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    ‘Yellowjackets’ Season 3 Finale Recap: The Wilderness Is Hungry

    The episode finally revealed the full story behind the show’s very first scene. It also revealed even darker truths about Shauna.Season 3, Episode 10: ‘Full Circle’We’ve made it back to the beginning of “Yellowjackets.”The season finale gives us the extended version of the moment that hooked us from the pilot: A dark haired girl running through the snow as she is chased by a group of mask-wearing teens. She falls into a stake-filled pit and dies.Now we know for sure who the deceased is: It’s Mari, as many long suspected. After the survivors decide it is time for another hunt to appease the angry Wilderness, Mari draws the Queen of Hearts. Tai and Van’s attempts to make the newcomer Hannah the target are thwarted by a vindictive Shauna. Mari is the victim of Shauna’s meddling.While some suit up and join the chase without compunction, for others it’s painful to watch, as it is for the viewer. Mari is their close friend and teammate. Gen even tries to distract Tai in order to buy Mari some time. But the conclusion is predictable because we’ve seen it before. Mari dies, her fingers twitching as she bleeds out.Still, this familiar sequence is paired with something completely new, a cliffhanger that reshapes what a fourth season might look like. While Shauna is distracted, Natalie and Hannah outwit her. Hannah disguises herself as Nat, while Nat takes the almost-repaired satellite phone to the highest peak she can find and dials. At first, no one responds. But eventually, as Aerosmith’s “Livin’ on the Edge” cues on the soundtrack, she hears a voice. “I can hear you,” it says.Now there’s a real chance of rescue.Natalie’s moment of heroism, however, contrasts sharply with Shauna’s absolute descent into madness in both timelines. Teen Shauna is drunk on her own power, and it’s hard to know whether she truly believes in the Wilderness or is just out for blood to prove her dominance. Her cruellest moment comes when she demands to have Mari’s hair to affix like a medal to her robes. (She never really liked Mari anyway.)In the present, we get a glimpse into this mentality. Adult Shauna is done trying to bury the past or make apologies for it. It’s a bit of self acceptance that comes in the wake of this week’s other big revelation: Callie is Lottie’s killer, meaning that Shauna is not only a murderer but also the mother of a murderer. (I did not see this one coming at all.)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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    Review: In a Musical Comedy Makeover, ‘Smash’ Lives Up to Its Name

    En route to Broadway, the TV series about backstage shenanigans and Marilyn Monroe has been rejiggered, with the same great songs but a whole new plot.Great musical comedies are great mysteries, and not just because they’re so rare. They’re also mysteries in the way they operate. To succeed, they must keep far ahead of the audience, like thrillers with twists you can’t see coming. They are whodunits with songs instead of murders.“Smash,” which opened on Thursday at the Imperial Theater, is more of a who’ll-do-it, and when the big song comes, it’s a killer. But the effect is the same: It’s the great musical comedy no one saw coming.Or at least I didn’t. In 2012, I enjoyed the first season of the NBC television series, also called “Smash,” on which the musical is based. Its pilot, setting up a competition between two aspiring modern-day actresses to play Marilyn Monroe in a Broadway-bound musical, was terrific fun. But as the weeks wore on, the story becoming soapier and gloppier, the fizz fizzled out. Only the songs, by Marc Shaiman and Scott Wittman, and the dances, by Joshua Bergasse, sparked highs.So I wasn’t sure what to make of the announcement that the material was being retooled for Broadway as a comedy instead of a melodrama. A video of “Let Me Be Your Star,” the thrillingly emotional duet that was the high point of the pilot, left me baffled. Rearranged as a solo at the start of the new show, it sounded all wrong: too cool, too light, with a Las Vegas leer. Was the creative team, led by the director Susan Stroman, planning to fix the property by trashing the few things the series got right?That turned out to be a brilliant feint.The Broadway “Smash” being the kind of mystery I mentioned, I’ll try to be careful about spoilers. But there’s so much to enjoy at the Imperial that I could give away 10, and there would still be 20. In any case, I spoil nothing to say that “Smash” remains the story of a Monroe musical called “Bombshell.” But in this version the actresses are not midlevel hopefuls; rather Ivy Lynn (Robyn Hurder) is already a star, and Karen Cartwright (Caroline Bowman) her longtime understudy. They are not in competition — at first.That changes dramatically when Ivy reads a book about Method acting. No longer content to play a “bubbly, sparkly” Monroe, she insists on giving her character more depth. Even though this is exactly what the creative team has been trying to avoid — a show that wallows in tawdry tragedy — she hires a coach from the Actors Studio, keepers of the Method flame. When this strange, forbidding coach arrives, pushing absurd ideas and amphetamines, “Bombshell” begins to crater.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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    ‘The Pitt’ Is Concerned About Your Health, America

