A pair of octogenarians meet, fall in love, and have a passionate love affair, much to the horror of their disapproving children.

This is the story of Ester, a trans woman struggling to find her path in New Orleans during the week before Hurricane Katrina. In the face of an evacuation order, she is forced to make a choice that will impact her future forever. Will she get out on time?

An intense story of love and heartbreak between guitar player Roberto and a legendary prostitute named Ester. Set in the coastal town of San Antonio, during the late 30s.

Nicky breaks both of his feet, and asks his cousin Carlo to stand in for him during a footballmatch. But when Carlo is picked up on the day of the match, he gets in the wrong car.

Ester Steinberg pushes boundaries with a hilarious retelling of her childhood as the daughter of an unsuccessful politician. She shares witty jokes about being a mom of two boys, tackling a mommy makeover, and her bold ideas for a sex tape. With sharp humor, she also delves into the challenges of raising kids in the digital age, trying to protect them from the chaos of the modern world. Ester's blend of personal insights and laugh-out-loud moments makes for a must-watch special.

Stand Up Special

This opera was filmed live at La Scala in 1992. The all-star cast includes Luciano Pavarotti, Samuel Ramey, aolo Coni, Daniela Dessi, Luciana d'Intio, and Alexander Anismov. Riccardo Muti conducts.

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Ghiaurov, Freni, and Bumbry were great voices in their time, and they are still effective here -- good enough musicians to put over the quite heavy vocal and expressive demands of their roles. Louis Quilico was never quite in that league, and he sounds a bit spread and woofy in places here, but he works hard and effectively to bring Rodrigo to life. Placido Domingo recorded his first Don Carlo, for EMI with Giulini, about 15 years before this production, but he looks and sounds fine here -- in the early 1980's he was doing very good Otellos and Lohengrins too, and Furlanetto, still in his 30's, brings a rich, young voice to an old part and succeeds in making the Grand Inquisitor vocally as well as expressively formidable. Levine brings both weight and energy to the score, and that reading fits well with the overall "traditional" design and production -- the Met's wardrobe budget must have been severely taxed, but everybody looks splendid.

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