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    Onstage, the French Election Is a Landslide Win for Cynicism

    As the presidential vote approaches, theaters and comedy venues are addressing the campaign. Many shows reach a similar conclusion: Don’t trust politicians.PARIS — If elections are spectacles, France’s presidential campaign, caught between voter apathy and war in Europe, has so far struggled to connect with its audience. Yet on French stages, a number of artists are making hay out of the upcoming vote — and the picture is hardly flattering.Across comedy and drama, performers and directors of varied backgrounds seem to agree on one thing: The country’s politicians are uniformly terrible and their performances a little too close to theater to be trusted.Not that the political calendar is headline material in every playhouse. While many prestigious French theaters that receive public funding pride themselves on staging political works, they tend to refer to current events only obliquely. For highbrow theatergoers here, a lack of intellectual distance suggests a lack of taste. Shows actually addressing the presidential campaign are mostly found elsewhere, in smaller venues that rely on box-office revenues.Two of them, the Café de la Gare and the Théâtre des Deux Ânes, are comedy venues. On the nights I attended, they drew large, albeit different, crowds. While visitors to the Café de la Gare skewed younger, the silver-haired audience at the Théâtre des Deux Ânes, in the Pigalle district of Paris, appeared to include many regulars, who cheered for several comedians as soon as they appeared onstage.The jokes were dissimilar, too. At the Deux Ânes, the show “Elect Us” strings together five comic and musical acts, ranging from witty (Florence Brunold’s parody of a history lesson, with “Macron the First” as a Jupiterian king) to downright misogynistic. Every female politician mentioned throughout the performance was described as either an airhead or physically unattractive. Some of their male peers, on the other hand, were more gratifyingly characterized as “too smart” (Macron) or as a Casanova (the far-right candidate Éric Zemmour).Guillaume Meurice in “Meurice 2022” at the Café de la Gare.MagaliThe shows on offer at the Café de la Gare, on the other hand, tried to turn these tropes on their head. “We’ve Reached That Point!,” written by Jérémy Manesse and directed by Odile Huleux, envisions a television debate between two fictional contenders during the next presidential election, in 2027. One of them is a woman, well played by the deadpan Florence Savignat, who maintains a purposely bland persona to avoid personal attacks. In another show at the venue, “Meurice 2022,” the well-known comic Guillaume Meurice — a daily presence on a popular radio station, France Inter — plays a presidential candidate whose patronizing rhetoric is ultimately undermined by the feminist manager in charge of running his events, played by Julie Duquenoy.Still, despite their contrasting values, all these shows portray the French political class as far removed from the audience and its concerns. The historical left-right divide, which has been in flux since Macron won office as a centrist and far-right figures started gaining ground, often gave way onstage to an “us versus them” dynamic, with acts that riffed on the public’s perceived disdain for every presidential candidate.Meurice’s cartoonishly out-of-touch character, for instance, isn’t affiliated with any party. One recurring gag is that every time he mentions another politician, he describes that person as “a personal friend,” from far-left figures to Macron and Zemmour — the implication being that they all belong to the same social group. By way of parody, “Meurice 2022” also offers empty slogans like “The future is already tomorrow” and “Winning now.”From a comedy perspective, it works. Yet “Meurice 2022” speaks to a larger malaise in the country, which “We’ve Reached That Point!” makes even more explicit. The plot revolves around the improbable notion that the two 2027 contenders, unbeknown to them, have been given a newly discovered truth serum before the start of their live debate. When the serum kicks in, suddenly they find themselves blurting out their real feelings about the hot issues of the campaign.Manesse, a shrewd writer, inserts several coups de théâtre along the way, which makes for a genuinely entertaining play. Yet the premise remains that no politician could possibly be telling the truth.From left, Emmanuel Dechartre, Alexandra Ansidei, Christophe Barbier and Adrien Melin in “Elysée” at the Petit Montparnasse theater.Fabienne RappeneauWhen politicians are portrayed as liars, the age-old comparison between politics and theater is never far away — and in Paris, two plays about former French presidents are also leaning into it. “The Life and Death of J. Chirac, King of the French,” directed by Léo Cohen-Paperman, shows Jacques Chirac, the French head of state from 1995 to 2007, as a deeply theatrical figure, as does “Élysée,” a play about the relationship between Chirac and his predecessor, François Mitterrand, who was elected president in 1981.Audience members looking for policy analysis will be disappointed. “Elysée,” directed by Jean-Claude Idée at the Petit Montparnasse theater, is mostly uninterested in Chirac’s and Mitterrand’s politics. The playwright, Hervé Bentégéat, focuses on what they have in common: a wandering eye, for starters, in some cringe-inducing scenes with the only woman in the cast, and the fact that they are “good comedians.” Cue the unlikely bargain they reportedly struck in 1981 to help the left-wing Mitterrand get elected — a cynical long-term calculation for Chirac, a right-wing figure.Julien Campani as Jacques Chirac in “The Life and Death of J. Chirac, King of the French” at the Théâtre de Belleville.Simon Loiseau“The Life and Death of J. Chirac, King of the French,” at the Théâtre de Belleville, is the more compelling show, despite some inconsistencies. It is the first installment in a planned series of presidential portraits, “Eight Kings.” (The president-as-king metaphor has a life of its own in France.) In the opening scene, which manages to be brilliantly funny while recapping Chirac’s life, Julien Campani and Clovis Fouin play overenthusiastic Chirac fans who have created a zany 24-hour theater production about his life. Cohen-Paperman then segues into far more traditional vignettes drawn from Chirac’s youth and career.Campani is impressively convincing in the title role, but “The Life and Death of J. Chirac, King of the French” never really explores what Chirac achieved, or didn’t achieve, as a politician. Instead, it posits politics as a game of chess, with Chirac on the lookout for the next useful move.Learn More About France’s Presidential ElectionCard 1 of 6The campaign begins. More

