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    Review: ‘We Are Your Robots,’ Still Tuning Up

    In Ethan Lipton’s musings on A.I., Mozart has a place alongside humpback whales.Are they not men? The members of the onstage combo in Ethan Lipton’s new show are, in fact, robots, despite looking like middle-aged male representatives of the human species. They may play tunes for the benefit of the audience members, but their main purpose, Lipton informs us, is to find out “what you want from your machines, so we can make your lives better.” (Lipton narrates the show and performs lead vocals.) The purpose of the evening, it appears, is for these sophisticated high-tech creatures in gray suits to undergo deep learning.And as the title “We Are Your Robots” implies, our humble servants are respectful of boundaries. “I know, for example, that it is illegal for a robot to tell a human being what to do with their own body,” Lipton says. “Because only other humans are allowed to do that.”That line is sneakily effective because Lipton’s wry delivery and hangdog mien have a way of softening blows and prompting double takes. The agreeable, light-on-their feet songs, have a similar effect, lulling us into the kind of complacent comfort that tech companies gamble on. But taken as a whole, the show, which is directed by Leigh Silverman, feels stifled by slightly monotonous whimsy.Produced by Theater for a New Audience and Rattlestick Theater, “We Are Your Robots,” which just opened at Polonsky Shakespeare Center, is described as a musical. But it is closer to a loosely articulated song cycle that feels like a souped-up evening at Joe’s Pub.Over the past couple of decades, Lipton has carved an idiosyncratic niche of one in the New York theatrical ecosystem with such shows as “No Place to Go” and “The Outer Space.” He is at his best with a firmer narrative structure, as in the zany western “Tumacho,” which had the tough luck of reopening in March 2020 after a short earlier run.“We Are Your Robots,” on the other hand, is held together not so much by its theme as by its retrofuturist space-age aesthetic; a clean-cut art pop redolent of They Might Be Giants and David Byrne’s literate, faux-naïf sensibilities; and Lipton’s turn as a ham-on-wry narrator. (Lee Jellinek did the set, dominated by a stylized visual that recalls both a face and a cassette tape; Alejo Vietti conceived the costumes; Nevin Steinberg handled the sound design.)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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    Emma Corrin and Maggie Nelson on the Strength in Vulnerability

    Admiration Society brings together two creative people from two different fields for one wide-ranging conversation.Emma Corrin first encountered Maggie Nelson’s work three summers ago, when the actor was in Brighton, England, filming 2022’s “My Policeman,” a British drama about postwar sexual repression. At the time, Corrin, now 28, was grappling with their gender identity, and a friend recommended “The Argonauts” (2015), Nelson’s memoir about queer desire and making a family with her partner, the artist Harry Dodge. The book appealed so deeply to Corrin that, when that production ended, they decided to remain at the flat they’d rented during filming to finish reading it.Nelson, 51, was born in Northern California and moved in the 1990s to New York, where she worked as a waitress, trained as a dancer and took workshops with the poet Eileen Myles before getting her Ph.D. in English at the City University of New York. In addition to “The Argonauts,” Nelson, who’s now based in Los Angeles, is the author of “Bluets” (2009), a meditation on love and loss in the form of a treatise on the color blue; “Like Love” (2024), her latest collection of essays and conversations; and eight other books that include scholarly criticism, autobiography, true crime and poetry.Corrin’s career has also spanned genres. After earning a degree in education, English and drama at the University of Cambridge, the London-based actor gained sudden acclaim as Princess Diana on “The Crown” in 2020, and then went on to star in the historical romance “Lady Chatterley’s Lover” (2022), the psychological thriller “A Murder at the End of the World” (2023) and in the 2022 stage adaptation of “Orlando: A Biography,” Virginia Woolf’s 1928 novel. Once billed as an ingénue, Corrin brings a fierce physicality to their roles, the next of which will be in Robert Eggers’s gothic horror film “Nosferatu,” an update of the vampire classic that will be released next month.For Corrin, who recently wrote a screenplay with a friend, Nelson’s work remains a touchstone. After wrapping “A Murder at the End of the World,” the co-creator Zal Batmanglij presented the actor with a copy of “The Red Parts,” Nelson’s 2007 memoir of following a murder trial. Earlier this year, Corrin saw the playwright Margaret Perry’s adaptation of “Bluets,” starring Emma D’Arcy, Kayla Meikle and Ben Whishaw, in London. It was the first time that Nelson’s work had been performed onstage.This past summer, Corrin, who was in Los Angeles to promote their turn in “Deadpool & Wolverine,” met Nelson for the first time in a Hollywood photography studio, where the actor and the writer discussed vulnerability, the dangers of self-editing for social media and the pleasure of bringing a sense of play to their work.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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    ‘Wicked’ and the Merchandising Juggernaut That Eclipses ‘Barbie’

