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    Lisa Kudrow Brings Her Daffy Charm to ‘Time Bandits’

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    The actress dialed up the zaniness in the TV reboot of a Terry Gilliam fantasy classic, created by the team behind “What We Do in the Shadows.”Lisa Kudrow doesn’t particularly like to travel. Raised and based in Los Angeles, she mostly hasn’t had to. Even the quintessential New York sitcom “Friends” was shot in Burbank.“I like L.A.,” she said in a video call from her home there. “I guess vacations are nice, but I feel like I live in a vacation spot so, where am I going? I can watch a video.”But when the filmmaker Taika Waititi sent her a message on Instagram asking if she would come to New Zealand to star in a series-length adaptation of the 1981 Terry Gilliam movie “Time Bandits,” she said yes. It was a six-month commitment, but in one of the few places on Earth Kudrow had always wanted to visit.And, as she said with a laugh, “No one’s putting me in a Hobbit movie.”Fair enough, though there are bigger departures from Middle-earth than “Time Bandits,” a 10-part adventure-fantasy based on a movie about time traveling dwarfs. The series, which debuted Wednesday on Apple TV+, puts a new spin on the beloved film — an ambitious task, given the movie’s bona fides and cult status. The original was written by Gilliam and his fellow Monty Python player Michael Palin, and it starred the likes of John Cleese, Sean Connery, Shelley Duvall and Ian Holm.The new version, created by Waititi and his frequent collaborators Jemaine Clement and Iain Morris, stars Kudrow as the makeshift leader of the bandits, Penelope, who is perturbed by the arrival of a new member, a history-obsessed boy named Kevin (Kal-El Tuck) who accidentally joins them after a portal opens up in his bedroom. Kudrow leads an ensemble cast; Waititi plays the ostensibly benevolent Supreme Being, from whom the bandits have stolen a map of the time portals, and Clement plays Pure Evil, who can’t even say his cosmic nemesis’ name without gagging.From left, Tadhg Murphy, Roger Jean Nsengiyumva, Kudrow, Kal-El Tuck, Kiera Thompson and Rune Temte in “Time Bandits”; Kudrow plays the leader of the titular ragtag crew. Apple TV+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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      ‘Time Bandits’ Review: A Flatter Adventure

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      An adaptation of the 1981 film on Apple TV+ gives us time-traveling bandits of greater height and lesser amusement.When the bandits of the title burst into the bedroom of Kevin, an 11-year-old history buff, in the new Apple TV+ series “Time Bandits,” among the first things you are likely to notice is: no dwarfs.The show’s source, Terry Gilliam’s 1981 movie of the same title, was all about the dwarfs. There were six of them, who pilfered a map that identifies time portals and used it to try to steal whatever historical loot they could get their hands on. Along the way, they picked up Kevin, who came to serve as both the brains and the conscience of the operation.The bandits in Jemaine Clement, Iain Morris and Taika Waititi’s “Time Bandits,” which premieres on Wednesday with two of its 10 episodes, are a fully heighted bunch; their more-or-less leader, Penelope, is played by Lisa Kudrow, who towered over her female co-stars on “Friends.”Changing things up after 43 years is unremarkable, and perhaps the film’s less than nuanced presentation of the dwarf characters as a rollicking, bickering, slapstick bunch marked by physical abandon and short tempers gave the TV show’s creators pause. (On the other hand, the change in those central roles has been criticized as anti-inclusive by advocates for little people, including descendants of the actors who played the original bandits.)Among the next things you notice about this new “Time Bandits,” though, is that nothing has replaced the energy that Jack Purvis, Kenny Baker and the other actors with dwarfism brought to the film. And while Clement, Morris and Waititi share some of the anarchic sensibility of Gilliam and his co-writer, Michael Palin, they present it here in a domesticated, flattened-out form.As it follows the peripatetic adventures of the bandits — from visits to the Maya empire and plague-ravaged medieval Europe to battles with dinosaurs and demons to confrontations with Pure Evil and the Supreme Being, the Mutt-and-Jeff deities of the “Time Bandits” universe — the show is unfailingly clever, visually interesting and at least mildly amusing. It is wan, though, compared to other series that Clement, Morris and Waititi have collaborated on, like “Flight of the Conchords” and the riotous “What We Do in the Shadows.”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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      ‘Better Nate Than Ever’ Review: Castaway Seeks Broadway

