The company known for measuring television ratings said Netflix and YouTube are far ahead of their digital rivals, but viewers still spend more time watching cable and network TV.Nielsen on Thursday announced that it had moved a step closer toward cracking one of the great questions of the modern entertainment world: How big, exactly, is streaming? More
This week the television critics of The New York Times shared their picks for the best American comedies of the 21st century. Did your favorites make the list?Television in the 21st century is an endless buffet, with networks and streamers serving up more tasty offerings than any one person could possibly binge. The array can be overwhelming, so every so often, those of us on the TV desk at The New York Times like to push back from the table and take a broader look at the medium and its most exceptional shows.A couple of years ago, we used the 20th anniversary of “The Sopranos” as an opportunity to assess the best dramas of the previous two decades. This week, we’re taking on comedies.Our list of the 21 best comedies of the 21st century was, like most lists, the product of much discussion, disagreement and negotiation. (In a postscript, we each named our most heartbreaking omissions.) But the result feels like a nice snapshot of the era’s defining shows and of the way cable and streaming has created room for TV comedy to become more idiosyncratic and diverse in its perspectives — a departure from the big-tent network sitcoms (many of them also great) that dominated prime-time in the 20th century.We limited our purview to American sitcoms and sketch shows — so no “Fleabag” or British “Office” or “Schitt’s Creek” — that premiered on Jan. 1, 2000, or later. Beloved comedies that aired this millennium but debuted earlier — “Friends,” “Saturday Night Live,” a hundred others — didn’t qualify. (Anyone still wanting to fight about whether the 21st century started in 2000 or 2001 can do that elsewhere.)Now it’s your turn to let us know: What did we overlook? What do we love too much? What’s your favorite American comedy of the 21st century, and why? As James Poniewozik, The Times’s chief TV critic, wrote in the intro, “We have no absolute answers, only the arguments that resulted in this list.” I’m sure you have plenty of your own, too.What is the best American comedy of the 21st century?Our critics have weighed in. Now it’s your turn. More
As London venues reopen, theatergoers can choose to reckon with works like “The Death of a Black Man” or enjoy frothier fare from George Bernard Shaw.LONDON — Intimations of mortality have weighed heavily on our minds during the pandemic, so what better work to reanimate the National Theater than “After Life,” a play set in a mysterious space between this world and the next?The director Jeremy Herrin’s often startling production, staged in conjunction with the theater company Headlong, is the first in the National’s smallest auditorium, the Dorfman, for some 15 months, and has had its run extended to Aug. 7.The source material is an acclaimed 1998 film of the same name from the Japanese director Hirokazu Kore-eda, here adapted by the prolific Jack Thorne, of “Harry Potter and the Cursed Child” renown.The play is thematically challenging material to offer audiences recently well acquainted with the possibility of illness, or worse. And yet the abiding achievement of Herrin and his expert design team, headed by the Tony winners Bunny Christie (sets and costumes) and Neil Austin (lighting), is the delicacy they bring to what could be fairly heavy going. You’re aware throughout of the high stakes involved for the so-called “guided,” who are asked to select a single memory to take with them for eternity into the afterlife.The takeaway from an evening at “After Life,” though, is the visual wit and delight of a stage dominated by filing cabinets reaching to the ceiling that allows for a sudden cascade of falling petals and permits one conversation to occur with the characters perched halfway up the back wall.Anoushka Lucas in Jack Thorne’s “After Life,” adapted from the film by Hirokazu Kore-eda and directed by Jeremy Herrin at the National Theater’s smallest auditorium, the Dorfman.Johan PerssonThe cast includes the veteran June Watson in robust form as an anxious woman ceaselessly fretting about her cat and the fast-rising Luke Thallon as a tremulous guide