable,” explores everything from adjusting his life (and apartment) as a first-time husband to intimacy with his wife, Nikki, all while remaining brutally honest, dark and Norton to the core. Even listening to him explain the pressures and expectations that society places on strangers and their marriages — which should fully be serious — feels more like a comedy confessional rather than a set. He’s an industry veteran for good reason. His “Unconceivable” is as funny and as raw as it gets, proving once again that there’s no such thing as TMI when it’s delivered by the right comedian. (A.L.)

Jay Jurden, “Yes Ma’am” (Hulu)

In his first special, “Yes Ma’am, ”comedian and Mississippi native Jay Jurden burns verbal calories while showing the world why queer men from the South are often undefeated at being hilarious and relatable. Dependably lethal with his joke construction, Jurden’s every breath is laced with humor as he covers transphobia rules, emo rappers, traveling through blue dot cities, and fun stories with a dash of cuckoldry. His Southern background may have shaped his stories, but it’s Jurden’s hilarious and frank honesty that make “Yes Ma’am” a “hell yes, ma’am!” for 2025. And that million-dollar smile doesn’t hurt either. (A.L.)

Rosebud Baker, “The Mother Lode” (Netflix)

Life-altering in the sincerest sense of the word, “The Mother Lode” comedically chronicles Rosebud Baker’s journey into motherhood, in real time. Skilled at mining laughs from life’s toughest situations and with her internal dumpster fire front and center, Baker goes from resisting parenthood to IVF, miscarriages, discussing parenting styles and questioning her own identity. Filmed and edited superbly with the same version of a joke, pre- and post-pregnancy, Baker truly did hit the mother lode giving birth to this special that now gets to live with its other mama, Netflix. (A.L.)

Ken Flores, “LOL Live With Ken Flores”

This year, the comedy world lost one of its biggest up-and-coming voices with the death of Ken Flores at age 28. Migrating from the Chicago stand-up scene to L.A., the loud comic made his presence known with raw, street-wise style, a diamond grill that made crowds smile before he even told a joke. Weight-related humor aside, Flores was undoubtedly one of the heavies in the local stand-up scene, and this half-hour comic assault is a time capsule of what could have been with this rising talent who left us too soon. (N.J.)

Bert Kreischer, “Lucky” (Netflix)

Bert Kreischer resumes his shirtless razzle-dazzle and talent for hilarious, heartfelt storytelling in his special “Lucky,” inspired by his constant state of identifying the luck in his life. Most of that luck, let’s be honest, is actually the result of being married to his wife, LeAnn, who keeps him from going over the edge with his antics. If you’re into his brand of bare-chested misadventures, you will get plenty of that. But the heart of this latest hour doesn’t really show up until Kreischer’s moving tribute to his family’s dog, which will leave you laughing and crying right along with him. (N.J.)

Comedian CP, “Sunday After Six” (Veeps)

Chris Price, a.k.a. comedian CP, is a killer on the mic. Whether he’s hosting or headlining, comedy fans who’ve seen him perform know that his dragon-style delivery mixed with creative storytelling breathes fire onto any stage. His debut special, “Sunday After Six” puts all of his skills firmly on display in a way that will hopefully lead to our seeing more of him on the screen next year. (N.J.)

Trae Crowder, “Liberal Redneck” (YouTube)

Don’t judge a comedian by his accent, especially if it’s Trae Crowder. Though the Tennessee-born comedian describes his voice as having more Southern twang than “a racist banjo,” it takes him less than two minutes onstage to show why he’s known as “the Liberal Redneck.” Whether it’s punchlines skewering white supremacists or viral video rants about the Trump era filmed from the front seat of his sun-damaged Jeep, Crowder’s brand of comedy is a mind-melting combination that never minces words about where he stands on major topics related to America. His latest special, “Trash Daddy” — released on YouTube via comedy platform 800 Pound Gorilla — swerves among jokes about politics, family and living life as a hick from the sticks while trying to raise California-bred children. (N.J.)

