John Mulaney’s Playhouse

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As the premiere of “Everybody’s Live With John Mulaney” nears, I find myself huddled with my talented writing team in our Sunset Gower Studios in Hollywood. It’s a sunny afternoon, and we’re brainstorming potential scenarios for the first episode, which I’ve chosen to focus on the tricky topic of lending money. In no time at all, we’re bouncing ideas off each other and sharing our own anecdotes. I ask the group, “What if you lend a relative money to construct a greenhouse, but they end up using it for something else instead?” This question was inspired by a recent event involving my mother-in-law, affectionately known as Miss Kim. Langston Kerman, one of our writers, offers his take, saying, “I’m not trying to stir things up, but she took you for a ride.” When I ask for clarification, he explains, “Because she knew all along that it wasn’t going to be a greenhouse.

In simple terms, “Everybody’s Live” is John Mulaney’s fresh, hour-long weekly talk show airing live on Netflix, reimagining the traditional late-night talk show format. As he puts it in the opening monologue of the March 12 premiere, “This is my live, improvisational, unpredictable talk show.” The streaming giant has given Mulaney an hour to share with fans the baby boomer culture that shaped him into the eccentric individual he is today.

The show, a development from a six-episode trial run in May 2024, is heavily influenced by Mulaney’s personal experiences and tastes, from the topics discussed to the panelists chosen, the musical acts invited, and the references made. It offers ample opportunities for Mulaney’s quick wit and humor, and serves as a stage for him to refine his evolving onstage persona after marrying actress Olivia Munn and becoming a parent.

At the same time, it allows for plenty of room to showcase its loose, deliberate style, potentially revealing its flaws and pitfalls. In essence, it’s a platform for Mulaney to express himself freely, but also a challenge to maintain its unique, laid-back approach.

In the initial episode, everything is clearly displayed. Everybody’s Live showcases live audience calls, and on multiple occasions, these calls – some discussing drug addiction or housing issues – can be quite emotional, placing Mulaney in a challenging position between showing empathy and maintaining a lighthearted demeanor. The broadcast encounters other glitches: An unanticipated Tracy Morgan appearance slows the pace, and with these calls and the surprise guest, Mulaney hurries through the conclusion to prevent exceeding the show’s time limit (as prolonged running can incur additional costs). However, the potential for extraordinary magic is evident within it. It’s enjoyable to observe Michael Keaton listening to Fred Armisen’s upcoming sound effects album tracks. There’s a hilariously senseless Body Double telescope spoof, where Mulaney observes several murders from afar and chooses to brush them off to avoid dealing with any complications. The most delightful aspect is the unexpected blend of panelists and musical artists during the episode, resulting in a sublime moment where Joan Baez and Richard Kind start dancing exuberantly to Cypress Hill’s “Hits From the Bong.”

In simpler terms, Mulaney explains that his show’s intentional irregularities are a protective strategy, making it harder for people to criticize. He jokingly calls the production slapdash and unpolished, even admitting they worked on an episode all day. However, he genuinely thinks this unconventional approach, featuring peculiar phone calls and seemingly out-of-place guests, creates better entertainment. According to him, what people find good or enjoyable is often fleeting and unpredictable. If it could be predicted with data, there would be more successful shows, not just Netflix but everyone.

In the studio for Everybody’s Live, Mulaney’s office is equipped with a turntable, an extensive vinyl collection, piles of notes on yellow legal pads, and a miniature table loaded with juice boxes. A toddler-sized bulletin board is additionally present, overflowing with planning cards, mirroring the main writers’ room’s board. The planning boards can be quite distracting, as they invite constant glances and attempts to decipher their meanings, although some (“Richard Hair Transplant”) appear rather self-explanatory. A few ideas are Mulaney’s own, while many originate from the writing staff that Mulaney hired with the intention of creating a show dynamic similar to Saturday Night Live, where writers often generate their own work.

John Mulaney highlights that each writer in his team is essentially the boss of their respective projects. Fran Gillespie and Anna Drezen are esteemed veterans from Saturday Night Live (SNL). Vanessa Ramos is the creator of Netflix’s Blockbuster, while Alex Scordelis hails from Upright Citizens Brigade Theatre and has a background in journalism that resonated with Mulaney. Langston Kerman, a stand-up comedian, co-created the Peacock series Bust Down. Rajat Suresh and Jeremy Levick made their mark as writers and producers of offbeat digital videos.

