special

Ranting about the decline of comedy specials while releasing a new one at the same time feels a bit like an oxymoron. But somehow it still makes sense coming from alt-comedy pioneer David Cross, who isn’t just complaining; he’s finding his own route to making specials feel special again. The only way to do that is by putting one out in the manner he’d like to see more often — starting by making the whole crowd stand up too.

Capturing the energy of a concert at the famous 40 Watt Club in Athens, Ga., was the first step in differentiating “The End of the Beginning of the End” from the typical hour you watch on a big streamer. And, with this new special, Cross is able to get back to his own beginnings of touring across the country with love bands as his openers, performing for crowds for as long as he could until he had to run offstage to pee.

Premiering the special earlier this month on his website (and on April 7, it will be available on YouTube via production company 800 Pound Gorilla), Cross is hoping the special connects with comedy fans in a way that we’ve forgotten specials could.

This interview has been edited for length and clarity

Your new special is called “The End of the Beginning of the End.” What does that title mean to you as it relates to the impending doom of what we’re all living right now.

David Cross: Well, you can look at it in a couple different ways. To me, it signifies that the beginning of the end has occurred. And we are now at the end of the beginning of the end. And from where you go with that, that’s for you to decide.

One of the things I love about the special is the fact that you shoot it at a club in the style of a live–music concert.

I’ve shot specials in theaters and it’s just different, not that one is better than the other, but they’re just different. You have a different relationship with the audience. When I first started touring, I would go to music venues and I’d have a band open for me and then I would just go up and pretty much [perform] as long as I could until I had to pee. Sometimes I’d have a band playing, sometimes two bands, then I’d go out. And I did that a couple of times, and then stopped doing that and did theaters, and I decided for the last two specials I’m going to go to, when I shoot it, I’ll go to a music venue, and I was at the 40 Watt Club in Athens this last time, I was at the Metro in Chicago before that, both places I played on earlier tours, and, you know, it’s not seated. People are standing there at the stage, and I prefer it. It’s more fun. It’s not as lucrative but, to me, a more fun show to do.

Comedian David Cross

(Jason Armond / Los Angeles Times)

The ambience of it was great. You can hear people shouting and drinking and having a good time, and the crowd work is also a little more spontaneous and fun than it would be in a regular venue.

Yeah, well, there’s more opportunity for that. But my thing has never been about crowd work. I like engaging with it, it’s kind of a nice distraction from the set that you’ve been doing 100 times, 150 times at that point. So it’s always fun to have that thing happen and that feeling of spontaneity. And like the guy [who I talk to in the crowd during the special], I could not have asked for [someone better]. I mean, even if it was scripted, it wouldn’t have been as good. The guy who [I talk to] during the stuff about hiking Machu Picchu [with Bob Odenkirk], that’s just… [chef’s kiss].

Speaking of Bob Odenkirk, you guys have this long relationship. How would you describe the dynamic of working with Bob and just how you guys bounce ideas off each other?

I mean, it’s great. We have an inordinate amount of respect for each other, both as people and as creative partners. And so there’s never any real issues. There’s things we will definitely disagree with, but we’re both decent people. So you know somebody backs off and says, “OK, let’s do it that way.” But even then, there aren’t that many of those [issues]. We just have really worked well at building something or molding it, creating it and shaping it. And our aforementioned hike to Machu Picchu, we have a documentary about that, that will be premiering at a fancy festival at some point in the near-future. And so we got that doc and we’ve been working on that. And for the way we work now, because he lives in L.A. and I live in New York, and it’s been like that for a while, he’ll write a bunch of stuff, I’ll make notes, I’ll write my things, send it back. And so we’re able to do that and not necessarily have to be in the same room because we’ve had 30-plus years of working with each other.

It’s a kind of like an unspoken language you guys probably have in terms of comedy, which is super important, I imagine, just for collaborating.

