A day after California’s primary election, President Trump took to social media with baseless claims of election fraud — predictable, but also dangerous.
“Look what’s happening in California, the Dumocrats, right before our very eyes, are stealing the Vote,” Trump wrote in one post.
“There’s BIG cheating by the Dumocrats in California,” he wrote in another, apparently enamored of his latest juvenile slur.
California has once again become the main dish on Trump’s buffet of bull-hockey as he continues to undermine democracy and consolidate authoritarian power, using this disingenuous and patently untrue narrative that American elections are rigged by shadowy Democratic forces working in collusion with illegal immigrants.
The twist this time is that Hilton, the man who wants to represent all Californians, seems to be jumping on the election fraud conspiracy train with the president. I get it, there’s the MAGA base to feed, and it’s a base that feasts on outrage and fakery. Serving up resentment glazed with lies and propaganda has been the MAGA playbook for years under Trump, a strategy that no one can deny has been heartbreakingly effective.
But Hilton is a smart man and must certainly know that voter fraud is rare, to the point of being inconsequential to election outcomes. Hilton by his own admission understands voting patterns, and that in this cycle, Republicans have voted early and often by mail, despite Trump’s claims that all vote-by-mail should be suspect. So Hilton understands that early votes have skewed his way, and that later vote tallies will likely favor Democrats.
And Hilton is definitely intelligent enough to expect that in a state where Democrats outnumber Republicans nearly three to one, he will not keep the top spot in this primary, and a slim chance remains that he will not make it into the top two. That’s just simple math.
So if Hilton truly seeks to represent this state as its top elected executive, now is the time to renounce election fraud myths and stand up to Trump’s lies. If Hilton can’t say that he believes our recent election was free and fair, then he has no business being our governor.
Unfortunately, that doesn’t seem to be the path he’s taking, even as it seems increasingly likely that he will advance to the general election.
This week, speaking with far-right podcaster and former Turning Point USA creative director Benny Johnson (who was allegedly duped into working for a Russian influence operation), Hilton said that while “so far we’re not seeing any signs” of cheating, “we’re going to be all over it. We’re not going to let them do that.”
Hilton was responding to a question from Johnson on whether Hilton will sue over “cheating.”
On a post-election appearance with Laura Ingraham, the conservative Fox News host who has repeatedly promoted the Great Replacement Theory, Hilton delved into more conspiracy.
“Just to really underline the point that you made about the corruption,” he told Ingraham an anecdote about supposed fraud in a previous election cycle when a “whistleblower” at the post office told him that they were instructed that a handwritten postmark was acceptable when sorting ballots to deliver to the county registrar.
“It’s just unbelievable, and of course, that’s why so many people don’t believe the results, but it just undermines confidence,” he told Ingraham, certainly knowing that the post office forwarding a ballot on to a county registrar in no way means it will be certified or counted. Would we really want the USPS deciding which ballots to deliver? Disingenuous on Hilton’s part at best.
“The whole thing is a joke,” Hilton went on to say of California elections, which of course, is absurd.
Thursday, when I asked Hilton’s team to speak with him about his views on voter fraud, they sent back a response that focused on the slowness of the California vote count; voter rolls Hilton has described as “wildly inaccurate,” which is a wildly inaccurate claim; and two instances of actual fraud with voter registration — not examples of votes that were counted.
To be sure, all those items are important. Any malfeasance should be punished, and the system should always strive to improve.
But how hard is it to simply be against fraud, while accurately acknowledging that it is rare and our current system provides accurate results?
I am against voter registration fraud. I am against vote fraud. I am absolutely pro-democracy, including policies such as mail-in voting that increase participation.
I do not believe that there is widespread fraud in the California primary, or in American elections in general, because the evidence does not support that conspiracy. I do not believe that Democrats are running a decades-long, nationwide conspiracy to replace white voters with votes from Black and brown undocumented immigrants, because that is both false and racist.
Pretty basic stuff, and statements in line with the values and common sense of the majority of Californians Hilton says he will represent.
If Hilton can’t come out and clearly say that Trump is wrong — about fraud and about the Great Replacement Theory — can he really be trusted to represent the values of the Golden State?
After his Netflix roast inspired tit-for-tat feuding among comedians and backlash from viewers over a joke about George Floyd, Kevin Hart’s stance is clear: All is fair in love, war and comedy.
During a Tuesday appearance on “The Breakfast Club,” Hart addressed the controversy stemming from Netflix’s “Roast of Kevin Hart,” which aired earlier this month and included material that shocked viewers. Tony Hinchcliffe, who helms the No. 1 live podcast in the world, “Kill Tony,” applied his politically incorrect approach to comedy that similarly outraged audiences at a 2024 campaign rally for then-presidential candidate Donald Trump.
“The Black community is so proud of you right now,” he quipped at Hart. “George Floyd is looking up at us all, laughing so hard that he can’t breathe.”
In 2020, Floyd was murdered by police Officer Derek Chauvin, who pressed his knee into Floyd’s neck for more than nine minutes, until he died. His last words were “I can’t breathe,” which he said more than 20 times. The killing sparked global unrest and the largest civil rights protest since the 1960s. Hart attended Floyd’s memorial and private service in Minneapolis.
“The George Floyd joke, it wasn’t a tasteful joke to our culture,” Hart told the podcast. “But our audience that’s watching the roast … you get why they’re doing it, you get why the racial humor is on the table.”
Hart continued that the approach to comedy is nothing new and said, “Tony Hinchcliffe arguably had the best set, or one of the best sets.”
