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After last week’s worrisome Season 51 debut with Bad Bunny, it seemed like a 50/50 chance on whether the second episode of the season with guest host and beloved “Saturday Night Live” alum Amy Poehler would turn things around. Would the writing feel sharper and less obvious in the hands of a veteran sketch performer?

Poehler, host of the popular podcast “Good Hang,” made all the right moves and may have even overextended herself, appearing in almost every sketch, including the cold open and “Weekend Update” for a joke-off. You could (and should) give Poehler lots of credit for her boundless energy, which lifted weaker sketches, like one about a menopausal mom who goes goth and one where Poehler and Bowen Yang are the composers of the “Severance” opening theme (the joke is that their theme songs always start with a “Fresh Prince of Bel-Air”-like rap as their first draft).

But Poehler also benefited from much stronger sketch premises compared to last week’s, from a beautifully performed sketch about a TV psychic, Miss Lycus, who rushes everyone because she has a hard out at 7 p.m., to a spot-on parody of Netflix’s “The Hunting Wives,” with a guest appearance from Poehler’s “Parks & Recreation” co-star Aubrey Plaza. The writing afforded Poehler with big, broad characters, like a CEO giving birth during a meeting with her employees, the matriarch in a family of jerks called The Rudemans and an elderly lawyer who interrupts a TV commercial to one-up other lawyers on the basis of having the most experience.

Poehler also got a little help from some long-time friends and alums, including Tina Fey, appearing as Homeland Security Secretary Kristi Noem in the cold open, and Seth Meyers, returning to the “Weekend Update” desk with Poehler and Fey.

Maybe podcasting has allowed Poehler to store some stage energy to burst-fire on “SNL”; she put in a great performance for a solid episode overall.

Musical guests Role Model performed “Sally, When The Wine Runs Out,” with a surprise appearance from Charli XCX as Sally, and “Some Protector.” Before the close, “SNL” memorialized Diane Keaton, whose death was announced Saturday, in a title card. She never hosted “Saturday Night Live” but was portrayed on the show multiple times.

The cold open this week parodied Atty. Gen. Pam Bondi’s contentious meeting this week with the U.S. Senate Judiciary Committee. Poehler appeared as Bondi and responded to questions from Democratic senators with a series of withering insults she described as “roast-style burns I have on this piece of paper.” After mocking them and avoiding questions about the indictment of James Comey and the Jeffrey Epstein files, Bondi makes way for Noem (Fey, returning to “SNL” cold open politics), who joins in the mocking, telling one senator, “That makes me laugh more than the end of ‘Old Yeller.’ ” After being reminded that a dog gets shot at the end of that film, she responds, “Dogs don’t just get shot. Heroes shoot them.” While the first half of the cold open was shaky, with insults that weren’t landing despite Poehler’s forceful delivery, Fey’s appearance livened things up and ended strong with a call-and-response between Fey and Poehler that made fun of ICE recruitment ads. “Do you take supplements that you bought at a gas station?” Noem asked, “buckle up and slap on some Oakleys, big boy, and welcome to ICE!”

Poehler’s monologue was sweet, wistful and self-deprecating. “I found my first love here,” she said, “being famous.” She went on to describe her life now, saying, “I am a podcaster. If that’s not a recession indicator, I don’t know what is.” She also pointed out that this episode marked the actual 50-year anniversary of “SNL,” which first aired on Oct. 11, 1975. “Just like (host) George Carlin, I am extremely high,” she said. Poehler poked fun at AI actors who’ve been in the news and might want to take her job. “You’ll never be able to write a joke, and I am willing to do full frontal, but nobody’s asked me, OK?” she concluded defiantly.

Best sketch of the night: The thigh squeezes are bigger in Texas, too

It may be a little late to the party (the show came out in July), but this mock trailer for Netflix’s “The Hunting Wives” hits all the right notes with Poehler as frequently topless Margo and Chloe Fineman as Sophie (Malin Ackerman and Brittany Snow, respectively, on the series). The trailer promises that as the women get hornier and drunker, thighs will be squeezed and guns will be drawn. Aubrey Plaza appears as a new wife from California and soon she’s being caressed by all the other women in the cast as they make mimosas. A few great lines from this one: “It’s like ‘Call Me By Your Name’ for women who shop at Bass Pro Shop,” and “Don’t watch it on a plane.”

Also good: Don’t settle for just 100 years of legal experience

Pohler’s character in the Psychic Talk Show sketch was very funny, but the sketch about one-upping lawyers edges it out only because it goes to some extremely weird and dumb places for much longer than needed and incorporates what looked like the entire cast. What starts as a basic personal injury lawyer commercial explaining how the firm has 50 years of combined experience ends up including long-living turtles, Sarah Sherman as a vampire attorney named Dracu-Law, and an ageless tree, Yggdrasil (Yang), who once represented Zeus.

‘Weekend Update’ winner: Someday, that 13-pound baby is going to watch this

On a packed “Weekend Update,” Sherman debuted over-caffeinated Long Islander Rhonda LaCenzo, who rails against New York City mayoral candidate Zohran Mamdani. And Marcello Hernández and Jane Wickline returned as a seemingly mismatched couple discussing their Halloween plans. But it was an epic joke-off featuring past “Update” anchors Poehler, Fey and Meyers facing off against current ones Colin Jost and Michael Che to make fun of the birth of a nearly 13-pound baby born in Tennessee. “It was so big that he slapped the doctor on his ass!” Poehler began. Some of the better jokes: “The woman zipped around the room like a deflated balloon.” “Did she give birth or did it drive out?” “The baby’s name is AHHHHH!” Poehler rounded out the contest by declaring, “The record was for loosest vagina and the previous held… by me!”

New Delhi, India — Meghna Gupta* had planned it all – a master’s degree by 23, a few years of working in India, and then a move to the United States before she turned 30 to eventually settle there.

So, she clocked countless hours at the Hyderabad office of Tata Consultancy Services (TCS), India’s largest IT firm and a driver of the country’s emergence as the global outsourcing powerhouse in the sector. She waited to get to the promotion that would mean a stint on California’s West Coast.

Now, Gupta is 29, and her dreams lie in tatters after US President Donald Trump’s administration upended the H-1B visa programme that tech firms have used for more than three decades to bring skilled workers to the US.

Trump’s decision to increase the fee for the visas from about $2,000, in many cases, to $100,000 has imposed dramatic new costs on companies that sponsor these applications. The base salary an H-1B visa employee is supposed to be paid is $60,000. But the employer’s cost now rises to $160,000 at the minimum, and in many cases, companies will likely find American workers with similar skills for lower pay.

This is the Trump administration’s rationale as it presses US companies to hire local talent amid its larger anti-immigration policies. But for thousands of young people around the world still captivated by the American dream, this is a blow. And nowhere is that more so than in India, the world’s most populous nation, that, despite an economy that is growing faster than most other major nations, has still been bleeding skilled young people to developed nations.

For years, Indian IT companies themselves sponsored the most H-1B visas of all firms, using them to bring Indian employees to the US and then contractually outsourcing their expertise to other businesses, too. This changed: In 2014, seven out of the 10 companies that received the most H-1B visas were Indian or started in India; In 2024, that number dropped to four.

And in the first six months of 2025, Gupta’s TCS was the only Indian company in the top-10 H-1B visa recipients, in a list otherwise dominated by Amazon, Microsoft, Meta and Apple.

But what had not changed until now was the demographic of the workers that even the above US companies hired on H-1B visas. More than 70 percent of all H-1B visas were granted to Indian nationals in 2024, ranging from the tech sector to medicine. Chinese nationals were a distant second, with less than 12 percent.

Now, thousands across India fear that this pathway to the US is being slammed shut.

“It has left me heartbroken,” Gupta told Al Jazeera of Trump’s fee hike.

“All my life, I planned for this; everything circled around this goal for me to move to the US,” said Gupta, who was born and raised in Bageshwar, a town of 10,000 people in the northern Indian state of Uttarakhand.

“The so-called ‘American Dream’ looks like a cruel joke now.”

‘In the hole’

Gupta’s crisis reflects a broader contradiction that defines India today. On the one hand, the country — as Prime Minister Narendra Modi and his government frequently mention — is the world’s fastest-growing major economy.

India today boasts the world’s fourth-largest gross domestic product (GDP), behind just the US, China and Germany, after it passed Japan earlier this year. But the country’s creation of new jobs lags far behind the number of young people who enter its workforce every year, widening its employment gap. India’s biggest cities are creaking under inadequate public infrastructure, potholed roads, traffic snarls and growing income inequality.

The result: Millions like Gupta aspire to a life in the West, picking their career choices, usually in sectors like engineering or medicine, and working to get into hard-fought seats in top colleges – and then migrating. In the last five years, India has witnessed a drastic rise in the outflow of skilled professionals, particularly in STEM fields, who migrate to countries like Australia, Canada, New Zealand, the United Kingdom and the US.

As per the Indian government’s data, those numbers rose from 94,145 Indians in 2020 to 348,629 by 2024 — a 270 percent rise.

Trump’s new visa regime could now effectively close the pipeline of those skilled workers into the US. The fee hike comes on the back of a series of tension points in a souring US-India relationship in recent months. New Delhi is also currently facing a steep 50 percent tariff on its exports to the US — half of that for buying Russian crude, which the US says is funding the Kremlin’s war on Ukraine.

Ajay Srivastava, a former Indian trade officer and founder of the Global Trade Research Initiative (GTRI), a Delhi-based think tank, told Al Jazeera that the hardest-hit sectors after the new visa policy will be “the ones that Indian professionals dominate: mid-level IT services jobs, software developers, project managers, and back-end support in finance and healthcare”.

For many of these positions, the new $100,000 fee exceeds an entry-level employee’s annual salary, making sponsorship uneconomical, especially for smaller firms and startups, said Srivastava. “The cost of hiring a foreign worker now exceeds local hiring by a wide margin,” he said, adding that this would shift the hiring calculus of US firms.

“American firms will scout more domestic talent, reserve H-1Bs for only the hardest-to-fill specialist roles, and push routine work offshore to India or other hubs,” said Srivastava.

“The market has already priced in this pivot,” he said, citing the fall of Indian stock markets since Trump’s announcement, “as investors brace for shrinking US hiring”.

