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      Jimmy Kimmel Finds It ‘Impossible to Believe’ Trump Ordered Protesters Be Shot

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      Kimmel weighed in on a former defense secretary’s allegations about the president wanting paratroopers to fire on demonstrators outside the White House.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.That Son of a GunMark Esper, the former secretary of defense, said Sunday night on “60 Minutes” that former President Donald Trump suggested paratroopers begin shooting demonstrators during the George Floyd protests outside of the White House in June 2020. Esper referred to Trump’s request as “shocking.”Jimmy Kimmel called the anecdote “almost impossible to believe,” but later joked “In fairness, he said the same thing about Eric,” his son.“It is shocking. So shocking you should have told us about it at the time.” — SETH MEYERS“It’s also somehow not surprising to me that Trump would specifically request paratroopers, although it also wouldn’t surprise me if he doesn’t know what that word meant. I mean, maybe he knows it’s parachutes, or maybe he thinks it’s the two guys from ‘CHiPs.” — SETH MEYERSThe Punchiest Punchlines (A Tale of Two Presidents: Mother’s Day Edition)“Meanwhile, this weekend was also Mother’s Day, of course. Happy Mother’s Day to all the mothers out there. And I saw that first lady Jill Biden spent the day in Ukraine and met with the Ukrainian first lady. Yeah, basically, Joe got her an Edible Arrangement for Mother’s Day and Jill was like, ‘You know what? I’m going to go to Ukraine — I’m good.’” — JIMMY FALLON“To be fair, it was the only place that still had an availability for brunch.” — JAMES CORDEN“This is when you really see the difference between our current president and the last one. So Joe Biden yesterday tweeted to his wife: ‘Happy mother @flotus. You’re the love of my life and the life of my love. You bring me joy and laughter every day, and I’m so grateful for everything you do for our family.’ Very sweet. So Trump, then — Trump chose more of a ‘Yo Momma’s Day’ message.” — JIMMY KIMMEL“On Truth Social, he wrote: ‘Happy Mother’s Day to all, including racist, vicious, highly partisan, politically motivated and very unfair radical left Democrat judges, prosecutors, district attorneys, and attorney generals, who campaign unrelentingly against you without knowing a thing, and endlessly promise to take you down.’ This is his Mother’s Day tweet, OK? ‘After years of persecution, even the fake news says there is no case or, at best, it would be very hard to bring. someday soon they will start fighting record-setting violent crime. I love you all!’ And yeah, it’s a harsh message, but you know, if you color it in a little bit, it’s actually quite sweet.” — JIMMY KIMMEL“What do you think Trump did for Melania on Mother’s Day — offer her a bite of his McGriddle?” — JIMMY KIMMELThe Bits Worth WatchingJack Harlow did his first interview on a talk show on Monday’s “Tonight Show.”What We’re Excited About on Tuesday NightThe reunited Kids in the Hall will appear on Tuesday’s “Tonight Show.”Also, Check This Out“A Strange Loop” received more Tony Award nominations than any other show.Sara Krulwich/The New York TimesThis year’s Tony Award nominations include 11 nods for the new musical “A Strange Loop.” More

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      ‘Better Call Saul’ Season 6, Episode 5 Recap: Psych 101

