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    Late Night Laughs at Elon Musk’s SpaceX Explosion

    “When people saw the rocket light up and start smoking, they were like, ‘All right, happy 4/20, everybody!’” Jimmy Fallon joked 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.Light It UpSpaceX and its chief executive, Elon Musk, saw the company’s Starship rocket explode on Thursday, just four minutes after launch.“Yeah at first, when people saw the rocket light up and start smoking, they were like, ‘All right, happy 4/20, everybody!’” Jimmy Fallon joked.“SpaceX is now saying they triggered the explosion, but originally when it happened, they called it a ‘rapid unscheduled disassembly.’ That sounds like what celebrities say when they’re getting divorced: ‘Our marriage is going through a rapid unscheduled disassembly — please respect our privacy at this time.’” — JIMMY FALLON“I have to hand it to him — ‘rapid unscheduled disassembly’ is one hell of a way to describe your rocket blowing up. That’s up there with ‘wardrobe malfunction’ and ‘conscious uncoupling.’” — JIMMY KIMMEL“Right after the giant explosion, Elon was like, ‘Oh, crap, did we launch a Tesla by mistake?’” — JIMMY FALLON“Elon’s defenders were quick to point out that this was only a test and the rocket was actually supposed to explode, which is definitely what I would say if my $3 billion rocket exploded.” — JIMMY KIMMELThe Punchiest Punchlines (Expensive Overcompensation Edition)“And to the haters who said Musk couldn’t possibly destroy something faster than Twitter, joke’s on you.” — JORDAN KLEPPER“They’re calling this the most expensive penis overcompensation in American history.” — JIMMY KIMMEL“Yeah, it took off fast, was flying high and then, all of a sudden, it exploded — kind of like Ron DeSantis’s presidential campaign.” — JIMMY FALLON“That disassembly cost SpaceX $3 billion, which, you could defame four different voting machine companies for that much money.” — JIMMY KIMMELThe Bits Worth WatchingDanny Trejo joined Stephen Colbert to make some recipes from his new cookbook, “Trejo’s Cantina,” on Thursday’s “Late Show.”Also, Check This OutLittle Richard in 1956. The rock ‘n’ roll trailblazer is the subject of the documentary “Little Richard: I Am Everything.”Pictorial Press Ltd/Alamy Stock Photo/Magnolia PicturesThe new documentary “Little Richard: I Am Everything” presents the early rock ’n’ roll performer as a man of many contradictions. More

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    Review: In ‘The Thanksgiving Play,’ Who Gets to Tell the Story?