“Would I tell those jokes? No, but do I get why they’re being told? Yes,” Hart said.
Floyd’s brother, Terrence Floyd, spoke with “Breakfast Club” host Loren LoRosa after the roast aired and said that he expected Hart to step in and tell Hinchcliffe he’d gone too far.
“What do you want me to do? Drag him off?” Hart asked during his appearance on the podcast. “That’s not what I agreed to do. That’s not the job at hand. The job at hand was to produce a successful roast, which I did.”
Not only has the Netflix roast caused a stir among viewers, but the comedians who participated also have been trading slights in recent weeks. Chelsea Handler didn’t mince words when she offered her take on Hinchcliffe, as well as Shane Gillis, who also performed a set during the roast. According to Handler, ex-girlfriends of the controversial comedians slid into her DMs and told her what she said she already knew about them.
“They’re racist,” she said during an appearance on Deon Cole’s “Funny Knowing You” podcast. “That they’re bigots, that they’re sexist, that they think they’re like invincible.”
Handler said that one of Gillis’ jokes about lynching Hart was “worse than rape.” In response, Gillis told the Hollywood Reporter in a statement that Handler was capitalizing on the moment.
On Monday’s episode of “Kill Tony,” Hinchcliffe responded to Handler’s remarks by calling her “a bit of a c—. “
The roar erupting from the capacity audience inside the Ed Sullivan Theater when Stephen Colbert stepped on the stage of his “Late Show” for the last time made it clear that they did not want him to say goodbye.
Colbert took his final bow as his beloved late-night show came to an end Thursday. The episode was so crammed with top celebrities who showed up to share a last moment with the comedian that it extended several minutes beyond its usual one-hour run time.
Before the official start, Colbert addressed the audience as he thanked the staff, calling the show “The Joy Machine”: “We call it the Joy Machine because to do this many shows, it has to be a machine. But the thing is, if you choose to do it with joy, it doesn’t hurt as much when your fingers get caught in the gears, and I cannot adequately explain to you what the people who work here have done for each other, and how much we mean to each other.”
In his opening monologue, Colbert downplayed the event‘s status, rolling a series of jokes about news stories in New York and New Jersey. But he was repeatedly interrupted by audience members Bryan Cranston, Paul Rudd and Tim Meadows who all became irritated when Colbert informed each of them that they would not be his last guest.
When the show’s supposed scheduled last guest, Pope Leo XIV, refused to leave his dressing room, Paul McCartney popped on stage to a rapturous ovation. The legendary musician presented Colbert with a framed photo of The Beatles when they appeared on Sullivan’s show in 1964.
The only subtle reference to President Trump came when McCartney relayed a story how the Beatles, before their Sullivan appearance, got their faces covered with bright orange makeup. “That’s pretty popular in certain circles these days,” Colbert quipped.
The episode marked the finale of Colbert’s 11-year run on CBS’ late-night show, which he has been counting down since July of last year, when CBS said it was canceling the show because of financial difficulties. “The Late Show” franchise, which Colbert inherited in 2015 from David Letterman, was the top-ranked late-night show, but it faced challenges due to dramatic declines in viewership and a drop in advertising revenue.
However, industry observers also contended the move was tied to Colbert’s relentless criticism of Trump. The decision was announced after Paramount, the parent company of CBS, had settled a lawsuit filed by Trump over a “60 Minutes” interview with then-Vice President Kamala Harris. The company agreed to pay $16 million to settle the suit, which came as Paramount was attempting to get regulatory approval for its merger with Skydance Media, which Colbert called “a big fat bribe.” Trump made no secret of his disdain for Colbert and other late-night hosts who have skewered him and his administration over the years.
Colbert, his guests and others continued to blast Trump in this final week. In his introduction Wednesday of his performance of “Streets of Minneapolis,” Bruce Springsteen said: “I’m here in support tonight for Stephen, because you’re the first guy in America who has lost his show because we got a president who can’t take a joke.”
And Jimmy Kimmel on his ABC late-night series said Wednesday, “I will be watching tomorrow night. I hope that those of you who watch will also tune in to CBS for the last time. Don’t ever watch it again.”
In a tribute to Colbert, Kimmel, another target of Trump, and NBC‘s “Tonight Show” host Jimmy Fallon said their respective shows would not air new episodes during Colbert’s finale.
But the overall vibe on “The Late Show” this week has centered on celebration and spotlighting the show’s comedic formula. Several celebrities who have a special connection with the show made appearances, including Jon Stewart from “The Daily Show” and filmmaker Steven Spielberg.
In one of the more arguably iconic sequences, David Byrne and his band — all attired in bright blue uniforms — appeared Tuesday to perform the Talking Heads anthem “Burning Down the House.” Colbert joined in at the end, dancing in his matching blue outfit.
CANNES, France — Cannes is technically half over and the hunt for a masterpiece continues. Critics on the Croisette are starting to resemble that classic comic-strip panel in which an explorer crawls desperately across the sand toward an oasis that’s only a mirage.
This far into an underwhelming festival, good films have a way of looking like great ones, such as James Gray’s “Paper Tiger,” a grimy thriller with Adam Driver and Miles Teller playing brothers in 1980s New York who get mired in a scheme to sanitize the Gowanus Canal. Driver’s ex-cop knows the codes of cutting deals with the Russian mob; Teller’s engineer is the square who can’t grasp how doing things the right way just makes the situation worse. As the normies, Teller and his naive wife, portrayed by Scarlett Johansson, feel like kids playing dress-up. (Johansson’s perm is a bit much.) Still, the script is tense and tight — and at this point, I’m happy to see anything with a plot.
