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      Jimmy Kimmel Updates the Never-Ending Story of the Signal Leak

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      “There are many books and stories to come,” Kimmel said of the Trump administration’s leaky-group-chat scandal, comparing it to the Harry Potter saga.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.Incredibly TransparentThe Trump administration’s high-level Signal group chat to which a journalist was somehow invited continued to dominate late night on Thursday.Jimmy Kimmel called the scandal “the never-ending story” and compared it to the Harry Potter saga, saying, “There are many books and stories to come.” News outlets found some of the key players’ personal information online, including the Venmo contacts of Michael Waltz, the national security adviser.“You know how some people feel the need to share their Venmo transactions with everyone they know? Michael Waltz is one of them. He shares his name, there’s a picture of him, and all of his contacts up on Venmo. Even Matt Gaetz was, like, ‘How could you be so careless?’” — JIMMY KIMMEL“And security issues aside, isn’t it a little bit disturbing that a guy overseeing our national defense, our weapons — our nuclear weapons — is still in the ‘Dude, you owe me $14 for tacos’ phase of his life?” — JIMMY KIMMEL“He’s Venmo-ing his doctor? My man, if your doctor takes Venmo, that ain’t a doctor.” — STEPHEN COLBERT“This story won’t be going away anytime soon, because Mike Waltz has made a key strategic error: being an idiot everywhere at all times.” — STEPHEN COLBERT“Because of how incredibly sloppy they are, a German newspaper, Der Spiegel, was able to find personal email addresses, phone numbers and passwords — some of which seem to be still in use — for Mike Waltz, Tulsi Gabbard and Pete Hegseth. What a group. We have a national security adviser who doesn’t know how to secure, a defensive secretary of defense, a pro-measles secretary of health, and a secretary of education who wants to close the Department of Education.” — JIMMY KIMMEL“White House press secretary Karoline Leavitt, she’s standing firm. She said today the administration has been ‘incredibly transparent about this entire situation.’ Yeah, that’s the problem — they’ve been so transparent, we’ve seen all their information.” — JIMMY KIMMEL“Pete Hegseth and Mike Waltz have said and done so many stupid things this week, Trump might have to start calling them Eric and Don Jr.” — JIMMY KIMMELThe Punchiest Punchlines (McRib Edition)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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      Clive Revill, Original Voice of Emperor Palpatine in ‘Star Wars,’ Dies at 94

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      His voice can be heard for only a minute in “The Empire Strikes Back,” but it provided the first draft of a character that would be a mainstay of the franchise for decades.It was a minute that changed the course of the “Star Wars” franchise. In “The Empire Strikes Back,” the now-celebrated 1980 sequel, audiences were treated to the first on-camera sighting of Emperor Palpatine.After receiving only a glancing mention in the first movie, he could have looked and sounded like anything. A human. A Wookiee. A droid. A turtle. There was, instead, a disfigured, robed face — portrayed by the actress Marjorie Eaton — that terrified fans and etched the character into “Star Wars” lore.But Palpatine’s voice — cool, crisp and commanding — belonged to Clive Revill, who in about 60 seconds set the stage for one of the most feared and infamous characters in science fiction. Mr. Revill died on March 11 in Sherman Oaks, Calif., his daughter, Kate Revill, said on Thursday. The cause, she said, was complications of dementia. He was 94.Palpatine’s appearance, however brief, is pivotal. In the conversation with Darth Vader it is established that Vader, already an iconic villain, has a boss — one whom Vader himself fears. Additionally, Palpatine recognizes Luke Skywalker as a true threat.In just a few lines, Mr. Revill established Palpatine as a cold, dominant figure.When the original trilogy was rereleased in 2004, his voice was replaced by that of Ian McDiarmid, who played Palpatine in subsequent “Star Wars” films, starting with “Return of the Jedi” (1983). But in various iterations of Palpatine since the original — including the franchise films, the video game “Fortnite” and even Lego re-enactments — the character’s voice is built on Mr. Revill’s work.“Those voices are all influenced by this first example,” said Greg Iwinski, a writer on the animated “Star Wars” series “Young Jedi Adventures.” “That was 45 years ago. That’s the importance of that legacy. He was the first guy to do it.”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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      ‘Fight for Glory’ Is an Ecstatic Treat