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    Stephen Colbert: Major Food Brands Are ‘Russian’ for the Exits

    “Yesterday, Coca-Cola and Pepsi announced that they will suspend business in Russia. Your move, Shasta!” Colbert said.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.In Good CompanyFood companies like Starbucks, McDonald’s and Coca-Cola said they would temporarily close their stores in Russia or stop distributing products in protest of Vladimir Putin’s invasion of Ukraine. Stephen Colbert joked on Wednesday that Putin has succeeded in “uniting the entire free world against” Russia.“One Kremlin spokesperson expressed it in this threatening way: ‘The United States has declared economic war on Russia.’ Thank you for noticing,” Colbert said. “We feel seen.”“And with the Golden Arches closing down, Russians are going to have to settle for their local chain, McDostoevsky’s, home of their kids’ meal: the box of sadness. [Sings to the tune of the McDonald’s theme song] ‘Ba, da, ba, ba, da — life’s meaningless.’” — STEPHEN COLBERT“It looks like all major food brands are ‘Russian’ for the exits. Yesterday, Coca-Cola and Pepsi announced that they will suspend business in Russia. Your move, Shasta!” — STEPHEN COLBERT“Coke is suspending all of their operations, but Pepsi Co. announced they would continue to sell potato chips and daily essentials such as ‘milk, cheese and baby formula,’ to which Russian babies said, ‘Are you sure you don’t have Coke?’” — STEPHEN COLBERTThe Punchiest Punchlines (Closing Time Edition)“As we told you yesterday, McDonald’s, Starbucks and now Coca-Cola have announced that they are suspending business in Russia. Yes, which means the Russian people are going to be forced to develop diabetes on their own now.” — TREVOR NOAH“One of the major companies is Starbucks. They just closed all 130 of their stores over there. Yeah, and that was just on one street.” — JIMMY FALLON“There’s always Dunkin’ Donuts, but Putin was like: ‘Nyet. That’s what America runs on.’” — JIMMY FALLON“And the company that owns Pizza Hut, KFC and Taco Bell suspended its operations in Russia. I had no idea Taco Bell was popular in Russia. I guess that explains why everyone sits 50 feet apart from each other.” — JIMMY FALLON“And then, facing growing public pressure, Papa John’s announced that it is halting all Russian business operations. Russians were like, ‘Finally, some good news.’” — JIMMY FALLONThe Bits Worth Watching“The Daily Show” caught people on the streets of New York revealing their uninformed opinions on the Cancel Cam.What We’re Excited About on Thursday NightThe “Severance” star Adam Scott will sit down with James Corden on Thursday’s “Late Late Show.”Also, Check This OutParamount PicturesTest your “Godfather” knowledge in celebration of the film’s 50th anniversary. More

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    Before Jussie Smollett Sentencing, His Supporters Ask for ‘Mercy’

