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    ‘La Máquina’ Is a Starry Mexican Boxing Drama

    The Spanish-language Hulu drama, starring Diego Luna and Gael García Bernal, skews more loopy and mysterious than gritty.Diego Luna and Gael García Bernal star in the Mexican boxing drama “La Máquina” (in Spanish, with subtitles, on Hulu) as a promoter and his boxer bestie. Andy (Luna), who copes with stress by giving himself facial injections, has been friends with Esteban (García Bernal), the popular boxer known as La Máquina (Spanish for “the machine”), since they were kids. He tends to Esteban’s every need — including fixing a fight or two along the way, without Esteban’s knowledge.Now Esteban is nearing the end of his career in the ring, and he oscillates between avoiding and confronting what boxing has taken from him: his marriage, time with his kids, his physical and psychological well-being.Rather than dig into a gritty realism, “La Máquina” leans toward the loopy and mysterious. Andy is in deep with a bloody, lurking criminal element, though he refers to them only in the vaguest of terms, and he himself does not seem to understand how they operate. Esteban has sustained multiple brain injuries over his career, and now he is hallucinating — which is exacerbated by years of drug and alcohol abuse.There is also a warped strangeness instead of the predictable mobster moves. Evil messages are conveyed through karaoke tracks and spa disasters. Andy and his mother have a bizarre and erotic bond (“Only two men have known how to touch me: You and your father,” she purrs while he rubs her feet), and he has among the most tragic conversations of his life while his face is bubbling in a nasty reaction to his injections. Why have an argument in a bar when you can have it on a slow-turning carousel?Everyone throws a few unexpected punches in “La Máquina,” both in the ring and in harsh disagreements. Andy and Esteban bicker often, and the show is most exciting when the two are ripping into each other, as if the show’s own heart were beating faster, too. Rhythm is a big factor: It’s a boxing show, after all. In one climactic scene, Esteban’s trainer, Sixto (Jorge Perugorría), pushes Esteban toward an emotional breakthrough by asking him rapid-fire questions to the beat of the speed bag. Sixto even sets out a metronome to keep time.Only five of the six episodes were made available to critics for review. The whole series arrives on Wednesday. More

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    Ali Wong and Hannah Gadsby Paint Different Portraits of Fame

    Her gossipy portrait of singlehood as a celebrity is a sunny contrast to the darker view of her Netflix stablemate Hannah Gadsby.The last time we saw Ali Wong doing standup, she was delivering an earnest tribute to her husband and their relationship. The final line of “Don Wong,” her 2022 special, went: “And that, single people, is what a healthy marriage looks like.”Later that year, she got divorced.In Hollywood, it’s a tale as old as time. But in stand-up, where the parasocial relationship with fans is more intense than ever, this news lit up group chats and created expectations. What would Wong, who has talked about her husband in three specials, add to the fertile genre of comedy about divorce?Two years after her 2016 breakthrough, “Baby Cobra,” transformed Ali Wong from a veteran but obscure comic into a phenomenon, “Nanette” did the same for Hannah Gadsby. To the extent that Netflix established a reputation for making — as opposed to promoting — stand-up stars, it’s largely because of these two artists, whose new hours present perspectives on fame from such different angles that it almost feels like they’re in conversation.Gadsby, whose superb show, “Woof!,” is currently running at the Abron Arts Center on the Lower East Side, takes a dark view, worrying that success, and specifically money, has had a corrupting influence. Wong’s latest Netflix special, “Single Lady,” is a juicy, aspirational portrait of celebrity singlehood that exudes optimism.Walking onstage to songs from pop divas (Beyoncé for Wong; Madonna for Gadsby) and referring to previous specials, they both aim for thematically coherent productions alert to their reputations. But Gadsby, who uses they/them pronouns, considers and confronts their own brand, presenting their experiences as eccentric. Wong takes the comic tack of teasing generalizations out of her experience. Describing the realization in the middle of a breakup that the experience would make a good joke, Wong quipped: “We turn it into lemonade real fast.”Wearing a flowy white dress, Wong addresses her divorce at the top, saying in a soft voice that she felt “really embarrassed and ashamed.” Embarrassment and shame are fertile comedic territory, but not areas Wong has dug deeply into in the past. She doesn’t here, either, moving quickly to the flip side of a highly public separation: Tabloid coverage, she says, has been a “bat signal” for men.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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    Seth Meyers: Trump Rallies Are Like an Escape Room