Rodrigo Sorogoyen’s “The Beloved” has two of them: It’s a film within a film about a famous director (Javier Bardem) who casts his estranged actor daughter (Victoria Luengo) in his latest project. The fictional movie he’s making looks stiff, a period epic about Spain’s colonialist withdrawal from the Sahara in the 1930s, which doubles as a metaphor for the father’s destructive absence from his now-adult child’s life. A boozer, she’s not stable enough to stand up to the scrutiny of his sudden attention. Luengo herself holds the camera splendidly even in her character’s weaker moments, turning her charisma off whenever her father needs her to turn it on.
Consider it a shot and chaser to “Garance,” which stars a vibrantly sloppy Adèle Exarchopoulos as another alcoholic actress. Sharp, smartly paced and entertaining, it’s fantastic until the last stretch, which peters out and then abruptly stops.
One of the festival’s big themes seems to be connection: that we’re all stuck on this rock together and, ultimately, the difference between human and android, man and woman, is moot. At least three movies have someone saying, “That’s life,” with a shrug. The films themselves, however, are lifeless. Worse, they’re long. I can roll with movies that are mostly vibes, but only to a limit — say, 85 minutes.
Sophie Thatcher in the movie “Her Private Hell.”
(Neon)
Nicolas Winding Refn’s “Her Private Hell” is longer than that and the inertia is excruciating. The Danish director of “Drive” hasn’t made a feature film since “Neon Demon” premiered at Cannes in 2016 and this grim fairy tale feels more like a feint than a comeback. A sulky daughter (Sophie Thatcher) skulks around a misty skyscraper with her hot young stepmother (Havana Rose Liu) idly fretting about a murderer named the Leather Man. Down below, an Army private (Charles Melton) hunts the killer. Little happens other than chain-smoking, costume changes and interminable shots of color-shifting strobe lighting splaying across the cast’s cheekbones. Thankfully, Kristine Froseth adds pep as a bimbo who hasn’t yet learned how to talk as leadenly as everyone else.
Too much of the program is made up of tedious movies by beloved Cannes veterans — essentially affirmative action for auteurs. Eight years ago, Hirokazu Kore-eda won the Palme d’Or for “Shoplifters,” a chaotically enchanting portrait of a family of fraudsters. Now, he’s returned with “Sheep in the Box,” a slick and dull story about two grieving parents who adopt a clone of their dead son. “Sheep” aspires for Spielbergian catharsis — one scene seems to consider itself an art-house take on “A.I. Artificial Intelligence” — but the human characters come off as mechanical as the little robot boy. Between the musty setup and saccharine score, it’s the film equivalent of a bowl of stale candies.
Arthur Harari, who co-wrote 2023’s Palme- and Oscar-winning “Anatomy of a Fall,” is here as the director of “The Unknown,” a stilted drama about a sulky male photographer who wakes up in the body of Léa Seydoux after a nameless, wordless one-night stand. You can imagine Brian De Palma running with the sex-contagion idea (or “It Follows” director David Robert Mitchell grumbling that he deserved an inspired-by writing credit). But “The Unknown’s” shape-shifting intrigue stalls out once you realize that none of the characters have a personality to begin with. Who cares what soul is inside each shell if they’re all monotonously slack-faced? “Face/Off” it isn’t.
Léa Seydoux in the movie “The Unknown.”
(Festival de Cannes)
On that note, one emotional highlight to date was the presentation of an unannounced honorary Palme to John Travolta. (Yes, his face-swapping 1997 thriller with Nicolas Cage was in the celebratory montage.) Already bursting with passion to be world-premiering his directorial debut, “Propeller One-Way Night Coach,” Travolta was moved to tears. “Surprise complète!” Travolta gasped, kissing his trophy and blurting, “I was just happy to be here.” Indeed he was, as evident by the jaunty white beret he’d worn for the occasion, which quickly went viral on social media.
Travolta’s infectious enthusiasm carried over into the movie itself, a semi-autobiographical trifle about his childhood love of air travel. Set in 1962, a boy roughly Travolta’s age voyages from New York to Los Angeles on a series of hopping flights with his mother, who is hoping to land a rich husband or a good Hollywood role in that order. The kid’s joy is as stratospheric as the plane; he adores everything but the airline’s chicken cordon bleu. As a nostalgia piece, it’s “A Christmas Story” with a third of the jokes, none of the cynicism and not quite the length to justify itself as a movie. At barely an hour, it skedaddles in time to leave you with a sheepish smile.
Given the choice, I’d prefer to see a truly terrible movie over one that’s merely bland and mediocre. With that context, I’ve been literally raving over “Butterfly Jam,” a film so fundamentally misguided it could almost be the cineaste version of “The Room.”
Set in New Jersey, “Butterfly Jam” is a tale of toxic masculinity among braggadocious Circassian immigrants played by Barry Keoghan, Harry Melling and Riley Keough — actors who, despite their talent and effort here, are too notoriously Irish, English and Graceland-ian to be convincingly a part of a subculture this specific. It’s filmmaker Kantemir Balagov’s fault more than theirs. Despite supposedly arriving to the States as teenagers, the cast don’t even have accents, just dyed jet-black hair. While adamantly miserabilist, it does have a plot or at least one shocking plot point that’s so ghastly it made me giddy. A few scenes later, a pelican switches on a cotton candy machine with its bill, sending hot sugar whirring through the air — seriously — and I nearly applauded in delight.
