Long gone are the days of Nikki Glaser’s WAP (her words, kinda) but in her new HBO special, “Someday You’ll Die,” taped at the Moore Theater in Seattle, her hilarity is on full display. Entwining topics like our ever-changing bodies, navigating friends with babies, role playing, freezing eggs, the animal kingdom and, ultimately, her own mortality, she’s empathetic and raw, brutally honest, and even more brutally dark. Glaser is as real as it gets and as funny as they come, and on May 11, there are two ways to soak her in. “Someday You’ll Die” on HBO or at the Palladium during the Netflix is a Joke Festival. We recommend both.
Glaser’s reach is worldwide because she’s so much more than just a comic and master roaster (Please see: Sunday’s roast of Tom Brady). She played host on “FBOY Island” for three seasons, is the current host of its spinoff “Lovers and Liars,” and she’s also an incredible singer, as America learned when she took her Snowstorm head off on “The Masked Singer.”
Glaser picked up guitar during the pandemic, which ultimately led to “Some Day You’ll Die” having a theme song, aptly titled “Someday You’ll Die,” (available on all streaming platforms Thursday) which Glaser wrote and recorded. Is she great at everything? Well, she did exit “Dancing With the Stars” (Season 27) a tad early, but as she says, “I’m so grateful that it went the way it did because being voted off first is way funnier than any of the other numbers.”
And for someone who appears to be able to do it all pretty well, Glaser isn’t trying to be a role model. She just inadvertently might be. And for someone who claims to be aging, she looks better than ever — could she be the new George Clooney?
You seriously have never looked better while roasting your body on stage. What’s your routine like heading into a taping like this with a dress like that?
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Nikki Glaser: There’s definitely this thought that this is a big deal and want to look as good as possible. I’ve been hearing about Pilates for 20 years and I finally gave in three months before the special. It was about aesthetics that I got into it, and then it was really about the strength to pull off that final gang bang act out. I couldn’t balance like that and engage my core had I not been doing Pilates. It’s so ironic that I started Pilates to look good, but I would never have been able to hold it that long during the bit had I not been doing it. I didn’t even realize I was training for that.
It’s an admirable bit. Also admirable, you being so open about your body struggles.
Yeah, I just struggle with aging and being perceived a certain way, and feeling like part of my talent is dependent on me being f—able and attractive and now I need to maintain that. I feel insecure that if I’m not funny enough, at least I can be nice to look at and if I’m not nice enough to look at, I have to be funnier. It’s always like a balancing act with those things and it’s a huge amount of pressure. Timing the spray tan right, getting your hair done in the right way, making sure you sleep well and drink enough water, then you have to have a certain facial the day before — I probably do as much stuff getting ready as Victoria’s Secret models do before a runway. It really is ridiculous too because no one is expecting that of me, and no one needs it of me. I just hold myself to a level of excellence for these things that are unachievable. I always feel like I didn’t do enough. No matter what, I’ll never feel good enough. Which is, you know, what the special is about as well.
I think a lot of people feel like that and sometimes they need to hear it from someone they look up to or are a fan of.
There’s a part of me that’s like, OK, should I move into this phase of my life where I don’t say anything negative about myself? Don’t talk about how I feel about myself most days because people don’t want to hear it? Especially if someone looks at me and goes, oh, she thinks she’s fat? I’m fatter than her, so I must be disgusting. We all have something, and I know that may not be the best example, but I’m not an example to young women. I am just telling my truth and it’s not my job as a comedian to be a role model. I’ve never wanted to be a role model because I think it’s too much pressure. I’d like to be a role model in the sense that people feel like they can be honest about how they’re feeling.
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Nikki Glaser onstage at the Moore Theater in Seattle during her HBO special “Someday You’ll Die,” which begins airing Thursday.
(Jennifer Rose Clasen)
It’s interesting because some might say that admitting your flaws and self-doubt is role model behavior for them.
