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Amy Schumer found happiness. Her moving, funny new TV show is the result

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Within the Hulu sequence “Life & Beth,” created and partly written and directed by Amy Schumer, Schumer performs Beth, a gross sales consultant for a midlevel wine distributor in New York Metropolis that even her boss (Murray Hill) describes as mediocre. Although she is sweet at her job, and up for a promotion, her declare of main an important life — “I’m most likely essentially the most pleased, glad particular person on this whole mall,” she tells her lovingly essential mom, Jane (Laura Benanti), on an uncomfortable procuring journey — is clearly a case of the woman protesting an excessive amount of. There’s a weight on Beth; the very air appears to sluggish her down. When her mom dies abruptly, her lack of tears is seen by these round her as symptomatic of a disordered persona. (The present is kind of acute on the numbness that may accompany the lack of a mum or dad.)

Along with her relationship with longtime boyfriend and co-worker Matt (Kevin Kane) coughing and sputtering and a fortieth birthday looming, she abandons Manhattan for the Lengthy Island hamlet the place she grew up, there to face outdated wounds and court docket new prospects. Prolonged flashbacks painting Beth’s middle-school years, an anthology of challenges and humiliations at dwelling, college and in basement rec rooms — although not with out moments of hope, elation and greatest friendship. Within the current tense, Beth visits an area vineyard to drum up enterprise (Jon Glaser performs its uncooperative, irritated, irritating proprietor) and, on the related natural farm, meets John (Michael Cera), the farmer.

“Life & Beth” has the curious high quality of being directly just a little awkward and precisely what it needs to be. Its elements don’t all tonally mesh — it’s an amalgam of romantic comedy, straight drama, bits and sketches and tailored stand-up, with the odd line that appears to come back extra from Schumer than her character — and at instances it feels constructed to ship a degree, a venture as a lot as a narrative. However it’s also clearly honest and private, salted (like Schumer’s script for “Trainwreck”) with autobiographical particulars. Like Beth, Schumer, who grew up on Lengthy Island, skilled a flip in household fortunes when their high-end child furnishings enterprise went underneath; her father — Michael Rapaport performs Beth’s — was an alcoholic; her mother and father divorced. (Whether or not her mom made a behavior of short-term relationships with married males, I don’t know, nevertheless it’s Jane’s defining characteristic.)

The sequence can be a love letter to Schumer’s husband, Chris Fischer, a chef and someday natural farmer (and her co-star on Meals Community’s “Amy Schumer Learns to Prepare dinner”), right here molded into the particular person of Cera’s John. (There’s nice authority within the sequence’ discussions of produce.) It’s steadily very humorous, filled with shiny comedian turns, and sometimes fairly shifting, even stunning, typically only for the house of a shot, in a method that may make you rethink a personality. It’s sentimental ultimately, however that’s what typically occurs when artists develop pleased of their life.

The twist within the rom-com is that the main man lacks the same old qualities of a romantic lead — although, that mentioned, there’s a complete physique of romantic comedy based mostly on falling in love with unconventional folks, which makes “Life & Beth” not … unconventional. As might be identified to viewers of “Anticipating Amy Schumer,” the wonderful HBO Max docuseries wherein she provides beginning to a Netflix stand-up particular and her first youngster, or to viewers of mentioned particular, Schumer’s husband, John’s mannequin, is on the autism spectrum. John doesn’t know find out how to whisper, or find out how to lie, which implies he additionally inconveniently takes others at their phrase; he lacks social graces, obsessing a couple of boat within the midst of a funeral. Cera performs him with a barely flat have an effect on that reads as vexing or charming relying on the scene. (That the small print are directly so particular — any common viewer of tv and movie will acknowledge them instantly — and by no means named within the sequence appears unusual, although the actual fact is that Fischer wasn’t identified till after he and Schumer had been married.)

Kate Berlant and John Early are among the many many comedians featured in “Life & Beth.”

