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    Review: ‘3 Body Problem’ Is a Galaxy-Brained Spectacle

    The Netflix sci-fi adaptation has done its physics homework, even if it sometimes falls short on the humanities.The aliens who menace humankind in Netflix’s “3 Body Problem” believe in doing a lot with a little. Specifically, they can unfold a single proton into multiple higher dimensions, enabling them to print computer circuits with the surface area of a planet onto a particle smaller than a pinprick.“3 Body Problem,” the audacious adaptation of a hard-sci-fi trilogy by Liu Cixin, is a comparable feat of engineering and compression. Its first season, arriving Thursday, wrestles Liu’s inventions and physics explainers onto the screen with visual grandeur, thrills and wow moments. If one thing holds it back from greatness, it’s the characters, who could have used some alien technology to lend them an extra dimension or two. But the series’s scale and mind-bending turns may leave you too starry-eyed to notice.David Benioff and D.B. Weiss, partnering here with Alexander Woo (“The Terror: Infamy”), are best known for translating George R.R. Martin’s incomplete “A Song of Ice and Fire” fantasy saga into “Game of Thrones.” Whatever your opinions of that series — and there are plenty — it laid out the duo’s strengths as adapters and their weaknesses as creators of original material.Beginning with Martin’s finished novels, Benioff and Weiss converted the sprawling tomes into heady popcorn TV with epic battles and intimate conversations. Toward the end, working from outlines or less, they rushed to a finish and let visual spectacle overshadow the once-vivid characters.In “3 Body,” however, they and Woo have a complete story to work with, and it’s a doozy. It announces its sweep up front, opening with a Chinese scientist’s public execution during Mao’s Cultural Revolution, then jumping to the present day, when a wave of notable physicists are inexplicably dying by suicide.The deaths may be related to several strange phenomena. Experiments in particle accelerators around the world suddenly find that the last several decades’ worth of research is wrong. Brilliant scientific minds are being sent futuristic headsets of unknown provenance that invite them to join an uncannily realistic virtual-reality game. Oh, also, one night all the stars in the sky start blinking on and off.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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    ‘Game of Thrones’ Star Liam Cunningham Is Now in ‘3 Body Problem’

    Born and raised in Dublin, Liam Cunningham speaks in Joycean streams of consciousness that often have no discernible beginning, middle or end. He talks with his hands and taps his feet, salting his anecdotes with friendly F-bombs, catching his breath only long enough to take a puff of his distinctively scented e-cigarettes. They aren’t very popular on the set.“They smell like if you took the cardboard that comes with a dry cleaned shirt and held it over a burner,” said D.B. Weiss, who, with his production partner David Benioff, has given Cunningham choice roles in “Game of Thrones” and now “3 Body Problem.” A heady new science-fiction series, based on a trilogy of novels by the Chinese author Liu Cixin, “3 Body Problem” premieres Thursday on Netflix.In it, Cunningham plays Thomas Wade, the no-nonsense spy master who leads a team of physicists chosen to save the world from a very slow-moving but ominous alien invasion. Unlike Davos Seaworth, the emotionally vulnerable knight Cunningham played in “Thrones,” Wade is gruff, bellicose and secretive, an enigmatic authority figure whose back story left even Cunningham with questions.With Benedict Wong, right, on “3 Body Problem,” Cunningham plays a no-nonsense spy master who leads a team of physicists.Ed Miller/Netflix“So little about him is known, and everybody you talk to that’s seen this thing is like, ‘What’s his story?’” Cunningham said on an Austin hotel patio during the South by Southwest Film Festival, where the series had its world premiere. “He’s got the U.N. Secretary General on the end of the phone, and people do what he tells them to, and you go, ‘Who’s giving him this authority?’ And the funny thing is, I never felt the need to talk to the boys” — Weiss and Benioff, that is — “they never offered, and I never asked, which probably is not a good thing to say, I should probably say to everybody, ‘Oh, I know everything about him, but I’m not telling you.’”Breath. Puff.Cunningham, 62 with salt-and-pepper hair and bright blue eyes, came to acting relatively late in life. He worked as an electrician until he was 29, spending a chunk of his 20s in Zimbabwe bringing electricity to rural communities. “You know the song ‘Wichita Lineman’?” he asks, referring to the ’60s country hit by Glen Campbell. “That was me, except I was the Zimbabwe lineman. For an Irish, pale-skinned elf from Dublin, it was mind-blowing.” For a time he worked in a national park, “the size of Belgium and with 16,000 elephants.”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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    ‘Game of Thrones’ Creators on Their New Show, ‘3 Body Problem’

