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    Late Night Speculates About Mitch McConnell’s Next Career Move

    The senator is giving up his G.O.P. leadership post. “McConnell just turned 82, so that can only mean one thing: He’s running for president,” Jimmy Fallon said.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.Leaving So Soon?On Wednesday, Mitch McConnell of Kentucky said he would step down this year from his long-held position as leader of the Senate Republicans.“McConnell just turned 82, so that can only mean one thing: He’s running for president,” said Jimmy Fallon.“McConnell said that it’s time for the next generation of leadership. Then he looked around the Senate and realized the next generation is 75.” — JIMMY FALLON“Well, thanks to the woke left, another Confederate statue has been taken down.” — SETH MEYERS“He’s not stepping down till November because, at 82, that’s how long it takes him to step.” — STEPHEN COLBERT“He will be retiring to the Galápagos Islands to spend more time with the other 500-year-old turtles.” — JIMMY KIMMELThe Punchiest Punchlines (Low-Rent Wonka Edition)“Last weekend in Glasgow, a Willy Wonka-inspired experience was brought to a halt following complaints it was ‘an absolute shambles of an event’ after families traveled from all over, paying $40 a ticket for an ‘exhilarating and immersive adventure’ called Willy’s Chocolate Experience. Still better than the English attraction: Spotted Dick’s Custard Explosion.” — STEPHEN COLBERT“But when people showed up, they found something very different from what they found on the website. What they found was basically a big empty warehouse with vinyl backdrops tacked to the wall. They got to see Willy Wonka’s famous portable power generator, and they got to meet what appears to be a meth lab Oompa Loompa.” — JIMMY KIMMEL“Parents were very upset. They called the police on the place. I have to say, though, honestly, I feel like the kids learned an important lesson about how disappointing the rest of their lives are going to be.” — JIMMY KIMMEL“Look, I don’t know why everyone is so upset that the kids were traumatized. Have you seen the movie? Traumatizing kids is the authentic Wonka experience!” — MICHAEL KOSTA, guest host of “The Daily Show”The Bits Worth WatchingOn “Late Night,” Seth Meyers recapped his highly publicized ice cream shop visit with President Biden, in a segment Meyers referred to this time as “A Closer Lick.”What We’re Excited About on Thursday NightEugene Levy, who gets a star on the Hollywood Walk of Fame next week, will appear on Thursday’s “Jimmy Kimmel Live!”Also, Check This OutRichard Lewis on “Curb Your Enthusiasm” this season.HBOIn one of his last interviews, the late Richard Lewis reminisced about the early days of “Curb Your Enthusiasm,” and about meeting Larry David when they were children at summer camp. More

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    Review: In ‘Brooklyn Laundry,’ There’s No Ordering Off the Menu

    John Patrick Shanley’s new play, starring Cecily Strong and David Zayas, is a romantic comedy with a penchant for the resolutely dismal.Fran and Owen have been chatting for only a few minutes, not all that companionably, when he asks her out. It’s a risky thing to do, since she’s a customer at the drop-off laundry he owns. To Owen, though, Fran resembles his ex-fiancée: “Smart, one inch from terrific, but gloomy,” he says.So bone-tired of being single that a casual insult from a guy she’s just met isn’t a deal breaker, Fran warily agrees to dinner.“But I don’t get why you want to, really,” she adds. “I’m not your old gloomy girlfriend. I’m somebody else.”Owen counters: “Well, whoever you think I am, I’m somebody else, too.”This is truer than he comprehends. Starring Cecily Strong as Fran and David Zayas as Owen, John Patrick Shanley’s enticingly cast, rather lumpy new play, “Brooklyn Laundry,” can get you thinking about warning labels — those heads-ups that we all ought to come with, so people know what they’re in for when they encounter us.Fran’s warning label would be long and convoluted, Owen’s even more so. Each of them would be surprised if they read their own. They realize that they’re a little bit broken, in need of repair. They just don’t understand quite how.Side note to Fran: While Owen seems potentially quite sweet (gruff adorability is Zayas’s bailiwick), he is way more hidebound and a whole lot more self-pitying than he lets on. Run, maybe?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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    Richard Lewis, Comedian and ‘Curb Your Enthusiasm’ Actor, Dies at 76

    After rising to prominence for his stand-up act, he became a regular in movies and TV, most recently on “Curb Your Enthusiasm.”Richard Lewis, the stand-up comedian who first achieved fame in the 1970s and ’80s with his trademark acerbic, dark sense of humor, and who later parlayed that quality into an acting career that included movies like “Robin Hood: Men in Tights” and a recurring role as himself on HBO’s “Curb Your Enthusiasm,” died on Tuesday at his home in Los Angeles. He was 76.His publicist, Jeff Abraham, said the cause was a heart attack. Mr. Lewis announced last year that he had Parkinson’s disease.Mr. Lewis was among the best-known names in a generation of comedians who came of age during the 1970s and ’80s, marked by a world-weary, sarcastic wit that mapped well onto the urban malaise in which many of them plied their trade.After finding success as a comedian in New York nightclubs, he became a regular on late-night talk shows, favored as much for his tight routine as for his casual, open affability as an interviewee. He appeared on “Late Night With David Letterman” 48 times.And he was at the forefront of the boom in stand-up comedy that came with the expansion of cable television in the late 1980s.Mr. Lewis performing as a standup in Las Vegas in 2005. He called himself “the Prince of Pain.” Ethan Miller/Getty ImagesWe 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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    Louis Armstrong Musical ‘A Wonderful World’ Set for Broadway