Phoebe Robinson, “I Don’t Want to Work Anymore” (YouTube)
Phoebe Robinson’s new comedy special dismantles girl-boss culture, questioning whether financial independence and constant achievement actually lead to women’s happiness. “I Don’t Want to Work Anymore” tackles modern dating, aging and the exhausting pressure to constantly create content. The 41-year-old comedian now prioritizes rest, boundaries and authentic work over relentless productivity and the need for external validation. (N.J.)

Tim Dillon, “I’m Your Mother” (Netflix)

Taped at the Comedy Mothership in Austin, Texas, “I’m Your Mother” is Tim Dillon doing what he does best, showering us with the confidence of a man who’s absolutely done pretending things make sense. From America’s never-ending identity crisis and celebrity worship to his own royal worship and to what parenting seems like from his view, he breaks down the world’s nonsense with the energy of someone who’s seen some s— and isn’t impressed. “I’m Your Mother” isn’t guidance, it’s a verbal smackdown wrapped in laughter that’s unremorseful and so well written, Tim Dillon is now our mother. (A.L.)

Kathleen Madigan, “The Family Thread” (Prime Video)

Kathleen Madigan’s “The Family Thread” gifts us an hour built on the everyday chaos and wry Midwestern sensibility that define her comedy. From absurd family group texts to aging parents and small-town quirks that feel instantly recognizable, she never fails to turn the frustrations of life into sarcastically sharp punchlines. “The Family Thread” is a master class on why Madigan has kept people entertained for years with nothing more than honesty and outstanding storytelling. (A.L.)

Mike Vecchione, “Low Income White” (YouTube)

Making a second special funnier than the first is effortless for Mike Vecchione, and “Low Income White” serves as an even sharper follow-up to his debut special, “The Attractives,” both produced by Nate Bargatze. Vecchione’s deadpan style and constant misdirection are on full display as he talks about age gaps, magic doctors and the reality of marital vows, piling on joke after sarcastic joke. (A.L.)

Ian Edwards, “Untitled” (YouTube)

Ian Edwards fires off rapid-paced jokes throughout his latest special, “Untitled.” At the Comedy Store in La Jolla, Edwards’ comfort onstage (in a onesie, no less) is in plain view as he riffs on relationships, confusing albinos, problematic travel, rooting for the wrong side of current events, and the many layers of racism in green-bubble texts. “Untitled” is a straight shot into the mind of Ian Edwards, and if you’ve slept on this special, there’s still time to fix that. (A.L.)

Ryan Sickler, “Live & Alive” (YouTube)

Ryan Sickler turned thick blood into sweet wine this year with his new special “Live & Alive.” His trademark candor (and giggle) drives the hour as he plays tour guide through a traumatic hospital stay that nearly became his last — plenty of morbid humor to go around in this hour. His survival is his own setup and punchline as he pulls you into embarrassing bits at his own expense. And every twist and ridiculous turn leaves you grateful he’s still around to tell the story while being “Live & Alive.” (A.L.)

Chinedu Unaka, “LOL Live With Chinedu Unaka” (Hulu)

For over a decade, L.A.-bred comedian Chinedu Unaka’s passion-driven work as a special education teacher would become the day job that both funded his dream and gave him the tools to achieve it as he held the attention of kids with ADHD while making them learn while laughing. Coming at comedy from the lens of a charismatic instructor with a Nigerian American background, Unaka’s quick wit and dry humor about life, relationships and his immigrant parents are on full display in his latest special. (N.J.)

Woman sitting in a chair with shadows in background

Cameron Esposito, “4 Pills” (DropOut)

A lot of comedy specials are made for us to sit and laugh at a comedian’s funny thoughts. In her latest special, Cameron Esposito wants to take things a step further by giving you a look inside her brain. As a person diagnosed with bipolar disorder at age 40, her mind offers a lot to unpack. But the goal remains the same as any special: to laugh at something we feel like we’re not supposed to, only to realize we can relate to a person’s struggles more than we think. In her latest hour, “Four Pills,” Esposito has honed a fresh perspective on living with bipolar disorder that forced her to take her 20 years of stand-up to the next level by bringing fans into the deepest part of her world for the first time. (N.J.)

