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    Sofie Grabol Is TV’s Savior of Denmark

    Hunting murderers, delivering babies or guarding inmates, Sofie Grabol plays women who try to keep their country safe.If you watch much Danish television — and that is an option these days, wherever you happen to live — a question rises: How would Denmark function without Sofie Grabol?In “The Killing” (“Forbrydelsen”), which put Danish TV on the map and made Grabol a star back in 2007, the country’s justice system was held together by her morose detective, Sarah Lund. In her two most recent series, Grabol expands her public-service portfolio. In “The Shift” she plays Ella, the head midwife at Copenhagen’s best public pediatric hospital. And in “Prisoner” she’s Miriam, a reform-minded guard at a prison threatened with closing. Whether she is catching Denmark’s murderers, delivering its babies or minding its inmates, Grabol is indispensable.To follow Grabol’s progress through the Danish infrastructure, the American viewer will need the streaming service MHz Choice (free trials currently available), which carries “The Shift” (2022) and premiered “Prisoner” (2023) this week. The three seasons of “The Killing” are on the streamer Topic, which will merge with MHz Choice on April 1, consolidating this segment of Grabol’s catalog. (She also plays a public official in the eerie British series “Fortitude,” available on multiple streamers.)The shows centered on Sarah, Ella and Miriam are quite different — “The Killing” is a lurid crime thriller, “The Shift,” a big-hearted medical soap opera, “Prisoner,” a grim social-problem drama — but the characters have much in common.Each is aggrieved but indomitable, a working-class Sisyphus pushing ahead through institutional neglect and cowardice — a very squeaky wheel at work — while weighed down by personal trauma. Each is estranged from the only close family member still in her life; two become reluctant surrogate mothers to the women their troubled sons get pregnant. Perhaps Grabol has been typecast over the years, or has typecast herself. Or maybe the grouchy, standoffish, self-righteous pain in the butt is a character that resonates in Denmark.Grabol is an economical actor, able to communicate a world of emotion through her liquid eyes and seemingly offhand movements. (She’s also blessed with a notably dramatic pair of eyebrows.) She makes all of these bottled-up, difficult women believable and, even when they push everyone away, sympathetic — you can see the layers of pain and weariness that they shelter behind and occasionally break through.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Apples Never Fall’ Review: A Drama Wrapped in a Mystery Inside a Formula

    This Peacock mini-series about a bitter family and a missing woman is TV’s latest adaptation of a novel by the author of “Big Little Lies.”“Apples Never Fall,” premiering Thursday on Peacock, is the third Liane Moriarty book to be adapted for television, following HBO’s “Big Little Lies” and Hulu’s “Nine Perfect Strangers.” But if you told me it was the 10th, I’d believe you, given how familiar it all feels. The seven-episode mini-series is so well-oiled and unsurprising, it just glides on by.Annette Bening and Sam Neill star as Joy and Stan Delaney, pillars of West Palm Beach, Fla., who are, as the central couples in these kinds of shows always are, seemingly perfect but secretly damaged. They’ve just sold their tennis academy and are balking at the alleged freedoms of retirement, which Joy thought she’d spend with her four adult children.However, the kids don’t want to hang out with their hovering mom and volatile, bitter dad; they want to have their own lives of not-very-quiet desperation. Troy (Jake Lacy) is the clenched-jaw rich brother, at the tail end of a divorce from a woman everyone else really liked. Amy (Alison Brie) is the “searcher,” as her mother puts it, an aspiring life coach who would be perfectly at home on any show set in California. Logan (Conor Merrigan Turner) wants to be beachy, not sporty, so he works at a marina and does yoga. Brooke (Essie Randles) is a high-strung physical therapist who is supposed to be planning her wedding but may be getting cold feet.They probably would have kept on like that, except Joy has disappeared. And hmm, now that you mention it, there was that weird con artist, Savannah (Georgia Flood), who ingratiated herself into Joy and Stan’s life under very dubious circumstances. She couldn’t have something to do with it, could she? Well, we better bounce between two timelines to make sure: The days since Joy’s disappearance tick ahead in one timeline as we excavate all the mean family dinners from eight months ago in the other.The show hits its steady simmer with tense competence and with some good lines. “I didn’t know how to fix it, so I broke it,” Troy says of his marriage, though it applies to all the siblings and their behaviors pretty equally.Annette Bening plays a mother whose disappearance sparks suspicion and resentment within her family.Jasin Boland/PeacockWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Illinoise’: A Place of Overflowing Emotion, but Little Dance Spirit

