Pop Xulture Newsletter # 25

Focusing on Everybody’s in LA and the Future of Live Streaming. 9/6/24

Xurrent News

First off, you couldn’t access my article “Creativity, Part 3 – Timeless Relevancy,” due to a glitch. But it’s working now so I beg you to check it out! The article is about how to make perpetually relevant content, using Cory Doctorow’s Little Brother as a guide. Even if you don’t fancy yourself as creative, you may be surprised how these helpful tips can improve your life.

Second, I’ll be on “The Ride Home with John and Kathy” radio show on Wednesday, 9/11 around 2:15 (Eastern Time) so tune in!

Third, I had the opportunity to write about the Netflix show Eric for Christ and Pop Culture. You can read my article “Eric: Bringing Light to the Darkness and Facing Our Monsters” here. I explore ’80s fun while dealing with heavy topics like kidnapping, social issues, and parenting…which…doesn’t sound fun.

Xomposition Exclusive

This month’s exclusive is an unreleased idea I had for an article but due to time constraints was unable to fully flesh out. I believe John Mulaney Presents: Everybody's in LA is indicative of a cultural moment. And whether you love Mulaney or hate him (or never heard of him), give this one a shot!

John Mulaney Presents: Everybody's in LA and the Future of Live Streaming

Netflix has always been innovative, but I don’t know of anything that captures a live yet perpetually available cultural moment like John Mulaney Presents: Everybody’s in LA. The mini-series event took advantage of “Netflix is a Joke Fest 2024,” which brought tons of comedians into Los Angeles. The premise is that LA is confusing, and comedians and community experts can unravel the mysteries, especially focused on six seemingly random topics (and so much more), under Mulaney’s conductorial hand. 

Interestingly, hard-core fans of Mulaney may not love every minute, and conversely, those who don’t like his brand of humor (or stand-up in general), may find the show both accessible and enjoyable. Mulaney’s weirdness creates the show, but it manifests as creative, certainly not a cookie-cutter city news special. The genius is in the format, a late-night talk show with monologue, interviews, and much more, but unrehearsed and a little chaotic. I’ll get into what this means for potential live shows in a moment. But first, the following is a recap of the initial episode (with mild spoilers), delving into why Everybody’s in LA (EiLA) was such a cultural moment.

MY TAKE ON EiLA, EPISODE 1: “COYOTES”

The first show aired Friday, May 3rd, with comedian Richard Kind acting as announcer/sidekick. Mulaney, clipboard in hand, gives a hilarious opening bit about LA’s (“in many ways, we mean ‘Los Angeles’”) intricacies and misconceptions. This is where fans of the host’s standup will be most rewarded. Mulaney is a phenomenal storyteller so when he gets to deliver his methodically crafted observational humor, it can be a delight. 

As the primary guests, Jerry Seinfeld and Toni Tucci (a coyote advocate) discuss several topics. Next, a pre-taped bit where a group of comedians visit a real open house for sale. Here is one example of cultural relevance where, when asked if Chelsea Peretti wants to give a history of the door’s mezuza, she chuckles, “Not in these times,” alluding to Israel-Hamas war tensions. 

Back in the studio, in a standard talk show interview, Ray J discussed his entrepreneurial achievements. And Mulaney was decently comedic with organic conversations, but there was certainly a tension around the edges, his clipboard an ever-present reminder of staying on schedule. This gave me a sort of anxious energy throughout the episode, even as it sagged a little in the middle (much like me).

And yet, that energy of being part of something live, created space for unplanned events. Like when Stavros Halkias told an incredibly crude joke, but no one laughed because his mic wasn’t on. The guests looked uncomfortable, but quick thinking Mulaney immediately asked the audience if they could hear, and the resulting solution’s ramifications were humorous.

My seventeen-year-old son enjoys Mulaney’s humor (not surprising since young adult males are Mulaney’s biggest demographic), but he was confused when the band St. Vincent played, finishing off the episode. I explained, “Oh, some talk shows and SNL do this, and Mulaney comes from SNL.” But in writing this article, I realized Mulaney loves music and LA is a performative city.

THE FUTURE OF LIVE STREAMING

Some EiLA episodes are better than others, but the idea of watching something like this live excited me. Even when I streamed an episode after it aired, I was invested. I think it was the nature of the show – planned but raw. For what it’s worth, EiLA was nominated for an Emmy among other awards, so the show itself matters.

And before you (Boomers) ridicule me saying, “Back in the day most TV was live,” I understand where you’re coming from. But I think there is a societal desire for a modern take on that premise. A Rolling Stone article captures the experience well, saying EiLA was “a perfect experiment in making TV magically timeless.” And that timelessness (much like my aforementioned evergreen creativity article) is what differentiates this special, and why I believe audiences reacted so favorably.

But like anything, recognition of magic breeds competition. According to the Wall Street Journal, “[Disney] is developing pop-up live channels aimed at entertaining viewers who don’t have the time or energy to scroll through viewing options…” And what will Disney use as a model? Disney CEO Bob Iger “said Netflix is the ‘gold standard’ in streaming, and that Disney is developing technology to help it catch up to its rival and boost the streaming business’s bottom line.”

The problem is that starting an enterprise simply because (you hope) it will be lucrative, rarely creates good art and ultimately leaves audiences unfulfilled. Mulaney’s special was…special, because it ignored algorithms (something that may have chafed Netflix) and formulaic standards, instead embracing unrehearsed, performative chaos.

But, and take note Disney and others, but it wasn’t unplanned. There was a classic method to the madness. I’m hearing more and more people talk about entering the Analog Revolution and, although not exactly the same, this is where I hope live streaming will go. True auteurs given the freedom to plan and direct a general vision, while letting the spontaneity and joy of unrehearsed interactions surface (failures and all).

Xoncluding Thoughts

Thanks so much for reading and hope you check out the new creativity article and listen to my radio interview on 9/11!  

Thanks, in Him,

-Chris (the Bearded Wonder) Fogle