Yeah, and it’s something we discovered very early on … before there was even “Mr. Show,” what would ultimately become “Mr. Show,” when we got together to write sketches for this bigger kind of comedy collective thing, and these shows that we would all do with each other, for each other, and the stuff that we would write together was just, like, really good, easy writing — again, one person adding this thing and one person saying here’s a switch yeah and another person adding this thing in. It was fun, it’s cool, still is. One thing he doesn’t get credit for is he’s a really decent human being. And with all the awfulness in the world that’s magnified, every sense is bombarded with it — it’s just good to be hanging with somebody whose energy is a good person, a decent person and an equitable, nice guy, so that’s good as well.

Comedian David Cross poses for a portrait ahead of his comedy special “The End of the Beginning of the End.”

(Jason Armond / Los Angeles Times)

One thing you guys also have in common is you both have kids, and he has a comedy show for kids called “The Appropriate Show.” Have you taken your daughter to see it?

It’s a sketch show [in which] all the sketches are appropriate for kids to watch. And the sketches have been done in other sketch shows onstage, live. And he puts together this thing once, twice a year here in L.A. And I took my daughter to it last year. It’s just sketches that kids can [understand]. At least if they don’t understand the actual references they get the archetype. “Oh, that’s the boss, that’s that uh… And it’s great, it’s a really cool idea uh… “ And would an ass— think of [a show like] that? No, one good decent person; a good man. But listen, this interview isn’t about me, it’s about Bob Odenkirk, so let’s get back to that.

Well, speaking of having comedy geared toward kids, your daughter’s at an age where she’s probably consumed or seen some of your comedy at this point.

Not, not really. No, no.

Do you shield her from your stuff, or are you not so concerned about it?

I don’t actively shield her, but I don’t introduce her to anything. So I was a little bummed out, and I got over it pretty quickly, but when I found out that she had seen a little bit of “Alvin and the Chipmunks,” and only because I don’t want to spoil the enjoyment of what movies are and what kids’ movies are and how things work. And I feel like that would introduce an element of reality that I want her to be able to just enjoy these things without — she’s seen “Kung Fu Panda”when she was younger, like, I don’t know, three, four, five times, has no idea that I’m in that, that my voice is in there. She knows I do stand-up, she gets that now. And when she was younger, she’d say, “Daddy’s silly for a living.” … I’m just trying to ride the balance of letting her have those childhood joys and experiences.

Comedian David Cross.

(Jason Armond / Los Angeles Times)

Does having a kid make you think about what’s coming up in the future of comedy, or what kids are gonna maybe find funny, or what they find funny now? Do you have any thoughts on kid comedy in general?

Not really. I mean, I can see that she and her friends, who are kind of like-minded, are naturally funny, and then that’s kind of encouraging and heartwarming and they’re silly, but I’ll be long gone when that generation is is providing comedy. And I’m still, although I’ve kind of given up, I’m still trying to grasp what works now. I mean, it’s short-term TikTok, Instagram stuff. There are some amazing, like really, really great things being done as far as film sketches for YouTube channels. “Almost Friday,” they’ve got genius-level stuff. I mean, really good. And where the sketch goes in a place, you’re never ahead of it, goes in a place where you’re not expecting. It’s really well written and well performed.

What are your thoughts on what a comedy special is nowadays or what it should be?

I mean, that’s a great question. I think anybody who plays with the form, whether I think it’s that funny or not, is different. But I’m happy when anybody kind of tries at least to play with a form. I just went to Rory Scovel‘s taping last week of his latest special. I don’t know when that’ll air, but if you’ve seen the beginning to his first special, stuff like that where you’re like, “Wait, what’s happening? What’s going on?” I love stuff like that.

I still get excited to watch specials by some of my favorite comics, but there’s a quality that’s missing. And these are stand-ups I love, and they’re not that great. They’re not bad but they’re not special, you know? And all those guys I mentioned, and more, have great specials. Like, you can go back and they’re great. And I don’t know why that is. I mean, there’s still funny stuff, but I don’t ever want to get to that place where its just feels a little phoned-in a little bit… that is, in part, why the last two specials were shot in this more intimate setting that feels special. And … as I said, the energy’s different, it’s a little bit different, and it’s less slick. It feels like you’re in the moment. You don’t need a million dollars to shoot a special. You don’t 28 camera angles, it‘s just bull—. And it takes something away.

