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    in Theater

    Denis Arndt, Who Was a First-Time Tony Nominee at 77, Dies at 86

    After more than 40 years as a stage and television actor, he broke through in “Heisenberg” as a butcher who has a romance with a much younger woman.Denis Arndt, a former helicopter pilot whose acting career reached its zenith when he made his Broadway debut at age 77 in the comedy “Heisenberg” and earned a Tony Award nomination, died on March 25 at his home in Ashland, Ore. He was 86.His wife, Magee Downey, confirmed the death. She said the specific cause was not known. Mr. Arndt built his reputation as a stage actor at the Oregon Shakespeare Festival in the 1970s and ’80s. He later became a familiar face on television series like “L.A. Law” and “Picket Fences” and played one of the detectives who interrogate Sharon Stone in a famous erotically charged scene in “Basic Instinct” (1992).He first appeared in “Heisenberg,” a two-character play by Simon Stephens, which the Manhattan Theater Club produced at City Center’s Studio at Stage II in 2015. The play transferred to the Samuel J. Friedman Theater on Broadway the next year.Mr. Arndt played Alex, a reserved, 75-year-old Irish-born butcher, who is in a London train station when he is unexpectedly kissed on the neck by Georgie (Mary-Louise Parker), a loud, impulsive and mysterious 42-year-old American. Her boldness ignites a romance.Ben Brantley, reviewing “Heisenberg” in The New York Times, called Mr. Arndt and Ms. Parker “the sexiest couple on a New York stage now.” Mr. Arndt, he wrote, “makes what has to be the most unlikely and irresistible Broadway debut of the year. He lends roiling, at first barely detectable energy to the seeming passivity of a man who, on occasion, finds himself crying for reasons he cannot (nor wants to) explain. But this ostensibly confirmed celibate oozes a gentle, undeniable sensuality.”Mr. Arndt with Mary-Louise Parker in “Heisenberg.” Ben Brantley of The New York Times called them “the sexiest couple on a New York stage now.”Richard Termine for 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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    in Television

    Jay North, Child Star Who Played ‘Dennis the Menace,’ Dies at 73

    Mr. North was best known for playing the towheaded Dennis Mitchell on the television series, which ran on CBS from 1959 to 1963.Jay North, who played the well-meaning, trouble-causing protagonist of the popular CBS sitcom “Dennis the Menace” from 1959 to 1963, died on Sunday at his home in Lake Butler, Fla. He was 73.His death was confirmed by Laurie Jacobson, a friend of Mr. North’s for 30 years. The cause was colorectal cancer, Ms. Jacobson said.Mr. North played the towheaded Dennis Mitchell, who roamed his neighborhood, usually clad in a striped shirt and overalls, with his friends, and often exasperated his neighbor, a retiree named George Wilson, who was played by Joseph Kearns. Herbert Anderson played Dennis’s father, and Gloria Henry played his mother.Dennis winds up causing lots of trouble, usually by accident.In one episode, a truck knocks over a street sign, and Dennis and a friend stand it up — incorrectly. Workmen then dig a gigantic hole, meant to be a pool for a different address, in Mr. Wilson’s front yard.The show, which was adapted from a comic strip by Hank Ketcham, presented an idyllic, innocent vision of suburban America as the 1950s gave way to the tumultuous ’60s.But things were not easy for Mr. North behind the scenes.Many years after “Dennis the Menace” ended, Mr. North said that his acting success came at the cost of a happy childhood.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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    in Television

    ‘S.N.L.’: Trumpeting Tariffs and Predicting a ‘Great’ Depression

    Cheeseheads and cheesecakes join the punchlines and headlines, and an enthusiastic audience gets a mild scolding for slipping past the censors. Temporarily.It’s not as reliable a metric as, say, the Dow Jones industrial average, but one sign that the U.S. economy is in an unusual place is when “Saturday Night Live” needs someone from its cast to play the secretary of commerce.In the opening sketch of this weekend’s broadcast (hosted by Jack Black and featuring the musical guests Elton John and Brandi Carlile) the brief part of Howard Lutnick went to Andrew Dismukes. But center stage was given to James Austin Johnson in his recurring role as President Trump — this time, recreating the speech from the Rose Garden where Trump announced sweeping new tariffs on Wednesday. (An introductory “S.N.L.” voice-over declared that, “like everything else so far in his presidency, it was a total home run.”)In his version of the speech, Johnson called “tariff” his favorite word (because it was “short for tariff-ic idea”) and said that tariffs would be the backbone of his “incredible plan” for the economy.Johnson added, “It’s actually even better than a plan because it’s a series of random numbers. Like the numbers on the computer screen in ‘Severance.’ You have no idea what the hell they mean.”He vowed he would MAWA — Make America Wealthy Again — although before that, there could be another phase, Johnson said. “We’re going to do MAGDA. Make America Great Depression Again. You know what? It’ll be gr — it’ll be better than great. It’ll be a fantastic, unbelievable Depression, the likes of which you’ve never seen before.”He added that this Depression would “be so great, we’ll be the ones eating the cats and the dogs.”Presented by Dismukes with a large cardboard placard that turned out to be a page from a Cheesecake Factory menu, Johnson then was handed another board detailing his tariff system.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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    in Theater

