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    ‘Black Mirror’ Showed Us a Future. Some of It Is Here Now.

    The long-running tech drama always felt as if it took place in a dystopian near future. How much of that future has come to pass?Since “Black Mirror” debuted in 2011, the dystopian sci-fi anthology series has taken seeds of nascent technology and expanded them to absurd and disturbing proportions.In doing so, it has become a commentary on defining issues of the 21st-century: surveillance, consumerism, artificial intelligence, social media, data privacy, virtual reality and more. Every episode serves in part as a warning about how technological advancement run rampant will lead us, often willingly, toward a lonely, disorienting and dangerous future.Season 7, newly available on Netflix (the streamer acquired the show from Britain’s Channel 4 after its first two seasons), explores ideas around memory alteration, the fickleness of subscription services and, per usual, the validity of A.I. consciousness.Here’s a look back at a few themes from past episodes that seemed futuristic at the time but are now upon us, in some form or another. Down the rabbit hole we go:‘Be Right Back’Season 2, Episode 1Not long after “Be Right Back” came out, services that digitally resurrect people via recordings and social feeds began to be introduced.NetflixA.I. imitations, companion chatbots and humanoid robotsWhen Martha’s partner, Ash, dies in a car accident, she’s plunged into grief. At his funeral, she hears about an online service that can help soften the blow by essentially creating an A.I. imitation of him built from his social media posts, online communications, videos and voice messages.At first she’s skeptical, but when she finds out she’s pregnant, she goes through with it. She enjoys the companionship she finds by talking with “him” on the phone and starts neglecting her real-life relationships. She soon decides to take the next step: having a physical android of Ash created in his likeness. But as she gets to know “him,” a sense of uncanny valley quickly sets in.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 Interview’: Nate Bargatze Doesn’t Mind if You Think He’s an Idiot

    It’s often the case that when stand-up comedians seize the public’s attention, it’s because they exude a sense of danger. They say what others don’t have the nerve to say, about topics others won’t raise, in language others never use. There’s an aura of transgressive truth-telling around this type of comedy star, best exemplified by the likes of Richard Pryor, Chris Rock and Hannah Gadsby — people who met the moment fearlessly.In this moment, though, one so sorely in need of fearless truth-telling, Nate Bargatze has rocketed to stardom by doing pretty much the opposite. Low-key and G-rated, his comedy traffics in comfortably relatable stories about the foibles of family life, his confusion with modern living and being a bit of a dim bulb. He is hardly the first clean stand-up to achieve tremendous success (though stylistic antecedents like Jerry Seinfeld and Ray Romano were able to ride a bygone wave of smash network sitcoms), but he has done it with no hits to his comedic credibility. It’s instructive, I think, that both my mother-in-law, hardly an aficionado of stand-up, and my best friend, a snob when it comes to the form, were excited to learn I was interviewing Bargatze.The gentle and inclusive approach of Bargatze, a 46-year-old Tennessee native, helped make his tour last year the highest-grossing one by a comedian. Two widely praised turns hosting “Saturday Night Live” (you may have seen his viral sketch “Washington’s Dream”) raised his profile outside the world of stand-up. Just this week, CBS announced that he has been tapped to host the Emmy Awards in September. And he is also branching out with a book, the self-deprecatingly titled “Big Dumb Eyes: Stories From a Simpler Mind,” which will be published on May 6. Such self-deprecation is a Bargatze trademark, but, as I learned, it also conceals some bold ambitions.The stand-up comic discusses having a magician for a father, the challenge of mainstream comedy and his aspirations to build the next Disneyland.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio AppIt’s interesting to read articles about you since your career has really taken off. The writers always try to explain why you’ve gotten so big. What’s your hunch about that? Talking about relatable things and authenticity. Not that I’m going out for authenticity. But you’re in a world where you have the “Wicked”s and these “Avengers” movies — and that’s great, but there’s not a regular person on a screen anymore. Movies used to be like “Planes, Trains and Automobiles” and “Home Alone”: That’s a regular guy in this movie that you enjoy watching. It’s easier to take in. And you don’t always want to be thought-provoked. That’s something I’ve tried to stay clear of because I’m trying to sell you something. I need you to be able to come and trust that you’re going to get the entertainment that I am showing you that I am selling you.You said you’re selling something, which is an interesting thing to hear. That’s true for just about everyone in the entertainment business, but usually people aren’t explicit in saying it. Why do you think there’s hesitation on the part of some entertainers to say, “I’m selling something”? It’s got this weird self-importance: “I have a platform, so I need to say something.” I’m anti-platform. If I want to give you my opinion and tell you what I think, that’s about me. When I go onstage, I try to remind myself this night’s not about me. If it becomes about me, it’s too much. I can’t handle it. But if I can make it for other people, now I’m an employee and I’m working. It’s not about my self-importance. More

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    How ‘The Jennifer Hudson Show’ Took Over TikTok

    I have never watched an episode of “The Jennifer Hudson Show.” Yet here I am at my desk, singing to myself: “Aaron. Pierre. That’s Mufasa.”If you’re familiar with the tune, you’re singing it now too. If not, picture Pierre, the dashing actor who voiced the title character in “Mufasa: The Lion King,” strut-dancing his way down a hallway surrounded by … Actually, just watch it below and then keep reading.

