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    In ‘Good American Family,’ Ellen Pompeo Leaves the Hospital

    At the Los Angeles County Museum of Art, Ellen Pompeo stood in a room of Picassos, mostly in the Cubist style. She paused in front of a portrait of a woman in a blue dress. The eyes were at strange angles, the mouth tucked to one side. The nose was somehow everywhere.Pompeo, 55, tilted her head, trying to resolve the features into one coherent face. Then she gave up.“There’s three sides to every story,” she said. “Or six sides. Or nine. That is why art keeps us alive: Because everybody gets to see things their way, to make sense of them.”For a long time Pompeo’s Hollywood story has been a simple one, the perspective fixed. She modeled sporadically throughout her 20s, had a starring role in one film and smaller parts in others. Since 2005 she has led the most popular medical show of the post-“ER” era, ABC’s “Grey’s Anatomy.” Pompeo plays the surgeon Meredith Grey, a sturdy moral center in a fervid, ethically uncertain world.In the intervening years, barring a handful of crossover episodes on “Station 19,” a “Grey’s” sister show, Pompeo has amassed few other credits — a “Doc McStuffins” voice-over here, an appearance in a Taylor Swift video there. It wasn’t that she lacked artistic ambitions, but the “Grey’s” schedule was punishing and spending her brief hiatus making movies felt irresponsible, especially after she became a mother. (She and her husband, Chris Ivery, a music producer, have three children.)In 2022, she renegotiated her “Grey’s” contract, reducing the number of episodes she would appear in. This allowed for her first new substantive role in nearly two decades, as a flawed suburban supermom named Kristine Barnett, in “Good American Family,” a limited series that premieres on Hulu on Wednesday.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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    Jimmy Fallon Parodies Trump’s Podcast-Length Call with Putin

    The “Tonight Show” host said President Trump had spent most of the call “trying to sell Putin a Cybertruck.”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.To and From Russia With LovePresident Trump and Vladimir Putin had a nearly three-hour phone conversation on Tuesday, during which Putin said he’d agree to a partial cease-fire in Russia’s war against Ukraine.On “The Tonight Show,” Jimmy Fallon said that Trump spent most of the call “trying to sell Putin a Cybertruck.””[imitating Trump] Think of it as a mini-tank with a mind of its own.” — JIMMY FALLON“Three hours. That’s not a phone call, that’s a podcast: [imitating Putin] ‘And now a message from ZipRecruiter.’” — JIMMY FALLON“Putting Trump on the phone with Putin is like putting your grandma on the phone with a Nigerian prince. [imitating grandmother] ‘This fellow is so charming!’” — JIMMY KIMMEL“Putin agreed to nothing today. People keep asking if Trump is getting played by Putin, which is like asking if ‘Hava Nagila’ is getting played at a bar mitzvah.” — JIMMY KIMMEL“But both sides said the call went well, which makes sense, because they’re both on the same side.” — JIMMY FALLON“And, yeah, Russia actually described the call as ‘historic and epic.’ And nothing makes me feel safe like a happy Russia.” — JIMMY FALLON“But the White House said Putin agreed to a partial cease-fire. At least they think he did — it was tough to hear on the phone with Elon’s kids playing tag in the background.” — JIMMY FALLONThe Punchiest Punchlines (Nine Months Later Edition)“Here’s some good news: Today, the Boeing astronauts who were stranded at the International Space Station for nine months finally returned to Earth. Welcome! Right now, they’re the first people in history to honestly text someone, ‘Sorry, just saw this.’”— JIMMY FALLON“Today, the astronauts were, like, ‘I just want to get home, watch “Joker 2,” make a three-egg omelet and dip my toes in the Gulf of Mexico. I can’t wait.’” — JIMMY FALLON“Wait till they find out what’s been going on down here — they might go back up.” — JIMMY KIMMELWe 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: Eight Andrew Scotts in a Heartbreaking Solo ‘Vanya’

