When actors from TV’s top comedy series recently gathered for The Envelope’s Emmy Comedy Roundtable, any lessons they’d learned over the years about how not to break quickly went out the window — this year’s guests made each other laugh early and often.
Contributing to the hilarity were Danielle Deadwyler, whose English professor in HBO’s “Rooster” has her life disrupted by a bestselling writer; Donald Faison, who reprises the role of Christopher Turk, now chief of surgery, in the revival of ABC’s medical sitcom “Scrubs”; Sabrina Impacciatore, who embodies the vain managing editor of a failing regional newspaper on Peacock’s “The Paper”; Justine Lupe, who plays Morgan, a flighty but loyal sister and podcast co-host in Netflix’s rom-com “Nobody Wants This”; Lamorne Morris, who portrays New York City journalist Robbie Robertson in Prime Video’s Depression-set “Spider-Noir”; and Chris Perfetti, who features on “Abbott Elementary” as awkward but well-intentioned social studies teacher Jacob Hill.
In the course of our conversation, participants discussed surviving bad reviews, what fans misunderstand about comedy and, yes, how they keep a straight face during funny scenes (if not on The Envelope roundtable). Read excerpts from the conversation below.
What is the last thing that made you laugh out loud, whether it was meant to be funny or not?
Lupe: I have a one-and-a-half year-old. She’s just starting to talk. She doesn’t really say a lot of words at once, but she started doing this thing where, when she’s going poop, she just goes, “Oh, wow. Oh, wow.” And every time it’s just so cute.
Perfetti: I also do that when I poop, so please tell her it’s normal… I don’t know, guys. It’s scary times. I don’t find myself laughing out loud very much anymore. I guess to that end, I watch Jimmy Kimmel’s monologue every night and I think that it’s pretty drop-dead gorgeous. It’s so funny, and he’s using that platform in such a gorgeous way.
Faison: My daughter was playing a volleyball game against a very formidable opponent. I’m just going to put it out there: LeBron James’ daughter. She was serving and pushed everybody back with her serve. Boom! Everybody backs up. Now she’s got everybody out of bounds, then she taps it real soft and it falls in front of them. I laughed out loud. I was just so impressed, and my daughter looked at me like, “You mother—. Don’t you enjoy that!”
Impacciatore: A couple of days ago I was fighting with my boyfriend and it was a very bad fight and I really wanted him to understand my reasons. I was trying to put on my trousers and unfortunately I put two legs in one [side]. He started to laugh so loud and I was so upset. And then I started to laugh loud too. But it’s horrible when it happens, because I’m a very serious person when I fight.
Donald, the last season of “Scrubs” concluded in 2010. Now Dr. Turk is back working at the hospital with his buddy J.D. (Zach Braff) and a lot of the original cast. What was it like stepping back into that world?
Faison: When the pandemic happened, Zach and I did a rewatch podcast of “Scrubs,” and that’s where all of this started to formulate again. In doing the rewatch podcast, we researched what the fans liked, what we liked, and what we thought was funny. And we were very honest about it. If it sucked, we said it sucked. Then the T-Mobile [ad campaign with Faison and Braff] happened. So for the past five or six years, I’ve been playing Turk to Zach Braff’s J.D. When the revival came around, it was easy to slip back in because we had been doing this banter for so long. The only thing that’s different is that he’s older, but maturity has not set in with him yet. He’s a 50-year-old kid who’s really good at cutting people open and training younger people, but for the most part, he’s still silly.
Chris, “Abbott Elementary,” which follows several teachers at an underfunded public school in Philly, is heading into its sixth season. That means you’ve been playing Jacob for quite some time. Do you ever find the line between your personalities blurring?
Perfetti: The line between Chris and Jacob is definitely blurring. When we first started, I was shocked that [creator] Quinta [Brunson] saw me as this person. We weren’t alike at all, but I trusted that she saw something [in me] she wanted to exploit. Now, I would be so lucky to steal some of what he’s got going on. He’s unbelievably loyal and ambitious and really comfortable in his own skin. He leads from that place. And I need to shut the hell up and stop telling the writers things about my own life because now they’re showing up in the show. So truly the line between Chris and Jacob is getting weirder.
Danielle, “Rooster” takes place at a fictitious college. You actually have several degrees, including multiple master’s. Did you draw on your own experience in academia for “Rooster”?
Deadwyler: I was a student, and that’s a very different dynamic than being an administrator or a professor. But I dig education. I dig the intention of the environment, the debate, the ongoing pushing of the self and weaving that into your personal life. It’s all super connected. So I just brought that to the show.
You’re renowned for your work in intense films like “Till” and “The Piano Lesson.” Do you use a different muscle for comedy?
Deadwyler: I was always saying to the [“Rooster”] team, ‘Hey, guys, I feel good. I can breathe. I have energy to do things. Is that normal for people?’ So yes, it’s a completely different muscle. But [co-star] Steve [Carell] says this beautiful thing that characters don’t know whether they’re in a comedy or a drama. And that’s about as true as it gets. You bring full rigor and development and discipline to the making of a role, regardless of what genre.
Justine, how much do you relate to your character Morgan in the interfaith romantic comedy “Nobody Wants This”? Or is it more like you want to fix her?
Lupe: I don’t know if I want to fix her because that’s what’s compelling about her. I have so much fun playing the mess of Morgan. I relate to her. I started off where she was kind of a semiautobiographical story of [show creator] Erin Foster’s relationship with her sister, Sara. Then immediately the ship left the dock when I took the character. Justine has now taken over this idea of who this person is, and it’s a lot more sloppy and unbridled. The mess of her is actually me, because I’m a little bit sloppy as a person.
The show really captures the relationship between siblings, and sisters in particular.
Lupe: I identify with the idea of being someone who’s evolved past their original home life, and then going back into circumstances with your family, and regressing immediately. I wanted to play with that dynamic. Morgan might think that she’s evolved past certain things and then the minute she’s codependent with her sister, they devolve back into the bratty kid-like versions of themselves that are like picking on each other. I know the feeling, when you go back home and you’re like, “Wow, have I grown up at all?”
Lamorne, “Spider-Noir” is based on a Marvel comic and is set in an exaggerated version of 1930s New York. Audiences have the choice to watch the series in black and white or in color. How does the tone change between the two styles?
Morris: I watched both and they both have their own unique qualities. I would say the way folks should watch it is the way we traditionally watched TV as a people. You start in black-and-white and then when color was introduced, you would go back and watch those same films when they added color to it. While we’re filming it, [I was thinking] “How are they gonna make this visual effect look cool in black-and-white?” And then you watch it in black-and-white and you go, “What the f—?!” And I go back and watch it in color and go, “Holy — it looks great in color, too.” Everything down to the wardrobe [and] the set design, you watch it in black-and-white and it looks bold and as vivid as if it were in color. But then when you watch it in color and you go, “Holy crap, that house is blue, that suit is orange.” So just go watch it in both versions.