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      Hearty performances elevate this effusive Disney+ family comedy, even as the movie itself is awkward in its handling of its core subject.Nate Foster (Rueby Wood), the stage-struck seventh-grader at the center of “Better Nate Than Ever,” is “different,” according to his father (Norbert Leo Butz). How so? Classroom discussion of the heavily implied answer to that question has recently come under fire in Florida — and isn’t directly stated in this shiny, otherwise effusive Disney+ family comedy. But it is signified with various degrees of directness: A rainbow-striped rabbit’s foot dangles from Nate’s backpack, and at one point it is revealed that Nate, a member of Generation Z, somehow has memorized a monologue from a 1986 episode of “Designing Women,” originally delivered by Dixie Carter.Nate has too much personality for the school play. Heck, he proves too much for the school-bus driver, whom he greets with a jaunty “Good day, guv’nor!” So when Nate’s parents leave his jock of an older brother, Anthony (Joshua Bassett), in charge for the weekend, Nate and his best friend, Libby (Aria Brooks), abscond on an overnight bus to Manhattan to see if he fits in — or better still, stands out — at an open audition for “Lilo and Stitch: The Musical,” an as-yet-unrealized idea that Disney seems to be gauging for Broadway interest.Tim Federle, who wrote the children’s novel on which this movie is based and makes his feature directing debut here, paints Times Square in cotton-candy colors. As a filmmaker, he doesn’t yet have the comic timing to prod a laugh from a montage of rats and garbage. But his leads deliver hearty performances that elevate the movie, particularly once we’ve had time to adjust to the gusto of Wood, whose wired performance has the flavor of Hugh Jackman’s exuberance squeezed into an espresso cup. The slight story is buttressed by the L.G.B.T.Q. affirmations, even if the movie is indirect in delivering them. At least the script finds creative ways to do that — as when Aunt Heidi (Lisa Kudrow), herself a struggling actor, sighs, “Some boys aren’t comfortable admitting they know every word to ‘Pippin.’”Better Nate Than EverRated PG. Running time: 1 hour 31 minutes. Watch on Disney+. More

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      James Michael Tyler, Who Played Gunther on ‘Friends,’ Dies at 59

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      A real barista who was cast as a Central Perk co-worker of his crush, Jennifer Aniston’s character, he appeared in 150 episodes of the hit show.James Michael Tyler, who played the deadpan, smitten barista Gunther on the TV show “Friends,” died on Sunday at his home in Los Angeles. He was 59.His manager, Toni Benson, said the cause was prostate cancer, which was diagnosed in September 2018. After his diagnosis, Mr. Tyler shared his story to encourage others to get screened for prostate cancer as early as 40.“Friends” helped launch the careers of its star-studded cast, which included Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc, Matthew Perry and David Schwimmer. It debuted on NBC in the fall of 1994, ran for a decade, and typically had around 25 million to 30 million viewers each week.Though Mr. Tyler was not a main character, he was widely considered to be “the seventh friend” and appeared in 150 episodes. He played the part of Gunther, a barista at Central Perk, the friends’ hangout, who had a deep crush on Ms. Aniston’s character, Rachel, who also worked at the coffee shop.Mr. Tyler’s path to the show was fortuitous. While working as an actual barista at a real-life coffee shop, he was asked if he would be interested in being an extra on “Friends.” For the first season, his character was known as “Coffee Guy.”“At the time I was also working as a barista for a place called the Bourgeois Pig, one of the last independent coffee houses in Los Angeles,” Mr. Tyler told The New York Times in 2012. In his second season, he got a line of dialogue: “Yeah,” he said, when Mr. Schwimmer’s character, Ross, asked him if his apartment had stairs.Marta Kauffman and David Crane, the show’s co-creators, recalled the beginnings of Mr. Tyler’s run on the series. “When he started as an extra on Friends, his unique spirit caught our eye and we knew we had to make him a character,” they said in a statement Sunday night. “He made Gunther’s unrequited love incredibly relatable.”In the series finale, Gunther, known for his bleached locks, finally summoned the courage to confess his love to Rachel, who let him down warmly.“I love you, too,” Rachel told Gunther. “Probably not in the same way. But I do. And when I’m in a cafe having coffee, or I see a man with hair brighter than the sun, I’ll think of you.”Born May 28, 1962, in Winona, Miss., Mr. Tyler was the youngest of five children, raised by a retired Air Force captain and a homemaker, according to a biography on IMDb. He moved to Anderson, S.C., to live with his sister at age 11 and enrolled at Clemson University as a geology major. He earned a master’s of fine arts from the University of Georgia and moved to Los Angeles after a brief stint of selling cars in Olympia, Wash., according to the bio.“Michael loved live music, cheering on his Clemson Tigers, and would often find himself in fun and unplanned adventures,” Ms. Benson said in a statement. “If you met him once you made a friend for life.”Mr. Tyler revealed publicly in June that he had prostate cancer. He told “Today” that he was surrounded by an “extraordinary” support group and that many people were praying for his health.“It’s made me, personally, just realize how important every moment is, every day,” Mr. Tyler said. “And fighting. Don’t give up. Keep fighting. Keep yourself as light as possible. And have goals. Set goals. My goal this past year was to see my 59th birthday. I did that, May 28th. My goal now is to help save at least one life by coming out with this news.”While undergoing treatment, Mr. Tyler continued to perform and starred in two short films, “The Gesture and the Word” and “Processing,” earning accolades at film festivals, according to The Hollywood Reporter.Mr. Tyler’s survivors include his wife, Jennifer Carno. A complete list of survivors was not immediately available. More