    In an interview, David Benioff, D.B. Weiss and Alexander Woo discuss their latest fantastical epic, the alien space saga “3 Body Problem” for Netflix.The “Game of Thrones” creators David Benioff and D.B. Weiss were finishing off their hit HBO series after an eight-season run and wondering what was next. That was when the Netflix executive Peter Friedlander approached them with a trilogy of science-fiction books by the Chinese novelist Liu Cixin called “Remembrance of Earth’s Past.”“We knew that it won the Hugo Award, which is a big deal for us since we grew up as nerds,” Benioff said of the literary prize for science fiction. Barack Obama was also on record as a fan.Benioff and Weiss dipped in and were intrigued by what they found: a sweeping space invasion saga that begins in 1960s China, amid the turmoil of the Cultural Revolution, and involves a superior alien race that has built a rabid cultlike following on Earth. A heady mix of science and skulduggery, featuring investigations both scientific and criminal, it felt utterly unique. “So much content right now feels like, ‘Oh, here’s another forensic show, here’s another legal thriller,’ it just feels like it’s a version of something you’ve seen,” Benioff said. “This universe is a different one.”Or, as Weiss added, “This is the universe.”Those novels are now the core of “3 Body Problem,” a new series that Benioff and Weiss created with Alexander Woo (“True Blood”). It premiered on opening night at the South by Southwest Film Festival and arrives Thursday on Netflix. The setting has changed along the way, with most of the action unfolding in London rather than China (although the Cultural Revolution is still a key element), and the characters, most of them young and pretty, now represent several countries. But the central themes remain the same: belief, fear, discovery and an Earth imperiled by superior beings. Among the heroes are the gruff intelligence chief Thomas Wade, played by the “Thrones” veteran Liam Cunningham, and a team of five young, reluctant, Oxford-trained physicists played by John Bradley — another “Thrones” star — Jovan Adepo, Eiza Gonzáles, Jess Hong and Alex Sharp. Can they save the world for their descendants?In an interview in Austin the day of the SXSW premiere, the series creators discussed life after “Thrones,” their personal ties to “3 Body Problem” and the trick to making physics sexy. These are edited excerpts from the conversation.The series is quite different from the books, particularly the settings and characters, both of which are a lot less Chinese. How did this come about?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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    Stepping Out From Hillary Clinton’s Onscreen Shadow

    For the past two decades, female presidential candidates on TV have been made in her image. Finally, that’s beginning to change.“The Girls on the Bus” is a fizzy recasting of the campaign-trail memoir “Chasing Hillary” by Amy Chozick, who covered the 2016 election for The New York Times. But it is not a show about Hillary Clinton. Immediately, it takes pains to banish her persona from the screen. The Democratic front-runner of the pilot episode is a governor named Caroline Bennett (Joanna Gleason), and though she is a baby boomer (check) in a pantsuit (check), she also writes romance novels under a pseudonym.It’s a very un-Hillary detail, and it foretells a very un-Hillary downfall. Shortly after Chozick’s reporter stand-in, Sadie McCarthy (Melissa Benoist), eagerly hops onto Bennett’s bus, she finds her candidate sidelined by a sex scandal (and not her husband’s).These are silly choices, and savvy ones. Only when Clinton’s baggage has been dumped is “The Girls on the Bus” free to repave the trail into an escapist romp. For the better part of two decades, Clinton has gripped the cultural imagination around the idea of a first female president. Hundreds of millions of Americans, of several generations, both supporters and critics, imagined it would be her. Screenwriters foresaw it, too. “The Girls on the Bus,” now streaming on Max, is one of the first shows about presidential politics that is forced to contend with her absence. But it can’t quite quit her.As Clinton ran and lost and ran and lost in the real world, television universes selected a succession of fictionalized Hillarys to occupy their replica Oval Offices. Clinton’s politics, her path, her bearing, her wardrobe, her haircut — these character details could be mirrored or mocked or refuted onscreen, but they could not be ignored. When Cherry Jones played the first female president on “24,” beginning in 2008, she told a reporter, unprompted: “She’s not Hillary. She has nothing to do with Hillary.” But when Lynda Carter played an (alien!) president on “Supergirl” in 2016, she said, “I used Hillary to prepare.”Caroline Bennett (Joanna Gleason) and Felicity Walker (Hettienne Park) on the campaign trail in “The Girls on the Bus.”HBOWe 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 Fallon Thinks Hiring an Ex-Con Is the Right Move for Trump

