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    ‘The Penguin’ Waddles Onto HBO

    Played by Colin Farrell under pounds of prosthetic makeup, the character anchors the latest superhero series, a bridge between “Batman” films that aims to be more than a mere brand extension.When Matt Reeves was preparing his 2022 film “The Batman,” his sprawling, blockbuster exploration of crime-ridden Gotham City and its hometown vigilante, he would sometimes remark — half-jokingly and half-not — that it really needed to be an HBO series.Reeves, who directed and co-wrote the nearly three-hour movie, felt there were still stories to tell and characters to explore, like Oz Cobb, a midlevel mobster played with foul-mouthed gusto (and pounds of prosthetic makeup) by Colin Farrell.Though the character appeared in only a few scenes, Reeves said, “There was something electric about Colin. He just completely embodied a spirit that was so fresh and so powerful. You wanted to look at him under a microscope and understand, who is that guy?”That desire is fulfilled in “The Penguin,” an HBO series premiering on Sept. 19. Picking up immediately after the events of “The Batman,” its eight episodes return to Reeves’s grungy incarnation of Gotham while chronicling Cobb’s rise to his perch atop the city’s empire of organized crime.“The Penguin” is an unapologetic bridge to a planned “Batman” sequel, but it is also trying to use TV to provide something that movies cannot: a longform character study of its crude and wily title character, who is very different from the dapper, top-hat and monocle-wearing bad guy seen in decades’ worth of Batman comics.“The Penguin” is arriving amid a boom-and-bust cycle of cinematic superhero universes. “The Batman” was a $772 million-dollar hit for Warner Bros. at the worldwide box office. And while the summertime success of Disney’s “Deadpool & Wolverine” shows there’s still an appetite for the cinematic adventures of comic-book heroes, it’s not always a certainty that viewers want to follow these characters onto TV.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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    How a TV Critic Navigates an Age of Endless Content

    James Poniewozik, The New York Times’s chief television critic, discusses the state of modern television and the struggle to watch it all.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.James Poniewozik has a tough job: He gets paid to watch TV.“There’s a lot to keep up with,” Mr. Poniewozik, 56, the chief television critic for The New York Times, said in an interview. “But much of the time it is really interesting.”For nearly three decades, he has written about dramas, comedies, presidential debates, court hearings, interactive art installations and anything else that plays out on the small screen. Mr. Poniewozik began writing about television as a media columnist for Salon and later became the TV and media critic for Time magazine. He joined The Times in 2015, focusing his coverage on the intersection of TV, culture and society at large.Ahead of TV’s biggest night — the Emmy Awards — on Sunday, Mr. Poniewozik shared the TV trends he’s watching and how he decides what shows to cover in the seemingly infinite modern TV landscape. These are edited excerpts.Fourteen percent of American adults say they get their news from TikTok, up from 3 percent in 2020. Is TV still a force to be reckoned with?TikTok has certainly become more influential. But I was struck while covering the presidential debate between Biden and Trump that it was possibly the most politically consequential TV broadcast ever: Because of one or two hours of TV, a candidate for president changed. All of the reasons Biden dropped out were present before the debate, but once you had tens of millions of people focused on one performance at one time, it became an unstoppable force.How do you weigh how many people will watch a show against its quality when deciding what to review or cover?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Late Night Enjoys Biden’s Encounter With a Trump Fan

