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    Michelle Buteau Takes the Lead in ‘Babes’ and on Netflix

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    Once relegated to supporting roles, this comedian is a star of the film “Babes” and is moving to a bigger stage, Radio City Music Hall, for her new special.“Oh my God, are we best friends?” the comedian Michelle Buteau said, 27 seconds into meeting me.Honestly, it was a joke that felt like it could ricochet into reality. It didn’t. But that is the power of Buteau’s ebullient charisma, which telegraphs to audiences that her preternatural comic rhythm and dolled-up, side-eye style of delivery are in service of being a warmhearted bestie. To her TV, film, podcast and stand-up fans, she’s a moral center with a blue streak. “I truly, sincerely care,” she said, “about these bitches.”The B-word is one that Buteau and her friend and co-star in the new comedy “Babes,” Ilana Glazer, roll and dice into multiple syllables and meanings, in a sisterhood built on tell-it-like-it-is endearments, unfiltered but uplifting, like Buteau’s comedy.In “Babes,” which was directed by Pamela Adlon, Buteau plays an exhausted working mother of two young children, reconfiguring her life minute by minute, task by task, to accommodate her career, her family, her partner and her friendships. Also the occasional hallucinogenic trip and breast pump-destroying dance party.In real life, Buteau does that (or most of it), and is both cleareyed and funny about it: “Every day feels like a panic room — I’m just searching for the next clue.” Having 5-year-old twins with her Dutch husband, a house in the Bronx, some dogs and an ascending, multistrand career is undeniably a lot; the movie reflects that, too. “There’s no such thing as balance,” she said, during a recent lunch interview. “You do what you can, when you can.”Buteau, opposite Ilana Glazer in “Babes,” is “just a perfect comedy machine,” said the film’s director, Pamela Adlon.Gwen Capistran/Neon, via Associated PressIn the last five years, Buteau, 46, has made the leap from a 20-year stalwart of the New York comedy scene to a headliner and the star of her own scripted Netflix series, “Survival of the Thickest,” loosely based on her 2020 essay collection of the same name, and heading toward its second season. With “Babes,” now in wide release, she also moves up from the BFF and assistants she played in Ali Wong’s “Always Be My Maybe” and Jennifer Lopez’s “Marry Me,” to a lead: the movie is centered on the friendship between Glazer and Buteau’s characters. It arrives as Buteau is preparing to film her second hourlong Netflix special, “Full Heart, Tight Jeans,” on June 6 at Radio City Music Hall.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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      ‘Babes’ Review: Adulting, With Babies

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      Ilana Glazer and Michelle Buteau star in Pamela Adlon’s pregnancy comedy, but it never quite lands.Among life’s biggest disappointments is a movie you wanted to love and didn’t. Alas: That’s what happened with “Babes.” The elements that promised joy were all there, starting with two very funny comic talents in Ilana Glazer and Michelle Buteau. There’s a screenplay by Glazer and Josh Rabinowitz, who was a producer on “Broad City,” the kooky, beloved show in which Glazer co-starred. And perhaps most of all, it’s directed by Pamela Adlon, whose chops for this kind of material — a buddy comedy about pregnancy, parenthood and grown-up life — were perfectly honed by her show “Better Things,” which I staunchly believe is among the best TV ever made.But sometimes a pile of good ingredients doesn’t make something delicious, and I guess that’s what happened here. The marketing for “Babes” suggests something akin to “Bridesmaids,” the runaway 2011 hit that reminded Hollywood that raunchy comedies starring women can be hilarious and profitable. “Bridesmaids” owes some of its punch to its rapid-fire rhythm, the pileup of relentless jokes both verbal and physical.“Babes” has plenty of raunch, but it’s otherwise very different. The setup is fairly modest: Eden (Glazer) and Dawn (Buteau) have been best friends since they were kids, and they’re still each other’s person, even though Dawn and her husband, Marty (Hasan Minhaj), moved to the Upper West Side and have a kid just barely out of diapers. Meanwhile, over in Astoria, Eden is free-spirited and single. Dawn and Marty’s second baby is born on Thanksgiving Day, and on the way home from the hospital Eden meets Claude (Stephan James) on the subway. Instant sparks fly, and their connection is undeniable, but Claude goes AWOL after their night together.And then, about a month later, Eden realizes she’s pregnant. When Dawn promises to be there for her, she decides to have the baby. But in friendship, as in all kinds of love, the course never does run smooth.“Babes” is, obviously, about pregnancy, which gives plenty of opportunity for body humor involving fluids and openings and other matters. But it’s just as much about friendship, and about the struggle to maintain connections when life circumstances change. It’s also about how frustrating young parenthood can be, even if you have the ability to pay for help and don’t worry about the roof over your head. In sum, you can almost hear the movie saying, adult life is a land of contrasts, and you’d better just hang on for the bumpy ride.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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      The Comedy, and the Horror, of the Infertility Plot

