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    Late Night Is Tickled by Trump’s Indictment

    “He was right — we’re finally saying ‘Merry Christmas’ again!” Stephen Colbert said of Donald Trump on Thursday.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.Merry Christmas!Former President Donald Trump was indicted by a New York grand jury on Thursday in connection with his role in paying hush money to a porn star, according to people familiar with the situation.“He was right — we’re finally saying ‘Merry Christmas’ again!” Stephen Colbert said. The host celebrated by eating an ice cream sundae out of a helmet on what was also the opening day of the 2023 Major League Baseball season.“I didn’t know it would feel this good!” he said.“This is good news for everybody, even him. He now gets to join his J6 Prison Choir!” — STEPHEN COLBERT“And, you know what, he should see whether that grand jury will cut him a check for $130,000, because he is so screwed.” — STEPHEN COLBERT“For the first time in the history of this country, an American president has been indicted for his role in paying hush money to a porn star, although, in fairness, that’s a pretty narrow window. Like when Grover Cleveland was president, porn stars were very hard to come by. Still, it’s historic, and it’s funny — it’s very, very funny.” — JIMMY KIMMEL“But hey, let this be a lesson to all you kids out there, OK? If you commit fraud to cover up an affair with a porn star, the law will catch up to you after, like, seven years and a full term as president.” — JOHN LEGUIZAMO, guest host of “The Daily Show”“Maybe instead of running for president, he’ll do another show, like ‘The Celebrity Apprehentice.’ Or maybe, maybe a sitcom like ‘Arrested Developer.’ We don’t know. All we know is that right now for the first time in seven years, Melania is smiling at Mar-a-Lago.” — JIMMY KIMMEL“He’s going to be arrested, he will be fingerprinted, he will be read his Miranda rights. Wait till he finds out, all this time, he had the right to remain silent. He’s going to kick himself. That’s going to be a tough pill to swallow.” — JIMMY KIMMELThe Punchiest Punchlines (Satisfaction Guaranteed Edition)“The report is that they are going to try to negotiate his surrender. Either that, or they’ll leave a trail of Big Macs leading to the prison.” — JOHN LEGUIZAMO“When she heard, Stormy Daniels was, like, ‘Oh, so this is what it feels like to be satisfied?’” — JIMMY FALLON“Who’s going to help Don Jr. pick out his Lunchable tomorrow?” — JIMMY KIMMEL“And you know, I take a firm stance against mass incarceration, OK? But for this, I’m willing to make an exception. I just hope they take it easy on him and put him at least in a cell with his lawyer.” — JOHN LEGUIZAMOThe Bits Worth WatchingJimmy Fallon enlisted puppies to predict the results of this year’s Final Four on Thursday’s “Tonight Show.”Also, Check This OutTeyana Taylor stars with Aaron Kingsley Adetola in “A Thousand and One,” which won a grand jury prize at the Sundance Film Festival.Focus FeaturesAfter stepping away from recording music to focus on acting, Teyana Taylor landed the lead role in the drama “A Thousand and One.” More

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    ‘Life of Pi’ Review: A Boy and a Tiger, Burning Brightly

