Comedy

“Strip Law,” a new cartoon premiering Friday, finds Netflix in an Adult Swim state of mind, which is to say there was no thought of it being made for everybody. (Possibly including some of the people it was made for.) It’s rude, lewd, surreal in a banal sort of way, at times ridiculously violent — that is, the violence is ridiculous.

It was the cast that attracted me: Adam Scott, once more the schlemiel as leading man; Janelle James, sure of her own magnificence, not far from her character on “Abbott Elementary”; and Keith David, whose deep, sonorous voice is almost necessarily one of authority, turned to good or evil or in between as the script demands. James and David, especially, I could listen to for days.

Created by Cullen Crawford, (“The Late Show With Stephen Colbert,” “Star Trek: Lower Decks”), the series is centered on a failing Las Vegas law firm, headed by Scott’s Lincoln Gumb, with James as Sheila Flambé, “a magician and three-year all-county sex champion” he hires as his “co-counsel in charge of spectacle.” Niece Irene (Shannon Gisela), an iron-pumping 16-year-old, works as his investigator; she wears a blindfold labeled “Underage” whenever she’s required to be in a bar. Stephen Root plays his disbarred (later undisbarred — rebarred?) lawyer uncle, Glem Blorchman, the strangest of them all — “It’s 115 degrees out so I put marshmallows in gin,” is something he says as they gather to watch Christmas movies. And David plays Lincoln’s nemesis, Stevie Nichols, the very successful former partner of Lincoln’s late mother, upon whom the son remains perversely fixated.

Much of it is the sort of thing that will work or not work depending on your mood, but generally I prefer the small throwaway jokes to the big gross ones. There are self-reflexive meta gags about “hard-working cartoon writers” and “reappropriating out-of-date catchphrases.” There are many nods to “The Simpsons,” including “frosty chocolate milkshakes” and James L. Brooks’ Gracie Films logo. The final episode, of 10, takes place within the finale of a “Suits”-like legal dramedy. (“It’s against their nature to let something be sweet and fun and airy,” that firm’s bromantic lawyers say of Lincoln’s team. “They have to make it dark and strange and crass.”) And there are left-field references to Cocteau Twins and Bikini Kill, whose “original bass player” Glem claims to be. (“I don’t know what Bikini Kill is,” says Irene. “Neither did I, according to Kathleen Hanna,” says Glem.)

There are various oddball judges (nothing remotely legal happens in a courtroom); “local character” Lunch Meat, who turns up in many roles; a barman, Mr. O’Raviolo, who switches between exaggerated Irish and Italian accents in mid-sentence. Comedian George Wallace plays himself as the mayor of Las Vegas. A Halloween Christmas episode parodies “Miracle on 34th Street”; another takes off on Colton Burpo, the “boy who saw Heaven,” which includes a live-action trailer for a faith-based film featuring Tim Heidecker as a coke-snorting atheistic Lincoln. A virtual reality HR seminar is hosted by “a computerized amalgamation of all five personalities of the Rat Pack,” an immersive Autoverse, in which actors create situations that somehow amount to a driving test. There are the “Nevada-grown” Hot Dates, a sexualized version of the California Raisins; riots occur when the characters are redesigned to be more respectable (“They’re walking away from years of established canon,” laments Lincoln.)

The series felt a little off-putting at first, as if it were straining for effect, but gathered steam as it went on, either because the later episodes are weirder or better written, or because one just gets used to being in that world with those people. There is just enough character in the comedy to create stakes in the narrative; its misfit energy has fueled the screen’s bands of outsiders throughout the years. (“Even when you’re a disaster, you’re a disaster for the right people,” Irene tells Lincoln.) As to the famous fine line between stupid and clever, the stupidity and the cleverness are all but inextricable, and to the point.

The credits declare that the series is “proudly made by real, non-computer human beings,” which is pleasant to know, and in 100 years will still have been the best way to make cartoons, even if by then they are only made by and, for all we know, for machines. The thin-lined drawing style is standard for more or less realistic 21st-century adult TV animation, with perhaps a hint of comics artist Daniel Clowes laid on. But the characters are expressive, and the medium is used to unreal ends, which is, after all, what cartoons are good for.

HE’s got almost 2 million followers on TikTok alone, has an army of A-list celebrity fans and now US comic Corey O’Brien is preparing to invade the UK.

After blowing up on social media post lockdown with his hilarious videos impersonating everyone from Dua Lipa and Justin Timberlake to the Spice Girls– who all shared his clips online – the 34 year-old former dancer’s comedy career has gone from strength to strength.

