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    What to Watch This Weekend: A Food-Fantasy Anime

    “Delicious in Dungeon” on Netflix combines the aesthetic pleasures of anime with the food-nerd pleasures of Serious Eats.A scene from “Delicious in Dungeon.” Yes, they eat that mushroom.Netflix“Delicious in Dungeon,” a magical-quest saga with a gleeful emphasis on cooking and biology, combines the aesthetic, kinetic pleasures of anime with the food-nerd pleasures of Serious Eats. First we find the kraken, then we slay the kraken, then we practice safety in handling seafood, then we learn about parasites and the cooking methods that kill them, then we eat.So far 15 episodes of the show, based on the manga by Ryoko Kui, are on Netflix, with new installments arriving Thursdays. As with many adventures that include cloaks and swords, “Dungeon” (in Japanese, with subtitles or dubbed) follows a ragtag crew. The angelic Falin has been eaten by the Red Dragon, and now her brother, Laios, and friends Marcille and Chilchuck are determined to find the dragon, slay it and rescue her before she can be completely digested. Along the way, Laios and friends meet Senshi, a gruff and bearded dwarf who is a gifted chef and knowledgeable ecologist. They decide that their journey will also include eating all the monsters they encounter — and lo, they encounter many monsters, including plants, fungi, creatures and spirits.How ought one truss the chicken half of a half-chicken, half-snake basilisk? How can mud-based golems be repurposed as cabbage gardens? What are the gnarly ethics of eating demi-human creatures? “Dungeon” shines as food-fantasy reverie, with Senshi explaining both the physiology of magical creatures and outlining the tastiest methods for preparing them. Cook those coin-bugs belly-side down, and make sure to swing your jar of holy water through several ghosts to get the creamiest sorbet.Anyone who has ever pored over a map at the beginning of a fantasy book or wished Wookieepedia included more about the food chain will find ample pleasures here. “World-building” is too mild a term to describe the scope of detail in every episode of “Dungeon,” though I do wish Netflix offered more-detailed translations of the many, many diagrams. The lush score and rich, evocative visual language add a sense of grandeur and occasional maturity to the show that the narrative and dialogue can’t generate on their own.I could take or leave the broad plot of “Delicious in Dungeon,” but the charms of all its little asides add up. A montage of Marcille finally convincing Senshi to bathe is so poignant and darling I watched it twice, and all the ways animation can convey tastiness make even the most indulgent live-action food shows seem barren in comparison. More

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    There’s a Bright Spot in New York Theater. It’s Not Where You Think.

    Commercial Off Broadway, a long-dormant sector of the city’s theater economy, is having a banner season. But can it last?Broadway is struggling through a postpandemic funk, squeezed between higher production costs and lower audience numbers just as a bevy of new shows set sail into those fierce headwinds. At the same time, New York’s Off Broadway nonprofits, long essential seedbeds for many of the nation’s most acclaimed playwrights, are shedding staff, programming and even real estate.But there is an unexpected bright spot this season. Commercial Off Broadway, a small sector of New York’s theatrical economy and one that has for years been somewhere between difficult and dormant, is back in business.“Oh, Mary!,” a madcap comedy that imagines Mary Todd Lincoln as a daffy alcoholic, is selling out nightly at a 295-seat theater in the West Village, and is likely to transfer to Broadway this summer. Eddie Izzard’s solo “Hamlet” did well enough at a 199-seat theater in Greenwich Village that it relocated to a 349-seat house in the East Village, and next is planning runs in Chicago and London.A commercial revival of “Danny and the Deep Blue Sea,” an early John Patrick Shanley play about two misfits who meet at a Bronx bar, had a profitable run downtown this season thanks to its two stars, Aubrey Plaza and Christopher Abbott. A new play, “Job,” featuring two “Succession” alums, rode word-of-mouth to profitability, and is also exploring a Broadway transfer.Ticket seekers waited in the cancellation line before a recent performance of “Oh, Mary!” at the Lucille Lortel Theater.Clark Hodgin for The New York TimesAnd a pair of good-time musicals, “Little Shop of Horrors” and “Titanique,” have settled in for open-ended Off Broadway runs.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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    Late Night Mocks Arizona’s Abortion Law