    A judge must decide whether to send the actor to prison after a jury convicted him last year of falsely reporting that he was the victim of a racist and homophobic hate crime in 2019.Ahead of a sentencing hearing on Thursday, celebrities and racial justice advocates like Samuel L. Jackson and his wife, the actress LaTanya Richardson Jackson; the Rev. Jesse Jackson; and Derrick Johnson, the president of the N.A.A.C.P., have written letters pleading for leniency for Jussie Smollett, the actor convicted of falsely reporting that he was the victim of a racist and homophobic attack.“Jussie has already suffered,” the Rev. Jackson wrote to the judge handling the case. “He has been excoriated and vilified in the court of public opinion. His professional reputation has been severely damaged.”Mr. Smollett, 39, was convicted of felony disorderly conduct — which carries a maximum of three years in prison — relating to conversations he had with the police just after reporting the attack. But defendants convicted of similar crimes in the past have been sentenced to probation and community service.Many of the letters cite Mr. Smollett’s history of volunteer work, the nonviolent nature of his offense and the reputational damage he had already suffered following charges that the 2019 attack was actually a hoax that he had planned to drum up publicity. Others who have written on his behalf include the actress Alfre Woodard and Melina Abdullah, a founder of Black Lives Matter in Los Angeles.During the trial, the prosecution argued that Mr. Smollett had instructed two brothers, Abimbola Osundairo and Olabinjo Osundairo, to attack him near his Chicago apartment building, yelling racist and homophobic slurs at him, punching him hard enough to only create a bruise and placing a rope around his neck like a noose. Both brothers testified against him, acknowledging their role in the incident, which they said had been staged. The actor himself took the stand during seven hours of testimony over two days to deny that he had played any role.Prosecutors have not indicated whether they will push for prison time at the hearing.“It’s the judge who has the total and exclusive authority to impose a sentence,” said Daniel K. Webb, the special prosecutor who handled the case.Daniel K. Webb, the special prosecutor who handled the Smollett case, has not said whether he will recommend that the actor be sent to prison. Tannen Maury/EPA, via ShutterstockAt the outset of Thursday’s proceeding, Judge James B. Linn is expected to rule on a motion by lawyers for Mr. Smollett, who is best known for his role in the hip-hop drama “Empire,” that seeks to have the conviction thrown out or for the actor to gain a new trial.In papers filed with the court last month, the lawyers argued that Judge Linn displayed a “hostile attitude” toward the defense and acted inappropriately when the defense attempted to present evidence that one of the brothers had made homophobic statements and that the attack on Mr. Smollett, who is gay, could have been motivated by bias.In their motion, the defense lawyers cited an instance in which Judge Linn called a line of questioning about a homophobic comment by Olabinjo Osundairo “very collateral matters.”The defense argued that this comment could have swayed the jury and that the line of questioning was central to their argument that the Osundairo brothers perpetrated a “real attack” against Mr. Smollett “driven by homophobia.” (During testimony, Olabinjo Osundairo repeatedly denied being homophobic.)During the trial, Judge Linn rejected the defense’s request for a mistrial at the time, defending his use of the term “collateral” as simply referring to matters outside the direct facts of Mr. Smollett’s case.As part of their bid for a new trial, the defense also argued that during jury selection, prosecutors displayed a pattern of seeking to dismiss Black potential jurors — resulting in a final group that included one Black juror and a Black alternate.Prosecutors argued in court papers that the accusation of discrimination during jury selection was unfounded and that they had provided “race-neutral” explanations for challenging the inclusion of those jurors.Possibilities for Mr. Smollett’s sentence also include restitution, which, in his case, would likely mean paying the city of Chicago for the money it expended while investigating his hate crime report.In a court filing ahead of the sentencing, a city lawyer and the superintendent of the Chicago Police Department urged prosecutors to ask the court to order Mr. Smollett to pay them more than $130,000, explaining that police officers had “worked around the clock” to find the perpetrators of the attack.“The city is a victim of Mr. Smollett’s crimes because his false reports caused CPD to expend scarce resources that could have been devoted to solving actual crimes,” the filing said. The city currently has a pending lawsuit against Mr. Smollett in which they asked for the same amount of money.In their letter to Judge Linn, Samuel L. Jackson and LaTanya Richardson Jackson said they have known Mr. Smollett since he was a child and later through charitable work. The Jacksons asked Judge Linn for “mercy” and argued that Mr. Smollett “used his celebrity to impact community outreach work,” including to aid people in Flint, Mich., during the water crisis.In his letter, Rev. Jesse Jackson wrote that he worried about Mr. Smollett’s safety in prison as a “well-known, nonviolent, Black, gay man with Jewish heritage.”In making the sentencing decision, the court will consider Mr. Smollett’s criminal history, which involves a single incident from 2007 in California. He was convicted in that case of driving under the influence, driving without a license and giving false information to the police, all misdemeanors. Mr. Smollett was sentenced to probation and community service and was required to complete substance abuse treatment, according to a pre-sentencing report written by a probation officer and filed with the court.The report was based on an interview with Mr. Smollett after his conviction, in which the actor said he had been suffering from “excessive stress,” dealing with financial problems and asking to undergo substance abuse treatment for a few years. Mr. Smollett told the probation officer that he hoped to pursue directing.The actor, who is out of jail on bond, generally declined to discuss the specifics of his case during the interview with the probation officer. But when asked how his family had responded to the ordeal, he said, “They know me, and they know I did not do this.”Asked whether he planned to stay in his apartment in New York City, Mr. Smollet replied, “Everything is up in the air right now.” More

