Death Becomes Her (Broadway) (2025)

Death Becomes Her is camp dialed up to 11. The jokes come a mile a minute. The leads (Megan Hilty and Jessica Simard) are fabulous at belting out their numbers, though the music is kind of forgettable. Rather refreshing is that the book scenes are actually really good. They're funny and they're uncensored.  There is one scene in particular with some unbelievable slow-motion acrobatics that puts the magic of the theater on full display. I also like the tromp l'oeil depth of perspective in the set. The costumes and production design are lots of fun. 

And what a year for older stars in showbiz clinging to their youth. The plot heavily mirrors The Substance. And it's not exactly without body horror, as much as you can disfigure someone on stage. But what lengths will people go to for a chance to reclaim their glory days. The Last Showgirl, Sunset Boulevard, etc. None of those are comedies though, and that it takes this theme more lightly is all the better. Even tragedy doesn't have to end so tragically.

Urinetown (Encores!) (2025)

Urinetown is quite the strange musical, but in its own way it's very funny and incisive. The show opens and closes with a narrator breaking the fourth wall, joking about musical tropes and hitting us over the head with the moral of the story in case you missed it. It is kind of a downer and so they use that sarcastic humor to lighten things up a bit. The show is perhaps even more relevant now than it was when it premiered a quarter century ago. It decries corporate greed and the degradation of our planet. The plot doesn't really make a whole lot of sense--the narrator addresses that too--but if you don't think about it too hard and just focus on the immediate concerns at hand, it does tidily deliver the metaphor. The music isn't especially memorable. Jordan Fisher is alright. He has a cool gospel number that he knocks out of the park. Tiffany Mann is an understudy for some reason, but she filled in for the role of Miss Pennywise and killed it. Rainn Wilson from The Office sings, who knew, and he plays a diabolical villain.

My Brilliant Friend (2018-24)

My Brilliant Friend has consistently been one of the best shows on TV. But it hasn't gotten so much attention stateside being in Italian. I think Americans are getting more accustomed to watching subtitled content. But I think that's kind of the Netflix effect pushing the content via algorithm. Outside of Netflix, if you have to look for the content yourself, people are not seeking it out. And it's a shame because there's a uniquely Italian story here that's quite beautiful. It's shamelessly melodramatic in a way that I think is more acceptable abroad. You might call it soapy in America, but we're getting more of that in our prestige content too. It's deeply felt, passionate, aided by Max Richter's extraordinary score and the striking cinematography. 

It's a story of epic proportions, spanning decades in the lives of two friends. It's about their lifelong friendship, with all the complications that come with two competitive women. And at its heart there is a story about the power of education in a poor and dangerous community.  The intellectual circle and the mafia circle often intersect. We watch the whole community grow old. As kids they may have been enemies, and as adults they may still hate each other but their lives are so intertwined nonetheless. Beautiful show.

Loki (2021-3)

The Marvel universe has gotten unwieldy.  In the early years, they used to be pretty good at making standalone movies. But now they've started making TV shows too, it's all so interconnected. Season 1 was actually pretty decent. But I did not follow a single plot point in Season 2. Single season contained shows is the sweet spot for Marvel. There's too much happening in between seasons. 

The Time Variance Authority is not named accidentally. The acronym TVA recalls the New Deal Tennessee Valley Authority program. The design of the TVA evokes the FDR era. The production design is the best part of the show. That and Owen Wilson playing his usual self. Ke Huy Quan is fun too. I don't know if I completely buy into the message of the show either. We're made to believe that the sacred timeline is the inherently correct one. But the fact that there are branches suggests that to be untrue. And I think I had other problems with it back at season one but I don't really remember now.