    Human ingenuity and animal grace course through this rich, inventive play about difficult choices and the stories we tell to make sense of them.The butterflies enter first, quivering gaily atop their sticks. Then a giraffe pokes her head in. A goat gambols. A hyena cackles. One zebra runs on. Then another. An orangutan swings through while her baby reposes on a branch nearby. Above, monkeys and meerkats chitter. In the first act of “Life of Pi,” a menagerie — menacing, delightful — entrenches itself on the stage of Broadway’s Gerald Schoenfeld Theater.With dazzling imagination and sublime control, the show’s cast and crew conjure a delirious, dynamic, highly pettable world. And oh, is it a wonder. Though the play is ostensibly about one boy’s fraught survival after a disaster, that story is somewhat thin. “Life of Pi” instead succeeds as a broader tribute to human ingenuity and animal grace.Directed by Max Webster and adapted by the playwright Lolita Chakrabarti from Yann Martel’s Booker Prize-winning novel, “Life of Pi” begins more somberly, in Mexico, in 1978. A grayed-out hospital room houses a sole patient, Pi Patel (Hiran Abeysekera). A Japanese cargo ship en route to Canada has sunk. Among its passengers were Pi and his family, who had set out from Pondicherry, India. And among its freight were the animals Pi’s zookeeper father tended. All aboard have drowned, except Pi, a traumatized 17-year-old who washed up in this fishing village after 227 days lost at sea.Visiting him this morning are Mr. Okamoto (Daisuke Tsuji), a representative from the Japanese Ministry of Transport, and Lulu Chen (Kirstin Louie), from the Canadian Embassy. These guests have been charged with learning what happened to Pi. For their benefit, he spins a fantastic tale — incredible in every sense — about sharing a lifeboat with animals, initially several then finally just one, Richard Parker, an enormous, sinuous, very hungry Bengal tiger.Between Richard Parker and Pi, adamant carnivore and lifelong vegetarian, there is a desperate struggle for dominance. Richard Parker needs to eat. Pi would prefer not to be eaten. But these two passengers eventually achieve a détente, even a kind of friendship, a hallucinatory acknowledgment of what is human within the animal and animal within the human. It is the example of Richard Parker — and his companionship, however imagined — that allows Pi to survive.“You’re the only reason I’m alive,” a despairing Pi says to his friend, midjourney. “It’s just you and me.”But “Life of Pi” is a much larger affair than this small-man-big-cat duo. The cast runs to 24 actors, many of them also puppeteers, with a small fleet of crew members to make the whole show seaworthy. (The play originated in Sheffield, England, before moving to the West End and then to the American Repertory Theater in Boston, so yes, it floats.) Martel’s novel — absorbing, florid — is a work of magical realism. Webster, the director, makes sure to deliver the magic and the realism both.The menagerie of puppet animals, designed by Nick Barnes and Finn Caldwell, prowl and canter and leap with astonishing character and style, our critic writes.Hiroko Masuike/The New York TimesNodding to techniques pioneered by Robert Lepage and Improbable Theater, Webster encourages a beautiful synchrony of lighting (Tim Lutkin), video (Andrzej Goulding), sound (Carolyn Downing) and set (Tim Hatley, who also designed the costumes). Aided by the other production elements, the mise-en-scène constantly moves and shifts. The room becomes the boat. The boat recedes into the room. Sometimes both room and boat are there at once and a person might have to clap her hands across her mouth to stop herself from oohing, especially when the schools of fish surface or the stars begin to flicker. We are in the realm of fantasy here, of symbolism, but squint just a little and waves appear. Even from the mezzanine, I could feel — almost — a salt spray.And the puppetry! Between Milky White of “Into the Woods” and the dinosaur and mammoth of “The Skin of Our Teeth,” New York has not been starved of extraordinary stick and cloth creations. But the animals here, designed by Nick Barnes and Finn Caldwell, with movement direction by Caldwell, prowl and canter and leap with astonishing character and style. And Richard Parker, animated by three puppeteers at any given time, is the show’s striped jewel. Chuffing, growling and panting as he stalks the boat’s perimeter, he is at once beguiling, gentlemanly and quite dangerous. Abeysekera — a petite hurricane of an actor with reeling limbs and a clarion voice — is excellent in an exhausting role.But Richard Parker (very briefly voiced by Brian Thomas Abraham) makes the more indelible impression. When he finally slunk onto dry land, I worried for him as I did not worry for Pi. He seemed so thin.The cast runs to 24 actors, many of them also puppeteers.Hiroko Masuike/The New York TimesToward the start of his tale, Pi promises his listeners that his story will make them believe in God. But while Martel’s novel has a deep and sometimes tendentious concern with religion and philosophy, Chakrabarti’s adaptation engages with these questions only glancingly.At its most abstract, this a play about how we come to terms with our own choices, even with our own survival, and the stories we might tell to make those choices and that survival make sense. Trauma requires language, Pi insists. If you don’t find words to compass it, he says, “it becomes a wordless darkness, and you will never defeat it.” Yet language tends to recede whenever the animals are onstage. Want wonder? Want divinity? Look to the tiger burning bright. And then look to the human hands that tend the flame.Eventually Pi offers an alternative version of what happened on that lifeboat, which Webster also stages. Stripped of animals, allegory and visual pleasure, this account is more plausible, though much darker. “Which is the better story?” Pi asks.Depends what he means by “better.” But of course it’s the one with the animals. Because faced with such horror, or even with the ordinary hardships of daily life, anyone would prefer the fantasy, especially when it is rendered with such richness and invention. (A different show might have questioned the morality of extracting such pleasure, such delight, from a tale of privation. Not this one.) Significantly, neither story redeems what Pi has suffered. But only one has a tiger in it.That roaring that you will hear at the show’s end? It’s the sound of a standing ovation.Life of PiAt the Gerald Schoenfeld Theater, Manhattan; lifeofpibway.com. Running time: 2 hours 10 minutes. More

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    In This ‘Peter Pan,’ Something Always Goes Awry. That’s the Plan.