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      Kim loses sleep. Howard and Jimmy mix it up. Lalo resurfaces abroad.Season 6, Episode 5: ‘Black and Blue’Lalo Salamanca is playing the long game. In previous seasons of “Better Call Saul,” he seemed impetuous (i.e. murdering that TravelWire clerk) and a big fan of improvisation (i.e. the impulsive volte-face near the Mexican border to look for Jimmy’s car). That Lalo is gone, or maybe he has learned to fight smarter after appreciating the guile of his enemy.The new Lalo isn’t looking for “proof” in Mexico, as Your Faithful Recapper incorrectly surmised, nor is the proof he seeks related to the attempt on his life. He wants to know about what Gus Fring is surreptitiously building — a topic that riveted him starting in Season 3 — and his search has taken him to Germany.Specifically, to a bar where Margarethe Ziegler (Andrea Sooch), the widow of superlab engineer Werner Ziegler, is acing trivia questions and drinking alone. Repackaged as a debonair international business traveler named Ben, Lalo drops the name of the town where Werner had beckoned his wife to join him during his prohibited, and ultimately fatal, attempt at a brief conjugal reunion in Season 4. Soon, Lalo is frisking Margarethe for the few facts she knew about her husband’s work in New Mexico.Which isn’t much. Nor, it seems, is there a hefty archive in the Ziegler home; Gus Fring’s minions hauled away anything relevant to the superlab, and maybe a lot more. Lalo’s brief haus invasion apparently produces little of immediate value, other than a good look at the carefully encased slide rule given to Werner, a gift “with love” from “his boys.”What Lalo knows is that none of those boys showed up at the funeral and their identities are unknown to Margarethe. Surely there was a no-go order given to the crew when it came to Werner’s final send off, a safety precaution imposed by Gus, who halted superlab construction because of Lalo’s snooping.The Return of ‘Better Call Saul’The “Breaking Bad” prequel returned April 18 for its final season.A Refresher: After the show’s two-year, Covid-induced hiatus, here’s where things left off.Serious Success: Bob Odenkirk was a comedian’s comedian — until “Better Call Saul” revealed him as a peerless portrayer of broken souls.Writing the Perfect Con: We asked the show’s writers to break down a pivotal scene in the ​​transformation of Jimmy McGill into Saul Goodman.Cast Interviews: Rhea Seehorn and Tony Dalton told us how they created the complex Kim Wexler and the murderous Lalo Salamanca.Perhaps Lalo’s next move is to find the occasionally rowdy and very industrious young crew that Werner brought with him from Germany to blast the superlab into existence. How exactly he is going to determine their names is not clear. The handwritten cards he finds in Werner’s house are condolences from friends. And even if he finds those men, what will they know? Presumably, they were never told what they were creating, nor did they know where, geographically, they were working.Lalo already had a hunch that Gus was building something more ambitious than “the chiller” he told Lalo was under construction in Season 4. Beyond that, Lalo is in the dark but apparently heading toward illumination. At least, that is the hunch of Gus, who appears in this episode to be suffering from symptoms of pre-traumatic stress disorder, if there is such a thing. He is panicked enough about an imminent Lalo assault that he is scrubbing bathtub grout with a toothbrush. He takes Mike and his men to the superlab, reflecting a premonition that Lalo is going to show up there, rather than his house.“I can put more guys on the place,” Mike tells him, shining a flashlight around the empty space, “if that’s what you’re thinking.”Privately, Gus secrets a handgun in a superlab nook. The “Better Call Saul” writers are either throwing a feint or signaling that a showdown between Gus and Lalo will happen in the structure that will eventually become the largest and most profitable meth lab in the world. Leaving a weapon there seems to provide Gus with some modest measure of peace.Howard Hamlin, the other human quarry in this two-pronged tale, has called out his pursuer and summoned him to a boxing ring, in the apparent hope that a few rounds with gloves on will put an end to their feud. As Jimmy later nurses his wounds with Kim, he is baffled as to why he took the bait. Your Faithful Recapper is confounded by the fisticuffs themselves. A boxing match? It seems a goofy contrivance even in the context of Jimmy and Kim’s credulity-strangling plot to frame Howard as a drug addict.Thankfully, Howard has more in mind than resolving his differences with Jimmy using the Marquess of Queensberry rules. He’s hired a private detective to follow Jimmy. This is good news for anyone who wanted this strand of the show to acquire more intrigue.That said, Jimmy and Kim seem so utterly nonplused that Howard has discovered their plot that we have to assume it was part of their plan. (Howard suggests as much when he says Jimmy failed to hide his tracks and wanted to get caught.) Perhaps tipping off Howard, compelling him to hire a pro to tail Jimmy, was in the blueprint. Certainly, Kim and Jimmy never speak about tweaking their scheme. On the contrary, Kim implies that everything is on track.“Because you know,” she says, when Jimmy wonders aloud about why he indulged Howard and strapped on those gloves. “You know what’s coming next.”Very mysterious.Odds and EndsThere is a parallel worth noting between Gus and Kim. Neither can sleep and for the same reason. They think Lalo is about to appear. So Gus has hired bodyguards and a surveillance team. Kim has wedged a chair against her apartment door.The Most Entertaining Appearance of the Week award goes to Francesca Liddy (Tina Parker), who turns up at Saul Goodman’s grim, unfurnished office and can hardly process what she’s seeing. Jimmy is using a new name and has pivoted away from elder law to serve unseemly clients who have lined up outside the door like it’s Wal-Mart on Black Friday. She agrees to join this new enterprise — a decision she will rue by the end of “Breaking Bad” — under two conditions. A raise, plus “I get a say in the decorating.”Francesca, if you’re responsible for the U.S. Constitution theme of Saul’s office and those Roman columns, we need to talk.Mrs. Ryman is a Toto fan!It’s not just existential dread that is driving Gus a little nuts. Even before Lalo showed up, construction of the superlab was behind schedule. The delays are expensive, of course, and risky as well, given that Gus’s secret German partner and equipment supplier, Peter Schuler, was on the verge of a nervous breakdown when we last saw him. The delays also add plausibility to a key plot point of “Breaking Bad.” Walter White exploited Gus’s fear of falling behind on the lab’s meth production schedule to save his own life. We have a better sense than ever of why that ploy worked.And our question of the week for the comments section: What do Jimmy and Kim have in store for the man who is going to mediate the Sandpiper Crossing lawsuit? Kim has wheedled the name of the gent from an unsuspecting, somewhat fawning former associate at Schweikart & Cokely. Jimmy and Kim then get a look at the man in a copy of a bar journal and take note of his handlebar mustache.“That’s a lot less face to worry about,” Jimmy says.Looming plot twist alert! This is arguably the most baffling line of the season so far and clearly an important one.What does it mean? More

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      How Elizabeth Olsen Came Into Her Powers