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      A Brief History of ‘Friends’ Reunions

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      Ahead of Thursday’s “Friends” special on HBO Max, here are highlights from the many times the cast members demonstrated that they were clearly not on a break.The long-awaited “Friends” reunion is almost upon us, set to land Thursday on HBO Max at around 3 a.m. Eastern. More

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      Mae Martin Embraces Ambiguity in ‘Feel Good,’ and in Life

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      In an interview, the creator and star of the Netflix comedy discusses the hazy line between fact and fiction, the value of uncertainty and the joy of finally getting to be a leading man.Mae Martin didn’t set out to confront a throng of personal demons with the semi-autobiographical tragicomic Netflix series “Feel Good.” That’s just how it played out. More

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      When Is a Comedy Special Also a Corporate Synergy Message?

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyOn ComedyWhen Is a Comedy Special Also a Corporate Synergy Message?Two year-end shows from Amazon and Netflix deliver some laughs, yes, but also serve as veiled ads for the streaming services themselves.Samuel L. Jackson in “Death to 2020,” a new Netflix comedy special.Credit…Saeed Adyani/NetflixDec. 30, 2020, 11:00 a.m. ETAt the start of “Death to 2020,” a reporter played by Samuel L. Jackson sits alone in an abandoned office listening to a disembodied voice explain he’s looking back at the past year. “Why would you want to do that?” Jackson responds, with an additional curse for emphasis.The question haunts the next hour. One reasonable answer is that hearing Samuel L. Jackson swear is one of the finest pleasures in popular culture. Another: Where else are you going to go for some new jokes by famous people right now? The last week of the year is traditionally rich with live comedy events, but the pandemic has sidelined beloved annual shows from Sandra Bernhard and Dave Attell. Two streaming services have tried to fill the void by creating their own new genre. With talent-rich one-off specials, “Death to 2020” (on Netflix) and “Yearly Departed” (on Amazon) are comedy’s answer to journalism’s year-end lists.“Death,” slickly produced by Charlie Brooker and Annabel Jones, the pair behind “Black Mirror,” is a fake documentary starring a fantasy team of actors, while “Yearly,” a more stripped-down affair hosted by Phoebe Robinson, imagines a funeral for things lost in 2020 attended by a cast of superb female comics. But both conceits are essentially thin pretexts to throw a bunch of jokes together recapping recent news under socially distanced conditions. Some of the bits are solid, others aren’t. But they never add up to more than fine diversions.“Death to 2020,” which lists no fewer than 18 writers, presents an array of talking heads, all caricatures, quipping about a highlight reel of news events: Tom Hanks getting Covid-19, Trump talking about injecting bleach, Biden in the basement and more of the greatest hits. There isn’t a strong perspective here outside of ugh, this year, can you believe it? And there’s fun to be had with these performances, including Hugh Grant playing a foppishly pretentious academic with impeccable condescension.Phoebe Robinson is the host of “Yearly Departed,” on Amazon.Credit…Nicole Wilder/Amazon StudiosGrant, who has aged into a masterful player of villains, always begins in seriousness before veering into dumb absurdity. Describing the fires that ravaged many parts of the world early in the year, he states: “It left these areas utterly inhospitable,” before pausing for the punchline: “Even to Australians.” Then there’s: “People think democracy is permanent and unchanging,” he says. “In truth, it’s something you must perpetually nurture like a woman. Or a professional