    On a recent afternoon, the actor Greg Tannahill sat perched atop a London rooftop, one leg extended, one arm outthrust. A pair of carpenters would then whisk Tannahill from his rooftop and into a nursery. And then out of it. And then back in again. A window frame would come free. Tannahill, now jerked upside down, would mewl and scream and clamber down a wall. Once he finally righted himself, the flight harness would wrench him upside-down again.This breathless, silly sequence lasted less than a minute and ended when Tannahill, playing an actor cast as Peter Pan in an ill-starred kiddie production, finally stands up straight and delivers the line: “Thank heavens I didn’t wake the children.”The routine requires split-second precision and the seamless cooperation of actors, flight operators and stage managers. To make it work and to make it safe (there is an open flame on set!), the creators and crew members of “Peter Pan Goes Wrong,” the spry, slapstick comedy that is scheduled to open at Broadway’s Ethel Barrymore Theater on April 19, have spent dozens of hours (maybe hundreds of hours, counts differ) honing this one bit.“Peter Pan Goes Wrong” is the second Broadway production, following the Agatha Christie- adjacent “The Play That Goes Wrong,” in 2017, from the theater company Mischief. Founded by three former drama school roommates — Henry Lewis, Jonathan Sayer and Henry Shields — Mischief specializes in farcical deconstructions of established genres. Each new play is putatively the work of the Cornley Polytechnic Drama Society, a troupe of overambitious amateur thespians. Whenever the Cornley players take the stage, something inevitably goes awry. A lot of somethings. Mischief’s fascination is with the things (and people) that go bump in the night. People like Tannahill.Backstage at the Ethel Barrymore Theater: Richard Force, a carpenter, helping Tannahill into his harness.Dolly Faibyshev for The New York Times“I’ve gained a bruise or two in rehearsal,” said Tannahill, once he had retired to his dressing room. “But you’ve got to break a few eggs to make a lovely omelet.” He then clarified that he hadn’t actually broken anything.‘Acclimate to the terror’I visited the Barrymore a week before the show’s first preview performance because I wanted to see the work that went into putting even one gag together. “Hours go into generating just 10 seconds,” Sayer told me.It was late afternoon, just before the dinner break, and the auditorium was littered with binders, monitors and makeshift desks. The atmosphere was one of controlled chaos, but no one seemed especially tense. (Many of the company’s members studied together at the London Academy of Music and Dramatic Art.) Not even Tannahill, though he did ask, good-naturedly, for a moment to catch his breath before the carpenters swung him in again.“Just so I can acclimate to the terror that is that moment,” he said.That moment has been in the works for about 10 years, ever since “Peter Pan Goes Wrong” first opened at the Pleasance, a small theater in North London. Mischief had chosen a children’s show as the follow-up to “The Play That Goes Wrong” for two reasons. First, these shows have so many rules and conventions ripe for rupture. “You can’t really get more serious than a show that is intended for children,” said Henry Shields, as he and his collaborators speed-ate a dinner of pasta and salad. “The moral standard of these shows, it is extremely high.”The second reason was the flying rig. With characters suspended high above the stage floor, what could possibly go wrong? Quite a lot.When the show debuted, at the Pleasance, the company couldn’t afford luxury gear. The rented rig had no counterweight, so when they wanted to lift Tannahill, who originated the role of the actor playing Peter Pan, a crew member had to jump off a stepladder. To have Tannahill enter at the appropriate speed, a couple of actors would hold his feet, pull him back and let him go.Honing a sequence: Jonathan Sayer, one of the founders of the Mischief theater company, compared their process to stop-motion animation, because a new movement or gesture has to happen nearly every second.Dolly Faibyshev for The New York Times“The low-tech version of the show was much more dangerous,” Shields said. “I mean, it was safe, we took care, but there were more bruises.”In this low-tech version, things actually did go wrong, unscripted things. At one point, a screw fell out and a door broke away, jamming the revolving stage just minutes before curtain. At another performance, a dummy version of Peter Pan fell to the floor prematurely. (“Don’t worry,” Tannahill ad-libbed. “That’s just the other dead Pan.”) One night, Sayer, playing one of the children, forgot to loosen a button on his costume. When his own rig jerked up, it choked him.“I remember being very out of breath and quite shaken and looking up expecting to see you all looking very concerned,” Sayer recalled. “Everyone had tears rolling down their faces with laughter.”The company now takes rehearsals and personal safety just a bit more seriously. “With age and experience comes much more care,” Sayer said. “When you’re 21, you say, ‘Let’s just go for it!’ Now, there’s a lot of poring through everything at an extreme level of detail to get it right and to make sure that we’re safe and well and happy.” (He and his collaborators are now seasoned men of 34.)Mischief managedFor a “Goes Wrong” play to work, the production has to chart an exact course between mayhem and control. Too much polish and it isn’t funny. “Especially on a big Broadway show, people are so hard-wired to be like, ‘Well, this is how it’s done. This is how we’ll make it clean, neat, tidy.’ You’re quite often trying to unpick those things. Like, ‘No, no, let that moment be messy. Let the shirttails hang out,’” Lewis said.But too little refinement and the jokes don’t fly. If the doors slam — and slam and slam — but the story isn’t told, the audience won’t laugh. With each new production, the director, Adam Meggido, includes at least one rehearsal in which everything goes right. “You need to be able to do the thing and to have total control over it before you can start to undercut it,” Sayer said. “You’ve got to make sure the story of ‘Peter Pan’ is being told before you start to rip it up a little bit.”Matthew Cavendish, who plays Max, in bunk beds that collapse, naturally.Dolly Faibyshev for The New York TimesAnd then, second by second, joke by joke, the ripping begins, in a process that Sayer compared to stop-motion animation, because a new movement or gesture has to happen nearly every second. “Comedy is hard,” Shields said. “Jokes are hard. You have to be very precise.”Still, that precision has to allow for differences in the layout of each new theater and for the addition and subtraction of actors and understudies, who have to be afforded the space to play the roles in their own ways, even while hitting every line and mark. Besides, Lewis, Sayer and Shields have never met a joke that they didn’t believe they could eventually improve. Ten years on, they’re still tweaking, refining and adding new bits. “You’re never finished writing comedy,” Shields said, sounding slightly exhausted. (At one point he had described Mischief’s style as “a bottomless pit of comedy.”)The fine-tuning ends only during the technical rehearsals, when any further changes would give the designers, board operators and stage managers conniption fits. I found them a few days before that, during what Lewis described as “that fun, exhilarating part of the process where we’re trying to get those last few changes through.”Where the magic happensAn assistant stage manager led me across a confetti covered set to a narrow backstage area that magically held a half-dozen people. The carpenters stood behind a bank of monitors. One grasped the ropes that controlled Tannahill’s horizontal travel; the other his vertical axis. “Peter Pan Goes Wrong” has upgraded since its Pleasance days. The rig now came courtesy of Flying by Foy, the industry leader. (In a neat bit of symmetry, Peter Foy, of Flying by Foy, designed the rig for Mary Martin’s celebrated “Peter Pan.”) It would take both of them, three stage managers and an offsite flying manager to guarantee Tannahill a smooth journey. Which is to say, one in which every bump and inversion is intentional.Tannahill says he enjoys all the pranks, even being turned upside-down. “It’s quite therapeutic,” he said.Dolly Faibyshev for The New York TimesTannahill claimed to enjoy all of it, even the moments in which he was turned upside-down. “It’s actually quite nice,” he said. “Gets the blood circulation going in a different direction. It’s quite therapeutic.”At rehearsal, he oriented himself precisely on a roof. At a cue from Tannahill, a raised hand, the operators swung him through the window. This was the carpenters’ 20th time with the sequence, maybe the 30th, and it ran without a hitch, though without the necessary force.“Can you slap him into the wall?” Sayers said to the carpenters. “He used to really thwack into the wall.” The sequence had to look out of control while the actual control remained perfect. If Tannahill seemed to be in real danger, the audience would feel too anxious to chuckle. But if he came in too slow, they wouldn’t laugh either.They tried it again. This time Tannahill did smack into the wall. The wrong wall. The sequence reset. “Because that happened in rehearsal, it was very controlled,” Tannahill later reassured me. “It didn’t give me a bruise straightaway.”The third time, the sequence, in fairy-tale fashion, went just right. When Tannahill flipped upside-down for the second time, the cast and crew cackled. How did it feel to have finally nailed the timing and the trajectory, to have his colleagues laugh at his discomfort?“It feels great,” Tannahill said. “It makes all the bruises worth it.” More

