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    ‘The Residence,’ Plus 7 Things to Watch on TV this Week

    A new murder-mystery series, starring Uzo Aduba, comes to Netflix, and Oscar-winning films come to streaming platforms.Between streaming and cable, there is a seemingly endless variety of things to watch. Here is a selection of TV shows and specials that air or stream this week, March 17-23. Details and times are subject to change.Something isn’t right?Natalia Grace Mans was adopted from Ukraine in 2010 by an American family. By 2011, they had argued to a court that they didn’t believe Mans was a child, as they had been told, and instead was an adult woman with dwarfism. Perhaps because of its similarity to plot of the 2009 horror movie “The Orphan,” the story went viral and became the topic of podcasts, news stories and a documentary series entitled “The Curious Case of Natalia Grace.” Now, a fictionalized version, “Good American Family,” is coming out this week. The show stars Ellen Pompeo and Mark Duplass as the adoptive parents and Imogen Faith Reid as Natalia. Streaming on Hulu on Wednesday.The new mystery drama “The Residence” asks the question: What would happen if there was a murder at a White House state dinner? The series stars Uzo Aduba as Cordelia Cupp, a detective with the Metropolitan Police Department who is brought in to question the personnel who were around when the crime occurred. And of course, throughout all of this, interpersonal conflicts arise, people start acting shady and secrets are revealed. Streaming on Netflix on Thursday.In the 1990s, there were a string of murders around the U.S. When the cases started getting media attention, the killer, Keith Hunter Jesperson, would write letters to newspapers and police departments detailing the specifics of his crimes and signing with a smiley face, giving him the moniker “the happy face killer.” He is currently serving four consecutive life sentences. In the new series, “Happy Face,” Dennis Quaid is taking on the role of Jesperson in this fictional retelling of the terrifying and true story. Streaming on Paramount+ on Thursday.Celebrating music.This week, music will be celebrated at the iHeart Radio Music Awards. And though Taylor Swift finished with her Eras Tour, she continues to be top of mind — the show takes place on the two year anniversary of the start of the tour, so the show will feature a filmed performance from that first night. Lady Gaga and Mariah Carey will be honored, and LL Cool J is set to host. Monday at 8 p.m. on Fox.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 ‘Severance’ Is Shifting the Work-Life Balance Narrative With Innies and Outies

    As “Severance” nears the end of its second season, the show has created a “cultural moment” that is changing the way people discuss work-life balance.At his job at an apparel store in SoHo, Thomas Lanese uses phrases that he would never utter outside of a work setting, like, “I’ll shoot this email to you by end of day.” Sometimes, he said, it feels like he is living two separate lives.It is something fans of “Severance” might relate to. In the buzzy show that concludes its second season on Apple TV+ next week, the characters literally live two distinct lives.Their “innies” (no relation to belly buttons) are their work selves. Their “outies” exist anywhere outside of work. They have chosen to work for Lumon Industries, a biotech company where they are “severed” from their personal lives, and their innies and outies have no idea what’s going on in each other’s worlds.The terms have now found a life outside the show, with innie used as a shorthand for being at work. Your innie can’t stop eating free candy in the office even though your outie is trying to cut back on sugar. Your innie wears unsexy clothes like knee-length pencil skirts even though your outie wears crop tops and miniskirts. And your outie parties late at night because your innie has to deal with the hangovers.“When you’re at work, you kind of put on this different facade than you do at home or you do with your friends,” said Mr. Lanese, a 26-year-old sales associate and game designer. In January, he posted a satirical video on TikTok remaking a scene from the first season of “Severance” that has received almost three million views. In it, his innie is visibly disgusted as he discovers cringe traits about his outie. For example, his outie has run three Disney 5Ks as Mickey Mouse. He captioned it “realizing that your innie would not be friends with your outie.”“It’s almost a form of disassociating,” Mr. Lanese said.

    @thomaslanese I cant wait for season 2 #severance #appletv ♬ original sound – Thomas Lanese

    @masonide #severance ♬ original sound – grapo 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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    With $921 Seats, Denzel Washington’s ‘Othello’ Breaks a Box Office Record

    Demand to see Denzel Washington and Jake Gyllenhaal play Shakespeare has set a record in a year when big stars have been driving up the prices of Broadway plays.The hottest play on Broadway was written more than 400 years ago. Demand to see Denzel Washington and Jake Gyllenhaal face off in Shakespeare’s “Othello” is so strong that many center orchestra seats are selling for $921, helping the show break box office records.During its first week of previews, its average ticket price was $361.90, more than double that at the next highest-average-price show (“The Outsiders,” at $155.02). And last week “Othello” grossed $2.8 million, more than any nonmusical has ever made in a single week on Broadway.The huge numbers, for a show that has not yet been reviewed and that was selling briskly long before anyone had seen it, come at a time when the prices for the most sought-after pop concerts and sporting events are also quite high.And theater prices — at least for the most sought-after shows — are no exception.At its peak, “Hamilton” charged $998 for the very best seats during holiday weeks, and at one point a revival of “Hello, Dolly!” charged $998 for front row seats, which allowed fans of Bette Midler the possibility of being brushed by her glove as she strolled along a passerelle.Washington, seen leaving after a performance, is both highly acclaimed and enormously popular.Amir Hamja for The New York TimesBut “Othello” is distinguished by the large number of seats being sold at the highest prices, which is driving up its average ticket price. At many upcoming performances, the show is asking $921 for the first 14 rows in the center orchestra, and for much of the first two rows in the front mezzanine.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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    ‘Ted Lasso’ Will Return for Season 4 on Apple TV+