    Employing Paul Manafort, a former campaign adviser who was convicted of fraud, “will make Trump seem less fraudy by comparison,” the “Tonight Show” host reasoned.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.‘The Worst Best People’Donald Trump is said to be considering a new hire: Paul Manafort, one of his former campaign advisers, who went to prison for tax and bank fraud (and was pardoned by Trump in 2020). News outlets reported that he was in talks about helping with the Republican National Convention.On Tuesday’s “Tonight Show,” Jimmy Fallon said Trump’s team was hoping that “hiring someone who has been convicted of fraud will make Trump seem less fraudy by comparison.”“I think it’s actually a good idea. Trump needs an adviser like Paul Manafort to tell him not to hire guys like Paul Manafort.” — JIMMY FALLON“Trump is bringing back all the worst best people.” — JIMMY KIMMEL“Trump reportedly wants Manafort to help oversee the Republican National Convention, which I’m surprised he can do because, you know, when Manafort was being sentenced, he claimed he had too many medical problems to go to prison. But I guess he magically healed up. And who better to run your election campaign than a man who isn’t allowed to vote in that election?” — JIMMY KIMMELThe Punchiest Punchlines (Make America Kate Again Edition)“This week in the United States, there have been more Google searches for Kate Middleton than for Joe Biden or Donald Trump. We finally did it — we made America Kate again.” — JIMMY KIMMEL“You could tell it’s the first day of spring ’cause, according to the royal family, Kate Middleton just came out of hibernation.” — JIMMY FALLON“Kate has not been seen in public since she had surgery back in January, which of course led to all sorts of rumors about her whereabouts and well-being. Everyone’s putting together clues to find the princess — it’s like an international game of ‘Zelda’ is happening right now.” — JIMMY KIMMEL“Maybe she got a bad perm and is waiting for her hair to grow out, you know?” — JIMMY KIMMEL“This shows you how different it is in the U.K. Kate goes missing for a few weeks, the whole country goes berserk. Meanwhile, we haven’t seen Melania since 2021.” — JIMMY KIMMELThe Bits Worth WatchingThe hip-hop mogul Dr. Dre was joined by Snoop Dogg, 50 Cent and Eminem for his first late-night appearance in 30 years on Tuesday’s “Jimmy Kimmel Live.”What We’re Excited About on Wednesday NightKristen Wiig will appear on Wednesday’s “Tonight Show.”Also, Check This OutMost of the tracks on Shakira’s new album deal with romantic ups and (mostly) downs, honed into crisp, tuneful pop structures.Jose Breton/Invision, vía Associated PressShakira says her first album in seven years, “Las Mujeres Ya No Lloran,” helped her transform “pain into productivity.” More

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    Review: An Affair to Dismember, in the Gory Musical ‘Teeth’

    A cult horror film about a teenage girl with a surprise set of chompers gets another surprise: the song-and-dance treatment.So unexpected, contrarian and maximalist are the musicals of Michael R. Jackson that I spend a lot of time between them wondering what he’ll do next. First came “A Strange Loop,” about a “fat, Black, queer” man stuck in a cycle of shame by his faith. Then came “White Girl in Danger,” about soap opera characters so privileged and confident they feel total freedom to do what they like.Now, in collaboration with Anna K. Jacobs, comes the remix, “Teeth,” which opened on Tuesday at Playwrights Horizons. It too is a show about faith and shame, but as experienced by an alpha white girl in the most biting ways.Literally.“Teeth,” with music by Jacobs, lyrics by Jackson and a book by both, manifests all three elements of the Jackson formula. Based on the 2007 cult horror film by Mitchell Lichtenstein, it is a parable set in motion by a young woman’s discovery of vaginal incisors that spring shut when sexual violence is done to her. Living in a paternalistic faith community, where men believe (as one lyric has it) “the weaker sex has weakened us,” such violence is never far away — and so neither is dismemberment.Well, if you don’t want to see bloody amputated penises, why come to the theater?Perhaps for Jackson’s provocative mix of high-mindedness and low satire. Both are fully evident in Sarah Benson’s production, even if they never blend into a satisfying whole.The low satire, mostly in the setup, is the more successful tactic. It offers a winking subversiveness and plenty of laughs, especially in the catchy pop-rock tunes with their sharp, smutty rhymes. About the only ones I can repeat here are “gravity/cavity” and “zucchini/weenie.”But the elaborate ideological superstructure is also rewarding at first. It puts the tale in the context of current culture wars between those who seek to restore male dominance and the supposedly castrating women they call tools of the “feminocracy.”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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    ‘Illinoise,’ a Sufjan Stevens Dance Musical, Is Moving to Broadway

