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    Late Night Looks Forward to the Trump-Biden Debates

    “Just like that, they’re going head to head, toe to toe, mano a mango,” Stephen Colbert said of two forthcoming presidential debates in June and September.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.‘Mano a Mango’President Biden and Donald Trump agreed to two forthcoming presidential debates on Wednesday.Stephen Colbert joked that “the debate over debating is finally over.”“Just like that, they’re going head to head, toe to toe, mano a mango.” — STEPHEN COLBERT“Yeah, Trump agreed to the debate. He said, ‘I’ll be there, assuming it’s OK with my parole officer.’” — JIMMY FALLON“The first debate will be next month, which is the earliest a presidential debate has ever been, and, if we’re being honest, an early-bird debate feels right for these guys.” — JIMMY FALLON“It’s really quite something to challenge your opponent to a debate anytime, anywhere, anyplace while you’re standing behind barricades at a mandatory court appearance for your criminal trial.” — SETH MEYERSThe Punchiest Punchlines (Let’s Get Ready to Ramble Edition)“Yep, Biden and Trump will meet June 27 on CNN, and one of Biden’s debate conditions was not having an audience, so that explains why it’s on CNN.” — JIMMY FALLON“Biden is looking forward to laying out his 2024 agenda, while Trump is just happy to go somewhere where nobody will draw him while he sleeps.” — SETH MEYERS“Trump jumped right on the offer, posting, ‘Just tell me when — I’ll be there. Let’s get ready to rumble!’ Rumble? I’ve seen your rallies. I think you mean, ‘Let’s get ready to ramble.’” — STEPHEN COLBERTThe Bits Worth WatchingCast members from the new Broadway adaptation of “The Great Gatsby” performed the song “My Green Light” on Wednesday’s “Tonight Show.”What We’re Excited About on Thursday NightThe actor and humorist Nick Offerman will appear on Thursday’s “Daily Show.”Also, Check This OutJoel Grey and Eddie Redmayne each have played the Emcee in the Broadway classic “Cabaret”New York TimesJoel Grey and Eddie Redmayne discussed their shared history of playing the Emcee in “Cabaret” several times over. More

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    Review: In ‘Invasive Species,’ the Acting Bug Bites, Dramatically

    Maia Novi stars in her play about a Hollywood-struck actress from Argentina who stops at Yale’s drama school and an inpatient psych ward on her way.Maia Novi’s “Invasive Species” is being marketed as an outrageous dark comedy, but it’s a quieter play than that: about being an Argentine immigrant with Hollywood ambitions, a graduate acting student at Yale and a psychiatric inpatient plagued by intrusive thoughts.“My name is Maia,” the play’s central character (Novi) tells the audience near the top of the show. “And this is a true story.”Well, true-ish, given that we’ve just seen her get bitten by the Acting Bug (Julian Sanchez), a human-size creature with a giant proboscis whose process of infecting Maia involves spitting voluptuously onto her face from above. A bit of hallucinatory license, then, has sometimes been taken.Directed by Michael Breslin at the Vineyard’s Dimson Theater, the play fragments into different worlds. The most realistic is the hospital in New Haven where Maia wakes up, in March 2022, to find she is a patient — admitted to a children’s ward, where suicide is a temptation for some of the adolescent patients.The play’s other worlds are more heightened and satirical, though they, too, have the whiff of veracity: the drama school, where a teacher says that Maia — trying to lose her accent by diligently imitating Gwyneth Paltrow — has a “lazy tongue”; the Connecticut dating scene, where a dimwitted American bro swallows every stereotype-laced lie that Maia concocts, prankishly, about her family in Argentina; a film set where a British director who casts her as Eva Perón has a blithely wrongheaded sense of authenticity.Partially inspired by the 1977 production of Spalding Gray’s theater piece “Rumstick Road,” an investigation into his mother’s suicide, “Invasive Species” carries the thrum of fear that can accompany a family history of mental illness. Maia worries — so does her father — about what she might have inherited from her own mother.Presented by a group of producers who include the playwright-provocateur Jeremy O. Harris (“Slave Play”), Breslin’s roommate when they studied drama at Yale, “Invasive Species” is crisply directed on a nearly bare stage. The supporting cast members (who include Raffi Donatich, Sam Gonzalez and Alexandra Maurice) are quicksilver-changeable in their multiple roles, and it’s always clear which reality or unreality the characters have stepped into, even when worlds overlap. (Yichen Zhou’s lighting is instrumental in that.)This is a well acted, neatly assembled, carefully modulated play with a cumulative force that is less than it might have been. The satire — of drama school, of xenophobia — isn’t the freshest, and the obliqueness of the hospital strand softens its impact, and ultimately the play’s.“Invasive Species” is a portrait of a young woman attempting, for the sake of ambition and survival, to force herself into various molds that do not fit who she truly is.“Pretend,” one of the teenage patients advises her, practically. “You should be good at that — you’re an actress, right?”Invasive SpeciesThrough June 30 at the Vineyard Theater, Manhattan; invasivespeciesplay.com. Running time: 1 hour 20 minutes. More