    When President Biden briefly donned a Trump hat, he “gave everyone in QAnon a brain aneurysm at once,” Jimmy Kimmel 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.Hats OffDuring a Wednesday event honoring emergency medical workers from Sept. 11, President Biden shared a lighthearted encounter with a Donald Trump supporter, playfully placing the man’s Trump hat on his own head.“And a new comedy team was born,” Jimmy Kimmel joked on Thursday.“When he put that hat — that Trump hat on his head, he gave everyone in QAnon a brain aneurysm at once.” — JIMMY KIMMEL“That’s sort of a nice moment: two old men from opposite sides, coming together to share a laugh while neither of them run for president.” — JORDAN KLEPPER“I will tell you what, if you ask me, this is what you want from the president of the United States when he meets a voter on the other side. He doesn’t get mad at him, he doesn’t try to hard-sell him, he just shows warmth and a bit of empathy. And they did a remarkable thing you don’t see among two people on opposite sides these days: They had a laugh. And with a simple exchange of hats, they are able to share something much more meaningful: lice. Itchy, disgusting, impossible-to-get-rid-of lice. And that warms my dead heart.” — JORDAN KLEPPER“[imitating Biden] Hey, you take that, Jack. I might not be the best debater, but I can still zing you with the old hat chat.” — STEPHEN COLBERT“But isn’t it nice to see Biden fooling around? Every time I see him now, it’s like when you go on vacation, and the doggy day care texts you a picture of your golden retriever playing fetch. You’re like, ‘Oh, look at that, he’s having fun.’” — JIMMY KIMMELThe Punchiest Punchlines (Bad Blood Edition)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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    ‘Counting and Cracking’ Review: One Family’s Tale Fit for an Epic

    No theatrical wizardry is needed for this compelling drama about a woman’s journey to Australia from war-torn Sri Lanka and the generations that follow.Some shows use an extended running time to challenge the audience and its perceptions. Pulling viewers into a trance state and testing their endurance is the ultimate artistic gambit.Then there are the shows that are long simply because they have a lot to tell.Such is the case with “Counting and Cracking,” which fills its three and a half hours with an absorbing tale of family ties and national strife, from Sri Lanka to Australia, across almost five decades. When the first of two intermissions arrived, I had barely recovered from a head-spinning plot twist. And the production, which is at N.Y.U. Skirball in partnership with the Public Theater, had more in store. It’s that kind of good yarn.Written by S. Shakthidharan, who drew from his own family history and is also credited with associate direction, “Counting and Cracking” starts in 2004 Sydney. The show opens with Radha (Nadie Kammallaweera) briskly instructing her son, the 21-year-old Siddhartha (Shiv Palekar), to disperse his grandmother’s ashes in the Georges River, and then immerse himself in the water, as required by tradition.“In Tamil we don’t say goodbye,” Radha tells Siddhartha. “Only, I will go and come back.”As the show progresses, we gradually realize what these words really mean to her, and to her family and community. In 1983, when she was pregnant and living in her home country of Sri Lanka, Radha was told that her husband, Thirru (Antonythasan Jesuthasan), had been killed in the budding civil war between the minority Tamil and the majority Sinhala. She fled the violence and settled in Australia, where she gave birth to a child who would grow up largely unaware of his heritage.At a steady clip, Shakthidharan and the director Eamon Flack (also credited with associate writing) hopscotch between Sydney and Sri Lanka, from the 1950s — when the South Asian nation was still known as Ceylon — to the 1980s and 2000s and back again. Even the language is in constant movement as the 16 actors juggle English, Sinhala and Tamil, providing instant translation when necessary.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: Patti LuPone and Mia Farrow Clean Up in ‘The Roommate’

    A Bronx grifter and an Iowa homebody share a house and eventually learn from each other in this Broadway star vehicle.“Expansion is progress,” Sharon says sweetly, parroting a phrase from a business journal for the benefit of her new roommate, Robyn.A ditsy 65-year-old divorcée, Sharon is a convert to the virtues of new ventures — even illegal ones — after years of a life in which options for growth seemed few.But Robyn, who encouraged the experimentation from the minute she arrived to rent a room in Sharon’s Iowa City home, is alarmed by the change from meek to monster. A plate of pot brownies for the book club ladies is one thing; larceny is another. “Sustaining and expanding,” she warns, “are two different activities.”Because Robyn is played by the surgically funny Patti LuPone, that line, not especially amusing in itself, gets a big laugh. And because Sharon is played by the preternaturally sympathetic Mia Farrow, her every hiccup and dither evokes a sigh.Most of what either woman says in “The Roommate,” which opened Thursday at the Booth Theater, is greeted by one or the other response. The two actors, old friends and old hands, play beautifully off each other, expertly riding the seesaw of a play, by Jen Silverman, that throws a Bronx grifter looking to reform herself into an unlikely alliance with a flyover frump looking to ditch her flannel ways. The actors’ intense focus and extreme contrast multiply the material exponentially, sending it way past the footlights to the back of the Booth.But as we’ve learned, sustaining and expanding are two different activities. Indeed, the Broadway supersizing of “The Roommate,” which has been produced regionally since 2015, does not necessarily represent progress, even as it no doubt reaps profit.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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    ‘Why Am I So Single?’ Review: After ‘Six,’ a Scrappy, Sappy Dating Musical