    The Max hospital drama is a TV throwback with an of-the-moment message about systems pushed to the breaking point.Ever have one of those endless days at work? For 15 hours in the Pitt, the emergency room that lends its name to the Max medical drama, a team of doctors and nurses, led by Dr. Michael Robinavitch (Noah Wyle), have been tackling every woe that human frailty and the city of Pittsburgh can throw at them.What do they treat? You name it. Mass-shooting injuries. Overdoses. Problem pregnancies. Heart attacks. Measles.What do they really treat? Despair. The flood of opioids. The lack of insurance. The lack of support networks. Male rage. Rage, in general. The breakdown of the public health system. The breakdown of the public.Over a long, stressful, yet reassuringly competent and entertaining first season, which wrapped up on Thursday, “The Pitt” generated old-school melodrama out of a simple understanding: The E.R. is where people end up when something goes wrong, either with the body individual or with the body politic.And what is wrong with the American corpus? Buddy, take a number; the waiting room is full.If the concerns of “The Pitt” are of-the-moment, its appeal is as old as rabbit-ear antennas. It’s a Big Fat Hospital Show, wringing suspense and jerking tears out of life and death weekly. It is a successor, almost a crypto-sequel, to a specific Big Fat Hospital Show — “ER,” the alma mater of Wyle; the “Pitt” creator, R. Scott Gemmill; and the producer John Wells. (The estate of Michael Crichton, the creator of “ER,” has filed a lawsuit accusing “The Pitt” of being an unauthorized reboot. Warner Bros. Television, the studio that produces “The Pitt,” has called the claims “baseless.”)Three decades ago, “ER” was itself a new spin on a hoary genre, and “The Pitt” shares some of its predecessor’s hallmarks. There’s the adrenaline pace, with the camera chasing doctors and nurses around a fully built-out hospital set. There is the dedication to technical realism. (“Does [show] get [factual detail] right?” is my least favorite standard for judging art, but if that’s your thing, medical professionals give it high marks.) The season even bookends its beginning and ending with scenes on the roof, calling back to the site of several high-drama “ER” moments.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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    Review: ‘Becoming Eve’ Offers Testaments Old and New

    A trans woman comes out to her Hasidic Jewish father in this Off Broadway play that tussles with faith and family bonds.A few minutes into “Becoming Eve,” an inventive, sympathetic Off Broadway play produced by New York Theater Workshop at Abrons Arts Center, Chava (Tommy Dorfman), a college student, executes an abrupt costume change. Though she bursts onto the set, the makeshift sanctuary of a synagogue on the Upper West Side, in a cropped pink sweatshirt and flowered minidress, she soon runs into a side room and emerges in loose jeans and a drab, body-camouflaging hoodie. From her original look, only a pair of pink sneakers remain.Even this outfit (Enver Chakartash designed the costumes) is daring in its way. Chava was raised in a Hasidic Jewish community in Brooklyn. So if these jeans are comparatively modest, they remain far more modern than the clothes that Chava grew up in, which were men’s clothes. Chava is trans, and she has arrived at this sanctuary to come out to her father, Tati (Richard Schiff), an ultraorthodox rabbi.“Becoming Eve,” written by Emil Weinstein and directed by Tyne Rafaeli, is based on Abby Chava Stein’s memoir of the same name. In her 20s, Stein left her community and her religion, then she came out as trans. (Stein has since returned to Judaism, and is a rabbi at a progressive congregation in the Park Slope neighborhood of Brooklyn.) Though mostly set within that sanctuary (designed by Arnulfo Maldonado, with dramatic lighting by Ben Stanton), the play also includes flashbacks of Chava as a child and adolescent and as a young husband. In these sections, Chava is played by a series of puppets (expertly designed by Amanda Villalobos and deployed by two puppeteers). Dorfman, standing nearby, voices these scenes.Because Chava knows that her father lives untouched by the modern world (with heavy restrictions on the internet and most media) and that he is allergic to sentiment, Chava has found biblical commentary that seems to argue her case. To help her, she has enlisted Jonah (Brandon Uranowitz), the chatty, empathetic rabbi of this progressive synagogue. The play allows for heady scriptural dialogue, which speaks to Weinstein and Rafaeli’s faith in the audience’s intelligence. (One reasonable concession: These Yiddish conversations are rendered in English.)But the show is perhaps too intellectual and careful. Weinstein and Rafaeli, in a laudable effort to be fair to all, exercise perhaps too light a touch. (Regarding the women in Chava’s life, Judy Kuhn as her mother, Mami, and Tedra Millan as Fraidy, her wife, that touch is feather light; they are given little to do.) There are no villains here, no victims, which seems right and yet it results in a reticence that extends to Dorfman’s performance.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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    Comedian Josh Johnson Talks ‘The Daily Show,’ Specials and More