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      Onscreen, assisted reproductive technology is a double-edged device, representing women’s empowerment, or their exploitation.“Scrambled” is a romantic comedy about a woman who falls in love with her decision to freeze her eggs. Nellie, a 34-year-old perma-bridesmaid, is wasted and alone at yet another wedding when she is struck by the fear that her fertility may peak before her romantic situation is resolved.The conventional romantic comedy may culminate in marriage, but “Scrambled” leads Nellie toward a procedure that extends the timeline of her own marriage plot. Nellie (Leah McKendrick, who also writes and directs the film) gets her happy ending from an embryology lab. “You were no accident,” she tells one of her cryogenically preserved eggs. “You were one of the most intentional things that I have ever done.”Reproductive technologies are increasingly assisting in human conception (even as the Alabama Supreme Court has complicated their use), and they have become familiar narrative devices, too. Their meaning is double-edged. “Scrambled,” with its oddball cheer, gives fertility treatments an empowering gloss. But an emerging horror genre sharpens the same technologies into instruments of exploitation, turning clinics into torture chambers and doctors into demons. The deus ex machina of assisted reproduction can be a blessing or a curse, depending on the god who sent the machine.After swigging from the sentimental techno-optimism of “Scrambled,” I chased it with a wave of recent downers: I watched “False Positive,” the 2021 horror movie in which Lucy (Ilana Glazer) is subdued by a creepy fertility clinic; “Dead Ringers,” the 2023 limited series in which Rachel Weisz plays a pair of twin gynecologists; and “American Horror Story: Delicate,” the latest installment of the FX horror anthology series about an actress (Emma Roberts) who attempts to secure a baby and an Oscar with the help of her ambiguously sinister publicist (Kim Kardashian).As I watched these horror stories, I found myself counting their clichés on both hands. In the standard fertility-horror plot, a wealthy white couple will report to a an experimental clinic. Its staff will forgo scrubs for bespoke costumes resembling clerics or Stepford wives. An inscrutable and potentially supernatural ultrasound reading will occur. A woman will struggle to conceive, and this difficulty will be blamed on her careerism. She will be instructed to ingest strange tinctures and coached to mistrust her own mind. Her terror will be dismissed as “pregnancy brain” or “hormones.” Her pain will be denied. Her male partner will collude with a male doctor behind her back. Her female friend will be in on it, too. In the end, her pregnancy will be simulated, sabotaged or terminated without her knowledge or consent.In “American Horror Story: Delicate,” an actress (Emma Roberts, right) attempts to secure a baby and an Oscar with the help of her sinister publicist (Kim Kardashian, left).Eric Liebowitz/FXWe 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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      Performing a Comedy About Abortion, Watching the Supreme Court