(Marcus Worth/Hulu)

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Regardless of Beth’s myriad liabilities — “You’re a purple planet,” says her sister Ann (Susannah Flood) when Beth mentions John’s purple flags — she is made much less eccentric than many of the different characters we meet; and we’re inclined to take her facet, even when she appears lower than form, as a result of we perceive from these flashbacks that she’s harm. (And since she’s the star, and he or she’s Amy Schumer, about whom we could have already got good emotions; sufficient of us do, apparently, that she’s been tapped to co-host subsequent week’s Oscars.)

One encounter, with an area hunk (Jonathan Groff) mocked for his vacationer’s view of New York, did strike me as snobbish. And there may be maybe too clear a distinction between the Lengthy Island of Beth’s outdated buddies, with their air of imprecise home dissatisfaction, and John’s farm, the place fiddles and mandolins fill the air at a party and everybody seems to be comfy of their pores and skin — quirky, perhaps, however centered, glad. But “Life & Beth” largely withholds judgment, and the place Beth is worried provides causes.

The scenes set prior to now, which exist to elucidate the current — together with the thriller of what induced a rift between younger Beth and her buddy and protector Liz (Grace Energy) — have an impartial life and integrity, and are so properly realized that one forgets what number of instances we’ve got seen variations of those youngsters and their conflicts. It helps that they’re not performed for comedy, however above all they’re delivered to life by the actresses who play the youthful variations of Beth and Ann. As Beth, Violet Younger is a marvel, rather less subtle, just a little extra trusting than her friends, embodying the trauma her future self will compress right into a knot of denial-wrapped disappointment, however not previous the odd second of hopeful pleasure. As Ann, measuring her top day by day, able to consider her older sister when she tells her that dwelling in a smaller home is best as a result of “solely losers dwell in massive homes,” Lily Fisher has much less to do however makes a pleasant counterweight to Beth, too younger to know their circumstances.

A bildungsroman set in late-maturing center age, the sequence is plainly constructed round Beth’s halting journey towards psychological and bodily well being. (That her again ache might be a plot level is evident from the primary informal point out.) There are a selection of encounters with medical professionals, together with David Byrne as “Dr. B,” recommending she chew extra and drink much less; Lavar Walker as an outdated buddy, now a pharmacist; Swann Gruen, eradicating a fish hook from a finger; and Phil Wang as a novice MRI technician who desires of being a DJ — one may name him scene-stealing if the scene weren’t made to indicate him off.

Certainly, the sequence is stocked with comedians, additionally together with Dave Attell as a rabbi, John Early and Kate Berlant as Beth’s potential clients, Janelle James as a shopgirl, Yamaneika Saunders as Beth’s greatest outdated buddy Maya and Gary Gulman as Maya’s “Jew date” — and Schumer is clearly giving them room to work, typically sitting again and enjoying straight. (An prolonged dialog between Beth and Maya, which feels largely improvised, remembers the interview segments on her Comedy Central sequence “Inside Amy Schumer.”) As is true of a lot present comedy, the casting has the flavour of calling one’s buddies and seeing in the event that they’d like to come back out and play.

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And all of them, not least Hank Azaria as a funeral dwelling director (an alternate title for the sequence is likely to be “Three Funerals and No Weddings”), are on level. If I say that I particularly loved Flood as (quietly) angrier sister Ann, and Saunders as Maya, who present differing types of ballast for Beth and assist give her dimension, that’s solely as a result of their scenes have significantly caught with me. Although the season has a self-contained arc, what’s right here might simply help a second. As a result of life goes on.

‘Life & Beth’

Not rated

When: Anytime, beginning March 18

The place: Hulu

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Traffic alert: Biden, Obama will appear at downtown L.A. fundraiser Saturday evening

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Traffic alert: Biden, Obama will appear at downtown L.A. fundraiser Saturday evening

President Biden arrived in Los Angeles early Saturday for a star-studded fundraiser expected to break records by bringing in more than $28 million from thousands of supporters. But many more Angelenos are likely to be affected by the presidential visit — because of traffic.

The gathering — featuring former President Obama, actors George Clooney and Julia Roberts and other celebrities — is scheduled to take place Saturday evening at the Peacock Theater in downtown Los Angeles. At least one protest is planned outside.