And next week he’s performing in London for his first ever UK show, much to the delight of both Corey and his legions of British fans.

“I’m a real anglophile,” smiles Corey, as he chats to The Sun from his home in Los Angeles.

“I’m really excited because I feel like my comedy goes across really well with a UK audience.

“I’m unhinged and have no filter, and I feel like you guys really get that. I have no boundaries, I say whatever the f*** I want to say and I think that’s quite a British sense of humour.”

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He may live 6000 miles away from Blighty, but Corey admits he avidly follows UK pop culture – whether it’s binging classic early seasons of Love Island with his former NFL star boyfriend Ryan K Russell (“we stopped having sex at one point because we were so obsessed with watching Hannah Elizabeth) to keeping abreast of every development of the Beckham family feud.

“I am so invested in that drama,” he confesses. “I’m team Posh, of course. If Victoria wants to come to crash my wedding, do a full dance number and make the night all about her, I wouldn’t hate it.

“She could slap me in the face in the middle of my vows and I would probably say thank you. She’s Victoria Beckham. She was my gay awakening.”

Indeed, when Corey impersonated all five Spice Girls for his own take on the iconic Say You’ll Be There video three years ago, he never expected it to get more than three million views and be shared by the legendary pop group’s official social media channels.

“I think I cried when that happened,” he confessed. “It was one of the most amazing things to ever happen. My boyfriend was upstairs at the time and I screeched as if someone was killing me. He was quite concerned.”

It’s not just iconic British girlbands that Corey is obsessed with though – during our chat he happily recounts his favourite moments from various UK Celebrity Big Brother series.

“Oh my god, I’ve watched all of Chris Hughes and JoJo Siwa‘s romance, I can’t get enough of Farrah Abraham‘s fight with Aisleyne Horgan-Wallace and of course Tiffany Pollard’s ‘David’s dead’ moment is my all time favourite,” he laughs.

“I’d love to do Celebrity Big Brother. If any casting people are reading it, get me on there! I’ll get nude if they want me too!”

Anyone who follows Corey on social media will know he’s more than happy to flash his naked buff body – either in the name of comedy or simply for a bit of a thirst trap.

“I’ve not said this publicly before, but I microdose Ozempic,” he confesses when asked about his increasingly toned physique, before admitting to making a big mistake when he started on the fat jabs.

“I ordered some off some random website for like $400 and, believe it or not, I’m not a doctor so I didn’t really understand the dosages,” he deadpans.

“The first time I took it, I shot up a whole month’s worth of it in one go and I didn’t realise. I lost like 12 pounds in a week and it was all muscle that I lost. So yeah, now I just do little microdoses here and there.”

And he’s more than willing to show off some skin when he hits Britain next week.

“I’ll show my nudes on stage, hell, I’ll show them in person for like 20 bucks,” he laughs.

“I need to make some money – the exchange rate is crazy right now!”

Corey O’Brien: Live In London is at the Top Secret Comedy Club in London on Monday February 23. Doors open from 5.30pm.

For tickets, book here

Ryan Sickler is used to asking the question that people are afraid to ask: “Is there anyone here who has ever actually died and come back and would be comfortable talking about it in front of all of us?”

It’s not your typical comedy show crowd work but it has profound results. During his special “Ryan Sickler: Live & Alive” released on YouTube in October, a woman in the audience talked about a near-death experience as a child where she rode her bicycle in front of a neighbor’s station wagon. But Sickler pointed out that this remarkable level of candor in the audience is something he continues to marvel about. In fact, he said they did two shows the night they taped his special and during the second show two people in the crowd said they had near-death experiences.

“When I ask the question, I know there’s someone in the crowd that’s like, ‘There’s nobody in here that’s died and come back,’” Sickler said. “So now they’re all very excited to listen too. Like, what happened to this lady, or what happened to this guy? You know, there’s been some wild ones, some real funny ones out there too.”

Given how many comedy specials are being released on various streaming platforms, he says that “we have lost the specialness of the special.” But Sickler said since coming so close to death and being able to talk about it with candor and relatability, he is still calling his latest self-produced YouTube special, special. It now has more than 1 million views on YouTube. Sickler has been on the comedy scene for more than 30 years and released his comedy special “Lefty’s Son” in 2023. He also hosts the “HoneyDew Podcast.” His comedy career has often incorporated his lived experience with a rare blood-clotting disease called Factor V Leiden that almost killed him.

