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      in Television

      Demetri Martin’s Netflix Comedy Special Confronts His Veteran Career

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      In his new Netflix special, “Demetri Deconstructed,” he tries a more conceptual approach than the simplicity he was known for.A comedy career can be a tricky puzzle. You must evolve to stay relevant and interesting, but change too much and fans will revolt.The prolific stand-up Demetri Martin, 50, has always had the mind of a puzzle-maker and a knack for paradox. A characteristic joke: “I am a man of my word: That word is unreliable.” In “Demetri Deconstructed” (Netflix), the inventive seventh special of what has become a major, joke-dense career, he seems to be answering a riddle: How does an eternally boyish alternative comedian mature into middle age?Martin steers clear of common temptations like storytelling or culture war or revelation. He is now married with kids, but he’s not the kind of comic to tell jokes about parenting. After two decades, including three books and a movie, “Dean” (2016), he directed and starred in, we barely know him. The move he’s making with the new special is away from a lodestar: simplicity. His jokes always sought out absurdity in as few words as possible; the delivery was unvarnished and there was little physicality. His floppy hair and crisp bluejeans are so consistent that they have become a kind of uniform.Embracing the increasingly cinematic aesthetic of stand-up specials, his new hour, which he directed and is actually closer to 50 minutes, takes his act and wraps it around an intricate high concept. The first step to this move was in his previous special, “The Overthinker” (2018), which was funnier, if less radical. The theme there was in the title, and he illustrated it through the formal device of occasional interruptions with narration that represented his inner voice.In one bit, his narrator wondered what the cartoon sitting on an easel next to him onstage would like from the balcony, which led to a shot from farther back where you couldn’t make out the picture at all. This perspective shift was heady: It wouldn’t get a big laugh but made for a memorable critique of comedy in big rooms and a self-mocking joke about how not everyone would get him.“Demetri Deconstructed” doubles down on such experiments. Instead of occasional intrusions of thought, the conceit here is that the special takes place entirely inside his mind, allowing for a more surreal visual language. A framing device has him hooked up to an EEG of sorts with a dubious doctor who wants him to imagine a comedy show. (Think “The Matrix” but for comedians.)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

    • 75 Shares103 Views

      in Theater

      Christopher Durang, the Surrealist of Snark

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      In works like “Vanya and Sonia and Masha and Spike,” the playwright would force you to laugh, not to dull the pain but to hone it.Pickpocketing Chekhov for dramatic capital is almost a rite of passage among playwrights, but only Christopher Durang invested the loot in beefcake.In his play “Vanya and Sonia and Masha and Spike,” Vanya and Sonia are more-or-less familiar transplants from the Russian hinterlands to Bucks County, Pa., dithering so much about the purpose of life that they neglect to have one. Masha, though a movie star, is a Chekhov type, too: endlessly fascinating, especially to herself.But you will not find Spike anywhere in the canon; a jovial, amoral, ab-tastic himbo, he is apparently unfamiliar with the function of clothes. They keep coming off.Durang, who died on Tuesday night at 75, was likewise a stripper, peeling the pants off serious theater, both to admire and ridicule what it was packing beneath. When “Vanya” won the Tony Award for best play in 2013, it was the culmination of a writing life spent remaking the respectable precedents and characters of the past in the snarky image of his own times. Drama became comedy, but then — surprise! — swung back toward drama, then swung back again, never quite settling. In making us laugh and then demanding a retraction, Durang became an absurdist Neil Simon for a post-great generation.Billy Magnussen as Spike, with Genevieve Angelson as Nina, in Lincoln Center Theater’s 2012 production of “Vanya and Sonia and Masha and Spike.” Sara Krulwich/The New York TimesOften enough, the laughing was of the can’t-catch-your-breath variety, further dizzying the ambivalence of the culturati by punching both high and low. I didn’t see any of the plays and sketches he wrote while a student at the Yale School of Drama in the early 1970s, often collaborating with pals like Sigourney Weaver, Meryl Streep, Albert Innaurato and Wendy Wasserstein, but the titles tell you a lot: “Better Dead Than Sorry,” “The Life Story of Mitzi Gaynor,” “When Dinah Shore Ruled the Earth,” “The Idiots Karamazov.”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

    • 138 Shares79 Views

      in Movies

      Julia Stiles, 25 Years After “10 Things I Hate About You”