    The duo behind the Broadway hit follow it up with a meta reflection on finding love online that is relatable and fun but lacking narrative drive.In London’s West End, two lonely singles are feeling sorry for themselves. Nancy (Leesa Tulley) and her gay, nonbinary best friend, Oliver (Jo Foster), conduct a two-hour inquest into their romantic failures while quaffing cheap bubbly on a peach-colored couch. At the same time, they bat around an idea for a musical based on these travails, which — you guessed it — turns out to be the musical we’re watching.“Why Am I So Single?” is written by Toby Marlow and Lucy Moss, the duo behind “Six,” the breakout hit feminist musical about Henry VIII’s wives. Running at the Garrick Theater through Feb. 13, 2025, this unabashedly crowd-pleasing — though ultimately somewhat vacuous — show goes all in on relatability and schmaltz, carrying a peppy message about friendship and self-care.The songs unpack the modern dating experience in a mélange of familiar rock and pop styles. “C U Never” is a catchy tap number about the importance of not getting too hung up on people who ghost you. During “Meet Market,” several members of the supporting cast are wheeled around in pink shopping carts to symbolize the transactional nature of online dating. “Disco Ball” is about being the life of the party while feeling lonely inside, and “Men R Trash” is self-explanatory.In “I Got Off the Plane’” Nancy and Oliver lament their love-hate relationship with the sitcom “Friends,” which they blame for popularizing an unrealistic and heteronormative view of romance — whereupon members of the supporting cast take to the stage in Jennifer Aniston and David Schwimmer wigs and urge the pair to get over themselves.The show, directed by Moss, has the chaotic, playful energy of a student revue, with lots of amusingly forced rhymes, tenuous puns and self-aware jokes about the metafictional conceit (“Twist my arm and call me expositional”; “before we rebuild the fourth wall …”). There is a heavy reliance on bathos that borders on the formulaic: Whenever characters pour their hearts out in song, another will immediately say something dismissive. After Nancy sings a tender ballad about her dead father — the only genuinely moving song in the show — Oliver quips, “So what you’re saying is, it was the daddy issues after all?”Leesa Tulley, center, as Nancy.Matt CrockettWe 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 Smoking Room’ Is a Brilliant British Office Comedy