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      The actress started as an indie darling and never expected to become a Marvel linchpin as Wanda Maximoff. But she’s now so invested in the role, she’s open to a solo film.Elizabeth Olsen is used to waiting in the wings. When she was an acting student at New York University, she landed an understudy role in the Broadway play “Impressionism,” starring Jeremy Irons. The show ran for 56 performances. Olsen didn’t take the stage a single time.That sort of lost opportunity could mess with an actress’s mind, but Olsen was never in any hurry to seize the spotlight. Years later, when she was cast as the reality-bending witch Wanda Maximoff in “Avengers: Age of Ultron,” her character was more of an ancillary Avenger than the main event, and in three subsequent Marvel films — each with a more overstuffed ensemble of superheroes than the last — Olsen never rose higher than 10th billing.But a funny thing happened after biding all of that time: “WandaVision,” a sitcom spoof about Wanda and her android husband, became an unexpected phenomenon when it made its debut early last year on Disney+. This month, “Doctor Strange in the Multiverse of Madness,” which counts Olsen as its co-lead and pits her troubled witch against Benedict Cumberbatch’s goateed sorcerer, has proved even more major. The movie collected $185 million in its first three days of release, ranking 11th among the biggest domestic opening weekends of all time.For Olsen, who initially made her mark in independent films, this is the equivalent of turning a comic-book page to find yourself the subject of a massive splash panel. During a video call last week, I asked how it felt to come to the fore as a blockbuster leading lady.“I’m totally mortified!” she said. “I won’t watch it.”Hours after we spoke, Olsen would walk the red carpet at the Hollywood premiere of “Doctor Strange in the Multiverse of Madness,” but she planned to flee the theater as soon as the movie began. “This is pressure I’m feeling for the first time,” she explained. “I have a lot of anxiety with ‘Doctor Strange’ coming out because I’ve never really had to lead a commercial film by myself.”Olsen wanted to act since she was a child, but she was willing to wait after watching the experience of her sisters Mary-Kate and Ashley.Rosie Marks for The New York TimesShe coughed, unwrapping a foil package: “Sorry, I have a lozenge.”Olsen, 33, is casual and friendly, exuding a California glow so powerful that you would hardly know she had been sick for days. “It’s just annoying,” she said, swigging water from a Mason jar. “I think my body really wants to chill out.” She embarked on this global press tour the day after wrapping a seven-and-a-half-month shoot for the HBO limited series “Love and Death,” the sort of packed schedule that also required her to film “WandaVision” and “Doctor Strange” back to back.Because her “Doctor Strange” director, Sam Raimi, had not yet watched all of “WandaVision” when shooting began, it fell to Olsen to thread the tricky line through the two projects. In the Disney+ series, Wanda is so bereft after the death of her true love, Vision (Paul Bettany), that she invents an elaborate sitcom reality where he’s still alive, then adds two kids to complete the illusion. But in “Doctor Strange in the Multiverse of Madness,” she takes a much harder turn: Corrupted by a demonic book of spells, Wanda breaks bad and throttles a cast of good guys while on a multiverse-spanning trip to find her children.Olsen “is scary not because of her destructive powers or her diabolical ambitions, but because she is so sad,” our critic A.O. Scott wrote. And if you still feel sympathetic to Wanda as she makes mincemeat of our heroes, it’s because of Olsen’s efforts to ground the character in something that feels specific and intimate. When Wanda issues a deadly threat, Olsen lets her voice go soft, and her eyes fill with tears and regret: There’s a real person in there. (Though other actresses in the supervillain realm tilt toward camp, Olsen understands that when you’re hovering in midair and wearing a red tiara, things are already arch enough.)But six Marvel projects in, is this the kind of big-screen career she expected? Not exactly.“It took me away from the physical ability to do certain jobs that I thought were more aligned with the things I enjoyed as an audience member,” Olsen said. “And this is me being the most honest.”Olsen in “Doctor Strange in the Multiverse of Madness.” She had fullfilled her contractual obligations to Marvel in 2018 with “Avengers: Infinity War,” and “the power to choose to continue was important to me.”Marvel StudiosOLSEN HAD KNOWN she wanted to act since she was a child, but she also knew she didn’t want to act as a child. Any curiosity she might have had about fame was quieted by growing up alongside her sisters Mary-Kate and Ashley, who were cast in “Full House” before they were even a year old. The life-warping scrutiny of stardom could wait.Anyway, she felt far more comfortable in a group. Olsen played high school volleyball and sparked to the team’s camaraderie: Everyone could have their solo moment, but they had to work together to succeed. Even in college, when she started to audition for movies, she was in no rush to leave the theatrical ensemble she had come through school with.But film acting isn’t always as egalitarian. In 2011, Olsen stormed the Sundance Film Festival with a pair of star vehicles: “Silent House,” a single-take thriller that keeps its lens trained on her for 87 minutes, and “Martha Marcy May Marlene,” which cast her as an ex-cult member struggling to move on. That one-two punch led people to dub her the “it girl” of Park City, but as movers and shakers queued up in the snow to meet her, Olsen didn’t trust a thing they said.“It really felt like everyone was speaking through both sides of their mouth,” she said. “I was like, ‘This is a bubble.’ It felt like I was literally in a snow globe.”She came out of that experience knowing just two things: She didn’t want to be typecast as the crying indie girl, but she didn’t want to be thrust right into big-budget movies, either. “That looked scary to me, that kind of pressure,” she said.Still, sometimes it’s nice to be invited to the party. A few years into her acting career, after a streak of low-key indies, she asked her agent why she was never in the running for higher-profile movies. The reply: “People don’t think that you want to do them.”Did she? That’s a question Olsen had to ask herself then — and still does, from time to time. She decided she needed to put herself out there more, and signed on to a 2014 remake of “Godzilla,” reasoning that at least it was directed by Gareth Edwards, who until then had been an independent filmmaker.And then came the role of Wanda, and with her, entrée into Hollywood’s biggest franchise. As Olsen mulled Marvel’s offer to star in “Avengers: Age of Ultron,” she listed the pros: It would defy her indie typecasting. She’d once again be part of an ensemble, albeit a superpowered one. And her “Godzilla” co-star Aaron Taylor-Johnson was willing to come aboard as Wanda’s brother, Pietro, ensuring she wouldn’t go it alone. They signed on to “Ultron” as a pair.But Pietro was killed off at the end of that film, and as a shaken Wanda continued on through the Marvel Cinematic Universe, wondering if she really fit in, Olsen pondered the same question. Because of her Marvel commitments, she had to turn down a starring role in the Yorgos Lanthimos dark comedy “The Lobster,” and it didn’t take a multiverse for Olsen to imagine how that film would have propelled her down an entirely different path as an actress.“I started to feel frustrated,” she said. “I had this job security but I was losing these pieces that I felt were more part of my being. And the further I got away from that, the less I became considered for it.” “WandaVision” wasn’t expected to be a major Disney+ series. Consequently, Olsen said, “there was no pressure, no fear. It was a really healthy experience.”Rosie Marks for The New York TimesHer initial contract with Marvel covered two starring roles and a cameo, though Marvel movies are so mammoth that the studio could have deemed the five weeks Olsen spent filming “Captain America: Civil War” a brief appearance. And while her rising profile helped get indie films like “Wind River” and “Ingrid Goes West” financed, she still wondered whether Wanda’s spell-casting was worth it in the end. Had she become typecast in a totally different way? And was it all building to something that mattered?Wanda was killed off at the end of “Avengers: Infinity War,” satisfying Olsen’s three-film contract. “The power to choose to continue was important to me,” she said. And around the time the Marvel Studios head, Kevin Feige, brought Olsen in to discuss a resurrection for “Avengers: Endgame,” he pitched “WandaVision” to her. At first, she wondered if it was a demotion: TV, really? But the more she wrapped her head around it, the more she realized it was her wildest screen opportunity yet.“The Falcon and the Winter Soldier” was supposed to be Marvel’s first Disney+ series, an old-fashioned, down-the-middle action show in which the superheroes punch evildoers in every hourlong episode. “WandaVision,” by contrast, was a half-hour sitcom parody; the most significant fights of the show were marital squabbles, leavened by an eerie laugh track.“We thought what we were doing was so weird and didn’t know if we had an audience for it, so there was a freedom to it,” Olsen said. “There was no pressure, no fear. It was a really healthy experience.”But after the pandemic pushed Marvel to rejigger the order of its Disney+ series, “WandaVision” went first and became the unlikely standard-bearer. The show spawned countless memes, crashed the streaming service multiple times, and earned 23 Emmy nominations, including a best actress nod for Olsen.More important, “WandaVision” helped her fall in love with Wanda — a character she had played for years — for the very first time. The show offered a dizzying array of variations on the role — some sitcom-sparkly, others modern and morose — and the first episode, shot in front of a live audience, required all of Olsen’s theatrical training to succeed. She wasn’t sure it would resonate with a wider audience until friends sent her video clips of a Minneapolis brunch where drag queens had dressed as all of Wanda’s alter egos. “If you make it to that stage,” Olsen said with a laugh, “then you actually are part of culture.”Olsen admitted to feeling anxiety about “Doctor Strange”: “I’ve never really had to lead a commercial film by myself.”Rosie Marks for The New York TimesWith Scarlett Johansson’s Black Widow out of the picture, Olsen is now the Marvel actress with the most hours clocked. Does she feel reinvigorated enough, after “WandaVision” and “Doctor Strange,” that she’d be willing to star in a solo film about her character?“I think I would,” she said. “But it really needs to be a good story. I think these films are best when it’s not about creating content, but about having a very strong point of view — not because you need to have a three-picture plan.”Now that she feels more comfortable in her signature role and in her own skin, Olsen wants to be more deliberate in her choice of roles and what she does with them. But she also told me a story from her understudy days about Jeremy Irons, who didn’t fully learn his lines until opening night of “Impressionism”; even through previews, he would muck around in front of the audience, exit the stage to peruse his pages, then come back on to muck some more. Maybe acting wasn’t something you trapped, pinned down and obsessively studied, Olsen realized then. Maybe you could embrace it as a fluid thing with an unknown destination.Olsen knows now that a Hollywood career can take turns that you never could have predicted, so you might as well enjoy where it goes. Over the weekend, she popped up on “Saturday Night Live” to support her co-star Benedict Cumberbatch; she played herself in the sketch, while the show’s Chloe Fineman played Olsen’s understudy. Sometimes, things happen to come full circle like that. Sometimes, it even feels like magic. More