grudge.”Many of the actors don’t play new characters so much as version of ones that have been popular elsewhere. As Dr. Maggie Gravel, Leslie Jones alternates between abrupt rage and pleading lustfulness. And in a turn that will delight fans of “The Comeback,” Lisa Kudrow turns a pathologically lying White House aide into hilarious cringe comedy.My favorite is Cristin Milioti’s Kathy Flowers, the ultimate Karen, whose series of monologues add up to the closest thing to a fleshed-out character arc here, starting in placid suburban normalcy before the internet radicalizes her, shifting into eye-bursting, conspiratorial madness. It’s silly sketch comedy performed with the commitment of an elite actor. More often in this special, the joke takes precedence over character, and the monologues have the feel of a collection of punch lines doled out like cards at a table.“Yearly Departed” also looks back in anguish, but instead of actors playing types, standup comics act as eulogists, taking turns at a lectern to pay their respects. Tiffany Haddish bids farewell to casual sex, and Natasha Rothwell speaks about giving up on “TV cops.” Everyone appears to be together, watching each other, but they were all filmed separately and cut together with reaction shots. The resulting feel is oddly uncanny.Not only are there seasoned stars like Sarah Silverman, but they mix in some new breakouts like Ziwe Fumudoh and up-and comers like Patti Harrison, who delivers one of the funniest, most acutely observed eulogies on the obsolescence of “rich girl Instagram influencers.” With mock poignancy, she asks: “Who could forget your surface-level love for photography, which you tried to get people to call ‘memory remembering,’ a term you coined.”The guest “eulogists” include Patti Harrison mourning the loss of “rich girl Instagram influencers.”Credit…Nicole Wilder/Amazon StudiosThe comic Natasha Leggero has a sharp set on the death of her desire to have kids, where she speaks for many parents during the pandemic saying: “I love my daughter, but I love her in the same way I love LSD. In microdoses.”Along with the stand-ups, some actors made cameos including Sterling K. Brown, laying on the floor to illustrate the span of six feet, along with Rachel Brosnahan, perhaps to remind you that “The Marvelous Mrs. Maisel” can be seen on Amazon. Her flat set about the death of pants is a reminder that playing a stand-up is not the same as being one. “Yearly” is hit or miss, but so are most stand-up sets at clubs, and by showing us a well-curated collection of female talent, there were more good jokes than in “Death to 2020.” And fewer stale ones.And yet watching both these shows repeatedly bemoan the miseries of the past year, I couldn’t help but think how the streaming services producing them actually did very well. Just as the pandemic has disproportionately hurt marginalized and disadvantaged groups, it has devastated small theaters and clubs while benefiting digital behemoths.That Jeff Bezos made $90 billion during the pandemic goes unmentioned on Amazon’s “Yearly Departed.” And while the script for “Death to 2020” points out how people stuck at home during lockdown spent more time on Netflix, name-dropping the reality shows “Love Is Blind” and “Floor Is Lava” amid the tragic news events makes you wonder if this was self-mocking comedy or corporate synergy? Spoiler alert: It’s both.In our ever more consolidated culture, where product placement is the norm and only a few companies produce the vast majority of large-scale entertainment, Netflix covers all the bases, pumping out escapist content for an audience stuck at home, then poking fun at themselves for doing it. “Death to 2020” was billed as a departure for the creators of “Black Mirror,” a comedy instead of a haunting vision of technology gone awry. And yet, seen from a different angle, it might be their darkest dystopian production yet.AdvertisementContinue reading the main story More