left to navigate a dreamscape that has a fablelike quality, even if the writing feels not quite fully developed and could deliver greater emotional force.The demands placed upon audiences are increased, and so are the rewards, across town at the Hampstead Theater. The north London playhouse has reopened after five months with “The Death of a Black Man,” a play that was originally scheduled last year as part of a 60th-anniversary series of revivals of titles first seen there.Premiered in 1975, the three-character drama offers a rare glimpse of the work of Alfred Fagon, a Jamaican-born writer and actor who died of a heart attack in London in 1986, age 49. Dawn Walton’s expert production, on view through July 10, leaves no doubt as to what was lost with Fagon’s premature death, even as it hints at the resonance for today of a play steeped in the specifics of the 1970s.Mention is made of the film “Last Tango in Paris” and of Princess Anne’s looming marriage to Captain Mark Phillips, and we hear pulsating snatches of “The Harder They Come,” the reggae classic from the 1972 film. But the core of the play, set in a Chelsea flat inhabited by 18-year-old Shakie (Nickcolia King-N’da), lies in what sort of future awaits this budding entrepreneur and the 30-year-old woman, Jackie (the astonishing Natalie Simpson), with whom he has a child and who has arrived back in his life after a two-year absence.From left, Alex Bhat, Dorothea Myer-Bennett and Hara Yannas in “Overruled,” part of the “Shaw Shorts” double bill directed by Paul Miller at the Orange Tree Theater.Richard Davenport/The Other RichardThe pair are joined before long by a political firebrand, Stumpie (a charismatic Toyin Omari-Kinch), who promises a better life for them all in “mother Africa” and doesn’t believe in right or wrong, only the need to “just grab what you can get.” Much of the unabashedly talky proceedings anticipate the Black Lives Matter movement, while the title reaches beyond an explicit reference to the death of Shakie’s father to connect with audiences today who, after the murder of George Floyd and others, understand the reality of such deaths all too well. (A namecheck is given to the divisive politician of the age, Enoch Powell, whose modern-day equivalents are easily found.)The plotting carries distinct echoes of Harold Pinter in its reversals of power and authority, and Simpson wears Jackie’s bravura like a shield, all the while falling to pieces internally. At one point, Walton has her actors stare down the audience directly as if daring them to acknowledge the play’s increasingly nihilistic landscape head-on as something we cannot help but understand and even share. It’s to this fierce production’s credit that you cannot look away.Weightiness, it would seem, is a London theatrical constant just now, even when it misfires, as in the case of Amy Berryman’s “Walden,” a worthy but synthetic sibling-relationship drama set against an ecowarrior backdrop that struggles to sound authentic. (That play finished its limited run at the Harold Pinter Theater on June 12.)Those in search of frothier fare will alight with pleasure on “Shaw Shorts,” two one-acts at the always-inviting Orange Tree Theater in Richmond, west London, that can be booked separately or together through June 26, depending how much time potentially Covid-skittish audiences want to spend in an auditorium.Olatunji Ayofe, center, in “After Life.” Johan PerssonThe pairing of “How He Lied to Her Husband” and “Overruled” reminds us of the subversive morality of a playwright eyeing the amorous goings-on among a sector of society who — guess what? — pass their time going to Shaw plays. In a cheeky nod toward himself, Shaw has the lovers in his 1904 “How He Lied to Her Husband” compare themselves to characters in his earlier and better-known “Candida,” which it seems these adulterers have seen.In the polygamy-minded “Overruled” (1912), the ever-breezy Mrs. Lunn (the able Dorothea Myer-Bennett) as good as offers her husband to another woman, leaving the male half of the other couple (played by Jordan Mifsúd) to expound on the boredom inherent in a happy marriage. The director, Paul Miller, runs the Orange Tree and has long included Shaw in an eclectic lineup of writers that extends to the contemporary as well.The result is a two-part bagatelle that serves for now as a starter in advance of heavier fare to come. These may be difficult times, but there’s room among the thematically fearsome for some fun, too.After Life. Directed by Jeremy Herrin. National Theater, through Aug. 7.The Death of a Black Man. Directed by Dawn Walton. Hampstead Theater, through July 10.Shaw Shorts. Directed by Paul Miller. Orange Tree Theater, through June 26. More