Woody Harrelson and Kristen Stewart in the movie “Full Phil.”
(Festival de Cannes)
Likewise, a friend warned me against staying up through 2 a.m. for the premiere of Quentin Dupieux’s “Full Phil,” cautioning that it was the worst film they’d ever seen at Cannes in over a decade. But there was no way I’d miss watching Woody Harrelson and Kristen Stewart play a miserable father and daughter on a Parisian vacation, directed by a French oddball who rarely fails to entertain — although this time, he comes close.
The story is simple: The dad flusters, fidgets and whines; the girl gobbles room service as though aspiring to become human foie gras. “Full Phil” took about an hour to reveal its point — that parenthood makes you a glutton for punishment — and the jokes are more gestures at where a joke should be. Still, I support Harrelson and Stewart signing on to a project this cuckoo. Better still, it boasted something in short supply: a satisfying ending. Here’s hoping the festival itself ends stronger too.
Will Ferrell has done the Will Ferrell thing for so long — playing embarrassingly self-absorbed doofuses, both fictional and based on real people — that it’s easy to forget that when it counts, he can still serve as the glue on “Saturday Night Live.”
For his sixth time hosting the show since leaving the cast in 2002, Ferrell had plenty of those doofuses to portray, including a “Nudeman” dad whose underwear are exposed in the rear when he meets his daughter’s boyfriend. But in sketch after sketch on the show, he showed his usual 100% commitment to every character, even when he was playing himself in the monologue doing a bit about an identity mix-up with Red Hot Chili Peppers drummer Chad Smith. (Smith stuck around for the whole show, sitting in with the “SNL” band and playing drums for Paul McCartney.)
Ferrell was an ideal closer for Season 51, which has largely been about developing relatively new talent in the cast, including rising stars Ashley Padilla, Jeremy Culhane and Marcello Hernández. Ferrell gelled with each of them and everybody else, doing the Will Ferrell thing, which still works tremendously well after all these years.
Musical guest Paul McCartney appeared in Ferrell’s monologue and in the mechanic sketch, and performed a new song, “Days We Left Behind,” as well as “Band on the Run” and “Coming Up” at the end of the show while the credits were shown.
After an absence of a few weeks, President Trump (James Austin Johnson) returned, sleepy from his trip to China. After a non-apology for not bringing Vice President J.D. Vance (Culhane) with him, Trump fell asleep on a gold bar from Switzerland before being visited by Epstein (Ferrell), who makes a series of jokes and insinuations about his association with Trump. When Trump bemoans his low approval rating in the 30s, Epstein responds, “The 30s? Gross, call me when it hits 17.” But Epstein, who claims Hell is “really, really hot” and includes Joseph Stalin and John Wayne Gacy, is there to show Trump the future, one in which former Secretary of Homeland Security Kristi Noem (Padilla) is selling vacuum cleaners on the Home Shopping Network and Secretary of Defense Pete Hegseth (Colin Jost) and FBI Director Kash Patel (a returning Aziz Ansari) are co-hosting a bro podcast while sharing a giant beer bong. Trump believes the podcast is a signal that by then, the war in Iran will be over. “We came in second,” Epstein assures him. The two then launched into a version of “Just the Two of Us” before almost kissing ahead of launching into “Live from New York… It’s ‘Saturday Night!’”
Even eagle-eyed viewers might have needed a full minute or so to realize that the person on stage delivering the monologue was not actually Will Ferrell but Red Hot Chili Peppers drummer Chad Smith, who has been doing an extended gag for more than a decade about their uncanny resemblance. Ferrell followed, wearing the same gray suit, claiming, “He pushed me down backstage. And I fell hard. Lorne (Michaels) had to give me mouth to mouth.” Ferrell tried to do a hard reset of the monologue but couldn’t get the vibe back. He turned to the audience for questions, but only found McCartney there, who still couldn’t tell the difference between the host and the drummer. Ferrell listed many of the songs that McCartney has written (which weren’t performed on the show this time out), but pointed out that there are a few great songs he didn’t write, including “Timber” featuring Pitbull.
Best sketch of the night: Did you at least check the sprog box on your Rav4?
In a piece that calls itself, “What It Feels Like Talking to a Mechanic,” Ferrell plays an auto expert telling a clueless couple (Day and Padilla) that their vehicle needs a lot of work. But he uses completely foreign terms including “dong rod gasket” and a “camber” that’s out of whack and rotting to describe what’s wrong. Another specialist (Hernández) arrives, who describes the car’s ailments in funny noises and partly in Spanish. “You need a new trans person,” he declares. He also expects them to return every six days and come to his private party. A third mechanic (McCartney) found the steering wheel is on the wrong side and that their “tipsy wispy” is all “dangly goodly.” The absurdity level keeps rising, but it will feel familiar to anyone who’s ever felt like their mechanic is speaking in an entirely different language. The only false step in the sketch is the ending, which goes on on a cheap joke.
Also good: That white flag he was carrying around should have been a tip-off
It’s been a bit shocking how good some of the pre-filmed pieces this season have looked, including this one, a “Lord of the Rings” Midnight Matinee sketch called “Bobbin’s Sacrifice.” It features, with quite good special effects and costumes, a full cast of orcs, elves and dwarves during a castle siege, as well as Ferrell as a little Hobbit-looking halfling named Bobbin who bravely volunteers to destroy a bridge that separates the heroes from the monsters. However, once outside the castle gates, Bobbin proudly declares in song that he’s switching sides. And not just switching, but offering the orcs blueprints of the castle and giving them magic items he stole from his friends. Things don’t end so well for Bobbin, but at least he goes out memorably and with a song in his heart.