Comedian David Cross

(Jason Armond / Los Angeles Times)

It all should feel the right amount of unsafe as well, I think.

That’s never gonna happen at a theater show. You’re never gonna feel that. And I don’t know, it really does feel almost like maybe we peaked in a sense, like there’s too much, and because of that, these things aren’t special. They’re not revelatory, they’re not unique. I dunno, can 18,000 people in an arena really relate to a … billionaire talking about how they’re gonna get canceled. I mean, is that a thing I guess? Those other big, slick specials that are shot in, like, a 3,200-seat, 3,500-seat theater, it just feels like, “Oh this person is up there and I’m listening to their jokes.” There’s nothing wrong with that. They’re often very funny jokes, but it doesn’t go beyond that. It’s just like, “All right, tell me your joke.” It might as well be an audio thing, you know?

Well, hopefully the robots aren’t coming for your job anytime soon.

Absolutely not. I mean, this could be naive, but I feel 100% safe that you are never going to replicate an evening of stand-up at a nigtclub like that. And not sitting down at tables while you’re having drinks and waitresses are coming by. I’m talking about everybody’s up on the stage, sold-out, maximum capacity; everybody’s there, focused, we’re all sharing that thing. You can’t. AI’s not going to be able to do that.

Yeah, the robots can’t do that, Terminator can’t do that..

Oh, I forgot about Terminator. He could do that. G— it.

March 23 (UPI) — A sheriff in Riverside, Calif., has seized more than 650,000 ballots from a 2025 state election that allowed the state to redistrict to gain five congressional seats.

Sheriff Chad Bianco, who is running for California governor, said Friday that he is investigating allegations by an activist group that alleged the reported tallies don’t match the ballots.

“This investigation is simple,” he said at a press conference. “Physically count the ballots and compare that result with the total votes reported.”

The election Bianco is investigating is the special election for Proposition 50, asking voters for endorsement to redraw the congressional districts in response to other Republican-led states, like Texas, redrawing their districts to pick up seats.

Californians voted to redistrict, and it was not a close election: 7.4 million in favor to 4.1 million.

A group called Riverside Election Integrity Team called for the investigation saying its examination of records shows about 45,000 more ballots were counted than received, Bianco said.

Local election officials said those allegations were based on a misunderstanding of how ballots are officially counted, the Palm Springs Desert Sun reported.

“County election staff follow detailed procedures established by state and federal law to protect the integrity of the vote and to ensure that every eligible ballot is processed and counted in accordance with those legal requirements,” Riverside County Executive Officer Jeff Van Wagenen said in a statement.

Bianco seized the ballots with two warrants signed by a judge. California Attorney General Rob Bonta sent Bianco a letter March 6 alleging, “my office has serious concerns as to whether probable cause existed to support the issuance of the warrants and whether your office presented the magistrate with all material evidence as required by law.”

Bonta also alleged that Bianco’s office is not qualified to count ballots and the investigation “sets a dangerous precedent and will only sow distrust in our elections.”

Bianco replied: “A judge approved the warrant, so Bonta’s opinion means absolutely nothing.”

Bianco also said Friday that he would give the investigation to a judge-appointed special master.

Democrats and Republicans in the state have said the investigation is baseless.

“It looks to me like it’s a politically motivated effort,” Jon Fleischman, former executive director of the California Republican Party, told The New York Times. “It’s awfully coincidental that he would be taking this high-profile and extreme of an action literally two months before he’s facing a statewide election.”

California Secretary of State Shirley Weber, a Democrat, said Bianco’s claims are not supported by the evidence.

“The Riverside County Sheriff’s Office has taken actions based on allegations that lack credible evidence and risk undermining public confidence in our elections,” Weber said in a statement on Friday.

“Investigations into election processes must be conducted by those with the appropriate legal authority and subject matter expertise. Similar claims raised in other states by individuals without election administration experience have been thoroughly reviewed and debunked.”

Antonio Villaraigosa, a Democrat running for governor, said Bianco is trying to gain national exposure.