    And yet, compared with the British “Office,” it is a model of restraint.Robert Webb, left, and Jeremy Swift in a scene from the short-lived comedy “The Smoking Room.”Roku ChannelThe two-season comedy “The Smoking Room” (on the Roku Channel) premiered in Britain in 2004, and in some ways it can feel even older: A designated indoor cigarette-smoking lounge at an office? Nary a phone in sight, and only glancing mentions of the internet? Next you’re going to tell me they’re rendering tallow and writing out the Bible by hand.But “Smoking,” written and created by Brian Dooley, has a fascinating timelessness in its format. The show is set in a dingy break room and almost never leaves it — think “oops, all bottle episodes.” It’s a single-camera comedy, but it isn’t a mockumentary; this alone makes its rhythms more like a stage play’s than a sitcom’s. That’s heightened by the fact that there is no score, and many episodes unfold essentially in real time.Its true TV self comes through with the show’s episodic sensibilities, in which the same things always happen. The coffee machine is always on the fritz; Annie (Debbie Chazen) always bums a smoke but never brings one; Heidi (Emma Kennedy) always mentions her drippy husband. Barry (Jeremy Swift) is always doing a shabby job with the crossword puzzle, and Robin (Robert Webb) always knows both the answer to the clue and some other shred of wisdom. Episodes don’t feel repetitive, though; instead, the quirks land as a clever ritual. Every smoke break is different, but every smoke break is the same.There is no major plot to speak of, and almost nothing happens-happens, so “The Smoking Room” relies mostly on dialogue and character. In some ways it is a show carved in relief or composed only of scraps — it has the patter and inconsequence of a cold open but for a half-hour, until the shape of what has not been said is as stark as what has. Some characters never appear at all, their arcs instead fleshed out fully through everyone else’s gossip. Entire love stories play out this way.The obvious comparison here is the British “Office,” but that show feels cacophonous, almost explosive in comparison — a parade versus a snow globe. Plenty of British comedies can be described as being about restraint, but “The Smoking Room” takes this to a funny, brilliant extreme. More

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    ‘The Rings of Power’ Season 2, Episode 5 Recap: Royal Pains

    This week’s focus was largely on the deepening political drama in Numenor and Khazad-dum, where things have gotten predictably messy.Season 2, Episode 5: ‘Halls of Stone’After last week’s delightful panoply of ents, barrow-wights and stoors (and Tom Bombadil!), this week’s episode of “Rings of Power” shifted away from fantastical action and got back to the slow, hard grind of politics. Because this is a prequel series, it has a fixed endpoint to reach, involving a lot of dangerous jewelry getting distributed to folks who will not end up seeing eye-to-eye on how use it. But before we get there, all of these humans, dwarves and elves still have a lot of talking to do — whether we enjoy hearing it or not.Episodes like this week’s are necessary in a story like this, even if they aren’t as much fun as the ones with angry trees and killer skeletons. The whole point of “Rings of Power” is to flesh out the sketchier summaries of events in J.R.R. Tolkien’s books — all of the deep “this king was succeeded by this other king after this battle” lore — and, in doing so, to give us a fuller sense of all the ancestors to “The Lord of the Rings” heroes and villains. Rather than hearing that long ago there was social unrest in Numenor or Khazad-dum, we get to see firsthand how the conflicts played out, and why.Myself, I like these characters and this world enough to find the predicaments interesting. That said, I do recognize that all of the high-volume speechifying that holds this kind of storytelling together can be a drag sit through. This week, I did find myself occasionally entreating the Valar to tell everyone involved to get on with it already.With that in mind, here are four takeaways and observations from Episode 5:Holy wars in NumenorThe most volatile and complex political drama happening in “Rings of Power” right now is taking place in Numenor, which — as I mentioned in a recap of Episode 3 — hasn’t really gotten enough screen time in this series to make the stakes as clear and urgent as they should be. This episode offers a corrective of sorts, showing just how deep and dangerous the divisions on this island have become.We last left Numenor at a tense moment, when the queen regent Miriel’s coronation was disrupted repeatedly: first by hecklers, then by Earien, who revealed the royal family’s overreliance on a future-telling elfin orb called a palantir. Then it was disrupted again by the portentous arrival of a giant eagle, which the shady opportunist Pharazon co-opted into a divine endorsement for his claim to the throne. The aftermath of all this proves predictably messy.Miriel, who seems to have lost whatever lust for power she may have had before her traumatic adventures in Middle-earth, seems willing to let Pharazon win this one, despite the objections of her trusted adviser (and potential romantic partner) Elendil. She urges him to remain “the calm at the storm’s eye” and asks him to carry on the fight from the inside, saying that “not every battle must be fought to be won.” She says that the palantir has shown them a path for once that doesn’t end in Numenor’s downfall. He is meant to be a leader on that path, inspiring the faithful with his nobility.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