‘Weekend Update’ winner: How does one apply to be a Blast Boy?
“Update” traditionally does a joke-off between co-hosts Jost and Michael Che in which each writes jokes the other has to read. This edition wasn’t too surprising: Jost was made to spew racist jokes about black vampires (in reference to “Sinners”) and using his Staten Island Ferry to ship Black people “back to the motherland.” Che was made to make light of molestation claims against Michael Jackson. The segment ended up being one of the weaker joke-offs, ending with the threat of Jost getting his hair cut off by a barber on live television (it didn’t happen). Surprisingly, the joke-off was not as funny as Culhane’s return as Mr. On Blast, a guy with takes that are far from hot. Example: “AI? More like P.U.” “Metaverse? Why don’t you go read a Bible verse?” Mr. On Blast punctuates his weak jokes with very entertaining dance moves punctuated with sound effects. This time out, the character deployed a new catch phrase, “Devout!” in reference to being both Christian and Jewish, and he brought out bearded backup dancers called Blast Boys. Culhane was on point and is a lock to return next season for more fun like this.
Considering the amount of comedy that was dropped on L.A. last week for the third Netflix is a Joke Festival, the idea that anyone can see it all is laughable. Yet of course, like fools, once again we tried. Between big outdoor shows, theaters and intimate club gigs, the seven day smorgasboard of stand-up, improv, variety shows, marathons and more was a wild ride we won’t soon forget. Here is our list of the funniest shows we saw at Netflix is a Joke 2026.
Monday, May 4
Ron White, from left, Jim Jefferies, Sam Jay, Shane Gillis, James McCann and Dan Soder at the Hollywood Bowl.
(Adam Rose / Netflix)
Shane Gillis and Friends Hollywood Bowl As a sea of comedy fans filled up the Hollywood Bowl to kick off the first outdoor event at Netflix is a Joke, Shane Gillis brought the energy of a season-opening football game to L.A.’s biggest bandshell. Commanding a solid roster of veteran comics including James McCann, Sam Jay, Ron White, Dan Soder, and Jim Jeffries, Gillis took on the role of a grizzled and playfully perverse football coach hosting the night and telling funny stories about his days as a very average high school football player on crappy all-white teams before he blew up in comedy.
“Whoever the home team was in high school football you got to pick the intro song that you would run onto the field to to get hyped. So when me and the white guys were the home team, our music would be like ‘Cut my life into pieces…’ [singing Papa Roach’s “Last Resort”] something scary, something suicidal. That’s as intimidating as white dudes get…sad. Those are the most dangerous whites. If this game doesn’t go well I might shoot this whole thing up on Monday,” Gillis joked.
Fortunately it did go pretty well throughout the night as Gillis brought up each comic that used their different styles to score plenty of laughs throughout the night. (Nate Jackson)
Mike Ward Dynasty Typewriter
Comedy transcends lines and borders, so when we heard that comedian Mike Ward hopped his own border in Canada to be at Dynasty Typewriter, we were all in. Rachel Bonnetta opened the show with a mix of playful confidence and high-energy hilarity, perfectly warming up the crowd before introducing the main attraction to fans. Record breaker and a master of storytelling in French, he didn’t disappoint with his all-English crossover, covering everything from his legendary Supreme Court of Canada case to teenage lust, dating after marriage, attempting generosity, and “trunk love.” Ward mentioned jokes translating from French to English and how they’d hit, but he was definitely in his element, and it all translated to perfect laughs. (Ali Lerman)
Tuesday, May 5
Theo Von and Mike Tyson record a live podcast at the Wiltern.
(Matthew Salacuse/Netflix )
Theo Von: ‘This Past Weekend’ Live- Guest: Mike Tyson- The Wiltern
Stand-up might own the Netflix Is a Joke Festival, but the podcasts they delivered are absolutely worth talking about. For Theo Von’s first-ever live taping of his hit podcast “This Past Weekend,” he landed the ultimate guest: Iron Mike Tyson. The sold-out crowd at the Wiltern erupted the second Von hit the stage, but that was nothing compared to the deafening roar of screams and “We love you, Mike!” when Tyson walked out.
Tyson admitted he wasn’t familiar with Von, but thankfully stated he did indeed like him, because that would have really messed up the rest of the episode! The two share an inquisitive and child-like energy, turning heavy conversations about growing up broke, the solitude of incarceration, and desperate cries for attention, into something remarkably light. Tyson’s vulnerable side was also on display while speaking about his daughter dying tragically, God’s plan for him, and speaking about his mentor Cus D’Amato, which quite literally brought him to tears. Can a show be heartfelt and insane at the same time? Definitely interested to see how they edit a few things, but when this knockout episode comes out, you’re truly in for a beautiful treat packed with plenty of wild moments. (A.L.)
Seinfeld featuring Leanne Morgan The Greek Theatre
Blending the big-city humor with hilarious Southern comfort might sound like an odd pairing when talking about comedy, but something about the combo of Jerry Seinfeld and Leanne Morgan just works. Yes, we love a good rant about the terrors of technology from a comedy legend like Seinfeld, who got famous long before the advent of artificial intelligence and smartphones. But his crotchety comedy on a cold night at the Greek Theatre was complimented by Morgan’s ability to add warmth and sweetness to her smack talk about being a small town cheermom in the world of competitive cheerleading which she described as “the Olympics meets Honey Boo Boo.”