    Apple TV+ announced on Friday that the Emmy-winning comedy will return for a fourth season. Jason Sudeikis will be back to reprise the title role.“Ted Lasso” fans who continued to believe will have their faith rewarded: The heartwarming soccer comedy is returning to the pitch.Apple TV+ announced on Friday morning that the series, about a folksy American coach hired to lead the fictional AFC Richmond in England’s Premier League, will come back for another season, its fourth. Jason Sudeikis, who created the series with Brendan Hunt, Joe Kelly and Bill Lawrence, will return to reprise the title role and serve as an executive producer.“We all continue to live in a world where so many factors have conditioned us to ‘look before we leap,” Sudeikis said in a statement. “In Season 4, the folks at AFC Richmond learn to leap before they look, discovering that wherever they land, it’s exactly where they’re meant to be.”“Ted Lasso” debuted in August 2020 and ran for three seasons. Sudeikis and the other creators maintained all along that there were no plans for more episodes, though they didn’t rule it out. The Season 3 finale in May 2023 ended with Ted returning home to Kansas.In an interview on Travis and Jason Kelce’s podcast, “New Heights,” on Friday morning, Sudeikis said Ted will be coaching a women’s team in the new season.“It’s daunting, because we told the story we wanted to tell,” he said. “But there’s more there.”Apple TV+ did not give a premiere date for the new season or respond to a request for more details.It is also unclear who else from the main cast will be back. Brett Goldstein, who starred as the surly but softhearted coach Roy Kent, will be back as writer and executive producer, Apple TV+ said in a news release. In August, Deadline reported that Warner Bros. Television, which produces the show, had signed deals with three stars to come back if the show returned to production: Goldstein; Hannah Waddingham, who plays the AFC Richmond owner, Rebecca Welton; and Jeremy Swift, who plays the team executive Leslie Higgins.The show’s other cast members have consistently said they would be eager to return. Most of the original creative team, including most of the show’s writers, will return for the new season. Jack Burditt, a veteran TV producer, most recently of last year’s Netflix hit “Nobody Wants This,” joins as an executive producer.Based on an NBC Sports ad, “Ted Lasso” debuted in the thick of the Covid 19 pandemic with few expectations. It went on to become the biggest hit Apple TV+ has ever had, winning 13 Emmys and millions of fans who praised its humor and themes of friendship and empathy. Those awards all came for the first two seasons; the third was much more divisive.“Ted Lasso” was widely celebrated as a source of emotional sustenance during the pandemic. News of its return arrives in a similarly acrimonious moment, so perhaps its timing is apt again. More

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    ‘Yellowjackets’ Season 3, Episode 6 Recap: Goin’ Hungry

    Coach Ben goes on a hunger strike. Young Natalie goes rogue.Season 3, Episode 6: ‘Thanksgiving (Canada)’Let’s just start with this week’s big shocker: The girls and Travis are not alone in the woods. I’m not talking about there being spirits out there with them, though there very well may be spooky stuff hiding in the trees. I’m talking about real human people, wearing outdoorsy gear.The man (Nelson Franklin) holds up his hand and says, “Hello.” The Yellowjackets’ faces are a mixture of joy and horror. Finally, there is some sign of civilization. But also, oh God, civilization arrived at the worst possible moment.After all, the gang has just carved up Ben and eaten him while doing some ritualistic yelling. They can’t really hide that because their new friend sees the head and jumps back, terrified and cursing.It’s an exciting conclusion to a jam-packed episode. Midway through, I feared it might hang on another frustrating tease involving the mysterious tape that was left on Adult Shauna’s doorstep and found by her daughter, Callie.For the Adult Yellowjackets, the main story line follows Shauna, who has (finally!) determined that her family is at risk. The cherry that tops her suspicions is Callie’s revelation that she was keeping this retro-looking audio file a secret. So the Sadeckis move out of their house into a motel, and Shauna recruits Van, with her love of old-fashioned technology, to help her listen to the tape.Although we see Shauna, Tai and Van all pressing play, we don’t hear the full extent of what is contained on that audio file. Instead, there’s just a lot of screaming and more unanswered questions. At least Callie is as annoyed as I am at how withholding her mom is, planting her iPhone in Shauna’s bag to record whatever was on the tape.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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    Theater to Stream Now: ‘Beckett Briefs’ and One of Gavin Creel’s Last Shows