Sabrina, your character in “The Paper” wants to be the managing editor of the Toledo Truth Teller, but she’s really all about the clickbait. How much did you know about that conflict in modern journalism?
Impacciatore: I made sure not to know anything about it because Esmeralda doesn’t have a clue. Esmeralda is not a real journalist. Esmeralda is there for some mysterious reasons that I’m trying to figure out. She’s the queen of bull—, so I made sure not to know anything about journalists. And because I had played Valentina in “White Lotus,” I wanted to make sure that this character is going to be completely different from her. She must be out loud, she must be big. So I made some choices about her, for example, the nails. I still have these nails because I’m still shooting, but usually I don’t have long nails. But these nails started to make me think in a different way, to move my hands in a different way. Like these are guns, weapons to manipulate people. [Touches Morris with her nails.]
Morris: Consider myself manipulated.
Impacciatore: I’m the opposite. I have no filters in life. I am my own worst enemy. I’m too transparent. I don’t know how to hide feelings. So I thought, “What does she do?” Because it’s a documentary, she thinks one day she will be a star. So I have her have hair like Rita Hayworth the first day I arrived on set. They were looking at me like, “What is she doing?” They didn’t get it, so I had to explain that she wants to be a star. Once you start to play a manipulative person, you see manipulation everywhere. It’s like now I’m losing a bit of innocence, because I don’t trust anybody anymore. Now randomly I say, “Are you trying to manipulate me?”
“The Paper” and “Abbott Elementary” are mockumentaries. Does it make a difference in how you’re performing when it’s shot in that style?
Perfetti: On our best day, we’re trying to dupe people into believing that it’s real life. But similarly, I think Jacob thinks that he will be the star of this documentary whenever it comes out. He’ll be an executive producer on it. So there’s very much an element of having one foot in the audience’s experience. His outrage is heightened because he knows it’s being captured on film. I grew up doing plays and so it’s an easy dynamic to borrow from. When you’re on stage, even on your best days, you always have even a pinkie in the audience’s experience. You have to be able to be in conversation with them. The mockumentary format really allows for that and I think it informs the show in a really beautiful way.
Impacciatore: The first time that I watched “The Office,” I thought, “This project is incredible, but the light is so horrible. I will look so ugly.” I was trying not to be chosen for this project because I was so scared to be so ugly. So when I arrived on set as the character, I brought my own ring light and I said, “Guys, Esmeralda, because she knows she’s in a documentary, she needs her own lighting.” I got away with it. To me, comedy is a very serious thing.
What do audiences underestimate or misunderstand about what it takes to make a comedy?
Deadwyler: The assumption is that you’re being funny, and it’s not that at all. When you [Chris] just talked about doing plays, I was thinking theater is the thing that enabled me to really lean into the joy and transition into working on “Rooster.” There’s a rhythm and a quality of engagement that I learned completely in the theater world that applied to the gelling and the cohesion of “Rooster” in all of the scenes. So leaning into drama enables you to lean into the hilarity or the quirkiness or awkwardness of humor.
Morris: If the script is funny, it’s going to be funny if you’re an actor playing it real. And obviously you have throughout history those characters who know how to add to that, who can ham it up in such a way. Chris Farley and those guys. The Belushis, the Will Ferrells. They can take something really funny and just say, “I’m gonna add my stamp to it so when you see this type of humor, you know it was from me.” Then you have your Judd Apatows of this world who can create a funny environment and all the actors are basically playing it real and playing it straight.
Faison: People think you’re actually that funny or you’re that quick and you can come up with those jokes that fast. But really you’re saying somebody else’s words and you’re being somebody else. Somehow I got labeled as a stand-up comic. I’ve never done stand-up in my life, but I’ve been in so many comedies that people think, “He must be funny in real life.” I imagine Jack Black must hate going outside because everybody’s, “Do that skandosh, sliggidy, diggity thing that you do!”
Deadwyler: They want you to do that you do for drama, too.
Morris: “Make me cry”?
Deadwyler: They want you to give them the feeling that they know you for, because that’s all they’ve witnessed of you. They want me to ride a horse. They want me to cry. And it’s like, “I’m just trying to get these chicken wings and go home.”
And trying to break out of that, whatever that is, and move on to the next thing that you want to do.
Faison: For a long time it was very difficult as an actor to do anything else other than comedy, because you could get typecast. That’s something that happens right away. You could be the best friend for the rest of your life if you’re not careful.
Morris: I came up in traditional comedy. Second City, Chicago. When I was a kid, I didn’t care about anything else other than like making people laugh. So in plays and things, I was always cast as the comic relief, back in my ham-it-up days. Up until the beginning of my TV career with “New Girl.” I didn’t know who I wanted to be on that show. I didn’t know who I was and I’m thankful to the staff for just allowing me to grow into that character. But what I grew into was a f— clown. I just was like, “Oh man, I get to do this for seven years.” I loved every minute of it.
When you get recognized out in public or somebody knows they know you from something, who have you been misidentified as? Or do they simply call you by your character’s name?
Faison: I was at sushi once and it was actually another famous person that came up to me, I’m not gonna say their name. And he looks at me and goes, “Alfonso?” I said, “Nope.” And he hightailed it out so quick. I was like, “I gotta call Alfonso Ribeiro and tell him that somebody thought that I was him at a restaurant.” I’m glad to be recognized, but I am not Alfonso Ribeiro.
Morris: People think I’m everybody, but there’s one guy I get. Malcolm Barrett. This has been going on for 15 years. A good friend from theater school, we did every play together, he called me when I moved to L.A. and was like, “Dude, congratulations on your AT&T commercial!” I was like, “What AT&T commercial?” And he’s like, “The one where you’re playing Pop-a-Shot basketball.” And I’m like, “That’s not me.” Years later, everyone, people would come up to Malcolm all the time and say, “Congrats on ‘New Girl.’”
Perfetti: I cannot go to Philadelphia because I suddenly now have 5 million new family members. I don’t get mistaken for an actual person, but I do love the moment where you pass them on the sidewalk or on the subway and you see the wheels churning in their mind.
Lupe: I have a yoga teacher that still calls me Willa [her character from “Succession”]. I’ve been going to her for like a year and she’ll be like, “And Willa, you want to move into down dog.”
Justine, you’ve been referred to as a scene-stealer more than once for your work in “Succession” and “Nobody Wants This.” What do you make of that?