But these days, he’s grateful to be alive, to have been able to wake up when it looked like he might not, to watch his daughter continue to grow up and the laughs along the way. Sickler has long been candid about his chronic health issues with his comedy but he has found particular meaning in doing crowd work when he performs, that talks about death and what it means to live.

The Times recently spoke with Sickler about his special and how he thinks about his sense of health, humor and mortality.

Ryan Sickler in the studio where he films the “HoneyDew Podcast.”

(Al Seib / For The Times)

What did you want to say this time around in your new special?

My first special was something that was a bit of a hybrid of stuff that had been out there and around, but I didn’t own it. It was out there on people’s platforms. They’re making the money off of it. And so I did a bit of, “Let me get this stuff on my channel where I can control it.” And then the other part of that special was becoming a new single dad, all those things this time, specifically, I really just wanted to talk about what had happened and the results after that. I follow these comedy accounts and in October, there were 31 stand-up specials that hit between Netflix, Hulu, YouTube. November was 30. This month was a little slow because the holidays, but it was still at 18 the last time I checked. So I don’t think there’s anything special about stand-up specials anymore. You’re in an environment now where there’s a stand-up special a day, people are doing that with podcasts. There’s so much content going on out there, and I feel like a lot of it is the same. So I this time wanted to just take something that happened very personal to me, this incident, and then tell the story, not only behind it, but what happened after and I was really proud of being able to just focus on that and make that into this special instead of just my observations on this or my thoughts on that. I’m a storyteller and I really think that’s what art is.

When did you realize you had the courage to write about this near–death experience?

I know I had the courage to write about it a long time ago. When I’m making people laugh at my father’s funeral and things like that, I knew I was comfortable being able to take on the material. But what I didn’t know was, could I make it funny? Could I make it relatable? Could I make this one thing that happened to this one person on this rock in outer space matter to anybody and make them care? Because it’s not like we all had this happen to us. This is just one thing that happened to this one dude. So that was really what I was more worried about, is like, can I get this message across and make it relatable, funny and entertaining at the same time? Which is why I threw in those really expensive light cues.

It can be very challenging to hear about these traumatic [near–death] experiences that people have had. How do you absorb that and not absorb it too much?

I’ve been doing this show for so long that it does start to wear on you a little bit hearing a lot of the trauma. So I created a new podcast a couple years ago called the Wayback, which is just fun, funny, nostalgia. So that also for me, was like, let’s not dig into the tears and let’s just laugh about growing up. So that was one way where I could still keep it in my lane and do my job, where I alleviate that a little bit. But the other thing, and I make fun of myself a little, is I’m like the paramedic at the party now. I’m the guy that’s like “You think that’s bad, wait until you hear this.” “This one guy …” “This one lady …” You know what I mean? So I’ve almost become sort of their voice, and I have absorbed it in a way that isn’t so negative, where I carry it home with me. I always forget the quote how it’s worded, but it’s something to the tune of, if we all stood in a circle and threw our problems in the middle, we’d all take our shit right back. It’s like you know what, that’s what you’re dealing with? I’m gonna go ahead and take mine.

How is hearing all these stories and connecting with the crowd and fans in this way [about near–death experiences] changed how you think about your own sense of mortality?

Even with my close call, like, that one angered me, because you start to think about things. You never know how you’re really going to go. You might have an idea if you’re getting older and cancer runs in your family, whatever, but the fact that you could go to a hospital for a simple surgery, they don’t listen to you, everything’s there in your paperwork. You’re your own advocate. You’re doing all the right stuff by yourself, and you’re among professionals, medical professionals, not Yahoos, and you can still have someone else make a mistake and your life is gone. That started me thinking a lot like, “Oh man, for no fault of my own, I could also be gone.” So I go day by day, and I try to be happy day by day. And I’m not going to lie, I also like to know I got a little something tomorrow too.

Do you think that incorporating death and near–death in your comedy helps people work through their own feelings about death and grief?