    The new movie’s tie-ins are the logical endpoint for a Broadway show that always intended to be huge. The “Wicked” product line ranges from Mattel versions of Glinda and Elphaba, far left, to tumblers and Crocs, all sticking to the green-and-pink color scheme of the show and film.Mattel; Stanley; CrocsIt started with the dolls.As a longtime fan of “Wicked” who grew up collecting Barbies, I was immediately intrigued by the Mattel creations resembling Ariana Grande and Cynthia Erivo in the movie version of the Broadway musical. They were perfectly rendered in likeness and even sang snippets of “Popular” and “Defying Gravity.” I’ll admit, I coveted them.But that was just the beginning of the “Wicked” merchandise. Soon my Instagram and X feeds were inundated with pink and green collaborations. Some made sense in the context of both the movie and the stars. Why, of course Grande’s R.E.M. Beauty brand would feature a line of “Wicked”-inspired goods. She might as well promote both her performance and her entrepreneurial venture at the same time.Other “Wicked” products ranged from the functional to the positively ridiculous, but they all contributed to the sense that “Wicked” was absolutely everywhere, making it perhaps one of the most marketed movies in recent memory, surpassing even the hot pink inundation of “Barbie” last year.I discovered many of these via the X account Wicked News Hub, which posts every tiny update about the film and its promotional path. It is run by a lawyer in Manchester, England, who started it out of a love of all things Grande. (He asked to keep the identity behind the account private.) “Although I expected a lot of collaborations, from tracking ‘Wicked’ news over the years, even I was surprised by the incredible amount of collaborations and goodies,” he wrote in an email.There are “Wicked” versions of the TikTok-popular Stanley Cups, which according to some reports caused pandemonium when they were released in Target. They seem like your standard drinking vessel, but the film promotion capitalized on the fervor. There are “Wicked”-themed Crocs. (The Glinda ones have heels.) There are “Wicked” clothing lines for the Gap, H&M, Bloomingdale’s and Forever 21. You can buy “Wicked” Legos and “Wicked” Monopoly. There are even “Wicked” hair dryers. (The Mattel dolls weathered a minor controversy when the packaging accidentally bore the URL for a porn site, not the movie.)Starbucks has an enormous “Wicked” line that includes bedazzled tumblers and two themed drinks: Glinda’s Pink Potion and Elphaba’s Cold Brew. While getting a boring plain latte, I sampled the Elphaba, assuming the Glinda would hurt my teeth. It was minty.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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    Late Night Makes Its Last Jokes About Biden Pardoning Turkeys

    Although Thanksgiving was still three days away, “the turkeys looked at Biden and said, ‘We better get this done,’” Jimmy Fallon 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.Lucky BirdsPresident Biden pardoned his last two Thanksgiving turkeys on Monday.Although the holiday was still three days away, “the turkeys looked at Biden and said, ‘We better get this done,’” Jimmy Fallon said.“Today on the South Lawn of the White House, President Biden pardoned two turkeys from Minnesota named Peach and Blossom. Those aren’t turkey names. Peach and Blossom sound like the special guests at a bachelor party.” — JIMMY FALLON“President Biden today presided over the annual White House turkey pardon. Well, he didn’t exactly pardon them, he just turned the investigation over to Merrick Garland, and then it just kind of petered out.” — SETH MEYERS“It’s kind of miraculous that these turkeys were able to get pardons without Ryan Murphy even doing a show about them on Netflix.” — JIMMY KIMMEL“That’s right, President Biden presided over the annual White House turkey pardon and granted clemency to Peach, Blossom and, before anyone noticed, Hunter.” — SETH MEYERS“Yep, Biden promised that the turkeys would not get killed this November. Democrats were like, ‘Hey, that’s what you said to us.’” — JIMMY FALLON“I hope everyone enjoyed the pardoning, because next year, under Trump, those turkeys will be Matt Gaetz and Rudy Giuliani.” — JIMMY FALLONBah, HumbugOn his last episode of “Real Time” for the year, Bill Maher argued that Americans should forget politics and enjoy Christmas.“Enough! It’s [expletive] Christmas, and you will act like it,” Maher said. “’Tis the season, and all that.”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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    ‘Get Millie Black’ Is a Fresh Take on the Cop Drama