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    Netflix and the N.F.L. Sign a Three-Season Deal

    Football joins pro wrestling and comedy specials in an expansion of the streaming service’s live offerings, a key step in the company’s overall live TV strategy.Netflix is no longer simply in the “sports-adjacent” business. On Wednesday, the streaming giant announced a three-season deal with the National Football League that will include showing two Christmas Day games on its service this year. It’s the first time Netflix has become partners with a major sports league, and it likely won’t be the last.The move follows Netflix’s increasingly aggressive push into the business of live events. In the past two weeks, “The Roast of Tom Brady” was its most-watched English-language TV show; a quirky six-day John Mulaney talk show went viral as part of the Netflix Is a Joke live comedy festival in Los Angeles; and the stand-up special “Katt Williams: Woke Foke” was viewed 4.3 million times.“Last year, we decided to take a big bet on live — tapping into massive fandoms across comedy, reality TV, sports and more,” Bela Bejaria, Netflix’s chief content officer, said in a statement. “There are no live annual events, sports or otherwise, that compare with the audiences N.F.L. football attracts.”The two Christmas games will pit the Houston Texans against the visiting Baltimore Ravens and the Pittsburgh Steelers against the visiting Kansas City Chiefs (raising the odds for greater viewership with a potential Taylor Swift sighting).The streaming business has matured in the United States, and though Netflix is the dominant service, it still needs to keep growing. With subscriptions relatively maxed out in America, the growth of other revenue streams has become crucial to the company’s success. Advertising is chief among them.At a time when more people are dropping their traditional cable subscriptions, live sports remain catnip for advertisers because they are one place where audiences are guaranteed in real time. That is especially true for the N.F.L., which remains a ratings juggernaut.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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    ‘Death Becomes Her’ Musical to Open on Broadway This Fall

    The musical comedy, which is now running in Chicago, stars Megan Hilty and Jennifer Simard. It is based on the 1992 film.“Death Becomes Her,” a musical comedy based on the zany 1992 film about two warring women who turn to a magical potion in their quests for eternal youth, will transfer to Broadway this fall.The musical is now in previews at the Cadillac Palace Theater in Chicago, where it is scheduled to open on Sunday and to run until June 2.The Broadway production is scheduled to begin previews on Oct. 23 and to open Nov. 21 at the Lunt-Fontanne Theater, where a revival of “Sweeney Todd” closed this month.The show stars two gifted musical theater comedians, Megan Hilty, best known for television’s “Smash,” opposite Jennifer Simard, last seen on Broadway in “Once Upon a One More Time.” They will play roles originated on film by Meryl Streep and Goldie Hawn.The stage production will also feature Christopher Sieber (whose comedy chemistry with Simard was last seen on Broadway in the 2021 revival of “Company”) as the man they both desire, and Michelle Williams (of Destiny’s Child) as the potion purveyor.The “Death Becomes Her” musical is being directed and choreographed by Christopher Gattelli, who won a Tony Award for choreographing “Newsies”; the book is by Marco Pennette, who has written and produced television shows including “Ugly Betty”; and the score is by Julia Mattison and Noel Carey, who have written and performed in a variety of comedy projects.The lead producer is Universal Theatrical Group, which is the stage division of the movie studio behind the “Death Becomes Her” film. More

