May 30, 2025
Ricky Gervais' Hollywood Star and John Mulaney's Intervention
Johnny Mac discusses Ricky Gervais receiving his star on the Hollywood Walk of Fame and reflects on Ricky's approach to controversial comedy topics. The episode also covers Nick Kroll's experience organizing John Mulaney's intervention during the pandemic and criticism of Mulaney's show. Additionally, the tensions around bike lanes in New York City and a conversation about Bob Gale's insights into adapting 'Back to the Future' for the stage are highlighted. The episode wraps up with information on accessing commercial-free content.
00:00 Ricky Gervais' Hollywood Walk of Fame Star
02:54 Nick Kroll on John Mulaney's Intervention
04:26 Debate on New York City Bike Lanes
08:14 John Mulaney and SNL Speculations
08:33 Sheng Wang on Standup Comedy
09:23 Back to the Future Musical Insights
10:50 Conclusion and Subscription Information
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Callaroga Shark Media. Hey there, JIMG with your daily comedy news.
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Ricky Gervase gets his star on the Hollywood Walk of
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Fame today. It is the twenty and thirteenth star on
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the Hollywood Walk of Fame sixteen twenty eight Vine Street.
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If you want to go, if you're in LA, won't
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you head on over. It's today at eleven to thirty Pacific.
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If you're not in LA, or maybe you're in LA,
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just don't feel like leaving the house. I understand it'll
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be stream live on Walk of Fame dot Com. The
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La Times caught up with Ricky gervas. He also is
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playing the Hollywood Bowl on Saturday. Cool place to see Ricky.
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His last appearance at the Hollywood Bowl in twenty twenty
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three earned him the Guinness World Record for highest grossing
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single stand up performance. The La Times asked Ricky, Hey,
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you've spent your career pushing comedy boundaries as there have
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been a moment where we thought, oh, I'm gonna have
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to defend this one. Ricky said, no, it all comes
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and goes. It's cyclic. People get nervous and that's just
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always been there from day one. People get worried, and
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I say, well, this is why it's okay. Sometimes it's
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an executive producer or a broadcaster just want some ammunition
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to defend it. But sometimes they don't know whether it's
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okay or not. They just don't want to get complaints.
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If I can go okay, listen, this is why it's okay,
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then they often trust me because I can defend it.
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It's not me sitting in the room going what's the
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most offensive thing I could say to get the BBC
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burned down? There's always a point to it. Offence comes
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from people mistaking the subject of a joke with the
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actual target, and they're not usually the same real smart
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by Ricky there. We're human, so we react to buzzwords
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and we're cautious of taboo subjects. That's why they're still taboo,
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because we're cautious of them. I do that on purpose
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as well, particularly with my stand up where we talk
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about contentious issues and taboo subjects, because I do want
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to take the audience to place they haven't been before.
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I do want them to reflect on it, worry about it,
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think about it, and then I've got to misdirect them.
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It's like I take them by the hand through a
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scary forest. But it's okay because they always laugh. If
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we're going out there and saying things that were really
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offensive and no one was laughing, well that would be odd.
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That's what politicians do. Politicians say awful things and they
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mean it and no one laughs. Comedians say things they
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don't mean. Everyone laughs, and they get the same treatment.
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I don't go out there to try and ruin the
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audience's evening. I go out there and I make a
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joke and it's crafted. We're human, though, and we take
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things personally. But you shouldn't because I think comedy is
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at best in intellectual pursuit. You should go well, that's
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a bad subject and I don't agree with the punchline,
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But does it work comedically? It's a magic trick, it's formula.
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You can't argue with chemistry. No one goes well, I know,
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I laugh, but I don't agree with it. Well, it
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did what it does. That's the joke, and I'm not
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going to change the joke or the meeting. I think
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the only form of censorship as an audience is your
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right not to listen. You just don't have to watch.