    In the original text it is merely a kiss, or as mere as a kiss can be between a beautiful young woman and her husband’s handsome doctor. In any case, knowing as we do from the long-simmering buildup how much the doctor loves her — and likely she him — we accept and even require their moment of consummation, sensing it will be the only deep happiness either ever feels.That kiss, between Astrov and Yelena, as their names are traditionally given, is the sadder of the two sad climaxes of “Uncle Vanya,” Chekhov’s tragicomic comic tragedy about work and waste. (The funnier sad climax occurs when the title character tries to shoot the husband and misses, twice, at close range.) Whatever else happens in a production of the play, the would-be lovers’ intimacy needs to mark an extreme turn in the characters’ lives and in the narrative’s emotional temperature as it comes in for its final landing.So you’d think the moment would totally flop if both he and she were played by one actor.Yet in “Vanya,” the Chekhov adaptation that opened on Tuesday at the Lucille Lortel Theater, the encounter is about as erotic as any the legitimate stage has offered, even though it involves just a door, two arms and the human Swiss Army knife Andrew Scott.Granted, it’s more than a smooch. Scott basically humps the door. And when he claws off his shirt, it is from both characters’ backs.But this is not just a stunt to see whether a single actor can pull off a full-cast classic. As adapted by Simon Stephens, the author of “Heisenberg,” “Sea Wall” and other gripping dramas, “Vanya” is deeply serious and generally faithful in its engagement with Chekhov, offering not just a modernized gloss on the play’s language and settings (the husband is a pompous old filmmaker instead of a pompous old scholar) but also a new way of seeing into the heart of its beauty.And anyway, what’s so wrong with a stunt when it becomes a tour de force? Who doesn’t gasp with delight at a bicyclist doing cartwheels on a tightrope? Scott is endlessly and polymorphously resourceful, with an armamentarium of voices, faces, postures and ideas that in various combinations add up to a thousand specific effects. And though I already knew this from his “regular” roles in movies like “All of Us Strangers,” and from a solo multicamera pandemic experiment called “Three Kings,” he produces these effects with no strain and no false modesty, and without ever dropping the ball of emotion.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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    ‘Amerikin’ Review: A White Supremacist’s Undoing: DNA

    The protagonist of Chisa Hutchinson’s new play is proud of his racial heritage, until he gets some unexpected test results.There was a guy I knew when I was in my teens. Blond and blue-eyed, popular at the beach, he named his puppy after a superstar. It made him laugh to let people in on the gut-punch nasty joke behind it: that, as far as he was concerned, both were black female dogs.Chisa Hutchinson’s layered new play, “Amerikin,” has me thinking about that for the first time in decades. Her central character, Jeff, has named his own dog in the same spirit — after a racist slur that he is not shy about shouting into the neighborhood to summon his pup. I’d hate for anyone to think that detail was too exaggerated. Not in these United States it isn’t.Directed by Jade King Carroll for Primary Stages, “Amerikin” is set in Sharpsburg, Md., which was Confederate country back when the bloody Battle of Antietam was waged nearby during the Civil War. In 2017, it is Trump country, and when the working-class Jeff (Daniel Abeles) and his wife, Michelle (Molly Carden), take their newborn son home, Jeff is eager to give the child he adores every social advantage in their small town.If that means accepting an invitation from his pal Dylan (Luke Robertson) to join the local white supremacist group, Jeff would be honored. It would bolster his sense of belonging in this place where he’s lived since childhood.But his nomination comes with an asterisk: He must take a DNA test to prove that he is 100 percent white. To his alarm, the results say otherwise — and even though his tech-savvy best friend, Poot (Tobias Segal), doctors the results, word gets out.And you know what happens when a band of white racists discovers a nonwhite family living in its midst. As Gerald (Victor Williams), a reporter for The Washington Post, frames it in a headline: “White Supremacist Hopeful Becomes Target of His Own Hate.”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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    ‘Ludwig’ Is Like a Fun British Version of ‘Monk’