Yeah, that’s the one I like to hear. I like it when people say they have the same thoughts, or I have depression. What I’ve always really wanted from my celebrities was to not hear about how great their lives are, how much they love themselves, and how they have it together. I want to hear from the people that I put on a pedestal that they are hanging on by a thread. That always makes me feel way better and it literally helps heal me more than motivational things like, you gotta wake up every morning and love yourself! It helps me more to go, oh, my God, Taylor Swift feels insecure too?
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That opens up my eyes to the fact that it’s not worth dwelling on when I see someone like Taylor Swift having the same thoughts as me. I think, OK, then it’s ubiquitous. I’ll never overcome it because if I were Taylor Swift, I’d overcome it. And I don’t really have solutions on how to fix it. I’m more of just complaining about the way it is. Sometimes I feel like my material doesn’t offer a solution, it’s just telling people mostly that life sucks and one day you die, but I think there’s freedom in the truth and not putting a spin on it. I don’t want to be told about what the solution is. If that works, we’d all do the solution.
You’re kind of like if T. Swift wrote lyrics we can’t publish in the L.A. Times.
Oh, my gosh, that means so much to me! Taylor Swift is who I would like to be if I could pick what I was good at. I’ve always loved singing and I’ve always loved music. I got some bad feedback when I was young about my voice and I was just discouraged until, you know, my mid 30s. I was told I wasn’t good, so I decided I had to find another industry. I tried acting but wasn’t a good actress and I was like, what the f—, man? How am I going to get in? That’s how I discovered stand-up and obviously the shoe fit perfectly. It was exactly what I like about music, but I could be more specific. And it was exactly what I like about comedy, but I could write it myself.
What came first, “Someday You’ll Die” the special or“Someday You’ll Die” the song?
We shot the special first. My boyfriend [Chris Convy] executive produced it, and we were in editing talking about what song I wanted for the credits and I was like, I like this song! And this song! And this song! He’s like, OK, well, we’re a little over budget, so this is going to have to come out of your money, which I was willing to do because ending on a really good song is important to me. I was thinking, how much could it be? He goes, it’s gonna range from 20K to 35K for each song. After hearing that I thought, I’ve been taking voice lessons, I did all right on “The Masked Singer,” and I’ve been playing guitar since COVID, so what if I wrote a song?
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I pitched it and all of the pieces came together. I’ve always wanted to write a song and it’s my favorite thing I’ve ever done. It’s the proudest I’ve ever been because I never tried to write a song before; I was always scared I couldn’t do it. I think in life you’re just scared to take opportunities, so when this came about — writing a song for my HBO comedy special — I had to do it. I think it comes from a place of insecurity. I say yes to everything because I’m scared that they’ll stop asking if I don’t. There’s also this thing of I never want to get to a point in my life when I’m 60 and I look back and go, oh, you didn’t do that because you were scared.
Glaser has been everywhere these days, from TV shows like “FBoy Island” and “The Masked Singer” to last Sunday’s Tom Brady roast on Netflix.
(Jennifer Rose Clasen)
At this point, you certainly seem fearless in more ways than one. OK, so Hollywood Palladium May 11. Have you played there before?
Yeah, we did a roast there, I think it was Bruce Willis? It might have been all of them. I really don’t know where I do these things, but there was some roast in the Palladium, so I have! I’m really excited about this year’s festival because it looks so huge. I can’t believe how many shows are going on. I hope people show up because I have new material and it’s a chance for me to use some saved stuff I’ve been working on. I also have stuff that maybe was in the special that I have worked on, just expounding my feelings about it all. It’s also just such a big fun room and with the festival, energy will be in the air. And it’s the last show I do for a heavy month of work, and I always go to see Taylor Swift on the third night she’s performing because I know as a performer, the first night you’re like, OK, I have two more and need to conserve my energy. But on that third night, you’re just free and I’m telling you, the night of my show I’m going to feel so free. It’ll just be a catharsis on stage. I cannot wait.