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      This three-part documentary about the 2024 World Series has an interesting task: Retell a story that is already pretty good and pretty legible.A lot of TV sports documentaries in the post-“Drive to Survive” world take a broad, rudimentary and personality-driven approach: Make the sport welcoming to new viewers, and give extant fans new access to their faves. After “The Last Dance,” we also got a wave of sit-down interviews and ostensible introspection — the stories behind the story.“Fight for Glory: 2024 World Series,” a three-part documentary that arrives Friday, on Apple TV+, is playing a different game.This mini-series, directed by R.J. Cutler (“The September Issue,” “Martha”), is almost all on the field. Rather than cutting away to seated talking-head interviews, the additional intel and commentary is delivered in voice-over, while the camera stays on the game. Only a few players get any back story, and only one, the Dodgers’ Freddie Freeman, drives the emotional arc of the show.“Glory” has an interesting task, which is to retell a story that is already a pretty good, pretty legible story without the documentary. Championships have built-in stakes; the Yankees and the Dodgers are internationally known legacy franchises; many of the players here are already huge, huge stars; and some of the contextualizing footage is from news conferences. There is no excavation of the unknown. The games have been played.Instead, “Glory” is a distillation, an ecstatic highlighting of highlights in their most alluring form. Sure, there’s a brief interlude about the battle between a batter and a pitcher, but that takes all of one at-bat. The hero here is home runs, and not just any home runs but grand slams — and not just any grand slams but a walk-off grand slam from Freeman, the World Series M.V.P.The Yankees fan in me was of course writhing in agony while I watched this. But the sports hedonist in me was dancing a jig. Just the good parts, please, and make them extra good. Never let me go more than a few minutes without hearing the crack of a bat and the roar of a crowd — a Yankee Stadium crowd, when possible. Feature only super-duper fans, and show them only losing their minds. Replay the injuries in slow motion. Frame the errors as egregious and the homers as a symbol of processing personal tragedy. Show us some loving families so that we may experience their joy as well. Take us all out to the ballgame, why don’t you. More

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      Hollywood Has Not Recovered Jobs Lost During Strikes, Report Says

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      Many entertainment industry workers have been jobless for months, leading state officials to consider increasing subsidies to keep film and television production in California.Hollywood has yet to recover the jobs in film and television production that were lost when strikes by writers and actors brought production to a halt in 2023 as the industry was shifting, according to a report released Thursday.The report by the Otis College of Art and Design found that jobs in the entertainment sector in 2024 remained 25 percent below their 2022 peak, when the industry was working to make up for time lost during the pandemic shutdown.One measure of production, the number of shooting days in Los Angeles County, decreased by 42 percent last year compared to 2022, according to the report.“The film, TV, and sound sector appears to be settling into a new normal characterized by lower employment and production levels when compared to its pre-strike peak,” the report said.Michael F. Miller Jr., a vice president at the International Alliance of Theatrical Stage Employees who oversees film and television production for the union, said that over the two-year period from 2022 to 2024, roughly 18,000 full-time jobs had evaporated. One recent survey of more than over 700 crew members found that almost two in three reported that their income fell short of expectations last year.The new report found that the entertainment sector added almost 15,000 jobs last year, but that the gains were not enough to make up for all the jobs lost during the strikes.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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      Late Night Can’t Quit the Group Chat

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      “This operation was about as secretive as a Fortnite Twitch stream,” Jimmy Kimmel said of U.S. officials’ leaked discussion of a plan to attack Yemen.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.War Plans or Nah?On Wednesday, The Atlantic published more material from the Signal group chat in which Defense Secretary Pete Hegseth and other officials discussed an imminent attack on Yemen, unaware that The Atlantic’s editor had been added to the group.Jimmy Kimmel called it the “‘Oops, who did I add to this text chain?’ heard ’round the world.” President Trump and others in his administration have denied that the details shared in the chat amounted to “war plans.” “Let’s see. ‘F-18’s launch.’ ‘Target terrorist.’ ‘Strike drones launch.’ ‘More F-18s launch!’ ‘First bombs will definitely drop.’ ‘First sea-based Tomahawks launched.’ Now, I’m not an expert on war — these don’t seem like peace plans to me.” — JIMMY KIMMEL“This operation was about as secretive as a Fortnite Twitch stream, OK?” — JIMMY KIMMEL“Who could have ever guessed that the host of ‘Weekend Fox and Friends’ would be bad at running the military?” — JIMMY KIMMEL“I mean, imagine how lifelong military professionals must feel. If this was the ’90s, this would be like suddenly having to take orders from Kathie Lee.” — JIMMY KIMMEL“Thank God we got rid of D.E.I. Now you can rest assured that the idiots in charge were not chosen for their race or gender. They were chosen purely based on being idiots.” — JIMMY KIMMELThe Punchiest Punchlines (Declassified Edition)“This is an unprecedented failure of national security protocols and a grotesque disregard of the safety of American service members. Or, as Donald Trump would say: ‘No it isn’t.’” — STEPHEN COLBERT“One defense official said, ‘It is safe to say that anybody in uniform would be court-martialed for this. My most junior analysts know not to do this.’ Yes, everyone understands this. The characters in ‘Fight Club’ understand this. It’s why the first rule of ‘Fight Club’ is ‘Don’t send out an e-vite for Fight Club.’” — STEPHEN COLBERTWe 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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      Duke Says ‘White Lotus’ Went ‘Too Far’ With School References

