Eliana Willis

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    The 9 ‘White Lotus’ Characters We Keep Seeing Every Season

    A luxury hotel marries the exotic and the familiar: The location may be new and the fruits at the breakfast buffet varied, but the thread count of the sheets, the indulgence of the staff, the sumptuousness of the spa — these remain the same.“The White Lotus,” Mike White’s HBO show about the guests and workers of a five-star resort collection, knows this well. Maybe too well? If the surroundings for the third season of this cringingly comic, lightly murderous anthology series are different — with Koh Samui, Thailand, replacing Maui (Season 1) and Sicily (Season 2) — the characters haven’t really changed. (And is there at least one uncomfortable scene aboard a boat? You bet your yachting whites.) So garnish your poolside cocktail, tie on your sarong and see if you can spot White’s favorite types.Handsome Jerk Due for a ReckoningPatrick Schwarzenegger is this season’s obnoxious handsome man.Fabio Lovino/HBOIn Season 1 it was the privileged mama’s boy, Shane (Jake Lacy). In Season 2, it was Cameron (Theo James), a moneyman who managed to be both smarmy and oblivious.Thailand’s entitled jackass, enrobed in family money, is Saxon (Patrick Schwarzenegger), a finance bro who eschews local cuisine in favor of protein shakes and complains when his massage doesn’t include a “happy ending.” It is hard to imagine someone more in need of a comeuppance, but just deserts are rarely on White’s hotel menu.Uptight Workaholic Having a Bad TimeJason Isaacs plays a businessman stressing his way through his vacation.Fabio Lovino/HBOWe 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 Streaming Rush to Turn Scripture Into Scripts

    After the success of “The Chosen,” Amazon and Netflix are converting Bible stories into films and TV shows with “Game of Thrones”-style intrigue and romantic comedy elements.A once-beloved king slips into madness as wary confidants surround him, breathless for his next maneuver.A soldier wrestles with his dueling loyalties toward family and friendship.A young man from a humble background defeats a brute, not knowing that the victory sets him on a path to ascend into power.With its interpersonal intrigue and battlefield bloodshed, “House of David” looks like it could be an alternate-universe of “Game of Thrones.” But rather than an adaptation of a high fantasy franchise from the 1990s, its source material goes back millenniums.“House of David,” a series that premiered on Amazon Prime Video on Thursday, tells the story of David, the biblical shepherd who used a sling and stone to defeat the giant Goliath before assuming King Saul’s throne. It is part of the original faith-based programming that streaming services are unveiling to court the viewers who have made “The Chosen,” a prestige drama about the life of Jesus Christ, one of the most successful crowdfunded television or film projects of all time.“The sheer size of the audience is enormous,” said Jon Erwin, who pitched “House of David” to Amazon and co-directed several of the first season’s eight episodes. “It is the largest underserved niche audience in the world.”Viewership figures from streaming shows are rarely made public, but the team behind “The Chosen” estimates that the show has been watched by more than 280 million unique viewers worldwide, a third of whom it says are not religious. The hit show feels more like a workplace comedy-drama, a version of “The West Wing” set in Galilee, than the direct evangelism of the widely translated “The Jesus Film” (1979) or the storybook sermons of the 1990s animated series “VeggieTales.”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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    Angie Stone, Hip-Hop Pioneer Turned Neo-Soul Singer, Dies at 63

    After having success as a member of the Sequence, an early female rap group, she re-emerged in the 1990s as a practitioner of sultry, laid-back R&B.Angie Stone, a hip-hop pioneer in the late 1970s with the Sequence, one of the first all-female rap groups, who later switched gears as a solo R&B star with hits like “No More Rain (In This Cloud)” and “Wish I Didn’t Miss You,” died on Saturday in Montgomery, Ala. She was 63.Her agent, Deborah Champagne, said she died in a hospital after being involved in a car crash following a performance.Alongside musicians like Erykah Badu, Macy Gray and Lauryn Hill, Ms. Stone was part of the neo-soul movement of the late 1990s and 2000s, which blended traditional soul with contemporary R&B, pop and jazz fusion. Her first album, “Black Diamond” (1999), was certified gold, as was her sophomore effort, “Mahogany Soul” (2001).A prolific songwriter with a sultry alto voice, Ms. Stone specialized in songs that combined laid-back tempos with layered instrumentation and vocals.“Angie Stone will stand proud alongside Lauryn Hill as a songwriter, producer and singer with all the props in place to become a grande dame of the R&B world in the next decade,” Billboard magazine wrote in 1999.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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    ‘Yellowjackets’ Season 3, Episode 4 Recap: Judge, Jury and …