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    Luke Newton Steps Cautiously Into the ‘Bridgerton’ Spotlight

    Luke Newton has been in the sexy Netflix hit from the start. But a new series, premiering Thursday, will be his first as co-lead — or chief hunk.Luke Newton is yet to experience what it means to be a “Bridgerton” leading man, but he has been trying to prepare himself.He has played Colin Bridgerton on the ornate, sexually charged Netflix show for two seasons, but for the third — which premieres on Thursday — Newton is following in the footsteps of Regé-Jean Page and Jonathan Bailey and stepping into the role of a co-lead — or chief hunk.“I feel slightly overwhelmed,” Newton, 31, said in a recent interview, adding that he was only just starting to appreciate the responsibilities of being a “Bridgerton” lead, rather than a co-star.After watching both Page and Bailey navigate successful seasons and, later, careers in Hollywood, Newton asked both actors for advice. Page just suggested he take a vacation as soon as the season wrapped, Newton said, but Bailey — who continues to play Anthony, Colin’s older brother, in Season 3 — was around to support him throughout. “Whatever stress there was, whatever situation, I could just call him,” Newton said.After the last season aired, Bailey’s status — both as a celebrity and a sex symbol — skyrocketed, leading to an “extraordinary change” in his life, Bailey said. But he wasn’t worried about how his co-star would handle the same shift: He said Newton could deal with the “absurd” nature of a sudden rush of fame.“Bridgerton,” which is based on a series of novels by the author Julia Quinn, follows eight siblings as they pine for love and reckon with relationships in early-19th-century London. The show, produced by Shonda Rhimes, has been praised both for its inclusive casting and raw approach to intimacy onscreen.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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    Emcee Squared: Joel Grey and Eddie Redmayne on ‘Cabaret’

    Eddie Redmayne had never seen “Cabaret” when, as a 15-year-old student at Eton, he was first cast as the Emcee, the indecorous impresario of the bawdy Berlin nightclub where the musical is set. So Redmayne did what anyone wondering about the character would do: He watched the 1972 film, and studied Joel Grey’s performance.Redmayne, 42, has played the Emcee three more times — at the Edinburgh Festival Fringe following high school; in London’s West End, winning an Olivier Award in 2022; and now on Broadway, where he has just picked up a Tony nomination.“Cabaret,” set in 1929 and 1930, is about an American writer who has a relationship with a British singer working at the Kit Kat Club; the queerness of some of that nightclub’s habitués and the Jewishness of some of its neighbors become risk factors as the Nazis gain power.Redmayne had never met Grey, who originated the role on Broadway in 1966 and who went on to win both Tony and Academy Awards as the Emcee. So I asked them to lunch, to talk about a character both have played several times, and about a musical that has continued to move audiences.We met at Le Bernardin — Grey’s choice — and for two hours they shared stories, Redmayne reverential and thoughtful, Grey puckish and supportive. At times, when words seemed insufficient, Grey reached out to clasp Redmayne’s hand.Joel Grey won a Tony Award in 1967 for playing the Emcee in the original Broadway production of “Cabaret.”Bettmann/Getty ImagesWe 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 Celebrates 10 Years of Hosting ‘The Tonight Show’