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    ‘Star Trek: Picard’ Season 3, Episode 7 Recap: Moral Ambiguity

    It turns out Starfleet is not the force for good that “The Next Generation” had us believe.Season 3, Episode 7: ‘Surrender’For much of “Star Trek: The Next Generation,” Starfleet was presented as the most virtuous force in the universe — a body with the aim to do good. No conquest. No fighting. Just good old fashioned exploration. Any time a photon torpedo was fired, it was because the Enterprise was forced to fire by hostile forces. If there were corrupt admirals here and there, they were just bad apples. If the Federation tried to move Native Americans away from their home without their permission to satisfy a silly treaty, it was with noble intentions: to avoid war.After “Next Generation,” Gene Roddenberry’s utopian vision of mankind’s future began to give way to darker versions. “Star Trek: Insurrection” gave us a Starfleet-sponsored plan to steal a planet away from an Indigenous species. In “Deep Space Nine,” we saw Starfleet personnel repeatedly operating in a moral gray area, especially when it came to the Dominion War. In one of the best episodes of “Deep Space Nine,” Benjamin Sisko (Avery Brooks), the show’s hero, helped orchestrate the murder of a Romulan Senator in order to lure the Romulans into the war. Later in the series, we learned that Starfleet tried to orchestrate a genocide of the changelings through a virus — a story line that returned with gusto this week in “Picard.”“When you’re constantly subjected to these self righteous, self-proclaimed heroes, spewing their morality as if vomit were somehow virtuous, then sometimes, dear, a little bend, a little arch, a little antagonizing flair is required,” Lore snarls in front of Geordi in this week’s episode. It seems the “Picard” writers really wanted to take our favorite characters down a peg this season. (Note Shaw’s repeated mention of how often the Enterprise crew got themselves into trouble.)Geordi responds, “Lore has a perverted sense of what it means to be human.”Does he? Or does he have a perfect grasp of what it means to be human based on what we learn in this episode from Vadic?Vadic, after being “captured” on the Titan, tells Beverly and Jean-Luc that the Federation reneged on its promise to give the changelings the cure for the virus at the end of the Dominion War, and in fact, someone had to steal it. I’m a bit unclear as to how this is possible: This would seem to be in direct contrast with what we saw onscreen when Odo cures the Founders himself as a condition of the Founders’ surrender to end the war. Unless the Founders themselves chose to withhold the cure from certain changelings.But nevertheless, Vadic also reveals that she and nine other changelings were experimented on by Starfleet as prisoners of war, as part of Project Proteus. It’s a startling revelation: Starfleet tried to convert changelings into, as Vadic calls them, “perfect, undetectable spies, able to drop into any species and spread chaos,” and instead created the biggest threat to the Federation since … well, since the last one.It’s a far cry from the noble Starfleet that Jean-Luc loved and eschewed a family for. Even the enlightened Beverly isn’t as righteous as she used to be. She introduces the idea of a biological weapon to root out the changelings, which she acknowledges would be tantamount to genocide. The New Jean-Luc indulges the proposal and, later, floats the idea of executing Vadic, once he realizes that they won’t get anything of use from her once she is captured.“Are you and I so fundamentally changed that we’re willing to compromise everything?” Jean-Luc asks Beverly.“Yes,” Beverly says. “I think I’m losing my compass.”In “Next Generation,” this exchange would have led to a moralizing speech from Jean-Luc about how they cannot play judge, jury and executioner. And everyone would have gone home happy, and there would have been virtuous solution. But Jean-Luc and his friends are older now. Harder. They’ve seen some stuff. And deep down, they know Lore was right about what he said.Jean-Luc and Beverly move to execute Vadic and, of course, it doesn’t work. The force field goes down. Vadic escapes and takes over the Titan. Worst of both worlds!Odds and endsWhile finding out Vadic’s motivations in becoming a baddie was certainly a worthwhile addition to the season’s story line, Jean-Luc’s plan, like many of his actions this season, made no sense. His grand idea was to lure the changelings from the Shrike, a superior ship, onto the Titan? When he, of all people, should know is Lore is also onboard and really wants to get revenge on him? Why would Shaw leave a powerful villain alone in a room with just force fields and two older humans not known for their hand-to-hand combat? That’s what security teams are for!Fun cameo from Tim Russ as Tuvok. One takeaway from the conversation, despite its not really being with Tuvok, is that Seven still considers Tuvok a friend — another indication of how fondly she thought of her time on Voyager.It turns out that the generational inheritance Jean-Luc passed onto Jack is actually the abilities of Professor X, now that Jack can read minds and control other people just by thinking really hard.The Shrike needs an upgrade in its scanners. The ship can read that the Titan’s warp core is offline and that the ship is running on emergency power only, but it cannot tell if there is any life on board.Geordi’s speech to Data about mourning him was a nice moment for LeVar Burton. He got to say the goodbye to his favorite android that he didn’t get to say in Data’s previous two deaths. More

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    Jimmy Kimmel Recaps Day Eight of ‘To Catch a President’