    @jenniferhudsonshow Aaron Pierre, that’s Mufasa #thejenniferhudsonshow #jenniferhudson #aaronpierre #jhud ♬ original sound – Jennifer Hudson Show OK, welcome back.“The Jennifer Hudson Show,” a daytime talk show, is not a top syndicated program, according to the ratings agency Nielsen. But it has amassed a huge social media following with its behind-the-scenes promotional videos.Before taking the stage, guests make their way down a hallway as members of the show’s staff serenade them with a complicated, customized hype song, sung entirely from memory. Some of the biggest names in American culture — Michelle Obama, Usher, Angela Bassett — have danced, skated or nervously shimmied through this “spirit tunnel” as the TikTok cameras roll.Some of the videos are awkward. Some are suave. Most go viral.During the show’s first season in 2022, members of the show’s staff learned that cheering for Hudson before she took the stage boosted her confidence and energy.

    @jenniferhudsonshow We got @imkevinhart #thejenniferhudsonshow #jenniferhudson #kevinhart #jhud ♬ original sound – Jennifer Hudson Show

    @jenniferhudsonshow It’s Gwen! @Gwen Stefani! S-T-E-F-A-N-I! #thejenniferhudsonshow #jenniferhudson #gwenstefani #jhud ♬ original sound – Jennifer Hudson Show 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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    ‘Love Island: Beyond the Villa’ Will Follow Season 6 Cast Around Los Angeles

    Trying to capitalize on the success of the sixth season of “Love Island USA,” Peacock announced a series that would follow former islanders around Los Angeles.In its sixth season, “Love Island USA,” an American remake of the popular British dating reality show, found its footing with fans. That season, which aired on Peacock last summer and was hosted by Ariana Madix, a veteran of “Vanderpump Rules,” was the top-rated reality series in the United States for multiple weeks and a hot topic on social media. It also produced some of the franchise’s most memorable couples, many of whom are still together.Given that success, it was not a surprise this week when Peacock announced “Love Island: Beyond the Villa,” a spinoff series featuring some of the islanders from Season 6.Here’s what we know.How is it different from the original show?“Love Island USA” is a reality dating competition that gathers a group of contestants, called islanders, into a luxury villa — Season 6 was set in Fiji — and has them couple up, either out of true love, friendship or simply for survival. Single islanders are kicked out of the villa, and every so often viewers are given the chance to vote out their least favorite couple. The pair voted “most compatible” at the end wins a cash prize.“Love Island: Beyond the Villa” appears to be more of a straightforward reality show, without a competition element. According to Peacock, the show will follow several of the cast members “around Los Angeles as they navigate new careers, evolving friendships, newfound fame and complex relationships outside of the Love Island villa.”Who’s going to be on it?Almost all of the Season 6 favorites are slated to star in the show, including two couples that made it to the finale: JaNa Craig and Kenny Rodriguez, and Leah Kateb and Miguel Harichi. Kendall Washington, who split from his finale partner, Nicole Jacky, will also star in the show alongside Olivia Walker, Connor Newsum and the exes Aaron Evans and Kaylor Martin.Ms. Craig and Mr. Rodriguez, who made it to the Season 6 finale, are both part of the main cast for “Love Island: Beyond the Villa.”Eugene Gologursky/Getty ImagesIn something of a surprise, only half of Season 6’s winning couple was officially announced as being part of the show: Serena Page, who, alongside her partner, Kordell Beckham, took home the grand prize, will appear. But Mr. Beckham — the younger brother of the N.F.L. player Odell Beckham Jr. — is not listed as a main cast member.Ms. Page cleared up the gossip around Mr. Beckham’s absence rather quickly, replying to a fan on Snapchat, “He’s gunna be in it with me!!!” and saying that he could not be announced as part of the main cast because he had booked another role.Also missing from the listed cast was Robert Rausch, a veteran of Seasons 5 and 6 of the show, though Peacock’s announcement said other islanders would appear, so he might be on at some point.What else do we know?Peacock did not release a trailer or announce a release date for the show, but the streamer said it would be coming in summer 2025. More

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    There’s No People Like Show People