I only say yes to that because the amount of emails I get, the amount of feedback we get, the amount of guests that still continue to show up [to support] the Patreon. I’ve definitely found, I would say, a purpose in my people. If you’re someone saying you’re a jerk for laughing at this lady talking about cancer, we’re not laughing at her cancer. We’re laughing at something, some light that she found in the darkness of this and trying to have a moment here together, all about, “Hey, there’s some positive ways to look at things at your lowest.” So I know it’s helped people. I mean, we have, over the years, probably thousands of emails now. We have people telling us how much it’s helped. And I mean just through podcasting, I found out I have this blood disease. I was 42 at the time, and already been podcasting. There’s a lady I went to high school with. She’s like “Ryan, my son is 17. He started clotting.” I said, “Go ahead and check for this.” He listens to the podcast. This kid has it. I said, “Well, bad news. It’s genetic.” Now the whole family’s got to get tested. And if you have it from one parent, it’s not great, but having it from two is bad. The whole family gets tested. The parents have it. She’s got it from both her parents. So I can’t get over the fact that a woman I knew when we were children, 35 years later is like, “Hey, that thing you’re talking about on your podcast, my kids, my family, we all have it.” And then I’ve talked about another disease I also have, called Charcot-Marie-Tooth disease, which is CMT. And from bringing that up, people hit me up on that like “I have it, no one ever talks about that.”

What have you found to be one of the positives — besides surviving — of your near–death experience?

Gosh, so many. I have a child, so getting to see her grow and really taking care of my health and things. Not that I wasn’t before, but just I dove in even deeper. I went and got what’s called a gallery test for prescreening for cancer. I started doing all these blood works and like, “Let’s go find out everything you know, because I didn’t find out that I had this blood disease until I was 42 when I clotted.” I’m living my whole life, not even knowing I have this thing and and if I don’t clot, there are plenty of people out there that live to 100 years old and have it. It’s really made me appreciate life and trying to take things day by day. I also was living in a little single-dad pad at the time. We had no central air. We had tandem parking. We were above dumpsters. Our laundry was outside in a room with quarters. And when I got home — I’m still on a walker — and I was like, “What are we doing? We’re going to die without central air? Are we going to die with a bucket of quarters on the fridge? No more.” And so I moved my home, I moved my studio, I did all these things that are, like, the biggest thing you can do in life. We’re going to roll the dice, scared money don’t win, and we’re just going to go for it. Also, as a comedian and anybody in entertainment will tell you, a lot of times you work scared, you hold that money and you wait until the next thing comes. And also, as a single parent, you know we got to budget. And I was like, no more. We’re not going to go out and buy 10 Porsches. We’re going to be responsible. But I was on point with let’s go get a living will and trust. Let’s make sure we have that life insurance policy. Let’s make sure we have all the proper paperwork and stuff done before we do anything like go on a vacation, you know, let’s get this done now and get it done proper.

What do those conversations look like, if you have them at all, about encouraging your male friends to go to the doctor or encouraging them to take care of themselves, physically and emotionally?

I would say the conversations go something like this. My younger brother is like, “Hey, man, I just went in for a test, and they’re telling me I got to have an old school triple bypass,” and then that’s what we all get tested. “Hey guys, I found I got a blood disease.” “Oh man, we all better look into it now.” That’s usually how it goes. I don’t know many men who are proactive. There are a few of us these days. But it’s usually something horrible happens and then we’ll be proactive about everything else.

Do you have male fans who also say “I [saw] your special … I went to your show, and it made me go [to the doctor]”?

Yeah, but I’m saying, though, it still took them to come see a professional clown to get them to go to the damn doctor. I actually have been very good about going, because everyone in my family died. So I’ve been proactive in the sense that I go get two physicals a year. I’ve been doing that since my 20s. I always tell my doctor, if I can go buy expensive sushi, if I go buy weed, if I go buy all these things, I can put money into myself here and come see you a second time and pay for all that. So I do two physicals a year, and I’ve been doing that forever. But I’ve never done any sort of like gallery test. And now we’re in our 50s, so we got to go get the prostate and all that. That’s when you start hearing about that stuff. There’s a lot of ignorance that goes into it as well. I just had a guest here on the “HoneyDew” and said he didn’t go to a doctor or anything for over 20 years because he was just scared of what they were going to tell him. He was scared to get the bad news. You can kind of get the bad news and you could turn that into good news. It doesn’t need to be deadly news.

How do you know when you’ve been too open?

It usually tends to be a personal thing where someone’s like, “I don’t really appreciate you bringing that up.” So I don’t anymore. I’m always cognizant of [saying] like, “Hey, would it be cool if I talked about this or whatever?” I feel like the question you’re asking me would have been great for me just before I started, like, the “HoneyDew” and stuff because this is what I really want to talk about. Everyone wants to talk about the best and bring their best and I just really do want to hear about, you know, the trauma bond. I want to hear about the worst times in your life. I want to know because, honestly, that tells me so much more about you than you verbally talking about you. You know who you were in those moments, how you reacted, how you behaved, how you’ve adjusted. Those things really end up defining who you are, and that’s more what I want to know about. I don’t want to know your best polished version of yourself.

