And once again, I am baffled about how to watch the Golden State Warriors game on television.

#Broadway trip Show 6: Dead Outlaw. I’m not sure the creatives have really come up with a thematically coherent reason to tell this strange but mostly true story of an incompetent crook who led an interesting afterlife. Some good dark Americana, but not enough, with an odd streak of nihilism.

#Broadway trip Show 5: Maybe Happy Ending uses familiar rom-com tropes and eye-catching stagecraft - in a story about robots - to ease the audience into a musical about loneliness, loss and death. The show sneaks up on you and was, ironically, the most humanistic musical of our trip.

#Broadway trip, Show 4: Operation Mincemeat. It’s an entertaining, often-hilarious, flawed show with my favorite performance of the week - ‘Dear Bill,’ performed by Jak Malone is a moving story-song that is its own heartbreaking one-act play that elevates the rest of the musical.

#Broadway trip Show 3: Stephen Sondheim’s Old Friends. I’m not even feigning evenhandedness. I was thrilled to see Bernadette Peters perform some of my favorite Sondheim songs and thought her ability to convey emotion remains unmatched even if her vocal power is diminished at 77. The show is fun.

#broadway trip apart 2: Jamie Lloyd wants everyone to know he directed the new Sunset Boulevard revival, even if his choices are often self-indulgent and silly. Nicole Scherzinger almost rescues the show by herself with some fantastic vocals. It’s a weird mix.

A roundup from my recent New York City trip and the #Broadway shows I saw (Part 1): Gypsy - I had never seen this classic musical live and Audra McDonald did not disappoint. While I know some purists say her voice isn’t right for the part, McDonald’s acting is top-notch. It was a master class.

Conclave has the virtue of being a well-crafted and well-acted drama. And after a bunch of messy award-nominated films this week, that was a relief. Ralph Fiennes is excellent in the lead role. Now it’s time t watch the Oscars.

The Substance. Where to start? The premise is hackneyed, the rules of the plot make no sense. The movie feels endless and turns into an excuse for Demi Moore and Margaret Qualley’s characters (they never really seem like split versions of the same person) to beat the crap out of each other.

Tonight’s film was Anora, and I guess I just missed the charm that so many critics ascribe to it. The title character seemed like a greedy fool. The endless search for her twit of a husband just grew tiresome. It’s not the worst of the nominees I’ve seen thus far but that’s not saying much.

Tonight’s Academy Award nominee was I’m Still Here, an extraordinary and moving film about a wife and mother whose former congressman husband is disappeared by the Brazilian government in the 1970s. Fernanda Torres gives a spectacular performance.

It’s disheartening to go on a late Academy Awards nominee watch and encounter two movies I strongly disliked: Emilia Perez and The Brutalist. The former is bad silliness; the latter falls apart completely in the second half.