    “Generally speaking, if you’re at an event and the host of that event keeps insisting no one is going to leave, it is time to start worrying,” Meyers said on Monday.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.Escaping TrumpDonald Trump, whose campaign speeches have been getting longer, says it isn’t true that people have been leaving his rallies early, despite video evidence to the contrary.Seth Meyers spent a fair amount of time dissecting those denials on Monday’s “Late Night.” He said it was all part of the former president’s elaborate plan to promote his “brand-new Trump escape room.”“[imitating Trump] Also, even if they tried to leave, they can’t because we’ve replaced the regular stairs with M.C. Escher stairs.” — SETH MEYERS“Generally speaking, if you’re at an event and the host of that event keeps insisting no one is going to leave, it is time to start worrying.” — SETH MEYERS“His rallies have almost doubled in length; that’s Trump’s gravest sin as an entertainer. He doesn’t know when to get off the stage. You’re supposed to leave them wanting more. Trump leaves them wanting out.” — SETH MEYERSThe Punchiest Punchlines (Dark MAGA Edition)“This weekend, former President Trump held a rally in Pennsylvania, and Elon Musk joined him onstage. It was exciting for all the Trump supporters because, for the first time, they got to see an actual billionaire.” — JIMMY FALLON“During the rally, Trump praised Elon Musk for saving free speech with X, and Elon praised Trump for making Truth Social so bad that people still use X.” — JIMMY FALLON“He’s acting like a guy who won a radio contest: ‘I can’t believe I get to bid on the washer-dryer!’” — JON STEWART, on Musk jumping up and down at the rally“Dude’s jumping like he’s trying to reach the rope ladder on a rescue helicopter: ‘This rally sucks, get me out of here!’” — SETH MEYERS“That is the reason you don’t give kids Mountain Dew.” — JIMMY FALLON“That’s right, Elon Musk spoke at former President Trump’s rally in Pennsylvania, wore a black MAGA hat and said, ‘As you can see, I’m not just MAGA, I’m dark MAGA.’ And when I heard that, I cringed so hard I momentarily had abs.” — SETH MEYERS“This guy thinks he’s dark? Dude, you’re the whitest person ever born. You’re the same color they paint apartments after someone moves out.” — SETH MEYERSThe Bits Worth WatchingGov. Tim Walz, Kamala Harris’s running mate, discussed his past life as a social studies teacher and lunchroom supervisor on Monday’s “Jimmy Kimmel Live.”What We’re Excited About on Tuesday NightStephen Colbert will interview Harris on Tuesday’s “Late Show.”Also, Check This OutChappell Roan has turned songs like “Casual” and “Red Wine Supernova” into cheeky anthems. Jason Kempin/Getty ImagesThe pop star Chappell Roan is navigating stardom with a critical eye on fame. More

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    Review: Robert Lepage’s Latest Is as Unstable as a Deck of Cards

    Robert Lepage’s latest play, “Faith, Money, War and Love,” runs for five hours, and aims to depict Germany since the end of World War II.The new theater season in Berlin has opened under a cloud of uncertainty, amid a proposal to drastically cut the city’s cultural budget that has raised alarm and drawn criticism. Against this gloomy backdrop, the Schaubühne playhouse’s decision to open its season with a five-hour-long world premiere by an internationally acclaimed director felt defiant.Robert Lepage’s “Glaube, Geld, Krieg und Liebe” (“Faith, Money, War and Love”), which premiered in early October, is an ambitious work that strives, and occasionally achieves, epic sweep and emotional impact during its mammoth running time.It all started with a deck of cards.Lepage, a polymathic Canadian director whose credits include films, Cirque du Soleil spectacles and the Metropolitan Opera’s divisive Ring cycle, devised “Glaube, Geld, Krieg and Liebe” with seven Schaubühne actors, who were initially guided by chance: they used a deck of playing cards to help generate characters and situations.“Cards are charged with meaning, symbolism and themes,” Lepage, who has used a similar technique in previous productions, states in the program. The director matched each suit to a theme and encouraged his performers to use the numerical and metaphorical value of the cards to brainstorm and improvise.The result of all this shuffling and play is an expansive melodrama about Germany since the end of World War II. Divided into four acts, or episodes, “Glaube, Geld, Krieg and Liebe” whisks us from Wiesbaden in 1945 to Ukraine in 2022. That’s a lot a ground to cover, and the script boasts more characters than there are cards in a deck; geographic, linguistic and temporal shifts are frequent.In the first and best act, a baby is left on a convent’s doorstep shortly after World War II. Raised by the nuns, who name her Jeanne Bernard, she grows up to become an ingénue in Paris in the early ’60s, an haute couture runway model in the ’70s and a middle-aged philanthropist shortly after German reunification.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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    Can You Guess These Novels That Were Made Into Broadway Musical Flops?

    Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about books that have gone on to find new life as movies, television shows, theatrical productions, video games and more. This week’s challenge is focused on popular books that had less than successful adaptations into Broadway musicals.Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the books and their movie adaptations.4 of 5“The Red Shoes,” Hans Christian Andersen’s 1845 dark fairy tale about enchanted footwear, has inspired film, theater and ballet productions — as well as a Kate Bush album, a South Korean horror movie and other adaptations. In 2006, a jukebox musical that blended the story with the songs of Earth, Wind & Fire opened and closed on Broadway in just a few months. What was the name of the musical? More

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    ‘The Big Gay Jamboree’ Review: A Golden-Age Fantasia on Steroids

    The goofball spirit that made Marla Mindelle’s “Titaníque” a hit is missing from her equally campy new show drenched in pop-culture references.When “Titaníque” opened in a cramped basement space two years ago, few would have imagined that the show, a commingling of the James Cameron disaster movie and the Celine Dion songbook, would amount to more than a short-lived lark. Yet it is still running — in a proper, aboveground theater — and has spawned productions in Britain, Canada and Australia.Now Marla Mindelle, a writer of “Titaníque” who played the Dion role, is back with “The Big Gay Jamboree,” another raunchy, campy, hyperactive musical drenched in pop-culture references (though, this time, there is an original score). But whereas “Titaníque” had the casual flair of a tossed-off joke that somehow landed, “The Big Gay Jamboree” works itself into a tizzy with little to show for it. At least this time the production is starting off at a street-level venue, the Orpheum Theater, where it opened on Sunday.In “The Big Gay Jamboree,” Mindelle, who wrote the book with Jonathan Parks-Ramage and the score with Philip Drennen, takes on the juicy lead role of Stacey, an aspiring actress who, after a drunken blackout, finds herself transported to Bareback, Idaho, in 1945. Stacey may be awake, but she feels as if she is in a dream and a nightmare rolled into one. The dream part is that this hard-core show-tune fiend is not in a regular small town but in the musical-theater version of one. The nightmare is that she can’t leave. It’ll be familiar territory for fans of the TV series “Schmigadoon!,” in which a couple are marooned in a golden-age musical.As Stacey tries to figure out a way back to her regular life and her godawful millionaire boyfriend, Keith (Alex Moffat, a “Saturday Night Live” alumnus), she gets to know her new supporting cast, including the man-hungry Flora (Natalie Walker) and the man-hungry Bert (Constantine Rousouli, the “Titaníque” co-writer and co-star).It’s not long before Stacey realizes that life in a Broadway fantasy is not all it’s cracked up to be, and the good old days weren’t so great for men of a certain persuasion and women who enjoy a good time. Idaho in the 1940s probably wasn’t all too hot for Black men either, even if the town loves its music director, Clarence (Paris Nix), especially — only? — when he leads the gospel choir.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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    How Everyone Got Lost in Netflix’s Endless Library

    If you take a journey deep within Netflix’s furthest recesses — burrow past Bingeworthy TV Dramas and 1980s Action Thrillers, take a left at Because You Watched the Lego Batman Movie, keep going past Fright Night — you will eventually find your way to the platform’s core, the forgotten layers of content fossilized by the pressure from the accreted layers above. Down here, if you search hard enough, you will eventually find your way to “Richie Rich.”Listen to this article, read by Ron ButlerYou know the one, from the old comic books. In Netflix’s series, he was reimagined as a self-made boy who discovered a novel source of energy derived from all the vegetables he never ate, making him the world’s first trillionaire. And now he lives in a mansion with an amusement park and a robot maid; his dad is an oaf and a layabout; his best friend, played by the future Netflix superstar Jenna Ortega, is a mooch; a rapper named Bulldozah lives next door, with a son who is also friends with Richie. In contrast to the dark, lonely and besieged version of Richie played by Macaulay Culkin in 1994, here Richie’s life is basically good, though not without the sort of headaches that arise from being a prepubescent trillionaire.In the fourth episode of the show, Richie struggles to write a book report on “The Wizard of Oz”: The book puts him to sleep, the movie puts him to sleep, he doesn’t know what to do. Bulldozah’s son suggests he remake the movie, and with no practical reason not to, he does. But as soon as he begins, things deteriorate. The Lion character has rewritten himself to be cool and have a motorcycle. Dorothy also wants to be cool; she thinks she should be from Paris, not Kansas, and wants to be named Véronique. His robot maid can’t accept that the Tin Woodsman would rust because he’s made of tin — she’s apparently right about this — so she decides she’s the Tungsten Carbide Woodsman. By the end, the movie is being shot in 3-D and there are time-traveling dinosaurs, an asteroid and evil space robots — a decision that offends Richie’s maid.“For once,” she says, “it would be really cool to see a positive role model for young robots.”“Did someone say ‘cool’?” says the Scarecrow, now dressed up as an ice cream cone. “You know what else is cool?” (He has secured a product-placement deal.)Rather unwittingly, the episode poses a question that haunts our age: What happens to entertainment when a newcomer, armed with an effectively endless amount of money, starts making it? What happens, in other words, when you become Netflix?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