“What we’re seeing from Chad Bianco is a dangerous abuse of power and no different from what we’re seeing from Donald Trump and the extreme Republican efforts to disenfranchise voters nationally,” Villaraigosa said in a statement.

“Seizing hundreds of thousands of ballots without credible evidence is an attack on the very foundation of our democracy. If you’re willing to undermine free and fair elections for MAGA stardom, you have no business holding public office.”

The BBC show about midwives at Nonnatus House is taking a break after its latest series

Call The Midwife will not be back for a Christmas special this year.

The much-loved BBC period drama about midwives working in the East End is currently in its 15th series, but that is set to end on March 8 and show creator Heidi Thomas has previously confirmed the programme is then taking a break.

While it is due to return for a 16th run in the future, that will not be in January as usual, with the series on hiatus.

It has also been confirmed that its usual festive special – which is a usually a highlight of the Christmas TV schedule for viewers – will not air this December.

“We have made 15 series in 15 years – I’ve known for a couple of years that that situation won’t go on for ever,” Heidi told Radio Times.

“The sets need repair. The nuns’ habits are worn out. It takes 14 months to make every series.”

The show creator said that for two months of each year she and producer Annie Tricklebank work on two series at the same time and that the workload is “immense” and can only be sustained for “so long”.

During the Call The Midwife interlude, audiences will be treated to a wartime prequel series instead.

It commences on Christmas Day and will showcase 1940s incarnations of Sister Monica Joan, Sister Julienne (Jenny Agutter), and the late Sister Evangeline, who was previously portrayed by Pam Ferris.

A film featuring the regular cast set in the Commonwealth, probably Australia, in the year 1972 is also in the pipeline.

So far it isn’t known when the 16th series of the show will air.

But Heidi told Radio Times that it will return “slightly recalibrated”. “Changes will have taken place, but the change itself is not destructive,” she said. “It’s nourishing.”

Call The Midwife – which stars Helen George as Nurse Trixie Franklin – started in 2012 and has aired 15 series set between the 1950s and 1970s, as well as several festive specials.

The current series about the midwives of Nonnatus House started in January and is set in 1971.

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Call The Midwife airs at 8pm on BBC One on Sunday March 8

It started as a gift for their daughter’s 9th birthday. Jennifer and Michael Reese wanted to surprise their gymnast-in-training with a trip to Westwood to see the UCLA women’s gymnastics team.

From that moment on, they became fans. They were captivated by the choreography on the floor and the balance on the beam, by the work each gymnast puts into their routine and by the thrills of the best show in Los Angeles.

Ten years later, while their daughter cheers from a distance at Oregon State, the couple remain loyal to the Bruins and are a staple of Section 103 at Pauley Pavilion as season-ticket holders. And their devotion isn’t grounded in Southern California. When the team travels for meets away from home, the Reeses often follow to cheer on the Bruins.

“They just welcomed us with open arms just as if we were a part of them just because we became so faithful and true fans,” Jennifer said. “They called us their super fans.”

Michael and Jennifer Reese, from Victorville, join parents and friends of the gymnastics team at a rally before the Bruins’ meet against Michigan at Pauley Pavilion on Feb. 14.

(Genaro Molina/Los Angeles Times)

That sense of belonging has been their favorite part of supporting UCLA women’s gymnastics. The Bruin Bubble — an affectionate term for the close-knit, insulated community, culture and social scene among UCLA students, alumni and sports fans — added them to their email chains, inviting them to banquets and fundraisers.

“We just love it,” Jennifer said.

With every pike in midair, every perfect landing, every Yurchenko off the vault, the Reeses’ connection with each gymnast grows and their commitment to the team becomes deeper.

Watching it from the comfort of their Victorville home is an option, but the energy in Pauley is unmatched, Michael said.

“You have tons of people doing the same thing and being on the same accord for that one athlete,” he said. “Whether it’s Jordan [Chiles] or whether it’s freshman Ashlee Sullivan or whether it’s, back in the day, Kyla Ross, it’s just amazing to feel that thrill there.”

But if they must watch from their living room, they make sure to bring the same energy as if they were watching in person.