    “A Wonderful World,” featuring Armstrong’s songs, is set to begin previews at Studio 54 in October after previous runs in Miami, New Orleans and Chicago.“A Wonderful World,” a new musical about Louis Armstrong, will have a run on Broadway starting in the fall.The musical, which has previously been staged in Miami, New Orleans and Chicago, will star James Monroe Iglehart, who a decade ago won a Tony Award for originating the role of the Genie in “Aladdin,” and who is now starring as King Arthur in a Broadway revival of “Spamalot.”The show is scheduled to begin previews Oct. 16 and to open Nov. 11 at Studio 54, where the musical “Days of Wine and Roses” is now playing a limited run.When Armstrong died in 1971, the trumpeter and singer left a legacy as one of the most important figures in the history of jazz. The show examines his life through the eyes of his four wives.The score is made up of Armstrong songs including the classic that gives the show its title, along with “When You’re Smiling,” “I Can’t Give You Anything but Love” and others. The book is by Aurin Squire, and Christopher Renshaw is directing; Renshaw and Andrew Delaplaine are credited with conceiving the musical.“A Wonderful World” is being produced by Thomas E. Rodgers Jr., Renee Rodgers, Martian Entertainment (Carl D. White and Gregory Rae), Vanessa Williams and Elizabeth Curtis. More

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    In Justin Peck’s ‘Illinoise,’ Dance On and Feel It

    Justin Peck was around 17 when he first heard the Sufjan Stevens album “Illinois,” an epic paean to the state, nearly two dozen tracks brimming with orchestral indie rock, dense, lyrical wistfulness and sometimes obscure local history. This listening experience came long before Peck wanted to make dances, before he was even a professional dancer.But “Illinois” urged him to move. “It was an instantaneous, illuminating thing that I felt like it was so danceable,” said Peck, now the resident choreographer and artistic adviser at New York City Ballet. “And it is so rare to find someone who can conjure that, especially someone who’s alive right now.”Ever since, Peck, 36, has found artistic inspiration in Stevens — “the voice in music that has led me down paths further than I’ve ever gone before,” he said.The two collaborated regularly, including on “Year of the Rabbit,” the ballet that launched Peck as a choreographer, in 2012. Not long after they began working together, Peck, hoping to experiment with storytelling forms, and influenced by dance-pop productions like Twyla Tharp’s “Movin’ Out,” asked if he could make a theatrical piece set to “Illinois.” Stevens took nearly five years to agree.Justin Peck, left, and Jackie Sibblies Drury, who said the show “feels like the most broadly appealing thing that I have actually ever worked on.”Sasha Arutyunova for The New York TimesAlmost five years later, the result is “Illinoise,” a project that is every bit as ambitious and genre-defying as its soundtrack: a narrative dance musical that combines a coming-of-age story, a snapshot of queer identity and a meditation on death, love, community, history, politics and zombies.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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    In ‘Elsbeth,’ a Quirky Side Character Becomes a Quirky Lead

    This CBS procedural is new, but its star, Carrie Preston, has been playing the central character for almost 14 years.While filming the new crime show “Elsbeth” in an Upper West Side apartment in January, Carrie Preston, playing the title character, tentatively patted the guest star Peter Grosz on the arm. The combination of the gesture and Elsbeth’s hesitant expression made the attempt at comfort come across as simultaneously awkward and funny — and unmistakably true to the consistently awkward, funny Elsbeth.Robert King, who created the series with his wife, Michelle, and was directing that particular episode, chuckled in delight as he watched on a monitor. Nearby the showrunner, Jonathan Tolins, said, “She always finds things like that,” referring to Preston’s flourish. “That was probably not in the script.”Premiering Thursday on CBS, “Elsbeth” is a new project but Elsbeth herself is not. One reason Preston inhabits her fully enough to improvise such small, telling gestures is because she has been playing her for almost 14 years.Fans of legal dramas have long been acquainted with Elsbeth Tascioni, a seemingly scatterbrained but diabolically effective redheaded lawyer who popped up toward the end of the first season of “The Good Wife” in May 2010. From the start, the Kings, who also created that hit show, thought of Elsbeth as an answer to Columbo, the Los Angeles homicide detective that Peter Falk played in a series, then specials, between 1968 and 2003.“I didn’t really watch ‘Columbo’ — it was a little before my time,” said Preston, 56. But “I knew he was a little unorthodox in the way he did things. I was like, ‘OK, I get it: They want people to not see her coming.’”The Kings kept bringing Elsbeth back for guest stints on both “The Good Wife” and its first spinoff, “The Good Fight.” Despite her relatively limited screen time, she became a fan favorite, and Preston landed two Emmy nominations and one win, in 2013, for playing her.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 Chides Biden for Talking About Gaza While Eating Ice Cream

