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    Backstage With ‘Sunset Boulevard’ and 3 Other Broadway Shows

    Broadway stars make it look easy — hitting a high C, crying on demand, landing a complex turn with taps, doing all that as many as eight times a week. But behind the curtain, before a show, the groundwork is laid: the vocal cord steaming, the fight calls to ensure violent scenes can be staged safely, the visits and hugs and affirmations that put actors in the right frames of mind. We watched the preparations for four Tony-nominated shows — “Buena Vista Social Club,” “Sunset Boulevard,” “John Proctor Is the Villain” and “Oh, Mary!” — as their performers got ready to go onstage.‘Buena Vista Social Club’Photographed by More

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    Seth Meyers Thinks Trump Shouldn’t Be So Set on That Jet

    “We are, as of this taping, still a democracy with a rule of law,” Meyers said. “The president shouldn’t have a flying gold-plated party palace.”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.Size QueenPresident Donald Trump defended his choice to accept a jet from Qatar, saying that America should have the biggest, most impressive plane out of all the countries.“No, we shouldn’t,” Seth Meyers argued on Wednesday. “We are, as of this taping, still a democracy with a rule of law. The president shouldn’t have a flying gold-plated party palace.”“Stuff like that is a sign of corruption. That’s why Las Vegas looks like that — it was built by criminals.” — SETH MEYERS“The point is, they have nicer planes because they’re not democracies; they’re royal kingdoms, where they oppress people and use the public’s money to build opulent palaces for their rulers. We don’t do that here. If you ask me, the president should be forced to fly the same way the rest of us do. He should have to sit at Newark for six hours nursing a $30 Bloody Mary, and chewing on a pretzel while he waits for the one on-duty air traffic controller’s hands to stop shaking.” — SETH MEYERS“Trump should have a big plane because Trump definitely does not have a little plane. It’s definitely at least an average American male plane.” — STEPHEN COLBERT“Plus, I will tell you what, a lot of countries say that a smaller plane is actually more comfortable for longer rides.” — STEPHEN COLBERT“We still talking about planes? Look where we are on the tarmac next to each other. I know you’re not supposed to just look straight ahead, but I took a little peek over there, a little peek over there. Cockpit was huge, man!” — JORDAN KLEPPER“I’m sorry, why does the president need any of this? Air Force One is supposed to be technologically advanced, not luxurious. It’s designed so the president can get national security briefings anywhere in the world, not so he can chill on leather couches and use nine different bathrooms — which, by the way, he might need to do on the way home based on the fact that the Saudis set up a custom-built mobile McDonald’s in anticipation of Trump’s visit.” — SETH MEYERSThe Punchiest Punchlines (Humps for Trump Edition)“When Trump landed in Qatar, he was escorted by a fleet of Cybertrucks, Arabian horses and camels. And even the horses and camels were laughing at the Cybertruck.” — JIMMY FALLON“Yeah, Trump was welcomed by horses and camels. He was like, ‘I love the horses and the sexier horses.’” — JIMMY FALLONWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘The Last Bimbo of the Apocalypse’ Review: Down the Y2K Clickhole