“I had a feeling those two weren’t going to make it to the hometown date,” Jimmy Kimmel joked after the leaders cut their meeting short.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. Looking for more to watch? Here are the 50 best movies on Netflix right now.Ending Things EarlyPresident Biden’s short, tense meeting in Geneva with President Vladimir V. Putin of Russia was the talk of late night on Wednesday.“I had a feeling those two weren’t going to make it to the hometown date,” Jimmy Kimmel said in a reference to the dating show, “The Bachelor.”“The ‘Boniva in Geneva’ didn’t have to clear a very high bar. It just had to be less embarrassing than the ‘Stinky in Helsinki.’” — STEPHEN COLBERT“That’s right, President Biden and Russian President Vladimir Putin met in Geneva today for about four hours with a few breaks, but no meals because nobody would volunteer to be the food taster.” — SETH MEYERS“Biden went into the day hoping to promote ‘predictability and stability,’ also the name of the most boring Jane Austen novel.” — STEPHEN COLBERT“The meeting was expected to be five hours, but lasted only half that time. Not a great sign when your summit is barely longer than ‘Peter Rabbit 2.’” — JIMMY FALLON“It was pretty much the opposite of the ‘Friends’ reunion.” — JIMMY FALLONThe Punchiest Punchlines (‘Chicken Soup for the Russian Soul’ Edition)“‘In life there is no happiness.’ That’s basically how Russian soccer moms say ‘Live, laugh, love.’” — TREVOR NOAH, on Putin’s quoting Leo Tolstoy in a news conference.“That’s actually an excerpt from Putin’s new book, ‘Chicken Soup for the Russian Soul.’” — JIMMY FALLON“‘There’s no happiness in life’ sounds like the slogan for Russian Applebee’s.” — JIMMY FALLON“You do not want this guy giving a toast at your wedding. [imitating Putin] ‘Congratulations to Jeffrey and Diane. May the specter of happiness haunt you. Now, please have some cake. It is made of vanilla and children’s tears, for what is life but a difficult birth astride a grave? The light gleams for an instant, then it is night once more. Mazel tov!’” — STEPHEN COLBERT“I’m guessing this is probably why Putin isn’t asked to speak at a lot of graduations.” — JAMES CORDEN“There’s another expression that goes ‘If Vladimir Putin gives you pudding, don’t eat it — because it’s probably filled with plutonium.’” — JIMMY KIMMELThe Bits Worth WatchingJames Corden took the cast of “Friends” for a ride around the Warner Bros. studios, ending on their iconic set.What We’re Excited About on Thursday NightSaweetie will perform on Thursday’s “Jimmy Kimmel Live.”Also, Check This OutHBO“Curb Your Enthusiasm,” “Pen15,” and “Atlanta” are among the 21 best comedies of the 21st century (so far). More
Late-night hosts were unimpressed with the Georgia congresswoman’s apology for comparing pandemic restrictions to the Holocaust.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. Looking for more to watch? Here are the 50 best movies on Netflix right now. More
In an interview, the actor discussed the end of Season 4, the future of the show and the emotional toll of playing “an ugly, pathetic, misogynist monster.”This interview includes spoilers for the season finale of “The Handmaid’s Tale.”Praise be, at last: Fred Waterford, the inscrutably sadistic commander at the center of “The Handmaid’s Tale,” has met his demise. And Joseph Fiennes, the actor who plays him, couldn’t wait to peel off his skin. More
