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    Late Night Is Aghast the G.O.P. Is Allegedly Linked to Jan. 6

    “It’s a real ‘Ocean’s 11’ of people who can’t count to 10,” Stephen 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.‘The Legion of Dumb’A new report in Rolling Stone magazine alleged that several members of Trump’s White House staff were involved in planning the rally that led to the Jan. 6 insurrection.Representatives Lauren Boebert of Colorado, Louie Gohmert of Texas and “Marjorie Taylor Greene of Mordor” — as Jimmy Kimmel referred to her on Monday night — were just a few of those said to be involved.“It’s a real ‘Ocean’s 11’ of people who can’t count to 10,” Stephen Colbert joked.“What a sad lineup that is. It’s the legion of dumb.” — JIMMY KIMMEL“And I, for one, am shocked that Congress had anything to do with it, because it nearly worked.” — SETH MEYERS“One of the organizers said, ‘I remember Marjorie Taylor Greene specifically.’ Yes, I can imagine it’s hard to forget someone who tells you forest fires are caused by circumcised space lasers.” — STEPHEN COLBERT“Representative Paul Gosar of Arizona was named, too. This guy, when he was running for office, six of his siblings — his own brothers and sisters — made an attack ad against him and called him a traitor. Before he was one of the most hated members of Congress, he was the most hated member of his family.” — JIMMY KIMMEL“He reportedly told the organizers repeatedly they would get a blanket pardon from Trump and they were all, like, ‘Well, if there’s one thing we know about Donald Trump, he’s as good as his word.’” — JIMMY KIMMEL“‘Blanket pardon’ sounds like the kind of made-up fake legal thing these doofuses would say. It’s a weird feature of our politics that the most sinister characters are also the biggest morons.” — SETH MEYERS“You could imagine Paul Gosar or Marjorie Taylor Greene on the phone with the Jan. 6 idiots huddled in their weird little militia hide-out/tree house promising them all kinds of crazy [expletive]: [Imitating Gosar and Greene] ‘You didn’t hear it from me, but I spoke to the chief wizard of the Supreme Court and he said there’s a secret provision written by Benjamin Franklin’s ghost, and it says you can have a blanket pardon, a private plane and a $100 gift card to Golden Corral.’” — SETH MEYERSThe Punchiest Punchlines (the Facebook Papers Edition)“It is a monumentally bad day for Facebook, the world’s top social media network and Uncle radicalizer.” — STEPHEN COLBERT“A group of U.S. news organizations last week began publishing a series of stories based on internal Facebook documents showing that the social media platform spreads misinformation, incites violence and facilitates human trafficking. Even worse, it gives people from high school a way to get in touch with you.” — SETH MEYERS“Thanks to hundreds of leaked internal documents, 17 news organizations are publishing a series of stories about all of the damage Facebook does, for example, how coordinated groups on Facebook sow discord and violence, including on Jan. 6. That’s in addition to the discord your cousin sows on Facebook by announcing she’s named her twins Dash and Otter.” — STEPHEN COLBERT“The documents, which are being called the Facebook Papers, reveal frustration among Facebook’s staff about the company’s direction. Yeah, not so great to have all your personal information stolen, is it, Facebook?” — JAMES CORDEN“I don’t know, are we really surprised by this, finding out ‘What did Facebook know?’ Let me clear it up for you, what Facebook knows: They know everything. They know your Social Security number. They know where you live; what you’re having for lunch. They know the winners of the next five Super Bowls.” — JIMMY KIMMEL“They’re basically Specter, but we can’t stop because we have to monitor the weight of our former love interests.” — JIMMY KIMMEL“Unsurprisingly, a lot of misinformation has to do with Facebook C.E.O. Mark Zuckerberg. Last year, he testified before Congress that Facebook removes 94 percent of hate speech, but the company’s own researchers estimated that it was removing less than 5 percent. That’s — that’s a hell of a spread: ‘Mom, I know I said I got 94 percent on the math test, but it was actually 5 percent. I didn’t lie; I just really suck at math.’” — STEPHEN COLBERTThe Bits Worth Watching“The Daily Show” took a deep dive into Senator Kyrsten Sinema.What We’re Excited About on Tuesday NightOlivia Rodrigo will perform on Tuesday’s “Jimmy Kimmel Live.”Also, Check This Out“Judy Justice,” starring Judge Judith Sheindlin, will become available on Nov. 1.Tracy Nguyen for The New York TimesJudge Judith Sheindlin has moved on from “Judge Judy” to “Judy Justice.” More

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    Broadway’s ‘Is This a Room’ and ‘Dana H.’ to Close Early