    The production will make its transfer unusually fast, with an opening set for April 24, just 29 days after it wraps up a sold-out run at the Park Avenue Armory.“Illinoise,” a dance-driven, dialogue-free musical adapted from a much-loved 2005 album by Sufjan Stevens, will transfer to Broadway next month.The show, which is a collaboration between the celebrated choreographer Justin Peck and the Pulitzer-winning playwright Jackie Sibblies Drury, is to open on April 24 at the St. James Theater; the run is to be limited, with a scheduled closing date of Aug. 10.“Illinoise” depicts a group of young creative people gathered around a campfire to share stories about their lives; it ultimately focuses on the life of a man who is finding his way while confronting grief. “A lot of the show is really about the catharsis of opening up to the community around oneself,” Peck, who is directing and choreographing the show, said in an interview.“Illinoise” joins a crowded spring season on Broadway, which has a heavy concentration of openings in late April, posing significant economic challenges for producers because costs have risen and audience numbers have fallen since the coronavirus pandemic.But the creators and backers of “Illinoise” want to capitalize on their show’s momentum: It is just wrapping up a sold-out run at the Park Avenue Armory in Manhattan, and it also had successful runs earlier this year at Chicago Shakespeare Theater and last year at Bard College’s Fisher Center.The transfer will be unusually fast, with just 29 days between the end of the run at the Armory and the start of the run at the St. James. There will be a brief rehearsal period, but no previews; the first performance will also be the opening, which is uncommon for Broadway.“We have this kind of lightning in a bottle with this show that is not something that one can create intentionally,” Peck said. “We want to preserve the energy of the show, and the longer we wait between phases of this, the greater we risk losing what that energy is.”“Illinoise” is performed by a dozen acting dancers and a trio of vocalists, along with a live band.The show’s use of dance to drive a narrative is not unprecedented: The history of such so-called dansicals includes the Tony-winning “Contact,” which opened in 2000, as well as the 2002 production that most influenced Peck, “Movin’ Out,” which Twyla Tharp choreographed using the songs of Billy Joel.“The music and the story and the movement combine in your own mind, rather than being combined onstage in front of you,” Drury said in an interview. “And there’s something about that that feels really beautiful and exciting. It just allows the audience to really empathize and connect emotionally with what’s going on onstage.”The Broadway run is being produced by Orin Wolf, John Styles and David Binder, in association with Seaview. More

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    ‘Shogun’ Episode 5 Recap: Communication Breakdown

    John Blackthorne and Lady Mariko learn the responsibility that comes with freedom when Buntaro returns.Episode 5: ‘Broken to the Fist’Sometimes there’s nothing worse than a miracle. On this week’s episode of “Shogun,” Lady Mariko is shocked when her lord husband, Buntaro, emerges unscathed from what seemed like certain death at the hands of Lord Ishido’s soldiers back in Osaka. Though a brave and formidable warrior, he’s also a emotionally and physically abusive husband. To Buntaro, being forced to share a house with a barbarian like John Blackthorne is like living in the monkey house at a zoo. What he would do if he found out about the clandestine dalliance between Blackthorne and Mariko is all too obvious.Buntaro’s disgust with the Anjin is easy enough to explain. But his contempt for Mariko — on display during a drunken target practice when he laces arrows millimeters past her face —is part and parcel of his contempt for her entire family. In violation of virtually every shibboleth governing the conduct of samurai, her father assassinated a brutal lord for the sake of the realm. Mariko’s entire family was executed for it — by her father, who committed seppuku after being forced to carry out the act. Mariko wished to fight and die to avenge this injustice, but Buntaro has ordered her to live. She does this while offering him no emotional response to his importunities whatsoever.To Blackthorne, who cannot fully grasp the concept of the eightfold fence, it sounds like a miserable existence — and to be fair to the Anjin, Mariko has given him little reason to believe otherwise. “You’d die to avenge your father,” he says. “You live in anguish to spite your husband. What becomes of you?” Does she not crave the freedom of self that Englishmen like him enjoy? She wouldn’t enjoy that kind of freedom, Mariko retorts, because it’s a prison of its own. “If freedom is all you ever live for,” she says, “you will never be free of yourself.”By the time they have this bitter conversation, Blackthorne has come to rue intensely what he perceives to be Japan’s absence of freedom. In an attempt to capture the flavors of home, he allows a pheasant to rot outside his house — the better, he says, to prepare it for stew. For a while, the bird’s stench and the flies it attracts are the stuff of comedy, as is Blackthorne’s complete inability to talk to his consort Lady Fuji about it without Mariko around to translate. (His inability to make himself understood absent Mariko’s aid will become important later.)The miscommunication, however, turns fatal. Seizing the few words he knows, Blackthorne hyperbolically says that anyone who touches the pheasant in defiance of his wishes will die. The servants have no choice but to take his words literally, just as they have no choice but to remove anything that upsets the harmony of the village as much as that stinking bird.So it falls to Blackthorne’s favorite employee, the old gardener Uejiro (Junichi Tajiri), to dispose of the bird, and then kill himself for disobeying the Hatamoto. Blackthorne is naturally horrified. Had anyone asked him — had anyone been able to ask him, that is, and had he been able to reply — he would have simply said it was no big deal. Instead, Uejiro died for nothing.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