Indian STEM graduates and students, he said, “have to rethink US career plans altogether”.

To Sudhanshu Kaushik, founder of the North American Association of Indian Students, a body with members across 120 universities, the Trump administration’s “motive is to create panic and distress among H-1B visa holders and other immigrant visa holders”.

“To remind them that they don’t belong,” Kaushik told Al Jazeera. “And at any time, at any whim, the possibility of remaining in the United States can become incredibly difficult and excruciatingly impossible.”

The announcement came soon after the start of the new academic session, when many international students – including from India, which sends the largest cohort of foreign students to the US – have begun classes.

Typically, a large chunk of such students stay back in the US for work after graduating. An analysis of the National Survey of College Graduates suggests that 41 percent of international students who graduated between 2012 and 2020 were still in the US in 2021. For PhD holders, that figure jumps to 75 percent.

But Kaushik said he has received more than 80 queries on their hotline for students now worried about what the future holds.

“They know that they’re already in the hole,” he said, referring to the tuition and other fees running into tens of thousands of dollars that they have invested in a US education, with increasingly unclear job prospects.

The landscape in the US today, Srivastava of GTRI said, represents “fewer opportunities, tougher competition, and shrinking returns on US education”.

Nasscom, India’s apex IT trade body, has said the policy’s abrupt rollout could “potentially disrupt families” and the continuity of ongoing onshore projects for the country’s technology services firms.

The new policy, it added, could have “ripple effects” on the US innovation ecosystem and global job markets, pointing out that for companies, “additional cost will require adjustments”.

‘They do not care for people at all’

Ansh*, a senior software engineer at Meta, graduated from an Indian Institute of Technology (IIT), one in a chain of India’s most prestigious engineering school, and landed a job with Facebook soon after that.

He now lives with his wife in Menlo Park, in the heart of the US’s Silicon Valley, and drives a BMW sedan to work. Both Ansh and his wife are in the US on H-1B visas.

Last Saturday’s news from the White House left him rattled.

He spent that evening figuring out flights for his friends — Indians on H-1B visas who were out of the country, one in London, another in Bengaluru, India — to see if they could rush back to the US before the new rules kicked in on Sunday, as major US tech firms had recommended to their employees.

Since then, the Trump administration has clarified that the new fees will not apply to existing H-1B visas or renewals. For now, Ansh’s job and status in the US are secure.

But this is little reassurance, he said.

“In the last 11 years, I have never felt like going back to India,” Ansh told Al Jazeera. “But this sort of instability triggers people to make those life changes. And now we are here, wondering if one should return to India?”

Because he and his wife do not have children, Ansh said that a move back to India — while a dramatic rupture in their lives and plans — was at least something they could consider. But what of his colleagues and friends on H-1B visas, who have children, he asked?

“The way this has been done by the US government shows that they do not care for people at all,” he said. “These types of decisions are like … brain wave strikes, and then it is just executed.”

Ansh believes that the US also stands to lose from the new visa policy. “The immigrant contribution is deeply sprinkled into the DNA of the US’s success,” he said.

“Once talent goes away, innovation won’t happen,” he said. “It is going to have long-term consequences for visa holders and their families. Its impact would reach everyone, one way or the other.”

India’s struggle

After the announcement from the White House on Saturday, Prime Minister Modi’s principal secretary, PK Mishra, said that the government was encouraging Indians working abroad to return to the country.

Mishra’s comments were in tune with some experts who have suggested that the disruption in the H-1B visa policy could serve as an opportunity for India — as it could, in theory, stanch the brain drain that the country has long suffered from.

GTRI’s Srivastava said that US companies that have until now relied on immigrant visas like the H-1B might now explore more local hiring or offshore some jobs. “The $100,000 H-1B fee makes onsite deployment prohibitively expensive, so Indian IT firms will double down on offshore and remote delivery,” he said.

“US postings will be reserved only for mission-critical roles, while the bulk of hiring and project execution shifts to India and other offshore hubs,” he told Al Jazeera. “For US clients, this means higher dependence on offshore teams — raising familiar concerns about data security, compliance, and time-zone coordination — even as costs climb.”

Srivastava noted that India’s tech sector can absorb some returning H-1B workers, if they choose to return.

But that won’t be easy. He said that even though hiring in India’s IT and services sector has been growing year-on-year, the gaps are real, ranging from dipping job postings to new openings clustered in AI, cloud, and data science. And US-trained returnees would expect salaries well above Indian benchmarks.

And in reality, Kaushik said, many H-1B aspirants are looking at different countries as alternatives to the US — not India.

Ansh, the senior engineer at Meta, agreed. “In the US, we operate at the cutting edge of technology,” whereas the Indian tech ecosystem was still geared towards delivering immediate services.

“The Indian ecosystem is not at the pace where you innovate the next big thing in the world,” he said. “It is, in fact, far from there.”

So Jimmy Kimmel is coming back, fast enough that there are still folks out there who didn’t know he was gone.

Hallelujah? Praise be to ABC? Free speech triumphs?

It all depends on Tuesday night, when we see if Kimmel returns undaunted, or if he has been subdued. Of all the consequential, crazy, frightening events that have taken place in recent days, Kimmel’s return should be a moment we all watch — a real-time, late-night look at how successful our president is at forcing us to censor ourselves through fear.

Please, Jimmy, don’t back down.

If Kimmel tempers his comedy now, pulls his punches on making fun of power, he sends the message that we should all be afraid, that we should all bend. Maybe he didn’t sign up for this, but here he is — a person in a position of influence being forced to make a risky choice between safety and country.

That sounds terribly dramatic, I know, but self-censorship is the heart of authoritarianism. When people of power are too scared to even crack a joke, what does that mean for the average person?

If Kimmel, with his celebrity, clout and wealth, cannot stand up to this president, what chance do the rest of us have?

Patriotism used to be a simple thing. A bit of apple pie, a flag on the Fourth of July, maybe even a twinge of pride when the national anthem plays and all the words pop into your mind even though you can’t find your car keys or remember what day it is.

It’s just something there, running in the background — an unspoken acknowledgment that being American is a pretty terrific thing to be.

Now, of course, patriotism is the most loaded of words. It’s been masticated and barfed out by the MAGA movement into a specific gruel — a white, Western-centric dogma that demands a narrow and angry Christianity dominate civic life.

There have been a deluge of examples of this subversion in recent days. The Pentagon is threatening to punish journalists who report information it doesn’t explicitly provide. The president used social media to demand U.S. Atty. Gen. Pam Bondi go after his perceived enemies.

The one that put a knot in my stomach was the speech by Stephen Miller, Trump’s immigration czar, speaking, without humor, at the memorial for Charlie Kirk.

“We are the storm,” Miller said, hinting back at a QAnon conspiracy theory about a violent reordering of society.

That’s disturbing, but actually mild compared with what he said next, a now-familiar Christian nationalist rant.

“Our lineage and our legacy hails back to Athens, to Rome, to Philadelphia, to Monticello,” Miller said. “Our ancestors built the cities they produced, the art and architecture they built. The industry.”

Who’s going to tell him about Sally Hemings? But he continued with an attack on the “yous” who don’t agree with this worldview, the “yous,” like Kimmel, one presumes (though Kimmel’s name did not come up) who oppose this cruel version of America.

“You are wickedness, you are jealousy, you are envy, you are hatred, you are nothing,” Miller said. “You can build nothing. You can produce nothing. You can create nothing.”

Humor, of course, ain’t nothing, which is why this administration can’t stand it.

Humor builds camaraderie. It produces dopamine and serotonin, the glue of human bonding. It drains away fear, and creates hope.

Which is why autocrats always go after comedians pretty early on. It’s not thin skin, though Trump seems to have that. It’s effective management of dissent.

Nazi propaganda minister Joseph Goebbels knew it. In 1939, after his party had set up a Chamber of Culture that required all performers to adhere to certain rules, he banned five German comedians — Werner Finck, Peter Sachse, Helmuth Buth, Wilhelm Meissner and Manfred Dlugi — for making political jokes that didn’t support the regime. He basically ended their careers for daring satire against Nazi leaders, claiming people didn’t find it funny.

“(I)n their public appearances they displayed a lack of any positive attitude toward National Socialism and therewith caused grave annoyance in public and especially to party comrades,” the New York Times reported the German government claiming at the time.

Sounds familiar.

Kimmel, of course, is not the only comedian speaking out. Jon Stewart has hit back on “The Daily Show,” pretending to be scared into submission, perhaps a hat tip to Finck, who famously joked, “I am not saying anything. And even that I am not saying.”

Stephen Colbert roasted Disney with a very funny parody video. Political cartoonists are having a field day.

And there are plenty of others pushing back. Gov. Gavin Newsom has taken to all-caps rebuttals. Illinois Gov. JB Pritzker, whom Trump called “nothing,” is also vocal in his opposition, especially of National Guard troops in Chicago.

The collective power of the powerful is no joke. It means something.

But all the sober talk in the world can’t rival one spot-on dig when it comes to kicking the clay feet of would-be dictators. Mark Twain said it best: Against the assault of laughter nothing can stand. Which is what makes Kimmel so relevant in this moment.

Can he come back with a laugh — proving we have nothing to fear but fear itself — or are we seriously in trouble?

The abrupt suspension of comedian Jimmy Kimmel’s late-night show on ABC might seem like the least of our worries amid the shuttering of government agencies, the collapse of congressional checks on executive power and bands of ICE agents detaining people on the basis of race or language. But humor matters.

While the news media is sometimes referred to as the fourth estate, alongside the executive, legislative and judicial branches of government, few think of stand-up comedy as a pillar of democracy. But jokes allow a society to mock itself, spotlight uncomfortable truths, bridge differences and say what cannot otherwise be said. Humor is a crucial bulwark of a free society. To play that role, comedians need the leeway to embarrass, provoke and take risks, sometimes crossing the line into offense.

In the wake of Kimmel’s suspension it is hard to imagine any mass market humorist poking fun with abandon that biting satire demands. One of the most powerful salves for people under stress, and a particular lifeline during the Trump era, is the ability to laugh at the ridiculous or unfathomable. Lowering a curtain on comedy will not only dim one of our country’s most treasured cultural forms, but also accelerate the dark turn of American democracy.