    Justin Peck, who directs and choreographs a narrative dance musical to Sufjan Stevens’s concept album “Illinois,” resorts to his usual standby: community.“They trust themselves more than actors do,” Jerome Robbins once wrote of dancers. “Dancers know they will make it their own. Actors have the complication of wanting to make it their own, and their horror of exposing what their own is. Dancers always reveal themselves.”But the dancers in “Illinoise,” Justin Peck’s reimagining of Sufjan Stevens’s adventurous concept album “Illinois” (2005), are in a knotty situation. In the show, now at the Park Avenue Armory, the dancers are also the actors. And rarely does it feel like they are revealing facets of themselves — or showing the clarity that radiates through unaffected dancing.Instead their performances are a bizarre hybrid. They act out the dancing and dance out the acting. They struggle with both, partly because of their daunting task: Turning their very adult selves into younger selves on the cusp of adulthood. Even the dewier-looking ones have trouble. How could they not? Peck has them bouncing between giddiness and angst, with little in between.It’s hard to pin down what “Illinoise” wants to be, though it clearly has Broadway ambitions. Is it the musical theater version of a story ballet? A concert with dancing? Does it even care about dancing, really? The show, referred to as “A New Kind of Musical,” has little that seems new; it’s drowning in sentimentality, which is about as old school as it gets. And it doesn’t have much of a story, but what is there — by Peck and the playwright Jackie Sibblies Drury — is opaque. There’s no dialogue. It’s the music that is the undisputed star here.With new arrangements by the composer Timo Andres, and featuring three fine vocalists, the music carries the production, often leaving the dancers with little to do but mirror the lyrics. It’s exhausting to watch them sweat through this choreography. “Illinoise” is another attempt by Peck to build a community through dancing bodies, but the community is too delicate, too self absorbed for real connection.Ricky Ubeda, top, and Ahmad Simmons.Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Stephen Colbert Slams Former Special Counsel’s Conclusions

    Colbert objected to Robert K. Hur calling President Biden a “well-meaning, elderly man with a poor memory” in a report on the handling of classified documents.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Thanks for the MemoriesOn Tuesday, the former special counsel Robert K. Hur testified before the House Judiciary Committee, answering questions about his investigation into President Biden’s handling of classified documents. In his report, Hur referred to Biden as a “well-meaning, elderly man with a poor memory.”“Yes, Biden has been dangerously forgetful, unlike Trump, who always remembers that he’s running against Obama, and unopposed, at that, since Nancy Pelosi dropped out,” Stephen Colbert said on his show Tuesday night.“Democrats were, like, ‘Well, that five days of momentum from the State of the Union was fun while it lasted.’” — JIMMY FALLON“That kind of assessment is sort of outside the normal job description of a special counsel. It’d be like your doctor saying, ‘Well, we ran some tests, Mr. Johnson, and your cholesterol looks very good, but I am worried about how ugly you are. I’m going to write you a prescription for bag over your head. Unlimited refills.’” — STEPHEN COLBERT“Hur refused to engage in hypotheticals, but today, he did release the full transcript of his interviews with the president, and, what do you know? It’s not as ‘old-man-forgets-a-lot’ as his summary made it out to be. At one point, Hur even complimented Biden’s memory, specifically saying: ‘You appear to have a photographic understanding and recall.’ So the exact opposite of his report summary. At this point, I’m worried about Hur’s cognitive ability. Did anyone ask him to identify a whale?’” — STEPHEN COLBERTThe Punchiest Punchlines (Bye-Bye, TikTok Edition)“Angry TikTok users are reportedly calling congressional offices ahead of the week’s vote on a bipartisan bill that would ban the platform. Well, it’s more mature than what angry Facebook users did.” — SETH MEYERS, referring to Jan. 6“Banning one of the most popular social media apps in the entire world would set a huge precedent and have a massive impact on American life. Without TikTok, where else would I learn about actual trends like cooking chicken in NyQuil or future trends like calling the ambulance after someone cooks chicken in NyQuil?” — STEPHEN COLBERT“The bill is a response to fears that TikTok’s owner company, ByteDance, could share user data, such as browsing history, location and biometric identifiers, with China’s authoritarian government. Oh, God. China could spy on us or brainwash our youth with propaganda, or, worst of all, put us on a mailing list.” — STEPHEN COLBERTThe Bits Worth WatchingWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    A Broadway-Bound ‘Sunset Boulevard’ Leads Olivier Award Nominations