    “That is crazy — but remember it’s Arizona, so it’s a dry crazy,” Stephen Colbert said of the state’s 160-year-old ban on abortion, newly reinstated.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.Hazing ArizonaThe Arizona Supreme Court on Tuesday reinstated a law from 1864 banning nearly all abortions in the state.Stephen Colbert called it “a law so old that it was passed before women had the right to vote.”“To which the Arizona Supreme Court said, ‘Don’t worry, we’ll work on that one next.’” — STEPHEN COLBERT“That is crazy — but remember it’s Arizona, so it’s a dry crazy.” — STEPHEN COLBERT“1864? Was anybody even there yet? Was this their first law right after Don’t Shoot the Piano Player?” — SETH MEYERS“States can enforce laws written before they were even states? Does that mean any state in the Louisiana Purchase is now subject to the laws of 18th-century France? If you steal a loaf of bread in Baton Rouge, you’ll be sentenced to 19 years in jail, and they’ll write a musical about you?” — SETH MEYERS, referring to “Les Miserables”The Punchiest Punchlines (‘Simon & Joefunkel’ Edition)The White House state dinner for Prime Minister Fumio Kishida of Japan also got some attention from the hosts.“You know Joe Biden — his state dinners are a little different than the usual. For one thing, they start at 4:30., and you can only get in if you have a Groupon.” — JIMMY KIMMEL“The musical entertainment for the event was Paul Simon, which is — that’s a good one. That’s big. Trump was lucky to get the surviving members of O-Town for one of his state dinners, but Japan got an evening of Simon & Joefunkel.” — JIMMY KIMMEL“Yep, Biden got to eat dinner with a performance from Paul Simon. Meanwhile, Kamala Harris had to sit through a lunch with Art Garfunkel.” — JIMMY FALLON“So of course Paul Simon kicked off his old hit, ‘Me and Fumio Down by the Schoolyard.’” — STEPHEN COLBERTThe Bits Worth WatchingVampire Weekend performed their new song “Mary Boone” on Wednesday’s “Daily Show.”What We’re Excited About on Thursday NightThe Norwegian singer-songwriter girl in red is the musical guest on Thursday’s “Tonight Show.”Also, Check This OutThe Indigo Girls, Amy Ray and Emily Saliers, were routinely mocked for being too earnest, too poetic, too folky, too lesbian. OscilloscopeThe Indigo Girls opened up their archives for “It’s Only Life After All,” a new career-spanning documentary about the folk-rock music duo. More

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    It’s April on Broadway. This Man Wants to Sell You on a Show.

    Rick Miramontez, a veteran theater press agent, is gearing up for the craziest stretch of the Broadway season.Good morning. It’s Wednesday. Today we’ll look at what the spring has in store for Rick Miramontez, a leading Broadway press agent.Gabby Jones for The New York TimesRick Miramontez is both a night owl and an early bird.He has to be. As the president of DKC/O&M, the theatrical public relations agency he founded in 2006, he is always on call. His agency represents eight shows currently running on Broadway, including “Hadestown” and “MJ.”And the nine-day stretch from April 17 to 25 — when 12 plays and musicals will open by the cutoff date to be eligible for Tony Award nominations — is the equivalent of the theatrical Super Bowl.“It’s absolutely seven days a week right now,” Miramontez said in a recent phone conversation from his office, which sits in a penthouse on West 39th Street above the Drama Book Shop.April is always a busy time for Broadway openings. Like the crush of Oscar hopefuls that open in late December, productions want to open as close as possible to the Tonys deadline to be fresh in the minds of nominators and voters. Tony nominations will be announced on April 30, and the televised awards show takes place on June 16.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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    ¡Vámonos! Dora Is Back for a New Round of Exploring

    Boots, Map, Swiper and Backpack all return too, in a new “Dora” that includes a lot more Latin music and Spanish language.Barbie isn’t the only childhood heroine experiencing a renaissance. Yet unlike the doll of last year’s blockbuster movie, the next pop-culture star who’s about to re-emerge isn’t a statuesque blonde in stiletto heels. She’s a pint-size Latina with sturdy sneakers and a trusty backpack.Welcome back, Dora.Nickelodeon, the network that in 2000 introduced “Dora the Explorer,” the groundbreaking bilingual animated show about the adventures of a 7-year-old Hispanic girl, is now rebooting that hit series, which over eight seasons aired in more than 150 countries, winning multiple awards and inspiring two TV spinoffs and a feature-length film.The new show’s catalyst “wasn’t necessarily that the first series was over,” Valerie Walsh Valdes, a creator and executive producer of “Dora,” said in a video interview. (“Dora the Explorer” continues to stream on various outlets, including YouTube.) “It was, ‘OK, how are we extending it, how are we going to grow her? And what’s the next iteration?’”On Friday, Paramount+ will release a full season of 26 streaming episodes of the new show, which is titled simply “Dora” and which will also air internationally on the Nick Jr. channel. (Select episodes will be on YouTube as well.) An accompanying podcast, “Dora’s Recipe for Adventure,” will expand the little girl’s exploits into the culinary sphere.The 2024 “Dora” combines old and new. The series retains all the core characters — Dora; her sidekick, the monkey Boots; her talking tools, Backpack and Map; and her antagonist, the thieving fox Swiper — while featuring them for the first time in computer-generated animation. The show still focuses on expeditions that teach problem-solving strategies and social skills, but Map now has some high-tech capabilities. Dora and Boots continue to embark on missions to find lost objects or aid friends in a magical rainforest, but the quests are faster-paced: Each “Dora” episode is now an 11-minute story. And, significantly, the series will incorporate a greater breadth of Latin music and more Spanish language for Dora.Ten-year-old Diana Zermeño voices Dora in the new show, while Kathleen Herles, who played her in the original “Dora the Explorer” series, has returned to voice Dora’s mother.Paramount+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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    Huey Lewis Lost His Hearing. That Didn’t Stop Him From Making a Musical.