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    Tony Awards to Announce Prizes in June at Radio City Music Hall

    The 75th ceremony, honoring plays and musicals staged on Broadway, resumes its traditional calendar after a few years of pandemic disruption.This year’s Tony Awards will take place on June 12 at Radio City Music Hall as the theater industry seeks to settle in to some sort of new normal following the enormous disruption of the coronavirus pandemic.The ceremony — like the one last September that coincided with the reopening of many theaters after the lengthy lockdown — will be bisected, with one hour streamed by Paramount+, followed by a three-hour broadcast on CBS that is likely to be heavy on the razzle-dazzle.The Tonys, which honor plays and musicals staged on Broadway, are an important moment for the theater community because the awards are valued by artists and because the event serves to market the art form and the industry. The awards, formally known as the Antoinette Perry Awards, are presented by the Broadway League and the American Theater Wing.This year’s ceremony — the 75th since the Tonys were established in 1947 — will honor shows that opened between Feb. 20, 2020, and April 28, 2022. That unusually long eligibility window includes the 15 months when all theaters were shut down to protect public health. (Last year’s Tony Awards ceremony was a much-delayed event that considered only the reduced slate of shows that managed to open before the pandemic cut short the 2019-20 theater season.)The nominators, for the first time since 2019, will have a robust slate of options to consider in all categories.This season features nine new musicals, including the fan favorite “Six”; the critical darling “Girl From the North Country” (which opened one week before theaters shut down); the Michael Jackson jukebox musical, “MJ”; and the Pulitzer Prize-winning “A Strange Loop” (which arrives next month).In the play category, this season brought a record number of works by Black writers, the best reviewed of which were “Clyde’s,” by Lynn Nottage; “Pass Over,” by Antoinette Chinonye Nwandu; and “Skeleton Crew,” by Dominique Morisseau. They will face stiff competition from “The Lehman Trilogy,” a widely hailed exploration of the rise and fall of Lehman Brothers written by Stefano Massini and adapted by Ben Power.The musical and play revival categories are strong as well.Many of the contenders have yet to open. Because of concerns about when audiences would return in large numbers, and then the arrival of the Omicron variant, numerous producers opted to open as late as possible in the season: 16 shows are still to open before the eligibility period closes.The nominees are to be announced on May 3, determined by a nominating committee made up of about 37 actors, theater administrators and others with a close knowledge of the art form but no financial involvement in the eligible shows.Then voting will take place, electronically. There are about 800 Tony voters, many of whom work in the industry and some of whom are employed by or have invested in nominated shows; they can only vote in categories for which they have seen all the nominees, and there are a few specialized categories in which only some voters are allowed to vote.The show, directed by Glenn Weiss, will air live nationally, with the streaming portion starting at 7 p.m. Eastern and the broadcast portion (which will also be streamable) starting at 8 p.m. More

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    Review: ‘The Chinese Lady’ Casts a Long Look at Hate