    Olivier Awards Winners 2025: ‘Giant,’ ‘Fiddler on the Roof’ and More

    The play, about Roald Dahl’s antisemitism, took home three awards at Britain’s equivalent of the Tonys. So did a “Fiddler on the Roof” revival and a folk rock “Benjamin Button.”“Giant,” a play about Roald Dahl’s antisemitism starring John Lithgow as the truculent children’s author, was one of the big winners at this year’s Olivier Awards, Britain’s equivalent of the Tonys.The play, which was staged at the Royal Court last year and is transferring to the West End on April 26, took home three awards at Sunday’s ceremony at the Royal Albert Hall in London: best actor, for Lithgow; best supporting actor for Elliot Levey as a publisher trying to get Dahl to apologize for his statements about Jews; and the coveted best new play award.For that final prize, “Giant” bested four other titles, including “The Years,” an acclaimed staging of a Frenchwoman’s life (featuring a back-street abortion and late-in-life affair) that is running at the Harold Pinter Theater until April 19.The success for “Giant” was perhaps unsurprising given how much critics praised its opening run. Clive Davis, in The Times of London, said the “subtle, intelligent and stylishly crafted” drama, written by Mark Rosenblatt and directed by Nicholas Hytner, “deserves to transfer to a bigger stage.” (Lithgow has said in interviews that he wants to take the play to Broadway.)Houman Barekat in a review for The New York Times said that Lithgow was “superb as the beleaguered but unrepentant writer, blending affable, avuncular esprit with scowling, cranky prickliness and nonchalant cruelty.Lara Pulver and Adam Dannheisser in “Fiddler on the Roof.”Johan PerssonWe 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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    in Television

    ‘The White Lotus’: 7 Questions for the Season 3 Finale

    As this season heads into its supersized conclusion on Sunday night, here are a few questions that need answers.Season 3 of “The White Lotus” has been the show’s longest, with the creator Mike White spending eight episodes instead of six or seven to tell the stories of superrich tourists and their messed-up personal problems. The extra time has allowed White to slow the pace a bit, to match the more meditative vibes of the high-end Thailand resort where this season takes place.But has there been violence? Oh yes. Kinky sex? The kinkiest. Unsolved mysteries? Of course. Everything fans have come to expect from “The White Lotus” has been abundant this season. Episode 1 began with gunshots, and in the weeks since we have seen armed robbery, white-collar crime, multiple violent threats and arguments and — yikes — fraternal incest.As this season heads into its supersized finale on Sunday night — at around 90 minutes, it will be the show’s longest episode to date — here are a few of the questions we hope will get some answers.Will Gaitok get a promotion?This may not seem like the most urgent issue facing the “White Lotus” characters this year, but I think that by the time the season ends, it will turn out to be very important. Granted, one of the biggest complaints about this season — especially as compared with Seasons 1 and 2 — is that White has not integrated the resort’s staff into the action as well as he usually does. But from week to week, the front gate security guard Gaitok (Tayme Thapthimthong) has been moving closer to the heart of the plot. In Episode 7, he realized that a major heist at the resort earlier this season was likely perpetrated by a fellow employee, Valentin (Arnas Fedaravicius), and his two Russian friends.Gaitok has been in trouble with his bosses since the robbery. He has wrestled with self-doubt, wondering if he is too soft to follow his dream and become one of the well-paid bodyguards to the resort’s married owners, Jim (Scott Glenn) and Sritala Hollinger (Patravadi Mejudhon). Busting the Russians could be just what Gaitok’s career needs — and could also win the heart of his love interest, Mook (Lalisa Manobal), a co-worker with ambitions of her own.Is landing a plum job with a sizable salary the key to happiness? This is one of the big questions “The White Lotus” asks every season, and it is also why Gaitok’s story line matters.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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    in Television