    “The Heart of Rock and Roll,” a Broadway show built around the songs of Huey Lewis and the News, has given the singer a reason to “get out of bed.”After Huey Lewis learned that a syndrome of the inner ear called Ménière’s disease had caused him significant hearing loss and left him unable to play or hear music, he faced the difficult task of having to tell his friends and peers.Lewis, whose wry lyrics and rumbling vocals powered Reagan-era pop hits like “I Want a New Drug” and “If This Is It,” turned to people like Tico Torres, the longtime Bon Jovi drummer, whom he’d gotten to know on golfing trips. But their conversation proved to be an unexpected source of the pragmatic philosophy that Lewis built his career on.Over a breakfast interview last month, Lewis delivered a lively, solo re-enactment of that fateful talk with Torres.“He goes, ‘Hey, Huey, how ya doing?’” Lewis recalled. “I say, ‘Tico, it’s not good.’ And I begin to explain. I said, ‘I’ve lost my hearing and I can’t hear pitch. I can’t sing.’”“I’m telling him the whole story and he’s going like this” — here, Lewis lowered his head, furrowed his bushy brows over his eyeglasses and shook his head in dismay. Slipping into an imitation of Torres’s New Jersey accent, Lewis said, “When I finish, he goes, ‘Whaddaya gonna do?’”Lewis, center, flanked by the show’s director, Gordon Greenberg, and its choreographer, Lorin Latarro, at a special presentation before the musical began performances at the James Earl Jones Theater.Peter Fisher for 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 Mocks Trump’s Failed Bid to Delay Hush-Money Trial

    Colbert said Donald Trump’s lawyers wanted “an impartial jury who knew nothing about the events in America over the last nine years.”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.‘His Crimes Are the News!’An appeals court judge on Monday denied Donald Trump’s request to postpone his criminal trial in Manhattan stemming from a hush-money deal with a porn star. His lawyers unsuccessfully argued that the former president couldn’t get a fair trial in New York because potential jurors were exposed to news reporting on his other recent legal issues.“So are you saying members of the jury can’t have seen any news about Donald Trump’s crimes?” Stephen Colbert said. “His crimes are the news!”“[Imitating Trump’s attorney] Your honor, it is only fair that our client be judged by an impartial jury who knew nothing about the events in America over the last nine years. Might I recommend 12 confused men who were dropped off in a forest as infants and then raised by wolves, or, if they’re not available, could we acquire some clone babies that have been rapidly aged in some sort of machine and then released into the jury box. Oh, they think he’s guilty, too? OK.” — STEPHEN COLBERT“You were president — the whole country has a bias. The only way you’re getting a juror who doesn’t know you is if it’s randomly Tiffany.” — SETH MEYERSThe judge released a questionnaire on Monday for potential jurors, with questions like “whether they believe in QAnon, use Truth Social, or attend Trump rallies,” Jimmy Fallon said on Tuesday. “In other words, he wants to know, ‘Are you Marjorie Taylor Greene?’”“‘Has former [President] Trump ever buried you or anyone you love on one of his golf courses?’” — JIMMY KIMMEL“I wish I could get in on questioning these potential jurors. I feel like I’d be so good at it. ‘And one final question, sir: Does your truck have nuts?’” — JIMMY KIMMELThe Punchiest Punchlines (Forgiveness Edition)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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    Trevor Griffiths, Marxist Writer for Stage and Screen, Dies at 88

    For him, “art played a particular role in social change,” the director Mehmet Ergen said. “Everything was political.”Trevor Griffiths, a prolific and avowedly Marxist writer for stage and screen most widely known for his play “Comedians,” which was staged in London and on Broadway, died on March 29 at his home in Yorkshire, England. He was 88.His agent, Nicki Stoddart, said the cause was heart failure.An important figure on the English left, Mr. Griffiths conjoined the political with the personal and expressed that affinity across a wide range of topics, whether connected to British party politics or comparable upheavals abroad.He was at his most visible during the decade or so from 1975 onward. That period encompassed the premiere of “Comedians” in Nottingham, England, in 1975, as well as its New York premiere in 1976 — it was his only Broadway play — and his lone foray into Hollywood, as a collaborator with Warren Beatty on his screenplay for the much-admired movie “Reds” (1981).Laurence Olivier, right, with Gawn Grainger in a scene from Mr. Griffith’s play “The Party” (1973) at the Old Vic Theater in London. It was Olivier’s last stage role.via Everett CollectionHis plays granted Laurence Olivier his last stage role, in the National Theater premiere of “The Party” (1973) — an anatomy of the British left set against the backdrop of the 1968 political tumult in Paris — and offered early opportunities for budding talents like Jonathan Pryce, who won a Tony for “Comedians,” and Kevin Spacey and Gary Oldman, who starred in the American and British premieres of the play “Real Dreams” in the 1980s.“Comedians,” set in Manchester among the hopefuls in a night comedy class, has had various notable revivals over the years — among them a 2003 Off Broadway production, with Raúl Esparza inheriting Mr. Pryce’s career-defining role, and one at London’s Lyric Hammersmith in 2009, David Dawson playing the same role.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