Lupe: That was the thing about “Succession.” I started when I was 26 and I felt like I got to be a fly on the wall in so many incredible scenes with all-star actors. To even be even seen among that kind of company, it makes me so happy. I feel the same way about “Nobody Wants This.” I look around and I’m like, “Wow, these are just incredible people that I’m working with.” So it’s nice to know that people are even registering my existence.
Perfetti: Willa is responsible for what I think may be one of the funniest TV moments ever. I can’t remember which season where you read your reviews and throw the iPad overboard, but it lives in my mind rent-free. The sound you make, the way that you just kind of stare off into the distance afterward, it’s one of the greatest things I’ve ever seen.
Do you read reviews of your work?
Morris: I did a movie called “Sandy Wexler” with Adam Sandler and he said to me, “Hey buddy, when a film comes out, don’t read the reviews.” He’s like, “Who cares? We got our own thing going.” … It allowed him to stay true to who he is for his fan base, which is larger than life. If you start caring so much about what people think about your art, it’s going to change what got you there in the first place. That’s what Jamie Foxx talked about after winning an award, you don’t want to switch it up all of a sudden because everybody looks at you like you’re this great actor, you won this thing, and you start doing things differently.
Impacciatore: On set, if someone gives me a feedback about something that he liked, I don’t want to hear that because it feels like a trap. And I don’t want to know what worked and what didn’t work because I want to be free. I want to explore things. Reading a review … it’s something rational that is describing something irrational. Like to me, acting is an irrational act. It’s wild when it happens. It’s going somewhere else and not even knowing what you did.
Faison: I tend to not look at reviews. This was the first time ever in my life … when “Scrubs” came out this time around. It’s because we made it for the fans. It was strictly for the fans. So when we put it out and the critics were very nice this time around, that was cool. And then you get to Reddit and Instagram and you’re waiting for them to be like, “You guys suck!” “How dare you?!” And that didn’t show up. It was like, well, I’m gonna read the reviews then.
Lupe: I once had a critic call me a “bargain-basement Gwyneth Paltrow.”
Morris: You’re like, “Gwyneth Paltrow, you say?”
Lupe: As long as the word Gwyneth is in there, I’m OK.
Morris: If someone calls me “a bootleg Eddie Murphy,” I’m retiring.
Faison: “He kind of reminds me of a poor man’s Richard Pryor.” Why, thank you.
Lupe: There was like a part of me where I was like, “Well, if I can make it through that, then whatever. Who cares? It’s just fun to hear people’s perceptions of what you’re putting out there. How people interpret it. Because sometimes you can’t see the forest through the trees. If you have enough perspective, it’s interesting to hear the dialogue about the things that you’re working on.
Deadwyler: If it’s productive, I find that critical analysis is useful. But if it’s critical stabbing, that’s useless to me.
Faison: I have a question for all of you guys. When it comes to acting on set, do you prefer to see what you just did or do you prefer to trust what the director says? When it comes to comedy, I wanna see what the f— we are doing just to make sure we’re in the rhythm.
Lupe: I don’t watch it in the moment. I’ve gotten easier on myself watching things after they’re released. When I first watched my work, I just wanted to like, in all honesty, tear my face off. It was really a tough experience.
Morris: If I trust the director, I never look at the monitor. No knock on, like first-time directors, because I work with a lot of first-time directors that I trust, but there are some from time to time that just go, “It’s great,” every take. And so sometimes I have to go, “Just give me a second, let me see.” … A couple of times [they’d tell me], “Everything you did was brilliant.” And I know for a fact it wasn’t. So now I don’t trust s— you say.
The Envelope’s 2026 Emmy Comedy Roundtable: Lamorne Morris, from left, Justine Lupe, Chris Perfetti, Danielle Deadwyler, Donald Faison and Sabrina Impacciatore.
Chris, the cast on “Abbott” are so good at bouncing lines off one another. How are you not breaking all the time, or are you?
Perfetti: It’s certainly gotten harder as we’ve gotten closer. We’re all trying to make each other break now. But we’re pretty good. The show is sort of made on the fly and we’re constantly throwing jokes away or trying to see how far we can push something. I think a lot of what we find funny on “Abbott” is people trying to avoid pain. Even when it’s ridiculous, it doesn’t feel too hard to keep our feet on the ground. We’re also so blessed with the mockumentary [format]. The story is very much told by the camera. So I’m always on, and something that comes up in that take might make it into the final cut because there’s three cameras going at all times. But Quinta probably breaks the most because … she genuinely forgets about some of the jokes that she writes. And so when she hears it again, it takes her by surprise.
Lupe: There is something to that energy of people enjoying being in that kind of space with each other, like on the verge of laughing. Riding the line of being just about to break, it’s so much fun. The chemistry between them is so palpable. When you see a break like that, you’re like, “Wow, they’re really enjoying each other.”
Morris: [It’s hard when] I’m literally loopy, it’s late and I know this actor I’m working with is a f— killer. I start laughing before we roll, and I’m like, “This is gonna be so difficult.”
Lupe: And then it’s like that thing when you’re like a little kid, where someone’s like, “Stop laughing” and it makes it worse because you are trying so hard not to laugh.
Impacciatore: If there is that moment where we can break, there is a real abandonment and there is a real freedom … It’s the most beautiful feeling about being an actor. It’s about feeling less lonely.
Faison: Danielle, you’re working with Steve. First of all, he’s gonna break everybody. I’m pretty clear that everybody on set’s gonna laugh because he’s just got that. But has anybody made him break yet? And who is that person? I know if I made Steve Carell break in the middle of a scene, I’m dancing for a while. I’m gonna be calling my mom like, “Yo, he f— laughed at my joke!”
Deadwyler: I know that they wilded out the day the bed broke [during a fight scene with co-star Phil Dunster]. But I have not seen him break in that way. He is so rigorous. He’s about building the character, building a dynamic, trying to tell a full story.
Lupe: He also must have so much practice from “The Office.”
Deadwyler: He’s strong.
Faison: I laugh harder at “Saturday Night Live” when they break than when they keep it together.
The BBC has confirmed that a comedy that had viewers ‘howling’ will be back for a third series
The BBC has confirmed the return of a hit comedy(Image: BBC)
A BBC comedy that had viewers “howling” with laughter is set to return.
Mammoth, which is about about a PE teacher from the 1970s getting a second chance at life, started in 2024 before returning for a series two. And now the broadcaster has confirmed that it will be back for a third run, with filming due to start in Wales this year.
Starring Death Valley‘s Mike Bubbins as Tony Mammoth and Car Share ‘s Sian Gibson as his daughter, the series followed the teacher when his body was discovered frozen in time, after he was thought to have died in an avalanche during a school trip in 1979. He then attempts to rebuild his life in a world that has completely changed.