Dating back to pre-revolutionary times, political satire has been a mainstay of American culture. Rebellious colonists skewered British taxation policies, military blunders and parliamentary pomposities through plays, songs and cartoons that rallied others to the cause of independence and made mass mobilization fun. Benjamin Franklin’s 1773 “Rules by Which a Great Empire May Be Reduced to a Small One” used irony to lampoon British policy, undermining authority while avoiding direct flouting of the era’s harsh sedition laws. The juxtaposition of a lighthearted format with a pointed commentary has marked America’s comedic tradition ever since, encompassing literary humorists such as Mark Twain and Edgar Allan Poe, satirical magazines like Puck and MAD, political cartooning, vaudeville, radio satire, stand-up and the late-night juggernauts of variety shows, talk shows and, since 1975, “Saturday Night Live.”

While our 1st Amendment tradition has mostly protected satire over the years, it hasn’t prevented heavy-handed politicians from occasionally trying to silence their comedic critics. When Thomas Nast, known as the father of American political cartooning, took on New York City’s Boss Tweed and his Tammany Hall political machine in the 1870s, Tweed reportedly said: “Let’s stop those damned pictures. I don’t care so much what the papers write about me — my constituents can’t read, but damn it, they can see pictures.” But Nast kept up a furious pace of cartooning, hastening Tweed’s downfall on corruption charges.

Charlie Chaplin’s satire of capitalism and authoritarianism in films including “Modern Times” and “The Great Dictator,” alongside his outspoken politics and alleged communist ties, drew FBI surveillance. In 1952 his re-entry permit to the U.S. was revoked, effectively exiling him for nearly 20 years.

Around the world, autocrats have recognized the power of comedians to puncture preferred narratives, undermine authority and stoke dissent. The Nazi regime’s Reichskulturkammer, or chamber of culture, tightly censored cabaret and comedy. Cabaret performer Werner Finck opened a club in 1929 and dared Gestapo members in the audience to write down his every word. Propaganda Minister Joseph Goebbels ordered the venue shuttered in 1935 and sent Finck and his colleagues to a six-week stint in a concentration camp. In the Soviet Union, jokes about Joseph Stalin or the Communist Party were treated as serious crimes against the state, warranting time in the gulag.

In the age of international television and social media the potency, and the perceived threat, of comedy has only grown. Ukrainian President Volodymyr Zelensky built national stature as a television satirist playing a fictional president. His predecessor’s government, which did all it could to derail its political opponents, did not see Zelensky coming; until it happened, few imagined his leap from sound stage to presidential podium. In 2013 the Cairo government issued an arrest warrant for television comic Bassem Youssef, known as the Jon Stewart of Egypt, for jokes about President Mohamed Morsi and Islam. He was hounded into exile and has lived in the U.S. for the last decade.

In an increasingly polarized America, the place of comedy has been under attack from all sides. A decade ago Jerry Seinfeld said he would no longer do shows on college campuses because of ferocious politically correct backlash against his jokes. In 2019 the New York Times announced it would no longer publish political cartoons after apologizing for an antisemitic caricature of Israeli Prime Minister Benjamin Netanyahu. This year the White House Correspondents’ Dinner canceled a planned appearance by comedian Amber Ruffin, the latest in a series of kerfuffles over controversial emcees of that event. The rising cost of reprisals, in the form of offended constituencies, online outrage and direct threats, is increasingly rendering humor too hot to handle.

The public threats issued by Federal Communications Commission Chair Brendan Carr against Kimmel and ABC, based upon comments by the comedian that were neither incendiary nor menacing, marks a sharp escalation in the battle against humor. The immediate capitulation of Disney, one of America’s largest and most revered corporations, is a shocking sign of just how quickly private, independent institutions are melting down under heated threat by a vindictive administration. If a comedian as mainstream as Jimmy Kimmel is not safe from silencing, it is hard to imagine who is.

In helping audiences understand what is happening around them and reckon with their fears, comedy is both a collective coping mechanism and a catalyst for unfettered, clear-eyed thought. Autocrats around the world understand this.

Suzanne Nossel is a senior fellow for U.S. foreign policy and international order at the Chicago Council on Global Affairs and the author of “Dare to Speak: Defending Free Speech for All.”

“Chipocalypse Now.” When the slogan rolled out Saturday, it sounded like a campaign for Chipotle’s latest rebrand of the humble burrito. The reality was less savory. It was a declaration of war, on an American city, by a sitting president, under the guise of a harmless meme.

Referencing the 1979 film “Apocalypse Now,” President Trump’s Truth Social account posted an AI-generated image of the 79-year-old as the much younger Lt. Col. William Kilgore (Robert Duvall’s character in the film). It was captioned, “‘I love the smell of deportations in the morning…’ Chicago about to find out why it’s called the Department of WAR,” a parody of a famous quote from Francis Ford Coppola’s masterpiece. (The original line: “I love the smell of napalm in the morning.”)

The image, meant to look like a movie poster, was emblazoned with the words “Chipocalypse Now” and showed Trump’s image in front of the Chicago skyline, replete with helicopters, flames and a plume of smoke. As for the “Department of War” reference, Trump signed an executive order Friday to rename the Department of Defense, alleging that its old moniker is “woke.” Your tax dollars at work …

Trump’s post generated all manner of concern and outrage, as it should when the White House threatens a military operation on American soil. Illinois Gov. JB Pritzker blasted Trump’s meme via X. “The President of the United States is threatening to go to war with an American city. This is not a joke. This is not normal,” he wrote. “Donald Trump isn’t a strongman, he’s a scared man. Illinois won’t be intimidated by a wannabe dictator.”

Sen. Dick Durbin (D-Ill.), who spoke to reporters while attending Mexican Independence Day celebrations in Chicago over the weekend, called Trump’s post “disgusting.”

It’s no mistake that “Chipocalypse” sounds as innocuous as a bag of Flamin’ Hot Doritos, but subterfuge is the point. The “I’m kidding but not really” tactic has been referred to as memetic warfare, where everything in a manufactured ecosystem like Trump’s appears to be a harmless joke. MAGA has mastered the art, deploying pop culture-inspired memes that feature an AI-generated Trump as Superman, a Jedi or Sydney Sweeney posing seductively for a denim ad. How can such a playful fellow have dictatorial aspirations?!

If you get upset like Sen. Durbin, MAGA insists it’s because you are “humorless and can’t take a joke.” Funnily enough, when California Gov. Gavin Newsom used the same approach to troll Republicans, they weren’t laughing.

Trump wasn’t jokey or fun Sunday when NBC News’ Yamiche Alcindor asked him about the meme on the South Lawn of the White House. He was condescending when he called her “darling” and referred to her question as “fake news.” When Alcindor attempted to respond, Trump snapped back.

“Be quiet, listen! You don’t listen! You never listen,” he said. “That’s why you’re second-rate. We’re not going to war. We’re gonna clean up our cities. We’re gonna clean them up, so they don’t kill five people every weekend. That’s not war, that’s common sense.”

If sense of reason were part of his crime-fighting quotient, his troops would be invading the metro areas with the highest number of murders per capita — New Orleans first, then Memphis, Tenn., and St. Louis. Yet he has left those red-state cities off his list in favor of places run by Democrats.

Trump has talked for weeks about sending ICE, U.S. Customs and Border Protection and other enforcement agencies to Chicago. The president claims it’s to combat out-of-control crime rates and to execute mass deportations. He’s already targeted Los Angeles and Washington. D.C., which like Chicago are under Democratic control.

“The president’s threats are beneath the honor of our nation, but the reality is that he wants to occupy our city and break our Constitution, we must defend our democracy from this authoritarianism by protecting each other and protecting Chicago from Donald Trump,” Chicago Mayor Brandon Johnson wrote on social media.

Trump’s Department of Homeland Security announced Monday that it was launching a surge of immigration law enforcement in Chicago. They came up with another slogan: “Operation Midway Blitz.”

If only that was a stupid meme too.

Tragedy and comedy make freaky bedfellows in “Oedipus the King, Mama!” This latest romp from Troubadour Theater Company turns the Getty Villa’s annual outdoor theater production into a Freudian carnival of psychosexual madness.

In “Lizastrata,” the troupe’s 2021 Getty Villa production, Aristophanes’ “Lysistrata,” the old political comedy in which women declare a sex strike to stop a ruinous war, and that singular showbiz sensation, Liza Minnelli, were merrily united in a lampoon with Bob Fosse flourishes. Here, Sophocles’ “Oedipus the King” and Elvis, the King of Rock ’n’ Roll, are brought together for an equally madcap if less artfully composed mashup.

The Elvis that storms into this ancient land known as Malibu is long past his prime. As impersonated by Matt Walker, the company’s director and comic frontman, he makes the late-career Las Vegas singer look like a spring chicken. Wearing a white jumpsuit adorned with rhinestones and a wig that looks as if some woodland creature had nested on his head, Walker’s Elvis has a bowlegged gait that suggests either a cumbersome protuberance or the early stages of rigor mortis.

There’s a younger version of the character, played by Steven Booth in a cartoon muscle suit and a tunic that makes it easy to flash the audience. But this exhibitionistic Oedipus is the star of the show’s unnecessary preface, a belabored warmup act that should have been cut in rehearsals.

The show feels overextended, as if 45-minutes of comic material had been inflated to fill out a 90-minute slot. The company’s commedia dell’arte-style shenanigans have a natural elasticity but farcical lunacy snaps when stretched too far.

The references to Southern California are unfailingly funny (this Oedipus claims to have started out as the crown prince of Temecula). But there’s something tired about an Elvis parody. The pompadour gag has lost its cultural shelf life. For the TikTok generation, it might as well be Thomas Jefferson who’s crooning “Hound Dog.”

The music still instantly captivates, even if whole swaths of the audience won’t be familiar with the original songs, impudently rewritten for the occasion. A version of “All Shook Up” is brilliantly deployed just as Oedipus is told the truth of his identity by Teiresias (Mike Sulprizio, outfitted to make the blind prophet look like a rejected member of the “Harry Potter” universe.)

How could any son not be shaken to the core after discovering that he not only killed his father but married his mother and sired his own siblings! That’s a lot to take in, as the cast routinely jokes. But denial buys time for a protagonist who’s too busy acting out his Oedipal fantasies to grapple with difficult realities.