    The twisty, serialized mystery stars David Mitchell of “Peep Show,” who plays identical twins, one of whom goes missing.David Mitchell stars as identical twins in “Ludwig,” the latest charming quirky British detective show, coming to BritBox on Thursday. The show is a big hit in England and has already been renewed for a second season.Mitchell is mostly playing John, the extra-fastidious twin, the one who lives a solitary life. But he has his puzzles: He makes a living as a puzzle creator known as “Ludwig” and publishes books that thrill the cryptology crowd.He is yanked from his hermitage by a phone call from his sister-in-law, Lucy (Anna Maxwell Martin), with whom he has been close since early childhood. His twin brother, James, a detective, is missing, and she has a kooky scheme to get to the bottom of it. John needs to pretend to be James, go to the police station and gather the intel they need. What could go wrong?John is not a smooth operator, and he struggles with office chitchat and idiomatic language. But dang if our guy isn’t a genius observer and brilliant logician who gets to play Sherlock Holmes on cases by seeing all the ways they remind him of his games. This one is an elaborate deductive reasoning puzzle; this one is like a game of chess. You, ma’am, are under arrest.The procedural aspects here are clever and twisty, and the serialized mystery of James’s disappearance is an ample engine. In addition to being like a fun British version of “Monk,” “Ludwig” is a stationery aficionado’s utter dream. The pens, the pencils, and oh, the notebooks. You can tell by just the sound of their snips that those scissors have the heft and excellence of God’s own shears. Appropriate for its title, the show also has a fantastic score.SIDE QUESTSMitchell is one of the team anchors in my favorite British panel show, “Would I Lie to You?” Several seasons are on Amazon Prime Video and BritBox, but you can have just as much fun looking up clips on YouTube.Mitchell is perhaps best known as the star of “Peep Show,” all nine seasons of which are on Amazon, Hulu, the Roku Channel and Pluto.In addition to “Monk” (Amazon, Peacock) and “Psych” (Amazon, Peacock), “Ludwig” reminds me a lot of “Death in Paradise,” which also centers on a fussy fish-out-of-water detective who solves nutty cases and maybe learns to soften up along the way. That’s on BritBox, as are dozens of similar shows.If you want to watch Maxwell Martin do more of the solving, she is one of the stars of “Bletchley Circle,” a period drama about female code crackers who solve crimes after World War II. That’s on Amazon, Peacock and the Roku Channel. More

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    Tituss Burgess in ‘Oh, Mary!’ Is Cole Escola’s Dream Come True

    As Burgess prepares to step in to the hit Broadway comedy, he thinks he should have “spent more time at the gym.”“Oh!” Tituss Burgess said, the curls of his Mary Todd Lincoln wig bobbing as he spoke. “I need kneepads.”Fully in costume, wearing the wig and a bell-shaped black dress, Burgess was about to rehearse Cole Escola’s hit comedy “Oh, Mary!” onstage at the Lyceum Theater on Broadway, just days before stepping into the starring role on Tuesday.And, yes, he really did need those kneepads. When Escola played Mary Todd, they channeled their sprung-coil energy into a performance of relentless hilarity and chaos. Burgess’s take on the role is no less physical; if anything, he is upping the ante with the cartoonish expressions and belted high notes fans know from his earlier Broadway appearances and shows like “Unbreakable Kimmy Schmidt.”Burgess’s turn in the play, a demented fantasia of Mary Todd Lincoln as a frustrated and thwarted “rather well-known niche cabaret legend,” will run through April 6. After that, Escola will return to the part.When they do, it will be with a fantasy having come true. Last May, Escola was a guest on Bowen Yang and Matt Rogers’s podcast “Las Culturistas,” and said that they “would love for someone else to play Mary Todd” before adding, “My dream is Tituss Burgess.”Yang and Rogers let out an exclamation just short of a gay gasp, and Rogers said, “That would be fab.” Escola joked that they were worried Burgess would be “too good,” but also couldn’t help but imagine him in the show’s famous curly wig.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 Black Satire Is the Art Form for Our Absurd Age