    Kimmel complained that the grand jury is “leaving us hanging like Trump tried to do with Mike Pence.”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.Two More Weeks of WaitingOn Wednesday, Jimmy Kimmel joked it was “Day Eight of ‘To Catch a President.’”“The grand jury in Manhattan is still out, and they are going to stay out for two weeks,” Kimmel said, adding that they are “leaving us hanging like Trump tried to do with Mike Pence. But that’s a different indictment, I think.”“Some experts believe that it is possible the grand jury may already have voted to indict Donald Trump but that the Manhattan D.A. is slow-walking it to give him time to make preparations for his arrest, whereas others are saying it’s possible — and this is pretty crazy — that Donald Trump died two years ago and we’re all being haunted by his ghost.” — JIMMY KIMMEL“Yep, a potential indictment is at least a month away. Melania was like, ‘Welp, cancel the party.’” — JIMMY FALLON“Even Ted Cruz was like, ‘You’re going on vacation now?’” — JIMMY FALLONThe Punchiest Punchlines (Eyewitness Edition)“The reason we know this is good for the country is because neither Pence nor the former president want it to happen.” — STEPHEN COLBERT, on Mike Pence being forced to testify before a grand jury in the Jan. 6 investigation“The ex-president argued that his conversations with Pence fell under executive privilege, while Pence claimed that his role as the president of the Senate granted him legislative immunity. So, he was a part of the executive branch and the legislative branch. You can see it all in the new movie, ‘Every Job Everywhere All Mike Pence.’” — STEPHEN COLBERT“Another day has gone by, and the ex-president still has not been indicted for making illegal hush money payments to a porn star. I really thought it was going to happen today. After all, Wednesday is Cover Your Hump Day.” — STEPHEN COLBERTThe Bits Worth WatchingKevin Bacon joined Jimmy Fallon for a parody called “Paint It, Black” on Wednesday’s “Tonight Show.”What We’re Excited About on Thursday NightThe actress Maude Apatow, a star in “Little Shop of Horrors,” will appear on Thursday’s “Late Night.”Also, Check This OutThe artist Aura Rosenberg at her first major survey, “What Is Psychedelic,” at Pioneer Works in Brooklyn.Tonje Thilesen for The New York TimesArtist Aura Rosenberg’s first major survey, “What Is Psychedelic,” features 50 years of her work, including collaborations with Laurie Simmons, Louise Lawler, John Baldessari and Mike Kelley. More

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    Review: ‘Drive Your Plow Over the Bones of the Dead’ in London

    The British experimental theater company Complicité turns the Nobel laureate Olga Tokarczuk’s novel “Drive Your Plow Over the Bones of the Dead” into a thought-provoking, entertaining spectacle.Some books lend themselves to stage adaptation more than others, and the experimental theater company Complicité has a strong track record of turning awkward novels into plays. The British troupe, led by the director Simon McBurney, has already created acclaimed productions from Mikhail Bulgakov’s “The Master and Margarita” and Max Porter’s “Grief Is the Thing With Feathers.”Complicité’s latest show is a suitably idiosyncratic treatment of “Drive Your Plow Over the Bones of the Dead,” the surreal eco-thriller by the Polish author and Nobel laureate Olga Tokarczuk. It runs at the Barbican Theater in London through April 1, then tours Britain before playing at some major European venues and festivals, including the Ruhrtriennale in Germany, and the Odéon — Théâtre de l’Europe in Paris.Tokarczuk’s novel revolves around a series of grisly murders in a remote village in southern Poland. The narrator-protagonist, Janina, a semiretired teacher and passionate animal lover in her 60s, takes a keen interest in the case, pestering the local police force with her unsolicited insights and pushing a bizarre theory that, since all the victims were avid hunters or poachers, the murders must have been carried out by animals as an act of revenge. Along the way she holds forth on animal cruelty, astrology and her love of the English poet William Blake.Complicité’s decision to foreground these freewheeling digressions is to be commended: This is not a conventional whodunit but, rather, a kind of fable. The production’s blend of philosophical purpose and irreverent humor rings true to the book’s spirit, and makes for an entertaining and thought-provoking spectacle.The spine of the play is a spotlit monologue by Janina, who dips in and out of the action as it unfolds around her. Amanda Hadingue — standing in for Kathryn Hunter, who has been unwell — brings a disarmingly self-effacing grace to the lead role, ensuring Janina retains the audience’s sympathy, even as she rails abrasively against the industrial slaughter of animals, the hypocrisy of organized religion and the unquestioning passivity of her fellow townspeople.Indeed, the entire production is delivered with a playful esprit that borders on the pantomimic: Self-important cops are played for laughs, as is the supercilious local priest; there are charming cameos from animals played by humans — a dog here, a fox there; and César Sarachu almost steals the show in a wonderfully droll performance as Janina’s endearingly hapless neighbor, Oddball.Interiority is the perennial challenge when adapting literary novels for stage or screen. A slick 2017 movie adaptation of “Drive Your Plow” called “Spoor,” by the Polish director Agnieszka Holland, rendered it as a straight-up nor thriller. It was well wrought but inevitably one-dimensional: Janina’s distinctive narrative voice, which treads a fine line between eccentric and downright cranky, is integral to the novel’s charm; the story feels flat without it. Complicité’s adaptation neatly sidesteps this problem by juxtaposing the inner and outer worlds in a way that feels lively and dynamic.From left: Maria, Uzoka, Sophie Steer, Kathryn Hunter, Amanda Hadingue and Tim McMullan. The company’s director is known for his exuberant use of audiovisual effects.Marc BrennerMcBurney, the director, is known for his exuberant use of audiovisual effects, and his team have conjured an impressive sensory texture here. A big screen at the rear of the stage displays eye-catching images that complement the action. Some are scene-setting, such as snowy landscapes evoking the bitterly cold Polish winter; others, such as a series of detailed drawings of horoscope charts, are thematic.Richard Skelton’s atmospheric score alternates between brooding suspense and doleful solemnity, though the sound designer Christopher Shutt is maybe a little too trigger-happy with the sudden loud noises: I feared for some of the older theatregoers, but it certainly kept the audience alert.Rae Smith’s costume design is understatedly on point: Janina pads around in a jarringly mismatched sports-casual ensemble that is precisely the kind of thing an unabashed eccentric might wear, and the local huntsmen look appropriately forbidding in their uniformly dark puffer jackets.Clocking in at 2 hours and 45 minutes, “Drive Your Plow” is a bit too long. A subplot about Janina’s unspecified chronic illness (“my ailments”) could perhaps have been significantly abridged, or even cut, to give the play a zippier feel. But its shortcomings are essentially those of the novel: its single-track didacticism; its neat pitting of romantic idealists against macho, insentient normies; and the fact that a decisive plot twist can be spotted a mile off.Complicité is no stranger to politics: “The Encounter,” adapted in 2016 from a novel by the Romanian-American author Petru Popescu, addressed environmental destruction in the Amazon; the company’s 2015 children’s play “Lionboy” touched on the ethically dubious machinations of Big Pharma. Crucially, the company’s dissident ethos extends to form as well as subject matter. “Drive Your Plow’s” parable of hubris offers considerable food for thought as we continue to hurtle toward climate disaster: Janina is a Cassandra figure for the 21st century, a voice of reason doomed to be met with indifference, condescension or ridicule. The political message is deadly earnest. Thankfully, Complicité serves it up with a dose of fun.Drive Your Plow Over the Bones of the DeadThrough April 1 at the Barbican Theater in London, then touring in Europe through June 17; complicite.org. More