When you read about Jason Mantzoukas’ ideal Sunday in Los Angeles, it’s important that you imagine him holding a cup of coffee in basically every location and situation. He knows all the places around the city where he can get caffeinated before he goes on to do anything else.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

Fittingly, the actor, comedian and podcaster has brought an excitable, unpredictable and hilarious energy to his roles on shows including “The League,” “Brooklyn Nine-Nine” and “Big Mouth.” Last year, he brought his gleeful sense of mischief to the U.K. competition series “Taskmaster.” And Disney+ recently finished airing the second season of “Percy Jackson and the Olympians,” where Mantzoukas portrays Mr. D (a.k.a. Dionysus), and he’ll soon wrap up a stint on Broadway, where he stars in Simon Rich’s play “All Out: Comedy About Ambition.”

For the continuously busy Mantzoukas, sometimes the perfect Sunday means never leaving the house. “All I want to do is make a whole pot of coffee, get the paper and a big stack of unread comic books, and sit on the porch.” When he does explore the city, he favors the spots where he similarly can just hang out for a while. But before that, how about a refill?

10:30 a.m.: First cup(s) of the day

I’m a night owl, so on a Sunday especially, I’m going to let myself sleep in. Then I’m making coffee. My first three cups of coffee are all from home. I’m making a French press. L.A. beans though, either Counter Culture or Go Get Em Tiger would be my beans of choice. That and the newspaper are the beginning.

Almost immediately upon getting up, I’m going to start playing the radio. My mornings are either LAist or Howard Stern if it’s a weekday. But on Sundays, I’m trying really hard to not do any talk, just music. It’s KJazz, or something like that. I’m also obsessed with a radio station called WYAR that I can’t recommend enough. It’s music from the ’20s, ’30s and ’40s. It’s the teeniest, tiniest radio station out of Yarmouth, Maine.

Noon: Hike bros

I’ve hiked with the same guys for years now. It’s all guys that I’ve done comedy with for 20-plus years. We usually do one of the Griffith Park hikes because it’s convenient for everybody. The conversation topics are: What is wrong with us physically? What doctor recommendations do we need desperately? Then it is gossip — gossip from within our world, gossip from outside of our world. Then it is just earnest conversation, like checking in emotionally. And then quite a bit of dumb bits, like really dumb bits.

We do these hikes a couple of times a week, and it’s so fun and funny that we have started doing an improv show at the Elysian Theater that’s called Hike Bros. It is just us trying to approximate on stage what it is we do on hikes. It’s ridiculous.

1 p.m.: Comic book restock

After the hike, I’m in a good position to go to Secret Headquarters in Atwater Village, which is my home comic book shop. They keep a list of what comics I want them to set aside each week.

There’s a series of graphic novels called “Hobtown Mystery Stories” that are like, what if David Lynch wrote Hardy Boys, Nancy Drew-style teen detective books? I got super into them because I was in Secret Headquarters and one of the people there was like, “Oh, I bet you’d like that book.” On the internet, I miss having those trusted people.

2 p.m.: Recording digging

I want to kill time in a way that is about discovery, exploration, but also, like, “Oh, I want stuff.” That’s record shopping. L.A. has always been Amoeba for me, just in terms of I love wasting hours in a store that has a deep bench for every section of music that I’m interested in. And then if you want to do the extra work, DVDs as well. There’s a lot of great smaller record stores around town that I love, but there’s something about killing two hours at Amoeba.

6 p.m.: Dinner hang

What I want from an L.A. dinner is I just want to hang there. Little Dom’s is a great hang. You can spend hours there. You’re always going to run into people. My hope is that we can all just hang out and that we’re not going to be rushed out because they have another seating.

8 p.m.: Nighttime activities

I’m going to want to do one of three things at night:

I want to go to the movies, and I’m talking Vidiots and the Vista and the New Beverly. We can all go to all the regular theaters and see all the blockbusters, but L.A. has fantastic theaters that are doing incredible programming,

If I’m not going to the movies, I want to see live music as much as I can, but on a much smaller scale than I used to. I’m excited when an artist that I love like Mary Lattimore or Jeff Parker has a residency at Zebulon because I’m like, “Oh, great. That is not a big crowd. That is very easy, very manageable.”