When I probe about hiring Dave Ferguson as head writer, Mulaney explains that they worked together during his stint at the Spirit Awards, and Ferguson excels in “the organizational aspects of managing a writers’ room.” As Mulaney puts it, “Dave seems to thrive on creating Google Docs.” Much like the other writers, Ferguson possesses the key trait that Mulaney sought: they all write with an emphasis on production.

As a film critic, I’ve noticed some intriguing behind-the-scenes elements during my recent visit to the writing room. For instance, certain planning-board cards are self-crafted pieces by cast members like Levick and Suresh, who’ve developed distinct onscreen personas. Others are cards that John Mulaney himself isn’t too familiar with; one such sketch is being developed by Kerman for later in the season, a script he won’t even glimpse until the day of performance. Kerman also handles the live-written lower-third gags that pepper each episode, jokes I only come across after the show has wrapped up. It makes me wonder if he was aware that during the premiere of Everybody’s Live , Kerman would label him as “John Mulaney, Host (White)”. I asked, “Was that part of the opening act?” with a chuckle and a shake of the head.

Initially, Mulaney’s comedy show, titled “Everybody’s in L.A.”, wasn’t immediately recognizable as a blend of influences such as “The Dick Cavett Show”, “Larry King Live”, and a public-access series called “TV Party”. Netflix initially hired Mulaney for a small project related to their 2024 Netflix Is a Joke Festival, with minimal requirements beyond “Something-Something Live Mulaney”. This six-episode nightly show evolved into “Everybody’s in L.A.”, and almost all the writers from the initial trial version were retained for the final product.

Mulaney aimed to create a show that resembled a late-night talk show, incorporating pre-produced comedy sketches, musical performances, and daily topics related to Los Angeles like palm trees, coyotes, and earthquakes. He desired the show to have its own unique rhythm rather than being constrained by a rigid schedule or promotional cycle. Mulaney wanted Richard Kind to be part of the show because he embodies both 1940s and 2025 at the same time. He explained, “There’s no greater insight into Richard as a performer that I have, versus anyone else who watches him. It’s just so funny, and I’m never unhappy to see him.”

Mulaney intended to construct a show that felt intentionally aimless. He yearned for an exchange between himself and Richard Kind that was neither captivating nor conclusive, merely allowing them to sit in it without any resolution. Mulaney expressed, “I don’t see dead air enough. Everything’s so tight. I just wanted Richard and I to have an exchange that is neither electric nor has a conclusion and sit in it.

The show “Everybody’s Live” was successful, despite its occasional time overruns, focus on calls from viewers, use of a faulty delivery robot, and insistence on combining “Helicopter Night” with “Sunglasses Night.” Netflix agreed to commission two additional seasons, each consisting of 12 episodes. These episodes would still be live, but they would now air weekly instead of nightly; Netflix suggested keeping the word “Live” in the title and broadening the show’s topics beyond its heavy focus on Los Angeles. Good themes for an episode of “Everybody’s Live,” according to Mulaney, are those that spark a lot of discussion, questions, and debates on social media platforms like Facebook groups or Quora. When the writers first arrived at the Sunset Gower offices in January, Mulaney already had a concept for the first episode. As Gillespie recalls, Mulaney announced, “The first episode will be about lending people money,” in such a way that it seemed he wanted to settle a score. Kerman adds that Mulaney didn’t even say hello upon arriving.

Despite some topics for future episodes still being uncertain, such as an episode on “Sleep” which Mulaney finds dubious, the writers are satisfied with several subjects they’ve settled on. These include “Cruises,” “End-of-Life Planning,” and “Real ID.” Mulaney admits that some of these topics stem from his personal issues. Indeed, he expresses dissatisfaction about Real ID, finding it strange. “Why are we all getting new photos taken by the federal government?” he questions. “I’m not even a conspiracy theorist. We just don’t do this. You tell me my driver’s license isn’t valid on a plane anymore? How dare you!” This is as far as his interest in the topic goes, he states: “What’s going on here? What’s this about?