The BBC said the next series, which will be comprised of five episodes, will see Tony still trying to fiund his place in society “but due to his thin skin and inability to keep his thoughts to himself, he often puts his big retro shoes in it, on all fronts”.
“I can’t wait for people to see the next adventures in the life of Tony Mammoth,” said Mike. “He’s back funnier, bolder, and dafter than ever.
“When I first came up with the idea, I didn’t dream that in a few years it would be back for a third series.
“It’s once again been a lot of hard work for me, Paul Doolan and Luke Mason (co-writers), although when the three of us spend our days in a room together laughing, I’m reminded that it’s not exactly the same sort of hard work that my grandad did toiling away as coal miner for 50 years.
“Although, in fairness, we have both never won a BAFTA. So make sure you watch the new series, and don’t forget… Mammoth is the word!”
Josh Cole, CCO of BBC Studios fiction and comedy, says: “We’re delighted to be delving deeper into Mammoth without leaning too far into the traumatic decades he spent frozen alive in the ice.
“We’re so proud of this show: a big, bold, laugh out loud creation from a unique voice.”
The BBC’s director of comedy Jon Petrie said the series was “warm, daft, joyful and full of heart”, adding: “Audiences have really taken Tony Mammoth and his ridiculous misadventures to their hearts too, and we’re very proud to keep backing such brilliant original comedy from Wales.”
Mammoth has been popular with viewers since it began two years ago, with one person on Imdb calling it “a cracking comedy” and a Reddit user saying it was “one of the best recent comedies”.
“I was f****** howling,” said someone else, as one critic called it “an absolute gem of a comedy”.
Mammoth will return for a third series on BBC iPlayer, BBC Two and BBC One Wales.
Considering the amount of comedy that was dropped on L.A. last week for the third Netflix is a Joke Festival, the idea that anyone can see it all is laughable. Yet of course, like fools, once again we tried. Between big outdoor shows, theaters and intimate club gigs, the seven day smorgasboard of stand-up, improv, variety shows, marathons and more was a wild ride we won’t soon forget. Here is our list of the funniest shows we saw at Netflix is a Joke 2026.
Monday, May 4
Ron White, from left, Jim Jefferies, Sam Jay, Shane Gillis, James McCann and Dan Soder at the Hollywood Bowl.
(Adam Rose / Netflix)
Shane Gillis and Friends Hollywood Bowl As a sea of comedy fans filled up the Hollywood Bowl to kick off the first outdoor event at Netflix is a Joke, Shane Gillis brought the energy of a season-opening football game to L.A.’s biggest bandshell. Commanding a solid roster of veteran comics including James McCann, Sam Jay, Ron White, Dan Soder, and Jim Jeffries, Gillis took on the role of a grizzled and playfully perverse football coach hosting the night and telling funny stories about his days as a very average high school football player on crappy all-white teams before he blew up in comedy.
“Whoever the home team was in high school football you got to pick the intro song that you would run onto the field to to get hyped. So when me and the white guys were the home team, our music would be like ‘Cut my life into pieces…’ [singing Papa Roach’s “Last Resort”] something scary, something suicidal. That’s as intimidating as white dudes get…sad. Those are the most dangerous whites. If this game doesn’t go well I might shoot this whole thing up on Monday,” Gillis joked.
Fortunately it did go pretty well throughout the night as Gillis brought up each comic that used their different styles to score plenty of laughs throughout the night. (Nate Jackson)
Mike Ward Dynasty Typewriter
Comedy transcends lines and borders, so when we heard that comedian Mike Ward hopped his own border in Canada to be at Dynasty Typewriter, we were all in. Rachel Bonnetta opened the show with a mix of playful confidence and high-energy hilarity, perfectly warming up the crowd before introducing the main attraction to fans. Record breaker and a master of storytelling in French, he didn’t disappoint with his all-English crossover, covering everything from his legendary Supreme Court of Canada case to teenage lust, dating after marriage, attempting generosity, and “trunk love.” Ward mentioned jokes translating from French to English and how they’d hit, but he was definitely in his element, and it all translated to perfect laughs. (Ali Lerman)
Tuesday, May 5
Theo Von and Mike Tyson record a live podcast at the Wiltern.
(Matthew Salacuse/Netflix )
Theo Von: ‘This Past Weekend’ Live- Guest: Mike Tyson- The Wiltern
Stand-up might own the Netflix Is a Joke Festival, but the podcasts they delivered are absolutely worth talking about. For Theo Von’s first-ever live taping of his hit podcast “This Past Weekend,” he landed the ultimate guest: Iron Mike Tyson. The sold-out crowd at the Wiltern erupted the second Von hit the stage, but that was nothing compared to the deafening roar of screams and “We love you, Mike!” when Tyson walked out.
Tyson admitted he wasn’t familiar with Von, but thankfully stated he did indeed like him, because that would have really messed up the rest of the episode! The two share an inquisitive and child-like energy, turning heavy conversations about growing up broke, the solitude of incarceration, and desperate cries for attention, into something remarkably light. Tyson’s vulnerable side was also on display while speaking about his daughter dying tragically, God’s plan for him, and speaking about his mentor Cus D’Amato, which quite literally brought him to tears. Can a show be heartfelt and insane at the same time? Definitely interested to see how they edit a few things, but when this knockout episode comes out, you’re truly in for a beautiful treat packed with plenty of wild moments. (A.L.)
Seinfeld featuring Leanne Morgan The Greek Theatre
Blending the big-city humor with hilarious Southern comfort might sound like an odd pairing when talking about comedy, but something about the combo of Jerry Seinfeld and Leanne Morgan just works. Yes, we love a good rant about the terrors of technology from a comedy legend like Seinfeld, who got famous long before the advent of artificial intelligence and smartphones. But his crotchety comedy on a cold night at the Greek Theatre was complimented by Morgan’s ability to add warmth and sweetness to her smack talk about being a small town cheermom in the world of competitive cheerleading which she described as “the Olympics meets Honey Boo Boo.”
Most big comedy shows at the fest had a strict no cellphones policy, Seinfeld was content with just reminding us that our friends are all sick of our stupid cellphone videos. “They don’t care what you’re doing, your life, your experiences, any more than you care about what your friends are doing…everyone is sick of everything. That’s where we’re starting tonight.”
Both are recognized around the world for being on popular TV shows bearing their names. One star seemed genuinely enthralled that people recognized her and clapped when she came out, the other one seemed like he couldn’t get out of the show fast enough and get back to bed. But the mix of both energies of these authentic polar opposites worked well together to keep the crowd laughing. (N.J.)