Five works will debut from August to April, including Sarah Silverman’s musical “The Bedwetter” and an adaptation of David Lindsay-Abaire’s “Kimberly Akimbo.”Atlantic Theater Company will spring back to life this summer with an ambitious five-premiere season. The theater’s Off Broadway productions, announced Tuesday, include Sarah Silverman’s musical “The Bedwetter,” an adaptation of David Lindsay-Abaire’s “Kimberly Akimbo” and a new play by Ngozi Anyanwu.Anyanwu, a playwright-actor whose work “The Homecoming Queen” was staged there in 2018, returns in August with “The Last of the Love Letters.” Patricia McGregor will direct. The play is about two people wrestling with “the thing they love most” and questioning “whether to stick it out or to leave it behind,” according to the theater.The musical adaptation of “Kimberly Akimbo,” with music by Jeanine Tesori, will debut 20 years after Lindsay-Abaire’s play was first produced at South Coast Repertory in Costa Mesa, Calif. It tells the story of a teenage girl with a condition that has left her with the health and appearance of a 72-year-old. In his 2003 review of the Manhattan Theater Club production of the dark comedy, Ben Brantley called it “haunting and hilarious.”Silverman’s show, based on her 2010 memoir, will arrive in 2022, nearly two years after it had originally been scheduled to receive its world premiere. The company noted that Adam Schlesinger, who wrote the music and collaborated with Silverman on the lyrics, will not be present when the cast takes its first bows next April. He died in 2020 of Covid-19 complications.The second half of the season will also feature “SHHHHH,” a new play by Clare Barron, which she will direct and perform in, and Sanaz Toossi’s “English,” about four adult students in Iran preparing for a language test.More information about the season is available at atlantictheater.org. More
Theater shrank to tiny proportions during the pandemic. Sometimes that’s a big plus.Forever ago, in March 2020, a press agent handed me tickets before a show and said, “Ninety minutes, no intermission, thank God.”But those days of durational drama are gone. The pandemic has been whittling down running times as if attention spans, like paper towels, were running short. Even “Angels in America” caught the disease, showing up online in October at 50 minutes instead of the customary seven hours.So when I heard that the British playwright Caryl Churchill, already a master of concision, had upped (or lowered) the ante with a 14-minute play — not a doodle or a one-act meant for pairing with others, but a stand-alone event — I began to wonder what advantages might be found in the shorter forms that online theater made feasible. Or was the pandemic just an excuse for clearing out the small ideas that clutter every writer’s notepad and napping dreams?That Churchill play — “What If If Only,” presented by the National Asian American Theater Company — is the briefest of three I saw in the last week alone. “The Floor Wipers,” from the Wilma Theater in Philadelphia, runs 15 minutes; “Ali Summit,” from the Actors Theater of Louisville, weighs in at 23.Paradoxically, their similar lengths — just a gulp, and they’re over — help to differentiate them, as the various ways in which they pack their brief time are highlighted instead of papered over.Churchill is not, in any event, a paper-overer. “What If If Only” is harrowing from nearly the first instant, as a woman begs her late husband, who may have committed suicide, to make contact from beyond.“Are you not trying?” she cries. “If you’d wanted to talk to me you could have stayed alive.”Soon the husband does appear, as the wisp of a ghost that could become real, he says, if only his wife would make him “possible.”Merging Churchill’s frequent themes of dread (“Escaped Alone,” “Far Away”) and duplication (“A Number,” “Love and Information”), “What If If Only” dismisses its speculative worlds as quickly as it creates them. The wife’s despair, tearing a hole in space-time, soon releases a multiplicity of possible versions of her husband, had he lived, crowding out the “real” one. Even when she shoos them away in terror, one remains stuck in her hair.“Just brush with your fingers,” her husband says gently. “All gone.”I call the main characters “she” and “her husband” because the livestreamed production, perfectly and creepily “realized” by the stage director Les Waters and the theater tech guru Jared Mezzocchi, casts the roles to suggest that the mourner is a woman (Mia Katigbak, superb as always) and the ghost is a man (Bernard White).But the play’s horror, which in Churchill is never just cosmological but also spiritual, comes from the combination of its radical relevance to any human and its freakish compression, in which 14 minutes becomes a literal deadline. The extreme brevity — typical one-acts more often last an hour or longer — serves as a tool, like a socket wrench, to make clear that grief is unbearable, even in small doses.One of Andy