Then I either want to be doing a comedy show or seeing a comedy show. There’s such a vibrant scene now. The Elysian in Frogtown is a great spot. We do Dinosaur Improv at Largo. I think Largo is pound for pound, maybe the best venue in town. Dynasty Typewriter, another great one. UCB, the OG. Over the course of a month, these are all places that I’m doing shows at, but these are also places that are showcasing some of the best comedy in L.A.

11 p.m.: The missing piece

At this point I’m done being social. I don’t want to talk to anybody anymore. My goal when I get home is a jigsaw puzzle — with either a podcast or jazz on in the background — until probably like 2 in the morning.

I do these puzzles from a company called Elms Puzzles and they’re hand cut, so they’re incredibly difficult to do. It’ll take me a month to do one. They are prohibitively expensive, so much so that I don’t buy them. They have a rental program. They send you a puzzle, you do it, you send it back to them, and they send you another puzzle. Which is perfect, I don’t need to do a puzzle more than once.

It is a great way to put myself into a frame of mind to go to bed, especially if I’ve done a show or watched a movie. If I’ve been stimulated, doing a puzzle for a couple of hours is a great way to decompress.

Before hitting the stage, the comedians of the TV series “Jokes with JoySauce” have an on-camera ritual of exchanging immigrant stories about growing up with their families. There is no audience during these moments, just comics being vulnerable with one another.

The tales give insight into the lives they live offstage and their perspectives as Asian Americans that inspire so much of their material. It lets the audience know more about these up-and-coming comedians without the generic stage introductions.

The series is part of the original program curated for JoySauce, available on Amazon Prime. It premiered in early January as part of the first free, ad-supported streaming channel dedicated to highlighting Asian American voices across comedy, film, reality TV and sitcoms.

Season 1 of “Jokes with JoySauce” is currently airing as part of the launching programming for the channel. Director and creator of the series Ana Tuazon Parsons is excited to watch it grow.

Narumi Inatsugu, from left, Cat Ce, Ana Tuazon Parsons and Jonathan Sposato at The Times’ office in El Segundo.

(Allen J. Schaben/Los Angeles Times)

“I’m still definitely going for that underground punk rock, like, let’s-find-some-cool-people kind of thing for Season 2,” Parsons said. “Bigger and better venue, and more budget, more budget, please.”

While Parsons focuses on cultivating new comedic voices, JoySauce wants to create its own opportunities for people in the community by broadening its mission of ownership and representation.

“We won’t really get the full spectrum of the representation that I believe that we deserve unless we own the pipeline and the platforms and the carriers and really the gateways,” Jonathan Sposato, creator of Joysauce, said.

He decided to bring the platform to the masses in 2022 after growing sick and tired of how much hate his community was going through and wanting to fill in a gap in the media. Media representation was also low for Asian American actors, with only 6% of all Asian characters in 100 titles on streaming platforms in 2022 in leading roles, according to a study by USC Annenberg Gold House.

“I do think positivity wins,” Sposato said. “Comedy is a very necessary tool, a necessary ingredient in the overall mix of what we’re trying to offer.”

His goal is to broaden the concept of Asian American culture through storytelling that would display what the U.S. has to offer while staying rooted in Asia.

“A win for JoySauce is a win for anybody who feels underrepresented, who doesn’t feel like they’re considered the normative mainstream,” he said.

At a time when attention is a currency, creating a space that’s focused on elevating AAPI voices will help diversify the media landscape.

“A win for JoySauce is a win for anybody who feels underrepresented, who doesn’t feel like they’re considered the normative mainstream,” JoySauce creator Jonathan Sposato, left, said.

(Allen J. Schaben/Los Angeles Times)

“As a comedian, you cannot complain,” Cat Ce, a comedian whose special “Perfect Chinglish” was licensed by JoySauce, said. “Nowadays, you want it on so many different platforms, you never know which kind of audience you may reach.”

Her work reflects the kind of storytelling JoySauce hopes to amplify. The comedy hour by Ce deals with the cultural differences when dealing with family, friends and romantic relationships as a Chinese American. For Narumi Inatsugu, that universality is the point.

As the chief creative officer of JoySauce, Inatsugu wants to create a space where Asian Americans do not feel outnumbered.

“For so long I thought nobody cared about Asian American stories,” he said.