Wednesday, May 6
David Spade, Dana Carvey and Chris Rock at the Orpheum Theatre.
(Kit Karzen / Netflix)
‘Fly on the Wall’ podcast with Dana Carvey, David Spade and Chris Rock The Orpheum Theatre
The best way to get amazing stories out of a famous comedian is to be one yourself. It’s the reason a podcast like “Fly on the Wall” with David Spade and Dana Carvey succeed at squeezing the best out of their guests who are often on somebody’s Mt. Rushmore of Comedy. For the festival, the two “Saturday Night Live” alumni brought out the big guns by inviting their buddy Chris Rock downtown — ”way downtown” by his estimation — at 6 p.m. last Wednesday to the Orpheum for a live taping of the podcast. The three stars began by diving ever-so-casually into stories about their interactions with Michael Jackson, Tupac, Kanye and Dave Chappelle. Rock also got to expound on the classic period where he released some of the best comedy specials ever made.
He talked about his groundbreaking hour “Bring the Pain” being the result of doing as many shows as possible to pay for a divorce and as a result, “I got way better” he told Carvey and Spade. “Then I went on a Rocky run where he was knocking motherf— out.” He took that momentum into his next classic special, 1999’s “Bigger & Blacker,” that helped reshape the face of stand-up. “There’s a time in your life when you’re just a vessel and I was in that point of my life,” Rock said. (N.J.)
Nate Jackson at Laugh Factory Hollywood
It’s a skill for a comedian to be able to sit in the pocket of a crowd’s energy and keep a room full of people laughing and on their toes at the same time. Try doing it for six shows back to back. While it’s not the most consecutive sold-out shows he’s ever done at a venue (last year he delivered nine in a row at Zanies in Nashville), Nate Jackson’s ability to leave a mark on the fest at his week-long residency at Laugh Factory Hollywood was akin to watching an executive chef doing a week of cooking in his restaurant. In Jackson’s case that meant delivering some third-degree burns in the front several rows of the crowd known as the “roast zone.” When it comes to killing his customers Jackson prefaces every show the same way. “Rule number one, if I look at you and you don’t want no smoke, look away,” he told the Laugh Factory crowd.
“That is the rule and the standard, I do not get people unless they lock eyes and give me consent. As a matter of fact, this is called the Roast Zone. If anybody is accidentally down there, it’s time to get the f— out. Because rule number two is, if I look at you and you look at me and I start and you don’t like what I decided to talk about, looking away will no longer save you.” To the people that got a little too charred during his show, don’t say he didn’t warn you. (N.J.)
Thursday, May 7
Noah Wyle and Jon Stewart at the Hollywood Bowl.
(Adam Rose / Netflix)
Night of Too Many Stars Hollywood Bowl
It was a starry, starry night at Thursday’s sold-out Hollywood Bowl Netflix is a Joke Presents: Night of Too Many Stars epic comic bonanza fundraiser benefitting autism programs nationwide, including Autism Speaks. Founded in New York by writer-producer Robert Smigel and his wife Michelle in 2003 following their son Daniel’s autism spectrum disorder diagnosis, the Los Angeles gala was hosted by longtime supporter Jon Stewart and featured a roster of top–tier stand-up talent including Niki Glaser, Ali Wong, Conan O’Brien, Tiffany Haddish, Sarah Silverman, John Mulaney and Adam Sandler, who closed the show with a trio of upbeat tunes. Cast members of reality shows such as “Love on the Spectrum” were also on deck to introduce comics, and auction items throughout the event raised crucially needed funds for individuals on the spectrum: a mock “physical examination” by Noah Wyle, star of HBO’s juggernaut medical series “The Pitt” fetched $18,000; a woman paid $50,000 to be animated into an episode of “The Simpsons.” One man stood up and donated $100,000 with no prize attached. The most special part of the night: I attended along with my son, 19, who is on the autism spectrum and laughed and smiled for three hours straight. (Malina Saval)
Wanda Sykes Dolby Theatre
Politics, family, inflation, racism, weight gain and greed were among the multiple topics lampooned by Wanda Sykes during a dynamic and often wickedly funny tour stop at the Dolby Theatre last Thursday. Despite the large venue and packed-in audience, Sykes created an intimate club vibe, walking onstage in a utilitarian jumpsuit and instantly bonding with the audience over just how weird things have become in present-day America.
She likened 2026 to the Upside Down in “Stranger Things,” but populated with pedophiles, grifters and racists instead of demogorgons. Turn it upside down “and a billionaire falls through the ceiling,” she said. Her impersonation of Trump dancing and chatting with Epstein in the now infamous video clip was pure brilliance. How a 5-foot-2 Black woman looked more Trump than Trump was a feat unto itself.
Sykes also bemoaned the greed behind things marketed as conveniences, like supermarket self-checkout (“We’re working for free!”), food delivery bots and airport wheelchairs that get passengers to their gate without attendants. “That was someone’s job!” she said. Then added, “What if walking fast and [pushing heavy things] was the only thing they were good at?” Opening for Sykes was her former sidekick on “The Wanda Sykes Show,” Keith Robinson. (Lorraine Ali)
“Kill Tony” Intuit Dome
The number one live podcast in the world, “Kill Tony,” returned to its roots in our beloved city on Thursday, and this time for the local masses at Intuit Dome. Co-hosted by Tony Hinchcliffe and Brian Redban, when there’s a show of this caliber during a festival, you just know the guests are going to be jaw droppers. Fighting the L.A. traffic to kick off the Dome show were Jelly Roll and Teddy Swims backed up by the Kill Tony Band, maybe? You know, it was hard to hear through all the women screaming. Kidding, we were all scream-singing, and it was such a fun way to start a show. Sitting on panel were beloved KT guests Harland Williams and Gabriel Iglesias, and the “legends bucket” made its way to its first arena in L.A., and the pulls were indeed clutch. Ron White, Joe DeRosa, and Tony’s number one favorite comic, Tony Hinchcliffe (played by Adam Ray), showed the crowd exactly what effortless and absolutely merciless veteran comedy looks like. Between bucket pull madness, a ton of Golden Ticket winners dazzled throughout, treating L.A. to a little slice of what we see in Austin on Mondays. (AL)
Friday, May 8
“Stamptown” at the Montalbán Theatre.
