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    in Television

    New Season of ‘The White Lotus’ Brings a Tourism Boom in Thailand

    Crowds of visitors descended on Maui and Sicily after the HBO show’s first two seasons. Is the tropical resort island of Koh Samui ready for Season 3?When the third season of the hit HBO series “The White Lotus” debuts on Sunday, viewers will be transported to the tropical island of Koh Samui, Thailand. And if previous seasons are any indication, many of them will soon be booking vacations there, too.The show, which takes place at a different fictional White Lotus luxury resort each season, centers on a group of wealthy tourists, their interpersonal dramas and the inevitable tension with staff and locals, all against a backdrop of paradise skewed.Members of the “White Lotus” cast this season include Lalisa Manobal, right, who performs as Lisa with the K-pop group Blackpink.Fabio Lovino/HBO, via Associated PressThe travel industry has been anticipating the new season almost as much as fans have. Partly thanks to the so-called “White Lotus” effect, Koh Samui and Thailand have already emerged as top destinations. Koh Samui was one of the New York Times 52 Places to Go in 2025, and Thailand was Travel+Leisure’s 2025 destination of the year.With a wave of tourists set to wash ashore, the roughly 68,000 residents of Koh Samui are about to get a lot more familiar with the “White Lotus” effect.On the pristine white sand of Chaweng Beach one recent evening, Tey, 46, a local carpenter who declined to give his last name, said he didn’t really know much about the series. But then came a flash of recognition.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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    The Actor Fred Savage’s New Role Is as a Watch Entrepreneur

    The actor, who spent his childhood in “The Wonder Years,” has established a watch assessment service.Fred Savage, the actor best known for his childhood role in the television comedy “The Wonder Years,” has taken on a new part in real life: watch collector and entrepreneur.In the past six months or so, he attended Geneva Watch Days, WatchTime New York and the Dec. 6 Important Watches auction at Sotheby’s New York. He also is a member of Classic Watch Club, a collectors’ group in Manhattan, and owns about 50 watches.“Watch collecting started as a hobby, because I was really interested in these mechanical objects that still worked and looked so great a hundred years after they were manufactured,” Mr. Savage, 48, said during a phone interview (wearing, he noted, a Jaeger-LeCoultre Memovox GT). “The deeper I’ve gotten into watches, my knowledge has grown. It has really enriched my life — almost every aspect of my life — because of the people that it has introduced me to.”And late last month Mr. Savage officially introduced Timepiece Grading Specialists, or TGS, a business that rates a watch’s condition for authentication or valuation purposes. Fees start at $250 per watch, which would include a detailed report with photos; appraisals, servicing and storage are available at additional cost. The business began accepting watches for evaluation last fall in a kind of soft launch, and three of the watches sold at the Sotheby’s sale in December had TGS assessments.Timepiece Grading Specialists is headquartered in Dayton, Ohio, in the offices of Stoll & Company, which handles the horological work.Brian Kaiser for The New York TimesMr. Savage said his company was meant to fill a void in the watch community. “I realized that, with the huge marketplace that’s like the Wild West, nobody’s looking out for the collector,” he said. “I looked at all these other collectible verticals: Whether it’s comic books or coins or baseball cards or sports cards or shoes or video games, every one of these collectibles has one, if not multiple, third-party authentication and grading services.”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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    Jimmy Kimmel Pokes Fun at Trump’s Paper Straw Ban