The cast of “Oedipus the King, Mama!” at the Getty Villa.

(Craig Schwartz / J. Paul Getty Trust)

The object of Oedipus’ stunted affection is Jocasta (played by Beth Kennedy in a Priscilla Presley wig and the manner of a Southern ex-showgirl turned cougar). Kennedy not only steals the show but comes close to saving it. The comedy isn’t afraid to go low — poor mixed-up Oedipus isn’t yet fully weaned — but Kennedy’s Jocasta never loses her audacious, sexy-mama vivacity.

Rick Batalla, who plays Creon (pronounced crayon here), Oedipus’ straight-shooting brother-in-law, is another standout, eager to show off his own impish Elvis moves. The musical numbers are more elaborate than karaoke acts, but the volume is contained in deference to the Getty Villa’s neighbors, draining the staging of some of its theatrical power.

Scenically, the costumes of Sharon McGunigle and the puppet and prop design of Matt Scott do the heavy lifting. Walker’s direction has a grab-bag aspect, as if the invitation from the Getty Villa came too late to smoothly integrate all the moving parts.

Walker makes a jokey aside to that effect at the start of “Oedipus the King, Mama!” But no one’s complaining. The Getty Villa survived the fires and it can survive this jovial, if half-baked, Sophoclean circus. Levity is what’s needed now, and the Troubies are still funnier than anything AI could come up with, even if the joke is that ChatGPT had a hand in the script.

SHOPPERS have slammed a bargain retail giant after spotting Christmas decor on shelves four months early.

Many have claimed it is “ridiculous” and an “absolute joke” to see the festive decorations so early in the year.

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Despite this August being sunnier and warmer for Scots than normal, The Range is already preparing for the winter months.

And shoppers were left fuming when the retailer showed off its range of Christmas buys that are now up for grabs.

The Range took to social media to share its brand new collection of festive decor, which is already stocked on shelves.

In one Facebook post, the shop showed a number of festive cushions and teddies, including cuddly Christmas puddings, gingerbread men, candy canes, and snowy trains and villages.

There was also a huge collection of different Christmas bedding sets, each with its own theme, and large Santa toys.

Fan favourite festive candles were also on display, as well as diffusers with classic Christmas smells such as gingerbread and cranberries.

Our Christmas candles have officially landed. Because it’s never too early for a little festive magic

The RangeFacebook post

Other pieces of decor for the home were up for grabs, like little gingerbread house ornaments, green glass trees and gold lanterns.

The Range captioned one post: “They’re here… and yes, it’s still summer.

“Our Christmas candles have officially landed. Because it’s never too early for a little festive magic.”

And another post on Facebook read: “Not to sleigh the surprise… but since you asked for MORE, here’s a little festive teaser.

“Too early? Snow way! Our full Christmas collection is coming soon – stay tuned!”

But the posts led to an outcry from shoppers who said it “spoils the magic” by being in shops so early – especially when the summer is still considered to be in full swing.

Many flocked to the comments to blast the shop for selling Christmas decor before the official start of autumn.

One person said: “Have a day off, it’s bloody August!”

Another added: “Spoils the magic of it. It’s ridiculous”.

Someone else wrote: “Absolute joke…”

While a fourth shared: “Ridiculous, it’s not even Halloween”.

And a fifth chimed in: “I love Christmas, but this is far too early”.

How to save money at The Range

THE Range shoppers can save extra cash by using these tips…

Shop, within a shop – In some The Range stores there’s a ‘secret’ shop within a shop.

You can purchase Iceland products in over 85 of the retailer’s branches.

The budget grocery items are a must for plenty of shoppers with hungry mouths to feed back at home.

Shop the sale – Even some of the biggest ticket items are slashed in price if you know when to shop.

A good tip for online shoppers is to use the “offers” tab on The Range website.

It’s where you’ll find deals like this and all the best bargains are saved in one place so you can browse hundreds of products that have been reduced.

It’s also where you’ll find the “Mega Drop”.

Use Facebook – You can use Facebook to your advantage before you head out to shop at The Range.

Like-minded bargain hunters flock to the social media platform to post all about their latest finds and how they managed to score the best prices.

Others, however, seem delighted to get into the Christmas spirit before summer’s over.

A user posted: “Woop woop, skip Halloween and just have Christmas”.

A second commented: “Can’t wait to see the full range of Christmas stock out in shops”.

And a shopper agreed: “Please hurry, I keep popping in to check”.

While a fourth cheered: “Sooooooooo excited, I love Christmas”.

Someone else added: “YASSSSSS, IT’S BEGINNING TO LOOK A LOT LIKE CHRISTMAS!”

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ORDERING your wardrobe online is always a risky business as you never quite know what you’re going to end up with.

And now one fashionista has proven why you might be better off trying on clothes in-store rather than trying your luck online – especially, if it’s a lesser-known website.

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Ahead of a birthday photoshoot, the shopper, only known as Chris, decided to treat herself to a stunning pearl gown she had spotted online.

The jaw-dropping gown, which looked incredible on the model, was advertised by a brand called Divacc – a website which no longer seems to be accessible.

The showstopper of a dress featured a busty neckline and hundreds of pearls of varying sizes, which hugged the tanned model’s body perfectly.

The gown, which appears to have since been taken down along the website, also boasted a sexy thigh-high split, making for a leggy display.

Stunned by how gorgeous the item was, Chris ordered the lavish gown – but much to her disappointment, the contents of the parcel were a far cry from her expectations.

Horrified, the online shopper took to TikTok where she shared the epic fail, leaving millions of viewers in hysterics.

”This is what I ordered for a birthday photoshoot,” she said at the start of the now-viral video.

”And this is w*f I got,” Chris said, as she modelled the actual dress she received in the post.

Unlike the stunning gown advertised online, the real dress appeared to be made out of a flimsy material – and the pearls were simply a printed design.

Although the figure-hugging dress did have a thigh-high split, that was pretty much the only similarity to the luxe gown she had ordered for the photoshoot.

Unimpressed, Chris gave horrified viewers a look of the epic fail from different angles.

”At this point @divacc you gone have to fight me,” Chris wrote in the caption.

Posted just a week ago under the username @vivala_mamacita, the video has already gone viral, winning the young beauty more than a whopping 11million views.

As over 20,000 people gave it a like, thousands flooded to comments in total disbelief.

One fast fashion fan said: ”Even SHEIN can’t do dirty like this.”

Many also shared their best jokes, with one viewer laughing: ”They sent the pdf version.”

”Girl did you order it or did you download it,” someone else wanted to know.

”The store is called DIVACC cause what DIVACC did you order,” another was in hysterics.

”I set my expectations low but this hit on another level,” a viewer couldn’t believe how bad the gown turned out to be.

Chris, who has since made a gorgeous pearl gown herself, went on in the comments: ”I saw it on Pinterest and went through their site on there. It’s Called Divacc.

”I’ll only be sticking with companies I’m familiar with from now on.”

From the outside, it appears that Ralph Barbosa has it all.

Aside from A-list comedian status hanging with superstars like Dave Chappelle, he’s known to show off his garage full of his favorite cars (even a few that actually run, he says), and he has a brand new comedy special on Hulu, “Planet Bosa,” that premiered earlier this month.

But following the release of his new hour, Barbosa claims he’s “broke.”

For comedians, specials aren’t just a celebration of your success, they’re also a funeral for your best material. Though he’s dubbed his latest trek across the country the Bean Without a Cause Tour, he’s also back to square one — a comic without new material, or at least not much of it. “I’ve got about 10 minutes [worth of jokes] to my name, I’m broke — comedy-wise, I’m broke,” he says with a sly grin. “It’s the funnest place to be.”

It’s a feeling most comics can relate to, though few in the last couple years have been on the ride Barbosa’s been on. Coming out of relative obscurity from the Dallas comedy scene, he garnered viral fame by being dissed and then apologized to by comedy legend George Lopez, who didn’t know who he was at the time despite Barbosa being at the forefront of the next wave of Latin comics, thanks in large part to a breakout set on Don’t Tell Comedy. Garnering nationwide buzz since his debut Netflix special “Cowabunga,” his latest hour on Hulu finds the 28-year-old reaching the top of his game.

Aside from getting more comfortable on stage, the spark of energy in this new phase of his career is a welcome surprise from a guy whose schedule barely leaves time for sleep. Yet somehow he’s still managed to squeeze in a second side career working on cars on his YouTube Channel Formula Bean. Recently, Barbosa spoke with The Times about finding his comfort zone in comedy and touring in honor of friend and fellow comedian Ken Flores, who was set to tour alongside Barbosa and comedian Rene Vaca before his tragic death earlier this year. He also discusses one of his more important challenges, writing cleverly authentic jokes about the shocking ICE raids that have led to widespread detention and deportation of immigrants. But it wasn’t just a laughing matter for Barbosa, who also helped people affected by the raids for a period of time by donating money to people who reached out to him directly through social media.

“I don’t like that people are getting separated from their families when they’re hardworking people,” the comedian said. “They’re people who go to a whole new country to learn the language and a whole new environment, in search of a better life, and it’s considered illegal.”

Usually when we do these interviews about comedy specials, they happen before the special is released. Now that “Planet Bosa” has been out on Hulu for almost two weeks, what’s it been like seeing the reaction to it and did it match what you were hoping for?

A lot of my fans have been watching it. There’s been a few people that reached out to me saying that they found me through [watching it], which feels really good — it’s what you want from a special. I feel like Spider-Man on “Spider-Man 3” when everybody’s cheering his name and he’s like, “They love me!” It feels good.

When I talked to you a couple years ago, it was right before your first special, “Cowabunga,” and I noticed with “Planet Bosa,” the energy just feels different. You’re more animated, you’re doing voices and stuff that I think people maybe weren’t used to seeing from you. How did you wanna change up your style or advance it this time around?

I think I just got more comfortable. When I did that first special with Netflix, I was really super nervous. I’d never shot a special before. Everything that’s been going on in my life, I feel like it came at me really fast. I feel I’m still very — especially compared to other comics — I’m very much like a rookie comic. Especially a rookie as in like a full-time comedian working in the industry. So like that first special, I was really nervous, I was very tense. I still had a lot of fun with it, don’t get me wrong, but I was really sticking to the script. By the time we taped this special, I’d been on the road so much, and my feet were a little more wet, so I was just more comfortable. So I think that one is me being myself more, this “Planet Bosa” is just like me being myself more.