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      In a show that features an array of disturbing story lines, the actions — and wardrobe — of a character have gone “too far” for the university.The third season of HBO’s “The White Lotus” has featured — spoilers ahead — adultery, a stolen firearm, an incestuous threesome, a dead body in the water, fake friendships and white-collar crime.So it might not be entirely surprising that real-life officials from Duke University are troubled that the school has played a supporting role throughout the season.One of the show’s leading characters, Timothy Ratliff, a wealthy businessman and Duke alumnus played by Jason Isaacs, is on vacation in Thailand with his family. But things go south in a hurry when he learns that he is being investigated for his part in a shady financial deal.Mr. Ratliff copes by stealing lorazepam, an anti-anxiety medication, from his wife’s cache of prescription drugs. The pills leave him in a zombielike state. Later, after filching a handgun from one of the resort’s security guards, Mr. Ratliff appears to contemplate suicide — while wearing a Duke T-shirt.But there is more: Mr. Ratliff’s eldest son, Saxon, who works for his father’s company and is played by Patrick Schwarzenegger, is a poster child for toxic masculinity — and has a disturbing sexual encounter with his younger brother and a woman they met at the resort. Saxon went to Duke, too.Frank Tramble, the vice president for communications, marketing and public affairs at Duke, said in an email that the university did not approve of the use of its “marks” in the program.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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      ‘Common Side Effects’ Is a Stylish and Trippy Animated Thriller

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      Filled with smart dialogue, specificity and visual wonder, this Max series is a good choice to help fill the “Severance”-shaped hole in your heart.The animated pharma thriller/stoner dramedy “Common Side Effects,” available on Max, is as rare and precious as the miraculous mushroom its hero, Marshall (Dave King), discovers in the jungle. Smarts, humor, style and perspective rarely align so harmoniously. Not a lot of shows have as much to say, and fewer still say it with such panache.“Common” follows the open-shirted, tiny-mouthed environmentalist Marshall, who wants to protect the fragile habitat of the blue angel mushroom, a fungus that can heal seemingly everything. Everyone should be able to access its powers, Marshall says, and no one should be denied a lifesaving cure because of poverty.But he’s up against a lot, including the D.E.A., the F.B.I., big pharma, fellow mycologists, backwoods hooligans, jailhouse power players and sometimes just his own naiveté. He reunites with his high school lab partner, Frances (Emily Pendergast), after he is booted from one of her boss’s speeches. Frances doesn’t admit to him that she works for Reutical, a pharmaceutical company that does every single bad thing Marshall abhors. They trust each other, even though they haven’t seen each other in years, and when Marshall is in peril, he calls her.“Just two things to mention,” he says, panic rising in his voice. “Some people are following me, and I brought my tortoise.”Frances is just as desperate as Marshall. Her mother has Alzheimer’s and is in a memory care facility that they can barely afford; her boyfriend is sort of a yutz; and she is always waist-deep in a crisis of conscience about working for Reutical. Should she try to help Marshall do things Marshall’s slapdash way, or might Reutical be in a better position to cultivate, test and distribute such a powerful drug?Her boss, Rick (Mike Judge), takes her up to the company’s rooftop helipad to encourage her to stick with the corporate vision. “You’re with us now, the helicopter people,” he says. “We don’t worry about the down-there problems.” He doesn’t say it in an evil, cackling villain voice, though. He says it like an encouraging dad, like a mentor.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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      With ‘The Studio,’ Seth Rogen and Evan Goldberg Grow Up. Sort of.

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      Amoeba Records, on Hollywood Boulevard, isn’t the best place for someone of Seth Rogen’s visibility to shop hassle-free. Located just blocks from the Chinese Theater, right by Dr. Phil’s and Dr. Oz’s stars on the Walk of Fame, there may be few places worse.But when Rogen wasn’t being interrupted by his admiring bro-fans, who were legion — one wore toe shoes and a Lil Dicky shirt; another cried — Amoeba was, however, a perfect place to dig through hundreds of vinyl soundtracks. It was the Tuesday before the Oscars, and we were there with Rogen’s longtime creative partner, Evan Goldberg, to browse records and talk about their latest creation: “The Studio,” an ambitious, celebrity-stuffed industry satire for Apple TV+ that premiered on Wednesday.“The Studio” features many celebrity cameos and guest roles, including one by Martin Scorsese, right (with Ike Barinholtz, left, and Seth Rogen).Apple TV+Rogen had been tasked by his wife to stock more jazz — appropriate given the new show’s jazzy score and improvisational feel, shot mostly in long single takes. But as Goldberg and Rogen, who have been friends since they were teenagers, noted, their taste in music had really been formed by their love for movies.So we found ourselves first among the soundtracks, where highlights included a reissue of “The Three Amigos” — “One of my favorite movies of all time,” Rogen said — and two copies of the soundtrack for “Soul Man,” the 1986 comedy about a young white guy who pretends to be Black in order to get a Harvard scholarship. (Different times, as they say.)“Dude, I was just telling some people at work about this yesterday!” Goldberg said.“It has a good soundtrack,” Rogen ventured.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