Samantha Hale, “Horror Nerd” (Apple TV/ Prime Video)

Only Samantha Hale, raised in Los Angeles on “Top Ramen and fear,” could make hair-raising terror this funny. Her long-running show, “Horror Nerd,” jumps from the Hollywood Improv stage to the screen as she nostalgically riffs on serial killers, the healing power of stabby movies, and turns genre obsessions, cult-classic fandom and online feedback into an unbroken chain of laugh-out-loud brilliance. No topic is too strange or scary as she turns her passions and life’s oddities into “Horror Nerd,” a must-watch for anyone who loves humor one (bloody) bite at a time. (A.L.)

Jiaoying Summers, “What Specie Are You?” (Hulu)

Jiaoying Summers is a single mom and a comedian, and somehow she killed it in her first stand-up hour, “What Specie Are You?” on Hulu. Summers swings from dating after divorce and discovering her identity as an immigrant, to choosing favorites between her kids and breaking down an “Asian hate system” that’s so deadpan it almost feels reasonable. Blaming her lack of a filter on her Chinese upbringing, she will have you dying laughing one minute and feeling personally attacked the next. And that works. (A.L.)

Movie Reviews

Jockey Movie Review: Real goats carry a familiar fight

Published

6 hours ago

January 22, 2026

Press Room

The Times of India

TNN, Jan 22, 2026, 2:01 PM IST

3.5

Jockey Movie Synopsis: In Madurai’s traditional goat fighting circuit, two rival trainers wage war through their four-legged champions.Jockey Movie Review: The goats in Jockey settle their differences more decisively than their owners, though not by much. Director Pragabhal’s film enters a world Indian cinema has seldom documented: the kida fighting tradition of the Madurai belt, where men stake reputation and honour on horned athletes trained to butt heads until one relents. It took over three years to capture these sequences on camera, and the effort shows. Getting real goats to perform convincingly is no small feat.Ramar (Yuvan Krishna) arrives late to a fight in Usilampatti, riding a share-auto that gets him mocked before he even enters the arena. His black goat Kaali faces off against Anugundu, the champion belonging to the arrogant Ghabra Karthi (Ridhaan Krishnas). After seventeen fierce rounds, Kaali breaks one of Anugundu’s horns, earning Ramar the title of Madurai’s Jockey. Karthi doesn’t take the loss well. What follows is a cycle of humiliation, revenge, and escalating violence, with Karthi resorting to increasingly dirty tactics to reclaim his standing: a hidden hook during a rematch, a midnight threat to Ramar’s sister, destroyed trophies. The rivalry consumes both men, even as Ramar tries to step away from the circuit after inadvertently causing Anugundu’s death.The goat fights themselves are where Jockey earns its keep. Raw, intense, shot with real animals in a way that makes you equal parts curious and queasy. NS Uthayakumar’s cinematography captures the dust, the sweat, the older Madurai gangster energy that pulses through these arenas. The climactic battle was a definite standout, with the live sync-sound adding a powerful edge. This is a film built on blood, sweat, and tears, and you sense Pragabhal’s sheer labour behind every sequence, days of coordination to align animals, cameras, and actors into something coherent.The humans, unfortunately, don’t match their four-legged counterparts. Yuvan and Ridhaan are cut from the same cloth: hotheaded, impulsive, ready to throw fists at the slightest provocation. One’s just two shades darker than the other. Their supporting casts function as cheerleaders rather than characters. Madhu Sudhan Rao plays the peacemaking elder who shows up to break up confrontations, delivers the same lecture, watches them part ways, then repeats the routine three more times. The romance with Meenu (Ammu Abhirami) feels grafted on to break the monotony rather than woven into the narrative. You can tell when the script was assembled around the spectacle rather than through it. Sakthi Balaji’s music is dependable.Jockey works best as a window into a tradition most viewers won’t know exists. The curiosity factor alone carries it.Written By: Abhinav Subramanian

Entertainment

‘American Pachuco: The Legend of Luis Valdez’ brings Chicano history to Sundance

Published

8 hours ago

January 22, 2026

Press Room

‘American Pachuco: The Legend of Luis Valdez’ brings Chicano history to Sundance

A “brujo,” a “magician,” “a social arsonist” and the “father of Chicano Theater” — these are just a few of the monikers that have been bestowed upon Luis Valdez over the course of his decades-long career. The 85-year-old filmmaker and playwright is responsible for “La Bamba” and “Zoot Suit,” films that raised a generation of Latinos and are now upheld as classics — both were inducted to the National Film Registry of the U.S. Library of Congress.