What’s cool about what’s going on now in comedy with I feel is a very strong wave of Latin comedians like you, Rene Vaca, you had that obviously with the late comedian Ken Flores. What’s it like to be able to have that group around you of comedians?

I’ve always been a little introverted, though, especially with other comics, like I get kind of nervous. Rene helped me get out of that. Rene and Ken were always super close and they were always inviting me to stuff and I would always be too nervous to go. I used to be really intimidated by them. But once I met them and hung out with them a couple times, I realized that we’re a lot alike. Like we were the exact same age, the three of us. The three of us were all born in ‘96. I feel like we shared a lot of the same fears and anxieties, a lot the same stresses and family situations. I consider myself very lucky to be able to hang out with them. And I’m very lucky to still get to hang with Rene.That dude’s a fool, man — I love him.

“By the time we taped this special, I’d been on the road so much, and my feet were a little more wet, so I was just more comfortable,” Bosa says when talking about his latest hour on Hulu. “So I think that one is me being myself more, this ‘Planet Bosa’ is just like me being myself more.”

(Jason Armond / Los Angeles Times)

Obviously, it was rough going on that tour with Rene because of the loss of Ken who was going on the road with you as well. But given what you guys had to go through emotionally and sort of mentally to press on, was it like looking back on completing that tour and doing things the way that Ken would have wanted?

I felt like that was our way of letting Ken get his proper rest. We found out Ken passed away on the day we were supposed to sign the paperwork to finalize all the tour details, which was heartbreaking. He passes away right before we’re supposed to start this tour together, the three of us. And now as we’re dealing with that within those same few days, we had to make a decision. They were pressuring us to make the decision do we still wanna do the tour or not. And so you don’t even wanna talk about that stuff. But I think me and Rene both knew that Ken would have wanted us to do it. Ken would’ve probably been really ashamed of us if we got all sad and just didn’t do it. Also I think it helped out his family a lot because we still gave his cut to his family. So I think we needed to do that for Ken. And I mean, it was still a fun tour. It was bittersweet, because every time we’d have a really fun night and we’re all laughing, we’d all have a moment where we knew it would be that much better if Ken was also here. But I know he was there in spirit, you know what I mean? I think Ken is anywhere Rene is. I think those two are inseparable. So anytime we’re with Rene, I still feel like Ken’s there too.

Why do you feel like the perspective you’re bringing along with Rene as the next generation of Latin comedians is important to be heard at a time in this country with so much going on politically with immigration?

I don’t necessarily think it’s important to get my voice out there but I do like making jokes about [ICE and immigration] because that’s like the only way I know how to bring attention to it. I’m not a big political dude or anything like that, but yeah, I’ve made jokes about things like immigration stuff, ICE stuff. But I guess that is my way of getting attention on that issue. I would like people to get attention on it. I feel like there’s certain topics, certain subjects that you can’t avoid after a certain point. We should talk about it, or we should at least put it in the faces of the people who aren’t gonna talk about it. Like if you’re not gonna talk about it that’s fine too, but you at least gotta hear about it.

“It was bittersweet, because every time we’d have a really fun night [on tour] and we’re all laughing, we’d all have a moment where we knew it would be that much better if Ken was also here,” Bosa says about missing his late friend and fellow comedian Ken Flores. “But I know he was there in spirit.”

(Jason Armond / Los Angeles Times)

One thing you mentioned that you were doing for a period of time was to help people affected by have family members detained during ICE raids by donating money to people who contacted you on Instagram asking for help to pay their bills. What inspired you to do that?

What I ended up doing is just sending hot dogs from Five Guys to all the families in need. I sent out over 180 hot dogs — I’m kidding. No, I sent out money. I hope it helped people out. I hope I wasn’t just getting scammed the whole time. I’m sure I got scammed by a good number of people. But I let people know that if they were affected by the ICE raids in any way and were behind on rent or groceries or if maybe the main provider in someone’s house was taken away or just going through something like that just to let me know and I’ll send what I can. I didn’t think I’d get as many messages as I got — I got a lot. I got to as many as I could and I sent out a lot of money before it started getting a little dangerously low on my end. Like, what’s the point of having money and having fans if like other people can’t enjoy it too? So I’m sorry for those of you that I wasn’t able to get to, and I hope the ones that I did get to were helped, even if it was just a bit. I don’t like that people are getting separated from their families when they’re hardworking people, they’re people who go to a whole new country to learn the language and a whole new environment, in search of a better life, and it’s considered illegal. Like I said, I don’t know about laws and government. I’m sure someone’s watching this thinking I’m just an ignorant idiot, but I don’t know, man. It just seems f—ed up to me.

“I don’t like that people are getting separated from their families when they’re hardworking people, they’re people who go to a whole new country to learn the language and a whole new environment, in search of a better life, and it’s considered illegal,” Barbosa says in regard to the recent ICE raids across the country.

(Jason Armond / Los Angeles Times)

It’s also about being able to deal with the situation by laughing about it. And that even includes making jokes about not being considered “Mexican enough” by immigrants and getting fed up enough to say “Go home! Well, not to your home.”

I think I fall under that category, there’s a saying in Spanish — “ni de aquí, ni de allá.” It means “not from here or from there,” it’s like the middle ground… I feel like it’s given me perspective — I hope it has at least, I don’t know. Sometimes I don’t know when I’m being ignorant or not. That’s why I tell people don’t take me too serious, because I don’t really take myself too seriously.

I don’t know how you really can as a comedian. You gotta be able to laugh at yourself, right?

That’s what I’m saying. But people still get angry in my comments just cause I make stupid jokes — I don’t understand it.

Is there any key piece of advice you’ve gotten from a comedian that you’ve looked up to that has helped you in your career?

Yes and no. Because every comedian’s so different… So not everybody’s advice works. It could sometimes work for you. My favorite advice has probably been from [Dave] Chappelle, “You just gotta keep getting on stage. Just keep getting out on stage. Keep working on material.” You gotta get the reps. There’s no shortcuts to it.

Even though you’ve been doing it now so much, has there been a time on stage, more recently, where you’re nervous?

I’m always nervous, and I’m always messing up jokes. I don’t think the audience can always tell, but in my mind, I’m messing them up.

You’re very even keel on the surface, so the fact that you say that is also kind of surprising.

Nah, I’m up there freaking out, man. Well, in a good way, you know? It’s fun. I’m always nervous. But it’s part of what makes it fun.

And when you’re not on the road, I know you’re working a lot with cars. Can you talk about your YouTube channel Formula Bean that’s all about fixing up old cars?

Over a year ago, I started hanging out with an automotive content creator. His name’s Luis Cisneros, the dude’s crazy smart. He’s showing me how to work on my own cars and he would make car content about it. And I asked him if I could make content with him too. I feel like everybody’s a content creator nowadays. I feel content is key, whether it’s, whatever type it is. I have a lot of fun working on cars and recording us doing stupid things with cars. So we made a YouTube channel called the Formula Bean. And we named it that because Formula One is like the pinnacle of automotive racing, like top of the line cars, top of line drivers, top of the line engineers. But ours is more Formula Bean because it’s just a couple of Mexicans in a garage on some Facebook Marketplace projects. The stuff we do, I think it’s stuff that most people can watch and be like, “Oh, I can learn how to do that easy.” So I’m hoping that’s what is getting across.

Comedian Ralph Barbosa

(Jason Armond / Los Angeles Times)

Do you feel like cars and comedy have some sort of correlation, like in terms of just working on them, or do you keep it like totally separate?

Nah, I keep it totally separate. I need something different than comedy so that I could continue to enjoy comedy. I get tired of stuff fast, man. If I’m really into one thing — I can hyper-focus on it. I’ll zone in on this one subject for a while, but I can’t keep it long-term. I need to do cars and zone in on cars for like a good month and a half, and then I need to go back into just straight up comedy mindset.

Never a combo? I was thinking like a Jerry Seinfeld like “Comedians in Cars Getting Coffee” type of thing?

I mean maybe if a comedian wants to come hang out, but I’m not gonna talk a whole lot of shop …

No “Comedians in Cars Getting Frustrated”?

Nah. I need cars to completely distract me from comedy so that I can come back to comedy with fresh eyes.

You mentioned that you only get about an hour and a half of sleep a night. When do you rest?

Whenever I just crash out, like randomly — and people get mad. Cuz they don’t know I guess but like I’ll be falling asleep at random events. I’ve never been the type of person like I can just put on my pajamas and lay down in the bed. I feel unproductive. I feel I need to go until I’m done thinking or until my brain just goes kaput. So even though we’re working on stuff, I feel like my mind is always thinking about other stuff when it can. I don’t really knock out until my body’s just like, “alright f— this, bro, I’m done.”

You’re on your second special on a major platform, you are selling out all over the country. Is there more that you feel like you still want to do?

I need a new hour, that’s all I know right now. I need a new hour of jokes. I got like 10 minutes to my name. Comedy-wise, I am broke. This is the funnest place to be, square one.

Whether it’s leaning into AI-generated images or President Trump’s signature all-caps style, Gov. Gavin Newsom’s social media accounts have been firing left and right in recent weeks.

The latest target? None other than rock ’n’ roll figure and avid Trump supporter Kid Rock.

In a post on Sunday to X, Newsom’s official account shared an AI-generated image of the rock-rapper, whose legal name is Robert James Ritchie. In it, he wears his finest Uncle Sam garb and points at viewers, issuing a statement: “Kid Rock wants YOU to support Gavin Newsom.”

Text mimicking the social media style that President Trump has become known for accompanied the post: “I ACCEPT! — GCN.”

The 54-year-old artist waited less than an hour to respond, quickly clearing up that he did not, in fact, support the California governor.

“The only support Gavin Newscum will ever get out of me is from …,” he wrote, and ended his statement by referencing a portion of his anatomy.

On Monday, the press office account would respond by stating, “I HATE KID ROCK !!! — GCN.” Some users suspected that it was an allusion to President Trump’s use of an AI Taylor Swift endorsement in the lead-up to the 2024 presidential election.

In September 2024, Trump wrote “I accept!” over a series of AI-generated images of Swift fans posted to his own social media site Truth Social. The post used a fake image of Swift wearing Uncle Sam’s signature attire.