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    ‘Ted Lasso,’ Season 3, Episode 3 Recap: Zava Superstar

    What will the signing of a world-class striker mean for AFC Richmond?Season 3, Episode 3: ‘4-5-1’Welcome to the Zava era. For those who skipped the first two episodes of this third season of “Ted Lasso” — and honestly, shame on you; go back, do the homework and rejoin us — Ted’s team has signed one of the greatest players of the age, a mercurial striker named Zava. (He is based closely on the real-life star Zlatan Ibrahimovic.) This was accomplished by Rebecca rudely accosting him while he was using a urinal last episode. Whatever works, right?Zava is immediately weird — showing up hours late with his cellphone on another continent, ostentatiously meditating while the rest of the team prepares for games, and so on. But so far he seems reasonably friendly, even if his preferred alignment is everyone in the midfield or on defense except him. This is the meaning of the episode’s title, “4-5-1”: He’s the “1.” As the coaches explain, all free kicks will be taken by Zava. All penalty kicks will be taken by Zava. And all corner kicks must be intended to set up Zava. Jamie, who was the team’s best player before Zava’s arrival, is visibly nonplused. But everyone else seems fine with the arrangement.And why not? The first time he touches the ball for Richmond, after Jamie passes it to him at the opening of his first game, he scores a goal from midfield, an insane feat. He follows up with scores off headers, off bicycle kicks, and even off something I’d never heard of called a “scorpion kick.”Again: What’s not to like? Richmond, universally picked to finish at the bottom of the Premier League — which would entail them being once again “relegated” to an inferior league — is now near the top of the standings.That said, I’m guessing the relationship between Zava and his teammates will sour before long, because a) the show has made a big deal about how he changes teams almost every season; and b) his real-life doppelgänger, Ibrahimovic, has a history of violent altercations with teammates. So stay tuned.There is another delightful musical choice for the montage where we see Zava dominating the Premier League and taking Richmond toward its peak: “Prisencolinensinainciusol,” a classic 1972 song by Adriano Celentano, performed with his wife Claudia Mori. It is a song written in nonsense-language that was meant to sound like English to a non-English-speaking audience. There have been various versions, but the original video is, in my modest opinion, one of the greatest of all time. (Again: 1972!)Having already apologized last week for missing a reference to “Jesus Christ Superstar” in the season premiere, I also need to cite the use of its titular song, “Superstar,” with regard to Zava this episode. Although I will confess it is, for me at least, one of the weakest songs of the musical, an unwisely adorned version of the brilliant “Heaven on Their Minds” that opens the show. (And again, that’s Anthony Head’s older brother, Murray, singing as Judas in a genuinely brilliant vocal performance.)Even Roy — Roy! — suggests that Crimm’s book about Richmond’s season might be a “fairy tale.” I offer as a semi-deep cut the idea that his niece, Phoebe, may be letting him play the dragon role more often in their ongoing “Princess and Dragon” game, the casting of which was clearly an issue of contention last season. As Roy requested in Episode 8, “Can I be the dragon this time?” I speak from experience: The male ego is a ridiculously fragile thing.In other news …Sam and RebeccaWe haven’t seen a lot of Sam so far this season, perhaps in part because the show seems reluctant to dive back into the Sam-Rebecca romance it ignited last season. I don’t think there was any mention of it at all in the first two episodes of the season, and it was still very much a live question at the end of Season 2. (I went back and checked!) Readers from last year will recall I was not much of a fan of this story line. Sam is 21 years old, Rebecca is roughly twice that age, and she’s the owner of the club that will make decisions about his salary, his career and all the rest.Last season she gave him the choice of staying with the team or leaving for another, which is something no responsible boss could ever do. However delightful Sam and Rebecca were together, this was a massive lawsuit — from Sam, from his teammates — waiting to happen.This episode, both Sassy (the return of Sassy, played by Ellie Taylor, is always a delight) and Keeley suggest that Rebecca is missing out on a good thing. Seriously, does AFC Richmond have an HR department? Does anyone comprehend employment law? And please don’t think that I’m expressing a double standard here: If she were a fabulously wealthy older man having a relationship with a much-younger female employee — Rebecca’s “grooming” line from last season hit all too close to the mark — the obvious moral, professional and possibly legal quandary would be only clearer. Situations like this are exactly why we rightly revile Rupert. (Remember: “I got bored with the same old, same old,” from last episode.)Rebecca is a beautiful, incredibly successful woman. John Wingsnight notwithstanding (remember him from the Season 2 premiere?), she can certainly find a perfectly kind, decent, loving man who is not her borderline-underage employee.But enough of my re-litigating a relationship that may already be over. Let’s look at Rebecca and Sam separately.RebeccaSo here’s the payoff (or at least early payoff) of Rebecca’s brief call last week with her mother, played by the tremendous Harriet Walter. Now, under pressure, Rebecca visits her mom’s psychic, Tish (Emma Davies). The opening is lovely: Rebecca asks for a White Russian, and Tish responds