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    Paula Pell Is a Comic Scene-Stealer in ‘Girls5eva’

    Breastchester, the rustic upstate New York residence that is home to the “Girls5eva” star Paula Pell, is a two-hour drive from Manhattan, at the end of a long stretch of road where occasional yoga studios and art galleries eventually give way to a tranquil countryside. It is secluded, but its proprietor is hardly in need of companionship.Pell’s coterie here includes her wife, Janine Brito, the comedy writer and actor who gave their mini-estate its body-positive nickname. Then there is the congregation of rescue dogs that had overtaken the living room of the main house one recent Friday morning, all scratching and barking for attention. Eloise and Verbena, Pell’s horses, were in a stable on a hill above the house.“There’s two old mares up there and one old mare down here,” Pell said theatrically, running a hand through her long silver locks.Pell has been known to nurse stunned birds back to health. She volunteered at a nearby sanctuary, where she took care of neglected pets and farm animals. “I was called the pig whisperer,” she said. “I have pictures of me sleeping on the pigs. I’d lay there and sing to them.”Her love of animals is sincere and integral to her personality, as much a part of Pell as the brassy, oblivious characters she dreamed up on “Saturday Night Live,” where she spent 18 years as a writer, and which she continues to play in movies and on TV.“Humans, always, will be imperfect,” Pell said. “They will still say I love you when they don’t. Animals, to me, are the only ones that when they love you, you totally believe it.”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 Tackles the U.S. House Bill That Could Ban TikTok

    “This is like iPhone ‘Footloose,’ and there’s no Kevin Bacon to save us,” Jimmy Kimmel joked.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 Final CountdownOn Wednesday, the House passed a bill to ban TikTok in the United States unless the app’s parent company sells it to a non-Chinese owner in the next six months.“So now, the bill goes to the Senate, which means the fate of every tweenaged TikToker is in the hands of a bunch of old white people with Hotmail accounts,” Jimmy Kimmel said.“This is a big deal. This is like iPhone ‘Footloose,’ and there’s no Kevin Bacon to save us.” — JIMMY KIMMEL“But, yes, obviously, there is a problem with a Chinese app spying on Americans and feeding us propaganda. You want American apps doing that.” — MICHAEL KOSTA“Well, if you guys are worried about the Chinese gathering data on Americans, wait till you find out who makes the phones.” — SETH MEYERS“Only 50 Democrats and 15 Republicans voted ‘no.’ Three-hundred fifty-two voted ‘yes,’ which almost never happens anymore. Who would have guessed that this would be the thing that brings both sides together?” — JIMMY KIMMEL“I mean, Republicans voted against their own border bill because they were afraid it would make Joe Biden look good. They can’t even get it together to stand up to Vladimir Putin. But, by God, they will stand up to Charli D’Amelio and then some.” — JIMMY KIMMEL“Just to give you an idea of the pull this app has, they did a poll, and half the people who use TikTok said they do believe it poses a threat to national security but they still use it and keep it on their phones. I guess at this point, what the hell, right? I mean, half the country supports a national security threat for president, might as well dance.” — JIMMY KIMMEL“Well, apparently, both Democrats and Republicans are worried that China will steal the secrets of the tortilla slap.” — JIMMY FALLON“I don’t think we fully understand how crazy these kids are going to go if they kill TikTok. I mean, for teenagers today, losing TikTok is a bigger deal than losing your virginity. I’m not kidding, either. This is like taking away all of their imaginary friends at once.” — JIMMY KIMMEL“Can you imagine if TikTok was banned? I mean, just picture lying down in bed and then actually going to bed, you know what I’m saying?” — JIMMY FALLONThe Punchiest Punchlines (Losing Teams Edition)“Apparently, R.F.K. Jr. is seriously considering Aaron Rodgers and Jesse Ventura as potential picks for vice president. Yep, Kennedy confirmed that Rodgers and Ventura are at the top of his list, which really makes you wonder who’s at the bottom.” — JIMMY FALLON“Yesterday, we learned that he is reportedly considering Aaron Rodgers for veep. Now that is a risky move to pick Rodgers, because if we’ve learned one thing, it’s that the minute he starts running, he’s going to snap his Achilles’.” — STEPHEN COLBERTWe 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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    ‘The Effect’ Review: Dissecting the Science of Desire

    In Jamie Lloyd’s revival of Lucy Prebble’s play, Paapa Essiedu and Taylor Russell are a couple who fall in love during a pharmaceutical trial.A white plastic bucket sits on a spare stage at the Shed, where the director Jamie Lloyd’s stark, riveting production of “The Effect” opened on Wednesday night. By the time its content — a human brain — is revealed, Lucy Prebble’s heady and scintillating drama is already interrogating the biology of desire.What begins as the drug trial of an antidepressant shifts into more slippery territory when a flirtation develops between two of the participants. As they circle each other, neurons blazing, questions swirl about whether their attraction has been chemically engineered — and if love controls the mind or the other way around.The simplicity of a brain plopped in a pail for scientific research becomes something of a mordant sight gag.Previously staged Off Broadway in 2016, “The Effect” digs into what one of the study’s architects calls “nothing short of a revolution in medicine”: drug intervention that considers the psyche a plastic aspect of the self. Lloyd’s production, which premiered in August at the National Theater in London, poses the play’s philosophical inquiries on a stark and minimal plane that feels both cosmic and atomically intimate.During the experiment’s intake, we learn that Connie (Taylor Russell) gets sad but isn’t depressed (“when I’m sad, I’m sad,” she says) and that Tristan (Paapa Essiedu) has a playful swagger, half-flirting with the study’s administrator, Dr. Lorna James (a game and frank Michele Austin), while she asks about his medical history.Kobna Holdbrook-Smith, left, and Austin (with Essiedu and Russell seated onstage) portray the two psychiatrists running the pharmaceutical trial. 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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    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