    After “The White Lotus,” Lorazepam Lives On in Memes and Merch

    “The White Lotus” Season 3 may be ending, but the medication that has become synonymous with it has found a new life in memes and merchandise.Etsy has been flooded with hats and candles asking the question: “Has Anyone Seen My Lorazepam?” Social media is rife with videos of people enunciating “lorazepam” in a faux Southern drawl. Lorazepam even made a cameo on a recent episode of “Saturday Night Live,” when the actress Chloe Fineman raucously shouted the word during a sketch.As anyone even loosely familiar with Season 3 of “The White Lotus” may know, this sudden tsunami of references to a prescription medication used to treat anxiety is not a sign of mass desperation. Rather, it’s a manifestation of an unceasing fan obsession with Victoria Ratliff, a character on the HBO TV show, the current season of which ends on Sunday.Played by Parker Posey, Victoria is a wealthy North Carolina woman on vacation at a wellness resort in Thailand, who, despite the idyllic setting, regularly expresses a need for her lorazepam, a drug known for being tough to quit.A massage? It could make her “very stressed out” and “claustrophobic,” Victoria says. The lorazepam helps her “to really relax,” she tells a masseuse.A party on a yacht? “Certain social situations make me anxious,” Victoria drawls at her eldest son, Saxon.Her daughter Piper’s decision to make a major life change? “I don’t even have my lorazepam,” a distraught Victoria declares after her bottle goes missing. “I’m going to have to drink myself to sleep.”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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    in Television

    Paige DeSorbo of ‘Summer House’ Adds Author to Her Resume With ‘How to Giggle’

    When Paige DeSorbo graduated from college in 2015, she scored a full-time position at a TV station in her hometown, Albany, N.Y. She’d always wanted to be an on-air personality, so the job seemed perfect, at least on paper. As her mom put it at the time, Ms. DeSorbo could work her way up to anchor, get married, have kids, and live down the street.But she imagined something different for herself.“I remember just getting the biggest pit in my stomach of like — no, that’s not my life. No way,” Ms. DeSorbo, now 32, said in a recent interview.Instead, she persuaded her parents to foot six months of rent in New York City so that she could try to find something better. She took a job as an executive assistant at ABC before landing a role on “Summer House,” a Bravo reality show that follows young New Yorkers as they spend debaucherous summer weekends at a shared house in the Hamptons.“​​I called my dad crying when they offered it to me because I was like, ‘I think I’m actually too sensitive to do this,’” Ms. DeSorbo said. “And I remember him saying: ‘Do it for the first summer, and if you hate it, we’ll get you out of it. You never have to go back. And if you love it, you’ll never wonder, Oh, imagine if I didn’t do this.’ And honestly, after the second weekend, I was like, ‘I love it.’”So began Ms. DeSorbo’s unexpected career as a reality star.Paige DeSorbo worked at a television station in Albany, and was an executive assistant at ABC, before breaking into reality TV on the Bravo show “Summer House.”Eugene Gologursky/BravoTo date, she’s appeared on three Bravo shows — “Summer House,” “Winter House” and “Southern Charm” — despite the fact that, in many ways, she’s the antithesis of the modern-day reality personality. She has a New Yorker’s authenticity: direct, assertive and unafraid to voice her opinion even if it might make her look bad. She lacks pretense and showiness, which has earned her fans.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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    in Television

    The Trump Administration’s Department of Homeland Publicity

    A cabinet member’s social feed is one example of the administration’s turn to reality-TV tactics — slick, showy, sometimes cruel — as a means of government.Some days the show is a prison drama: A mass of prisoners assemble under the watch of an authority. Some days it’s a police procedural: Protagonists in uniform conduct raids on dark city streets. Some days it’s a western: A figure in a cowboy hat patrols on horseback, keeping an eye on the wild frontier.The show has many forms, but it is all one production — the social-media feed of the homeland security secretary, Kristi Noem. Since she took office in January, the secretary’s online video presence has been helping a media-minded administration broadcast images of unsparing domination with a telegenic face.Ms. Noem’s social feed drew wide notice last week when she posted a 33-second video from a Salvadoran prison where the administration has been sending detainees. Dressed in an Immigration and Customs Enforcement cap and active-wear, a $50,000 Rolex watch on her wrist, she warns that “if you come to our country illegally, this is one of the consequences you could face.”There are other people in the video too. Though Ms. Noem uses the word “terrorists,” we do not know their history; legal cases and reporting have questioned the charges of gang membership against some El Salvador detainees, and the administration has acknowledged deporting at least one man in error.The figures behind Ms. Noem are not so neatly or expensively styled but they also convey an aesthetic message. The men, many of them shirtless, are crowded, teeming, sitting and standing, seemingly at attention, to face the camera from behind bars. Ms. Noem, the image says, is literally standing between them and you. They are objects, warnings, a forbidding wallpaper of fear and subjugation.The video sent a stark message, if not a universally lauded one. As with all things Trump, however, the video seems meant to appeal to one viewer above all. Before he took office for his first term, President Trump, the former host of “The Apprentice,” told top aides that they should approach every day as if it were an episode of a TV show, in which their goal was to win. He also had a preference, then and now, for underlings who perform well on camera and “look the part.”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