As a curator of the channel, and host of the upcoming “Chopsticks and Chill,” an interview show where he shares a meal with influential members of the AAPI community, Inatsugu wants to create a platform where the younger generation can see the many opportunities life can offer, regardless of your cultural background.

“It’s community building, it’s letting people know they can be whatever they want, do whatever they want,” he said.

Season 1 of “Jokes with JoySauce” is currently airing and is part of the first free, ad-supported streaming channel dedicated to highlighting Asian American voices across comedy, film, reality TV and sitcoms.

(Allen J. Schaben/Los Angeles Times)

Throughout his years in the entertainment industry and in production meetings, Inatsugu felt like he couldn’t pitch certain stories because they were aimed at his Asian community. He hopes an outlet like JoySauce can create a safe space for creative minds to feel like they can be themselves and not feel outnumbered, the way he once did.

Everything in the details of a show will make people feel welcomed, from the people making it to the food that’s made available for the cast and crew.

During production of the first season of “Jokes with JoySauce,” Parsons made sure every aspect of the production was AAPI, including the food. Her production team made sure to fill the craft table with food that can be found at any Asian market. The sense of belonging is exactly the reason she built “Jokes with JoySauce” and why JoySauce exists.

“When I’d see the comics come up into the greenroom and their faces, it was like ‘Oh, I feel so like they were just reverted to their childhoods,’” she said. “It was just like they felt like they were at home with their families, and it was so important for me, it made me cry a little bit.”

This year’s Sundance felt marked by great uncertainty. Personally, I was never quite sure how to feel, as the many unknowns of next year’s move to Boulder meant that it was unclear how much this year was supposed to feel like the end of something or the start of a new beginning. I didn’t know just how mournful to be, though, as the festival marched along, it became clear there was a space for nostalgic reflections.

The first movie I ever saw at Sundance was Andrew Fleming’s comedy “Hamlet 2” in the Library Center Theatre. Which means it was 2008 and I was then an intrepid freelancer who talked my way into sleeping on a recliner at a condo rented by The Times until staffers trickled out and I eventually had the place to myself because of the vagaries of an extended rental agreement. Which is how I found myself, entirely unexpectedly, in a room interviewing all of Crosby, Stills, Nash and Young, who were in town for their tour documentary “CSNY/Déjà Vu.”

That sense of surprise and discovery — and in-person interactions that likely wouldn’t happen anywhere else — are what have brought me back to the festival every year I could manage since. It’s exactly why I have been a huge fan of the festival’s NEXT section, made up of films that don’t quite fit elsewhere in the program. A standout this year was Georgia Bernstein’s debut feature, “Night Nurse,” a film of assured poise about a young woman (a compelling Cemre Paskoy) who takes a job at a retirement home only to find herself drawn into a series of phone scams, erotic role play and psychosexual transference with one the clients. Recommending the film to colleagues feels a little like an HR violation, but the kinky undercurrents and unsettling emotions are worth it.

Cemre Paksoy and Bruce McKenzie in the movie “Night Nurse.”

(Lidia Nikonova / Sundance Institute)

Many conversations around the festival seemed to firmly center on “The Invite” and “Josephine,” but another film people consistently brought up was “Wicker.” Written and directed by Eleanor Wilson and Alex Huston Fischer, adapting a short story by Ursula Wills-Jones, the film takes place in an unspecified time and place: a sort of medieval-ish middle European village of the mind, in which an unmarried woman (Olivia Colman) asks a local basket weaver (Peter Dinklage) to make her a husband. That he comes out looking like Alexander Skarsgård sets the whole town into a tizzy. Nimble and inventive, with convincing special effects work, the film is a charming parable that continually finds ways to reset itself.

It is unclear just how planned it was, but there could have been no better film than “The Only Living Pickpocket in New York” to be the final fiction feature to debut in the Eccles Theatre, one of the festival’s most storied venues. Character actor Noah Segan’s directorial debut, the movie is a warmly elegiac portrait of the city and the pain of recognizing when your time has passed. Led by a quietly commanding lead performance by John Turturro, the film also features Steve Buscemi and Giancarlo Esposito in supporting roles.

As the trio took the stage with Segan and other cast members after the film, it quickly became apparent how special it was to have those three actors there in that moment. Buscemi rattled off a quietly astounding number of films he has appeared in with “New York” in the title — “New York Stories,” “Slaves of New York,” “King of New York” — while Turturro spoke movingly about his relationship with Robert Redford, whose absence hung heavy over the entire festival.

John Turturro in the move “The Only Living Pickpocket in New York.”