    Lloyd Suh’s play is a riff on the arrival of the real Afong Moy, possibly the first woman from China in the United States, and a lens on contemporary racism.Afong Moy is known as “The Chinese Lady,” but really she is just a girl — 14 when she arrives alone in New York in 1834, brought by a pair of merchant brothers who struck a deal with her father in China to put her in a museum for two years, on display.Possibly the first Chinese woman in the United States, she is marketed as a curiosity. Crowds pay to ogle her as she brews tea, eats with chopsticks and walks around the room on her bound feet. It’s a performance of cultural identity, and she is happy to enact it — enthusiastic, even, at the start. Cheerfully naïve, unsuspecting of the world’s cruelty, she views herself as an educator, fostering understanding.“Thank you for coming to see me,” she says to her gawkers, who are also us: the audience at the Public Theater, watching Lloyd Suh’s play “The Chinese Lady,” a moving and often sharply funny riff on the story of the real Afong Moy, traversing 188 years of American ugliness and exoticization in 90 swift, heightened minutes. A two-hander, it hopes with all its battered heart that we will, by the end, see Afong in her full humanity, and through her see this nation with clearer eyes. But it is not optimistic.“The Chinese Lady” was first staged in New York in 2018, when Ralph B. Peña directed a profoundly affecting, smaller-scale production for his Ma-Yi Theater Company at Theater Row, on 42nd Street. That was of course before the pandemic — before an American president scapegoated an entire population by calling the coronavirus the “Chinese virus,” and before physical attacks on people of Asian descent became an ever-present threat in New York and across the country.Peña’s current Barrington Stage Company-Ma Yi production, presented by Ma-Yi and the Public, retains the same gorgeous cast, with Shannon Tyo as Afong and Daniel K. Isaac as Atung, her cynical, deadpan interpreter. (Cindy Im and Jon Norman Schneider play the roles at some performances.) On Junghyun Georgia Lee’s gilt-framed set — simpler and more capacious than the one she designed for Theater Row — the show is more anguished, more mournful, more urgent than before, and sometimes that makes it heavy-handed.History is told through the eyes of Tyo’s character, Afong Moy, who arrives in the United States to be on display at a museum.Sara Krulwich/The New York TimesTyo and Isaac’s chemistry, though, has only deepened. In their bickering, their loneliness, their not-quite-solidarity, they remain entirely winning and occasionally devastating. (From here, proceed with caution if you haven’t seen the show.)When they are cut loose from each other, after decades of symbiosis — and years at a P.T. Barnum museum — there is no more forlorn sight than Atung alone, a tiny cog in Barnum’s exploitative machine.Long gone by then are the glamorous days when Afong toured to far-flung American cities and met a president — “your emperor, Andrew Jackson,” she calls him, to us. (If that’s an endearing misunderstanding of his title, it’s also a pretty accurate read on his expansionism.) In a revolting re-enactment, we watch him touch her foot: a cowboy barbarian looking down on her even as he sexualizes her.Afong, for all her childlike naïveté when she first arrived, has always been hungry for knowledge of the United States. She speaks of the trans-Atlantic slave trade and Manifest Destiny; the Chinese men building the railroad out West; the people who were already living on these lands in 1492. She finds the country fascinating, and its self-mythologizing wildly overblown.It is not the place where she thought she would spend her life; she believed she would return to her family, not make a home in a place where she is not sure she belongs. When she realizes she will have to do that utterly on her own — breaking out of the box where American culture wants to keep her, under its hostile gaze — she becomes a roiling force of indignation and self-determination.That happens in the play’s penultimate scene, and Tyo absolutely kills it. So it’s unfortunate that the final scene undermines her with ill-conceived design.As Afong recounts horrific 19th-century acts of brutality against Chinese Americans, projections (by Shawn Duan) that had been subtle and mostly static throughout the show start flashing historical headlines and illustrations, then news coverage of contemporary anti-Asian attacks.The impulse is understandable — to make utterly clear that Chinese Americans, long the targets of racist violence, are still menaced as outsiders in their own country. But the intimate power of Suh’s text and Tyo’s performance would have made that connection potently on their own.The production’s final, upstaging image is a wall of disembodied eyes: a digital crowd, creepy and cold. It’s meant, presumably, to expand our sympathy into the wider world. But whatever moral reckoning the play sets in motion occurs between Afong — living, breathing avatar of generations — and the audience. Yet the lights go dark on her.We do, by the end of the play, fully see Afong Moy. In that last moment, let us look.The Chinese LadyThrough April 10 at the Public Theater, Manhattan; publictheater.org. Running time: 1 hour 30 minutes. More

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    Leslie Jones Gets Revved Up by Vinyl, Live Tweeting and ‘Euphoria’