    The musical, starring Nicole Scherzinger, secured 11 nominations at Britain’s equivalent of the Tony Awards.A revival of Andrew Lloyd Webber’s “Sunset Boulevard,” starring Nicole Scherzinger as a former screen idol descending into madness, received the most nominations on Tuesday for this year’s Olivier Awards, Britain’s equivalent of the Tonys.The show, which ran at the Savoy Theater in London and will transfer to Broadway this year, is in the running for 11 awards — two more than any other play or musical — including best musical revival, best actress in a musical for Scherzinger and best director for Jamie Lloyd.When the production opened last fall, it impressed London’s often demanding theater critics. Matt Wolf, writing in The New York Times, said the production was, like its lead character, “a bit mad: reckless and daring, stretching its source material to the limit and beyond.”“I can’t imagine another London show generating comparable buzz this season,” Wolf added.Lloyd’s maverick production features hand-held cameras that are used to spotlight characters’ emotions at pivotal moments. Although critics appreciated the technique, Lloyd faces stiff competition in the best director category. The other nominees include Sam Mendes for “The Motive and the Cue,” which debuted last spring at the National Theater. The play, by Jack Thorne, dramatizes a fraught backstage relationship between Richard Burton and John Gielgud as they rehearse a Broadway production.Justin Martin, who directed “Stranger Things: The First Shadow,” also received an Olivier nomination.Manuel HarlanRupert Goold is also nominated for best director, for “Dear England,” a play about the English national soccer team that also ran at the National Theater and transferred to the West End. That show secured nine nominations.Despite receiving mixed reviews, “Stranger Things: The First Shadow,” a theatrical prequel to the Netflix show that is running at the Phoenix Theater, secured five nominations, including best new entertainment or comedy play. Houman Barekat, reviewing the production in The New York Times, said it was “exactly what you’d expect from a show co-produced by Netflix: Cheap thrills, expensively made.”This year’s nominations include a hint of TV glamour in many categories. Among the nominees for best actress in a play are Sarah Jessica Parker for “Plaza Suite,” which runs through April 13 at the Savoy Theater, and Sarah Snook (of “Succession”) for a one-woman “The Picture of Dorian Gray” at the Theater Royal Haymarket, through May 11.They will compete for that title against Laura Donnelly for “The Hills of California” at the Harold Pinter Theater, Sheridan Smith for “Shirley Valentine” at the Duke of York’s Theater, and Sophie Okonedo for “Medea” at @sohoplace.The best actor nominees include Andrew Scott for a one-man “Vanya” at the Duke of York’s Theater, and James Norton for his performance in “A Little Life” at the Harold Pinter Theater. The other nominees are Joseph Fiennes for “Dear England,” Mark Gatiss for “The Motive and the Cue,” and David Tennant for “Macbeth” at the Donmar Warehouse.The winners of this year’s awards are scheduled to be announced April 14 in a ceremony at the Royal Albert Hall in London. More

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    ‘Shogun’ Episode 4 Recap: Fire Away

    Lord Yabushige has managed to split his loyalties between Ishido and Toranaga. A play by younger lords will force his hand.Episode 4: ‘The Eightfold Fence’Last week’s episode dropped the ball when it came to depicting visceral combat. This week’s fired it straight at the enemy and pulped them.In the bloody climax of this episode, Lord Nagakado (Yuki Kura), the untested young son of Lord Toranaga, decides to make a name for himself by blowing the visiting enemy forces of the Lord Ishido to bits with John Blackthorne’s frighteningly precise cannons. Virtually every witness to the slaughter, including Blackthorne and Lady Mariko, is aghast, the double-dealing Lord Yabushige most of all.The exception is Yabushige’s equally calculating but somewhat less comical nephew, Lord Omi, who was by Nagakado’s side when he made the fateful decision to ambush the Ishido samurai, a distraction that keeps his dad’s battle plans under wraps. The young lords have drawn first blood in a war that threatens the entire nation — Nagakado for family pride, Omi for pure ambition.Where this leaves Blackthorne is anyone’s guess. He’s fulfilling the bargain he made with Lord Toranaga to train a regiment in the Western ways of war. To the best of his abilities, anyway. Since he doesn’t know anything about infantry tactics, he shows them how to use English cannons instead, arguing that a naval bombardment can breach walls faster than any besieging army can.But Toranaga does not appear to be honoring his end. He departs Lord Omi’s village almost as soon as he arrives, leaving Blackthorne without the access to his men and his ship that Toranaga promised.Blackthorne can hardly believe what he’s offered instead. Befitting his status as hatamoto, he’s granted a house of his own — a prison with better accommodations, he says — and a consort in the form of Fuji, the bereaved mother and widow. Neither is thrilled by the arrangement, but they make the best of it, culminating in an exchange of gifts — his best pistol, her father’s swords — that leaves them both fumbling for words.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Jimmy Kimmel Explains His Run-In (Sort of) With Trump at the Oscars