Roads and street parking in the area, including the L.A. Live entertainment complex that is home to the theater, will be blocked at times, and heavy traffic is expected. Additionally, it’s unclear where Biden, First Lady Jill Biden and Obama will be staying during their time in Los Angeles, but freeway closures should be expected when their motorcades carom around town.

Los Angeles transportation and police officials referred questions about road closures to the U.S. Secret Service, which declined to provide details but warned of potential congestion.

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“The U.S. Secret Service works closely with our local law enforcement partners to minimize disruptions to the public while ensuring the highest level of safety and security,” said Melissa McKenzie, a spokesperson for the Secret Service. “For security reasons, we are unable to release specific motorcade routes in advance, but the public can expect intermittent road closures and parking restrictions as part of the visit.”

A spokesperson for the Los Angeles Department of Transportation was more blunt.

“Travelers should anticipate delays in the downtown area and plan accordingly,” said spokesperson Colin M. Sweeney.

The Federal Aviation Administration has restricted airspace for “VIP Movement” over a swath of the region from 4:45 a.m. Saturday to 3 p.m. Sunday for pilots who are not flying presidential, passenger, cargo, military, law enforcement or air-ambulance aircraft.

Traffic jams prompted by presidential visits are not surprising given the enormous security resources needed to protect the leader of the free world, particularly when he is not in a secure site such as the White House or an event space that has been thoroughly prescreened.

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But in Los Angeles, the ensuing traffic jams are also legendary. They were so bad during Obama’s tenure that the phrases “Obamajam” and “Obamageddon” became part of the local vernacular.

“Mr. President, I elected you to be in the White House, not on the 405,” one commentator wrote on Twitter during a 2012 Obama visit to Los Angeles for a fundraiser at George Clooney’s Studio City house. “There are times other than rush hour during which you can visit L.A.”

Obama’s handlers clearly learned from such experiences, increasingly using helicopters to ferry the president around the city to reduce road and highway closures.

Biden has also created traffic jams when he has visited the region, such as when parts of the 405 Freeway were shut down during a weeknight rush hour so the president could travel from Century City to media mogul Haim Saban’s sprawling Beverly Park estate for a fundraiser in February.

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'Inside Out 2' movie review: Featuring the feels, their feats and then some

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'Inside Out 2' movie review: Featuring the feels, their feats and then some

Nearly 10 years after the first instalment, out of the classic Pixar-Disney partnership, comes a peek into the life of a teenage Riley in the sequel to Inside Out. Much like its predecessor, the movie is intense, uplifting and, understandably, emotional. 

The introduction of new characters — emotions and beyond — succeeds in keeping the audience guessing. True to form, the script and animation hold several inside jokes and lean heavily on wordplay. Amidst the dry, chuckle-drawing humour, the writers have also managed to pepper in more complex concepts. This imagery is likely to stick with you after the viewing, drawing reflections from the outside in, ironically. 

Even in the innovation and progressing timeline, there is definitely a sense of familiarity. Characters navigate the mind landscape, and make an arduous journey with obstacle after obstacle, which sometimes does seem to drag on. 

The voice cast powers this delicate script forward with noticeable nuance, despite some replacements and additions. Amy Poehler continues to be a convincing (and this time, a more likeable) Joy, while Maya Hawke’s Anxiety carries a nervous and excited energy central to the story. 

The actors also manage to keep pace with the development of their characters into more multi-dimensional personalities. For those who enjoyed, related to and fondly remember the characters from the first film, the second offers great story arcs to love, alongside new fun introductions. 

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While Pixar’s bright, lively animation will work great to keep younger audiences entertained, depictions of mental health — particularly a panic attack — might warrant a conversation, context and maybe some reassurance for kids and teens. For older audiences, the movie can come off like one long session of therapy — loads of self-reflection, uncertainty, tears, awareness and hopefully, acceptance. 

The story peels back the layers of the confusion, hopefulness and embarrassment of the teen years in a way that feels uncomfortable at times, and profound at others.

In all, Inside Out 2, holds tears, laughs and a slew of, “Oh, I see what you did there”. While it isn’t the most gripping watch throughout, it is thoughtful and sweet, making the film a lovely choice for a quiet day with family or friends. My top tip is to make sure you stick around for the post-credits scene (there’s more than one)! 