(MRC II Distribution Co. L.P. / Sundance Institute)

As Esposito began talking about what Sundance has meant to him over the years, his words took on a fierce momentum. He recalled when he first came to the festival in the ’90s, he was “ecstatic because it gave a voice to those who didn’t have a voice. … We didn’t come to sell a film to a big studio. We came to share our small movie with human beings that could really see themselves in a mirror on the screen.”

Of Redford, he added, “His vision is priceless. It’s the gem that we all hope for. It’s the juice of why we live. It’s the connection of why this movie works. It’s the love of what we do. This, to me, will stick with me for the rest of my life. My interactions with this man who started this festival will always be a beacon of light in my creative process.”

It was a beautiful and inspiring way to leave that theater for the last time and, in turn, leave Park City behind for a future that, while full of unknowns, will for now also hold the promise of new discoveries to come.

A reality TV series dubbed the ‘best show ever’ is returning for a second series and fans are predicting a ‘wild ride’.

A reality TV series that has been branded the “funniest show” is returning three years after its first season.

Social experiment Jury Duty first aired on Amazon Freevee in 2023, with a second instalment hitting Amazon Prime Video in March this year.

The hoax sitcom follows a fake jury trial, with construction worker Ronald Gladden serving as a juror, unaware that the proceedings around him aren’t real.

Starring James Marsden as a fake juror, portraying an over-exaggerated, parodied version of himself, and a series of actors as the other jurors, including one who keeps falling asleep, Jury Duty shows the inner workings of a trial in the US.

Everything that goes on is entirely planned, unbeknownst to Ronald, who thinks the people around him are actually as chaotic as they seem.

The documentary-style comedy sees Ronald share his baffled thoughts to the camera before realising what actually happened.

He later won $100,000 as part of the experience, saying his life “completely changed overnight” once it aired.

He added, “I had a feeling in my gut the whole time that something wasn’t right. They got me on camera multiple times saying, ‘I feel like I’m on reality TV. Like, this can’t be real. What’s going on?”

“The day of the reveal, everyone was so quick to let me know that, like, ‘Hey, we understand that none of this was real. But the one thing—that the relationships we formed were real.”

“They were so quick to just let me know that that wasn’t fake. And that honestly is what made the whole thing worth it for me.”

The series received a roaring response from critics and audiences alike, with three Emmy nominations, two Golden Globe nominations and a Peabody Award.

It is now set to return, Amazon Prime confirmed, but this time, Ronald will be free from the chaos.

A teaser trailer was posted on social media, captioned: “Welcome to the retreat. Jury Duty Presents: Company Retreat premieres March 20 on @primevideo.”

The video took a look back at the original series, before teasing: “Now, we’re following a business on their annual company retreat. Except this is not a real company. It’s fake. Everyone involved is an actor. Except Anthony.”

One person is then heard saying: “If I go home and tell my parents about this stuff, they’re gonna be like, ‘You’re lying’.”

As per Deadline, Jury Duty Presents: Company Retreat will follow a corporate offsite event at a family-owned hot sauce company, with Anthony featuring as a recently hired temporary worker.

The entire experience will be staged, with every “colleague” assigned a role around him, and scenes in conference rooms and during downtime, all orchestrated.

When the founder announces he’s preparing to step down, the retreat transforms into a clash between corporate ambitions and small-business values, with the future of the company and whose hands it will fall into all up in the air.

Fans have been left over the moon at the glimpse of a new season, with one writing: “I’m so excited to see this.”

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“Season 1 was too good, we are ready!” another wrote, as a third said: “Best. Show. EVER. Can’t wait for S2!”

“I don’t know how you can top the original, but I’m dying to see!!!!” someone else said.

Another commented, “If this is even half as chaotic as Jury Duty, we are in for a wild ride. But honestly, am I the only one wondering if they can actually pull off the ‘fake person’ trope again without everyone being suspicious? The bar is set so high. I just hope it’s actual comedy and not just another over-produced ‘reality’ mess. March 20th can’t come soon enough. I need to see if this lives up to the hype or if it’s just a one-hit wonder.”

When previously discussing possible future seasons of Jury Duty, showrunner Cody Heller told Variety: “Obviously, it would have to be a whole different universe. You couldn’t just do jury duty again, because then people would be like, “Wait a second”.

“But I do think that it’s possible. I do think there’s a million different worlds that this kind of thing could exist in.”

Jury Duty is available to watch on Amazon Prime Video.