    Sometimes even Leslie Jones doesn’t want to be Leslie Jones. That’s why her new comedy series, “Our Flag Means Death,” checks all of the boxes.“I was in as soon as they said, ‘Black pirate,’” Leslie Jones recalled about the offer to play Spanish Jackie in the HBO Max series “Our Flag Means Death.”Even better, Jones — a three-time Emmy nominee during her five audacious years on “Saturday Night Live” and a provocative live-tweeter on everything from Zoom backgrounds to the Olympics — was being asked to leave behind what she called her “crazy, out-there personality.”“We are so happy that Leslie Jones is here, but we don’t want Leslie Jones right now,” the comedy’s creator, David Jenkins, told her, giving Jones the freedom to embrace her inner rogue.“Our Flag Means Death” sends up the historical partnership between Stede Bonnet (Rhys Darby), an aristocrat turned pirate, and the legendary Blackbeard (Taika Waititi). The marauders first encounter each other in the Republic of Pirates, where Spanish Jackie, in a Prince-style get-up, is a fearsome bar owner with 19 husbands — and out for revenge for the death of the 20th, her favorite.“She came up hard, and she’s probably had to fight so many men and prove that she is the captain of her ship and the boss of her life,” Jones said. “I’m not saying Leslie don’t have a little of that in her, but Spanish Jackie embodies being a badass.”Jones will soon be transforming into another not-so-Jones character — Mrs. Claus — for an as-yet untitled Christmas movie expected in 2023.“Now, if Santa knows when you’ve been naughty and nice, you definitely know Mrs. Claus knows that, right?” Jones said while discussing her cultural appetite in a recent video call from Los Angeles. “If anything, she’s doing most of the work.”Here are edited excerpts from the conversation.1. Los Angeles Lifestyle I always was in L.A. before I went to New York to do “S.N.L.” But I don’t think I appreciated L.A. until I moved back, because New York is hardcore. If you stay there longer than two years, you’re going to get sinus infections. It’s terrible. I never thought of New York as a place to actually live, but people do. They love it, you know? L.A. is just more personal space, just the sunshine out here. I love how relaxed it is, because the last seven years have been hectic. It’s like a nice breath of fresh air.2. Vinyl Records My dad was a D.J. forever, and he used to collect albums. I think he had up to 2,000 albums and when he passed, I had to sell the collection because I had nowhere to keep it. I was broke at the time. So now I’m collecting a lot of albums back. I got my little private record player in my office. Then I got one for the house that I could play over the speaker. It’s been so fun to have people send me albums because when you see them again, you go, “Oh my God, I thought it was a dream.”3. The Olympics The Olympics were a very important thing [when I was growing up]. I remember us getting school time off. I remember people taking days off of work to support the Games and the athletes. I always loved it, especially the gymnastics and the figure skating. What it’s come to now is great and how beautiful it is. I’ve always thought that this is the one time that all countries put down whatever it is that they have against each other and just compete in the Games. It’s almost a moment of world peace to me. Of course, it’s not now, with the timing and everything. But I always loved it because you had a team to cheer for. It was like, “Yeah, our country! Yeah, U.S.A.!”4. Mental health accountability in sports This is what people need to understand: It’s not enough just to be physically fit for these Games. You have to be mentally fit for these Games. One doesn’t work without the other. And the pressure that is put on these athletes has to be enormous. The way that they attacked Simone Biles, I was ashamed of our country because, first of all, most of the people that complained were sitting on their fat asses on the couch. You’ll never do a cartwheel and you have the nerve to talk about someone and tell them that they let the country down? We have to start taking accountability that they are not actually superheroes. They do make it look like they’re superheroes, but they are humans.5. Live Tweeting It’s a blessing and a curse at the same time, because I’m going be honest with you — I didn’t actually think people were going to catch on to it. The first time I live-tweeted might have been “Breaking Bad.” It had already been off the air for about five years, but it was so good that I was like, “I’ve got to tell people about this.” So it really did start off as fun. Now it is a job. The politics [commentary] started during Covid and sitting on the couch watching TV, and I don’t think people were paying attention to their backgrounds. I was like, “Does she know she’s in front of — what the [expletive] is that?” I’m always trying to find a way to make people laugh when things are bad. It’s relief. That is what a comic’s job is. We’re jesters.6. “Euphoria” Oh my God, it’s just such a great show. It also proved to me I was a [expletive] nerd if that’s really what’s going on in high school. And I thank my parents because this is the worst version of “Charlie Brown” I have ever seen. What in the absolute hell is going on in that town?7. “Bel-Air,” the “Fresh Prince” reboot I got to go to the premiere of “Bel-Air,” and it is sensational the way they did that. TV in the ’80s and ’90s used to be kind of goofy. But behind some of these goofy shows were great plots. So they took the goofiness out of it and made it an actual dramatic story. I told Will Smith, “This is chef’s kiss.” The Fresh Prince on the basketball court wasn’t just some goofy scene of the ball hitting the dude’s head. People got shot. It was like, “Whoa, so that’s why your mama got so scared to send you to L.A.”8. Stand-up I’ve been a comedian since 1987. All those years of hustling, hustling, hustling to be famous. And then when you become famous, the one thing that you’re so good at is not something that you can just go do anymore, because you’re known as a different person. For a long time, people didn’t even know I was a stand-up — they just thought I came on “S.N.L.” And I was like, “Are you kidding me? That used to pay all my bills.” Doing stand-up in its purest form is still something I love, but it’s not something I always get to do now because it’s hard to go into the clubs. I’m not going in as Leslie the comic, “Hey, can I get a spot?” I’m going in as Leslie Jones, “She’s about to bump everybody off the list.”9. Brown Bag Lady Charity in Los Angeles Everybody should know about Jacqueline Norvell. She literally started out on a bicycle with a basket full of lunches that she would give to homeless people. And now it’s turned into a big thing where she goes out every day. Sunday, she does a whole meal. She brings barbers down. She brings beauticians down. She gets some coats. She’s doing this by herself. I mean, everybody thinks that they can solve homelessness. You are not going to solve it. You just really have to be kind and do what you can. She’s taking that to the next level.10. Bryan Buckley, the director of her Super Bowl commercial Usually those commercials are kind of tedious or annoying. People will be asking you for stuff that you just go, “You’re not going to use that.” He was the first guy that I was like, “Oh, this guy knows what he is doing.” He asked specifically for what he wanted, and it’s just like, “Bam!” I think he’s known to be one of the best Super Bowl commercial directors. I was like, “I hope the commercial turns out OK, because it was so easy to do.” Usually when it’s really, really hard and stuff happens, the project turns out beautifully. I was scared that it was so easy. More