Published 15 June 2024, 09:56 IST

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Review: Jude Law rages through 'Firebrand' as a mercurial royal while Alicia Vikander hangs on

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Review:  Jude Law rages through 'Firebrand' as a mercurial royal while Alicia Vikander hangs on

The worthy scouring of the past for hidden heroes, underrepresented figures and untapped dramatic potential has always kept historians and novelists dutifully occupied. One might think that England’s well-researched monarchs don’t belong in that category. But “Firebrand,” adapted from Elizabeth Fremantle’s novel “The Queen’s Gambit,” takes the position that Henry VIII’s final wife (of six), Katherine Parr, was more than just a devout, deferential nursemaid to an ailing king. She was also a closet Reformist radical and, in one eye-opening tweak to established history, an abused spouse not to be messed with.

Even if the facts don’t entirely support these notions, they’re not unappealing ones upon which to hang a portrait of a bad marriage at a turbulent time — despite the reality that Henry hardly requires outing as a serial #MeToo offender in need of comeuppance. And while it’s a tad surprising that Brazilian-Algerian art-house iconoclast Karim Aïnouz’s first English-language feature is a costume drama about English royals, it does sport two compelling stars in Alicia Vikander as protofeminist Katherine, and an almost unrecognizably heavy-set Jude Law as the Tudor tyrant.

That pairing, however, comes with drawbacks when the modernist screenplay (credited to Henrietta and Jessica Ashworth, along with Rosanne Flynn) meets Aïnouz’s meandering, atmosphere-thick approach. We drop in on Katherine in 1546 when she’s enjoying some interim power as newly appointed Regent while Henry is fighting France overseas. She risks treason, however, by meeting clandestinely in the forest with rabble-rousing Protestant preacher Anne Askew (Erin Doherty), eager for revolution against a vicious church authority that is afraid of commoners reading the Bible in English.

Anne is skeptical that her old pal can do anything from within the castle walls, but Katherine’s optimistic rejoinder is, “I’ve lasted longer than any other wife.” That’s hardly the flex that it sounds. As a caring stepmother to Prince Edward (Patrick Buckley) and Princess Elizabeth (Junia Reeves), Katherine has brought a measure of peace to the kids’ traumatized lives but believes she was chosen by God to bring change. When Henry returns in deteriorating health, he brings to an already fearful court the full weight of his madness, paranoia, jealousy and rage, compounded by a festering leg wound. Apart from putting Katherine in immediate danger, it sparks a scramble for survival among his retinue, which includes heretic-hunting conservative bishop Stephen Gardiner (Simon Russell Beale) and Edward Seymour (Eddie Marsan), the Prince’s scheming uncle. Both men would be happy to see Katherine go the way of her beheaded predecessors if it means preserving their own power.

Vikander’s poised, considerate Katherine starts off active, but recedes into the background as the justifiably watchable tornado that is Law’s Oliver-Reed-channeling Henry transforms the movie into a biopic of a ruler’s howling exit. He becomes the central attraction of master cinematographer Hélène Louvart’s candlelit, sparingly saturated interiors. Previously collaborators on Aïnouz’s Cannes-winning “Invisible Life,” Louvart and the filmmaker work well together, especially when it comes to the rich colors and weighted textures of Michael O’Connor’s period wardrobe, or on any given close-up from a member of the superlative cast.

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But Aïnouz, as if understandably drawn to an energy source, seems increasingly preoccupied with a mood of domestic terror at the expense of the story strands intended to paint Katherine as a vital inspirational bridge between her maniacal husband and her stepdaughter Elizabeth’s noteworthy womanhood. At a certain point, it feels as if scenes are missing, and what’s left reads as unconvincing. By the time “Firebrand” reaches its climactic dramatic license about this survivor narrative, we should be better armed to relish it, instead of scratching our heads at a speculative swerve out of nowhere.

‘Firebrand’

Rating: R, for some violent content, brief gore and sexuality/nudity

Running time: 2 hours

Playing: Opens Friday, June 14 in limited release

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