    Fallon thanked his wife, his kids, “and, most of all, my lawyer, Michael Cohen.”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.What a Difference a Decade MakesJimmy Fallon celebrated 10 years of hosting “The Tonight Show” on Tuesday.“Ten years,” Jimmy Fallon said. “It’s hard to believe, when I got the job, Joe Biden was just a fresh-faced 71-year-old.”“That’s right, we’ve been on the air for one pandemic, two presidential elections and 300 ‘Fast and the Furious’ movies.’” — JIMMY FALLON“Of course, I want to say thank you to my wife, my kids, and, most of all, my lawyer, Michael Cohen.” — JIMMY FALLONThe Punchiest Punchlines (Cohen in Court Edition)“Former President Trump appeared to fall asleep yesterday during Michael Cohen’s testimony for a full half-hour. Again? You know, I was excited for this trial, but it seems like the only thing we’re accomplishing is making sure Trump is well rested before the election.” — SETH MEYERS“During his testimony, Cohen laid out tons of evidence, including tapes, emails, photos and calendar events. It’s pretty impressive — one of Trump’s lawyers might actually win a case.” — JIMMY FALLON“Cohen’s testimony seems to prove that Trump was directly involved in paying off Stormy Daniels. For instance, yesterday, Cohen told the court that after first resisting, Trump eventually ordered him to pay Daniels $130,000, telling him, ‘Just do it.’ In response, Nike has changed their slogan to ‘Yay! Sneakers!’” — STEPHEN COLBERTThe Bits Worth WatchingMs. Lauryn Hill and YG Marley performed a medley of “Ex-Factor/Survival/Praise Jah In The Moonlight” on Tuesday’s “Tonight Show.”What We’re Excited About on Wednesday NightAmy Ryan, who stars in the Apple+ series “Doubt,” will sit down with Desi Lydic on Tuesday’s “Daily Show.”Also, Check This OutJustice Smith and David Alan Grier in “The American Society of Magical Negroes.”Tobin Yelland/Focus FeaturesRecent Black satires like “American Fiction” and “The American Society of Magical Negroes” have used absurdist humor to examine race, with mixed results. More

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    Review: A Text-to-Speech Meet-Cute in ‘All of Me’

    Laura Winters’s romantic comedy pays careful attention to the dynamics of living with disabilities.Lucy has impeccable comic timing and a sense of humor as dry as a gin martini. Her expression deadpan but for a slightly furrowed brow, she delivers punchlines with Amazon Prime efficiency in a calm, even tone that may sound familiar to people who use Alexa or ride the New York City subway.Played with wry assurance by Madison Ferris, Lucy communicates using a text-to-speech tool built into her motorized scooter. As heroines go, she is a young Katharine Hepburn type: headstrong and outspoken but eagerly in search of tenderness. Her verve and vulnerability are the lifeblood of “All of Me,” an affecting if formulaic new romantic comedy by Laura Winters that opened on Tuesday at the Pershing Square Signature Center.Lucy meets Alfonso (Danny J. Gomez), who uses a motorized wheelchair and similar technology to communicate, outside a hospital while awaiting their rides. Proposing a game, Lucy asks him to pick a random key on his screen; when he chooses “B,” there’s a prolonged pause while she types. Then her device’s flat staccato sounds out the raunchy rhymes of Sir Mix-a-Lot’s “Baby Got Back.”Typical of Lucy, it’s a funny bit with a mordant edge, bemoaning her situation by making light of it. As we soon learn, Lucy used to love to sing but has lost the ability to pronounce consonants (the play’s title refers to the jazz standard by Gerald Marks and Seymour Simons). Lucy received a diagnosis of muscular dystrophy when she was 16; now in her early 20s, she has been managing the disease long enough to laugh about it with a trace of cynicism.Where Lucy sees only limitations, Alfonso, who has been paralyzed since infancy, maintains a broader sense of life’s possibilities — largely because he has the money to. So, what follows is a classic case of opposites attract. Lucy shares a cramped, less-than-accessible home with her mother, Connie (Kyra Sedgwick), who works two jobs; her older sister, Jackie (Lily Mae Harrington); and Jackie’s fiancé, Moose (Brian Furey Morabito).Alfonso, on the other hand, is a white-collar professional with enough means to hire help and buy a tricked-out house (the furniture-swapping set is by Brett Banakis and Edward T. Morris); his mother, Elena (Florencia Lozano), is only in town to help with the move (the story takes place in Schenectady, N.Y. in 2018).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