James Van Der Beek Offers an Absurdist Look at the EDM Life in Viceland’s What Would Diplo Do

Chris Barton
Photo courtesy of VICELAND
Los Angeles Times (TNS)

What Would Diplo Do? is something of a workplace comedy revolving around a pop star’s misadventures and the attempts to manage those mistakes by his team

LOS ANGELES — Among tens of thousands of people at Shaun White’s Air & Style at Exposition Park in February, a man in a black shirt and matching baseball hat reading “Decent” across the front is running along the front barricades, collecting high-fives from delirious fans.

It’s a typical, celebration-ready scene at electronic dance music festivals, which in this case was headlined by the booming, Caribbean-informed beats of Major Lazer, a group co-founded by the superstar DJ known as Diplo. Except the figure in the crowd was not the in-demand producer who has worked with M.I.A. and Beyonce. It was James Van Der Beek in a wispy mustache acting as Diplo for the new Viceland series “What Would Diplo Do?” which premieres Thursday.

But for all the fame pop stardom affords, not everybody noticed the difference.

“The funny thing is half the people were like ‘James Van Der Beek?’ And other people — you know, it was dark out, I’m sure some people were intoxicated,” explains 31-year-old series director Brandon Dermer, who worked with Diplo (born Thomas Wesley Pentz) and festival organizers to arrange the guerrilla-style shoot that appears in the show’s first episode.

But many people had no clue.

“He’s wearing a shirt that says ‘Diplo’ on the back, he’s got the hat,” Dermer adds. “Some people were coming up, ‘Dude, I saw you in Vegas last month, you were great!’”

It’s that kind of blur between reality and fiction that makes up the bulk of material for the series, Viceland’s first scripted comedy. Co-created by Dermer and Van Der Beek, the series (with Diplo as executive producer) tweaks the persona of the pop star in a way that combines the playful satire of “This Is Spinal Tap” with a show business version of “The Office.”

The result is something of a workplace comedy revolving around a pop star’s misadventures and the attempts to manage those mistakes by his team, which includes comic Bobby Lee, Groundlings veteran H. Michael Croner, DJ and festival fixture Dillon Francis and Dora Madison of “Friday Night Lights,” who appears as one of Diplo’s assistants and the only person anchored in the real world.

Between takes at a buzzing Sunset Gower Studios, Van Der Beek excitedly recalled how the show captured its concert footage, which included his striking Diplo’s wide-armed “Jesus pose” in front of a capacity crowd while the real Diplo performed behind him. Dermer later recalled Diplo coaching Van Der Beek before another live shoot at the Mad Decent Block Party concert in L.A. last October, showing him which buttons to press while onstage and when to crowd surf to find the most believable performance.

“(Wes) is allergic to taking himself too seriously,” Van Der Beek says of the DJ. He added that, if anything, the writers had to rein in Pentz’s ideas for how he was portrayed.

“Being in the public eye, everyone wants to speculate on who you are, what you do in your personal time, pass judgments on how you live your life,” said Pentz, who was reached via email while touring overseas. “I’d rather embrace the speculation, turn it into a joke and have fun with it.”

Van Der Beek is no stranger to the meta-comedy game, having played an outsized, arrogant version of himself on ABC’s “Don’t Trust the B in Apt. 23” from 2012 to 2013. He credits that series’ executive producer, Nahnatchka Khan, for preparing him to be showrunner for this series.

“In terms of making a sustainable fully fledged character, blind spots are the gold that you’re looking for,” he said in a later phone conversation. “The fun thing about playing somebody meta is you can give them a superpower. So in the case of Diplo it’s this musical genius that 99.9 percent of people struggle with or don’t have.”

Recalling his experience on “Apt. 23,” Van Der Beek says he told that show’s writers, “Don’t ever be afraid of offending me. You have to go for what’s funniest, and if there’s anything that hits too close to the mark or I’m afraid is going to be bad for my kids then I’ll let you know privately. And that’s pretty much what Wes said to me when I sat down with him the first time to explore the idea of turning this into a series. That’s kind of the only answer that would make it worth doing.”

The idea for the series began with Dermer, who with the help of Diplo and his manager, Kevin Kusatsu, created a video promo for the Mad Decent Block Party tour last year that featured Van Der Beek as Diplo. In addition to his bro-ready “What’s up, fam?” greeting, the clip includes a harp-playing assistant, cash raining from the ceiling, ninjas and other goofily over-the-top slices of life for a dance music superstar. Or so it would appear.

“I’ve always been approached to kind of break EDM in Hollywood,” says Dermer, who got his start making music videos. “Like, ‘Hey, we’re trying to make “Ballers” but for EDM,’ “Entourage” but for EDM.’ That’s really not what the world’s like, especially for the guys that I’ve worked with.

“So I kind of took both the Hollywood interpretation and the public interpretation of what these guys are like, and I’m like: ‘I’m going to make that.’”

The video made a splash (more than 350,000 views), which is when talk of a series began. When Viceland first approached Van Der Beek, he thought it was a cute idea, but it wasn’t until he got better acquainted with Diplo’s music that the concept clicked.

“I put on headphones at night and it just hit me,” he says, fresh from a few takes through an in-studio dog poop gag and a pratfall on the set. “A musical genius who sucks at life. He can communicate with 80,000 people, but he sucks one-on-one.

“What we pitched to Spike (Jonze, Viceland’s co-president) was parables about life through the eyes of a clown.”

“It’s like you don’t know who’s crazier, Diplo or us for catering to his every whim,” says Madison, sinking on a couch next to Croner in a room that doubles as Diplo’s office on the show. Neither have met the real Diplo and were only vaguely familiar with EDM music before the show. “I hope he doesn’t mind all the awful things we’ve been saying about him,” she jokes.

Though the world-conquering decadence of dance music provides plenty of material for parody, much of the show’s comedy comes from more personal moments. In addition to some mistaken-identity high jinks, the first episode includes fallout from a social media beef between Diplo and his fellow hit-maker Calvin Harris. While the tweets are taken word-for-word from Diplo’s account in another online beef, the incident with Harris was fictional.

For all the show’s built-in authenticity, neither Harris nor Diplo’s Jack Ü partner Skrillex appear. (But given the relative anonymity that comes with performing behind banks of electronics, at least one viewer was fooled by Harris.)

“One of our rules is nobody is themselves, they’re all going to be played by actors,” Van Der Beek said. “It’s a total parallel universe.

“Not that you’re the first person to think that was Calvin Harris, by the way,” he quickly added with a chuckle.

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If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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still from Midland "Drinkin' Problem" video

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Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

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10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton

9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton

8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge

7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge

6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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