On Tuesday, Newsom’s account continued the bit. The post on X said, “HAS ANYONE NOTICED THAT SINCE I SAID “I HATE KID ROCK” HE’S NO LONGER ‘HOT?’ — GCN.”

There’s been no response — yet.

Feedback is the seasoning that flavors the success of our favorite TV shows. Whether it’s from an executive, a trusted colleague or the actors, advice can shape tone, pacing, plotlines and character arcs — all of which can make or break a series. We asked some of this year’s Emmy contenders how creative collaborations provided the notes to their success.

“The Diplomat”

Allison Janney in “The Diplomat.”

(Netflix)

To create the unrelenting tension in the Netflix political drama, which was inspired by conversations with real diplomats, creator Debora Cahn turned to advice from “Homeland” showrunner Alex Gansa: “He said take whatever story that you’re planning in the last episode of the first season and do it in the first episode. And I was like, ‘Ooh, s—.’” The result hurls lead Kate Wyler (Keri Russell) into high-stakes chaos, none wilder than her clash with the vice president (Allison Janney) and a jaw-dropping Season 2 twist. “I was embarrassed to pitch it to the writers’ room. It was an unspeakably dumb idea and a bad cliche, but I had to get it off my chest. We looked for other things, but we kept coming back to it and realized that it did the thing that you really want a plot to do, which is it changes everything.”

“Monsters: The Lyle and Erik Menendez Story”

Nicholas Alexander Chavez, left, Cooper Koch and Javier Bardem in “Monsters: The Lyle And Erik Menendez Story.”

(Miles Crist / Netflix)

“In researching [the Menendez brothers case], [co-creator] Ryan [Murphy] mentioned, ‘I think this story is [Akira Kurosawa’s] “Rashomon.”’ That was the one note I was like, ‘Oh, I totally get this now,’” says co-creator Ian Brennan of the Netflix limited series. “We’re never going to know what the true story is, but that became a really good guiding light because we made sure that when we’re telling an aspect of this story that’s disputed, we’d go back and tell it the other way,” he says. “What we’re doing is based on as much truth as we can find, but I feel like you’re obliged to take some liberty. It’s not only to tell a story that’s entertaining but to get to those deeper truths that are sometimes occluded by the mundanity of some facts. It’s a painting, not a photograph.”

“Only Murders in the Building”

Steve Martin, left, Selena Gomez and Martin Short in “Only Murders in the Building.”

(Eric McCandless / Disney)

Creator John Hoffman says the idea for Hulu’s mystery-comedy came to him during the pandemic, when everyone was afraid to step outside their door. “This show is about lonely New Yorkers who found a connection between true crime and a death in their building,” he says. But his chief concern was injecting soul into the punch lines. “When I was talking about my ideas for how to make it more connective and humorous, I wanted the comedy to come from humanity as opposed to jokes and behavior. I was deeply surprised by everyone’s response, from the studio, the network and [executive producer] Dan Fogelman, that they wanted to lean into that more profound connective tissue that was more unexpected and dramatic at times,” he says. “There are a lot of personal things in that first season that I thought, ‘Well, that’s going to get me fired.’ But they accepted it.”

“Slow Horses”

Gary Oldman in “Slow Horses.”

(Apple TV+)

“[Executive producer] Graham Yost was always very clear that we should focus on adapting Mick Herron’s work and not just use it as a launchpad for some kind of offshoot,” says creator Will Smith of the clever Apple TV+ show, which follows a group of disgraced MI5 agents. “Whenever we got stuck in the room, Graham’s watchword would be, ‘Well, let’s look at what Mick wrote,’ and we would go back to the book and figure it out from there. So the tone of the books infused the scripts.” The outcome is a nail-biter of a tale with humor smuggled in like contraband. ”Our fabulous exec Jamie Laurenson and our brilliant [Season 1] director James Hawes both understood that nothing should ever feel like a joke, nothing should feel gratuitous or crowbarred for a laugh. It should all be thrown away, underplayed, said on the run.”

“What We Do in the Shadows”

The cast of “What We Do in the Shadows.”

“There’s a part of me that feels like it’s cheating, but it really helps,” says showrunner Paul Simms of the mockumentary shooting style behind the hilarious FX series, which portrays the awkward lives and bizarre pitfalls of centuries-old vampires. “If you’re writing a narrative show that’s not documentary format, people’s motivations have to come out in their dialogue. With this, you can have characters very directly and, in a very funny way, state their motivations.” Unlocking its full bite of wit were two keys. “One great thing about this format is that you’re not hamstrung by little continuity details in the edit. You can do jump cuts and jam in as much funny stuff without having to worry,” Simms says. The other, a network note: “From the beginning, FX and John Landgraf were saying the vampire stuff is fun, but it can’t be all vampire jokes. So our approach every season was to go in new directions and create constant tension.”

Pat Sharp, best known as being the host of the 90s children’s show Fun House was dramatically axed from his radio show after making a crude joke to a woman live on stage

Radio DJ and Fun House host Pat Sharp was axed from his radio show after making a ‘humiliating’ joke that saw him lose his job. The TV legend, best known for being the face of the 90’s childrens show fun house, presented his segment on Greatest Hits Radio from 2019.

However the 63-year-old had made a joke to a woman live on stage at an awards show where he reportedly jibed about “getting on your t**ts” and handed her a T-shirt with his face on it, according to Daily Mail. The T-shirt had an old photo of Pat with his classic mullet hairdo and the caption: ‘Pat Sharp – AS SEEN ON FUN HOUSE – LOOKING SHARP SINCE 1982’.

But the joke backfired after she took to social media afterwards in 2023, and said she fel “violated” in front of around 400 colleagues and friends. She noted: “I was in complete shock and hadn’t really processed what happened. Today I am struggling with it – I feel sad, dirty and, frankly, violated.”

READ MORE: Pat Sharp’s Fun House twin unrecognisable pulling pints in her local Wetherspoons

This led to the radio DJ being dramatically taken off air as Greatest Hits Radio announced that his contract was due to expire at the end of the month and they had made the decision not to renew. They added that he would not return to the show with “immediate effect”.

A spokesperson for Bauer, which owns Greatest Hits Radio, said: “Due to the introduction of new weekend programming, a decision had already been made not to renew Pat’s contract which comes to an end later this month. However with this issue now having been brought to our attention, we have agreed with Pat that he will not return to the station with immediate effect.”

In a statement issued to The Sun, Pat said: “I made a joke on stage which was not well received. I upset one individual in particular and for that I am truly sorry. I apologised at the event to anyone who was offended and I have apologised to the individual personally too.”

Other than Greatest Hits, Pat has previously hosted programmes on Radio 1, Capital FM, Smooth Radio and Heart, as well as presented some episodes of music TV show Top Of The Pops in the 1980s. Since the incident, Pat has stayed under the radar but has been keeping fans updated with his life on Instagram. He posts snapshots of him with his grandchildren and some throwback pictures of him in his heyday.

In one Instagram video, the grandad shared dozens of images of his grandchildren having fun in the pool, playing games and roaming the park in a post captioned ‘Grandkids galore’. When he wasn’t spending time with the grandkids, Pat appeared to be taking some time away at Windermere in the Lake District in July and enjoying trips to the beach in Watergate Bay in Cornwall with his wife Monica.

Earlier this month Pat was advertising an 80s tribute gig Ultimate 80’s Reloaded in Torquay with himself alongside another DJ Max Corderoy. Sharing tickets to book on his Facebook page, the event described itself as “non-stop nostalgia” with “a pulsating mix of 80’s hits”.

Earlier this year, Pat took part in a handful of other gigs – including Music in the Park in Leyland, Lancashire, in May, and at Butlin’s Big Weekenders and Lets Rock Leeds retro festival, both in May.

An earlier version of this story was published in September 2023.

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It’s been 50 years since “Jaws” ruined that summer, spawning a fleet of increasingly dreadful sequels and knockoffs, turning a simple fish into a movie monster, and a dozen since “Sharknado” turned the monster into a joke. Sharks had been swimming in the culture before that, to be sure, often with the prefix “man-eating” appended, though men eat sharks too, and way more often — so who’s the real apex predator? And even though they are not as naturally cute as our cousins the dolphins and whales — I have never heard of one balancing a ball on its nose — they have also been made adorable as plush toys and cartoon characters.

“All the Sharks,” premiering Friday on Netflix, is a competition show in which four teams of two vie to photograph the most, and the most different, species of sharks, across two eight-hour days, and are set loose in the waters off Japan, the Maldives, South Africa, Australia, the Bahamas and the Galapagos Islands. And, brother, are there a lot of varieties — hammerhead shark, walking shark, whale shark, tawny nurse shark, pajama shark, pelagic thresher, tiger shark, tasselled wobbegong shark, puffadder shy shark, baby shark, mommy shark and daddy shark, to name but a few. (There are 124 species of sharks in Japanese waters, we’re told, and 200 off South Africa.) Points are awarded according to the rarity or abundance of the species in each location. These sharks are neither monsters nor jokes, though at least one contestant finds the banded houndshark “freaking adorable … their little cat eyes, their subterminal mouth.”

As competitions go, it is friendly, like “The Great British Baking Show” or “MasterChef Junior.” There’s no way to sabotage your opponents, no strategy past guessing where the sharks might be running, eating or hanging out. The purse — $50,000 — goes to the winners’ chosen marine charity, though prizes are also awarded to the top-scoring team in each episode. (Cool gear, seaside vacations.) Winning is not so much the point as just staying in as long as possible — because it’s fun. Sometimes things don’t go a team’s way, but no one has a bad attitude.

“All the Sharks” is hosted by Tom “The Blowfish” Hird, far left. The competitors are Randy Thomas, Rosie Moore, Aliah Banchik, MJ Algarra, Dan Abbott, Sarah Roberts, Brendan Talwar and Chris Malinowski.