    Larissa FastHorse’s comedy of performative wokeness is also a brutal satire of American mythmaking.Rehearsal rooms are embarrassing places. Actors jockey, directors bloviate, writers fume at liberties taken.We see all of that in the rehearsal room where “The Thanksgiving Play” is set, even though what’s being rehearsed is just a holiday pageant for elementary school students. Yet not just any holiday pageant. Meant to “lift up” the Native American point of view despite including no Native Americans, this one twists the drama teacher who is creating it, along with her colleagues, into pretzels of performative wokeness so mortifying they induce a perma-cringe.If that setup makes “The Thanksgiving Play,” which opened on Thursday at the Helen Hayes Theater, sound like a backstage farce akin to “Peter Pan Goes Wrong,” which opened the day before, that’s true. In both plays, everyone behaves badly, tempers flare and nothing flies right.But for Larissa FastHorse, the author of “The Thanksgiving Play,” farce is not an end in itself. Rather, it is the hilarious envelope in which she delivers a brutal satire about mythmaking, and thus, in a way, about theater itself. The stories we create can do almost as much harm as the false histories they purport to commemorate, she shows. And well-meaning people can, too.The well-meaning people in this case include Logan (Katie Finneran) and Jaxton (Scott Foley): she an imperiled high school drama teacher (her production of “The Iceman Cometh” incited parents to seek her dismissal) and he an out-of-work actor (except for a gig at the farmers market). They have mastered the buzzwords of white progressivism and use them as protective amulets, holding space for others, acknowledging privilege, sharing pronouns without being asked. Jaxton brags that he even used “they” for a year.In short, these are ridiculous figures — and yet not so ridiculous as to be unrecognizable. Nor, in Rachel Chavkin’s cheerfully cutthroat production for Second Stage Theater, are they even unlikable. Turning Logan’s anxiety into a parade of comic tics and uncertain outbursts, Finneran is endearing and even sympathetic in her attempts at righteousness, no matter how wrong they go. And though Jaxton is an obvious skeeve, decentering his maleness only as a kind of tantric come-on, Foley does it so well that the character is somehow attractive.It’s less their bad traits than their good intentions that drive you mad. Logan has engaged a wide-eyed elementary school history teacher named Caden (Chris Sullivan) to serve as a factual backstop for the pageant, then mostly ignores him. (Sullivan does puppyish disappointment beautifully.) And her casting of Alicia (D’Arcy Carden) to represent the Native American experience — under the terms of a “Native American Heritage Month Awareness Through Art Grant” — turns out to be deeply flawed. A Los Angeles actor, a third understudy for Jasmine at Disneyland and a “super-flexible” ethnic type, Alicia is not, even a little bit, Native American.Foley and Finneran’s characters, who have mastered the buzzwords of white progressivism, are ridiculous figures yet not unrecognizable.Sara Krulwich/The New York TimesNevertheless, so clever is FastHorse’s setup, and so thorough her twisting of the knife of woke logic, that Alicia, if anyone, is our hero. In part, that’s because she alone is untroubled by her whiteness — or, really, by anything. (She defends her casting by pointing out that the actor who plays Lumière in “Beauty and the Beast” is not a real candlestick either.) Still, as the team proceeds to “devise” the pageant, she’s crafty enough to steer it toward her actual strengths. “I know how to make people stare at me and not look away,” she explains (and Carden convincingly demonstrates). She’s also good at crying.In mesmerizing moments like this, FastHorse neatly sets up the tension between identity and the performance of identity — a tension she doesn’t resolve but upgrades over the course of the play to a full-scale paradox. By the time she’s finished, Logan, Jaxton and Caden are left wriggling in agony as if under a moral microscope, reduced to saying things like, “We see color but we don’t speak for it.” Eventually they conclude that the only way to center Indigenous people is to erase them.Of course, they have been erased already — repeatedly. FastHorse, a member of the Sicangu Lakota nation of South Dakota, gradually introduces the horrifying undertow of that fact with filmed segments screened briefly between the live scenes. Distressingly, these segments are based on Thanksgiving projects that real teachers have posted online. In one, adorable young children performing “The Nine Days of Thanksgiving” are made to list the many things, like “six Native teepees,” that Indians “gave” the Pilgrims. In another, fifth graders shooting turkeys with prop muskets sing a song with the lyric “One little Indian left all alone/He went out and hanged himself and then there were none.”In the play’s well-acted but somewhat diffuse premiere at Playwrights Horizons in 2018, the film sequences were less awful and violent. For Broadway, they (and the production as a whole, including its set by Riccardo Hernandez) have been pumped up to emphasize the weight of indoctrination, among adults who should know better and children who can’t. Though this is crucial to the play’s project of undoing centuries of racist mythologizing, I was left a bit queasy thinking about the young performers. Weren’t they being indoctrinated too?Filmed segments screened between live scenes are based on Thanksgiving projects that real teachers have posted online.Sara Krulwich/The New York TimesBut queasiness may be just what FastHorse is aiming for. She told the publication American Theater that she thinks a lot about “rhythm and release” in her writing. “You take your medicine, and then you get some sugar, then you take some medicine, you get some sugar.”Repeated several times over the course of 90 minutes, that cycle — enhanced by Chavkin’s pacing, which leaves you swallowing your laughter — can lead to an upset stomach. And the characters are sometimes so exaggerated for satire that they lose their grip on your emotions. Still, by the time the bloody tale of the Pequot massacre is enacted onstage, you may find yourself agreeing with Logan, of all people. Being a vegan, she already struggles with the “holiday of death”; I wanted to disown it entirely, from the turkeys all the way back to the Pilgrims.But “The Thanksgiving Play” is not primarily a brief for correcting American history. Like Tracy Letts’s “The Minutes,” which also uncovered a horrific massacre hiding in the clothing of civic pageantry, FastHorse is interested in how new information (new only to some people) might change the stories we tell in the future. The first step, to judge by the absurd crew onstage, will be to change the storytellers. FastHorse being the first Native American woman known to have a play produced on Broadway, maybe we’ve finally started.The Thanksgiving PlayThrough June 4 at the Helen Hayes Theater, Manhattan; 2st.com. Running time: 1 hour 30 minutes. More

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    ‘Star Trek: Picard’ Series Finale Recap: Saying Farewell

