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Julian McMahon, ‘Nip/Tuck’ and ‘Fantastic Four’ Star, Dies at 56

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He played the half-human, half-demon Cole Turner in the WB supernatural series “Charmed” and a self-destructive playboy in the FX series “Nip/Tuck.”Julian McMahon, an actor known for playing the promiscuous plastic surgeon Dr. Christian Troy in the television show “Nip/Tuck,” as well as the egoistical evil scientist Dr. Victor Von Doom in two “Fantastic Four” movies, died on Wednesday in Florida. He was 56.His death was confirmed by his wife, Kelly McMahon, who said in a statement that the cause was cancer.Mr. McMahon began acting in Australian soap operas in the early 1990s and first found success in the United States on the NBC soap opera “Another World” in 1993.After switching to prime-time television, his breakout role came when he played the half-human, half-demon Cole Turner on three seasons of the WB supernatural series “Charmed.”Mr. McMahon achieved leading-man status when he began starring in the FX series “Nip/Tuck” in 2003.His performance as Dr. Christian Troy, a self-destructive playboy, contrasted with Dr. Troy’s strait-laced best friend, Dr. Sean McNamara, played by Dylan Walsh.On the show, which ran from 2003-10, the pair ran a plastic surgery practice, first in Miami and later in Los Angeles, and frequently sparred over the morality of their profession.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Julian McMahon, ‘Nip/Tuck’ and ‘Fantastic Four’ Star, Dies at 56

    He played the half-human, half-demon Cole Turner in the WB supernatural series “Charmed” and a self-destructive playboy in the FX series “Nip/Tuck.”Julian McMahon, an actor known for playing the promiscuous plastic surgeon Dr. Christian Troy in the television show “Nip/Tuck,” as well as the egoistical evil scientist Dr. Victor Von Doom in two “Fantastic Four” movies, died on Wednesday in Florida. He was 56.His death was confirmed by his wife, Kelly McMahon, who said in a statement that the cause was cancer.Mr. McMahon began acting in Australian soap operas in the early 1990s and first found success in the United States on the NBC soap opera “Another World” in 1993.After switching to prime-time television, his breakout role came when he played the half-human, half-demon Cole Turner on three seasons of the WB supernatural series “Charmed.”Mr. McMahon achieved leading-man status when he began starring in the FX series “Nip/Tuck” in 2003.His performance as Dr. Christian Troy, a self-destructive playboy, contrasted with Dr. Troy’s strait-laced best friend, Dr. Sean McNamara, played by Dylan Walsh.On the show, which ran from 2003-10, the pair ran a plastic surgery practice, first in Miami and later in Los Angeles, and frequently sparred over the morality of their profession.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Paul Libin, a Forceful Presence On and Off Broadway, Dies at 94

    He staged a revival of “The Crucible” in a Manhattan hotel ballroom in 1958, helped run Circle in the Square and oversaw the operations of Jujamcyn Theaters.Paul Libin, a prolific producer and respected Broadway theater executive whose first major endeavor was an Off Broadway revival of Arthur Miller’s play “The Crucible” that he staged in the ballroom of a Manhattan hotel in 1958, died on June 27 in Manhattan. He was 94.His death, in a hospital, was confirmed by his son, Charles.In his nearly 70-year career, Mr. Libin ran Circle in the Square Theater with Theodore Mann, one of its founders, and together they produced more than 100 shows. Later, Mr. Libin was in charge of operations at Jujamcyn Theaters, the owner of several Broadway houses.Rocco Landesman, the former president and owner of Jujamcyn, said Mr. Libin had a wall-penetrating voice, a forceful presence and enormous energy.“I depended on Paul entirely,” Mr. Landesman said in an interview. “Someone had to run the company. But I wouldn’t describe his role as corporate. He was as likely to be climbing into the air-conditioning ducts at the St. James Theater as he was to be sitting at his desk. He came in every day with enthusiasm.”That enthusiasm dated to Mr. Libin’s early days as an assistant to Jo Mielziner, a Tony-winning scenic designer and producer. When Mr. Mielziner produced the Broadway musical “Happy Hunting,” which opened in late 1956, he promoted Mr. Libin to stage manager.In 1958, on his way to a dentist appointment, Mr. Libin passed the Hotel Martinique, on West 32nd Street near Broadway, and saw a sign advertising the ballroom’s availability. He thought of it as a space that he and the director Word Baker could turn into a theater-in-the-round for a production of “The Crucible,” the 1953 Tony-winning Broadway play about the Salem witch trials and an allegory of the McCarthy-era Red Scare.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Ronald Ribman, 92, Dies; His Plays Mined the Absurdity of Existence