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      Alison Leiby had just performed her show “Oh God, a Show About Abortion” when she learned of the leaked draft opinion showing that the court could be on the verge of overturning Roe v. Wade.After finishing a preview performance of her hourlong stand-up show about reproductive rights, “Oh God, a Show About Abortion,” the comedian Alison Leiby was finishing dinner Monday night when she checked her phone.She had dozens of messages, all about the breaking news that a leaked draft of a Supreme Court opinion showed that the court appeared to be poised to overturn Roe v. Wade, eliminating the constitutional right to abortion in the United States.“It was just an absolute confrontation with reality, that this is not theoretical anymore,” Leiby, a self-described abortion rights activist perhaps best known for work co-producing “The Marvelous Mrs. Maisel,” said in an interview.As Leiby began to process what this potential decision would mean for the country, she also realized that she needed to quickly start thinking about how it might reshape her show, a 70-minute stand-up set about her own unwanted pregnancy and how it was resolved with a Saturday afternoon trip to Planned Parenthood. So at Tuesday evening’s preview at the Cherry Lane Theater in New York, she addressed the news at the top of the show.“I’m not going to ignore the literal elephant in the room,” Leiby said on Tuesday, thanking the person behind the lone guffaw in the audience for getting her wordplay.From Opinion: A Challenge to Roe v. WadeCommentary by Times Opinion writers and columnists on the Supreme Court’s upcoming decision in Dobbs v. Jackson Women’s Health Organization.Ross Douthat: The leak of a draft Supreme Court decision that would overturn Roe v. Wade is not a surprise, but the strategy behind it is something of a mystery.Roxane Gay: Whoever leaked the draft wanted people to understand the fate awaiting America. So people can prepare. So they can rage.Emily Bazelon: By suggesting in the draft that the progress women have made is a reason to throw out Roe, Justice Samuel Alito has turned feminism against itself.Bret Stephens: Roe v. Wade was an ill-judged decision when it was handed down. But overturning it would do more to replicate its damage than to reverse it.Sway: In the latest episode of her podcast, Kara Swisher talks to an abortion rights advocate about the draft opinion and the future of abortion rights in America..“I’m not changing anything in response to the news, but I understand that your feelings toward it might be different,” Leiby said. “If something is funny, not funny, cathartic — feel that. That is valid. I’m not up here dancing for applause. We’re in this together.”Zoe Verzani, right, spoke to Leiby after the performance at the Cherry Lane Theater.Desiree Rios for The New York TimesThe news that the court could be on the verge of overturning Roe, which would lead to immediate abortion bans in some states and prompt others to move to issue bans and restrictions, comes as theaters and cinemas around New York City and the nation are presenting works about abortion.In Atlanta, performances of “Roe,” a play by Lisa Loomer focused on the plaintiff in the landmark case and the lawyer who argued it in front of the Supreme Court, begin Friday. The same day, the Metrograph Theater in New York will begin a series devoted to films that touch on or explore abortion, including Josef von Sternberg’s 1931 drama “An American Tragedy” and the 1987 romantic comedy “Dirty Dancing.” And this summer, a small nonprofit theater in Chicago will premiere “Roe v US,” a play billed as giving “voice to the women who made the choice.”The same night Leiby’s show opens in the West Village, a play that looks at abortion through a very different lens is scheduled to be held at a theater in Midtown: “Oh Gosnell,” about Kermit Gosnell, a doctor who was convicted of murder in 2013 following botched late-term abortions. The case became a rallying cry for the anti-abortion movement. Phelim McAleer, an Irish-born filmmaker and producer, said that he had seen Leiby’s show billed as an “abortion comedy” and decided to counter it by producing a play about Gosnell that draws its text from a grand jury report and trial transcripts, saying he wanted to give audiences an “alternative viewpoint.”The show has faced difficulties: The theater it originally planned to use backed out, and two of its seven actors walked out shortly before previews were set to begin.Intent on making sure the play goes ahead at its new venue, McAleer — who has made documentaries questioning the opposition to fracking, and said he was working on a film about Hunter Biden — said that he was still processing the Supreme Court news. “It definitely means the Gosnell story is more relevant than ever and plays about abortion are more relevant than ever,” he said.Leiby and McAleer’s two shows could hardly be more dissimilar. One is a comedy about an uneventful abortion procedure that makes a case for broad abortion access and the other is a graphic play about an infamous abortion provider whose clinic was described by prosecutors as a “house of horrors.” But Leiby and McAleer share one similar goal: to talk about, and to get audiences to listen to, a work about abortion.This week there will be a staged reading of “Oh Gosnell,” a play about Kermit Gosnell, a doctor who was convicted of murder in 2013 following botched late-term abortions.Russ Rowland“Oh God, a Show About Abortion,” — which is being presented by the comedian Ilana Glazer and directed by Lila Neugebauer — is scheduled to run through June 4. After seeing an earlier iteration of Leiby’s show, Jason Zinoman wrote in The New York Times that, “Without a trace of didacticism, she finds humor in the messy, confusing, sometimes banal experience of an unwanted pregnancy and an abortion.”The show tells her story: of a 35-year-old comedy writer who learns she is pregnant in a hotel bathroom in St. Louis. She is so confident in her disinterest in having children that in the act, she compares her eggs to those by Fabergé (“feminine but decorative”). At Leiby’s first mention of Planned Parenthood, a group of young, female public health students who were in the audience burst into cheers.One member of the group, Zoe Verzani, 24, who wore a hot-pink Planned Parenthood T-shirt to the show this week, said that she thought Leiby handled the material just right.Understand the State of Roe v. WadeCard 1 of 4What is Roe v. Wade? More

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      Ilana Glazer on the Terror of the Modern Birth System and ‘False Positive’