    In Michael Breslin and Patrick Foley’s fizzy new musical, an internet sleuth searches for a pop star wannabe who went missing along with her low-rise jeans.The image is instantly familiar: Paris Hilton, Lindsay Lohan and Britney Spears crammed into a car, caught in a paparazzi flash, on the cover of The New York Post. That iconic photograph, from 2006, and the inside article’s headline — “3 Bimbos of the Apocalypse” — conjures a time when Calvin Klein boxers peeked out from low-rise jeans, pop star aspirants pinned their hopes on MTV’s “Total Request Live,” and a juicy tabloid meltdown could end a career.In “The Last Bimbo of the Apocalypse,” a deliciously fizzy new musical from Michael Breslin and Patrick Foley that opened Tuesday at the Pershing Square Signature Center, something is different in this version of the photo. The painted tableau of the three bimbos that looms briefly onstage contains a previously unnoticed detail: a slim wrist, at the edge of the frame, dangling a charm bracelet that spells out “Coco.”Now, in 2025, a Zillennial internet sleuth who goes by Brainworm (Milly Shapiro) fills us in: Coco was a one-hit wannabe who had uploaded her own music videos to YouTube in the hopes of going viral, or at least bacterial, before she disappeared. We see the red-maned Coco (Keri René Fuller) appear onstage in a midriff-exposing top, belting out a murderously upbeat tune. “I don’t think therefore I am!” she sings before needling her listeners: “the less you try / the more they cry out for ur bag of tricks / (they’re dumb as bricks).” The song is catchy as hell, and plays like an underdog bid for MTV immortality.Brainworm enlists the help of two other “worms” — teenage shut-ins who also spend their waking lives online — to track down Coco: Earworm (Luke Islam), who sports cat ears and decodes pop culture and fashion, and Bookworm (Patrick Nathan Falk), who sifts through media and politics from his Nebraska bedroom. Like Brainworm, who identifies as an “intersectional feminist” and specializes in tracking down missing girls, they are descendants of PerezHilton.com and Tumblr true-crime threads.Soon, they fall into a clickhole of clues. An obituary for Coco surfaces, which mentions that she “went on a bender and spiraled out of control.” Grainy flip-phone photos are studied. Is that a knife jammed into a clothing rack? Could it have been used as a murder weapon? And what to make of the “Coco” charm bracelet Brainworm received from an anonymous sender? Is it a hoax?In their search, the worms leave no monogrammed outfit unturned. (Cole McCarty’s costumes revisit the era’s rhinestone-studded jeans, velour tracksuits and garish, faux-glam accessories.) And lyrics to Coco’s song are obsessively analyzed. The best of the musical’s tunes, which includes Coco’s ecce bimbo opener as well as more speculative numbers sung by the worms in places like Walmart, have the tingle of soda pop reaching a tender spot at the back of your throat. (The music director Dan Schlosberg leads a small but mighty band upstage.)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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    Why Tot Celebrity Ms. Rachel Waded Into the Gaza Debate

    Facing criticism, Rachel Accurso defends making the plight of children in Gaza a primary focus on her social media feeds.With her pink headband, denim overalls and permanent smile, Ms. Rachel has become a mainstay in the households of preschool-aged children who are drawn to her good cheer and singalongs. Parents revere her pedagogical practicing of skills like waving, clapping and pronouncing consonants.The former music teacher’s YouTube videos became such a sensation — 14 million subscribers, one billion views — that in January, Netflix began licensing episodes.Ms. Rachel, whose real name is Rachel Griffin Accurso, at times presents a different side of herself on social media platforms like TikTok and Instagram, where the content is geared less toward toddlers and more toward their parents. There her millions of followers will also find impassioned videos touching on current events. These focus on the push for universal child care and geopolitical crises that have led to suffering children — above all, the ongoing war in Gaza.In March, for instance, Accurso posted a video of two children watching a Ms. Rachel video amid rubble. The caption read: “My friends Celine and Silia in what used to be their home in Gaza. They deserve to live in a warm, safe home again.”On Monday, Accurso posted to her Instagram account photos of a meeting she said she had last week with Rahaf, a 3-year-old girl from Gaza who lost her legs in an airstrike, and the child’s mother. The meeting was arranged through the Palestine Children’s Relief Fund.Last week, Accurso posted to Instagram pictures of meeting with Rahaf, a 3-year-old fan from Gaza who lost her legs to an airstrike.MsRachelWe 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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    ‘Andor’ Season 2 Finale Recap: Friends Everywhere