    The two experimental works will end their runs on Nov. 14. They had been scheduled to close Jan. 16.A pair of short experimental dramas that made an unlikely journey to Broadway this fall will close early, reflecting a tough climate for new plays as the industry seeks to recover from the lengthy pandemic shutdown.“Is This a Room” and “Dana H.” will end their runs on Nov. 14. They had been scheduled to close Jan. 16.“While we would’ve loved to run through our original end date, we recognize that we are in a challenging landscape for live performance and we’re grateful to have had a chance to share this work,” the producers, Dori Berinstein, Sally Horchow and Matt Ross, said in a statement Monday.The plays were jointly capitalized for up to $3.5 million, according to a filing with the Securities and Exchange Commission. That money has not been recouped by investors.The reviews were strong for both works. “Is This a Room,” which is a verbatim re-enactment of the F.B.I. interrogation of Reality Winner, began previews Sept. 24 and opened Oct. 11. The play was conceived and directed by Tina Satter and stars Emily Davis.Deirdre O’Connell in Lucas Hnath’s play “Dana H.” at the Lyceum Theater.Sara Krulwich/The New York Times“Dana H.,” in which an actress, Deirdre O’Connell, lip-syncs a series of audio interviews in which the playwright’s mother describes being abducted by a man she had been counseling, began previews Oct. 1 and opened Oct. 17. The author is Lucas Hnath, and the play is directed by Les Waters.The plays, which are running at the Lyceum Theater, are the first casualties of the uncertain climate on Broadway this fall. The industry is concerned enough about its economic state that it is not disclosing box-office grosses — a break with decades of practice — so it is hard to know how shows are doing. Producers say that several big musicals, and even some plays, are doing well, but that new plays, long a challenge on Broadway, are struggling. More

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    Why Amazon Is in Business With Judge Judy

    The company hopes a new court show starring the straight-talking judge will help turbocharge its free, ad-supported streaming platform, IMDb TV.CULVER CITY, Calif. — And you thought Amazon’s ambitions in Hollywood were limited to a single streaming service.Amazon Prime Video, of course, ranks as one of the world’s pre-eminent subscription providers of on-demand films and television shows. Last year, Amazon spent $11 billion on entertainment programming, a 41 percent increase from a year earlier. In May, Amazon bought Metro-Goldwyn-Mayer to supercharge its content pipeline even further. For their $13 monthly Prime membership fee, subscribers will soon have exclusive access to “Thursday Night Football.”But the internet giant also owns another streaming service, one that has mostly gone unnoticed. It’s called IMDb TV. Started in 2019 with little fanfare, IMDb TV is free, supported by ads, mostly stocked with reruns — and about to come out of the shadows.Next Monday, IMDb TV will unveil “Judy Justice,” a court show starring the straight-talking Judge Judith Sheindlin, 79, whose wildly popular “Judge Judy” ended in May after 25 years. The new show is essentially a supersized version of the old one — a certified hit, or so IMDb TV hopes, taken from the dying medium of daytime broadcast syndication. The cases being litigated involve amounts up to $10,000. (It was $5,000 before.) Her on-camera courtroom staff has been expanded to include a stenographer and a law clerk.Sarah Rose, 24, a law school student who happens to be Judge Sheindlin’s granddaughter, is the clerk. At the end of each “Judy Justice” episode, Ms. Rose and Judge Sheindlin meet in chambers and chew some fat.“Sometimes I can add something from a younger perspective,” Ms. Rose said, referring to America’s crankiest judge as Nana. “The term LMAO came up on a case the other day, for example, and she needed me to interpret.”“Judy Justice” is similar to “Judge Judy,” which ran for 25 years on broadcast networks.Tracy Nguyen for The New York TimesJudge Sheindlin has ditched the much-discussed clip-on pony tail she wore in the final seasons of “Judge Judy.” (Asked by a reporter to address viewer consternation over her hair, she responded with an epic eye roll.) But she remains defiant — a plain-spoken star at a time when expressing an incongruent opinion can result in vicious blowback online.“I bring eyeballs because, at least for one hour a day, people see that someone is holding the line,” Judge Sheindlin said over lunch. “I’m unafraid to call out irresponsible, un-American behavior. If we settle for mediocrity, we get what we deserve.”A waiter stopped by to top off her glass of rosé. “I think I know the boundary, the limit, of where it’s appropriate to go,” she continued. “I might say to a male defendant: ‘So you’re 22 and you have six kids and no job. Find something else to do with that organ!’ But I don’t say what I would really want to say, which is, ‘Bring it up here to my bench.’”She slammed her knife down on the table. “Whack,” she said gleefully.Amazon is counting on Judge Sheindlin’s chutzpah to help establish IMDb TV as a bigger player in what has become, surprisingly, one of the hottest areas in media: free, ad-supported video on demand. In addition to IMDb TV, which is named after the Internet Movie Database, the crowded field includes Pluto TV, Tubi, Peacock, Roku Channel, Crackle and Xumo. They mostly aggregate older films (“Despicable Me 2,” “Grumpy Old Men”) and reruns (“Little House on the Prairie,” “Good Times”).IMDb TV also offers series like “Mad Men.” Justina Mintz/AMC, via Associated PressOnce seen as dowdy cousins to subscription services like Disney+ and Netflix, which do not carry ads, ad-supported platforms soared in popularity during the pandemic as viewers sought out entertainment comfort food. More viewers than anticipated seem to be willing to put up with a few ad breaks, analysts say. IMDb TV, for one, claims to carry about 50 percent fewer ads than a traditional broadcast network.“Free is always compelling,” said Guy Bisson, executive director of Ampere Analysis, noting that subscription fatigue is setting in among some consumers.Ad-supported streaming services had about 108 million viewers in the United States in 2020, according to eMarketer. The number is expected to climb to 157 million by 2024. (IMDb TV does not disclose raw viewing numbers. In May, it said that year-over-year viewership had increased 138 percent and that 62 percent of viewers were ages 18 to 49, the demographic that advertisers pay a premium to reach.)The online video advertising market is expected to total roughly $82 billion in the United States in 2024, up from $27 billion in 2018, according to Ampere Analysis.IMDb TV is expected to be rebranded, although Amazon has given no date. (Asked if she had complained to Amazon about the awkward name and pressed the company to change it, Judge Sheindlin said, “I have, and they are.” An IMDb TV spokeswoman declined to comment.) At the moment, only 33 percent of entertainment consumers are aware of IMDb TV, ranking the service near the back of the ad-supported pack, according to Screen Engine/ASI. Most competitors are in the 40s.Last year, IMDb TV rolled out its first original drama, “Alex Rider,” based on the popular spy novels for teenagers. A second season is on the way, along with other originals, including a half-hour drama from Dick Wolf, the king of law enforcement TV; a spinoff of “Bosch,” the long-running Prime Video series; a comedy starring Martha Plimpton; and a drama adapted from the 1999 erotic thriller “Cruel Intentions.” Under a new agreement between Amazon and Universal Pictures, Prime Video and IMDb TV will share certain streaming rights to Universal’s theatrical films.In recent months, the IMDb TV app has become available on a wide variety of devices, including iPhones. This fall, Amazon will begin selling its own smart TVs with IMDb TV automatically installed.“Judy Justice” is not without risk. Old “Judge Judy” episodes (there are more than 5,000) continue to run in syndication on local stations, and viewers don’t seem to mind the recycling. About seven million have been tuning in, a decline of only 11 percent from May, when new episodes were airing, according to Nielsen data.How much Judge Sheindlin does one planet need? “You can never have enough of someone who is as smart and as funny and as entertaining as she is,” said Lauren Anderson, IMDb TV’s co-head of programming.The core daytime audience is decidedly senior. Will Judge Sheindlin’s older fans be able to find IMDb TV’s corner of the internet? (Access to IMDb TV programming, including “Judy Justice,” is easiest through Prime Video.)Judge Sheindlin, 79, said she was “relatively worry free” about her new show.Tracy Nguyen for The New York Times“Judy Justice” also represents an experiment for streaming. For the first time, a service is trying to replicate daytime television’s traditional rhythm: New episodes will arrive five days a week and accumulate in a bingeable library. IMDb TV ordered 120 episodes of “Judy Justice,” the largest first-season order ever by a streamer, analysts say. Amazon has an option to order another 120.“We see a space to become a modern broadcast network,” Ms. Anderson said. “While we have seen the ratings decline on broadcast, it’s not because audiences are rejecting the content. It’s about convenience and the delivery route.”Judge Sheindlin deemed herself “relatively worry free” about her new show. Unlike traditional syndication, streaming doesn’t have the pressure of publicly reported ratings. And she doesn’t exactly need the job.“I did the math, and I’ve already got enough for 24-7 nursing care until I’m 150,” she said. (CBS paid her $47 million to tape 260 episodes of “Judge Judy” a year. She declined to discuss her “Judy Justice” salary. Amazon is paying her about $25 million for the first 120 episodes, analysts estimate.)Other television icons — David Letterman, Jay Leno, Jon Stewart, Oprah Winfrey — have approached streaming as a slower, more refined second act. But Judge Sheindlin is sticking with the tried and true. A few weeks ago, she was on the “Judy Justice” set at Amazon Studios doing what she does best — yelling at a dognapper.“Don’t try to talk over me, madam!”Camera operators moved toward her bench for a close-up. Judge Sheindlin, wearing a maroon robe (instead of “Judge Judy” black) with a more stylish collar (begone with you, lace doily), tapped her finger impatiently.“I’m waiting for your proof!” More