    Also available for streaming: A masterful F. Murray Abraham in “Beckett Briefs,” and Christopher Walken and Susan Sarandon in a take on “Streetcar.”‘Walk on Through: Confessions of a Museum Novice’Stream it on YouTube.When Gavin Creel died of a rare form of cancer last fall, at the age of 48, he left behind an artistic and emotional hole — he was a beloved presence onstage, especially in musical theater, with an easy wit, a sure flair for physical comedy and an old-fashioned elegance. One of his last large-scale endeavors was the musical “Walk on Through: Confessions of a Museum Novice,” for which he wrote the book and score, and which he performed in a run at MCC Theater in 2023. The show, which The New York Times’s Michael Paulson described as “a passion project” in his obituary for Creel, allowed the actor to venture into soul-searching as he explored his (very new) relationship with the Metropolitan Museum of Art. Fortunately, that institution, which had commissioned the project, keeps a capture of an October 2021 performance on YouTube.‘[Untitled Miniature]’Stream it at HERE.As a theater maker, Joshua William Gelb fully came into his own with his Theater in Quarantine productions, which he performed and streamed live from a closet in his home, often displaying uncommon technical mastery. From Tuesday through March 25, he continues to explore the live-digital hybrid with a new project that sounds closer to the experiments of such artists as Marina Abramovic than to traditional theater, and in which he will push the boundaries of his own endurance. In “[Untitled Miniature],” Gelb will spend 24 nonconsecutive hours (in 45-minute segments spread over eight days) naked inside a box that’s about 3 feet wide by less than 2 feet tall. Despite (or perhaps because of) the limited space, his movement will be choreographed. Audience members can buy tickets for either the physical performances, to be held at HERE, or for a live feed.‘Beckett Briefs’F. Murray Abraham in “Krapp’s Last Tape,” which is being presented as part of Irish Repertory Theater’s “Beckett Briefs.”Carol RoseggStream it from the League of Live Stream Theater.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 Spider-Man Has Evolved on Animated TV Shows

    When “Spider-Man: Into the Spider-Verse” hit theaters in 2018, it served as a delicacy for longtime fans, who found in the film clever allusions to the vast history of Spider-Man comics and animated series. “Into the Spider-Verse” and its sequel, “Spider-Man: Across the Spider-Verse,” was full of Easter eggs plucked from several eras of Spidey shows, many of which have been revered (and some maligned) over the years.The new Disney+ series “Your Friendly Neighborhood Spider-Man,” which takes place in an alternate reality where our hero is discovered and mentored by Norman Osborn (alter ego of the Green Goblin), is just the latest animated TV offering about the web-slinger. Spider-Man has been swinging across the small screen for decades, with every new series showing a fresh take on the hero and his world, both narratively and stylistically.Spider-Man (1967-1970)The OriginalVideo by ABCWhether or not you’ve watched the original “Spider-Man” TV show, you’ll surely recognize it from its famous opening theme (“Spider-Man, Spider-Man, does whatever a spider can”) or the omnipresent pointing meme, from the Episode 19 story “Double Identity.”The animation is, of course, very much of its time: blocky outlines, jerky character movements and flat, untextured backgrounds. As Spidey swings through the cityscape, the buildings around him are big, mostly solid blocks of pastel colors, with the occasional window and brick detail. And Spider-Man himself has a simplified costume design: The webbing pattern on his mask doesn’t extend down to his torso as in later incarnations; the physical build of the hero (and all the characters, for that matter) is just as nondescript.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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    ‘Song of the North’ Uses Puppets to Help a Persian Epic Spring to Life

    Hamid Rahmanian has made it his life’s work to share the richness of Iranian culture. “Song of the North,” at the New Victory Theater, is just the latest installment.On a recent afternoon on 42nd Street in Manhattan, a mythological bird was preparing to take flight.Backstage at the New Victory Theater, a black-clad puppeteer put on an elaborately stylized mask and stepped into a beam of light, throwing the shadow of fluttering hands onto a large scrim.Nearby, two other performers were gearing up to practice a sword fight. Then the music started, and a crew of nine began a full run-through of “Song of the North,” an elaborate shadow puppet staging of stories from the 10th-century Persian epic the “Shahnameh.”From the audience, the show unfolded like a seamless animation. But backstage, the next 80 minutes were half ballet, half mad scramble, as the performers grabbed hundreds of different puppets, props and masks stacked on tables and, with split-second timing, jumped in and out of the light beams streaming from two projectors.“Song of the North” involves 483 puppets, 208 animated backgrounds, 16 masks and costumes and nine performers.The show, at the New Victory Theater in Manhattan, is aimed at audiences 8 and older. It’s the latest of Hamid Rahmanian’s projects drawing on the “Shahnameh.” 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