    The final three episodes include major deaths, callbacks and one last swashbuckling adventure rooted in the idea that every soldier counts in a fight for freedom.Season 2, Episodes 10-12Across the two seasons of “Andor,” so much has happened that at times it has been easy to forget that the show is, functionally, a prequel. All along, we have been watching the story of how the rebellion against the Empire evolved and strengthened in the five years leading up to the films “Rogue One” and “Star Wars.”But does “Rogue One” feel like it follows directly from “Andor”? I watched the movie again after the “Andor” series finale, and the transition is not smooth. The movie shares some of the show’s themes, exploring how rebellion requires compromises, sacrifices and a willingness to set conventional morality aside for the sake of a higher purpose. But as a viewing experience, “Rogue One” is big and loud, full of blockbuster-scale battles. “Andor,” while often thrilling, operates at a more personal level, following how individuals can be swept up in the rush of major historical events.The difference is made especially clear in the final three episodes of “Andor.” Last week saw the conclusion of this season’s primary story line, about how the Empire’s destructive Ghorman mission galvanized the galaxy’s scattered resistance movements. One year later, the rebels finally discover that the Ghorman project was tied to the construction of a superweapon, and must decide whether to act on this intelligence.That debate is mostly saved for the strangely sedate series finale. This set’s first two episodes are mainly about the Alliance’s most problematic adjuncts: Luthen and Kleya. Cassian’s admirable loyalty to these people — who inspired, sheltered, exploited and infuriated him — anchors one last swashbuckling “Andor” adventure rooted in the idea that every soldier counts in a fight for freedom.Luthen and Kleya remained on Coruscant — largely forgotten — after the nerve center of the rebellion moved to Yavin 4. As the start of Episode 10, the ISB mole Lonni Jung meets with Luthen and says that he has been secretly snooping through Dedra Meero’s private digital files for a year, piecing together the Empire’s Death Star plan. He asks Luthen for safe passage for himself and his family. Instead, Luthen kills him.Luthen, knowing that his whole operation probably just died along with Lonni, hustles back to his antique shop to destroy the evidence of his galaxy-spanning communications and intelligence-gathering apparatus. Before he can finish the job, Dedra appears at his door.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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    ‘Andor’ Finale Recap: Friends Everywhere

    The final three episodes include major deaths, callbacks and one last swashbuckling adventure rooted in the idea that every soldier counts in a fight for freedom.Season 2, Episodes 10-12Across the two seasons of “Andor,” so much has happened that at times it has been easy to forget that the show is, functionally, a prequel. All along, we have been watching the story of how the rebellion against the Empire evolved and strengthened in the five years leading up to the films “Rogue One” and “Star Wars.”But does “Rogue One” feel like it follows directly from “Andor”? I watched the movie again after the “Andor” series finale, and the transition is not smooth. The movie shares some of the show’s themes, exploring how rebellion requires compromises, sacrifices and a willingness to set conventional morality aside for the sake of a higher purpose. But as a viewing experience, “Rogue One” is big and loud, full of blockbuster-scale battles. “Andor,” while often thrilling, operates at a more personal level, following how individuals can be swept up in the rush of major historical events.The difference is made especially clear in the final three episodes of “Andor.” Last week saw the conclusion of this season’s primary story line, about how the Empire’s destructive Ghorman mission galvanized the galaxy’s scattered resistance movements. One year later, the rebels finally discover that the Ghorman project was tied to the construction of a superweapon, and must decide whether to act on this intelligence.That debate is mostly saved for the strangely sedate series finale. This set’s first two episodes are mainly about the Alliance’s most problematic adjuncts: Luthen and Kleya. Cassian’s admirable loyalty to these people — who inspired, sheltered, exploited and infuriated him — anchors one last swashbuckling “Andor” adventure rooted in the idea that every soldier counts in a fight for freedom.Luthen and Kleya remained on Coruscant — largely forgotten — after the nerve center of the rebellion moved to Yavin 4. As the start of Episode 10, the ISB mole Lonni Jung meets with Luthen and says that he has been secretly snooping through Dedra Meero’s private digital files for a year, piecing together the Empire’s Death Star plan. He asks Luthen for safe passage for himself and his family. Instead, Luthen kills him.Luthen, knowing that his whole operation probably just died along with Lonni, hustles back to his antique shop to destroy the evidence of his galaxy-spanning communications and intelligence-gathering apparatus. Before he can finish the job, Dedra appears at his door.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    In ‘Sunset Boulevard,’ Tom Francis Writes His Own Story