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    James Michael Tyler, Who Played Gunther on ‘Friends,’ Dies at 59

    A real barista who was cast as a Central Perk co-worker of his crush, Jennifer Aniston’s character, he appeared in 150 episodes of the hit show.James Michael Tyler, who played the deadpan, smitten barista Gunther on the TV show “Friends,” died on Sunday at his home in Los Angeles. He was 59.His manager, Toni Benson, said the cause was prostate cancer, which was diagnosed in September 2018. After his diagnosis, Mr. Tyler shared his story to encourage others to get screened for prostate cancer as early as 40.“Friends” helped launch the careers of its star-studded cast, which included Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc, Matthew Perry and David Schwimmer. It debuted on NBC in the fall of 1994, ran for a decade, and typically had around 25 million to 30 million viewers each week.Though Mr. Tyler was not a main character, he was widely considered to be “the seventh friend” and appeared in 150 episodes. He played the part of Gunther, a barista at Central Perk, the friends’ hangout, who had a deep crush on Ms. Aniston’s character, Rachel, who also worked at the coffee shop.Mr. Tyler’s path to the show was fortuitous. While working as an actual barista at a real-life coffee shop, he was asked if he would be interested in being an extra on “Friends.” For the first season, his character was known as “Coffee Guy.”“At the time I was also working as a barista for a place called the Bourgeois Pig, one of the last independent coffee houses in Los Angeles,” Mr. Tyler told The New York Times in 2012. In his second season, he got a line of dialogue: “Yeah,” he said, when Mr. Schwimmer’s character, Ross, asked him if his apartment had stairs.Marta Kauffman and David Crane, the show’s co-creators, recalled the beginnings of Mr. Tyler’s run on the series. “When he started as an extra on Friends, his unique spirit caught our eye and we knew we had to make him a character,” they said in a statement Sunday night. “He made Gunther’s unrequited love incredibly relatable.”In the series finale, Gunther, known for his bleached locks, finally summoned the courage to confess his love to Rachel, who let him down warmly.“I love you, too,” Rachel told Gunther. “Probably not in the same way. But I do. And when I’m in a cafe having coffee, or I see a man with hair brighter than the sun, I’ll think of you.”Born May 28, 1962, in Winona, Miss., Mr. Tyler was the youngest of five children, raised by a retired Air Force captain and a homemaker, according to a biography on IMDb. He moved to Anderson, S.C., to live with his sister at age 11 and enrolled at Clemson University as a geology major. He earned a master’s of fine arts from the University of Georgia and moved to Los Angeles after a brief stint of selling cars in Olympia, Wash., according to the bio.“Michael loved live music, cheering on his Clemson Tigers, and would often find himself in fun and unplanned adventures,” Ms. Benson said in a statement. “If you met him once you made a friend for life.”Mr. Tyler revealed publicly in June that he had prostate cancer. He told “Today” that he was surrounded by an “extraordinary” support group and that many people were praying for his health.“It’s made me, personally, just realize how important every moment is, every day,” Mr. Tyler said. “And fighting. Don’t give up. Keep fighting. Keep yourself as light as possible. And have goals. Set goals. My goal this past year was to see my 59th birthday. I did that, May 28th. My goal now is to help save at least one life by coming out with this news.”While undergoing treatment, Mr. Tyler continued to perform and starred in two short films, “The Gesture and the Word” and “Processing,” earning accolades at film festivals, according to The Hollywood Reporter.Mr. Tyler’s survivors include his wife, Jennifer Carno. A complete list of survivors was not immediately available. More

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    What’s on TV This Week: ‘Great Performances’ and ‘In the Heights’

    PBS’s “Great Performances” debuts a Halloween-themed episode. And “In the Heights” airs on HBO.