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You could leave, not buy my stuff, not buy my tickets,
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and that's absolutely fine. You can turn your TV off,
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but what you can't do is make other people turn
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their TV off. That's the difference. And then people complain
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about something you're doing in the privacy of your own home,
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even though if they had to go up to their
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attic and stand out a step ladder and look through
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binoculars to see it, they'll find it. People sometimes seek
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out the offense, and that's actually where people can get
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addicted to being offended. They like it, it makes them
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feel live. The news even picks it up. They say, oh,
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fans weren't happy. Three fans weren't happy. Good stuff. Maybe
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a little more from that. Tomorrow. Nick Kroll was on
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Armchair Expert with Jack Sheppard. Kroll explained the process of
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trying to organize John Mulaney's intervention. Kroll said it was
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so scary and brutal to go through because he was
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in New York. I was in la who was at
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the height of the pandemic, So it was incredibly stressful
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to be in the midst of the pandemic trying to
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literally coordinate and produce an intervention, bringing a bunch of
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different people together friends from college. Kroll's wife was about
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to give birth, and I was shooting don't worry Darling,
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which there was no stress there. That was a very
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controversial filming that I don't have time to get into.
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You can google it. Krol said. Then John was running
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around New York City like a true madman. I was
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so deeply scared that he was going to die, and
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I was trying to orchestrate all this, combining all the elements,
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the going of these things, like the intervention person, where
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he was going to go, who was going to be
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at it. You're all of a sudden going back to
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being like, oh, that's why I've been an inconsistent friend
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for the last X amount of time. This explains that,
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And so it gives you both empathy for them an
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also tremendous amount of anger because they've been lying to you.
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Kroll talked about being on the film with Malaney and said,
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both of us crying, me just being like, I'm so
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scared you're going to die. And so I felt him
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feeling the same way, but also just like yay New
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York Streets blogs, Doug Gordon is mad at John Mulaney.
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He was commenting on the Millennie episode from ten days ago,
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and said if that one was the only episode you'd
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ever seen, you'd be forgiven for thinking that the show
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was shot live at a community board meeting in New
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York City. After all, the conversation, which featured some of
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the most accomplished people in entertainment, quickly to send it
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into a competition to see who could most gratuitously equate
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Big Apple bonafides with complaints about all the ways in
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which bicycles have ruined New York. I'm gonna jump in
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before I get more into this. Okay, I'm from New
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York City. I'm also very, very very pro bike lane.
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Understand that I'm very pro bike lane. If you want
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to see bike lanes work, go to Chicago, where bike
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lanes work. If you want to see where bike lanes work,
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go to Montreal where bike lanes work. If you want
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to see how bike lanes work, go to Vancouver, which
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even has side streets that are biicles only. It is fantastic.
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Love a good bike lane. New York City bike lanes
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it don't work at all, especially in Manhattan. Too much
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chaos doesn't work. They're not really They're more often than
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not not protected bike lanes, and when they are protected
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bike lanes, it pushes out the on street parking so
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that if you're driving a car, you have to like
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creep out through the bike lane and then passed where
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the cars are parked and you can't even see the
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oncoming traffic. And then add in Manhattan pedestrians like me
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who jaywalkt will it's complete chaos. Bike lanes Manhattan do
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not work. The Gordon writes. The stated theme of the
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program was is uber good? Setting aside that The Evening's
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question has been known for more than a decade, it's
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a resounding no, at least for people who care about congestion,
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carbon emissions and public transit ridership. Only an he barely
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bothered engage with the Walker. The editor of torched a
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new site focused on the infrastructure changes and policy choices
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being pursued by Los Angeles as it preps for the
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twenty twenty eight Olympic Games. Yeah, I don't know if
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you know this, Sir Mlanie's talk show is just chaos
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and he can't focus on it doesn't work. Respectfully disagree
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with the friend of the show and the Great New
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York Times writer Jason Zinnemann Millenie show does not work.
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I'm sorry, does not work. The topics do work. I
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don't know why we are the least bit surprised. John
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Mulani could not hold a meaningful conversation about Uber, so
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Gordon Wright's after Walker offered one reason why Uber is
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not good because of the congestion and the undermining of
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public transit. Mullenie asked Walker how she got to the studio.
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When she answered that she took the bus on the train,
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Mullaney seemed positively shocked. This is a dystopian nightmare, he explained.
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Walker never got a chance to defend the La Metro.
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I went downhill from there. From the perspective of public transit,
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Amy Sidis and Sigourney Weaver offered pure windshield perspectives, so
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Daris By mentioning that she takes ubers to visit her
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godchildren in New Jersey transit accessible Maplewood, New Jersey, and
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Sigourney Weaver emphasizing that she prefers yellow cabs fine enough.