    In the end, the final season of “Picard” was a worthy send-off for the “Next Generation” crew.Season 3, Episode 10: ‘The Last Generation’“What began over 35 years ago ends tonight,” Jean-Luc Picard says, standing on his favorite bridge and glaring at his most distasteful enemy. It recalled his “The line must be drawn here!” from “First Contact.”This was ostensibly a reference to the Federation’s longstanding battle with the Borg, but it also might as well been about “The Next Generation” franchise. (The show began airing in 1987 and 35 years ago would be 1988.) And if this is the last time we see of these characters, then that’s OK. Not because this season of “Picard” wasn’t a strong one. Quite the opposite, in fact: It was quite good and recaptured everything that made “Next Generation” what it was.The characters all used special skills to work together and save humankind. Some of the dialogue was campy. There were plot holes. And there were the classic “Star Trek” tropes, like Jean-Luc nonsensically going to the Borg cube, when he was likely the least physically capable of the old crew in fighting off the Borg.But overall, this season was a worthy send-off for the crew. It wasn’t perfect, but neither was the show or any of the movies. But it was worth doing. The story justified its existence. It advanced each of the main characters, and filled in some gaps.And it confirmed one last time that “The Next Generation” was greater than the sum of its parts. That might have been why the first two seasons of “Picard” didn’t work well. Jean-Luc wasn’t the best character he could be without his old friends to bounce off. The chemistry wasn’t as fluid. The story wasn’t as deep.In the finale, we learn a bit about what the Borg have been up to, though I remain baffled that no one brings up Jurati or the whole Good Borg thing from last season. (Maybe it was for the best.) There was no collective left — only the Borg Queen remained, she claimed, though we know from last season’s events that this isn’t exactly true.It was Jack who found the Borg Queen, at least from her telling. She speaks in a way contrary to what we’ve known about the Borg: She says she was lonely and that the Borg were left to starve. (This kind of undercuts the Borg’s whole message of being the perfect beings.) But now, the Borg want to evolve rather than assimilate, and Jack is the perfect partner to do that. In order to survive, the Borg Queen, I think, resorted to Borg cannibalism. Yikes! Hope those drones won Employee of the Month or something.The Borg and the changelings came to an agreement in which the changelings would be the Borg’s vehicle to carry out some villainous plan to help them procreate. Aside from an ill-fated revenge that they didn’t really need the Borg for, I don’t know what else the changelings really got out of this alliance.Elsewhere, classic Star Trekking happens. Worf and Riker fight off some baddies on the cube. Beverly uses her now finely honed combat skills to fire weapons. (It’s somewhat amusing that Geordi refurbished the Enterprise D for display at the fleet museum and also included a loaded torpedo system. Thank goodness he went above and beyond!) Data shows off his lightning fast piloting skills, assisted by his newly acquired gut instinct.Beverly is faced with an impossible decision: Blow up her son and save the galaxy, or, uh, don’t. I loved that Geordi is the one who asks her permission, because he now understands a parent’s love for a child. And when it comes time to fire on the beacon, Geordi really, really doesn’t want to do it.Jean-Luc finds another solution. He assimilates himself so he can get in contact with Jack in the Borg collective. Jean-Luc isn’t human, of course. He is an android — apparently, he can just plug himself in to the network like a flash drive. Jean-Luc tells Jack that he is the missing part of Jean-Luc’s life. (Patrick Stewart plays this perfectly.)Jean-Luc is finally able to admit to himself how lonely he was outside of Starfleet, and that Starfleet merely covered up that loneliness rather than filling it entirely. Jean-Luc gives his son something he’s craved his whole life: approval and unconditional love. And Jean-Luc also won’t let his son go. He offers to stay in the hole with him so they can climb out together. Jean-Luc gets to be the father he never knew he wanted to be.Eventually, Jean-Luc’s pushes Jack to unassimilate himself and turn against the Queen. And that’s that: The universe is saved again. Our thanks to the crew of the Enterprise for the umpteenth time.The episode ends in the only appropriate way for the “Next Generation” crew: They sit around and toast each other. Jean-Luc quotes Shakespeare. And then they whoop and play cards, just like at the end