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      What’s on TV This Week: ‘Breeders’ and ‘The Time Traveler’s Wife’

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      The third season of a dark comedy with Martin Freeman and Daisy Haggard begins on FX, and HBO debuts a new adaptation of a best-selling novel.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, May 9-15. Details and times are subject to change.MondayBREEDERS 10 p.m. on FX. “Sometimes the bad guy is sexier” is not a sentence you want to hear if you’re a character played by Martin Freeman. Alas, it’s a sentence that Ally (Daisy Haggard) says to her husband, Paul (Freeman), in a trailer for the new season of this dark comedy. The show’s previous two seasons established it as a series unafraid to show parenting as an often messy, sometimes frustrating enterprise. The third season, which debuts Monday, is no different. It picks up with Paul living separately from the rest of the family, an aftereffect of an anxious Season 2 finale in which the couple’s older son, Luke (Alex Eastwood), punched Paul.TuesdayBREATHLESS (1961) 10:15 p.m. on TCM. When Jean-Luc Godard’s debut feature came to the United States in 1961, the New York Times critic Bosley Crowther wrote that it was a “sordid” movie, then added a qualifier: “sordid is really a mild word for its pile-up of gross indecencies.” But the film’s ability to jolt viewers helped make it a touchstone, and its story of a French criminal (Jean-Paul Belmondo) and an American student (Jean Seberg) in Paris remains potent. A.O. Scott, writing in The Times five decades after Crowther, was kinder to the movie. “Much as it may have influenced what was to come later, there is still nothing else quite like it,” Scott said. “Its sexual candor is still surprising, and even now, at 50, it is still cool, still new, still — after all this time! — a bulletin from the future of movies.”WednesdayRobin Wright in “Land.”Daniel Power/Focus FeaturesLAND (2021) 7:30 p.m. on HBO Signature. A woman goes on a healing journey that nearly kills her in “Land,” Robin Wright’s feature directing debut. After a tragedy, Wright’s character, Edee, leaves her city home and moves to an isolated cabin in Wyoming. While struggling to live off the land, she meets a hunter (Demián Bichir) who is an old hand at surviving both in the wild and in the aftermath of a trauma. The film, which was actually shot in Alberta, Canada, captures natural landscapes in ways that are “lush and piercingly sharp,” Glenn Kenny wrote in his review for The Times. “Wright’s movie is ambitious (that location! that weather!), but not grandiose,” Kenny said. “Its storytelling economy helps make it credible and eventually moving.”ThursdayFURY (2014) 9 p.m. on BBC America and JOJO RABBIT 9:40 p.m. on FXM. It would be difficult to find two movies that take on the same difficult subject in more contrasting ways than “Fury” and “Jojo Rabbit.” Both are World War II movies, but that’s about where the similarities end. In “Fury,” Brad Pitt plays the leader of an American tank crew sent on a long-shot mission in Germany in 1945. The movie, directed by David Ayer (“End of Watch”), is as bluntly brutal as its title might suggest. “Jojo Rabbit,” on the other hand, is a farce. Written and directed by Taika Waititi, whose screenplay was adapted from the novel “Caging Skies” by Christine Leunens, it follows a German boy, Johannes (Roman Griffin Davis), living in an elevated version of the same time period. Johannes’s imaginary friend is Adolf Hitler; he’s sent to a Hitler Youth day camp. Yet Johannes’s mother, Rosie (Scarlett Johansson), doesn’t buy into Nazi propaganda — and, to his surprise, Johannes connects with a Jewish teenager, Elsa (Thomasin McKenzie), whom his mother is secretly housing.FridayA scene from “Couples Therapy.”ShowtimeCOUPLES THERAPY 8 p.m. on Showtime. The third season of this documentary series — which lets viewers act like a fly on the wall of couples’ therapy sessions — introduces a new set of partners who work through issues with Dr. Orna Guralnik, a therapist in New York. The new couples come in with issues relating to old traumas, parenting and open relationships.GREAT PERFORMANCES: ANYTHING GOES 9 p.m. on PBS (check local listings). Sutton Foster, who is now starring opposite Hugh Jackman in “The Music Man” on Broadway, leads this recorded stage performance of “Anything Goes,” the musical comedy that pairs at-sea romance with Cole Porter songs. This production, from Kathleen Marshall, leans into the musical’s age (its first Broadway production was in 1934), with throwback Art Deco sets and costumes — and words to match. It’s “a farrago of zinger-stocked dialogue, vaudeville-style antics and musical numbers only pretending to co-exist as a coherent plot,” Ben Brantley wrote in his review for The Times. Foster, Brantley wrote, acts as “an evangelist of musical-comedy joy.”SaturdayTHE MATRIX: RESURRECTIONS (2021) 8 p.m. on HBO. Nostalgia is sometimes subverted and sometimes leaned into in this “Matrix” sequel from Lana Wachowski. Keanu Reeves and Carrie-Anne Moss, the stars of the first movies, return as versions of their original characters living in a new future reality where Neo (Reeves) is a video-game designer who frequents the same coffee shop as Trinity (Moss). Their memories of each other are suppressed, but their fates remain tied. It “plays like a loving, narratively clotted tribute video to the ‘Matrix’ cycle itself,” Manohla Dargis wrote in her review for The Times, “complete with innumerable bullets and almost as many flashbacks to the younger Neo.”SundayRose Leslie in “The Time Traveler’s Wife.”Macall B. Polay/HBOTHE TIME TRAVELER’S WIFE 9 p.m. on HBO. The last time Audrey Niffenegger’s extremely popular 2003 debut novel was adapted for the screen, it was through a 2009 movie with Rachel McAdams and Eric Bana that was poorly received. The extended, episodic structure of this new TV adaptation might be an advantage, given that the plot of the book hinges on long periods of time: It centers on an artist, Clare (played this time by Rose Leslie), and a librarian, Henry (Theo James), in a relationship made complicated by a disorder that sends Henry jumping through time. More