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      The “Broad City” co-creator starred in and co-wrote a horror film about pregnancy. It’s being released just as she is becoming a mother.Ilana Glazer was trying without much success to think of movies devoted to the experience of conceiving and carrying a child.“There’s not a lot from the pregnant person’s point of view,” Glazer said. She pointed, for example, to “Knocked Up,” the 2007 comedy that starred Seth Rogen and Katherine Heigl, but that was told “from the inseminator’s perspective,” she said.There was “Rosemary’s Baby,” the 1968 thriller adapted by Roman Polanski, which fit the narrative bill but was still difficult to endorse. As Glazer succinctly summarized: “Great movie — not a great guy.”And the 1987 comedy “Three Men and a Baby” definitely didn’t make the cut. “How many men do we need to tell about how this baby got here?” Glazer exclaimed.The topic was especially personal for Glazer, a creator and star of the Comedy Central series “Broad City.” She was 36 weeks pregnant during this phone conversation in late May and apologetic for the fact that she was eating while she spoke.“I’m stuffing my face,” she said. “I have no choice. I’ve got to be eating this pita and dip right now.”Glazer with Justin Theroux in a scene from the film.Anna Kooris/HuluThe subject of childbirth is also of particular interest to Glazer because she is the star and co-writer of a new film, “False Positive,” that casts her as a woman whose efforts to have a child draw her into a nightmarish spiral of uncertainty and deceit. The movie, which is directed and co-written by John Lee, made its debut last week at the Tribeca Film Festival and was released by Hulu on June 25.In reviews of the film, The Hollywood Reporter praised “False Positive” as a “juicy genre entry about how women’s reproductive systems are treated like coveted real estate,” and The Wrap called it a “smart, sharp shocker.”Glazer, 34, started working on “False Positive” long before she became pregnant, and while it is one of the most prominent projects she has appeared in since “Broad City” ended in 2019, it is by no means a comedy.It is an unapologetic work of body horror — one that begins with the image of Glazer’s character disoriented and awash in blood as she wanders the streets of New York. The provocations escalate from there.This onscreen version of Glazer is very different from the one audiences have grown accustomed to seeing — not happy-go-lucky, but frantic and fighting for her life — and writing and filming the movie tested her in ways that comedy had not entirely prepared her for.But Glazer said these efforts were necessary to tell a story about a modern childbirth process that she fears has become debased and commodified, particularly in the United States — fears she had held well before she became acquainted with it firsthand.“I’m really obsessed with how in-plain-sight evil the system that we live in is,” she said. “It’s absurd and it’s funny, even though it’s horrible, the way we are stripped of our humanity. Everyone is gaslit into thinking it is normal.”Glazer wanted to tell a story about the modern birth process and how it has become commodified: “Everyone is gaslit into thinking it is normal.”Justin J Wee for The New York TimesGlazer and Lee started working together when Lee, a creator of subversive TV comedies like “Wonder Showzen” and “Xavier: Renegade Angel,” was hired to direct episodes of “Broad City” beginning with its first season in 2014.They bonded over a shared worldview and talked about their work outside the show, including an amorphous narrative piece that Lee was writing with the author and TV creator Alissa Nutting (“Made for Love”).Lee, who described that piece as a “tone poem,” said that it drew inspiration from tragic events in his life: his wife and frequent collaborator, Alyson Levy, had had a miscarriage and his father had died. More

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      ‘False Positive’ Review: Pregnancy Scares

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      This Hulu horror movie is a tepid, scattered look at the dark side of childbirth starring the “Broad City” co-creator Ilana Glazer.In recent years, mainstream horror movies like “Hereditary” and “It Follows” have embraced a seemingly more sophisticated form that unites social and psychological drama with a sleek visual sensibility. But possessing these ingredients does not a winner make. Case in point: “False Positive,” a handsome new Hulu feature that aspires to be a modern version of “Rosemary’s Baby,” but that ultimately lands somewhere between tepid and confused.Directed by John Lee from a screenplay he wrote with Ilana Glazer, his “Broad City” collaborator and the star of the film, “False Positive” explores the dark side of pregnancy in the age of fertility treatments.The concept, at least, is promising. After two years of attempting to conceive, Lucy (Glazer) and Adrian (Justin Theroux), a wealthy Manhattan couple, turn to John Hindle (Pierce Brosnan), a debonair fertility doctor with a menacing glint in his eyes. The oddly simple procedure works and soon Lucy is carrying not one, but three babies.To prevent future complications, however, she is forced to undergo “selective reduction” that will either destroy her male twins or her single girl. Against Hindle’s recommendation and her husband’s desires, she chooses the girl, unfurling what may or may not be a conspiracy to wrest control of Lucy’s pregnancy from her.That women continue to lack autonomy over their own bodies is indeed a horrifying reality. But Lee and Glazer, torn between the impulse to satirize an upper-crust milieu of would-be parents and the desire to depict a complex mental breakdown, unleash a watered-down and occasionally contradictory critique of, well, just about everything — white liberals, the health care system, the patriarchy.And despite its vaguely unsettling clinical ambience, very little about the film as it makes its way to an ultimately flat and predictable final twist, manages to feel tense or thrilling. Or even funny for that matter.False PositiveRated R for disturbing/bloody images, sexual content, graphic nudity and language. Running time: 1 hours 32 minutes. Watch on Hulu. More