Park Chan-wook’s “mordantly hilarious” new comedy “skewers capitalism with much of the same wit, sadness, and slapstick buffoonery that made Parasite so resonant,” said David Ehrlich in IndieWire. Squid Game villain Lee Byung-hun stars as a laid-off paper company veteran who’s so desperate to preserve his family’s upper-middle-class existence that he schemes to murder the other contenders for his potential bounce-back job. “Plotted with ornate precision but unfolding with the panic of a desperate man,” the latest Korean-language feature from the director of Oldboy and The Handmaiden is “a slaphappy movie with a surprisingly powerful sting.” Because Lee’s character is such an incompetent killer, No Other Choice “plays like a vicious episode of Looney Tunes,” said Brian Tallerico in RogerEbert.com.
At the same time, “Lee is at his career-best here, deftly walking a tightrope of likability, relatability, and morbid humor” as this brilliantly shot film gradually transforms from “almost silly” to something far darker. Still, despite its fierce anti-capitalist message, the movie remains “an amusing caper, not a stern lecture,” said Kyle Smith in The Wall Street Journal. Though it’s “easily half an hour too long,” fattened by “irrelevant asides and digressions,” it “isn’t particularly heavy-handed in its disdain for corporations.” Instead, it’s “a sly slay-fest, with an appropriately mordant ending,” one that will unnerve anyone who’s fearful of what AI and automation will do to the jobs that provide so many of us with our sense of worth and identity.
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‘Dead Man’s Wire’
Directed by Gus Van Sant (R)
★★★
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Gus Van Sant’s first feature in seven years has “the breezily watchable feel” of a movie you might catch on Sunday-afternoon cable TV, said Marshall Shaffer in The Playlist. “A well-oiled machine,” Dead Man’s Wire dramatizes a real-life 1977 incident in which an Indianapolis mortgage broker was held hostage by a man named Tony Kiritsis who believed the company had sabotaged his attempt to finally make a few bucks. Portrayed here as “both bumbling and brilliant,” Kiritsis won his bid to air his grievances on national TV, all while keeping a shotgun wired to his captive’s neck in a way that ensured instant death if anyone intervened.
A “crackling” lead performance by Bill Skarsgard carries this small-scale thriller, said David Rooney in The Hollywood Reporter. But Colman Domingo also shines as a “magnetically cool” DJ whose effort to defuse the crisis helps turn the standoff into a three-day national story. Van Sant, whose commercial breakthrough came with 1995’s To Die For, is “in his element conducting the media circus and the brainstorming of local cops and FBI,” turning Dead Man’s Wire into “a timely, entertaining reflection on the way the offer of the American dream often tends to be snatched back.” It’s troubling, though, that the movie fudges some facts about the case to fit the director’s populist vision, said Owen Gleiberman in Variety. Dead Man’s Wire is clearly “Van Sant’s most vital piece of work for the big screen in some time,” but there’s no evidence that the mortgage company snookered Kiritsis, and pretending it did unfairly alters the drama we’re shown.
‘Father Mother Sister Brother’
Directed by Jim Jarmusch (R)
★★★
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“Jim Jarmusch’s Father Mother Sister Brother finds the director in a minor key, which is sometimes his best key,” said Bilge Ebiri in NYMag.com. Like such Jarmusch “masterpieces” as 1984’s Stranger Than Paradise and 2016’s Paterson, this Venice film festival award winner mines the mundane for humor and emotional effect. Even so, “it’s much more stripped down and oblique,” a quiet triptych in which each of the parts is a snapshot of a “disarmingly spare” family get-together. The movie is “funniest at the start,” said Nick Schager in The Daily Beast, as Adam Driver, Mayim Bialik, and Tom Waits co-star in a chapter about two adult siblings who during a rare visit with their semi-reclusive and untrustworthy father engage in “the sort of small talk that strains to fill a vacuum.”
The second part then dials up the despondent mood, as sisters portrayed by Cate Blanchett and Vicky Krieps visit the Dublin home of their prim novelist mom, played by Charlotte Rampling. Unfortunately, Jarmusch “leans heavily into wistfulness” in the third segment, in which Indya Moore and Luka Sabbat play adult twins visiting the Paris apartment of their recently deceased parents. Here, “the overtly melancholy tone is more than the wispy action can shoulder.” For me, that third segment and the first are “the most convincing as portraits of real life,” said Peter Bradshaw in The Guardian. Still, throughout this “deeply pleasing” film, you wait in vain for a crisis or confrontation to arrive and instead experience only “contentment and calm,” a Zen-like acceptance of life’s chance relationships that serves as “a cleansing of the moviegoing palate.”