Valdez awakened a movement, bringing Chicanos from the California fields he grew up working in to stages and screens all over the world. His stories shifted the frame, placing us at the forefront of the American story, allowing us to see our dreams, anxieties and struggles reflected back at us. In David Alvarado’s upcoming documentary, “American Pachuco: The Legend of Luis Valdez,” it’s the celebrated storyteller’s turn to be on the other side of the lens.

The film traces Valdez’s beginnings as the son of migrant farmworkers in Delano, Calif., to his early days in theater helming El Teatro Campesino — a traveling performance troupe who worked alongside Cesar Chavez to mobilize farmworking communities, raising awareness about strikes and unions through skits and plays. Incorporating folk humor, satire and Mexican history, their work later evolved to include commentary on the Vietnam War, racism, inequality and Chicano culture more broadly.

Narrated by Edward James Olmos, who broke out as the enigmatic pachuco with killer style and a silver tongue in 1981’s “Zoot Suit,” the documentary was awarded the Library of Congress Lavine/Ken Burns Prize for Film last year.

De Los spoke with Olmos and Alvarado ahead of the film’s world premiere on Thursday at the 2026 Sundance Film Festival.

This interview has been lightly edited for clarity.

David, what was your introduction to Luis’ work? And how did it influence you as a filmmaker?

David Alvarado: I grew up watching things like “La Bamba” with my dad, and it made a huge impression on me, but at the time, as a kid, I didn’t really know the name Luis Valdez. Then in 2006, I was an undergrad at the University of North Texas, and I got a Hispanic Scholarship Award. At the celebration, Luis gave a speech and I was just blown away. I was a young wannabe filmmaker trying to learn how to make movies, and somebody like me was up there onstage telling a story about how he got there. I felt really inspired and I always carried that with me. Then in 2021, I was at a juncture in my career where I had told these science and technology stories, and I loved it, but I wanted to do something more personal. I thought back to Luis Valdez. Where was his story? So I reached out to him and that’s where this all started.

Mr. Olmos, your breakthrough came from playing El Pachuco in “Zoot Suit,” first in the play and then the film. What was your first impression of the story?

Edward James Olmos: I remember I had been doing theater for years, and I was walking out of an audition for another play at the Mark Taper Forum when I heard someone say, “Hey, do you want to try out for a play?” And I said, “Excuse me?” And she said, “Well, do you or don’t you?” And I said, “OK, what do you want me to do?” I didn’t know who she was, or what the play was about, but the next day, I was standing there with 300 other guys getting handed a little piece of paper with the opening monologue [for “Zoot Suit.”] I knew from reading it that this was serious, really serious, so I just became the character immediately.

I remember when they called me and asked me to do the role, it was on a Friday night, around 8 o’clock, and they were going to start rehearsals on Monday morning. I hadn’t gotten any phone calls, so I thought [the part] was gone. Then all of a sudden, the phone rang and they asked me if I wanted the role of El Pachuco. I said it would be my honor, my privilege. I hung up the phone and I slid down the side of the wall crying. I just completely lost it.

DA: Eddie really stole the show. I mean, it’s just undeniable. What he brought [to the production] was exactly what Luis was looking for, and I think it’s what Chicanos wanted to see and hear at the time. He really struck a nerve, and that was a huge part of the success of “Zoot Suit.” What Luis tapped into with this collaboration with Eddie, with the Teatro Campesino, or later with “La Bamba,” that was his gift: finding people who could represent the true nature of what it means to be Chicano.

(Elizabeth Sunflower / Retro Photo Archive / Sundance Institute )

There’s so much incredible archival footage here from the Teatro Campesino. What was your reaction to seeing some of that early work?