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Oct. 25-31. Details and times are subject to change.MondayPOV: THINGS WE DARE NOT DO 10 p.m. on PBS (check local listings). A teenager pushes against gender expectations in a small village in western Mexico in this documentary from the filmmaker Bruno Santamaría. The film follows a young Ñoño, who begins exploring femininity, leading to difficult conversations with conservative family members, and challenges from others in the community.TuesdayTHE LAST O.G. 10 p.m. on TBS. In the Season 3 finale of this comedy series, Tray (Tracy Morgan) was the victim of a violent attack. In Season 4, which will debut with a pair of new episodes on Tuesday night, Tray returns to his Brooklyn community determined to better his life. This season will be the first without Morgan’s original co-star, Tiffany Haddish. It’s something of a mirror of the series’s first episodes: The show started with Tray returning home after 15 years of incarceration.WednesdayPOLTERGEIST (1982) 7 p.m. on AMC. Channels have spent the month of October airing an array of spooky movies. Take advantage of the final week with a double feature of horror classics: “Poltergeist,” about a suburban family plagued by ghosts, and THE EXORCIST (1973), about a possessed child, which airs on AMC at 9:30 p.m.ThursdayFrom left, Bill Murray, Chloë Sevigny and Adam Driver in “The Dead Don’t Die.” Abbot Genser/Focus FeaturesTHE DEAD DON’T DIE (2018) 5:30 p.m. on FX. The undead take their flesh with coffee and chardonnay in “The Dead Don’t Die,” Jim Jarmusch’s zombie comedy. Bill Murray, Adam Driver and Chloë Sevigny star as members of a small-town police department. In this world, a climate change driven apocalypse is set in motion by “polar fracking,” which disrupts the earth’s rhythms and causes the dead to awaken. There are familiar faces among the living and undead alike: Jarmusch assembled an unusually recognizable ensemble that includes Tilda Swinton, Selena Gomez, RZA, Steve Buscemi and Iggy Pop. “This is an end-of-the-world party with an appealing guest list and inviting, eccentric décor,” A.O. Scott wrote in his review for The Times. “The consumption of human flesh just keeps it interesting,” Scott added, “and the crepuscular light — shot by the ghoulishly gifted cinematographer Frederick Elmes — gives it a bewitching, Halloween ambience.” In this apocalypse, even the beheading of a ghoul manages to feel coolly understated.WALKER 8 p.m. on the CW. Cordell Walker, the fictional Texas Ranger played by Chuck Norris in the 1990s show “Walker, Texas Ranger,” supplements his badge, cowboy hat and belt buckle with a smartphone in a saddle brown leather case in this modern-day reboot. The Season 1 finale saw this new version of Walker (played by Jared Padalecki) revisit the site of his wife’s murder along the U.S.-Mexico border, and gave a shocking revelation about who killed her. The second season debuts on Thursday night. In an interview with The New York Times in August, Padalecki hinted at what the show’s second season might have in store for his character. “Now he realizes he needs to be there for his kids, for his parents, for his brother, for his work partners, and for himself,” Padalecki said. “We’ll see in Season 2 that Walker has found some degree of closure.”FridayGREAT PERFORMANCES: NOW HEAR THIS 9 p.m. on PBS (check local listings). The violinist and conductor​​ Scott Yoo brings a group of musicians to a historic manor home in the Berkshires to record works by Beethoven in this latest entry of PBS’s “Great Performances” series. But like any Halloween-weekend program worth its candy corn, this one has some spooky twists: The group performs a seasonally-appropriate piece in Beethoven’s Op. 70, No. 1, the so-called Ghost Trio, and the episode also brings in dramatized fictional conversations between Beethoven and Sigmund Freud. (Apparently nothing is scarier than confronting one’s inner demons.)SaturdayMelissa Barrera and Anthony Ramos in “In the Heights.”Macall Polay/Warner Bros.IN THE HEIGHTS (2021) 8 p.m. on HBO. Since this movie adaptation of the Lin-Manuel Miranda musical “In the Heights” debuted in July, Miranda’s best-known work, “Hamilton,” has returned to Broadway. For those who enjoy the comforts of a sofa, “In the Heights” can bring a taste of Broadway-scale spectacle to your living room. Directed by Jon M. Chu (“Crazy Rich Asians”), this lavish movie musical stars Anthony Ramos as Usnavi, a New Yorker who runs a bodega in Washington Heights. Usnavi dreams of returning to the Dominican Republic, where he lived as a child. He sings about the pursuit of that dream, and his neighborhood harmonizes with him. Though the musical opened on Broadway in 2008, the film version feels “as permanent as the girders of the George Washington Bridge,” A.O. Scott wrote in his review for The Times. “It’s a piece of mainstream American entertainment in the best sense — an assertion of impatience and faith, a celebration of communal ties and individual gumption, a testimony to the power of art to turn struggles into the stuff of dreams.”SundayDOCTOR WHO 8 p.m. on BBC America. Jodie Whittaker will return for her third and final season as the protagonist of this long running British sci-fi show on Sunday night. The new season will kick off with a Halloween-themed episode, and is also set to be the final one for the show’s current lead writer, Chris Chibnall. He has taken on a new challenge for the occasion: This season will tell a single story in six episodes. More