Most big comedy shows at the fest had a strict no cellphones policy, Seinfeld was content with just reminding us that our friends are all sick of our stupid cellphone videos. “They don’t care what you’re doing, your life, your experiences, any more than you care about what your friends are doing…everyone is sick of everything. That’s where we’re starting tonight.”
Both are recognized around the world for being on popular TV shows bearing their names. One star seemed genuinely enthralled that people recognized her and clapped when she came out, the other one seemed like he couldn’t get out of the show fast enough and get back to bed. But the mix of both energies of these authentic polar opposites worked well together to keep the crowd laughing. (N.J.)
Wednesday, May 6
David Spade, Dana Carvey and Chris Rock at the Orpheum Theatre.
(Kit Karzen / Netflix)
‘Fly on the Wall’ podcast with Dana Carvey, David Spade and Chris Rock The Orpheum Theatre
The best way to get amazing stories out of a famous comedian is to be one yourself. It’s the reason a podcast like “Fly on the Wall” with David Spade and Dana Carvey succeed at squeezing the best out of their guests who are often on somebody’s Mt. Rushmore of Comedy. For the festival, the two “Saturday Night Live” alumni brought out the big guns by inviting their buddy Chris Rock downtown — ”way downtown” by his estimation — at 6 p.m. last Wednesday to the Orpheum for a live taping of the podcast. The three stars began by diving ever-so-casually into stories about their interactions with Michael Jackson, Tupac, Kanye and Dave Chappelle. Rock also got to expound on the classic period where he released some of the best comedy specials ever made.
He talked about his groundbreaking hour “Bring the Pain” being the result of doing as many shows as possible to pay for a divorce and as a result, “I got way better” he told Carvey and Spade. “Then I went on a Rocky run where he was knocking motherf— out.” He took that momentum into his next classic special, 1999’s “Bigger & Blacker,” that helped reshape the face of stand-up. “There’s a time in your life when you’re just a vessel and I was in that point of my life,” Rock said. (N.J.)
Nate Jackson at Laugh Factory Hollywood
It’s a skill for a comedian to be able to sit in the pocket of a crowd’s energy and keep a room full of people laughing and on their toes at the same time. Try doing it for six shows back to back. While it’s not the most consecutive sold-out shows he’s ever done at a venue (last year he delivered nine in a row at Zanies in Nashville), Nate Jackson’s ability to leave a mark on the fest at his week-long residency at Laugh Factory Hollywood was akin to watching an executive chef doing a week of cooking in his restaurant. In Jackson’s case that meant delivering some third-degree burns in the front several rows of the crowd known as the “roast zone.” When it comes to killing his customers Jackson prefaces every show the same way. “Rule number one, if I look at you and you don’t want no smoke, look away,” he told the Laugh Factory crowd.
“That is the rule and the standard, I do not get people unless they lock eyes and give me consent. As a matter of fact, this is called the Roast Zone. If anybody is accidentally down there, it’s time to get the f— out. Because rule number two is, if I look at you and you look at me and I start and you don’t like what I decided to talk about, looking away will no longer save you.” To the people that got a little too charred during his show, don’t say he didn’t warn you. (N.J.)
Thursday, May 7
Noah Wyle and Jon Stewart at the Hollywood Bowl.
(Adam Rose / Netflix)
Night of Too Many Stars Hollywood Bowl
It was a starry, starry night at Thursday’s sold-out Hollywood Bowl Netflix is a Joke Presents: Night of Too Many Stars epic comic bonanza fundraiser benefitting autism programs nationwide, including Autism Speaks. Founded in New York by writer-producer Robert Smigel and his wife Michelle in 2003 following their son Daniel’s autism spectrum disorder diagnosis, the Los Angeles gala was hosted by longtime supporter Jon Stewart and featured a roster of top–tier stand-up talent including Niki Glaser, Ali Wong, Conan O’Brien, Tiffany Haddish, Sarah Silverman, John Mulaney and Adam Sandler, who closed the show with a trio of upbeat tunes. Cast members of reality shows such as “Love on the Spectrum” were also on deck to introduce comics, and auction items throughout the event raised crucially needed funds for individuals on the spectrum: a mock “physical examination” by Noah Wyle, star of HBO’s juggernaut medical series “The Pitt” fetched $18,000; a woman paid $50,000 to be animated into an episode of “The Simpsons.” One man stood up and donated $100,000 with no prize attached. The most special part of the night: I attended along with my son, 19, who is on the autism spectrum and laughed and smiled for three hours straight. (Malina Saval)
Wanda Sykes Dolby Theatre
Politics, family, inflation, racism, weight gain and greed were among the multiple topics lampooned by Wanda Sykes during a dynamic and often wickedly funny tour stop at the Dolby Theatre last Thursday. Despite the large venue and packed-in audience, Sykes created an intimate club vibe, walking onstage in a utilitarian jumpsuit and instantly bonding with the audience over just how weird things have become in present-day America.
She likened 2026 to the Upside Down in “Stranger Things,” but populated with pedophiles, grifters and racists instead of demogorgons. Turn it upside down “and a billionaire falls through the ceiling,” she said. Her impersonation of Trump dancing and chatting with Epstein in the now infamous video clip was pure brilliance. How a 5-foot-2 Black woman looked more Trump than Trump was a feat unto itself.