(Aaron Epstein / Netflix)
‘Stamptown’ Montalban Theater
Comedy variety show “Stamptown” begins with master of ceremonies Jack Tucker (the clown persona of Zach Zucker) descending from the ceiling covered in sweat as pyrotechnic flares explode on stage and electric guitars summon him before he falls flat on his face. But don’t worry, it only gets more insane from there. Part musical revue, part comedy showcase, and part circus — “Stamptown,” which filmed its shows for an upcoming Netflix special, is what happens when the lunatics get control of the asylum and decide to put on a Las Vegas show from hell. Tucker’s rapid-fire delivery is punctuated with sound effects, music cues, and the use of a variety of props dangling from his person at all times (including handcuffs, a wad of cash, and two guns). Featuring celebrity cameos, acrobatic stunts, full-frontal nudity, and the show’s stagecrew and audience members getting in on the chaos — “Stamptown” is a true homage to the theatrical possibilities of performance that toes the line ofwhat you think is possible to be done under the label “comedy show.” “Stamptown” at the Montalbán was filmed as part of a Netflix special that will air later this year, which any lover of brain rot and pageantry should be sure to check out. (Leila Jordan)
Dave Chappelle The Palladium We’re not allowed to say anything about went on at the Dave Chappelle three-show residency at the Palladium other than the fact that it was an evening of music and comedy. Per usual they locked up the crowd’s phones to see his show but fortunately there were plenty of actual cameras capturing what went on so hopefully you get to see what we saw very soon. (NJ)
Hasan Minhaj versus Ronnie Chieng Dolby Theatre Known for their spirited debates on “The Daily Show,” political satirists Hasan Minhaj and Ronny Chieng faced off in a comedy showdown where they challenged one another to prove who is better suited to fix a broken America, Asians (Chieng is from Malaysia) or Indians (Minhaj’s parents are from India)?
Never mind that Indians are South Asians, the two comedians got plenty of laughs backing up their absurd arguments with flow charts, graphs, curated news clips, a faux AI bot called “Niri,” and plenty of racist rhetoric. They broke down the debate into categories: Who’s better at academics? Business and the economy? Cuisine? Chieng argued that Asians are better at sports with a list of Olympic gold medal wins over the past three Summer Games. He won’t use all of Asia, he said, just China. Result? The country had over 100 gold medals. India had just one. Minhaj wondered aloud: For people who love gold so much, why is it so hard for us to win one?
Their choreographed debate exploited and skewered stereotypes via expert timing and pointed wit, hitting home with the predominantly Asian and South Asian audience. (L.A.)
Saturday, May 9
Atsuko Okatsuka with Margaret Cho and Trevor Noah at the Orpheum.
(Andrew Max Levy / Netflix)
Atsuko Okatsuka The Orpheum Theatre
An Atsuko Okatsuka show is typically full of surprises as a result of her offbeat humor and twerk-master physicality. Her show at the Orpheum is the result of a brand-new hour she’s been performing on her Big Bowl Tour and includes plenty of jokes about dinosaurs and love of Jamaican dancehall choreography. But before she even took the stage with new material, fans got gleefully blindsided by the appearance of two comedy titans, Margaret Cho and Trevor Noah, who came out to deliver punchy opening sets that got loads of laughter to set the tone for Okatsuka’s evening of examining reality through her absurdist lens as an artistic performer who often feels like she’s from another planet. At the end of the show she announced that after releasing her first two specials on HBO (“The Intruder” in 2022) and Hulu (“Father,” which came out in 2025) her next special will be released (surprise!) on Netflix in 2027. (N.J.)
‘My Crazy Ex-Girlfriend’ Reunion
“Crazy Ex-Girlfriend” premiered on the CW Network in 2015 and managed to tell a complete four season story about mental illness in a musical comedy series that featured parody songs on everything from “Cats” to modern pop music to Jewish folk songs. Seven years after it ended, the cast and creatives behind the show reunited to perform a stripped-down selection of the series’ beloved songs. But this concert is not meant to serve as an introduction for those unfamiliar with the original show. The reunion performance is a tribute both to the miraculous existence of “Crazy Ex-Girlfriend” and to the devoted fans who still know all the words to songs like “Let’s Generalize About Men” and “Don’t Be a Lawyer.” (L.J.)
James McCann Hollywood Improv (Main Room)
Australian-born comedian James McCann topped the bill Saturday night at the Hollywood Improv, and the eclectic crowd packed the place ready to celebrate his arrival in L.A. Host Benton Harshaw and openers Ruby Setnik and Sam Campbell absolutely connected and killed. And if my word count were double, they’d get individual praise for setting the room up perfectly. High energy was the vibe when McCann got on stage to wild roars from the 9:30pm early show crowd and his energy match, noting he was excited to be at the historic club himself. Mullet looking flawless, poems in tow, and dark humor dialed to an 11, he questioned L.A.’s homeless crisis, may have questioned the audience a bit too much, and tore through his thoughts on a census overhaul, the insanity of the TV show “Survivor” (yes, it’s still on), the glory days of drinking, and having visions of finally being successful enough to hire his dream team. (A.L.)
Tom Segura, left, and Bert Kreischer speak during the Two Bears 5k event at the Rose Bowl.
(Jerod Harris / Getty Images for Netflix)
2 Bears 5K Rose Bowl
Can’t. Type. Too. Sore. And that’s not even from the run-walking, it’s from the afterparty inside Rose Bowl Stadium in Pasadena. Whether you kicked off this magical day of athleticism in downward dog with Ari Shaffir, or if you went straight for the starting line with Bert Kreischer, Tom Segura, and a svelte-looking Jelly Roll (bravo!), there was stretching, pacing, sweating and rejoicing to be had. The hang was so casual it allowed participants to rub elbows with a surplus of comics on hand like H. Foley, Kevin Ryan, Steph Tolev, Jefferson McDonald, Joe DeRosa, Jessimae Peluso, Greg Fitzsimmons, Daphnique Springs, Brittany Ross, Ian Fidance, Kim Congdon, and Dave Williamson. The finish line led runners directly into the Rose Bowl where there was plenty of Por Osos flowing, snacks, interactive games and recovery stations, and a live taping of 2 Bears 1 Cave with our favorite boys and celeb participants.
Sunday, May 10
Marcello Hernandez performed with Feid at the Hollywood Bowl on Sunday.
(Koury Angelo / Netflix)
Marcello Hernandez and Feid Hollywood Bowl
On “Saturday Night Live,” he plays a Latin Lover named Domingo. But at the Hollywood Bowl on Mother’s Day Sunday, headliner Marcello Hernández riffed on his real life as a mama’s boy growing up in Miami — expanding on material from his 2026 Netflix special, “American Boy” — and duly invited out his mom, Isabel, who was met with a standing ovation. “God gave me a mother who worked her entire life for me,” said Hernández, who eased on his elastic goofball schtick to exalt immigrant mothers. “Today, I give thanks to her — and to all the mothers who are here, as well as those you left back home.”
