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    Who Should Be a Tony Awards Nominee in 2025?

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    Our chief theater critic makes his picks.Clockwise from top left: “Oh, Mary!”; “Maybe Happy Ending”; “Yellow Face”; and “Gypsy.”Sara Krulwich/The New York Times; top right: Jeenah Moon for The New York TimesThough the official Tony Awards nominations aren’t scheduled to be announced until Thursday, I give you my unofficial ones right now. If it were up to me, these would be the nominees.They include some, marked with an asterisk, that because they were seen Off Broadway or were otherwise ineligible, the real Tonys won’t include. Call it theatrical license that I do so anyway. Also bucking the rule book is my Best Ensemble category, which I argue for every year even though choosing among the Broadway riches is all but impossible.Best Play“Cult of Love”“English”“The Hills of California”“John Proctor Is the Villain”“Oh, Mary!”Best Musical“Dead Outlaw”“Death Becomes Her”“Maybe Happy Ending”“Smash”“Swept Away”Best Play RevivalAndrew Scott in “Vanya.”Sara Krulwich/The New York Times“Eureka Day”“Our Town”“Vanya”*“Yellow Face”Best Musical RevivalCats: The Jellicle Ball*“Floyd Collins”“Gypsy”“Once Upon a Mattress”Best Actor in a PlayCole Escola, “Oh, Mary!”Jake Gyllenhaal, “Othello”Louis McCartney, “Stranger Things: The First Shadow”Jim Parsons, “Our Town”Andrew Scott, “Vanya”*Best Actress in a PlayLaura Donnelly in “The Hills of California.”Sara Krulwich/The New York TimesLaura Donnelly, “The Hills of California”Susannah Flood, “Liberation”*Deirdre O’Connell, “Glass. Kill. What If If Only. Imp.”*Lily Rabe, “Ghosts”*Sarah Snook, “The Picture of Dorian Gray”Best Actor in a MusicalDarren Criss, “Maybe Happy Ending”John Gallagher Jr., “Swept Away”Jonathan Groff, “Just in Time”Joshua Henry, “Ragtime”*Jeremy Jordan, “Floyd Collins”Best Actress in a MusicalJasmine Amy Rogers, center, in “Boop! The Musical.”Sara Krulwich/The New York TimesMegan Hilty, “Death Becomes Her”Audra McDonald, “Gypsy”Jasmine Amy Rogers, “Boop! The Musical”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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      Where Can I Find a Cheap Broadway Ticket?

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      If you are determined to see a celebrity in a popular show on a busy night, you may be out of luck, but with flexibility and persistence, you can cut some costs.Illustration by Melanie LambrickDo you have a question for our culture writers and editors? Ask us here.How in the world do people score cheap Broadway tickets? The TKTS booths do not seem cheaper; one time I did rush at the box office and it was the same price as full price. Other than lottery, what do people know that I don’t know?First, a reality check: Yes, it’s true that many seats at this season’s “Othello,” starring Denzel Washington and Jake Gyllenhaal, are priced at $921. But it’s also true that that show is an outlier — the average ticket price on Broadway this season has been $129, and about one-quarter of the 40 shows now running on Broadway have an average ticket price below $100.That said, ticket prices are indeed higher than they once were, and a subject of concern for the industry, widely acknowledged and little addressed.I can’t tell you that I know of some secret strategy for getting a steal, but with a combination of flexibility, persistence and luck, you can reduce your cost.Start at the sourceYour first stop should be the official website for the show you want to see. Click on the button that says “tickets,” and that will take you to the show’s official ticketing provider. Buying that way should help you reduce fees and avoid both scalpers and scams. The fee savings can be considerable; last I looked, the same prime seat at a Saturday matinee for “The Great Gatsby” was priced at $248 via the show’s website, but $313 at broadway.com, a site that says it caters to premium ticket buyers.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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      in Television