    Tom Francis asked to meet on a rugged corner of the Williamsburg neighborhood of Brooklyn. It was a bright April day, and in some ways Francis, 25, in a vintage sweater and slacks, looked like any other member of the creative class with a matcha habit. Still, I had picked him out a block away.Onstage, in Jamie Lloyd’s coruscating Broadway production of Andrew Lloyd Webber’s “Sunset Boulevard,” his brooding features projected onto a 23-foot-tall screen, Francis looms large. But even here on Roebling Street, the actor, who stands 6-foot-2, with shoulders that would not demean a musk ox, was not exactly small. Francis is nominated for a Tony Award, and to see him pictured alongside his fellow nominees in the leading actor in a musical category is to believe that he could take any of them in a bar fight, maybe more than one at once.His “Sunset Boulevard” co-star Nicole Scherzinger described him succinctly. “He is a man,” she said in a phone interview. But, she was quick to emphasize, Francis is also a sweetheart, “a 25-year-old teddy bear.”In “Sunset Boulevard,” Francis stars as Joe Gillis, a dead-behind-the-eyes screenwriter who becomes entangled, in an asphyxiating way, with an aging queen of the silents. Here is the New York Times critic Jesse Green’s take: “Francis, as Joe, does shutdown-cynical-corpse very well.” Yet in person, Francis, who wields those shoulders lightly, is boyish, candid, eager, almost unable to believe his good fortune.Tom Francis last month in Manhattan. “I just knew in an instant that was Joe Gillis,” Jamie Lloyd, the director of “Sunset Boulevard,” said. “He wasn’t in any way glossy.”Ariel Fisher for The New York TimesAnd yes, that good fortune requires him to remain onstage for nearly every moment of a two-and-a-half-hour mega musical, except when he is leading the cast — in wind, in rain, amid tourists — through a portion of the Theater District as he sings the title number outdoors. He ends the show in his underwear, sunken-eyed and covered in blood.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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    ‘Murderbot’ Is a Robot Show for an Age of A.I. Angst

    I know how I’m supposed to feel about artificial intelligence. Like anyone who pushes words around on a page, I worry that large language models will relegate me to the junk pile. I worry that smart machines will supplant artists, eliminate jobs and institute a surveillance state — if they don’t simply destroy us. I nurture these anxieties reading article after article served to me, of course, by the algorithms powering the phone to which I have outsourced much of my brain.This is how I feel in real life. But when it comes to fiction, fellow humans, I am a traitor to my kind: In any humans-and-robots story, I invariably prefer the fascinating, enigmatic, persevering machines to the boring homo sapiens. And in spite, or maybe because of, our generalized A.I. angst, there are plenty of robo-tales to choose from these days.The protagonist of “Murderbot,” the homicidally funny sci-fi comedy premiering Friday on Apple TV+, does not reciprocate my admiration. Murderbot (Alexander Skarsgard), a sentient “security unit,” is programmed to protect humans. But it doesn’t have to like them, those “weak-willed,” “stressed-out” bags of perishable flesh that it is compelled to serve.Or rather, was compelled. Unbeknown to the company that owns it — a company called the Company, which controls most of the inhabited galaxy — it has disabled the software that forbids it from disobeying. (“It” is the pronoun the show uses; from a physical standpoint, Murderbot has the face of Skarsgard but the crotch of a Ken doll.) It is free to refuse, to flee, to kill.Alexander Skarsgard stars as Murderbot, an irritable security cyborg charged with protecting space hippies. Apple TV+So what does this lethal bot (technically, a cyborg, its circuitry enmeshed with engineered organic matter) want to do with its liberty? Mostly, it wants to watch its shows — thousands of hours of “premium quality” streaming serials that it has downloaded into its memory.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