Perez’s collages from “Ali Summit.”via Actors Theater of Louisville“Ali Summit,” by Idris Goodwin, also feels usefully short, in the manner of a teaser designed to encourage deeper research and reflection. The subject is the June 1967 meeting at which major Black athletes — including Jim Brown, Bill Russell and Lew Alcindor (not yet known as Kareem Abdul-Jabbar) — questioned Muhammad Ali about his conscientious objection to military service.Though Ali’s justification now seems incontrovertible — “Why should they ask me to put on a uniform and go 10,000 miles from home and drop bombs and bullets on brown people in Vietnam while so-called Negro people in Louisville are treated like dogs?” — he was nevertheless convicted of draft evasion, stripped of his heavyweight title, sentenced to five-years in a federal penitentiary and fined $10,000. Five years later, the Supreme Court overturned the conviction.None of that falls within the scope of “Ali Summit,” which limits itself to the disruptive and galvanizing effect Ali had on his colleagues that summer. In fact, Ali, though he is represented, like all the characters, in a series of beautiful collages by Andy Perez, does not speak in the play. Only the others do, voiced by actors who give full force to the confusion and anguish of men who are already questioning what it means, as Black athletes working for white “owners,” to fight.“We are soldiers, all of us really, enlisted since birth,” says the Griot, or narrator figure, portrayed by the playwright and rendered as a wide-eyed witness.The language, mixing earthy jargon with breakbeat poetics, is as much a collage as the visuals and does a good job of setting the tone of urgent reflection. But also like the visuals, which are filmed in the familiar documentary pan-and-scan style, it tends to flatten conflict that wants to be more argumentative and three-dimensional. (An immersive virtual reality element is scheduled to be added later this summer.) As if to make up for that, “Ali Summit,” directed by Robert Barry Fleming, mines emotion from the pressurized implications of its transitional moment, a moment we are somehow still living through.“I’m not worried about Muhammad Ali,” Russell says. “I’m worried about the rest of us.”Jaylene Clark Owens, left, and Taysha Marie Canales in “The Floor Wipers.”via the Wilma TheaterAthletes figure in “The Floor Wipers,” too — indirectly. Its two characters, Racine and Tiana, are members of an “elite squad” given the responsibility, during the N.B.A.’s coronavirus-bubble playoffs last year, of keeping basketball courts dry and sweat-free. (This is a real job.) An exaggerated, “Law & Order”-style introduction immediately identifies “The Floor Wipers” as quick-take comedy; in a handful of episodes of just a few minutes each, the women gossip and sass on the sidelines while waiting for their big moments.For Tiana (Jaylene Clark Owens), those moments are about furthering God’s plan that she marry one of the players; she’d prefer Jayson Tatum but would settle for Nikola Jokic. Racine (Taysha Marie Canales) has more modest goals: to work off her pandemic 15 and save money for her first trip “abroad” — to Texas.Conceived by Canales, directed by Akeem Davis and written by both along with Owens, “The Floor Wipers” is really just a sketch, but it does not ignore the way the outside world penetrates even a bubble. Tiana and Racine wear Black Lives Matter T-shirts, take note of the kneeling players and lose work when games are canceled in protest over the shooting of Jacob Blake. The sure touch of the writing and especially of the performing mean that the comedy isn’t canceled by the intimations of tragedy. Instead, you laugh with a catch in your throat, and the whole thing evaporates before you can ask too much of it.That’s smart, and something I wish other sketch shows, some of which are televised on Saturday nights, would learn from.For dread, though, a heavy boil may be best. That’s what Churchill gives us in “What If If Only,” and why it will likely stand on its own even when mounted live in a theater, as the Royal Court in London plans to do this fall. But be warned that Churchill, even at 14 minutes, doesn’t evaporate. When she leaves a kettle on the fire that long, it often bursts into flames.What If If OnlyThrough June 20; naatco.orgThe Floor WipersAt wilmatheater.orgAli SummitAt actorstheatre.org More