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Natasha Leone joined the panel. Mulaney asked her about Uber,
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but Leon turned to the conversation of where it was
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perhaps always destined to go plastering her classic New York
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accent so thick that she should be forced to go
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before the city's Landmark Preservation Commission. Leon stated, but I
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don't like his bicycles in New York. I think we
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need to shut down the bike lanes that allows Sigourney
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Weaver to knock cyclists who don't use the bike lanes anyway.
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Richard Kind chimed in and said, and get rid of
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the electric bicycles. They're the worst. They're killers. Fact check
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from Doug Gordon, they are not killers. Comedy show guys.
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Comedy show Walker suggested the bus should have a lane,
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the bike should have its own very wide lane, and
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there should be a wider sidewalk. Natasha Leone said, that's insane.
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It's Manhattan. We don't have the space. Doug Gordon writ's
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classic windshield perspective. Leon clearly was not able to see.
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It's all the uber black Axls and Cadillac escalades, faring
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celebrities and other wealthy New Yorkers that are taking up
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all the space. Walker gets it until Doug Gordon it's
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a comedy show. I'm not even sure this is truly
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what these people believe and again if you want to
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hit rewind Johnny Max said he's very pro bike lane.
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They work great in Chicago, Vancouver, Montreal, other places they
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don't work him in Httan. You want my real solution,
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I have suggested this. Let's take Park Avenue away from
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the cars and make Park Avenue. And if you've never
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been to New York Park Avenue, it has a park
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down the mill. Very nice. Let's make that bike lanes
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and more. John mulaney, he was at an event hosted
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by PAP. He was asked if he would like to
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replace Lorne Michaels once Lorne Michael steps away from SNL.
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The question if someday Laurna is hit by a bus
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and they say, you know, John Mlaney, you have to
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take over the show, no excuses. What's the first thing
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you change mulane? He deflected and said he's lived in
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New York for fifty years. You don't think he knows
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that to dodge a bus. Hng Wing talk to twenty
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seven East and said, there's a future of stand up
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that you might not have an other forms of creative expression.
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There's an audience there in the moment giving you an
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immediate or direct response. If you're a painter or a photographer,
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you might have a gallery show, but unless you're there
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with whoever's looking at it, you don't really know how
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they're responding to it. Would stand up. They's sort of
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an advantage that levels the playing field, and it's based
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on some sort of meritocracy. It's a very binary thing.
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Do they laugh or not. It's an everyday thing. You
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look at your notes, you try to sit down and
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write some new ideas. You tinker. It's kraft and you
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hone it habitually. Then you got open mics and test
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things out. It's like you're working the lab, making things better.
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He says growing up, he didn't want to be a comedian.
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He was doing things like hanging outside playing basketball friends
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or hanging out of the bayou catching tadpoles. No one
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was ever like he's the funniest guy in class. I
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was never seeking attention in group settings. I was more
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of a one on one friendships kind of guy. He says.
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The most joyful thing is writing a new joke. And
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from the Hartford Current. Bob gil wrote the screenplay for
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the original Back to the Future films and was a
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producer of Back to the Future the animated series in
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the nineties, plotted the stories for the Back to the
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Future comic book series, and now works on the Back
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to the Future musical, which I saw and loved, and
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it's coming to Hartford and you should go see it.
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All right, How did it come about? Gail said, we
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start the process by saying, there are certain things we
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can do with this material in the theater, and there's
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certain things we can't do, like we can't have the
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terrorist chase, But what else could we do? The problem
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we're solving there is that doc dyeing motivates Marty to
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go back in time. It could be something else, so
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we made it spoiler radiation poisoning. I didn't just ruin
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the musical for you, trust me. The musical does not
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contain the film skateboard Chase. Having seen the musical, I
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didn't even notice. Gail said, it's just too dangerous. Marty
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already has to sing, dance and be funny. We're gonna
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make him do skateboard stunts too, and staid we've got
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to chase through the school lunch room, which accomplishes the
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same thing. Gale things, changing it up a little makes
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it more fun. I don't want people to say I
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should have stayed home watched the movie. Some of the
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show's completely nuts. He insisted on keeping four songs Johnny
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Be Good, Earth, Angel, Powerful Love, and Back in Time.
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You can't go see Back to the Future Without those
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four songs. People would tear up the seats. Back to
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the Future the musical at the Bushnell one sixty six
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Capitol Avenue, Hartford performances June fourth through va. If you
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should go, It's a lot of fun. And then that's
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your comedy news for today. If you enjoy the program,
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