    In a new book, the Broadway photographer Jenny Anderson captures the craft and camaraderie of making theater.When Jenny Anderson was 7, her mother was cast in a local production of “Annie” in Brookhaven, Miss., near their hometown; Anderson, who had auditioned to be an orphan, was not. But sitting backstage watching her mom rehearse, she discovered a kind of “magic.” Where an actor’s job is to be seen, Anderson, even at 7, loved to look — not just at the razzle-dazzle happening onstage but at the alchemy that happened beyond it, transforming 1990s suburban kids into Depression-era orphans and a Mississippi theater into the streets of New York City.Anderson eventually made her way to New York, where she built a career as a theater photographer. THE IN-BETWEEN (Applause, $45), her first book, collects 16 years of her work behind the Broadway stage. The volume is a celebration of the labor and love that go into making theater — the trial and error of the rehearsal room; the transformative process of layering on costumes, makeup and wigs; the back-alley cigarettes and stairwell quick changes; the frenzied laughter, reflective calm and tears that all pour into a performance, and that turn a bunch of strangers into a momentary family.Brian d’Arcy James and Kelli O’Hara in 2023, dressed to go on as a couple battling alcoholism in the musical “Days of Wine and Roses.”Jenny AndersonSarah Paulson warms up backstage at “Appropriate” in 2024.Jenny AndersonThough not a performer, Anderson is undeniably a member of that club called show people, and she suffuses each of her photographs with a palpable tenderness. Devotees of Broadway will find many familiar faces here; in the span of a few pages, you can trace Caissie Levy or Gavin Creel from baby-faced hippies in the 2010 “Hair” tribe to confident veterans leading the casts of “Frozen” (2019) and “Into the Woods” (2022). This is a book, in many ways, about becoming: a twisted mother, an underdog boxer, the goddess of the underworld, a bona fide Broadway star.Caissie Levy, Gavin Creel and Will Swenson rehearsing for “Hair” in 2010.Jenny AndersonLevy starring as Elsa in “Frozen” in 2019.Jenny AndersonAndy Karl prepares for his role as the titular boxer in the 2014 musical “Rocky.”Jenny AndersonThey say magicians should never reveal their secrets. But in exposing the inner workings of so many showstopping performances, Anderson pulls us all under the theater’s spell — holding our breaths as we race toward that moment when the room is hushed and everything is possible, just before the curtain goes up.Shaina Taub — the writer, composer and star of “Suffs” — at the 2024 Tony Awards, where she took home the prizes for best book and best original score.Jenny AndersonAmber Gray pauses before performing a number from “Hadestown” at the 2019 Tony Awards.Jenny AndersonCherry Jones and Celia Keenan-Bolger share a lighthearted moment backstage at “The Glass Menagerie” in 2013.Jenny AndersonLeslie Odom Jr. takes a moment for reflection before a 2023 performance of “Purlie Victorious.”Jenny Anderson More

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    Stephen Colbert Translates Trump’s Italian Tariff Talk

    “The Late Show” host said Italy’s prime minister, Giorgia Meloni, is “seen as something of a Trump whisperer” after she visited the White House on Thursday.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.Speaking Trump’s LanguagePresident Trump hosted Prime Minister Giorgia Meloni of Italy at the White House on Thursday.On “The Late Show,” Stephen Colbert said that hopes were high that Meloni, a right-wing populist and a favorite of Trump’s, could convince him to loosen up on tariffs. His admiration for her was demonstrated again when he marveled at her Italian-speaking ability during their news conference.“[imitating Trump] It sounded great — it was beautifully presented. I’ll have the same thing she ordered, but double meatball, double parm.” — STEPHEN COLBERT.“Trump got a visit from the prime minister of Italy today. He had them bring in lunch from the Olive Garden to make her feel at home.” — JIMMY KIMMEL“Things went so well that they planned a second play date. Meloni announced that Trump has accepted her invitation to come to Italy for an official visit, and Trump is going to blend right in with the Italians, because he looks like a pile of prosciutto with a little spaghetti on top.” — STEPHEN COLBERTThe Punchiest Punchlines (High Holy Day Edition)“Easter weekend is almost upon us. And, man, oh man, if Jesus comes back and sees what’s going on, we are in deep trouble.” — JIMMY KIMMEL“For the first time since 2014, Easter and 4/20 will land on the same day this year, which is going to lead to some very long and confusing egg hunts.” — JIMMY KIMMEL“This Sunday, He is risen, and you is high.” — STEPHEN COLBERT“Easter and 4/20 seem like a natural pairing ’cause whoever came up with our Easter traditions was definitely stoned.’” — STEPHEN COLBERTThe Bits Worth WatchingThe actress Nancy Kwan discussed her new book, “The World of Nancy Kwan: A Memoir by Hollywood’s Asian Superstar,” with host Ronny Chieng during Thursday’s “Daily Show.”Also, Check This OutKelly Marie Tran, left, Lily Gladstone, Han Gi-Chan and Bowen Yang in “The Wedding Banquet.”Luka Cyprian/Bleecker Street/ShivHans Pictures Starring Kelly Marie Tran, Lily Gladstone and Bowen Yang, Andrew Ahn’s “The Wedding Banquet” is a 21st-century twist on Ang Lee’s 1993 queer classic. More