    He set his frequently neurotic characters in bleak, morally ambiguous situations where laughter, as he put it, “is a measure of the sickness of society.”Two men are on the rooftop garden of a hospital in Manhattan. One is an Armenian grocer. He has cancer and a big mouth. The other is an art dealer, a self-loathing Holocaust survivor who also has cancer and is tired of his own voice. In between medical procedures, they bicker about the quagmire of the past.“You came out a big winner,” the grocer says.“Because I survived?” the art dealer says. “It doesn’t feel like a triumph.”“That’s because nothing we ever do feels like a triumph, because the mind’s a piece of garbage,” the grocer replies. “It’s never happy with what we do for it. I once took my mind down to Barbados for two weeks, and you know what it said to me? ‘You should have taken us to Jamaica!’”The verbal jousting took place in “Cold Storage,” a 1977 play staged at the Lyceum Theater on Broadway and written by Ronald Ribman, a mordantly funny playwright whose frequently surreal works grappled with God’s impatience, the past’s invasion of the present and, as he once put it, “a person’s right to fail as a human being.”Mr. Ribman’s “Cold Storage,” staged on Broadway in 1977, was nominated for the Pulitzer Prize. PlaybillIn “Harry, Noon and Night,” a 1965 Off Broadway production set in postwar Munich, Dustin Hoffman played a gay Nazi with a hunchback who quarrels with his roommate, a disturbed American painter who believes a caterpillar gave him syphilis. “The Journey of the Fifth Horse” (1966), also Off Broadway, was based in part on Ivan Turgenev’s short story “The Diary of a Superfluous Man,” and starred Mr. Hoffman as an editor at a publishing house who rejects a posthumous memoir by a 19th-century landowner who died friendless and broke. In “The Poison Tree” (1973), inmates and guards battle over the moral high ground in prison.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Dexter’ Has Been Resurrected Again. He Has Company.

    Networks are releasing fewer scripted series than they did several years ago, but brand extension mania has only intensified in franchises like “Dexter,” “Yellowstone” and “Power.”On a morning in mid-May, inside a trailer at the base of a Long Island hotel, Kat St. John, a set costumer, attacked a gray collared shirt with a spray bottle. The shirt was bloodstained. Between shooting days, the stains had dried.“We have to add new blood,” she said as she sprayed.This was on the set of “Dexter: Resurrection,” the newest iteration of the Showtime franchise surrounding Dexter Morgan, the vigilante serial killer played by Michael C. Hall. The original series debuted in 2006 and ended in 2013. A reprise, “Dexter: New Blood,” premiered in 2021. A prequel, “Dexter: Original Sin,” followed in 2024 and has since been renewed.Though “New Blood” seemingly left Dexter bleeding out in the snow, “Resurrection,” which begins July 11 on Paramount+ with Showtime, returns Hall’s killer to TV. His survival is a miracle, but given television’s suffocating embrace of reboots, revivals, sequels, prequels and TV movies, also not really a surprise. This trend isn’t new: The New York Times’s James Poniewozik surveyed it back in 2018, arguing that with the expanding volume of TV, “it’s a battle for anything new to get attention.”But while that proliferation has since slowed, with networks and streamers now releasing fewer scripted series than they did several years ago, brand extension mania has only intensified. Until fairly recently, franchises were the small screen purview of procedurals, unscripted series, “Star Trek” and the occasional Norman Lear sitcom. Now the impulse toward world building extends to even prestige or prestige-adjacent dramas.”Dexter,” with Lauren Velez and Hall, ran from 2006-13 on Showtime. Early seasons were acclaimed but the ending was widely criticized.Dan Littlejohn/ShowtimeIt is easy enough to imagine a “Dexter” of past decades justifying a spinoff or a remake. But not three of them. And three isn’t even a lot anymore.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘And Just Like That …’ Season 3, Episode 6 Recap: The Dams Break

    Charlotte decides she can no longer keep a secret. Tensions between Aidan and his ex erupt, just not the way Carrie would have wanted.Season 3, Episode 6: ‘Silent Mode’I didn’t think it was possible for the relationship between Carrie and Aidan to become any more disconcerting. But wow, in this regard, the writers have succeeded.Toward the end of this week’s episode, Aidan drops a bomb: He slept with Kathy. He and his ex-wife were both upset after a failed attempt to send their troubled son Wyatt off on a wilderness trip, and somewhere in between sobs, they fell into bed.Carrie is stunned at this confession for all of about 45 seconds. I know because I counted while watching this scene for the fourth or fifth time. In less than a minute, she bypasses any pain and skips completely ahead to grace and empathy. “I understand how that could happen,” she says.I’ve written before that I think Aidan has become, or maybe always was, a covert narcissist. His behavior is, unfortunately, not very surprising. But is Carrie really so far under his thumb that she doesn’t even spare a second for her own hurt?Or, perchance, is she feeling a sense of karmic relief? After all, in another life known as the original “Sex and the City” series, Carrie cheated on Aidan with Mr. Big (Chris Noth) — whom she subsequently married. She also cheated on Big with Aidan when they shared a kiss in Abu Dhabi in the movie “Sex and the City 2” — all of which is to say, maybe Carrie really can see how that could happen.A few things about this plot point, though, are a little tough to square. First, nothing we have seen this season would suggest that there is any compassion, let alone physical passion, left between Aidan and Kathy. They’re not just exes, they’re at odds. They disagree, to the point of contempt, on how to handle Wyatt, as we saw in the blowup just two episodes back. It’s difficult to imagine them finding comfort in each other over yet another Wyatt debacle.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    16 Mayors on What It’s Like to Run a U.S. City Now Under Trump