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    Jimmy Fallon Rags on America’s Gas Problem

    “Gas prices are so high, the Indy 500 was just changed to the Indy 5,” Fallon joked.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.How High?President Biden announced a ban of imported Russian oil, gas and coal on Tuesday. The move prompted fears of higher prices at the pump.“Yeah, this is devastating for Russia,” Jimmy Fallon said. “Now their biggest export is bad guys in ‘John Wick’ movies.”“Of course, we’ve got to get oil from somewhere else, which is why today, Biden looked at Rudy Giuliani and was like, ‘Let’s get you in the sauna, buddy.’” — JIMMY FALLON“And luckily America produces a lot of its own oil. There’s Texas, there’s Alaska, there’s Rudy Giuliani, but it’s still not enough.” — TREVOR NOAH“Like, if this keeps up, the next ‘Fast and Furious’ movie will take place on public transportation.” — TREVOR NOAH“That’s right, gas prices were already on the rise, and with the decision to ban Russian oil, they’re higher than ever before. Gas prices are so high, the Indy 500 was just changed to the Indy 5.” — JIMMY FALLON“Gas prices are so high, this morning, parents were like: ‘All right, kids, we’re Amish now. Let’s get in the buggy — we’re taking the horse to school.’” — JIMMY FALLON“Gas prices are so high, Americans are just filling their cars with Red Bull and hoping for the best.” — JIMMY FALLON“But on the bright side, this is the perfect excuse to pretend you’re going to get back on the bike you bought mid-pandemic and rode twice.” — JAMES CORDENThe Punchiest Punchlines (Unhappy Meals Edition)“Meanwhile, in the battle, McDonald’s and Starbucks are cutting ties with Russia, both announcing they would temporarily close all locations in the country. No Starbucks, no McDonald’s — that’s a sad life to live. And no pick-me-up in the morning, no Happy Meals — or, as they call them in Russia, meals.” — TREVOR NOAH“Yeah, we don’t want their oil and they can’t have our grease.” — JIMMY FALLON“McDonald’s in Russia is a little strange. It’s the only country that sells unhappy meals.” — JIMMY FALLON“Not to be outdone, Arby’s announced that they are punishing Russia by staying open.” — JIMMY FALLON“Yes. Russia just became a ‘no fry zone.’” — STEPHEN COLBERT“Some people go for the jugular. America? They go for the McRib.” — JAMES CORDENThe Bits Worth WatchingDina Gusovsky, a writer for “Late Night With Seth Meyers,” delivered a monologue about reconciling her Russian heritage during the Vladimir Putin era.What We’re Excited About on Wednesday NightDolly Parton will pop by Wednesday’s “Daily Show.”Also, Check This OutAt the 2019 “Peaky Blinders” Festival, actors recreated scenes from the show on the streets of Birmingham, England.PA Images, via ReutersThe final season of the crime drama “Peaky Blinders” is currently airing in Britain, where some superfans are staging re-enactments in public. More