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    ‘The Rehearsal’ Is an Awkward, Dazzling Ride

    For Season 2, Nathan Fielder’s focus is commercial airline safety, hardly a typical topic for comedy. But his approach is never typical.The first season of HBO’s “The Rehearsal,” which aired in 2022, was an entrancing experiment. Created by and starring the comedian Nathan Fielder, the show began with a relatively simple but absurd premise: What if you could rehearse for events in your everyday life — like, for instance, having a difficult conversation with a friend? Eventually, the experiment turned into a large-scale simulation in which Fielder “rehearsed” raising a kid, a feat that, because of child labor rules and an accelerated timeline, involved a rotating cast of child actors.The second season premieres on Sunday, anticipated by the question: How is Fielder is going to top that first brilliantly uncomfortable season? His answer is to turn his attention to the world of commercial airline safety, and what results is both sidesplitting and one of the most stressful television watching experiences in recent memory.The season revolves around Fielder’s personal research into the causes of aviation disasters — a premise he admits isn’t particularly ripe for a comedy. (“So far, I was failing,” he narrates in what is perhaps the show’s first joke. “We were over 10 minutes into this episode with zero laughs.”) He has concluded that a primary cause of crashes is a lack of communication in the cockpit, where the second-in-command feels too intimidated to press his or her concerns with the captain.Fielder’s solution? Getting the pilots to open up through his rehearsal methods involving professional actors. But in Fielder’s universe, nothing is that straightforward.Working with real pilots and building a full-size replica of a Houston airport terminal, Fielder takes bizarrely hilarious detours. One involves a singing competition called “Wings of Voice.” Another uses oversize puppets to examine the life of the “Miracle on the Hudson” pilot Chesley Sullenberger.Fielder’s life-or-death subject is distressingly topical, but “The Rehearsal” is interested in more than aviation. It is a study of human behavior and the masks people wear, investigating the psychology not only of the pilots but also of the actors Fielder employs and, ultimately, of Fielder himself.Fielder draws from his own life more than ever — including in references to his other shows “Nathan for You” and “The Curse” — all while keeping the audience guessing about how much of what he is showing us is just a character. But his typically deadpan persona takes on new weight here. “The Rehearsal” remains one of the best comedies out there, but what’s at stake is no joke. More

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    Review: Caryl Churchill Times Four Makes an Infinity of Worlds

    “Glass. Kill. What If If Only. Imp,” a new collection of one-acts by the great British playwright, is a cause for celebration, wonderment and grief.A girl made of glass. A god — or, really, all of them. Ghosts, but of the future. An imp who may be trapped in a bottle.Just another day in Caryl Churchill’s world.The arrival of new work by Churchill is like the arrival of a new theorem in a supposedly settled body of knowledge. “Cloud Nine” (1979) explored gender as colonialism; “Escaped Alone” (2016) domesticated the apocalypse. “Drunk Enough to Say I Love You” (2006) reframed the alliance of Britain and the United States as a sloppy date. Clones and multiverses are part of her world. With a mathematician’s precision, she posits ways of thinking about the universe and its inhabitants that, even when baffling, give more dimension to our experience of both.Her latest investigations take the form of a collection of four one-act plays at the Public Theater, under the portmanteau title “Glass. Kill. What If If Only. Imp.” Written separately over the last few years, each is pointed enough on its own: short and edgy. But together, in a splendid and surprisingly emotional production directed by James Macdonald, a frequent Churchill collaborator, they are so sharp you hardly feel them slicing your skin.“Glass” is the most literally shattering. The life of a girl made of the substance, who lives on a mantelpiece for safety, is encompassed in 13 minutes. Her mother frets over her, her brother brags about her, her mantelpiece neighbors — an old clock, a plastic dog, a painted vase — compete with her. (She may be pretty, the clock says, but he’s useful.) Soon the girl (Ayana Workman) meets a flesh-and-blood boy (Japhet Balaban) who is entranced by the transparency of her feelings: He can see straight into them, with no need for words. When his own feelings are spoken, in the form of whispers we do not hear, the express bus to tragedy departs.The way intimacy opens to loss is a theme here; the way abstractions become characters is a miracle. Somehow, it takes just a moment to adjust to the bizarre setup and the ensuing complications. (The mother warns that if the girl goes out for a walk with the boy, she had better wear Bubble Wrap.) Nor do we trouble ourselves that the production makes no attempt to literalize the figurines. They’re just us.In a 12-minute monologue, Deirdre O’Connell looks down on the ancient parade of human viciousness.Sara Krulwich/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