Celebrities in the hot, hot, hot seat

If you haven’t watched “Hot Ones,” you have to watch “Hot Ones.” 

A blazing and blistering (literally) plunge into bar-food sadomasochism, the long-running YouTube show is a micro-budget showcase for today’s brightest stars to brave the burn of some of the cruelest hot sauces known to sear the flesh off your tongue. If you want to see A-list actors and musicians writhe in their most tortured, vulnerable, teary-eyed human condition — with extra-spicy schadenfreude drizzled on top — this show’s for … well, all of us.

It goes like this: Hello, Superstar. Now, as we chat, bite into that sauce-daubed wing. Chew. Squint. Fan your mouth. Weep. Curse. Cough. Choke. Guzzle ice water. Go on about how you can’t feel your mouth. Cough some more. Bite. Chew. Cry. Tell the host he’s a son of a bitch, or worse, for subjecting you to this. 

The celebs, always great sports, do this while answering smart, probing questions about their life, work and latest projects from the host, who has diligently done his homework about their past and present. And who clearly has callouses on his tongue, for he rarely even sniffles at the nuclear scorch of sauces with names like “The Spicy Shark” and the annihilating “Da’ Bomb Beyond Insanity.”  

The setup: Host Sean Evans, bald, beaming and boyish, invites a celebrity guest to nibble hot wings with him and engage in a very casual interview. They sit at hightop tables, with chicken wings and a row of 10 hot sauce bottles aligned in order of lethal heat. Guests — who’ve included Dave Grohl, Jennifer Lawrence, Jake Gyllenhaal, Cate Blanchett, Colin Farrell, Margot Robbie, Billie Eilish and heaps more — may seem calm, but their trepidation from watching prior episodes of three-alarm distress bleeds through. 

But on they go, biting hotter and hotter wings until they can barely take it anymore. They try to laugh it off as snot, spit and tears involuntarily spray from taxed orifices. Meanwhile, a composed Sean, he of the steel maw, keeps asking them questions. (“The show with hot questions and even hotter wings,” goes the tagline.) 

Gordon Ramsay gets burned, and is NOT happy.

That’s when many of our sweet superstars shred their chaste public personas and begin cussing at him for putting them through the gauntlet of fire. Sean chuckles apologetically, but not too apologetically. Tissues, milk, ice water are the guests’ paltry balms. Such mortal salves can only do so much. Chef Gordon Ramsay, crimson-faced, spluttered 128 expletives as he burned in “Hot Ones” hell. The show is about 24 minutes.

This makes for excellent lowbrow comedy. I don’t know why, but watching Gal Godot (“Wonder Woman”) do a magnificent spit-take while trying to douse the flames in her mouth is strangely funny. So is seeing Shaquille O’Neal gargling a gallon of milk and begging for “ice cube ChapStick.” Or Charlize Theron, clearly suffering, saying, “I like spice, but this is like somebody being an asshole.”

It’s a contest of will. And pain thresholds. And stamina. And sweat. And good humor. And, really, just why-the-hell-not fun.

Celebrities, those paragons of poise, in (harmless) agony. Bliss. 

Feel the burn here

Bonus track: A highlight reel of guests frothing at the host for setting them on fire, here.

Oscar mired

I haven’t seen, and will not see, James Cameron’s latest self-regarding epic of glorious wonderment and spine-tingling astonishment “Avatar: The Way of Water.” I loathed the first “Avatar” — its stupefying clichés, cornball story and embarrassing gravitas gave me the willies — and I have no need for three more hours of blue-hued pablum and pixie dust.

Still, the movie — which The Guardian torpedoed as “a soggy, twee, trillion-dollar screensaver” — is of course making bundles and is, Christ, nominated for Best Picture at the upcoming Oscars. It’s all so predictable, and so terribly depressing.

Cameron’s mammoth, mystical, magical 3-D cartoon joins nine other Best Picture contenders, a few of which look interesting. I’ve only seen four and a half of the 10 films, but I know what I like — and what to shun. 

The list isn’t totally offensive, yet it’s certainly not in the league of, say, the Best Picture roster of 1976: “One Flew Over the Cuckoo’s Nest,” “Barry Lyndon,” “Dog Day Afternoon,” “Jaws” and “Nashville.” (Top that.) 

Still, I did enjoy Martin McDonagh’s chatty, touching tale of a foundering friendship, “The Banshees of Inisherin,” as much for its shattering performances (led by Colin Farrell, all knitted brow) as for its emotional fragility. Baz Luhrmann’s typically over-caffeinated “Elvis” biopic was fine if rather pat and conventional considering its Visine-demanding razzle-dazzle.

I could not finish the highly (and curiously) lauded metaverse mess that is “Everything Everywhere All At Once,” its great and fitting title aside. I don’t know who this steroidal video game is aimed at (yes, I do: freaks and geeks) and I found it incoherent, unfunny and frenetically unwatchable. The baffling part: It will probably win Best Picture. Seriously.

I long ago stopped trusting Steven Spielberg not to bow to bathos, and his latest, the autobiographical melodrama “The Fabelmans,” looks like a hot, bubbly bath of bathos. Respectable reviews apart, I’ve heard it’s dreadful, only confirming my hunches. Michelle Williams is up for an acting award and I hope she gets it. She’s terrific and is likely one of the few watchable things in this movie I will not watch. I don’t even like the title.

Nothing against that elfin egomaniac Tom Cruise — I happen to think he’s an underrated actor — but I also won’t be squandering two and a half hours on “Top Gun: Maverick,” a popcorn flick without the laughable high-minded pretensions of “Avatar.” How this show about penises with wings got nominated I will never know. Because I won’t be seeing it. But good for it!

In Todd Field’s “Tár” a commanding Cate Blanchett plays the titular classical conductor, an imperious and imposing figure, the artist as viper. A chamber piece cum character study, this coiled drama entrances with theatrical flair and a seriousness that lends it a sheen of prestige. I like it.

Based on Erich Maria Remarque’s famous anti-war novel, “All Quiet on the Western Front” is a huge German production directed with gloomy zest by Edward Berger and starring piles of mutilated war dead. It’s grisly, affecting and deeply human. The film shimmers with ghastly beauty and unstinting realism — irresistible Oscar bait. 

Snubs? While I’m happy Noah Baumbach’s irritating “White Noise” was dissed wholesale, the rejection of delirious Indian action orgy “RRR” for Best International Feature Film is scandalous. (Though it is — whoopee — up for Best Song. Watch it on Netflix. Please.) James Cameron, self-proclaimed King of the World, was denied a Best Director nod for “The Way of Water.” I bet he’s having a seismic hissy fit.

Finally in the Best Picture race are Sarah Polley’s #MeToo-ready drama “Women Talking” and Ruben Östlund’s dark international satire “Triangle of Sadness,” neither of which I’ve seen yet. Critics love them. They are probably good, maybe even superb, and for that they will win nothing.