EJO: That footage is priceless, and that’s one of the reasons this movie is really important, because Luis is truly someone that has given our culture a voice. He gave me my voice. When you want to learn about a culture, you try to study what’s been written about them, any documentation or books, but nothing compares to their art. Right now, I’m working on a piece with Luis called “Valley of the Heart,” a play that he wrote over the last 12 years. It’s a never-been-told love story between a Mexican American and a Japanese American in an internment camp during World War II. It’s been difficult to make, but once people see it, they’re going to be thankful because it doesn’t matter what culture you are, the humanity of it comes through. That’s how people will feel after seeing David’s documentary, too. It’s inspiring.

DA: I think people are ready for the real story of America. I mean, the documentary and “Valley of the Heart” are part of American history, they talk about a real American experience, and it’s not the kind that people hear anymore. People are thirsty for that kind of authenticity, and to re-evaluate what the American story really is.

One of the core themes within the documentary is how we as Chicanos view the American Dream: Can we achieve it by being ourselves, or do we have to assimilate? We see that identity struggle play out as Luis and his brother, Frank, take different approaches in their lives, and it’s later paralleled in the story of “La Bamba.”

DA: That’s such a core pillar of the film. We all want the American Dream, but what that dream is confusing to a lot of people. The quest to get there through assimilation is something that Chicanos, Latinos and other immigrants have tried at the expense of their own heritage and identity. They give it all up and lay it at the altar of the American Dream. They try to fit in, and be this other thing, and so often, that doesn’t work. In his own life, Luis’ answer to that was if America is supposed to be this multicultural beacon of democracy, then let’s have a space for Chicanos to play a role there. I’ll retain my culture and be an American.

He and his brother tried to make it together, but they weren’t taking the same approach. In Frank’s story, that caused him a lot of pain, and he never quite made it that way. Luis, in very important ways, did make it. The fact that his work speaks to those themes, and was part of his personal life, I couldn’t leave that on the editing room floor.

In the documentary, we see the triumph of “Zoot Suit” being the first Chicano production on Broadway, and then the crush of it being panned by critics who didn’t seem to get it. Mr. Olmos, you say that the reaction wasn’t a loss for you all, it was a loss for America. What did you mean by that?

EJO: Well, because it wasn’t going to be spread around the country and understood. To me, the theater is magic. When it really works, it’s amazing. But [those negative reviews] stopped us from that growth process. There was one critic from the New York Times, Richard Eder, who said it was street theater on the wrong street.

I have to tell you, though, the people who were given the opportunity to see that play in New York, even after the critics panned it, always gave us a cheering standing ovation at the end. They burned the house down every single night. Even in L.A., that play was monumental. But that criticism hurt Luis badly, it hurt us all. I think if we’d gone through Arizona, Texas, Chicago, Miami before hitting New York, we would’ve been a powerhouse that would still be running today. It’s one of those stories that deserves to be revived over and over again.

The story of “Zoot Suit” is set in the 1940s, during a time of intense scrutiny and discrimination for Mexican Americans. How did the story resonate in the 1980s, and what do you think it has to tell us now?

EJO: People came from all over the world to watch the play, but Latinos kept coming back. Some of them had never been to a theater before in their lives, and they were bringing in family, friends to come and see it every weekend. It was a beautiful experience, one that was like giving a glass of water to somebody in the middle of the desert. They cherished us for giving them the opportunity. Now, we’re needed more today than we were even then. Today’s time is uglier than almost any time.

DA: It’s ugly, and it’s crass. We’ve had so long to try to figure out racism and get the American experiment back on track, and yet it just feels so depressing. Like when is the cycle going to end? At the same time, I hope that there’s a little bit of optimism in the film that the community can come together, and that we can find a way through this.

The documentary does a great job of showcasing the power of art. The performances from the Teatro de Campesinos allowed the farmworkers to really see themselves in a way that helped build a movement and made for a successful collective action. What do you hope this documentary can teach a new generation of Latinos today?

DA: For me, it’s to understand who you are, and to do what it takes to make it work here in America. When Luis spoke to me from that lectern, the thing that really got me going was that he said, “Whatever it is that you’re trying to do, whatever your project is, just stop doubting yourself and do it.” I remember thinking, “Oh my God. Maybe I can be a filmmaker. Maybe I could tell stories for a living.” So I hope that that’s clear in the film: that if you believe in yourself, you can fit into America, you can make a place for yourself.

