- Network: Netflix
- Series Premiere Date: May 3, 2024
Critic Reviews
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One highlight of Everybody’s in L.A. has been his deadpan monologues. .... The live element keeps the show exciting, with a crammed roster of guests, discussion topics, and running gags preventing dead air. .... I’m crossing my fingers that Netflix makes Everybody’s in L.A. an annual tradition.
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This series of live talk shows demonstrates why Mulaney would’ve been and still remains a great candidate to anchor anything like Update.
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“Everybody’s in LA” makes the case that he should get a blank check to figure out whatever he wants to create next. Much like with his delightful Sack Lunch Bunch kids’ special, also on Netflix, Mulaney showed control as a host as unfolding zaniness was going on around him. And, also like that special, there was never any doubt that the comedian was fully in the driver’s seat.
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It’s chaotic, odd, unpredictable, and totally unnecessary, and that’s what makes it great.
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The show is so rooted in a specific vision that the next five editions are an easy sell. Everybody may be in L.A., but not just anybody could pull these people and topics together.
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The point of view is chaos, and it surprisingly works for Mulaney, 41, usually an architect of more intimate, self-deprecating comedy. When nothing makes sense, there's almost something grounding about Mulaney's low-grade vocal fry coming in with dry wit amid discussions of helicopters chasing O.J. Simpson.
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The whole thing was bonkers. What held it together was a certain 1970s showbiz mood and Mulaney himself, who has the alien confidence, affect and skills of a talk-show host from an older showbiz era.
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Predictably, episode 1 of "Everybody's in L.A." was a collection of hits and misses, and who would have wanted it otherwise? .... [Jerry Seinfeld] appeared alongside Mr. Mulaney and, despite declaring it "the weirdest show I've ever been on," more or less saved the day. Many around him were spinning their wheels. The other highlight was Will Ferrell, introduced from the audience as famed record producer Lou Adler.
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Everybody's debut was too chaotic by half, simultaneously overproduced and underproduced, stuffed with content but comically arid.
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Mulaney is a charming and competent anchor, with a nicely deadpan style. It’s just as well he’s so good at what he does. Helmed by a less astute presenter, Everybody’s in LA might have been a disaster. Instead, it’s a rickety curio recommended strictly for those interested in coyotes, grumpy comedians or Americans with outstanding hair.