    “Listen, the fact of the matter is Trump loves plastic,” Kimmel said. “Most of his wives are made of plastic.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.‘The Most Important Stuff’On Tuesday, Jimmy Kimmel noted that President Trump had been signing a flurry of executive orders, often on TV. “It’s like the Jerry Lewis telethon with this guy,” he said. One presidential edict canceled a government effort to replace plastic straws with paper ones. “All day, reporters in there — he’s taking questions, having meetings, he’s tackling all the most important stuff. He did the same thing yesterday, all day. He canceled the penny, he changed the Gulf of Mexico to the Gulf of America, and he finally got tough on paper straws.” — JIMMY KIMMEL“Of course, the reason we switched to those admittedly terrible paper straws in the first place is because plastic straws wind up in the ocean, and they kill marine life, which I guess is another argument Trump, a well-known hater of sharks, doesn’t buy.” — JIMMY KIMMEL“That degree in marine biology is really coming in handy.” — JIMMY KIMMEL“Listen, the fact of the matter is Trump loves plastic. Most of his wives are made of plastic.” — JIMMY KIMMEL“Remember when Trump said he would make the day after the Super Bowl a national holiday? When is that executive order coming down the pike? Let’s whip out that fat little presidential Sharpie and deliver on what might be the only good thing you ever do. Do it.” — JIMMY KIMMELThe Punchiest Punchlines (Brotherly Love Edition)“The Philadelphia Eagles are set to hold their Super Bowl victory parade this week on Valentine’s Day in what’s being called the ultimate test for Philadelphia boyfriends. ‘[Imitating Philadelphia Eagles fan:] Babe, what if I go for just an hour or so?’” — SETH MEYERS“It’s also Valentine’s Day, so while couples will be enjoying an edible arrangement, Eagles fans will be enjoying an arrangement of edibles.” — JIMMY FALLON“Yeah, that’s right, the Eagles’ parade is this Friday. It’s great for fans ’cause there’s no work the next day, but bad because they can’t see a judge till Monday.” — JIMMY FALLONThe Bits Worth WatchingJesse Eisenberg discussed his film “A Real Pain” on Tuesday’s “Daily Show.”What We’re Excited About on Wednesday NightJon Hamm will appear on Wednesday’s “Late Night with Seth Meyers.”Also, Check This OutSandra Bezic, Carolyn Taylor and Kurt Browning hit the ice in “I Have Nothing.”PeacockThe Canadian comedian Carolyn Tyler tries to fulfill a lifelong dream by choreographing a figure skating routine in “I Have Nothing,” a new six-part series on Peacock. More

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    ‘I Have Nothing’ Is a Wacky and Moving Docu-Comedy

    In this six-part Peacock series, the comedian Carolyn Taylor tries to choreograph a figure-skating routine, despite being barely able to skate.Comedians’ quixotic quests to delve into childhood obsessions or achieve strange dreams well outside their areas of expertise are typically relegated to the podcast format, and the Canadian series “I Have Nothing” (on Peacock) has that same ramshackle, worlds-collide style. Luckily it’s a TV show, because its premise is a visual one: the creation and performance of a pairs figure-skating routine set to Whitney Houston’s “I Have Nothing.”The comedian Carolyn Taylor (“Baroness von Sketch Show”) was a kid during the 1988 Calgary Winter Olympics, and those Games left a real impression, especially the figure skating. The Battle of the Brians, Katarina Witt, Gordeeva and Grinkov — the highest of highs. Decades later, with no connection to the sport whatsoever, Taylor hears Whitney Houston on the radio and is struck by a vision, one that she and perhaps only she can make real in the world. She wants to create a pairs program to Houston’s banger, and she can picture the whole thing: the jumps and the lifts, the footwork sequences, the open-armed glides and intense expressions.So she decides to answer this calling, to choreograph a routine for Olympic-level skaters. She can barely skate and does not know any of the terminology, but she forges ahead. “Can’t this be a ‘buffoon makes good’ story?” she asks her pal, the comedian Mae Martin.It can; it is; “buffoon makes good” is a perfect way to describe the six-part docu-comedy. Taylor goes right to the top and enlists the Canadian choreographer, broadcaster and skater Sandra Bezic as a mentor, and much of the show is built on Bezic’s expertise (and, seemingly, Rolodex). A few false starts feel like filler at the beginning. But by Episode 3, things are really happening, and somehow the Olympic champions Ekaterina Gordeeva and David Pelletier are on board to skate the program.If you are a person who values preparedness, “Nothing” will fry the hair off your head with Taylor’s lack thereof — though eventually her madness reveals its methods. Much of the show is played for cringe, but everyone’s enthusiasm tends to melt that awkwardness. Several figure-skating legends contribute expertise and advice, and two Canadian skaters Taylor worshiped in her youth, Kurt Browning and Brian Orser, even get on the ice with her to help codify her ideas. The good nature on display here is genuinely moving, and the figure skating ain’t bad either.SIDE QUESTSIf you are craving more figure skating, the documentary series “Harlem Ice,” about the coaches and young skaters at Figure Skating in Harlem, debuts Wednesday, on Disney+.Pelletier is one of the main subjects of the terrific documentary series “Meddling” (on Peacock), about the 2002 pairs figure-skating judging scandal.“Baroness von Sketch Show” is available on the Roku Channel. More

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    in Theater

    ‘Doomers’ Review: Hunkered Down, Debating the Peril and Promise of A.I.