Attended by nearly 17,000 people, the Bowl’s biggest Spanish-language comedy event also featured a special (and sensual) musical performance by Colombian reggaeton heartthrob Feid, as well as Mexican comedian Sofia Niño de Rivera, who opened the show with her own riotous act. At some point she asked the audience if beating piñatas had been canceled by the woke mob; you’ll just have to trust me when I say it’s even funnier in Spanish. (Suzy Exposito)
Roast of Kevin Hart Kia Forum Los Angeles showed up to the Forum in Inglewood for the roast of Kevin Hart, the comedian we love to hate but also love to laugh with. It was a brutal takedown of Hart that could only be accomplished by the utmost respect and love from his peers. A surprise appearance by his longtime rival Katt Williams brought the entire house to their feet. Sheryl Underwood expertly executed the punchlines and made the culture the star of her set. Chelsea Handler could have been the star of her own show. The Rock’s WWE entrance brought the heat of the pyrotechnics to the stage with his explicit propositioning of Hart’s wife, Eniko, and an attempt to breastfeed Hart. Some controversial jokes by lesser, edgy comedians fell flat but Jeff Ross, the master of roasts, held the tempo together and kept the roast moving forward. There was something for everyone in this, as Hart, the hardest working person in comedy, has become famous for. (Janelle Webster)
Flight of the Conchords The Greek Theatre
Experiencing Flight of the Conchords at the Greek is something many fans of their lusty, yet-bone-dry musical comedy haven’t gotten to experience in a while. It’s been eight years since Jemaine Clement and Bret McKenzie have put us on “Business Time” with their stripped down odes to sexy R&B mixed with a hint of yacht rock, hip-hop power pop and whatever else they decided to throw together from their bag of classic jams that earned them fans in the early aughts. Following a killer opening set from comedian Arj Barker, Flight of the Conchords took the stage looking a bit more like silver foxes than young birds, which made the timeless chuckle-inducing tunes like “Robots,” “The Most Beautiful Girl (In the Room),” “Hurt Feelings” and “Business Time” land with even more impact as the crowd enjoyed some long-awaited nostalgia. Did they forget a few lyrics? Miss some solos? Mess up entire songs? Sure! But with a dose of Kiwi banter and the ability to laugh at themselves, the mistakes only made the show funnier and a reminder of why we’ve missed them. (N.J.)
Marshall’s 2007 movie Death at a Funeral sees hilarity and chaos reign when one man tries to put his recently deceased father to rest after a mysterious guest shows up at the ceremony.
Thrown into the mix is accidentally drug ingestion, family tensions, dry wit and slapstick humour all blended together perfectly.
Death at a Funeral boasts an all-star including Pride and Prejudice and Succession’s Matthew Macfadyen, Game of Thrones’ Peter Dinklage, Keeley Hawes from The Durrells, Sherlock star Rupert Graves, Trainspotting actor Ewen Bremner, The Capture’s Andy Nyman, and Firefly’s Alan Tudyk, along with Marshall.
Although the movie was directed by Bowfinger filmmaker Frank Oz and shot in America, Death at a Funeral is very much a British comedy at its heart.
Death at a Funeral was remade in 2010 by the same production team, including writer Dean Craig, who penned the original and star Dinklage, who reprised his role for the film. However, the original movie is still hailed as the best version.
The film has been praised by audiences on IMDb, who have waxed lyrical about the British comedy.
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One person wrote on their 10/10 review: “It’s been a while since there’s been a genuinely good British farce, but this one pressed all the right buttons.”
Another person posted: “Death at a Funeral has a distinct Four Weddings and a Funeral feel.”
They elaborated: “Despite being directed by a Yank, Death at a Funeral has a very British flavour.
“In fact, at times it reminded me of nothing less than an extended episode of Fawlty Towers, minus the manic genius of John Cleese.”
A third user said their “nearly died laughing” in their 9/10 review and explained: “This film reminded me a bit of “Four Weddings and a Funeral”, but even more of those British madcap black comedies of the 60s with Alec Guinness or Peter Sellers.”
Someone else titled their 10/10 review: “One of the years best comedies” and said “When we came out of the theater, we’ve had tears in our eyes – it was just too hilarious! I haven’t laughed that much in a movie for quite a while [sic].” Adding: “You won’t regret watching it!”
Death at a Funeral is streaming on Prime Video for a fee
Back when late-night TV sets were still the primary route for a comedian to reach a mainstream audience, Ari Shaffir found a different way to make his mark. It started with creating a show where comics could tell completely uncensored, unhinged real-life stories. What started as a live show grew into “This Is Not Happening” on Comedy Central, and later, into “Ari Shaffir’s Renamed Storytelling Show,” building a loyal fan base along the way, with clips still making the rounds 15 years later.
Supporting shows leads to new opportunities, and while Shaffir’s latest chapter may close the book on his storytelling run, his final offering is certainly a strong one. Aptly titled “The End,” and taped live at the Box NYC, this seven-part series will be released and available for purchase through YMH Studios on Thursday , and it’s jam-packed with comedians that quite literally might kill you. Especially one.
The lineup is too stacked to leave anyone out, so buckle up for wild, unforgettable stories from Shaffir, Tom Segura, Ali Siddiq, Nate Bargatze, Tony Hinchcliffe, Ms. Pat, Shane Gillis, Sam Tallent, Steph Tolev, Jim Breuer, Robert Kelly, Chris Distefano, Big Jay Oakerson, Jordan Jensen, Joe List, Steve Simeone, Mark Normand, Duncan Trussell, Roy Wood Jr., Jessa Reed, Sarah Tollemache, Dan Soder and Colum Tyrrell.
Dan Soder, left, and Shane Gillis appear in Chapter 6.
(Troy Conrad)
Everyone’s stories are so next–level, and I almost choke-laughed and died during Ms. Pat’s. It also looks incredible, tell me everything about the room.
Ari Shaffir: The room is called the Box, and it’s this burlesque place. Or maybe you call it modern burlesque because it’s not just those feathers. I really don’t know, but I feel like burlesque has evolved and that’s what this place is. It’s kinda crazy, and it’s definitely a night out. Dave Chappelle used to have these “comedian balls,” which were so cool because he would just invite comics. Like, all of the comics. He’d invite everyone out and pretty much without saying it was like, talk to each other and trade ideas about the industry. It was just so cool in there, and we scouted a bunch of places, but the look of this place, it was just right.
It makes so much sense that the room is called the Box now, visually.
What you saw wasn’t even color-corrected, so I appreciate it. I went to test the sound because we put the stage in a different place. It moves around and we just thought it looked better with all the red, but I wanted to hear what the sound was like when they were not on the stage too. They were like, oh the emcee will have a cordless as they move around, and I watched it, and it was great. But man, I was so f— up on molly that I was grinding my teeth so hard that I cracked a molar, so yeah, that place rules!