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      Ncuti Gatwa Is the New Doctor on ‘Doctor Who’

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      Mr. Gatwa, a star of the Netflix series “Sex Education,” will be the first Black man to play the lead character in the enduring BBC science fiction franchise.Ncuti Gatwa, a star of the Netflix series “Sex Education,” will be the 14th actor and the first Black man to play the lead role of the Doctor in “Doctor Who,” the long-running British science fiction franchise about a time-traveling adventurer, the BBC announced on Sunday.He replaces Jodie Whittaker, who announced her departure last July after three seasons as the show’s first female doctor.Mr. Gatwa, 29, a Rwandan-Scottish actor, plays Eric Effiong, a gay man navigating his sexuality and identity in a religious Nigerian family, in “Sex Education,” the hit British teen comedy-drama series on Netflix.“It feels really amazing, it’s a true honor,” Mr. Gatwa told the BBC on Sunday as he arrived for the EE British Academy Film Awards, commonly known as the BAFTAs, where he was nominated for best male performance in a comedy program for his work on “Sex Education.”“This role is an institution,” he said of the Doctor. “It’s so iconic and it means a lot to so many people, including myself, and so it makes everyone feel seen as well. It’s something that everyone can enjoy, so I feel very grateful to have had the baton handed over and I’m going to try to do my best.”“Doctor Who” fans celebrated the news on Twitter on Sunday, with many expressing their excitement to see a doctor who resembles them. Others noted the low-key nature of the announcement: a tweet followed by a news release that the BBC shared on social media. In July 2017, the BBC announced Ms. Whittaker’s selection in a commercial that aired after the Wimbledon men’s final.In a statement shared by the BBC, Mr. Gatwa noted the importance of “Doctor Who” to fans worldwide, and acknowledged feeling “a mix of deeply honored, beyond excited and of course a little bit scared.”“Unlike the Doctor,” he added, “I may only have one heart, but I am giving it all to this show.”The BBC has aired 39 seasons of “Doctor Who” over nearly 60 years. The show, about an alien known as the Doctor who travels through time and space in an old-fashioned British police telephone booth called the TARDIS, has cultivated a legion of dedicated fans who call themselves “Whovians.”The Doctor regenerates into new people, and in turn, the show replaces its lead actor every few years. Though transitions to new Doctors are expected and eagerly anticipated by fans, the show’s previous attempts to change and diversify have not been universally embraced. When Ms. Whittaker’s turn as the Doctor was announced in 2017, some fans adopted the hashtag #NotMyDoctor and questioned why the character had suddenly changed genders.Ms. Whittaker’s final episode is yet to come, Russell T. Davies, the series showrunner, said in a statement. It will air in the fall during the BBC’s centenary celebrations, according to a trailer previewing the episode.Mr. Gatwa will make his debut as the Time Lord in 2023. More

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      ‘S.N.L.’ Imagines the Origins of Abortion Law