of “All Good Things…,” the series finale of the original “Next Generation.”The end wasn’t perfect, but it was proper. And that’s all about all you can ask for from a season like this. I don’t need any more — I want the Enterprise D crew to Costanza it and leave on a high note. They’ve earned it.LeVar Burton in “Star Trek: Picard.”Trae Patton/Paramount+Odds and endsSomewhat amusingly, Jean-Luc does not express any concern or mention Laris throughout any of this season, another example of the team behind “Picard” trying to erase the first two seasons of the show from existence. But Laris, for her part, actually appeared in the season premiere and, one could argue, help put the events of the reunion in motion.I keep thinking about that scene early this season with Riker and Jean-Luc at the bar, when Riker has to defend the honor of the Enterprise D. We didn’t know it then, but that foreshadowed the whole season.I would have liked to hear a bit more about what Worf has been up to since the events of “Nemesis.” At the end of “Deep Space Nine,” Worf was named an ambassador to Qo’noS. In “Nemesis,” Worf somehow just becomes a member of the Enterprise crew again with little explanation as to why. In this season, it’s implied that Worf helped destroy the Enterprise E. A bit more detail would have been nice. The “Worf as comic relief” thing also grew thin on me, like when he fell asleep on the bridge immediately after he is part of saving civilization again. But there is a fun callback in the last scene of the episode: Beverly saying Worf should have another glass of prune juice. A warrior’s drink!Pavel Chekov’s son, Anton, being president of the Federation was a nice touch. Anton is likely a reference to Anton Yelchin, who played Chekov in the rebooted feature films beginning in 2009. He died in 2016 as a result of a car accident.When Seven and Raffi figure out a way to transport assimilated crew members off the bridge using phaser rifles, it’s quite the deus ex machina. That technology would’ve been helpful all season!That was a funny moment when the cook is ordered to pilot the Titan. He didn’t even finish flight training, why is Seven making him take the wheel? Have Raffi do it! (Within minutes, the cook executes complicated evasive maneuvers, so that must have been some training.)At first, I found New Data to be quite jarring but after a couple episodes, this version grew on me. When he says he hates the Borg, you can see the Lore side of him burst through. It’s a fresh take on Data and Brent Spiner pulls it off nicely.That was a nice bit of wordless acting from Jonathan Frakes and Marina Sirtis when Riker heads down to the cube for yet another mission with Jean-Luc. The swashbuckling Riker gives the slightest of smiles, as if to say, “You know who you married. You know why I have to do this.” And Troi reluctantly agrees. Later, when Troi tells Riker he will only have a minute or so to save Jean-Luc once the Enterprise fires on the Cube, he responds again with cool confidence in a near death situation.There will certainly be some disappointment among fans that Kate Mulgrew did not reprise her role as Admiral Janeway this season. The events in “Voyager” presumably are the reason the Borg cube was in such terrible shape when Jean-Luc beams aboard. Given the multiple references to Janeway and what was happening on Earth, it would have been nice to have gotten a glimpse of her. (And man, how gnarly does the Borg Queen look now?)Ah, there’s Tuvok, offering Seven her own ship. As Vulcan as ever.In the grand scheme of things, this is still only the second most successful attack by the Borg on Earth. Sure, they get to Earth, bring down the planetary defense systems and attack cities directly — all while using Starfleet ships. But in “First Contact,” they actually went back in time and assimilated all of Earth before the pesky Enterprise crew initiated a do-over. And honestly, if Jean-Luc and his merry band couldn’t rescue Earth from Evil Jack, they could just do what they did last season or in “First Contact”: Go back in time. It’s easy!Troi gets to drive the Enterprise D again. It went better than it did last time, when she crashed it.Beverly is an admiral now? What a promotion, considering the decades she spent out of Starfleet running a rogue operation. I wonder if Riker, Geordi or any of the others were like, “Hey, what about us?”Ed Speleers did an admirable job as Jack Crusher. It’s not easy to go toe-to-toe with Patrick Stewart, but Speleers fits in seamlessly as Beverly and Jean-Luc’s son. (While we’re here, what’s up with Jack’s brother, Wesley?)I hope all of you stuck around for the post-credits scene. Q is still alive! Of course he is. We don’t acknowledge last season around these parts. More