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    ‘Insecure’ Season 5, Episode 1 Recap: No Time to Be Insecure

    The characters of “Insecure” set off to close out their final season with intention.During the first episode of the final season of HBO’s “Insecure,” we meet “Throwback Issa,” the college-aged version of Issa staring back at her in the bathroom mirror.This time, Issa doesn’t rap to her reflection. Instead, they catch up and she looks at her younger self endearingly. “I forgot how cute I looked with twists,” Issa says to her reflection. And the younger version of herself is struck by who she’s become. “Issa?! Is that me?” she asks.After they spend a minute admiring their teeth, they awkwardly cut one another off, as if they are both thinking and doing the same thing. In this tango you can tell that while Issa does not look like she used to — now she has a more auburn hair color and doesn’t wear braces — she is very much the girl she used to be, in essence.“Throwback Issa” was the most literal reflection upon the past in an episode set at Issa and her L.A. crew’s 10-year-reunion at Stanford, their old stamping ground. The crew looks as good as ever. Kelli and Tiffany in Gucci? Yes. (Tiffany only wore pink and green the entire episode). Issa and Molly in classed up Stanford sweaters? An aesthetic I can subscribe to.It was a weekend that involved plenty of time traveling. We saw college Issa admiring but also being slightly disappointed in current Issa. Later, on an alumni panel, current Issa worries about future Issa’s time to do the things that she wants to do. Molly finds herself thinking back about her younger, more bullish self. Kelli flies too far into a future where she no longer exists, and doesn’t like her legacy. The characters are looking back to see how far they’ve come and learn where they want to go.The episode also picked up the pieces of the more recent past. Last season, we left Issa in an entanglement with Lawrence, who had recently found out that his ex, Condola, was pregnant. At the time, Issa was considering moving to San Francisco with Lawrence, who had just found a job there. The pregnancy was a brick thrown through the window of their relationship.Issa and Molly’s relationship, the one viewers tune in for, was on thin ice and the heaviness of their love lives threatened to fracture it. Their dreamy hangout scenes were gone — now there was only awkwardness.This week there was movement on each of these fronts. Issa and Molly are in agreement on what they want: to move forward, to grow past the obstacles in front of them. They are done trying things on, they know more about who they aren’t and what they don’t want in their lives. “I know you’re a big-time lawyer now,” reflection Issa says. “No, I never really wanted to be a lawyer,” current day Issa responded, with a certainty that escaped her younger self.During the panel, Issa is joined onstage by a filmmaker, a start-up founder and the advertising art director at Coca-Cola, all alumni. Issa was invited as an entrepreneur and founder of “The Blocc” — we don’t know much about the company (and it’s not clear if she does either) but I love this for her.When the moderator asks the panelists when they found stability in their life, Issa doesn’t have an answer. She is honest with her audience and tells them that she’s unsure and that she may be wasting her time, but she’s also talking to herself. It’s as if by hearing herself talk about her latest endeavor, she comes to understand the risks associated with it in a way she hadn’t before.Throughout the episode, Issa is so focused on her future and past that she is incapable of being present. Whenever she is asked what the name of her company stands for, she stammers, unable to remember. She may have her own company now, but she is still managing apartments and driving a Lyft. This all appears hard for Issa to reconcile but I get the impression that she eventually will. This isn’t “Game of Thrones.”Back in the quad, Molly, three-months after her break up with Andrew, is trying to be a good friend to Issa because that’s what Molly needs from her. After the struggles of last season, Molly now seems ready to triage the friendship, softly asking Issa, “Are we going to be OK?”Molly also seems to be caught in a flashback on campus. While on a walk with Issa she remembers the confidence that she used to have. “Freshman year, we thought we had it all figured out.” The fire that used to define her, her tenacity and ambition, is absent. But I doubt that it’s gone forever.Kelli, on the other hand, is believed to be dead by the organizers of the reunion — she was marked as deceased in the program and even appeared in an in-memoriam video. (“Stanky Legg” by the GS Boyz plays in tribute when her face appears.)At first, she thinks it might be good for her to “go off the grid,” but then something else sets in. When she realizes that she is only remembered for her allergy to kale and solid stanky leg, it stops being fun for her. Kelli’s modus operandi has generally been to go with the flow, but maybe it’s time to swim upstream.When the girls are on their way to Reggae Gold, an old haunt in Oakland, Kelli is not as amped as the other girls. She is obviously disturbed and interrupts a singalong to The-Dream’s “I Luv Your Girl,” an on-the-way-to-the-club ritual, to let them know why she isn’t feeling the party vibes. She is quickly dismissed. Maybe playing pretend dead hit too close to home for her.The next morning at a diner, they give Kelli an appropriate in-memoriam tribute. When they leave, Molly and Issa walk past three young giggly girls, one carrying a poster that read “take action.” The girls apologize for bumping into them. Issa looks back at them as if they seemed familiar, it was like seeing their younger selves walk right past them. As those girls fade behind them, Issa and Molly tell one another they want to move forward.Then Issa proceeds to do so. When she flies home, Lawrence is waiting for her at LAX in a black hoodie, looking sorry and feeling sorry. (Yes, I’m still mad at Lawrence for getting Condola pregnant while trying to mend things with Issa.)What is different about Lawrence’s pitifulness is that Issa is no longer willing to take part in it. She breaks up with him and he immediately understands. The breakup was quiet — no arguments or shock, just an understanding between two adults. It was a more mature and cleaner breakup than their traumatic first one.Time is running out for “Insecure” and perhaps also, the premiere seemed to suggest, for maybes and half-steps as the characters consider the direction of their lives, beyond young adulthood. There’s not much time left to be insecure. More