(Netflix)

Naturally they are good-looking, because this is television, and fit, because you need to be to do this; most have professional expertise in fishy, watery or wild things. (They certainly know their sharks.) Brendan (marine biologist) and Chris (fisheries ecologist) are a team called the Shark Docs. Aliah (marine biologist specializing in stingrays — which are closely related to sharks, did you know?) and MJ, identified as an avid spearfisher and shark diver, comprise Gills Gone Wild; they met at a “bikini beach cleanup” and have been besties ever since. British Bait Off are Sarah (environmental journalist) and Dan (underwater cameraman), who like a cup of tea. And finally, there are the Land Sharks, Randy and Rosie. Dreadlocked Randy, a wildlife biologist, says, “I was always one of the only Black guys in my classes … I got that all the time: ‘Oh, you’re doing that white boy stuff’ and it’s just like, ‘No, I’m doing stuff that I love.’” Rosie, an ecologist who specializes in apex predators, wants to show girls it’s “OK to be badass … work with these crazy animals, get down and dirty.” She can hold her breath for five minutes.

The show has been produced with the usual tics of the genre: comments presented in the present tense that could only have been taped later; dramatic music and editing; the “hey ho uh-oh” narrative framing of big, loud host Tom “The Blowfish” Hird, with his braided pirate’s beard, whose website identifies him as a “heavy metal marine biologist.” Footage of great white sharks — the variety “Jaws” made famous — is inserted for the thrill factor, but none are coming.

But whatever massaging has been applied, “All the Sharks” is real enough. The contestants deal with rough seas, strong currents, jellyfish and sundry venomous creatures, intruding fishermen, limited air, sinus crises, variable visibility and unexpected orcas. And the sharks — who do not seem particularly interested in the humans, as there is no lack of familiar lunch options — do sometimes arrive in great, unsettling profusion. (There’s a reason “shark-infested waters” became a phrase.) Meanwhile, the ocean itself plays its ungovernable part. In their enveloping blueness, dotted with colorful fish and coral reefs, the undersea scenes are, in fact, quite meditative. (Humans move slow down there.) Someone describes it as like being inside a screen saver.

In the bargain, we learn not a little bit about shark behavior and biology, and there is an implicit, sometimes explicit, conservation theme. Each encountered species gets a graphic describing not only its length, weight and lifespan but the degree to which it is or isn’t endangered — and, sad to say, many are.

Strumming a black acoustic guitar to match his black tuxedo pants and jacket, Hugh Jackman strolled onto the stage of the Hollywood Bowl and let the audience know precisely what it was in for.

“Little bit of Neil Diamond,” he said as the Hollywood Bowl Orchestra revved up the go-go self-improvement jive of “Crunchy Granola Suite.”

A dedicated student of showbiz history, the Australian singer and actor was starting his concert Saturday night just as Diamond did half a century ago at the Greek Theatre gig famously captured on his classic “Hot August Night” LP.

Yet Diamond was just one of the flamboyant showmen Jackman aspired to emulate as he headlined the opening night of the Bowl’s 2025 season. Later in the concert, the 56-year-old sang a medley of tunes by Peter Allen, the Australian songwriter and Manhattan bon vivant whom Jackman portrayed on Broadway in 2003 in “The Boy From Oz.” And then there was P.T. Barnum, whose career as a maker of spectacle inspired the 2017 blockbuster “The Greatest Showman,” which starred Jackman as Barnum and spawned a surprise-hit soundtrack that went quadruple-platinum.

“There’s 17,000 of you, and if any of you did not see ‘The Greatest Showman,’ you might be thinking right now: This guy is super-confident,” Jackman told the crowd, panting ever so slightly after he sang the movie’s title song, which has more than 625 million streams on Spotify.

The success of “Showman” notwithstanding, Jackman’s brand of stage-and-screen razzle-dazzle feels fairly rare in pop music these days among male performers. (The theater-kid moment that helped make “Wicked” a phenomenon was almost exclusively engineered — and has almost exclusively benefited — women such as Ariana Grande, Cynthia Erivo, Chappell Roan and Laufey.) What makes Jackman’s jazz-handing even more remarkable is that to many he’s best known as the extravagantly mutton-chopped Wolverine character from the Marvel movies.

Before Jackman’s performance on Saturday, the Hollywood Bowl Orchestra, conducted by Thomas Wilkins, played a brief set of orchestral music that included selections from John Ottman’s score for “X2: X-Men United.”

The ascent of Benson Boone, with his mustache and his backflips, suggests that Jackman may yet find inheritors to carry on the tradition he himself was bequeathed by Diamond and the rest. But of course that assumes that Jackman is looking to pass the baton, which was not at all the impression you got from his spirited and athletic 90-minute show at the Bowl.

In addition to stuff from “The Greatest Showman” and a swinging tribute to Frank Sinatra, he did a second Diamond tune — “Sweet Caroline,” naturally, which he said figures into an upcoming movie in which he plays a Diamond impersonator — and a couple of Jean Valjean’s numbers from “Les Misérables,” which Jackman sang in the 2012 movie adaptation that earned him an Academy Award nomination for lead actor. (With an Emmy, a Grammy and two Tonys to his name, he’s an Oscar win away from EGOT status.)

Hugh Jackman with members of the L.A. Phil’s Youth Orchestra Los Angeles on Saturday night.

(Timothy Norris)

For “You Will Be Found,” from “Dear Evan Hansen,” he sat down behind a grand piano and accompanied himself for a bit; for the motor-mouthed “Ya Got Trouble,” from “The Music Man” — the first show he ever did as a high school kid, he pointed out — he came out into the crowd, weaving among the Bowl’s boxes and interacting with audience members as he sang.

“I just saw a lot of friends as I went through,” he said when he returned to the stage. “Hello, Melissa Etheridge and Linda. Hello, Jess Platt. Hi, Steph, hi, David, hi, Sophia, hi, Orlando — so many friends. Very difficult to say hello to friends and still do that dialogue.” He was panting again, this time more showily. “It’s like 53 degrees and I’m sweating.”

The show’s comedic centerpiece was a version of John Denver’s “Thank God I’m a Country Boy” that Jackman remade to celebrate his roots as an “Aussie boy.” There were good-natured jokes about shark attacks and koalas and Margot Robbie, as well as a few pointed political gibes, one about how “our leaders aren’t 100 years old” — “I’m moving on from that joke fast,” he added — and another that rhymed “Life down under is really quite fun” with “I never have to worry: Does that guy have a gun?”

The emotional centerpiece, meanwhile, was “Showman’s” “A Million Dreams,” for which the Hollywood Bowl Orchestra was joined by 18 members of the Los Angeles Philharmonic’s Youth Orchestra Los Angeles. The song itself is pretty cringe, with a lyric bogged down by cliches and a melody you’ve heard a zillion times before. But Jackman sold its corny idealism with a huckster’s sincerity you couldn’t help but buy.

Ricky Gervais is living his best life right now. Even when he’s busy talking about death. On Saturday his new tour, Mortality, arrives at the Hollywood Bowl, where thousands will hear him tackle hilariously macabre commentary about life — and the end of it — through his signature blend of dark humor, empathy and razor-sharp commentary. His last appearance at the Bowl in 2023 with Armageddon earned him a Guinness World Record for the highest-grossing single stand-up performance — so, no pressure.

Gervais is also known for turning awkward pauses and brutal honesty into comedy gold, so it’s only fitting that after such a long career full of accolades that he would also finally earn a coveted spot on the Hollywood Walk of Fame on Friday. As Hollywood honors the man who’s roasted its elite with such precision, to be roasted for eternity by the Hollywood sun sounds fitting.

It’s not all about receiving: Giving back matters to Gervais and he’s doing that by helping spotlight the next wave of comedic talent through the Spirit of Comedy — a U.K. stand-up contest presented by Dutch Barn Vodka, which he happens to co-own. With a star on the Walk of Fame, a massive show at the Bowl, and a platform for rising comics, Gervais is fully owning his Hollywood moment. But he needs to be home by 6 p.m.

You’ve spent your career pushing comedy boundaries, has there ever been a moment where you thought, “Oh yeah, I’m going to have to defend this one?”

Oh no, it all comes and goes. It’s cyclic. People get nervous and that’s just always been there from day one. People get worried and then I say, well, this is why it’s OK. Sometimes it’s an executive producer or a broadcaster who just wants some ammunition to defend it. Because sometimes, they don’t know whether it’s OK or not, they just don’t want to get complaints. If I can go “listen, this is why it’s OK,” then they often trust me because I can defend it. It’s not me sitting in the room going, “what’s the most offensive thing I could say to get the BBC burned down?” There’s always a point to it. Offense often comes from people mistaking the subject of a joke with the actual target, and they’re not usually the same.

It sometimes feels like comedians, whose job it is to joke, are being held to a higher standard when it comes to what is “offensive.”

We’re human, so we react to buzzwords and we’re cautious of taboo subjects. That’s why they’re still taboo, because we’re cautious of them. I do that on purpose as well, particularly with my stand-up where I talk about contentious issues and taboo subjects because I do want to take the audience to a place they haven’t been before. I do want them to reflect on it, worry about it, think about it and then, I’ve got to misdirect them. It’s like I take them by the hand through a scary forest but it’s OK because they always laugh. If I were going out there and saying things that were really offensive, and no one was laughing, well, that would be odd. That’s what politicians do. Politicians say awful things and they mean it, and no one laughs. Comedians say things they don’t mean, everyone laughs and they get the same treatment.

But you have to have free speech, and there’s nothing you could say that someone somewhere won’t be offended by. It’s impossible so you shouldn’t even try. I don’t go out there and try to ruin the audience’s evening, I go out there and I make a joke and it’s crafted. We’re human though and we take things personally, but you shouldn’t because I think comedy is best as an intellectual pursuit.

“Comedy is best as an intellectual pursuit” sums you up because you’re not careless. There’s a formula to it all.

Exactly. You should go “well, that’s a bad subject and I don’t agree with the punchline, but does it work comedically?” It’s a magic trick. It is a formula. You can’t argue with chemistry. No one goes, well, I know I laughed, but I don’t agree with it. Well, it did what it does. That’s the joke and I’m not gonna change the joke or meaning. I think the only form of censorship, as an audience, is your right not to listen. You just don’t have to watch. You can leave, not buy my stuff, not buy my tickets, and that’s absolutely fine.

You can turn your own TV off, but what you can’t do is make other people turn their TV off. That’s the difference. And then, people will complain about something you’re doing in the privacy of your own home, even if they have to go up to their attic and stand on a stepladder and look through binoculars to see it. They will find it. People sometimes seek out the offense and that’s actually where people can get addicted to being offended. They like it, it makes them feel alive. The news even picks up Twitter! They say, “Oh, fans weren’t happy!” Three fans weren’t happy.