      Olivia Munn’s 5 Favorite Places in Tokyo

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      The baronial manors, rolling lawns and private clubs in the fictional suburban backdrop of the new Apple TV+ series “Your Friends & Neighbors” bear little resemblance to the buzzing sidewalks, neon lights and hidden warrens of Tokyo. But for the actress Olivia Munn, who plays an outsider turned socialite on the show, her childhood years in the city helped inform the role.Ms. Munn, right, stars in the Apple TV+ series “Your Friends & Neighbors,” which premiered last week.Jessica Kourkounis/Apple TV+, via Associated PressAt age 8, Ms. Munn, now 44, moved from Oklahoma City, where she was born, to Yokota Air Base in Tokyo, along with her mom, then stepdad (an Air Force major) and four siblings. Suddenly, she was the odd kid out, “thrust into new worlds” where she became determined to find her place, she said in a recent video interview. “I really got good at observing people.”Over the better part of a decade, she explored the now Instagram-famous alleys of Omoide Yokocho, where packed, tiny restaurants served “the most amazing yakisoba”; teeming Harajuku, where “everyone dressed up like anime” on Sundays; the warren of games and gadgetry in the Akihabara electronics district, where she and her brother combed through the bins for Casio watches; and Mount Fuji, about 60 miles away but visible from the city’s high-rises, where she and her family twice hiked to the summit and were rewarded with steaming ramen and stunning views.Ms. Munn moved back to the United States at 16 and attended the University of Oklahoma before going on to a career that has included the HBO series “The Newsroom” and the superhero blockbuster “X-Men: Apocalypse.” Though she minored in Japanese, her language skills have slipped a bit, she said, but “it all comes back to me” with a little practice when she makes one of her regular trips back to Tokyo.Ms. Munn is married to the comedian John Mulaney, and they have two young children.Krista Schlueter for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      My Friend’s Show Was Kind of Terrible. What Do I Say When I See Them?

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      You can always consider telling the truth, but it may not be advisable in this case.Do you have a question for our culture writers and editors? Ask us here.Q: What do you say to a friend at the stage door when their show was kind of terrible? Is there a “nonpliment” you’d recommend?There are three basic options here:Tell the truth, as a form of tough love.Find something to say that is appreciative but also incomplete.Lie.Each approach has its pros and cons.Truth is not always the answer.For some people, being a straight shooter is a point of pride. They view directness as a positive character trait and believe it makes them trustworthy; they may think they’re upholding high standards and prioritizing artistic integrity. But none of the artists I spoke with about this question believe this is the right approach, particularly at the stage door.There are certainly contexts in which expressing your concerns might be appropriate — particularly when you have been asked for such input, and when you have some expertise to offer. So if you are invited to a workshop for a project in development, or you are offered an early draft of a script, or you are asked to watch a rehearsal, and your friend is clear about wanting honest responses that might help them, go for it.“If you are attending an early preview of a play and your friend is genuinely requesting feedback, ground it in your viewing experience, interspersing bits of praise with constructive thoughts about how you encountered specific moments, performances or production elements,” said Lauren Halvorsen, a dramaturg who writes Nothing for the Group, a theater newsletter. “It’s also helpful to check in with your friend on their experience: ‘How are you feeling? What are you learning from these audiences? What are you still working out about the piece?’ and craft your response around their questions and concerns.”But once the show is on its feet, and you are greeting that friend backstage or at the stage door or at an after-party — fessing up that you disliked it is not the way to go.How about finessing the situation?Lots of people opt for an artful dodge. I’ve done that myself, in my case not because of friendship, but because of policy — The Times’s ethics rules say that reporters “may not comment, even informally, on works in progress before those works are reviewed,” so I often fall back on something generic like “congratulations” or “I’m so glad I was here.”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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      in Movies

      How to Watch the Oscars 2025: Date, Time and Streaming

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      Conan O’Brien will host the annual awards, which will be available to watch live on a streaming service for the first time.It seems like a lifetime ago that Sean Baker’s screwball comedy “Anora” first emerged as the favorite in the best picture race (no one was yet even thinking about holding space for “Wicked”).But we’re now right back where we started in the fall with both math and our Projectionist columnist, Kyle Buchanan, predicting that “Anora” will emerge triumphant. It’s by no means a sure thing — last weekend’s big Screen Actors Guild Awards winner, the papal thriller “Conclave,” could play spoiler.In the acting races, Demi Moore appears to be the one to beat after notching another win at the SAGs (though Buchanan says not to count out Fernanda Torres, who delivers a tour de force performance in the quiet Brazilian drama “I’m Still Here”).But could Adrien Brody, who plays a Jewish architect who survives the Holocaust in “The Brutalist,” be in for an upset from the 29-year-old Timothée Chalamet, who has embarked on a decidedly unconventional — and very online — Oscar campaign for his lead role in the Bob Dylan biopic “A Complete Unknown”?Here’s everything you need to know.What time does the show start and where can I watch?This year’s show is again one for the early birds: The ceremony is set to begin at 7 p.m. Eastern, 4 p.m. Pacific, at the Dolby Theater in Los Angeles.On TV, ABC is the official broadcaster. Online, you can watch the show live on the ABC app, which is free to download, or at abc.com, though you’ll need to sign in using the credentials from your cable provider. There are also a number of live TV streaming services that offer access to ABC, including Hulu + Live TV, YouTube TV, AT&T TV and FuboTV, which all require subscriptions.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 Shares99 Views