    Why did Donald Trump go online during the Oscars to criticize Kimmel’s performance as host? Kimmel thinks he was upset because no one had mentioned his name. Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.OscarworthyFresh from hosting the Oscars on Sunday, Jimmy Kimmel detailed on Monday night how he’d come to poke fun in real time at one viewer: Donald Trump, who posted criticism of Kimmel’s performance during the broadcast. (“Isn’t it past your jail time?” Kimmel asked the ex-president from the stage.) “We were backstage, the show was almost over, and one of our writers was like, ‘Hey, look at this,’ and I was like, well, to quote Al Pacino, ‘Just when I thought I was out, they pull me back in,’ and I had to read it,” Kimmel said.“Donald Trump — you remember that guy? He used to be, yeah — wrote ‘Has there ever been a worse host than Jimmy Kimmel at the Oscars? His opening was that of a less-than-average person trying too hard to be something which he is not and never can be.’ This was also his wedding toast to his son Eric, by the way.” — JIMMY KIMMEL“So after the show, almost everyone I ran into was asking me, ‘Was that real? Did Donald Trump really?’ It’s like yeah, of course, it was real. And it kind of tells you all you need know about Donald Trump.” — JIMMY KIMMEL“He wrote this because he was upset I didn’t mention him on the show, and no one mentioned him on the show. He wasn’t getting any attention. He couldn’t stand it. And so then the Adderall McFlurry kicked in, and he went right on.” — JIMMY KIMMEL“Funny — we had John Cena onstage naked, and somehow Trump still managed to be the biggest [expletive] of the night.” — JIMMY KIMMELThe Punchiest Punchlines (Pushing the Envelope Edition)“‘Oppenheimer’ was the big winner, taking home seven awards, including Best Picture, while the award for Most Paused Picture went to John Cena.” — JIMMY FALLON“I mean, God bless, John. I could never do something like that. If I did, I’d win the Oscar for Best Short.” — JIMMY FALLON“Good thing he held onto that card, ’cause we might have seen his Maestro, if you know what I’m saying? His Poor Thing, if you catch my drift.” — STEPHEN COLBERT“They kept demanding that we make the envelope bigger and bigger, which, well, first, I have to say congratulations to John Cena, the commotion you caused. Very rarely does an idea literally push the envelope, and this one did.” — JIMMY KIMMELThe Bits Worth WatchingKristen Stewart defended her racy Rolling Stone cover while on Monday’s “Late Show.”What We’re Excited About on Tuesday NightThe journalist Jane Marie will discuss her new book “Selling the Dream: The Billion-Dollar Industry Bankrupting Americans” on Tuesday’s “Daily Show.”Also, Check This Out“I still like looking at the world around me with softness and an open heart,” Adrianne Lenker said.Erinn Springer for The New York TimesThe singer-songwriter Adrianne Lenker of Big Thief fame projects resilience on her fifth solo album, Bright Future. More

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    ‘Corruption’ Review: Onstage, a Scandal’s Human Drama Is Muffled

    A new play by J.T. Rogers goes behind the scenes of the shady “news-gathering” that rocked Rupert Murdoch’s British media empire over a decade ago.“Corruption,” J.T. Rogers’s tantalizing new phone-hacking play, starts on Rebekah Brooks’s wedding weekend. In a village in the English countryside, the flame-haired power broker, one of Rupert Murdoch’s favorite tabloid editors, has drawn the cream of Britain’s political class to her celebration.Prime Minister Gordon Brown is there, and so is David Cameron, the Tory who will succeed him. But Brooks (Saffron Burrows) is sequestered in conversation with her charmless boss, Rupert’s son James (Seth Numrich). He informs her that television and new media are the company’s focus now.“Newspapers are a relic,” James says. So his contempt is already evident when he tells her that she is the new chief executive of News International, the Murdoch-owned British newspaper group. Congratulations?It will be on Brooks’s watch, anyway, that a many-tentacled scandal erupts, with the revelation that her journalists clandestinely acquired the voice mail messages not only of celebrities and politicians but also of a missing child who was later found dead. Multiple arrests ensue, with accusations of phone hacking, police corruption and perverting the course of justice. Rupert Murdoch shuts down News of the World, his top-selling Sunday tabloids. Through it all, he remains loyal to Brooks.As a news story evolving in real time, the scandal made for jaw-dropping reading. As a play, though, “Corruption” is uncompelling — counterintuitively so, given the inherent drama: the crimes, the coverup, the comeuppance (or not), the clashes of personality. Also the stakes, which include the well-being of a democracy in which one culture-shaping media magnate holds too much sway.Tom Watson (Toby Stephens), a Labour member of Parliament as the scandal brews, is the central figure. (Murdoch, frequently mentioned, is a looming unseen presence.) Rumpled and besieged, Watson is determined to expose the widespread, under-the-radar operation: the surveillance, the intimidation, the gathering of secrets. The police, in the meantime, are oddly incurious about the voluminous records of a private investigator who they know hacked phones for News of the World.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More