“I don’t go out there and try to ruin the audience’s evening, I go out there and I make a joke and it’s crafted,” Gervais said. “We’re human though and we take things personally, but you shouldn’t because I think comedy is best as an intellectual pursuit.”

(Andy Hollingworth)

Tweets making headlines is why we can’t have nice things. I wanted to ask about the Spirit of Comedy contest, where the winner gets to open for you at OVO Arena Wembley. How did all of this happen?

I know, it’s mad! I’ve never done anything like this before and I’ve turned down loads of things, but this co-ownership with [the show’s sponsor] Dutch Barn Vodka is different. When we met, we first bonded about the company being really ethical. It was sustainable, it was recyclable, they used British apples, they were vegan, they paid their workers really well—they were really trying to be good, and I like that. They said they wanted me to make it famous, make it a global brand, and that I could do the advertising, which really interested me. I do all of my own trailers, I write all my own stuff, so that was exciting creatively. What a great nut to crack.

The business side of it sort of came last, but it all made sense too. The main thing about it was I felt I could sleep at night, and I could still have fun. That’s all I really cared about. The contest was actually all Dutch Barn’s idea and when they were asked about the contest they said something like, “Well, we know Ricky’s not going to last forever.” Maybe they’re finding my replacement? How cruel and ironic would that be?

Well, at least you can go down knowing you broke a record at the Hollywood Bowl.

Yes! It was two years ago, and I just put out a tweet because it broke the record for a single gig. I don’t know why I’m doing it again. I did it once, it was frightening, I broke the world record and it was great. Why would I do it again?

Ricky Gervais speaks at the 77th Golden Globe Awards on Jan. 5, 2020, at the Beverly Hilton Hotel in Beverly Hills.

(Associated Press)

Because we love you in L.A. and it’s been too long. That’s why.

I haven’t been avoiding it, it’s just a long way so I try to do as much as I can while I’m there. I sort of work out of London now and also, it gets harder with jet lag. I’m 63! Jet lag lasts about a week now! Everything is worse, isn’t it? I’m offered really cool things every day, flying around the world and I just think, is it better than me sitting on the couch with my cat and my girlfriend watching Netflix? No. It has nothing to do with anything else other than how valuable your time is and how you wanna spend it.

Is that why you named your tour “Mortality”? Are you planning?

Sort of. There’s a joke in there where I sort of talk about getting old, looking back and all the things that are going wrong which are funny. The reason I started doing one word, sort of academic-style titles, was that I was sarcastically making fun of the pomposity of some comedians who think they’re doing lectures. That’s where it started when I was pricking that bubble of comedians who think they’re changing the world. I’ve kept up the one-word thing, but also, mortality, it’s a scary subject so already the audience is going, is Mortality gonna be funny? Yeah, it’s funny! I’m the one dying. Sit back and laugh.

From sitting to kneeling, it’s fitting — and a bit ironic — that someone who roasted Hollywood so memorably is now being cemented into its history with a star on the Walk of Fame.

Well, that’s funny because the first time they told me I got it I said, “Oh? Do I have to get down on all fours on the concrete? I’ll never get up! I’ve also got bad skin!” I had all of those thoughts, but I’m doing it the day before the Hollywood Bowl so I can kill two birds with one stone. It’s all about getting home on the couch by 6 p.m. This life, you know what I mean?

You started kind of late, but you did earn this comfortable life. And maybe 6 p.m. is the new midnight.

When I grew up, I was good at school, I went to college, then I was a failed pop star, and I never had money. Really, I never had any money. I think I was about 37 years old when I started doing this, and I just grabbed a hold of it. I thought, this is a really lucky second bite of the cherry. You better not screw this one up. So, I did work really hard, but in saying that, what does this sound like? “I work really hard in a room writing while drinking cappuccino.” Some people are hiding behind a wall getting shot at! My dad was a laborer for 60 years! It’s funny to say that, because now, I’m glad I was born poor. It’s not something that I talk about much, but I am sort of proud of myself. I didn’t have a penny, and no one gave me anything. It might be luck, but I still feel like I beat the system.

I wasn’t expecting a painting of a naked clown to greet me when I FaceTimed Demetri Martin on a Monday afternoon in May. After the longest two seconds of my life, the comedian appeared in front of the camera with an unassuming smile.

For the past few months, Martin has been toiling away in the studio shed designed by his wife, interior designer Rachael Beame Martin, in the backyard of their Beverly Glen home. Lush greenery peeks through the windows above a lattice he constructed to mount canvases of various sizes. His first solo exhibition of paintings and drawings is just days away and he has some finishing touches to make.

Visual art is not new to Martin, a wiz at one-liners who incorporates drawings in his stand-up.

“The cool thing about a drawing is I can share something personal and I can use a graphic to illustrate it more specifically,” he says in “Demetri Deconstructed,” his 2024 Netflix special. In one graph from the special, he plots the inverse relationship between the amount of “past” and “future” time across an individual’s lifespan. The point where “past” and “future” meet is the mid-life existential crisis.

There is a synergy between Martin’s jokes and his sketches, which are more akin to doodles than drawings. Their humor lies in their pared-down specificity. They “make you ponder something on the absurdity-of-life level, which I guess is comedy,” says Martin’s close friend and musician Jack Johnson.

“I brought visual art into my stand-up comedy,” says Demetri Martin. “Can I bring comedy into the visual art world?”

(Robert Gauthier / Los Angeles Times)

With his love of joke crafting, Martin says he represents the comedy old guard as stand-up has become heavily autobiographical in today’s internet age.

“Specifically, it’s jokes that have always attracted me when we’re talking about the comedy world,” Martin says of his aversion to storytelling. “Can you do a joke in 12 words? Can you get an idea across? How much can you take away and it still lands with people?”

“Acute Angles,” Martin’s solo exhibition running Sunday to May 31, takes his obsession with constraint a step further. The experiment: Can you communicate jokes visually without any words?

“I brought visual art into my stand-up comedy,” says Martin, who worked on paintings for two-plus years before he figured he had enough material to fill a gallery. “Can I bring comedy into the visual art world?”

“Acute Angles” — he says the title references the shape of his nose — features large-scale paintings with a unifying color palette of bright red, sky blue and medium gray, in addition to 30 smaller drawings. The paintings depict implausible scenarios: What if the grim reaper slipped on a banana on his way to kill you? What if Superman ripped his underpants on his quest to save you?

The show is a collaboration with his wife, whom he adoringly describes as the muscles of the operation. The two secured a month-long lease of an abandoned yoga studio tucked behind a California Pizza Kitchen in Brentwood. Using her design skills — they met in New York City when she was attending Parsons School of Design and he was pursing comedy — Beame Martin led a rebuild of the studio-turned-gallery.

When Martin’s publicist called to ask if the gallery had a name, the couple turned to Google. They eventually came up with “Laconic Gallery,” for Laconia, Greece, where Martin traces his roots, and because the word laconic perfectly describes Martin’s ethos: marked by the use of few words.

Demetri Martin describes his wife, Rachael Beame Martin, as the muscles of the operation.

(Robert Gauthier / Los Angeles Times)

On the day of our interview, Martin is completing the last of 12 paintings for the show and is puzzled why the paint appears differently on the canvas than in the can. He’s trying hard to ensure the color of the naked clown’s pubic hair matches his hair.

The relationship between the viewer and the art is both exciting and scary to Martin. When taking a comedy show on the road, you more or less know your jokes will land, he says. With an art show, there’s more of a vacuum between him and the audience, yet the conceit remains: the show is meant to be funny.

But whether viewers laugh while visiting the art exhibition almost doesn’t matter. For Martin, the reward has been the process of creation — the meditative zone he sinks into, indie rock oozing from his CD player, as he envisions and re-envisions the work. (Many of the paintings in the show are derived from old sketches.)

The show also represents Martin’s re-emergence from his own mid-life existential crisis. At 51, he is older than his dad was when he died and about the same age as his late mom, when she was diagnosed with early-onset Alzheimer’s. “So now, is this like bonus time for me?” he started to ask himself in his late 40s.

In some ways, Martin has always been a tortured artist. After graduating from Yale, he attended NYU Law only to drop out after the second year. But New York City is also where he found himself, spending late nights at the Comedy Cellar and the Boston Comedy Club. His days were spent visiting the Museum of Modern Art and the Metropolitan Museum of Art. Daydreaming his way through the galleries, jotting jokes in his notepad, is when he first gained an appreciation for the arts.

“He’s not without cynicism once you know him, but where comics so often lead with cynicism, he has this wide-eyed openness, and I think that’s a thread that pulls through all of his work,” says comedian and fellow Comedy Central alum Sarah Silverman.

Demetri Martin’s first solo art exhibition is a collaboration with his wife, Rachael Beame Martin.

(Robert Gauthier / Los Angeles Times)

Now, Martin is a father to an 8-year-old daughter and 11-year-old son — the same age he was when manning his Greek family’s shish kebab stand on the Jersey Shore. His self-described anger at seeing the world his kids are growing up in, namely their peers’ obsessions with cell phones, seeps into his paintings and drawings. But ultimately, being a father has irrevocably improved Martin’s perspective on life.

“I think sometimes resignation is also acceptance,” he says, on his new appreciation of midlife. “You’re still motivated, but maybe not in the same way. … You still want to make things, but maybe it doesn’t matter as much, but that doesn’t mean it doesn’t matter. So that’s where I feel like I’m at, where I’m saying, ‘You know what, I’m grateful.’ I understand how lucky I’ve been now.”

He’s not quite done with touring but “Acute Angles” represents a potential escape. If his comedy can travel without him, if he can make money while foregoing lonely nights on the road, he can prioritize more important moments, like playing catch with his son after school. After all, his kids aren’t at the age yet where they hate him — a joke his kids don’t like.

Still, Martin’s art-making mirrors his joke-writing. It’s a numbers game, meticulously filling notebooks in handwriting Silverman describes as “tiny letters all perfectly the same size,” then revisiting and sharpening material until the joke emerges, like a vision.

“It’s really a privilege to have the kind of career where I can try something like this,” Martin says. “I don’t take that for granted anymore.”