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      On an episode hosted by Benedict Cumberbatch, “Saturday Night Live” contemplated the possibility that the Supreme Court could overturn Roe v. Wade.“Saturday Night Live” dug deep for its opening sketch this weekend, far into the text of a leaked draft opinion indicating that the Supreme Court has voted to overturn the Roe v. Wade decision, at the section where the draft opinion’s author, Justice Samuel A. Alito Jr., cites legal theory from 13th century England.As an introductory voice-over described the scene, “We go now to that profound moment of moral clarity, almost a thousand years ago, which laid such a clear foundation for what our laws should be in 2022.”Within the stone walls of a medieval castle, wearing period costumes and wigs, the cast members James Austin Johnson and Andrew Dismukes were brainstorming with a third character, played by the show’s guest host, Benedict Cumberbatch.“While I was cleaning the hole on the side of the castle where we poop and then it falls through the sky into a moat of human feces, I started to think about abortion,” Cumberbatch said, adding, “Don’t you think we ought to make a law against it?”“Exactly. Something fair and reasonable like those laws. We should make a law that will stand the test of time, so that hundreds and hundreds of years from now, they’ll look back and say, no need to update this one at all — they nailed it back in 1235.”Dressed as a medieval woman, Cecily Strong interrupted the men’s discussion. “I was outside watching the sheriff throw left-handed children into the river and I couldn’t help but overhear you talking about a new law,” she said.Strong asked them, “I was just wondering since I’m almost at the childbearing age of 12, shouldn’t women have the right to choose, since having a baby means like a 50 percent chance of dying?”Cumberbatch answered, “Yes, but that’s why we’re also offering maternity leave. When you’re done with 20 years of continuous maternity, you can leave.”When the three men all voted in favor of their new law, a fourth man, played by Chris Redd, attempted to vote against it.“I’m just playing,” Redd said. “I know I can’t vote. But you know, Moors gonna be Moors.”Kate McKinnon entered the room wearing long gray hair and a pointed hat, and Cumberbatch recoiled: “An ogre!” he exclaimed.“No, no, just a woman in her 30s,” McKinnon replied. She explained that eating a weird mushroom had given her the power to see far into the future, when this oppressive law would be overturned and then that outcome would itself be undone.McKinnon tried to offer some words of encouragement. “No matter how many choices they take away from women, we’ve always got the choice to keep fighting,” she said.“That’s really inspiring,” Cumberbatch responded. “And after hearing your perspective, I suddenly realize — you’re a witch and we’re going to set you on fire.”Hidden Talent of the WeekOne potential upside of hosting “S.N.L.” is that you might get to show off a skill or talent the audience doesn’t know you have. In the case of Cumberbatch, the Oscar-nominated star of “The Power of the Dog” and the “Doctor Strange” films, he demonstrated that he’s a pretty decent singer when he assumes the guise of a prison inmate on a chain gang in 1950s Georgia.While fellow convicts played by Johnson, Redd and Kenan Thompson smash rocks and lament their long internments, Cumberbatch is the one enjoying cherry pie and boasting that he’s the prison snitch. (He also put his pipes to use in a later sketch playing half of a 1980s New Wave rock duo that finds itself playing a gig at Chuck E. Cheese.)Weekend Update Jokes of the WeekOver at the Weekend Update desk, the anchors Colin Jost and Michael Che continued to riff on the Supreme Court’s draft opinion and its potential impact on abortion access.Jost began:Well, guys, tomorrow is Mother’s Day. Whether you wanted to be one or not. In an unprecedented move that could cause lasting damage to the Supreme Court, a draft opinion was leaked which indicates that they intend to overturn Roe v. Wade. So the Court is usually careful, but they slipped up just this once and now they’ve got to live with it forever. Sounds really unfair.The opinion was written by Justice Samuel Alito, and he bases his arguments on laws from the 1600s. So it’s an outdated opinion from an angry 70-year-old? This shouldn’t be a Supreme Court decision; it should just be a Facebook post. The opinion also seems like it was written in a weird conservative bubble. Here’s how you know: He quotes his own colleague Brett Kavanaugh six times. One for each beer in the pack. He even cites Kavanaugh on civil rights, which is like citing Amber Heard on how to make a bed. Chief Justice John Roberts said that the leak was “the work of one bad apple.” One bad apple is also another legal argument used in Alito’s opinion [his screen shows a picture of Eve in the Garden of Eden].Che continued:As a man, there’s no way I can understand the full impact of this issue. But I asked a bunch of women around the office what their personal experience was with abortion, and I’ve got to admit, I learned a lot from the HR meeting they made me go to.But I do know this ruling will have a disproportionate effect on poor people. I mean, most Americans don’t have access to the same resources that I do. The average person can’t just text Lorne in the middle of the night and say, “Yo, it happened again.” I just don’t get why Republicans are so against this. Maybe don’t think of it as an abortion. Think of it as a patriot storming a uterus to overturn the results of an unfair pregnancy.Weekend Update Desk Segment of the WeekMcKinnon, who for many years was “S.N.L.”’s resident impersonator of the liberal Justice Ruth Bader Ginsburg, appeared this week at the Update desk to play her conservative successor, Justice Amy Coney Barrett.Playing Barrett in a comic back-and-forth with Jost, McKinnon tried to tamp down the perception that she was pleased about the overturning of Roe v. Wade. “I don’t know what would make you think that, other than everything I’ve ever said,” she explained.McKinnon also emphasized so-called safe-haven laws that allow parents to give up custody of an infant.“Give it to a stork and the stork will give it to a lesbian,” she said. “I would think that lesbians would be happy because now there’s more babies for them to adopt. Until we ban that, too.” More

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      Fred Savage Fired From ‘The Wonder Years’ Over Misconduct Allegations