Sykes also bemoaned the greed behind things marketed as conveniences, like supermarket self-checkout (“We’re working for free!”), food delivery bots and airport wheelchairs that get passengers to their gate without attendants. “That was someone’s job!” she said. Then added, “What if walking fast and [pushing heavy things] was the only thing they were good at?” Opening for Sykes was her former sidekick on “The Wanda Sykes Show,” Keith Robinson. (Lorraine Ali)
“Kill Tony” Intuit Dome
The number one live podcast in the world, “Kill Tony,” returned to its roots in our beloved city on Thursday, and this time for the local masses at Intuit Dome. Co-hosted by Tony Hinchcliffe and Brian Redban, when there’s a show of this caliber during a festival, you just know the guests are going to be jaw droppers. Fighting the L.A. traffic to kick off the Dome show were Jelly Roll and Teddy Swims backed up by the Kill Tony Band, maybe? You know, it was hard to hear through all the women screaming. Kidding, we were all scream-singing, and it was such a fun way to start a show. Sitting on panel were beloved KT guests Harland Williams and Gabriel Iglesias, and the “legends bucket” made its way to its first arena in L.A., and the pulls were indeed clutch. Ron White, Joe DeRosa, and Tony’s number one favorite comic, Tony Hinchcliffe (played by Adam Ray), showed the crowd exactly what effortless and absolutely merciless veteran comedy looks like. Between bucket pull madness, a ton of Golden Ticket winners dazzled throughout, treating L.A. to a little slice of what we see in Austin on Mondays. (AL)
Friday, May 8
“Stamptown” at the Montalbán Theatre.
(Aaron Epstein / Netflix)
‘Stamptown’ Montalban Theater
Comedy variety show “Stamptown” begins with master of ceremonies Jack Tucker (the clown persona of Zach Zucker) descending from the ceiling covered in sweat as pyrotechnic flares explode on stage and electric guitars summon him before he falls flat on his face. But don’t worry, it only gets more insane from there. Part musical revue, part comedy showcase, and part circus — “Stamptown,” which filmed its shows for an upcoming Netflix special, is what happens when the lunatics get control of the asylum and decide to put on a Las Vegas show from hell. Tucker’s rapid-fire delivery is punctuated with sound effects, music cues, and the use of a variety of props dangling from his person at all times (including handcuffs, a wad of cash, and two guns). Featuring celebrity cameos, acrobatic stunts, full-frontal nudity, and the show’s stagecrew and audience members getting in on the chaos — “Stamptown” is a true homage to the theatrical possibilities of performance that toes the line ofwhat you think is possible to be done under the label “comedy show.” “Stamptown” at the Montalbán was filmed as part of a Netflix special that will air later this year, which any lover of brain rot and pageantry should be sure to check out. (Leila Jordan)
Dave Chappelle The Palladium We’re not allowed to say anything about went on at the Dave Chappelle three-show residency at the Palladium other than the fact that it was an evening of music and comedy. Per usual they locked up the crowd’s phones to see his show but fortunately there were plenty of actual cameras capturing what went on so hopefully you get to see what we saw very soon. (NJ)
Hasan Minhaj versus Ronnie Chieng Dolby Theatre Known for their spirited debates on “The Daily Show,” political satirists Hasan Minhaj and Ronny Chieng faced off in a comedy showdown where they challenged one another to prove who is better suited to fix a broken America, Asians (Chieng is from Malaysia) or Indians (Minhaj’s parents are from India)?
Never mind that Indians are South Asians, the two comedians got plenty of laughs backing up their absurd arguments with flow charts, graphs, curated news clips, a faux AI bot called “Niri,” and plenty of racist rhetoric. They broke down the debate into categories: Who’s better at academics? Business and the economy? Cuisine? Chieng argued that Asians are better at sports with a list of Olympic gold medal wins over the past three Summer Games. He won’t use all of Asia, he said, just China. Result? The country had over 100 gold medals. India had just one. Minhaj wondered aloud: For people who love gold so much, why is it so hard for us to win one?
Their choreographed debate exploited and skewered stereotypes via expert timing and pointed wit, hitting home with the predominantly Asian and South Asian audience. (L.A.)
Saturday, May 9
Atsuko Okatsuka with Margaret Cho and Trevor Noah at the Orpheum.
(Andrew Max Levy / Netflix)
Atsuko Okatsuka The Orpheum Theatre
An Atsuko Okatsuka show is typically full of surprises as a result of her offbeat humor and twerk-master physicality. Her show at the Orpheum is the result of a brand-new hour she’s been performing on her Big Bowl Tour and includes plenty of jokes about dinosaurs and love of Jamaican dancehall choreography. But before she even took the stage with new material, fans got gleefully blindsided by the appearance of two comedy titans, Margaret Cho and Trevor Noah, who came out to deliver punchy opening sets that got loads of laughter to set the tone for Okatsuka’s evening of examining reality through her absurdist lens as an artistic performer who often feels like she’s from another planet. At the end of the show she announced that after releasing her first two specials on HBO (“The Intruder” in 2022) and Hulu (“Father,” which came out in 2025) her next special will be released (surprise!) on Netflix in 2027. (N.J.)