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    How a ‘Succession’ Actress’s Daughters Joined the Family Business

    In the first film Mouna and Lina Soualem made with their mother, Hiam Abbass, personal attachments went out the window: “There’s no time for that.”Hiam Abbass: I see you both as a continuation of my path, in a way. But I didn’t plan it. As a mother, I just wanted you to do what you wanted to do.Lina Soualem: Mouna, you always knew you would be an actress. I felt that because both our parents [their father is the French Algerian actor Zinedine Soualem] acted, I would never be as good as them, so I started working in journalism first. I think I had to go through that to find my voice.Mouna Soualem: I love your discipline and commitment [as a filmmaker], Lina. You don’t let go when you want something. It’s different being an actor, when so much is out of your control and sometimes you must let go or you’ll go crazy.H.A.: We can also let go in order to be somebody else. The first time the three of us collaborated, for my film “Inheritance” (2012), I was playing a mother, and you two were playing my daughters. When we’re on set, though, I don’t relate to you both as my daughters, just as you don’t relate to me as your mom. There’s no time for that.culture banner More

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    How Lynn Nottage and Her Daughter Are Exploring Their Relationship in Writing

    Can you collaborate with your mother, a Pulitzer-winning playwright, and develop your own voice too? Ruby Aiyo Gerber wasn’t too scared to try. Ruby Aiyo Gerber: For so long, I rebelled against wanting to be a writer, fearing that admiring any part of you was to be forever in your shadow. I had a lot of fear when starting the collaboration [on the opera “This House,” with the composer Ricky Ian Gordon, which premieres next year at the Opera Theatre of Saint Louis; based on a play that Gerber wrote, it’s about a brownstone in Harlem and its inhabitants over a century] that I wouldn’t be able to be my own writer, that I’d be like a version of you, that my words would turn into yours. Lynn Nottage: In both librettos we’re collaborating on right now [for “This House” and another forthcoming opera tentatively called “The Highlands,” with the composer Carlos Simon], we’re dealing with intergenerational trauma, intergenerational love. A daughter grappling with her legacy, a daughter grappling with her relationship to her mother, a daughter trying to decide if she wants to take this gift that her mother has offered her. Embedded in the themes we’re exploring is our relationship.culture banner More

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    What Laura Dern and Diane Ladd Have Learned From Each Other

    Ladd wasn’t sure she wanted her daughter to act. But Dern grew up going to work with her mother — and soon they were sharing the screen. Laura Dern: The great news about the endless challenges you had raising me as a single parent is that, when you brought me with you on location, I got an up-close view of what it really means to be an actor. Diane Ladd: When I was doing “A Texas Trilogy” at the Kennedy Center in Washington, D.C., in 1976, you were 8 and sat with me during rehearsal. At one point the play’s director said, “Diane, you didn’t move there.” I said, “I know where I moved,” and you said, “No, Mother, he’s right.” You were really paying attention. I didn’t want you to go into acting. It’s a hard business for anyone but, as a woman, they really judge you, and for a lot more than the work. I said, “Laura, be a lawyer. Nobody cares if your backside’s too big when you’re a lawyer.”culture banner More

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    A Connection That Began When Sarah Ruhl Made Paula Vogel Cry

    Paula Vogel: In my advanced playwriting class at Brown, there was an exercise where I asked people to write a play with a dog as protagonist, and Sarah wrote about the dog waiting for the family to return home after her father’s funeral. That was my introduction to her — on the page. I remember weeping at the end of the five pages, running into the next room and handing them to my wife, who also started to cry. I looked at her and said, “This woman is going to be a household name.” And then I discovered she was 20.What’s followed has been 30 years of exchanging writers, books, first drafts. I’m always perplexed when people teach writing and they ask the writers to be insular. Every time we write a play, we’re talking back to Aristotle: We shape the clay of our own work by responding to colleagues who are no longer with us. It’s a much different path for women playwrights — things that our male colleagues like Tom Stoppard or Tony Kushner may get praised for (using poetic language; challenging an audience emotionally) often get resisted when a woman’s voice presents those same virtues.culture banner More

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    How Two ‘Yellowjackets’ Actresses Created the Same Character, Decades Apart

    In sharing a role on the Showtime series, Juliette Lewis and Sophie Thatcher took cues from each other about never going for the obvious choice.Juliette Lewis: I first met Sophie in a big office building in Burbank before we shot the pilot [for the TV series “Yellowjackets”]. We were both like, “Oh, it’s you!” She plays a younger version of our character, Natalie, so she studied what I was doing, picking up my heaviness on set. The character is like a loaded weapon — there’s the possibility of danger at any time. Not every actor her age can make you feel that. I had that quality early on — one thing I was recognized for because of “Natural Born Killers” [the 1994 film in which Lewis played a violent fugitive] was that I could scare you. Similarly, Sophie carries herself as a rare bird because she can’t help it.culture banner More