with a “Big Lebowski” reference. “I was literally just making a joke,” Rebecca allows. And Tish responds, “I know, that’s why I made two.” A psychic with a sense of humor? Sign me up.Rebecca then hears a lot of what sounds like nonsense, including the importance of a “green matchbook.” (Rebecca even checks her kitchen drawer to see if she has any.) And then: “You will have a family … you’re going to be a mother.” This is the cruelest thing one could say to Rebecca, whom you’ll recall Rupert didn’t want to have a child with, before immediately having one with his new, very-young wife, Bex (Keeley Hazell — and yes, she is the real-life Page 3 model whom Juno Temple’s character is named after). As Rebecca notes to Tish, explicitly: “You’re [expletive] cruel.”Ambreen Razia, left, and Juno Temple in “Ted Lasso.”Apple TV+Wow. This is what we call a major plot twist, one that will continue to bear fruit if the green matchbox from Sam’s restaurant is to be believed. But if this plotline is fulfilled, who will be the father or partner? Sam? He’s the obvious choice: It is, after all, his matchbook. But having a child with someone 20-plus years younger does seem a little Rupert-y, no? And Sam and Rebecca no longer seem to be an item. I welcome alternative theories. (No! Not John Wingsnight!)Sam’s RestaurantIt’s so nice to see a bit more of Sam (Toheeb Jimoh) this episode. He was arguably the breakout star of last season. (As he told Rebecca in the closet, “I’m only going to get more wonderful.” If only I could have honestly spoken that line … ever.)It’s the test run for Sam’s new restaurant and obviously a huge night for him. But perhaps not only for him. The moment in which Rebecca, next to Keeley, looks at Sam and obviously wonders what could have been — what might still be — is followed instantly by Keeley giving an all-but-identical look at Roy. What could still happen with Roy and Keeley? What has to still happen with Roy and Keeley? Don’t let me down, “Ted Lasso.” You broke one of the best things you had going, and I’m waiting for you to fix it. “There are better things ahead than any we have left behind,” Keeley tells Rebecca. That may be the least true line ever uttered on the show. Can Keeley do better than Roy? Can Roy do better than Keeley?TedAs noted earlier, a mild gimmick of “Ted Lasso” is that each season opens and closes on the face of the person who follows the clearest evolution. Rebecca, the first season; Nate, the second. This season, it’s Ted, who is long overdue. He came to the U.K. from Kansas and left his 10-ish son behind because he and his wife had split, as we learned in Season 1. His father killed himself when Ted was 16, as we learned in Season 2. This is the season — the presumptive final season — in which we will hopefully witness him healing himself, instead of others.The signs are not, for the moment, terribly good. He has discovered that his wife is dating and perhaps living with a new man, and that man, “Jake” or “Dr. Jacob,” is their former couples’ therapist. (Am I wrong, or is this the first time we’ve seen Ted’s ex-wife refer to herself as “Michelle Keller”?) Ted’s hands shake so much he scarcely sees Zava’s first goal. He has what is clearly a heavy pour of Scotch as he plows through social media confirming the relationship.Cardinal rule: Only see doctors who use either their first names or “Dr. [surname].” “Dr. [first name]” is no longer appropriate once you hit age 14. And while I don’t pretend to know the professional guidelines for dating someone you’ve treated in couples therapy, I think 18 months is not enough time passed. The presumptive rule should be “never.” The conflict between being meaningfully attracted to someone and being the person in charge of rehabilitating their current relationship — well, let’s just say that this is about as direct a professional conflict as I can imagine. You are not in Ted Lasso’s cool book, “Dr. Jacob,” and you’re not in mine either.Odds and EndsLast week, I suggested that Trent Crimm’s theme song should be the Kinks’ “A Well Respected Man,” but after this episode I think Leonard Cohen’s “Everybody Knows” would also be pretty terrific. Trent is just so easy to score. Maybe it’s the hair? If anyone has another song they think would be perfect for him, definitely cite it in comments.The moment in which Coach Beard suggests Jamie is being accidentally “ironic,” and Jamie retorts that, no, he’s being deliberately “hypocritical” — and then Ted notes that the whole scenario is ironic? Gold.I liked the moment when Jamie and Roy argued about “prima donna” versus “”pre-Madonna” and Jamie was basically right? He is growing before our eyes.Zava (who owns an avocado farm) asks Sam where he gets his avocados and, when told that they don’t really feature in West African cuisine, says “not yet”? A definite callback to Ted’s “not yet” response last week when Roy lamented his inability to continue enjoying playing at Chelsea once he felt his powers fading.The Coach Beard-Jane story line continues to do nothing for me, and I can’t imagine it does much for anyone else. Drop it, “Ted Lasso.”Perhaps I give myself away too much. But the “favorite Julie Andrews’s movies” scene in which Roy confesses a longstanding crush because of “the way you knew she’d always tell you off if you’d been bad” and Crimm sneaks in with a “Princess Diaries” reference? This is the office I totally want to work in, every day, forever.The “I think you mean ‘In Zava boots’” question addressed to Dani Rojas? No further comment necessary.Additional references: Daniel Day-Lewis(!), Public Enemy, “Mrs. Maisel” and no doubt many others I missed. Please let me know in comments. More

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    For $18,500 (and Up), You, Too, Can Travel Like James Bond