    He doesn’t have a tight five minutes like most stand-ups, but his up-to-the-moment, thoughtful sets are winning legions of fans.Josh Johnson is exactly who you think he is.Or at least very close to the wry, deeply thoughtful, country-mouse-turned-city-mouse persona of his standup sets. In real life, which in this case is a sushi restaurant around the corner from the Comedy Cellar, he’s wearing his stage uniform — fitted gray hoodie, jeans, sneakers, twists pulled back into a ponytail — and he’s speaking in circles, only to arrive at a sometimes funny but always poignant conclusion.After a decade of “up-and-coming” accolades, sets at major comedy venues, two hourlong specials and writing jobs on “The Tonight Show” and “The Daily Show,” the 35-year-old comedian is arriving right on time. Where once Johnson might have occasionally crossed your screen — take his superviral “Catfishing the KKK” set from 2017, about a brief online friendship with a white supremacist — his timely, topical material and fast-growing fan base are now inescapable.“I think a lot of stuff is kind of coming together,” said Johnson over lunch. “Some of it is me choosing to read certain things, learn certain things and pull from different people in my life. And some of it is just the accident of luck.”His sudden rise can’t be attributed solely to relentless touring or his ability to make people laugh. The fact is that no other working comedian is currently releasing the equivalent of new standup specials at the same clip: In 2024 alone, Johnson uploaded the equivalent of 28 hourlong specials to his social channels, and is on track to exceed that number this year, to the slight shock and complete awe of those who know him well.The comedian Jon Stewart returned to host “The Daily Show” last year around the same time Johnson became a correspondent on the program, and sums up the younger comic’s style this way: “You know the things that are bouncing around in your mind that you have neither the time nor maybe the facility to draw together into coherent and then really funny and surprising thoughts? Yeah, this guy’s doing it. He’s doing it actually for you.”Johnson draws on bizarre, terrifying or downright silly encounters that he gets involved in through no fault of his own.Hiroko Masuike/The New York TimesWe 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 Taps Into Trump’s Preoccupation With Water Pressure

    Jimmy Fallon said the good news is that “more powerful shower heads are on the way. Bad news: They’re all made in China.”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.Making Showers Great AgainPresident Trump signed an executive order on Wednesday repealing Biden-instituted restrictions on water flow in shower heads.On Thursday, Jimmy Fallon said the good news is “more powerful shower heads are on the way. Bad news: They’re all made in China.”“America was, like, ‘What are you doing in our 401(k)?’ And Trump was, like, ‘Stronger shower nozzles.’” — JIMMY FALLON“Stronger showers are better than what Trump does now, which is lying on the hood of a Cybertruck and going through a carwash.” — JIMMY FALLON“That’s right, President Trump signed an executive order titled ‘Maintaining Acceptable Water Pressure in Shower Heads.’ And tomorrow he’s signing another important one called ‘Installing the Toilet Paper So It Rolls Off the Top, Not the Bottom.’” — SETH MEYERS“Ah, yes, the war on showers: a fight Steve Bannon has been on the front lines of his whole life.” — DESI LYDIC“Now, most people probably didn’t even realize we were in a war on showers, because no one in the Biden administration ever accidentally added a reporter to the ‘war on showers’ group chat.” — DESI LYDIC“But, in all seriousness, I know the war on showers very well, OK? My uncle actually lost his leg from stepping on a bath bomb — it’s never been the same.” — DESI LYDIC“Trump is literally making it rain, removing limits on water pressure from shower heads.” — GREG GUTFELD“Trump said that he has to stand under the shower for 15 minutes before he gets wet. I think the problem is Trump wears so much bronzer, he made himself waterproof.” — JIMMY FALLON“Why does Donald Trump even need a shower? You’d think the three-hour tongue bath he gets every morning from ‘Fox & Friends’ would be sufficient.” — JIMMY KIMMELThe Punchiest Punchlines (Another Perfect Physical Edition)“Tomorrow, the president is scheduled to get his annual physical. They should do that in front of the cameras, too. They should have a public weigh-in. How much fun would that be? March him on a scale in a jockstrap like he’s about to fight Jake Paul.” — JIMMY KIMMEL“Yep, Trump’s very excited. Today, he was handed a giant chart to pick what he’d like his weight to be.” — JIMMY FALLON“The physical is tomorrow, which means we should have the results tonight.” — JIMMY KIMMEL“It’s not easy taking care of Trump. About halfway through, his doctor will be like, ‘Forget the tariffs — I think I need to pause for 90 days.’” — JIMMY FALLONThe Bits Worth WatchingThe “Saturday Night Live” star Bowen Yang discussed his new role in “The Wedding Banquet” while on Thursday’s “Daily Show.”Also, Check This OutFor the series “Next Gen NYC,” Bravo will follow the children of some of the network’s stars along with some of their influencer friends.Bronson Farr/BravoBravo’s Gen Z nepo babies star in the network’s new “Real Housewives” spinoff, “Next Gen NYC.” More

