Everybody's Live with John Mulaney


Everybody's Live with John Mulaney is an American live variety talk show that premiered on Netflix on March 12, 2025. Serving as a continuation of the series Everybody's in LA, the show is hosted by comedian John Mulaney who also serves as the creator and an executive producer. Richard Kind serves as the show's announcer and sidekick. The series features monologues, guests, pre-taped sketches, and musical segments with field pieces shot around Los Angeles. In January 2025, it was reported that the show had received a two-season order.

Production

The series is a continuation of the series John Mulaney Presents: Everybody's in LA which ran for six episodes on Netflix as part of the Netflix is a Joke Festival in 2024. That series received both the Critics' Choice Television Award and the Television Critics Association for Outstanding Talk Series, as well as the Primetime Emmy Award for Outstanding Picture Editing for Variety Programming.
The name of the series was changed from Everybody's in LA due to reactions from focus groups which showed that "people in the United States don't like Los Angeles". The show would consist of 12 episodes from March 12 to May 28, 2025, with Mulaney returning as host and Richard Kind continuing his role as side-kick and announcer.
Prior to the show's premiere, Deadline Hollywood reported in January 2025 that the show was given a two-season order.

Participants

Guests

Pre-taped performers

Notable guest callers

Musical performers

Reception

Critical reviews

The first episode of the series received positive reviews with Rotten Tomatoes giving it a 100% rating with 9 reviews from critics. Metacritic gave the series a 77% rating based on six reviews. Ben Travers of IndieWire wrote, "Its sense of humor may call to mind Conan O'Brien's absurdist Late Night work, and the visual style may hearken back to Johnny Carson's era, but John Mulaney isn't trying to make another late-night talk show. He's trying to make his".
Alison Herman of Variety described the show as being "consistently delightful chaos" adding, "Part of what made Everybody's in LA so exciting was in how it took the cultural decline of the talk show as an opportunity. Rather than subjecting itself to the endless grind of daily headlines or relying on stars' promotional schedules to book guests, the show would embrace the niche fascination its genre was already trending toward — treating 'talk show' like an aesthetic to be tried on and toyed with, not a set of expectations to be met."