But also, know that creation is an act of joy, and that the whole point of life is to find happiness and share it with other people. Despite all the heavy things we’ve talked about so far, I do want to point out the film is a joyful one of exploration. Luis has his moments when the world pushes back on him so hard, and it’s painful, but he just has so much love to give, and that’s the point of making art. I want people to walk away thinking that they can do it too.

EJO: David nailed it. That’s it exactly.

Movie Reviews

Movie Review: In ‘Mercy,’ Chris Pratt is on trial with an artificial intelligence judge

Published

18 hours ago

January 21, 2026

Press Room

Movie Review: In ‘Mercy,’ Chris Pratt is on trial with an artificial intelligence judge

It’s a bold filmmaking choice to have a countdown clock on the screen for most of your movie.

In the best-case scenario for a movie like “Mercy,” in which a Los Angeles detective has prove his innocence to an artificial intelligence judge within said time limit, it heightens the tension. Who hasn’t gotten sweaty palms in, say, a “Mission: Impossible” movie when the bomb is ticking down and Tom Cruise still hasn’t cleared the building? Why not just extend it for the duration?

Perhaps in a better movie it might have worked. Sadly in “Mercy,” in theaters Thursday, it’s an ever-present reminder of just how much longer you must endure until you too are free of Chris Pratt, Rebecca Ferguson and that chair.

In “Mercy’s” near-future Los Angeles, AI has been adopted by law enforcement and the judicial system to more efficiently clean up the city’s crime and blight problem. It’s a potent and not too far-flung idea that might have been a fascinating and provocative premise for a movie attempting to grapple with the implications of so-called progress that had the potential to be a worthy companion to another Cruise movie, “Minority Report.” But that would have required a more serious script than screenwriter Marco van Belle’s and more vision than filmmaker Timur Bekmambetov managed to muster.

When Pratt’s character, Chris Raven, wakes up, barefoot and strapped into an electric chair sitting in the middle of an oddly large room that looks a bit like the holodeck, he’s informed by an IMAX-sized AI judge (Ferguson) that he has 90 minutes to prove he didn’t kill his wife (Annabelle Wallis). In this world, the incarcerated are guilty until proved innocent. They’ve cut lawyers and juries out of the equation as well. Instead, the accused have everyone’s digital footprint at their disposal to help build their own case. For Raven, that means everything from ring cam footage to his teenage daughter’s secret Instagram account.

Unfortunately for Raven, he woke up with some gaps in his memory between angrily busting into his home to confront his wife about something and being arrested and bludgeoned at a bar later that day. Raven was also one of the original champions of the AI judge system, which in a more curious script might have resulted in some real stakes. This story is more hung up on increasingly tortured plot contrivances, however, including Raven’s drinking problem following the death of a partner killed on the job. To its credit, the story does really keep it ambiguous as to whether Raven did it or not, but to say that it earns any sort of investment in the outcome is a stretch.

One of the most confounding choices is to have a real actor playing the AI judge. Wouldn’t it have been more interesting and provocative to use an AI creation as the impartial Judge Maddox instead of stripping Ferguson of all emotion and charisma in the role? At times, it feels as tedious as watching a stranger’s increasingly frustrating call with a robotic customer service representative play out in real time.

For how reliant this movie is on screens and keeping Pratt alone, one might assume that “Mercy” was a socially distanced, COVID-era leftover instead of something made in 2024. Kali Reis, playing another LAPD agent named Jaq who decides to help Raven investigate on the ground is the one that gets to be out in the real-world chasing leads and hunches. But for the most part, she’s seen only through FaceTime and bodycam footage. Like Raven, we’re largely stuck in the chair watching things play out on multiple screens, acutely aware of just how much time is left.

“Mercy,” an Amazon MGM release in theaters Thursday, is rated PG-13 by the Motion Picture Association for “drug content, bloody images, some strong language, teen smoking and violence.” Running time: 101 minutes. One and a half stars out of four.