      in Television

      10 ‘Saturday Night Live’ Catchphrases That Readers Love

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      Hundreds of you told us about your favorite “Saturday Night Live” catchphrases. Here are the 10 that came up the most.To mark the 50th season of “Saturday Night Live,” we took a look at 50 memorable catchphrases from the show. We also asked readers to tell us about the ones you use with your friends and loved ones, and why. Hundreds of you responded. Here are the 10 phrases that came up the most, along with stories — some of which have been edited — you shared.‘More cowbell’“As a percussionist I think we ALWAYS need more rhythm in our lives. The skit spurred me to buy my own personal cowbell.”— Sheila Krueger, Phoenix“I teach art. There is often something just not quite right about a painting … it needs something.”— Gerard Brown, Philadelphia“We owned a restaurant. It was the perfect answer to any dilemma or flagging energy.”— Mary Beams, Grand Marais, Minn.“I play in a community band. When something doesn’t sound right someone will shout out ‘more cowbell’!”— Carol McMullen, Bowdoinham, MaineWe 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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      in Movies

      A Sly Stone Primer: 15 Songs (and More) From a Musical Visionary

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      The Sly & the Family Stone leader is the subject of a new documentary directed by Questlove. Here’s what to know about his brilliant career and crushing addiction.In Sly & the Family Stone’s prime, from 1968 to 1973, the band was one of music’s greatest live acts as well as a fount of remarkable singles including “Everyday People” and “Hot Fun in the Summertime.” There was a shining optimism to its sound, which mixed funk with the ecstasy of gospel, a little rock and a touch of psychedelia — as well as a vision of community and brotherhood that stood out in a period of political separatism.The visionary behind it all was Sly Stone, who wrote, produced and arranged the music, winning acclaim as the author of invigorating anthems and an inventor of new, more complex recording sounds. But by the early 1970s, he was ravaged by drug addiction, kicking off a cycle of spirals and comebacks and sporadic, desultory live appearances. Now Stone, 81, is the subject of “Sly Lives! (aka The Burden of Black Genius),” a documentary directed by Ahmir Thompson, better known as the Roots drummer Questlove, that debuts on Hulu on Thursday.Stone, who was born Sylvester Stewart and grew up in Vallejo, Calif., had gospel in his blood. His father, K.C., was a deacon in a Pentecostal church, and Sly began performing with his younger brother Freddie and younger sisters Rose and Vet in the Stewart Four, which released a single, “On the Battlefield,” in 1956 on the Church of God in Christ label.In 1967, “Dance to the Music” became the first of Sly & the Family Stone’s five Top 10 singles.Stephen Paley/Sony, via Onyx CollectiveAs he learned to play guitar, bass, keyboards, drums and harmonica, Stone’s ambition swelled. In 1964, he produced and co-wrote Bobby Freeman’s No. 5 hit “C’mon and Swim,” and soon talked himself into an on-air gig at KSOL, the Bay Area’s AM soul music powerhouse, where he read dedications in his nimble baritone and mixed in Bob Dylan and Beatles songs to the format. “I think there shouldn’t be ‘Black radio.’ Just radio,” he later told Rolling Stone. “Everybody be a part of everything.”After having a small local hit in the Viscaynes, one of the few integrated groups in doo wop, he assembled Sly & the Family Stone with a lineup of men and women, Black and white. In 1967, “Dance to the Music” became their first of five Top 10 singles. Two years later, they performed at Woodstock, providing one of the weekend’s high points. The days of playing nightclubs were over. “After Woodstock, everything glowed,” Stone wrote in his 2023 memoir.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