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      Julia Stiles starts lunch with a disclaimer: “I’m kind of like a bundle of emotions, because I have a 5-month-old baby and I went into directing my first movie.”Maybe you didn’t know Stiles had gotten into directing. Her feature, “Wish You Were Here,” doesn’t yet have a release date and has only been lightly covered. You definitely didn’t know about the baby, because Stiles declined to do the standard-issue celebrity-birth promotion (post an announcement on Instagram to get aggregated by People magazine). She’s been in the business for nearly three decades. It’s not that she doesn’t know the norms. But participating in the norms just because they’re the norms has never been her thing.“I didn’t really talk about it,” she said of her latest pregnancy, though she was excited to talk about it now, about how being a parent (her older sons are 6 and 2) nourishes her work. “I think that actually being a mom is really great training for being a director,” she said. “You have to think 10 steps ahead but also be in the present moment. You have to be good at time management. You have to be sensitive to people’s needs and guide them, but also hold a boundary.”Over a two-hour lunch at Jack’s Wife Freda in the West Village — a likely place to spot a celebrity, though unlikely for said celebrity to have gone to school just a few blocks away at P.S. 3, as Stiles did — she was exhausted but animated, especially when the conversation turned to directing. “I am running on fumes in terms of sleep,” she said. “But I feel more energized than I ever have.”Stiles on the set of “Wish You Were Here,” her directorial debut.Jayme Kaye GershenOn the second day of shooting, she said, her supervisor told her to stop apologizing. “I wasn’t saying ‘sorry,’” Stiles said. “But she meant, ‘Just stop qualifying your opinions and your ideas. You don’t have to explain them. You’re the director.’ And she was totally right. I took it to heart and I put on my big girl pants and leaned into being a director as opposed to a people-pleasing actress.”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

    • 100 Shares143 Views

      in Music

      She’s Shaking Up Classical Music While Confronting Illness

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      The pianist Alice Sara Ott, who makes her New York Philharmonic debut this week, is upending concert culture — and defying stereotypes about multiple sclerosis.The pianist Alice Sara Ott, barefoot and wearing a silver bracelet, was smiling and singing to herself the other day as she practiced a jazzy passage of Ravel at Steinway Hall in Midtown Manhattan. A Nintendo Switch, which she uses to warm up her hands, was by her side (another favored tool is a Rubik’s Cube). A shot of espresso sat untouched on the floor.“I feel I have finally found my voice,” Ott said during a break. “I feel I can finally be myself.”Ott, 35, who makes her New York Philharmonic debut this week, has built a global career, recording more than a dozen albums and appearing with top ensembles. She has become a force for change in classical music, embracing new approaches (playing Chopin on beat-up pianos in Iceland) and railing against stuffy concert culture (she performs without shoes, finding it more comfortable).And Ott, who lives in Munich and has roots in Germany and Japan, has done so while grappling with illness. In 2019, when she was 30, she was diagnosed with multiple sclerosis. She says she has not shown any symptoms since starting treatment, but the disorder has made her reflect on the music industry’s grueling work culture.“I learned to accept that there is a limit and to not go beyond that,” she said. “Everybody knows how to ignore their body and just go on. But there’s always a payback.”Ott has used her platform to help dispel myths about multiple sclerosis, a disorder of the central nervous system that can cause a wide range of symptoms, including muscle spasms, numbness and vision problems. She has taken to social media to detail her struggles and to challenge those who have suggested that the illness has affected her playing.She said she felt she had no choice but to be transparent, saying it was important to show that people with multiple sclerosis could lead full lives.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

    • 138 Shares79 Views

      in Music

      Alice Randall Made Country History. Black Women Are Helping Tell Hers.

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      In “My Black Country,” the musician and author who cracked a Nashville color barrier is telling her story — and hearing her songs reimagined.The country singer Rissi Palmer could not understand why Alice Randall was emailing her.By fall 2020, when Palmer received the message, Randall was a Nashville institution, not only the first Black woman to write a chart-topping country hit but also a novelist whose books undermined entrenched racial hierarchies. Palmer herself was no slouch: “Country Girl,” her 2007 anthem of rural camaraderie, had been the first song by a Black woman to infiltrate country’s charts in two decades. She had just started “Color Me Country,” a podcast exploring the genre’s nonwhite roots and branches.But 11 years earlier, Palmer had fled Nashville, hamstrung by contract disputes, with “my tail between my legs,” she recalled recently in a video interview from her North Carolina kitchen.Randall, however, was very interested in Palmer — and her history. Working as a writer-in-residence at Vanderbilt University, she had urged the school’s Heard Libraries to acquire Palmer’s archives: notebooks, sketches, a dress worn during her Grand Ole Opry debut.“I’ve been in this business since I was 19. I made the charts when I was 26. I’ve had these items the whole time,” said Palmer, 42. “No one has ever called me and said they had value, until Alice. There are more important people, but she saw value in me.”Randall also saw something of herself — and a glimpse of gradual progress — in Palmer. After breaking a Nashville color barrier when her treatise about being an overworked mother, “XXX’s and OOO’s (An American Girl),” became a 1994 hit for Trisha Yearwood, Randall quit writing country songs.In her book “My Black Country,” which shares its name with her new compilation, Randall posits a sharp rejoinder to the standard country origin story.Arielle Gray 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

    • 150 Shares84 Views

      in Music

      Pedal Steel Noah’s Covers Charm Fans Online. Up Next: His Own Songs.