Ali Siddiq appears in Chapter 7.
(Troy Conrad)
Well, the room took my breath away, kinda like the lord took your solid tooth away. It’ll make sense to fans of your podcast You Be Trippin’ that ‘The End’ is produced by YMH Studios, but how did this series even end up happening?
Tom [Segura] and I have a relationship, we were openers for Rogan together, and we were kinda broke together, so we just talk about things. He’s so funny and prolific and I like talking things out with him. I talked to him about doing my special “Jew” too, but they were busy with the show, and you know back then, people weren’t jumping on getting into YouTube specials. So I had a chance to think about doing this show over the pandemic and finally was like, alright, let’s start working on this, and they said, “Come talk to us about it because we can help you now.” They have a great infrastructure there, and a streaming service too, so it’s like they already have everything built in, and Tom was like, “Dude, this show meant a lot to me, and we should make it again.” It’s not going to be a huge moneymaker for Tom, you know, it’s like pro bono work for lawyers, so it’s really cool of them. Another cool thing about this is the way the staff kicked in too. They’re all super talented, and kind of wasting their time on podcasts because they’re more talented than that, but it’s cool to work with a family and I liked the way they really took ownership of the work they did.
They’re a well-oiled machine of fun over there! With so many wild stories in the mix, is there anyone you are especially excited for people to see?
I’m excited to show some people new people. Even with the live shows, it’s always like, let me show you two headliners you know, a mid-level guy you’ll know and let me show you two people that you just don’t know. That’s what stand-up is in New York, L.A. and even Austin. There are some killers no one has ever heard of, and they’re destroyers. So I’m excited to show people Colum Tyrrell because he rules, he’s so funny, and his story is great. Tony Hinchcliffe’s story was really good, he’s just a monster storyteller in every sense of the word now. I just rewatched all of these a few times in a row for sound, and Roy Wood Jr. is so smooth it makes me feel like I’m needy and insecure on the stage. He’s just so calm and so good you’re like, “Damn, I’ve never been this smooth.” Sam Tallent is going to be one people talk about, Jim Breuer is so great, Steph Tolev crushed it with something fun and interesting and wow, this is really tough. Every time I’m doing a promo for this show it’s like, but what about this person, and this one?
It was also nice to see past killers on, definitely love to see the classics doing something new.
Yeah, having Big Jay [Oakerson] back was a key because he’s on the Mount Rushmore of this show, and we have three of those on “The End.” Jay, Ms. Pat and Ali Siddiq. We couldn’t get Sean Patton out because he was shooting something, and Bert [Kreischer] had a movie or something with his daughter moving or maybe it was a graduation…
Ms. Pat, from left, Ari Shaffir, Dan Soder, Duncan Trussell, Shane Gillis and Colum Tyrrell.
(Troy Conrad)
What a funny world, though, if Bert Kreischer paid to have a graduation moved so he could do your show.
Yes! Just pay the school to move the graduation for a week! Don’t you make like $50 million a year? It’s so funny how it used to be crazy to think of someone making $100 million and now there are like 10 comics who make at least half of that. And without doing press! It is really cool, though, I haven’t paid for lunch in so long. And Ali Siddiq has become so huge, he’s like the success story of this storytelling show in its entirety. Everyone got helped a little bit, but Ali kind of broke off of these stories and to see him so successful and still so smooth, it’s really cool. You can’t be “niche” doing arenas, and there’s this independent boom that’s not going to wait for anybody. So it’s another big win for us, it’s our turn in the whole story of this.
So then is this really “The End” or could it be a new start?
There is a very, very small percentage of a chance that it comes back. The plan is that this is it, and that’s why we called it that. I’m just glad you liked the show. I’m glad you liked the look and the intimacy, and that you picked up on all of that. It feels so long ago that you forget, but that’s so awesome to hear because it was a lot of fun. I think comedy fans that knew about the show before will want to see more of it because it’s just this funny televised storytelling, and they missed it. And everything turns over every five years anyway, so new people can now be like, actual stories being told like this in front of an audience? What is this cool new thing?
Netflix fans have been raving about a lesser-known comedy crime show starring, as they beg for a second series of the ‘cosy’ White House murder mystery to be made
Alice Sjoberg Social News Reporter
14:41, 16 Apr 2026
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With an enormous number of TV programmes and films accessible on streaming platforms, it can be overwhelming to settle on what to watch. As a result, many people frequently turn to recommendations from friends, family, or even strangers online to determine their next viewing choice. This was precisely the situation for one Reddit user, who headed to the Netflix forum seeking a suggestion for their next watch, but stipulated it had to be a bingeable programme with only one series.
“Best Series on Netflix (Only One Season) Like a Must Watch Binging Series,” they wrote in the headline of the post.
They continued: “Please drop the best one season series down below. I mean like I’d want to watch it all in one sitting because of how good it is. Like suspenseful, action, cliff-hangers. Maybe a really sad part where I get very attached to the characters! Anything!!”
Fellow Netflix enthusiasts promptly descended on the comments section to share their top picks across a variety of genres. However, one programme stood out from the crowd, as fans lauded its characters and overall storyline.
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.
“Really liked the comedy The Residence,” one person shared. To this, someone else added: “So pi**ed they aren’t doing more. It was gold!
“Such a fun show,” another person said, while another wrote: “I freaking LOVED this one. So much. Great rec.”
The Residence is an American mystery comedy drama TV series exclusive to Netflix. The debut and only series launched in 2025, and centres on an eccentric detective named Cordelia Cupp as she attempts to solve a murder that took place in the White House during a state dinner for the Australian Prime Minister.
As the investigation unfolds, interpersonal tensions amongst the residence’s staff come to light, with both personnel and dinner guests emerging as potential suspects.
The programme has earned an impressive 84% score on Rotten Tomatoes, alongside a rating of 7.7 out of 10 on IMDb. Viewers frequently rave about the endearing central character and the captivating storyline.
“A fantastic “cosy”-style mystery: light, wickedly clever, and keeps you guessing to the very hand,” one viewer wrote in their IMDb review.
They went on to say: “Uzo Aduba as Cordelia Cup is a great lead. The supporting cast has additional strong characters as well, though some of these portrayals are less even. As much as I enjoyed the first season and wish for more, I find it hard to imagine how a second season could live-up to the first: further developing the Cup character (so that she is not just a repetition of the Cup we already know) will be hard.”
Another viewer remarked: “For those who find this series too long consider this, the plot, the mystery and all the plot twists are not nearly as important as the comedy and the wonderful performances in this fun story. It was smart without being pedantic, funny without being crude or silly, and engaging without pandering.”