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      The former child star of the original television series was dropped as director of a reboot after allegations of “inappropriate conduct,” 20th Television said.Fred Savage, the former child star of the television comedy “The Wonder Years,” has been fired as an executive producer and director of a reboot of the show after allegations of “inappropriate conduct,” the studio behind the new series said in a statement on Saturday.“Recently, we were made aware of allegations of inappropriate conduct by Fred Savage, and as is policy, an investigation was launched,” the statement from 20th Television said. “Upon its completion, the decision was made to terminate his employment as an executive producer and director of ‘The Wonder Years.’”The studio did not provide additional details or immediately respond to follow-up questions on Saturday. Representatives for Mr. Savage did not immediately respond to emails seeking comment. Deadline reported the news of his firing on Friday.Mr. Savage, 45, was a child when the original “The Wonder Years” premiered in 1988 on ABC, kick-starting his career with his portrayal of the suburban, sunny middle schooler Kevin Arnold. The television comedy — a nostalgic look back at 1968 from the vantage of 1988 — was acclaimed at the time and brought Mr. Savage two Emmy Award nominations. The show aired until 1993.A new version of the show premiered in 2021 on ABC, this time focusing on a Black family in Montgomery, Ala., in the 1960s, with Don Cheadle serving as the narrator.Mr. Savage told The Hollywood Reporter in January that he had reservations about rebooting the show. But when the idea of centering it on a Black family was presented to him, he was on board.“I had to kind of get over myself a bit and realize that we were telling a new story,” he said.Mr. Savage has faced accusations of misconduct in the past.In 2018, Alley Mills, who played Mr. Savage’s television mother, Norma, in “The Wonder Years,” said in an interview with Yahoo that a costume designer for the show filed a sexual harassment suit in 1993 against Mr. Savage, then 16, and Jason Hervey, then 20 and an actor on the show who played the older brother, Wayne, claiming the actors had verbally and physically harassed her.“It was so not true,” Ms. Mills said at the time, adding that the lawsuit had been a major factor in the show’s cancellation that year. “It was my dresser, and I don’t care if she’s listening — I probably shouldn’t be telling this, but I don’t care.”Representatives for Mr. Savage and Mr. Hervey had denied those claims, the The Los Angeles Times reported.That same year, Mr. Savage was also accused of creating a hostile work environment and being verbally abusive in a lawsuit filed by a costume designer on his Fox television series, “The Grinder.” Mr. Savage denied the allegations, and the suit was later dismissed, according to The Hollywood Reporter. More

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      ‘Star Trek: Picard’ Season 2, Episode 10 Recap: Q’s Last Gift

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      The “Picard” crew tries to find its way home.Season 2, Episode 10: ‘Farewell’So after all that, all the Jurati-Borg Queen combination had to do was show up earlier and none of the this season’s craziness would’ve happened?A very funny moment comes when an Excelsior crew member, during the “Picard” finale’s climax, wonders what happened to Rios, who was left behind in the 21st century. Picard snaps, “Stay on task, helm. That’s an order.” That’s essentially how the show’s writers have treated the audience for most of its two-season run. Don’t worry about the things that don’t make sense. Just focus on where the story is going.In this case, what the story reveals to us is that Q, in his dying moments, wanted to let Picard know that his mother’s death wasn’t his fault. (Why is Q dying? Of what? It’s never explained.) And that the first step to Picard finding love was for him to love himself. It’s a wonderful lesson, except, as Picard points out, there were innocent people who died along the way for a life lesson.Not that Q cares. And neither does Picard, it turns out, because Picard gives his soon-to-be-deceased tormentor a hug. It’s a touching moment. The thing is, everything we’ve seen in “Picard” has taught us that what is dead will never die. There is no reason to believe that Q is actually dying, in the traditional sense, because no major character dies in this show. This includes even the ones who do, because they’re just brought back later — sometimes with a literal snap of a finger, like our old friend Elnor. (If I was Picard, I might have asked Q for some other people to be brought back to life. “Hey, while you’re at it, instead of bringing back Elnor, whom I’m not that close to, would you mind bringing back Data? Or Tasha Yar?)John de Lancie did a wonderful job as Q, as he normally does. But the way the character was written this season felt off. If all this was to teach Picard forgiveness, why did Q seem so angry and vindictive earlier in the season? Recall his previous conversations with Soong, where he seemed to imply he wanted to get revenge on Picard.Odds and EndsSo after all the talk about shifting the timeline with the slightest use of futuristic technology, Rios ends up staying behind in the 21st century with Teresa with centuries worth of knowledge in his head. We find out from Guinan that he didn’t use much of that knowledge. Rios is a better man than me. If I went back in time 400 years and stayed there, I would be known as the inventor of cars, the iPhone, electricity and Twitter.That was a really lovely return from Wil Wheaton as the Traveler formerly known as Wesley Crusher. I have no idea if this is a one off, or if he’ll factor into next season, when the “Next Generation” cast returns. But Wesley was a character who generally got the short end of the stick in the original “Next Generation.” (The last we saw of him — when he was spotted at Riker and Troi’s wedding in “Nemesis” — he seemed to have returned to Starfleet.)Soong pulling out the folder labeled “Project Khan” gives us a hint of what next season will be about. We know Soong is an expert in genetics and that the greatest villain in all of “Trek,” Khan Noonien Singh, was a result of genetic experimentation. This looks like a precursor to the Eugenics Wars. Should be fun!Alison Pill has already said she’s not coming back for Season 3 of “Picard,” and with Rios now dead in the past, I’m wondering how much of the “Picard” crew comes back, if at all. Maybe next season will really be a “Next Generation” season.What’s up with the transwarp conduit that Jurati-Borg Queen want to find out about? That could also be a hint for Season 3. There are just so many questions about what the Borg have been up to in the past 400 years. Were they hiding from the Evil Borg? Did the previous assimilation attempts not happen? Stay on task, helm! That’s an order!A farewell to the Watcher, Tallinn, who stays away and watches until she doesn’t. Who had special powers, except for when she didn’t.Finally, what happened to the F.B.I. agent, Martin Wells? Imagine working your whole life to find out if aliens exist, having your theory confirmed and then … what? More