In the show, certain aspects are influenced by John Mulaney’s personal interests and concerns. However, when he proposes an idea that the writing team doesn’t find suitable, they aren’t shy about expressing their doubts. For instance, Mulaney once suggested a series of pre-recorded skits to resemble dull scenes from a Korean historical drama, such as two people chatting by a well. According to Levick, the response was swift and clear, “He had come in so eager with this idea, but no one was giving him the affirmative nods.” Ramos added, “It was more like, ‘I’m not sure what that looks like, but go ahead and pursue your vision, I suppose?'” As the week of the premiere approached, there were no Korean historical drama segments on the agenda, but a note read “Bring Out a Crow” and another idea Ferguson had proposed based on NBA tunnel walks.

John Mulaney is not planning on giving up his other commitments to solely focus on being a full-time weekly late-night host. This summer, he’s filming a movie and collaborating with friend Neal Katyal on a TV project. He’s also considering a stage adaptation of his 2019 “Documentary Now!” episode “Original Cast Album: Co-Op.” In August, he plans to tour again. With so many projects lined up, Mulaney loves hosting “Everybody’s Live,” but admits they aren’t planning for a 30-year tenure. He now has a family – he and Olivia Munn have a 3-year-old and a newborn. Having projects that keep him in Los Angeles and more work scheduled ahead of time is beneficial, as his life’s focus has shifted over the past years. During our Zoom call after the premiere, his screen ID was “Olivia Munn.” There’s a recurring joke on “Everybody’s Live” where Mulaney asks callers about their cars. When asked about his own car, he mentions that he sometimes drives a Mini Cooper because Munn is teaching him to drive a manual, but he still struggles with speed bumps.

Every aspect of “Everybody’s Live” mirrors John Mulaney, reflecting his current musical preferences, favorite writers, and humor triggers. Whether intentionally or not, it also showcases a Mulaney who holds onto elements of his previous comedy persona while simultaneously crafting a new one that aligns better with who he is today. The absence of a Los Angeles focus in “Everybody’s Live” shifts the emphasis more towards Mulaney himself. This is most apparent in the opening monologue, where after making obligatory jokes about the show’s format, he comments on the accidental acquisition by Netflix, thinking it was a true-crime documentary due to his appearance. Moments later, he transitions into personal material about his family, including Munn’s cancer diagnosis, their IVF experience, and a joke involving Mulaney impersonating Munn performing an explicit act. These jokes highlight two distinct Mulaneys – one with a more mature demeanor and a complex connection with the audience. However, neither version seamlessly blends with his role as the host. The Mulaney who playfully expresses annoyance at fulfilling the duties of this show while roaming around a world tailored to his specifications, much like Pee-wee Herman in his playhouse.

However, he is also the Mulaney who paired Richard Kind as his partner and invited Joan Baez for the debut episode. He understood that despite the premiere running overtime, it was crucial to include room for the episode’s most significant moment – a pre-recorded sketch featuring a panel of 11 actors who portrayed Willy Loman from Death of a Salesman, penned and produced by Scordelis. This sketch encapsulates everything that Everybody’s Live excels at: heartfelt appreciation and reverence for cultural artifacts, filtered through an absurd sense of humor. “I was simply committed to ensuring it was broadcast,” Mulaney shared.

Last week, during a pause in their discussion on episode one’s theme, Mulaney unexpectedly shifted topics. He remarked to his writers, “We just had an amusing call with Netflix.” It seemed that Netflix had discovered that the premiere would feature Armisen and Baez as guests, and they were concerned that the show hadn’t secured more high-profile talent to create buzz and excitement. According to Mulaney, an unnamed executive complained, “This isn’t the show we bought!” He also mentioned that the executive seemed puzzled, saying, “We don’t even understand what this rundown means!” In response, Mulaney joked, “Do you think you’ll feel better when I explain ‘telescope murder’? If I walk you through that (which is a parody of ‘Body Double’), you’ll feel better about the money spent?

According to Mulaney’s explanation of the call, the writers chuckle but also ponder the suggestion about inviting more popular artists. Kerman wonders who might be a big enough name. “Nobody knows,” Mulaney replies. He struggles to envision a viewer uninterested in a new Mulaney show suddenly becoming interested just because someone like Tom Hardy is appearing as a guest. The conversation then shifts briefly to discussing the amount of script to send Morgan’s team for his King Latifah performance, but during a pause, Mulaney returns to the topic of the Netflix call. “They asked, ‘And Jo Ann Baez?'” Mulaney corrects them, saying, “It’s Joan.” The writers laugh, feeling both excited and concerned. “The show’s not amazing, guys,” Mulaney says. “That’s the thing about the show – it’s good, but it’s not fantastic.”

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2025-03-19 18:56