    Matthew Gasda directs his new play, which was inspired by Sam Altman’s 2023 ouster from OpenAI.Conventional wisdom says the theater is slow to react to current events, but dramatists like Ayad Akhtar (“McNeal”) have clamored lately to tell stories about artificial intelligence, sometimes using it to help with the writing.Matthew Gasda’s new play “Doomers” is an addition to that pack. Inspired by the 2023 ouster of Sam Altman, the chief executive of OpenAI, it was written with the help of ChatGPT and Claude. The two chatbots share a dramaturgy credit in the program.Alas, the hype around that technology does not correlate here with narrative cogency. Despite having a loathsome fictional ex-C.E.O. at its center, and numerous characters who joust over the peril and promise of A.I., “Doomers” possesses a peculiarly self-indulgent quality, as if it takes for granted that its audience is invested from the get-go.This is a crisis-driven tale set on a single night in San Francisco, just after a tech company, MindMesh, has dismissed its leader, Seth (Sam Hyrkin). Holed up at home, he is plotting to get his job back, while the company’s panicked board tries to figure out how to move forward without him.A sociopath who lacks the requisite charm, Seth tells his confidants: “I will not compromise; I will not admit fault. I was fired for creating miracles.”That isn’t how the board would put it, but we don’t meet them until Act II. The first act, by far the stronger half of this meandering play, is all about Seth’s predicament.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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    John Oliver Interrupts Jon Stewart’s Monologue on ‘The Daily Show’

    The British host of “Last Week Tonight” said he wanted to be “the first to welcome America to its monarchy era.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Monarchy in the U.S.A.The British comedian, “Daily Show” alumnus and “Last Week Tonight” host John Oliver crashed Jon Stewart’s monologue on Monday.“Are you here to offer America your wisdom and counsel?” Stewart asked.“Oh, no, no, no, no, Jon — I’m here to gloat!” Oliver said.“America had its little fun, didn’t you, experimenting with democracy? You fought so hard to get away from us — acting up, throwing all that tea into the harbor. You still owe us for that, by the way.” — JOHN OLIVER“The point is, you told everybody that you were going to be different. You weren’t going to turn out like your mean old dad who was so horrible to you when you were growing up. So we sat back, we let you spend your wild teen years experimenting with your ridiculous ideas of checks and balances, because deep down, we knew that once you got that nonsense out of your system, you’d be back. In fact, if I may sing from ‘Hamilton.’” [sounds pitch pipe] — JOHN OLIVER“What I’m saying is, let me be the first to welcome America to its monarchy era. Congratulations, everyone, you can now take your place in the pantheon of great empires alongside the British, the Roman, the Klingon, Wakanda, whatever one Babar the elephant was the ruler of, I forget.” — JOHN OLIVER“What I’m saying is, don’t fight being a monarchy, Jon, embrace it. Kings get [expletive] done. Now, is it stuff that you want done? Not necessarily. But they do move quick! They taste cumin at lunch, and they’ve taken over an entire continent by dinner time. That is how the British rolls, Jon. [Expletive] everyone else. They’re not like us. In fact, if I may sing a line from Mr. Kendrick Lamar.” [sounds pitch pipe] — JOHN OLIVERStewart pushed back against “Ambassador Oliver,” saying that the imperial model may not suit America: “Not to be shortsighted, but, spoiler alert, John, things didn’t end up so great for the British Empire.”“We are technically between empires at the moment, but we’re keeping our castles warm and our crowns bejeweled for the day that we get back onto our feet.” — JOHN OLIVER“Have you seen anything America has done over the last 50 years? Because for a country that doesn’t want to be an empire, you’re doing a pretty [expletive] good impression of one right now: invasions, economic exploitations, and now, suggesting turning Gaza into a beachfront casino? Even King George would have been, like, ‘I don’t know, guys. Feels like the situation’s a bit more complicated than that, and I’m literally dying of medieval brain disease.’” — JOHN OLIVER“This shouldn’t be a sad time. The arc of history is so long it eventually becomes a circle, and you end up right where you started. You might even call it the circle of life. In fact, if I may sing the great imperial subject Sir Elton John’s opening Zulu chant from ‘The Lion King.’”[sounds pitch pipe] — JOHN OLIVERThe Punchiest Punchlines (Less-Than-Super Bowl Edition)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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    The Next Hot Playwright? They Prefer the Ones Who Cooled Off.