    <!–> [–><!–> –><!–> [–><!–> –><!–> [–><!–> –><!–> [–><!–> –><!–> –>Across party lines, this one issue was a persistent concern.<!–> –><!–> [–><!–> –><!–> [–><!–> –><!–> –>Mayors told us what else was keeping them up at night.<!–> –><!–> [–><!–> –><!–> [–><!–> –><!–> –>Governing a city feels different under President Trump, most mayors said.<!–> –><!–> [!–> Mayor Chris […] More

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    Mark Brokaw, Theater Director Known for Slight-of-Set Magic, Dies at 66

    On and off Broadway, he worked with rising talents like Kenneth Lonergan and Paula Vogel, combining complex storytelling with the simplest possible productions.Mark Brokaw, a director of Broadway, Off Broadway and regional productions, who shepherded the work of rising playwrights like Kenneth Lonergan, Lisa Kron, Paula Vogel and Nicky Silver beginning in the early 1990s, died on June 29 at his home in Manhattan. He was 66.His husband, Andrew Farber, said the cause was prostate cancer.Mr. Brokaw was comfortable with the classics. He directed productions of Molière’s “Tartuffe,” W. Somerset Maugham’s “The Constant Wife” and the musical “Rodgers & Hammerstein’s Cinderella” — albeit a Cinderella with a fresh, feminist gloss.Sienna Miller and Jonny Lee Miller in Mr. Brokaw’s 2009 production of “After Miss Julie.”Sara Krulwich/The New York TimesMark Ruffalo and Missy Yager in Mr. Brokaw’s 1998 production of “This Is Our Youth.”Sara Krulwich/The New York TimesBut he was a specialist in new plays, including Patrick Marber’s “After Miss Julie,” which he directed in 2009; Mr. Lonergan’s “This Is Our Youth,” which he directed in 1996 and again in 1998; and Ms. Kron’s “2.5 Minute Ride,” in 1999. And he had something of a subspecialty in the nonlinear storytelling seen in works like Douglas Carter Beane’s “As Bees in Honey Drown” and Ms. Vogel’s Pulitzer Prize-winning “How I Learned to Drive”; he directed both in 1997.“Mark was especially good with plays that jump around in time, and you had multiple people playing multiple parts,” said the actor Cynthia Nixon, who worked with Mr. Brokaw on “As Bees in Honey Drown” and Lisa Loomer’s “Distracted” in 2009.Cynthia Nixon in the 2009 production of Lisa Loomer’s “Distracted.”Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Bet Your Life’ Is a Perky, Ghostly Dramedy

    This Turkish Netflix series puts a metaphysical spin on the small-town murder mystery formula.Ata Demirer, left, and Ugur Yücel in a scene from “Bet Your Life.”Nazim Serhat FiratThe Turkish dramedy “Bet Your Life,” on Netflix (in Turkish, with subtitles, or dubbed), is a prototypical, even generic streaming show on most fronts. Guy returns to small hometown and gets roped into solving a mystery — one he’s more connected to than he realizes — while flanked by a pesky sidekick and a beautiful love interest. Along the way, he has to resolve some daddy issues, which he resists for the majority of the season until a big meltdown in the penultimate or maybe antepenultimate episode breaks down his defenses, at which point he will pant, weep and transform. Solve the crime, get the girl, mature from man-child to man.The spin here is that the pesky sidekick is a ghost, the mystery surrounds his murder, and everything plays out in a small Turkish town.Isa (Ata Demirer) is a gambling columnist who hasn’t made a good bet in years. Now he’s in a mountain of debt, and some unsavory types are after him. Before he can flee home, Refik (Ugur Yücel) shows up at his apartment — Refik, the local richie rich whose suicide was just on the news. Refik knew Isa’s late father, who in his day also channeled the spirit world, and Refik’s estranged daughter, Seda (Esra Bilgic), owns the vineyard where Isa’s aunt and cousin work. Perhaps they can help each other.Refik and Isa bicker to no end while Isa also clumsily romances Seda and learns more about his own family. Isa shows off his vintner skills, dreaming up a wine coupage to save Seda’s business, but she eventually grows concerned with his habit of having conversations with what appears to her to be thin air. But how can he say, “Actually, I’m talking to your dead dad, whom you hated and who is indeed a pain, though he and I have grown to love each other in gruff ways”? How indeed.The formula for these kinds of shows is a formula for a reason, and it works shockingly well here, even as various facets of “Bet” are either not very good or get lost in translation. A lot of the series exists on a wholesome, hokey plane, but flashes of cleverness, especially from Yücel’s performance, help, and the mysticism is fun and appealing. It’s not that the show qua show is so wonderful, but the same-but-different intrigue of an international McDonald’s applies here, too. More