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    Has Disney+ Changed ‘Doctor Who’? U.S. and U.K. Fans Discuss.

    The show has a bigger budget since the streaming behemoth got involved. Has that pleased its devotees?Last year, when Disney+ was spending big to promote “Doctor Who” on the New York subway, an advertising campaign wrapped trains with images of the incoming Doctor, Ncuti Gatwa, and his time traveling police box, the TARDIS.“Your cosmic joyride awaits,” the train wrapper read, and Gatwa’s hand stretched out to invite prospective viewers — many of whom would likely be new to the show — to join him.The BBC had been making “Doctor Who” since the 1960s, and it had been shown in the United States on BBC America and HBO Max in recent years. When Disney+ came onboard as a distribution partner and co-producer in 2023, it pumped up the budget for the show, whose special effects had become painfully outdated, and brought it to a wider audience in the U.S.This revamped “Doctor Who” returns for a new season on Friday, with Gatwa once more playing a modern kind of Doctor, who is in touch with his feelings. The Welsh screenwriter Russell T Davies, who also oversaw an earlier revamp in 2005, is also back again, as the showrunner.Like last season, the episodes will be available simultaneously for British viewers on the BBC’s streaming service, iPlayer, and on Disney+ for the rest of the world. This time around, that drop has been pushed back by eight hours, so that new episodes land at 3 a.m. Eastern time — perhaps in response to complaints from British fans, who had to stay up until midnight last season to watch it online. Britons who prefer to see a TV broadcast of “Doctor Who” (a Saturday night BBC staple) will have to avoid social media for a day if they want to avoid spoilers.Gatwa plays a modern kind of Doctor who is in touch with his feelings.Maxine Howells/BBC Studios/Disney/Bad WolfWe 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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    ‘Her Majesty’ Is Glamorous and Salty Fun

    A badly behaving princess is suddenly forced to take on more responsibility than she is ready for in this cynical Spanish comedy.The Spanish comedy “Her Majesty,” on Amazon Prime Video (in Spanish, with subtitles), is set within the fictional, scandal-plagued royal family of Spain. It centers on Princess Pilar (Anna Castillo), who probably should have outgrown her party-girl ways by now. She can be surly and resentful, and she isn’t as comfortable in the public eye as she’ll need to be. She’s no dummy: She knows she’ll be queen one day. But she has to step into the role much earlier than she expected.The event that precipitates her rise — if not quite an official ascension — turns out not to be her father’s death. King Alfonso (Pablo Derqui) is alive, but he has to flee to Latin America for a bit because of shady, possibly criminal financial dealings — ones the palace can’t cover up this time, despite Pilar’s pleas. Pilar isn’t the queen queen, of course, but she needs to take over the major duties of the crown. Nobody thinks she is ready for a bigger role, but there isn’t anyone else. Her mother died when Pilar was a little girl, and she is an only child. The show, and the monarchy, must go on.Suddenly she has a new attaché (Ernesto Alterio) coaching her on where to go and what to say, whom to be and whom to trust. They spar; she is prickly; he is prim; they bond. Pilar rises to the occasion, pulling the various levers of influence and even partying with the high-ranking judges as her father once did. She has an aha moment, though, when some of the justices pass her cocaine, and as she rolls up the bill, she sees her father’s face staring back at her.“Majesty” has the makings of a pop fairy tale or princess fantasy, but it is a lot saltier, more cynical and more fun than that. It’s closer to “Gossip Girl” or “Scandal,” fizzy and glamorous, with rich people behaving terribly — and illegally, and corruptly — but oh so charismatically.The show is also gorgeous. Palaces: They’re nice! Pilar’s outfits in particular have real flair, and the whole show is drenched in (crown) jewel tones, gold fixtures, glittering rhinestones and thick crystal. Even in its depictions of more modest environs, the sun still streams through the windows with enough glow to practically ache. More