    When the (real) world is not enough, new luxury tours offer fans a chance to engage with their favorite film and TV worlds.From the post-apocalyptic bleakness of the TV show “The Last of Us” to the glamorous European destinations in the sprawling James Bond movie franchise, one source of travel inspiration is taking on fresh appeal as pandemic restrictions recede: the fictional worlds of film and television.“Set-jetting” — a play on “jet-setting” — will, travel analysts say, heavily influence the choice of destinations this year. With search traffic surging for the filming locations of the most popular streamed movies and television shows, that entertainment is expected to overtake social media as the top source of inspiration for travelers, according to research from online travel companies like Expedia.In response, destinations, tour operators and even film and TV production companies are striving to offer ever more experiential ways for people to engage with their favorite fictional worlds. The government of Alberta, Canada, is even assembling a map of filming locations for “The Last of Us” devotees to follow on a road trip. (The series was shot in the province.)But perhaps none are so immersive — and extravagant — as a new series of James Bond-themed private tours. They include a high-speed race down the River Thames in the same Sunseeker Superhawk 34 speedboat used in “The World Is Not Enough”; a sail on a vintage yacht along the Côte d’Azur to the Casino de Monte-Carlo, featured in “GoldenEye” and “Never Say Never Again”; and a helicopter ride above the snow-capped Ötztal Alps in Austria, where “Spectre” was filmed, accompanied by the special effects veteran Chris Corbould.People are as drawn to the places in the movies as they are to the plots, said Tom Marchant, a co-founder of Black Tomato, a travel company based in New York and London that was enlisted by the Bond movie producer, EON Productions, to celebrate the 60th anniversary of the first Bond film, “Dr. No.”The goal of the tours, Mr. Marchant said, was “unparalleled” immersion into the 007 world. The cost? From $18,500 per person for a five-night experience, and from $73,500 per person for the full 12-day experience.The Four Seasons in Cap-Ferrat, the location of a scene in the Netflix series “Emily in Paris,” is offering a themed travel package.Stéphanie Branchu/Netflix‘Transported to the set’For many travelers, the high price of immersion is worth it. Inspired by the bucolic hills and lofty Alps in “The Sound of Music,” the 1965 musical film starring Julie Andrews, Natalie McDonald, an entrepreneur in New York, was willing to pay about 10,500 pounds, or about $12,900, for Black Tomato to plan a cross-country railway trip in Switzerland in 2019 with her daughter, then 12.“It quite literally felt like we were transported to the set,” she said, adding that memories of the journey lingered long after they returned home. “In so many ways it extends the trip in our subconscious.”That desire to be immersed in fictional worlds has also been noted by streaming companies like Netflix, which is expanding its slate of interactive (and much more affordable) events. From Regency-era balls in cities like New York to uncovering a secret government lab at a Los Angeles event, attendees are given the opportunity to dress up and engage with plotlines of shows like “Bridgerton” (from $59 a person) and “Stranger Things” (from $39 for an adult).“We want people to leave feeling like they really got to experience this ‘hero’ moment within a world or a story that they’ve loved,” said Josh Simon, the vice president for consumer products at Netflix. Some three million people have attended such immersive events in 17 cities, and the company is planning more experiences linked to series like “Squid Game.”Other operators are paying attention. The Four Seasons in Cap-Ferrat, the location of a scene in the Netflix series “Emily in Paris,” is offering a Girls Trip on the French Riviera package (rates vary, but can run at least $2,000 for a two-person room). Fans of the series “The Last of Us” are flocking to the show’s locations in Alberta, despite the show’s pessimistic premise of a world inhabited by survivors of a global pandemic.Among the most obvious winners of screen tourism this year, travel advisers say, is the cliffside town of Taormina, Sicily, where the second season of the HBO show “The White Lotus” takes place. One $7,500 weeklong “White Lotus” tour was so in demand that it sold out months in advance, according to Quiiky Travel, a tour operator catering to L.G.B.T.Q. clients.Among the popular destinations for travel this year is the cliffside town of Taormina, Sicily, where the second season of the HBO show “The White Lotus” takes place.Fabio Lovino/HBOWeb traffic for the Four Seasons San Domenico Palace, the show’s location, surged more than 60 percent after the first episodes aired, and bookings are set to be stronger this year compared to last year, the hotel said.“‘The White Lotus’ worked as a business accelerator for us,” said Lorenzo Maraviglia, the hotel’s general manager, adding that the sudden interest after the show was something he had never witnessed before. Like their fictional counterparts, guests at the hotel can visit local wineries, cruise on a Vespa around the Sicilian streets and sip an aperitivo in its restaurant (though the underlying tensions are not guaranteed).Bow ties and bubblyAs they wait to learn who will replace the actor Daniel Craig, whose last appearance as James Bond was in 2021’s “No Time to Die,” Bond superfans willing to pay for one of Black Tomato’s 60 custom tours will have the opportunity to peruse Bond costumes and props, with tales from the Bond archive director, Meg Simmonds, in London. If they’re looking for an adrenaline rush, they can learn fight sequences with Lee Morrison, a stunt coordinator and former stunt double for Daniel Craig, also in London. Or they can listen to insider tales over a Parisian dinner with Carole Ashby, the British actress who appeared in “Octopussy” and “A View to Kill.”They will also be able to indulge in the brands featured in the Bond world, including an Aston Martin workshop (the spy’s car of choice) in Millbrook, England, and a private tour of the Bollinger vineyards (the spy’s Champagne of choice) in the village of Ay, France.And then there is the tour’s most lavish offering: the 12-night journey called “The Assignment,” from $73,500 per person, which begins in London and takes travelers on a five-location European tour ending in Venice. A narrative component is potentially in development, Mr. Marchant said, so attendees can live out a Bond plot of their own.For Bond fans on a budget, there are other options. Rob Woodford, a former taxi driver in Britain who runs tours based on popular film and television series, is anticipating a busy year ahead. His James Bond-themed tours try to include an element from most of the 25 films in the series. This year, he is thinking of teaming up with a speedboat company to recreate the breathless scene from “The World Is Not Enough.”“Wouldn’t that be a good idea — to recreate Pierce Brosnan shooting down the River Thames?” he said, adding: “You’ve got to reinvent yourself a bit.”Follow New York Times Travel on Instagram, Twitter and Facebook. And sign up for our weekly Travel Dispatch newsletter to receive expert tips on traveling smarter and inspiration for your next vacation. Dreaming up a future getaway or just armchair traveling? Check out our 52 Places to Go in 2023. More