UCLA super fan Michael Reese gives high-fives to members of the Bruins gymnastics team at a send-off before a meet against Michigan at Pauley Pavilion on Feb. 14.

(Genaro Molina/Los Angeles Times)

“We’re hopping and hollering in our living rooms,” Michael said, “but it’s nothing like being in person.”

Before every meet, the Bruins and their family members convene outside the arena a few hours early for a send-off. Think of it as a pep rally where family members hype the gymnasts. They cheer as the team makes its way to the arena.

“It lets us go into competition with a lot of energy,” coach Janelle McDonald said.

In 2018, during a meet in Michigan, their Bruins’ previous coach, Valorie Kondos Field, started chanting “We’re ready,” which Michael gravitated toward. As a former military man, he picked up the cadence of the cheer and started to hype the team with the chant. Now, anytime he’s available, he makes sure to be there and send off his favorite team.

Throughout the years, he’s added his own flavor to it by adding the acronym W.I.N. to the end of the rallying cry — Work, Intensity and Never quit.

“We just have fun with it, whatever pops at the time,” he said.

When the Bruin Bubble gets together to send off the team, whether it’s with the UCLA eight-clap, silly wigs or pom-poms, the energy passed sets the gymnasts up to be the best they can be, junior Katelyn Rosen said.

“Gymnastics is really hard to make it go perfect every single time,” she said. “So if you can kind of get similar pieces of each day to anchor to, to make you feel calm, to remind yourself that it’s still you, and you’re still in your own body, and you still have control over it, is something really helpful.”

Having familiar faces of friends and family in the crowd, even when they are competing away from Pauley Pavilion, means a lot to the gymnasts, McDonald said. Fans like Jennifer and “Big Mike,” as the team calls him, are part of the consistency they have throughout the season.

With the help of the Reeses, UCLA is breaking records. So far, the Bruins have been a part of four meets with record attendances in Illinois, Michigan, Minnesota and Washington. Their Feb. 22 meet at Illinois had to be moved to State Farm Center to accommodate the larger crowd.

Bruins fans don’t see the travel as a sacrifice.

It’s “the thrill of your life,” Jennifer Reese said.

MAJOR airports in Spain are introducing Brit-only border control to avoid travel chaos this summer.

New EES requirements have resulted in large queues at airports for British holidaymakers.

According to local media, the Spanish operator Aena has revealed that four airports will adapt their security and border control for Brits.

These airports are in Ibiza, Menorca, Malaga and Palma, Majorca.

It’s set to be put in place to ease the queues caused by new EES rules.

These will have a single access point to non-Schengen boarding zones to be used only by UK and non-EU passengers.

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There’s concern that the new EES requirement is causing delays in airports and will only grow during peak travel times, like the summer holidays.

Officials have expressed their worry that queues could be up to four hours or more.

The changes form part of Aena’s huge investment plan to its airports set to take place between 2027-2031.

These airports will use the investment ‘redesign control areas to improve passenger flow’.

They will allocate 29 per cent more space for passengers to ‘ensure smoother processing and better service quality’.

Malaga Airport could receive €1.5billion (£1.3billion) which could see it double the size of the terminal and increase capacity to handle 36million passengers each year.

Palma Airport (called Son Sant Joan) could receive €621.6million (just over £544million) for upgrades.

The investment is set to go towards the airport’s platforms, runway and taxiway pavements, taxiways, and renovation of boarding bridges.

In the case of Ibiza, the investment is set to be €229.7million (£201million), and in Menorca, the investment will reach €170.7million (£149million).

It will also include the adaptation to border control regulations to improve its efficiency.

At all four of the upgrade plans at these airports include allocated areas for Brits and non-EU passengers.

In order to fund the investment, Aena has proposed an average annual increasing its fees for airlines.

This hasn’t been well-received by the likes of Ryanair which has planned to axe over a million seats to certain Spanish routes, with some being cut down or cancelled completely.

Here’s more on the Spanish city which is getting MORE Ryanair flights after budget airline scrapped millions of seats.

And here are the cheapest destinations to fly to from six major UK airports including Spanish resorts to Greek islands.