‘My Crazy Ex-Girlfriend’ Reunion
“Crazy Ex-Girlfriend” premiered on the CW Network in 2015 and managed to tell a complete four season story about mental illness in a musical comedy series that featured parody songs on everything from “Cats” to modern pop music to Jewish folk songs. Seven years after it ended, the cast and creatives behind the show reunited to perform a stripped-down selection of the series’ beloved songs. But this concert is not meant to serve as an introduction for those unfamiliar with the original show. The reunion performance is a tribute both to the miraculous existence of “Crazy Ex-Girlfriend” and to the devoted fans who still know all the words to songs like “Let’s Generalize About Men” and “Don’t Be a Lawyer.” (L.J.)
James McCann Hollywood Improv (Main Room)
Australian-born comedian James McCann topped the bill Saturday night at the Hollywood Improv, and the eclectic crowd packed the place ready to celebrate his arrival in L.A. Host Benton Harshaw and openers Ruby Setnik and Sam Campbell absolutely connected and killed. And if my word count were double, they’d get individual praise for setting the room up perfectly. High energy was the vibe when McCann got on stage to wild roars from the 9:30pm early show crowd and his energy match, noting he was excited to be at the historic club himself. Mullet looking flawless, poems in tow, and dark humor dialed to an 11, he questioned L.A.’s homeless crisis, may have questioned the audience a bit too much, and tore through his thoughts on a census overhaul, the insanity of the TV show “Survivor” (yes, it’s still on), the glory days of drinking, and having visions of finally being successful enough to hire his dream team. (A.L.)
Tom Segura, left, and Bert Kreischer speak during the Two Bears 5k event at the Rose Bowl.
(Jerod Harris / Getty Images for Netflix)
2 Bears 5K Rose Bowl
Can’t. Type. Too. Sore. And that’s not even from the run-walking, it’s from the afterparty inside Rose Bowl Stadium in Pasadena. Whether you kicked off this magical day of athleticism in downward dog with Ari Shaffir, or if you went straight for the starting line with Bert Kreischer, Tom Segura, and a svelte-looking Jelly Roll (bravo!), there was stretching, pacing, sweating and rejoicing to be had. The hang was so casual it allowed participants to rub elbows with a surplus of comics on hand like H. Foley, Kevin Ryan, Steph Tolev, Jefferson McDonald, Joe DeRosa, Jessimae Peluso, Greg Fitzsimmons, Daphnique Springs, Brittany Ross, Ian Fidance, Kim Congdon, and Dave Williamson. The finish line led runners directly into the Rose Bowl where there was plenty of Por Osos flowing, snacks, interactive games and recovery stations, and a live taping of 2 Bears 1 Cave with our favorite boys and celeb participants.
Sunday, May 10
Marcello Hernandez performed with Feid at the Hollywood Bowl on Sunday.
(Koury Angelo / Netflix)
Marcello Hernandez and Feid Hollywood Bowl
On “Saturday Night Live,” he plays a Latin Lover named Domingo. But at the Hollywood Bowl on Mother’s Day Sunday, headliner Marcello Hernández riffed on his real life as a mama’s boy growing up in Miami — expanding on material from his 2026 Netflix special, “American Boy” — and duly invited out his mom, Isabel, who was met with a standing ovation. “God gave me a mother who worked her entire life for me,” said Hernández, who eased on his elastic goofball schtick to exalt immigrant mothers. “Today, I give thanks to her — and to all the mothers who are here, as well as those you left back home.”
Attended by nearly 17,000 people, the Bowl’s biggest Spanish-language comedy event also featured a special (and sensual) musical performance by Colombian reggaeton heartthrob Feid, as well as Mexican comedian Sofia Niño de Rivera, who opened the show with her own riotous act. At some point she asked the audience if beating piñatas had been canceled by the woke mob; you’ll just have to trust me when I say it’s even funnier in Spanish. (Suzy Exposito)
Roast of Kevin Hart Kia Forum Los Angeles showed up to the Forum in Inglewood for the roast of Kevin Hart, the comedian we love to hate but also love to laugh with. It was a brutal takedown of Hart that could only be accomplished by the utmost respect and love from his peers. A surprise appearance by his longtime rival Katt Williams brought the entire house to their feet. Sheryl Underwood expertly executed the punchlines and made the culture the star of her set. Chelsea Handler could have been the star of her own show. The Rock’s WWE entrance brought the heat of the pyrotechnics to the stage with his explicit propositioning of Hart’s wife, Eniko, and an attempt to breastfeed Hart. Some controversial jokes by lesser, edgy comedians fell flat but Jeff Ross, the master of roasts, held the tempo together and kept the roast moving forward. There was something for everyone in this, as Hart, the hardest working person in comedy, has become famous for. (Janelle Webster)
Flight of the Conchords The Greek Theatre
Experiencing Flight of the Conchords at the Greek is something many fans of their lusty, yet-bone-dry musical comedy haven’t gotten to experience in a while. It’s been eight years since Jemaine Clement and Bret McKenzie have put us on “Business Time” with their stripped down odes to sexy R&B mixed with a hint of yacht rock, hip-hop power pop and whatever else they decided to throw together from their bag of classic jams that earned them fans in the early aughts. Following a killer opening set from comedian Arj Barker, Flight of the Conchords took the stage looking a bit more like silver foxes than young birds, which made the timeless chuckle-inducing tunes like “Robots,” “The Most Beautiful Girl (In the Room),” “Hurt Feelings” and “Business Time” land with even more impact as the crowd enjoyed some long-awaited nostalgia. Did they forget a few lyrics? Miss some solos? Mess up entire songs? Sure! But with a dose of Kiwi banter and the ability to laugh at themselves, the mistakes only made the show funnier and a reminder of why we’ve missed them. (N.J.)