    Created by the Booker Prize-winning author Marlon James, the HBO series puts a new spin on a lot of old crime show conventions.“Get Millie Black,” beginning on Monday at 9 p.m., is another high-end HBO crime drama about a cop who does things her own way — against the rules, no matter what her angry boss says. She does so on account of her too-personal investment in this and all cases because of the way they remind her of her childhood. (Her lousy childhood, obviously.)And yet this rogue officer may be the only truly ethical one around, the only one who actually gets things done, the only one who actually cares about the people everyone else ignores! Why must corruption follow her, even though she herself is more or less upstanding? And hey — has anyone else noticed that the rich get richer?One twist here is that “Get Millie Black” is also pretty dang good; perceptive, aerodynamic, rich in artistry and in specifics. “This crime story is old,” Millie (Tamara Lawrance) tells us in the pilot. “But people make it new every day.” When she’s right, she’s right, and part of the premise of the show is that Millie is often right.Created by the Booker Prize-winning author Marlon James, “Millie” is set in Jamaica, where Millie, the prodigal daughter of an abusive mother, has returned after 18 years in England and is now a police officer. Millie thought her brother, Orville, had died while she was gone, but in fact Orville has transitioned and is now Hibiscus (Chyna McQueen). She is very much alive, though often in peril.The catalyzing incident here is the disappearance of a teen girl, which of course turns into a much larger investigation of more widespread and depraved criminality, as these cases always do on TV. When a white Scotland Yard detective (Joe Dempsie) arrives on the scene, Millie is not enthusiastic. “Here to colonize our case?” she half jokes.Crime shows, especially missing girl shows, often feel barren, or at least frozen in their Scandinavian snowscapes. “Millie,” on the other hand, feels abundant. Each episode has a different anchor character providing the perspective and narration, and each character, including the one-offs, has a clear voice. Millie is our star, but she is part of a bright constellation.There are only five episodes (four of which were made available for review), and new installments air on Mondays.Also this weekA dish seen in the Ángel León episode of Season 7 of “Chef’s Table.”Netflix“Anthony Jeselnik: Bones and All” arrives Tuesday, on Netflix.The season finale of “Dancing With the Stars” airs on Tuesday at 8 p.m., on ABC.A new batch of “Chef’s Table” episodes arrive Wednesday, on Netflix.“The Madness,” starring Colman Domingo, arrives Thursday, on Netflix. More

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    Your Thanksgiving Day Watching Lineup, Plus 6 Things to Watch on TV This Week

    Watch the Macy’s Day Parade, the dog show and football while the turkey is cooking, and catch up on true crime and two new shows.Football, puppies and floats: Here’s what to watch on Thanksgiving.Whether you’re big on cooking, big on eating or big on avoiding Thanksgiving altogether, one of the best parts of the holiday is that there are endless options on TV throughout the day.First up is the annual Macy’s Thanksgiving Day Parade, which started 100 years ago in 1924 (though this year isn’t the 100th parade because of a hiatus during World War II). It will follow its usual route in New York City, with Savannah Guthrie, Hoda Kotb and Al Roker returning as hosts. Jennifer Hudson, Kylie Minogue, Loud Luxury and Cynthia Erivo are just a few of the many performers — along with balloons of Minnie Mouse, Spider-Man and Goku, of course. Thursday at 8:30 a.m. on NBC and streaming on Peacock.Once the parade is over and cooking is in full swing, it’s time to watch the National Dog Show, with 2,000 cute, preening dogs representing 205 breeds. Last year a Sealyham terrier named Stache took home the gold. Thursday at 12 p.m. on NBC and streaming on Peacock.A Tibetan Mastiff who will be featured in the 2024 National Dog Show.Scott Gries/NBCAnd for many, the best part of the day is watching not one, not two, but three football games, back to back. First, it’s the Chicago Bears at the Detroit Lions at 12:30 p.m. on CBS. Then, the New York Giants play the Dallas Cowboys at 4:30 p.m. on Fox. Finally, once you’re hopefully a couple of pie slices deep, the Miami Dolphins square off against the Green Bay Packers at 8:15 p.m. on NBC. I’ll be skipping the real football and queuing up a thematic “Friends” episode: “The One With the Football,” on Max.Send shivers up your spine with lots of true crime.The house where JonBenét Ramsey was found murdered in Boulder, Colo., in a photo from 1997.David Zalubowski/Associated PressWe 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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    ‘Dune: Prophecy’ Season 1, Episode 2 Recap: The Agony