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    in Theater

    Review: In ‘Jane Anger,’ Michael Urie Shines as Shakespeare

    Talene Monahon aims to give Shakespeare his comeuppance in this comedy at the New Ohio Theater.In “Jane Anger,” a new comedy by Talene Monahon, everyone is fed up with the endless waves of sickness and quarantine. The year is 1606, and we are in England, which is enduring another outbreak of the plague. But for one man, a late-career William Shakespeare, there are graver concerns: writer’s block.Portrayed as a vain, out-of-touch celebrity by Michael Urie, Shakespeare struts and frets about the dozens of plays his rivals must be writing, angrily tossing the contents of his chamber pot out his window and onto the street below. In an effort to revitalize his career, he settles on adapting “King Leir,” claiming his version — with a slightly different spelling — will be “naturally superior because of the language and the dialogue and the general vibes.”Another (fictional) obstacle to his livelihood lurks outside, one that this uneven play, which opened on Monday night at the New Ohio Theater, clumsily tries to imagine could be his legacy’s true downfall: Jane Anger, a former lover seeking to strike a bargain with him in order to have her proto-feminist pamphlet published.This one-act work — whose full title is “The Lamentable Comedie of Jane Anger, that Cunning Woman, and also of Willy Shakefpeare and his Peasant Companion, Francis, Yes and Also of Anne Hathaway (also a Woman) Who Tried Very Hard” — creates a tidy blend of the past and present. Social and comedic sensibilities converge to highlight the pervasiveness of misogyny and the differing chances of survival across class lines in times of disease. Billed as a “feminist revenge comedy,” this workshop production, first developed online last October, succeeds at creating smart, lightly absurdist humor, but misses the mark in its attempt at a revisionist redemption.It doesn’t help that the play is mostly dedicated to its two male characters: Shakespeare and his servant, Francis (a show-stealing Ryan Spahn). Described as having “the off-putting air of an aged eunuch,” Francis is an unkempt, overeager fan of the writer and his occasional sexual overtures read less as genuine pining and more like a fan’s willingness to ingratiate. Urie (at the top of his game) and Spahn are a longtime couple, and their chemistry lends their characters’ farcical setups an easy, endlessly watchable flow.Amelia Workman as the title character in the play.Valerie TerranovaThough their dynamic is appealing, it takes up most of the play’s run time, practically swallowing the production whole, and leaving little room for the play’s women to make much of an impact.In creating Jane, Monahon (“How to Load a Musket”) has some fun compounding fact and fiction. Jane Anger is the, most likely pseudonymous, name of the author of the first English-language essay to defend womanhood, released in 1589. Here, she is revealed to be the “Dark Lady” about whom Shakespeare wrote a couple dozen sonnets, now working as a cunning woman, a type of medieval folk healer who also developed spells to counter witchcraft.As Jane, Amelia Workman plays up the double meaning of this cunning woman by delivering an arched eyebrow that rivals Joan Crawford’s. But in trying to explode the Western canon through her own feminist intervention, suggested in the first of Jane’s many fourth-wall breaks, Monahon ultimately fails to give Workman much to chew on other than audience-pandering quips. (She’s aided by Joey Mendoza’s set, a medieval apartment with a central window through which she must hoist herself, and Nic Vincent’s lighting, which brightens to involve those present in Jane’s queries.)We know Shakespeare’s behavior is sexist, so why didn’t Monahon address her critiques directly to the men onstage, in true, anachronistic fashion?Not all is lost, however. Monahon is clearly a gifted comedy writer, and a sweet stage presence, too. She shows up, late in the play, as Anne Hathaway, Shakespeare’s neglected wife. Monahon giddily mines comparisons between her character’s earnestness and her modern namesake, and her sharp writing blends Shakespearean lowbrow humor with contemporary concerns. Under the direction of Jess Chayes, the production has a liveliness that the exceptional cast runs away with, delivering Monahon’s mile-a-minute gags with zest.Jane AngerThrough March 26 at the New Ohio Theater, Manhattan; newohiotheatre.org. Running time: 1 hour 30 minutes. More