Wagner Moura won the Golden Globe for lead actor in a motion picture drama on Sunday night for the political thriller “The Secret Agent,” becoming the second Brazilian to take home a Globes acting prize, after Fernanda Torres’ win last year for “I’m Still Here.”
“ ‘The Secret Agent’ is a film about memory — or the lack of memory — and generational trauma,” Moura said in his acceptance speech. “I think if trauma can be passed along generations, values can too. So this is to the ones that are sticking with their values in difficult moments.”
The win marks a major milestone in a banner awards season for the 49-year-old Moura. In “The Secret Agent,” directed by Kleber Mendonça Filho, he plays Armando, a former professor forced into hiding while trying to protect his young son during Brazil’s military dictatorship of the 1970s. The role earned Moura the actor prize at last year’s Cannes Film Festival, making him the first Brazilian performer to win that honor.
For many American viewers, Moura is best known for his star-making turn as Colombian drug lord Pablo Escobar in Netflix’s “Narcos,” which ran from 2015 to 2017 and earned him a Golden Globe nomination in 2016. He has since been involved in a range of high-profile English-language projects, including the 2020 biographical drama “Sergio,” the 2022 animated sequel “Puss in Boots: The Last Wish,” in which he voiced the villainous Wolf, and Alex Garland’s 2024 dystopian thriller “Civil War,” playing a Reuters war correspondent.
“The Secret Agent,” which earlier in the evening earned the Globes award for non-English language film, marked a homecoming for Moura after more than a decade of not starring in a Brazilian production, following years spent working abroad and navigating political turmoil in his home country as well as pandemic disruptions.
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Though he failed to score a nomination from the Screen Actors Guild earlier this month, Moura now heads strongly into Oscar nominations, which will be announced Jan. 22. “The Secret Agent” is Brazil’s official submission for international feature and has been one of the most honored films of the season, keeping Moura firmly in the awards conversation. Last month, he became the first Latino performer to win best actor from the New York Film Critics Circle.
Even as his career has been shaped by politically charged projects, Moura has been careful not to let that define him. “I don’t want to be the Che Guevara of film,” he told The Times last month. “I gravitate towards things that are political, but I like being an actor more than anything else.”
It’s an easy, fun festive watch with a better first half that presents Chiru in a free-flowing, at-ease with subtle humor. On the flip side, much-anticipated Chiru-Venky track is okay, which could have elevated the second half.
#AnilRavipudi gets the credit for presenting Chiru in his best, most likable form, something that was missing from his comeback.
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With a simple story, fun moments and songs, this has enough to become a commercial success this #Sankranthi
Rating: 2.5/5
First Half Report:
#MSG Decent Fun 1st Half!
Chiru’s restrained body language and acting working well, paired with consistent subtle humor along with the songs and the father’s emotion which works to an extent, though the kids’ track feels a bit melodramatic – all come together to make the first half a decent fun, easy watch.
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– Mana Shankara Vara Prasad Garu show starts with Anil Ravipudi-style comedy, with his signature backdrop, a gang, and silly gags, followed by a Megastar fight and a song. Stay tuned for the report.
U.S. Premiere begins at 10.30 AM EST (9 PM IST). Stay tuned Mana Shankara Vara Prasad Garu review, report.
Writer & Director – Anil Ravipudi Producers – Sahu Garapati and Sushmita Konidela Presents – Smt.Archana Banners – Shine Screens and Gold Box Entertainments Music Director – Bheems Ceciroleo Cinematographer – Sameer Reddy Production Designer – A S Prakash Editor – Tammiraju Co-Writers – S Krishna, G AdiNarayana Line Producer – Naveen Garapati U.S. Distributor: Sarigama Cinemas