    In the decades when he was running the widely influential Off Broadway nonprofit Playwrights Horizons, Tim Sanford would not have been the one driving to New Jersey to see a man about a tree.But his new theater company, a scrappy, idealistic outfit dedicated to established older playwrights, is a more hands-on operation. So one day last month, he hopped into his S.U.V. and headed across the Hudson River to bring back a freshly felled tree — he couldn’t tell you what kind — to be used in the set of a Len Jenkin play he is producing, “How Is It That We Live or Shakey Jake + Alice.”Such is the job that Sanford, 71, made for himself when he and his wife, Aimée Hayes, the former producing artistic director of Southern Rep Theater in New Orleans, founded the Tent Theater Company. Advocacy is intrinsic to its mission. Having exited Playwrights Horizons in 2021, after 25 years as its artistic director, Sanford has taken up the banner of a group of artists he sees as sidelined by an industry that thrives on discovering the latest hot playwrights, yet isn’t exactly diligent about sustaining them over their lifetimes of creativity.Kate Arrington and Fred Weller during a rehearsal for Len Jenkin’s new play, “How Is It That We Live or Shakey Jake + Alice.”James Estrin/The New York TimesThere is, Sanford said, a feeling afoot that older playwrights should simply make way: “That kind of, you know, ‘The baby boomers had their time. Let them all go into the ash pits.’”To him, though, age is an overlooked element of diversity — one that comes with accumulated knowledge of the human experience, and for which there is, and must be, room. It is a matter, too, of respecting these artists, whom the Tent calls elders.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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    As Off Broadway Crews Unionize, Workers See Hope, Producers Peril

    Workers say the move is overdue, but theater companies fear it will drive up costs in a wounded sector that has yet to recover from the pandemic.A unionization wave sweeping across Off Broadway is poised to reshape the economics of theater-making in New York — for workers as well as producers.Striking stage crews have idled the nonprofit Atlantic Theater Company — the birthplace of the musicals “Spring Awakening,” “The Band’s Visit” and “Kimberly Akimbo,” which all transferred to Broadway and won Tonys. The strike, which began last month, comes amid a drive to unionize stage hands and crews at Off Broadway theaters.Nonprofit companies and producers fear that the unionization push could drive up costs at a moment when many are running deficits and staging fewer, and smaller, shows. Second Stage Theater and Soho Rep both recently moved out of their longtime venues and opted to share space with other companies. Another measure of the sector’s shrinkage: In 2019 there were 113 shows eligible for the Lucille Lortel Awards, which honor Off Broadway work; there are just 59 eligible shows so far this season, which, for the Lortels, closes at the end of March.Many workers see the unionization of stage crews as long overdue, noting that the sector has come a long way from its scrappy origins. Now that many Off Broadway theaters have become mature institutions with elevated production values, workers say, it is time for them to pay better wages and offer benefits to their crew members.“The stakes are incredibly high,” said Casey York, the president of the Off-Broadway League, which represents theater owners, managers and producers, “not just for those directly involved, but for the future of this vibrant sector, which has always been a cornerstone of New York’s cultural identity.”“Grief Camp,” a new play by Eliya Smith, had begun previews at Atlantic when it was shut down by the strike. It has since been canceled, along with Mona Pirnot’s “I’m Assuming You Know David Greenspan.”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