    Black American novelists, filmmakers and other writers are using comedy to reveal — and combat — our era’s disturbing political realities.LAST SPRING, DURING the Broadway revival of “Appropriate” (2013), Branden Jacobs-Jenkins’s sardonic drama about white family members returning to their ancestral plantation home in southeast Arkansas to bury their father, a rare moment of cross-racial candor transpired — not onstage but in the audience. In the third act, Bo, the middle-aged older brother played by Corey Stoll, unleashes a rant about the burdens of whiteness in 21st-century America. Even a passing acquaintance with the work of Jacobs-Jenkins, who’s a queer Black man, would condition theatergoers to understand the outburst as satirical exposure of a threadbare fallacy of racial innocence. “You want me to go back in time and spank my great-great-grandparents?” Bo says. “Or should I lynch myself? You people just need to say what it is you want me to do and move on! I didn’t enslave anybody! I didn’t lynch anybody!” The speech usually leaves audiences squirming. On this night, however, one person clapped.“They were clapping in earnest,” says Jacobs-Jenkins, as if Bo were “someone who’s genuinely out here now just telling his story — you know, ‘Found his letters and read each one out loud!’” Before the playwright, actors and audience could fully register what was happening, a voice called out from the darkened auditorium: “Are you serious right now?” For Jacobs-Jenkins, 40, the whole thing was a delicious disruption. “Part of what the work is doing is exposing these fissures inside of a community — these feelings that we’re encouraged, as we are with most conversations about race in our country, to nurse in private.” At its best, Jacobs-Jenkins says, the theater can become a space to “risk learning something we didn’t anticipate” about one another.Satire is the art of risk. It relies, after all, on an audience comprehending a meaning that runs counter to what the text reads, the screen shows or the comedian says. In this regard, it’s vulnerable to misinterpretation and to deliberate distortion. When that satire concerns race and when the audience is as diverse and as divided as the United States is today, those risks compound. Why hazard satire’s indirection when even the most straightforward language — the term “woke,” for instance, or the seemingly incontrovertible good of “equity” — is manipulated and weaponized against its original ends? Yet perhaps these are the conditions that demand satire most of all, meeting absurdity with absurdity.I spoke with Jacobs-Jenkins, whose new political family drama “Purpose” is now on Broadway, 10 days before Donald Trump was inaugurated as the 47th president of the United States, the same week that Trump gave a press conference at Mar-a-Lago in which he, among other things, called for renaming the Gulf of Mexico the “Gulf of America,” acquiring Greenland from Denmark and welcoming Canada as the 51st state. The way Jacobs-Jenkins sees it, “this is probably going to be one of the most difficult moments in recent memory to be an American, but it’s also going to be kind of the funniest — because come on! I think the question of this time will be: ‘Are you serious right now?’” The Black American satirical tradition, with its roots in the unfathomable dehumanization of slavery and the persistent pressures of racial discrimination, offers equipment by which all of us might better endure and even combat our lacerating realities.From left: the writer-director-actor Jordan Peele, the novelist Paul Beatty and the playwright Lynn Nottage.From left: Vivien Killilea/Getty for Imdb; Alex Welsh for The New York Times; Bryan Derballa for 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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    Jon Stewart Isn’t Falling for Trump’s Golf Tournament ‘Win’

    After the president claimed victory at his own club, Stewart compared him to “the Make-a-Wish Batman kid: ‘Hey, look at that, Donald. You caught all the criminals.’” 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.Hole in NonePresident Trump declared on Sunday that he’d won a championship at Trump International Golf Club in Florida — not the first time he’d claimed victory at one of his own clubs.Jon Stewart mocked Trump’s announcement with some well-placed air quotes on Monday’s “Daily Show.”“Oh, he ‘won the tournament’ at ‘Trump International’? How did that happen?” Stewart said.“This dude’s whole life, he’s like the Make-a-Wish Batman kid: ‘Hey, look at that, Donald. You caught all the criminals.’” — JON STEWART“Look, I’m opposed to anyone rolling back American democracy, but I do tip the cap to any 78-year-old winning a golf tournament.” — JON STEWART“And, by the way, still having enough energy left to stroll into the command center in his golf attire to bomb the [expletive] out of Yemen! Yeah. Now, look, anyone can bomb the [expletive] out of Yemen after nine holes, but 18?” — JON STEWART“Who are the other players in this tournament? I mean, seriously, are there other golfers, or is it just Eric with his Fisher-Price clubs?” — JIMMY KIMMEL“I want to see a full 580-page investigation of this tournament. I want to know everything. I want scorecards, I want video, I want affidavits from the caddies, I want a forensic investigation of every divot he didn’t bother to replace. How is it possible that this guy beats every other golfer every year?” — JIMMY KIMMELThe Punchiest Punchlines (St. Patrick’s Day Edition)“Happy St. Patrick’s Day. Once again, it is cabbage’s night to shine tonight.” — JIMMY KIMMEL“You know what? The way things have been going lately, it’s nice to have an excuse to drink on a Monday.” — JIMMY KIMMEL“That’s right, people getting lit on a Monday morning. For one day, everyone gets to feel what it’s like to be a pilot for Southwest.” — JIMMY FALLONWe 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