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    ‘Succession’ Recap, Season 3, Episode 2: ‘Judasing’

    Kendall makes his pitch. Even with his siblings, he sounds like a guest on “Power Lunch.”Season 3, Episode 2: ‘Mass in Time of War’There’s a mad genius to the way Kendall Roy uses language. Here’s a guy who essentially learned to communicate by listening to cable TV panelists, leadership conference speakers and the macho bluster of his venture capitalist college bros. Now, in an ever-intensifying national spotlight, Ken is tossing around jargon with a frenzied, improvisational flair, like a jazz singer scatting in double-time.In this week’s episode, “Mass in Time of War,” he drops words like “epiphenomenal” and phrases like “let’s clean-slate this” and “detoxify our brand and we can go supersonic.” Even when his siblings ask how he’s doing, Ken answers with a studied earnestness, like a guest on “Power Lunch.” (“Certain amount of regret, but y’know … pretty cleansed.”)“Mass in Time of War” feels more like the second part of last week’s installment than it does a typical “Succession” episode. The Roys don’t travel anywhere special or gather for any major event; they’re just continuing in the same crisis mode they were in when the season began. Logan is still in Sarajevo, fretting over his inability to get any of his progeny on the phone. And the kids? Well, they actually do get together someplace unusual: the bedroom of Kendall’s daughter, Sophie. (Roman, feigning shock after Ken calls his siblings to her room: “He remembered his kid’s name.”)Once Roman, Siobhan and (surprisingly) Connor are huddled up, Kendall makes his pitch, with buzzwords flying around the room. His argument is a mix of the self-righteous and the pragmatic. On the one hand, he tries to hold himself up as the family’s noble truth-teller, finally calling for an end to decades of privileged, exploitative, chauvinist “vibes” at Waystar. He applies the most pressure to Shiv, getting under her skin by saying he’s doing what she failed to do as the Roy’s “token woman wonk woke snowflake.” “Right now, I’m the real you,” he needles.But Kendall also makes a persuasive case that the only way for the Roy children to save Waystar and to hold onto to any kind of sociopolitical clout is to oust Logan, who is weak enough right now that a unified front from his sons and daughter could finish him.Indeed, we see signs of Logan struggling throughout this episode. Last week, he was ordering his team to retain three “white shoe” law firms and to get a bunch of the other top attorneys tied up with conflicts of interest. This week, Logan has trouble getting anyone from his family to check in — with the exception of his wife, Marcia (Hiam Abbass), who comes back in part because she hates his kids and would love to help destroy Ken.And then there’s this: On their own, the younger Roys appear to be flailing. Although Siobhan pretends to keep her husband in the loop, he has to hear from Greg that she has sneaked away to Kendall’s ex’s apartment. She unconvincingly reminds Tom that she loves him — and he responds in kind, adding, “Good to know we don’t have an unbalanced love portfolio” — but she hesitates to tell him anything about who’s in line to become Waystar’s new “King Potato.” And when she finally does return to Logan, he promises to give her a fancy corporate title of “president” that can mean “whatever you want it to mean” … which, in Logan-speak, means it’ll probably be meaningless.Even more pathetically, Roman gets a similar runaround from Gerri. When he shows up at her new Waystar chief executive office, cracking his usual bad-boy jokes about how she chained herself “to a fire hydrant that spews out cultural insensitivity and sperms,” she quickly hustles him right back out the door. She offers him vague assurances that she plans to start working him into the quarterly earning calls “as a signal,” though it seems fairly obvious that the newly empowered Gerri is in no hurry to cede anything to Roman, of all people.Kendall certainly sounds sure of himself. But as we’re reminded in a couple of key scenes while he is away from his siblings, he is still beholden to Waystar’s insurgent board members, Stewy (Arian Moayed) and Sandy, who poke at him by sending a model of a Trojan horse to his wife’s apartment. And as Ken is urgently trying to chart a bold course for Waystar’s future, his lawyer is trying to get him to focus on the Brightstar scandal and his potential legal liabilities.As for Connor … well, he’s Connor. He seems to answer Kendall’s request for a meeting in part because he is happy to be included and in part because Logan made him fly home on a disappointing international flight with “a selection of heavily refrigerated cheeses.” Why did Ken want Connor to be a part of this? It may be because he’s less interested in securing Waystar’s legacy than he is in humiliating his father in their big game by taking all of his pieces of the board.Still, there are two problems with Kendall’s “we’re all in this together” plan. For one, he still thinks it makes the most sense for him to be the one sitting at the head of the table after the coup, and neither Siobhan nor Roman agree. Two, they’re all terrified of Logan — who rattles them when he sends a box of doughnuts to their “secret” meeting. “I don’t think he ever fails or ever will,” Roman admits.One by one, the siblings file out, each taking an insult from Ken with them. First Connor is out (“You’re irrelevant”), then Roman (“You’re a moron”) and then Shiv, who is told she has gotten this far only because “girls count double now” … thus revealing just how committed Kendall really is to “changing the cultural climate.”Yet during all of this running around behind other people’s backs — “Judasing,” as Kendall calls it — the person who may ultimately hold the key to everyone’s future is absent. Greg, who confesses to Ken his wariness, saying “I’m kind of too young to be in congress so much,” rejects Waystar’s chosen lawyer and takes advice from his moralizing grandfather, Ewan Roy (James Cromwell), a man who considers Ken to be “a self-regarding popinjay.” They end up in the office of an old left-wing lawyer (played by Peter Riegert), who tells Greg that his two priorities will be his client’s well-being and to “expose the structural contradictions of capitalism as reified in the architecture of corporate America.”In a way, this is exactly what Kendall wants to do. That is, if he actually believes all the words that keep tumbling, endlessly, out of his mouth.Due DiligenceLogan is insistent on having familiar faces around him and all but demands that his inner circle bring Marcia back into the fold. As Hugo eventually explains to her, “We would love to get back, visually, to the Logan we all know.” Marcia’s lawyer, though, lets Hugo know this will be a costly return — albeit less expensive or embarrassing than a divorce and a corporate board breakup.Perhaps in reaction to his humiliating phone call with Logan last week, Roman goes full brat in this episode, making inappropriate comments to Gerri (“How are your daughters? You got pictures?”) and responding to Kendall’s request that he not touch anything in Sophie’s room by immediately putting his hands near various objects on her dresser.Something about Roman’s presence brings out the brat in Shiv, too. As Kendall pontificates about how Waystar is “a declining empire inside of a declining empire,” she interjects with, “Unsubscribe.” Then she hits Roman where he lives, suggesting that he can’t keep preening around like a stud unless he’s willing to, y’know, consummate. (When he storms out, Shiv shrugs. “It’s not my fault he has a sex thing.”)File this away for later: Marcia reminds Logan that he has damaging dirt on Kendall. He waves off that advice, saying, “You drop some bombs, you get burnt too.” But if Logan starts to lose, badly? It could be time for the nuclear option. More

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    Review: In ‘Fairycakes,’ the Woods Are Campy, Dark and Daft