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      This 16-year-old from Austin, Texas, plays New Wave and post-punk hits with his brother and dog beside him. This week, his first EP, “Texas Madness,” comes out.Like many American teenagers, Noah Faulkner, 16, is obsessed with music. He’ll spend hours going down rabbit holes, listening to every note played by his favorite artists and studying new discoveries. He recently came out of a monthslong deep dive on Clarence Ashley, a banjo player who recorded during the Great Depression and “makes me feel like I’m an old man,” Faulkner said. Ashley’s music “feels very spooky, and I imagine it’s like an abandoned place somewhere.”Unlike most teenagers, Faulkner is translating these influences into a dedicated music career. Using the handle Pedal Steel Noah, he posts daily covers of ’80s New Wave and post-punk hits on Instagram and TikTok, interpreting the work of acts like the Smiths and Tears for Fears on one of the hardest instruments to master. Along the way, he’s made fans of Neko Case, Big Thief, Grandaddy’s Jason Lytle and scores of others drawn to his emotive playing and charming setup: a big Texas flag in the background, his brother, Nate, 13, on bass and a shaggy Aussiedoodle panting along.Faulkner’s interest in pedal steel stems from an early plunge into country music. “I was listening to George Strait when I wanted to listen to something that’s cheerful and faithful,” he said. Eli Durst for The New York TimesIn March, the brothers and their father, Jay, played several showcases during the South by Southwest festival in their hometown and opened for the Black Keys’ keynote address. Dressed in a Western shirt, black cowboy hat and the colorful Crocs that have become his signature footwear, Pedal Steel Noah put a Texas stamp on songs by Duran Duran and the Cocteau Twins.“It was amazing,” he said via video call from the dinner table, his family gathered around him, “but it was exhausting. Hopefully, I can give myself a reward of a party for my friends.” On Monday, he’s taking the next step in his young career, releasing “Texas Madness,” an EP that includes three covers and two original tracks.

      View this post on Instagram A post shared by Noah Faulkner (@pedalsteelnoah) 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

    • 138 Shares102 Views

      in Music

      Peter Brown, One of the Beatles’ Closest Confidants, Tells All (Again)

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      At 87, the dapper insider is releasing a new book of interviews conducted in 1980 and 1981 with the band and people nearest to it.Peter Brown stood in his spacious Central Park West apartment, pointing first at the dining table and then through the window to the park outside, with Strawberry Fields just to the right.“John sat at that table looking through here,” Brown said, “and he couldn’t take his eyes off the park.”That’s John as in Lennon. And the story of the former Beatle coveting this living-room view in 1971 — and how Lennon and his wife, Yoko Ono, eventually got their own place one block down, at the Dakota — is just one of Brown’s countless nuggets of Fab Four lore. In the 1960s he was an assistant to Brian Epstein, the Beatles’ manager, and then an officer at Apple Corps, the band’s company. A key figure in the Beatles’ secretive inner circle, Brown kept a red telephone on his desk whose number was known only to the four members.And it was Brown who, in 1969, informed Lennon that he and Ono could quickly and quietly wed in a small British territory on the edge of the Mediterranean, a piece of advice immortalized in “The Ballad of John and Yoko”: “Peter Brown called to say, ‘You can make it OK/You can get married in Gibraltar, near Spain.’”Next week, Brown and the writer Steven Gaines are releasing a book, “All You Need Is Love: The Beatles in Their Own Words,” made up of interviews they conducted in 1980 and 1981 with the band and people close to it, including business representatives, lawyers, wives and ex-wives — the raw material that Brown and Gaines used for their earlier narrative biography of the band, “The Love You Make: An Insider’s Story of the Beatles,” published in 1983.Now 87, Brown is a polarizing figure in Beatles history. He was a witness to some of the band’s most important moments and was a trusted keeper of its secrets. “The only people left are Paul and Ringo and me,” he said.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

    • 150 Shares107 Views

      in Television

      J.B. Smoove of ‘Curb Your Enthusiasm’ Thinks You Should Get Out More

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      Although he plays a sort of permanent houseguest on “Curb Your Enthusiasm,” “I tell young people all the time to go places,” he says.J.B. Smoove has been here before.“This is almost like the old ‘S.N.L.’ story,” he said, referring to when he lost his writing job on “Saturday Night Live” in 2006. “Something has to go away for something to come in.”This time, what’s ending is “Curb Your Enthusiasm,” on which he plays Leon Black, Larry David’s foulmouthed houseguest who never left.What’s coming in is Smoove Season.“Larry might be ready to hang them up,” he said. “I’m ready to take them off. This is my time to introduce all things that I love” — among them, producing and his new lines of watches and hat boxes. “I think there’s something really interesting about building something that you’re always building. It is never finished.”In fact, Smoove still isn’t certain that this 12th and final season of “Curb” is actually its last.“I never know what the temperature is because as the world keeps changing, Larry keeps thinking of ways to get us through it and explain it to us in his way,” Smoove said on a video call before talking about sharp suits, cigar cars and his beloved R.V. These are edited excerpts from the conversation.1Close DancingMy wife, Shah, calls me Twinkle Toes. I started in a dance crew when I was younger. And man, I’ve been dancing my whole life. My wife and I, any event we go to, we are literally the life of the party. We like dirty dancing. We like to do our little moves. And we dance even better when we know people are watching us.2Suits, Shoes, ShadesThat is the J.B. look right there. I would wear a suit every day if I could. It forces your posture. You have to purposefully have your suit to the point where you have to breathe in and then you button your top button and you don’t exhale for the rest of the night. If that belly is sticking out, you are not doing that suit justice.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