    • 50 Shares159 Views

      in Movies

      Best Movies of 2024

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      Our film critics rank their 10 favorites this year.As you browse, keep track of how many movies you’ve seen or want to see. Find and share your personalized watch list at the bottom of the page.Manohla DargisDazzling in Plain SightEvery year, as I start the herculean (and absurd!) task of winnowing down a year’s worth of movies into a top 10, I also sift through a lot of grim media coverage about the terrible, horrible, possibly salvageable state of the entertainment industry. In the movie world, things are always looking up (maybe) unless they’re catastrophically down, a cycle of boom and bust that has gripped the industry for much of its history and always convinces someone, somewhere, that the movies are dead. It’s a familiar charge with a changing cast of murder suspects: synchronized sound, television, cable, streaming and, of course, corporate idiocy.Despite their continued decline, the big American-based studios still dominate the mainstream media coverage and what little attention an increasingly fragmented, distracted audience has remaining. To that end, nearly every week another megadollar production comes hurdling toward us, gobbles up all the media interest, rakes in fortunes or becomes just another tax write-down or write-off. Some of these movies are OK, others are bilge; a scant few are memorable. Yet as my hardworking colleagues and I eagerly share in our reviews for The New York Times, the movie world is much vaster than what these companies offer, and good, great and miraculous work often flies under the radar. Here’s a sampling of the bounty.1. ‘All We Imagine as Light’ (Payal Kapadia)This delicate, achingly wistful story about empathy is an example of the same, and centers on two female nurses and a cook, friends who work at the same hospital in Mumbai. Over the course of the movie, Kapadia shifts between these caregivers who together and separately experience ordinary pleasures, face painful difficulties and find comfort, support and companionship in one another. Every so often, Kapadia, who has also made documentaries, incorporates images of everyday people milling through the city, images that connect her characters to a sea of humanity and, by extension, to those of us watching. (In theaters)____2. ‘Ernie Gehr: Mechanical Magic’Some of the most transporting movies that I watched this year were in a retrospective of Gehr’s work in March at the Museum of Modern Art. Generally short and now shot in digital, these moving images have no scripted dialogue and nothing resembling a plot. Liberated from the stranglehold of story, Gehr’s movies instead present and re-present outwardly ordinary places, objects and moving bodies — white clouds drifting across a stretch of blue city sky, people walking in front of a windowed storefront — that Gehr turns into heady studies of energy, chance, light, surface and space. Your perception of the world change when filmmakers like Gehr show it to you through their liberated lenses and frames. These are movies that expand and, at times, gloriously blow your mind.____ More

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      Should I Sit Through the Movie’s Closing Credits?

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      The film has ended, but the names of the many people who worked on it are rolling across the screen. Do you stick around?Do you have a question for our culture writers and editors? Ask us here.Q: Is it morally correct to stay seated until the end of the credits in a cinema?I’ve thought about this question my entire adult life! I think a lot of other people have, too. But to answer it, we have to think about what movie credits do, and why they’re there at all.The stayers and the leaversThere are two schools of thought here, both of which, I think, are pretty reasonable.On the one hand are the “stayers.” I used to be one. When my partner and I began seeing movies together, I was often writing about them, and he was working in film production, so we had two good reasons to stick around. We felt it was a way of honoring and celebrating all the people who pitch in to make a movie. Filmmaking is inherently collaborative, more than most arts, and even the office assistants toward the end of the credits sequences (especially the office assistants) deserve acknowledgment for doing a stressful, surprisingly difficult job.And let’s be honest — we also stayed to the end because it was fun to spot our friends’ names in the credits.Over time, though, I’ve become more of a “leaver,” for a few practical reasons. I often see several movies in a day, and I’ve got to get across town for the next one. Sometimes I really need to use the bathroom. And in this era of ultra-budget productions and mega-effects-driven movies, those credits can go on for 10 or 15 minutes, especially when you add in post-credits scenes.This was not always the case. “End credits” weren’t really a common thing in American film until the late 1960s, when a much larger number of people involved in the production began getting credit for their work in the movie itself. Before then, there were usually a few title cards that announced major cast and crew credits. Adding the monkey wranglers and location scouts and drivers and production interns results in longer credits.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