    Douglas Carter Beane’s winky fantasia finds Pinocchio, Puck and other unlikely characters meeting cute in a storybook setting.Did you ever want to see a fairy-tale mash-up, set amid the magic of nature, offering clever rhyme and delightful song, with a powerful theme to bring it all home?Well, this isn’t that.“Fairycakes,” the laborious new comedy by Douglas Carter Beane that opened on Sunday at the Greenwich House Theater, dares to enter the precincts of “Into the Woods,” upping the ante and losing the bet. Written mostly in ear-scraping doggerel, it throws characters from the fairy-world subplot of Shakespeare’s “A Midsummer Night’s Dream” into the mixer with Cinderella, Peter Pan, Pinocchio and Sleeping Beauty, then presses the button marked “beat to death.”I say this with no glee; I went in needing and fully expecting an old-fashioned good time from the author of “The Little Dog Laughed,” “As Bees in Honey Drown” and many other hilarities. Beane’s always palpable love of theater, and satirical eye for its self-dramatizing denizens, suggested a lighthearted romp in the metaphysical woods.And for a moment, when familiar cutups like Jackie Hoffman and Ann Harada started the show by singing one of Lewis Flinn’s Shakespeare settings in sparkly, diaphanous drag, I thought we were heading in the right direction. (The perfect found-in-the-attic costumes are by Gregory Gale.) In her trademark cat-eye glasses, with her bitter-lemon moue, Hoffman, as Moth, is comedy just standing there; Harada, as Mustardseed, a warmth machine. Completing the set of Queen Titania’s attendant daughters are the witty Z Infante as Cobweb and the winning Kristolyn Lloyd as Peaseblossum, as the name is rendered here.Yet once their opening number ends and the plot begins, the poetry of the premise starts leaking out. That’s especially true in Beane’s singsong dialogue, mostly rendered four feet to a line with a few extra left feet thrown in. It scans like an ice cream truck with a flat tire.Jamen Nanthakumar, far left, in “Fairycakes,” by Douglas Carter Beane, which opened on Sunday at the Greenwich House Theater in Manhattan. Sara Krulwich/The New York TimesAs for the rhymes, often stressed on the wrong syllable, one can only assume they are designed to make you cringe. There is no world in which “fairy” and “ordinary” align without damage to one of them. And when Titania (Julie Halston) explains the parentage of the young man she dotes on — an offstage boy in Shakespeare, here the handsome Jamen Nanthakumar — she has this mouthful to spit out: “She was a princess her husband a king/But when she died, she did leave this changeling.”If it were only the verse that limped so badly, “Fairycakes” might still make viable comedy. But the story is lumpy too, its mechanical interweaving of Shakespeare and Disney somehow both predictable and holey. Each of the immortals is involved in the lives of one of the mortals: Peaseblossum encouraging Geppetto (Mo Rocca) to carve a son (Sabatino Cruz); Cobweb helping Cinderella (Kuhoo Verma) win her prince (Jason Tam); Mustardseed trying to wake Sleeping Beauty (Infante again); and Moth dumping Peter Pan for the pirate Dirk Dead-eye (Arnie Burton).I doubt we’re meant to think much about Dirk’s provenance. (He apparently comes from Gilbert and Sullivan’s “H.M.S. Pinafore,” by way of Cap’n Crunch.) Nor are we meant to think much about anything else; Beane’s run-here-then-there direction on the very small set by Shoko Kambara and Adam Crinson almost always chooses distraction over information. But distraction only works for a while, and watching the novelty expire well before the play does makes each of these scenes seem less like a comedy vignette than a condolence call.From left, Chris Myers and Kristolyn Lloyd,whose relationship is complicated by both Shakespeare and Disneyfication.Sara Krulwich/The New York TimesThings are somewhat more interesting in the Shakespearean part of the plot, where a prophecy suggests that the impending divorce of Titania and Oberon (Burton again) will result in the deaths of their daughters. Now Puck (Chris Myers) enters the story, hoping to undo the curse and win the love of Peaseblossum, who disdains him for giving her the nickname that is also the show’s title. How Cupid, a large cricket and Queen Elizabeth are dragged in as well, I leave for you to discover.At a baggy 2 hours and 15 minutes, it’s all too much, and too little. Or it was for me; others seated nearby seemed to be having a better time. One of them explained to me, later, at home, that he’d always enjoyed camp on its own terms, excusing its longueurs and illogic as the price, or even the source, of the entertainment. He name-checked the Ridiculous Theatrical Company and the old days of Wigstock, both of which featured amateur performers among the professionals.But amateurism as an aesthetic is a tricky proposition. Charles Ludlam, the Ridiculous star, and the better drag queens at Wigstock had in common painstaking precision. Even celebrating too-muchness, they knew the value of a tight fit and a tight edit.“Fairycakes” does share some of the anarchic, insider energy of that genre, thumbing its nose at the usual theatrical necessities of coherence and critics. But it is, for the most part, too uncareful for its unsophistication. And editing does not seem to be in Beane’s vocabulary, at least when it comes to actors. He perpetually indulges rather than cures his hams’ tendency to overdoneness.What makes these over-the-top shortcomings especially apparent are the few moments that beguile with (relative) subtlety. Beane gets off some of his finely honed zingers, and Flinn’s songs, especially the setting of Sonnet 23 that opens the second act (“As an imperfect actor on the stage”), are truly lovely. (So is Lloyd, who sings the sonnet, accompanying herself on the guitar.) Tam, dashing in tails as Prince Charming — and no less so in gold diapers as Cupid — gets the generic suaveness of a royal on the make in a few strokes, almost as if he had built his performance on the far more detailed version of the character in “Into the Woods.”Kuhoo Verma, center left, dancing with Jason Tam in “Fairycakes.” Sara Krulwich/The New York TimesAnd then there’s Halston, who as always manages to pull the rabbit of real humanity out of the hat of caricature. Even while delivering a moral, she’s funny.That moral may not amount to much in “Fairycakes” — it’s something about embracing the human “capacity for change” — but in the hands of an old pro like Halston, it sounds like news. Now if only the play itself would listen.FairycakesThrough Jan. 2 at the Greenwich House Theater, Manhattan; fairycakestheplay.com. Running time: 2 hours 15 minutes. More