    Valya has shown that she is clearly willing to sacrifice whatever, and whomever, it takes to accomplish her goal. Season 1, Episode 2: ‘Two Wolves’Desmond Hart is an anomaly. He is alive after a sandworm attack that should have left him in the belly of the beast. He knows of the Sisterhood’s secret plan to play puppet master with the universe’s rulers as their marionettes. He can burn people to death using only his mind, apparently from light years away. He can resist the Voice, with which Mother Superior Valya Harkonnen has subdued even other powerful members of her own Sisterhood.He has no compunction about consigning a child to an agonizing death, or about torturing that child’s father for displaying insolence toward the emperor he serves. He’s a scary dude.He also has a point.There’s no question where “Dune: Prophecy” wants your sympathies to lie regarding this guy; burning a little boy to death won’t win you many fans. However, in its second episode, the show reveals that Mother Valya is playing a game in which, up until recently, she was the only real player on the field. By installing her Truthsayers throughout the Imperium, she has managed to manipulate not only the emperor and his aristocratic frenemy, Duke Richese, but also the rebel forces responsible for taking down spice harvesters on Arrakis and infiltrating the imperial palace. When the rebel cell has outgrown its usefulness, she has no problem ordering its exposure and destruction. It’s all for the greater good, after all.The same is true of the orders she gives back at the Sisterhood’s home base. To her sister Tula’s dismay, Valya orders that Tula’s star pupil, Lila (Chloe Lea), undergo “the Agony.” This portentously named process, a version of which is undergone by Paul Atreides and his mother, Lady Jessica, in the “Dune” films, involves ingesting a poison with no antidote. With proper command of the body on a cellular level, an acolyte can break the poison down, unlocking her “genetic memory” — the collected knowledge and wisdom of all her maternal forebears — and becoming a Reverend Mother in the process.Why Lila? A powerful empath, she is secretly the great-great-granddaughter of Mother Raquella, the Sisterhood’s founder and the first woman to (involuntarily) undergo this process. If Lila is able to contact Raquella within her own mind, Valya believes that they can learn more about their founder’s prophecy concerning “the Reckoning” and “the Burning Truth.”But training for the Agony usually takes many years, and this is a rush job, precipitated by the coming of Desmond Hart and the monkey wrench he has thrown into the Sisterhood’s plans.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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    Chuck Woolery, Host of ‘Love Connection,’ Dies at 83

    After a career that included stints on “Wheel of Fortune” and other popular game shows, he took a combative turn as a right-wing podcast host.Chuck Woolery, the affable host of “Love Connection,” “Wheel of Fortune” and other television game shows, who later criticized liberal values and the Democratic Party as the co-host of a popular right-wing podcast, died on Saturday at his home in Texas. He was 83.His death was confirmed by Mark Young, the co-host of his podcast, “Blunt Force Truth.” He did not specify the cause.In the late 1970s, Mr. Woolery was the inaugural host of “Wheel of Fortune,” now one of the longest-running game shows on television. And in the early 1980s, he was tapped to host “Love Connection,” a dating show that helped to make him a household name.On a stage flush with red and pink cutout hearts, he maneuvered with an easy charm through interactions that could be both endearing and irreverent.At times he could be a coaxing Cupid; at others, a referee as contestants traded barbs over who was complaining or who had skipped out on dinner.“I felt more like the audience,” Mr. Woolery said in a 2020 interview with the journalist Adam Wurtzel. “What would the audience ask? What would the audience feel?”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