    “Not the most dignified way to deliver world-changing news,” Michael Kosta said on Tuesday’s “Daily Show.’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.Biden’s Big ScoopOn Monday, President Biden was asked about a timeline for a potential cease-fire in Gaza while visiting an ice cream shop for a “Late Night with Seth Meyers” segment.On Tuesday, the “Daily Show” host Michael Kosta said Biden had delivered his response “in the most Joe Biden way possible” — that is, while eating an ice cream cone.“Not the most dignified way to deliver world-changing news. It does remind me of the photo of Obama’s team watching the bin Laden raid while making balloon animals.” — MICHAEL KOSTA“This was like when Obama announced ‘We got bin Laden’ just as someone put out the pie.” — SETH MEYERS“That’s a very statesmanlike response, and a reason to kindle hope, if he hadn’t said it directly into a scoop of mint chip.” — STEPHEN COLBERT“I’ll tell you what, if I was a politician, I would always have an ice cream with me, just to cram in my mouth in case I got asked about Israel-Palestine.” — MICHAEL KOSTA“Now, despite Biden’s prediction, both Hamas and Israel say they’re not actually close to a cease-fire. But I’m not surprised that Biden was so optimistic: When you’re holding a freshly scooped ice cream cone, everything feels like it’s going to be OK. That’s why it’s the official food of telling your kid you’re getting a divorce.” — MICHAEL KOSTAThe Punchiest Punchlines (Biden and Trump Take Mexico Edition)“Biden and Trump are scheduled to visit the border in Texas on Thursday. Both of them. They will both be at the border. And if they can get two more senior citizens to go with them, they’ve got themselves a pickleball match.” — JIMMY KIMMEL“Former President Trump is set on Thursday to visit the U.S.-Mexico border. I’m guessing to make a break for it?” — SETH MEYERS“If you think these two guys are confused now, wait till they spend a few hours in 100-degree heat.” — JIMMY FALLON“The president is going to see what can be done to solve the border crisis. Trump is going to make sure he doesn’t solve what’s happening at the border. Biden is planning to meet with U.S. border agents, while Trump is planning to sell golden high-tops on the streets of Juárez.” — JIMMY KIMMELThe Bits Worth WatchingJosh Brolin took over Stephen Colbert’s desk on Tuesday’s “Late Show.”What We’re Excited About on Wednesday NightSheryl Crow will perform on Wednesday’s “Jimmy Kimmel Live.”Also, Check This OutOlivia Rodrigo onstage in California on Friday night.OK McCausland for The New York TimesFor her Guts World Tour, Olivia Rodrigo’s opening acts will range from the rising star Chappell Roan to the Gen-X rockers the Breeders. More

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    ‘The Ally’ Review: Social Justice as a Maddening Hall of Mirrors

    Itamar Moses’s play offers eloquent arguments on all sides of the Israeli-Palestinian conflict. But it doesn’t offer much drama.As this is a trial, let’s start with the facts. Asaf Sternheim, who teaches writing at a university a lot like Penn, is asked by a former student, Baron Prince, to endorse a manifesto. The manifesto seeks justice for Baron’s cousin, Deronte, who was killed by police officers while being stopped for a theft he had nothing to do with.Also pertinent: Asaf (Josh Radnor) is a Jew, albeit the kind that subscribes, as he says, to the “acoustic-guitar-based variety” of Judaism. Baron (Elijah Jones) is Black, as was Deronte.And one more thing: The 20-page manifesto, tying violence against Black Americans to violence against all subjugated populations, calls for “sanctions on the apartheid state of Israel,” adding that “failure to do so will leave the United States complicit in the ongoing genocide of the Palestinian people.”You could feel the “uh-oh” in the audience the night I saw “The Ally,” an important, maddening play by Itamar Moses that opened on Tuesday at the Public Theater.Words like “apartheid” and “genocide,” when applied to Israel and Palestinians, are sure to rile lots of people. But challenging the use of those words will equally rile others. Smack in the middle is Asaf, whom the play proceeds to put through a tribal-political wringer that leaves him — and left me — a limp dishrag.Whether you think that’s a good thing for a play to do may depend on your tolerance for endless, furious, yet familiar debate. There’s no question that Moses, whose biography as the Berkeley-raised son of Israeli immigrants is a close match for Asaf’s, knows the territory and its every skirmish intimately. It often seems that the arguments, on all sides, have been transcribed from personal experience or the news.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