    The girls (and Travis) put Coach Ben on trial. The stakes are very high, the legal qualifications very low.Season 3, Episode 4: ‘12 Angry Girls and 1 Drunk Travis’What does justice look like to the Yellowjackets? It’s not pretty, it’s not logical, it’s often deeply unfair, and it’s all on display in this week’s episode.The centerpiece is a trial in the woods in the 1990s. The girls, having now found Ben, elect to decide his fate by mimicking an episode “Law & Order.” They choose lawyers — Tai is the prosecutor and Misty is the defense — and fashion a makeshift courtroom.It’s unclear what they plan to do with Ben if they find him guilty, but death is surely on the table. And yet, they also seem like kids playing dress up — which they are. As is familiar for “Yellowjackets,” childlike behavior and real stakes make for a potent concoction.We watch as the Yellowjackets’ warped sense of justice extends into the present day. There are two threads that emphasize that. First, there is Jeff and Shauna. Jeff is worried about his and Shauna’s massively bad karma, so he signs them up to volunteer at the senior home where Misty works. That becomes too emotionally intense for Shauna after she winds up locked inside a walk-in freezer, so she decides to replace a local cat that has been missing for years by just adopting a different cat. Sure, that will work.And then there’s Tai and Van, who find themselves wondering whether they should be the arbiters of life and death. They drop a Queen of Hearts from a deck of playing cards on the ground to see if it “chooses” anyone. When a man picks it up, they follow him back to his apartment and Tai nearly makes moves to kill him, thinking that taking his life will give the cancer ridden Van more time.Van stops Tai from going that far, but the mere fact that the possibility was on the table is evidence of how much all this Wilderness woo-woo has affected their minds.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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    Meghan Markle Channels Lifestyle Mavens in ‘With Love, Meghan’ on Netflix

    The Duchess of Sussex has tried to channel the likes of Martha Stewart for years. Can “With Love, Meghan” get her there?“With Love, Meghan,” the new Netflix lifestyle series premiering next week, is a culmination of sorts for its creator and star, Meghan, Duchess of Sussex. The show casts the princess as a perfectly groomed domestic goddess, cooking and entertaining for friends at home in coastal California, a role to which she has seemingly aspired for more than a decade.Meghan’s ambitions to be the “millennial Martha Stewart of Montecito,” as a recent New York Times guest essay put it, were delayed first by her courtship and marriage to Prince Harry, in 2018, and then by the couple’s public feud with the British royal family.In 2020, Harry and Meghan announced they would step back from royal duties, causing a flurry of palace gossip and recriminations. The couple spent the next few years cannily telling (and monetizing) their side of the story in a series of media ventures — a sit-down interview with Oprah Winfrey; a six-episode Netflix docuseries, “Harry & Meghan”; and a best-selling memoir by Prince Harry, “Spare.”But all along, Meghan displayed flashes of her Ina Garten side. Remember when she showed Oprah her chicken coop? Or when a London bakery posted a photo of the handwritten thank-you note on personalized stationery she had sent to its staff?In a 15-second video on Instagram last year, Meghan finally announced her new kitchen and lifestyle brand, American Riviera Orchard. Details were scant, but a trademark application sought approval for a retail store, cookbooks and tableware, as well as jellies, jams, marmalades, fruit preserves and nut butters.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 ‘S.N.L.’ Hosts Who Give 110%

    A look back at the pro athletes who have tested their fortitude at 30 Rock. “Sometimes it’s a train wreck,” a producer said. Or an incredible surprise.“Saturday Night Live,” which is celebrating its 50th season this year, has had hundreds of hosts. There are the famous actors, the musicians and the comedians, of course. And then there are the professional athletes who are used to performing on fields, tracks and courts, not on a stage at 30 Rockefeller Plaza.Dwayne Johnson, the wrestler turned movie star known as the Rock, has hosted five times, the most of any athlete. Tom Brady, the seven-time Super Bowl champion, stiffly sang and danced in a sport coat and jeans in 2005. Chris Evert, the winner of 18 Grand Slam tennis titles, hosted shortly after retiring in 1989, becoming the first of three female athletes to do so. (Nancy Kerrigan and Ronda Rousey are the others.)There is no guarantee an athlete’s monologue will be successful or the sketches funny. But this participation trophy is an exclusive one — only about three dozen have received an invite to flex their coordination and teamwork.A few years ago, Heidi Gardner, an “S.N.L.” cast member and Kansas City Chiefs fan, started a campaign to convince the show’s leadership that the star tight end Travis Kelce had the charisma to succeed as a host. Lorne Michaels eventually agreed, she said, with a catch: The Chiefs had to win the Super Bowl again.One month after they did in 2023, Kelce was making fun of his own monosyllabic motivational speeches and overlooked reality dating show.Lindsay Shookus, who worked on “S.N.L.” for more than two decades, said the show often tries to book athletes after high-profile events, such as the Super Bowl or the Olympics, when they are top of mind for a general audience.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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    How Patina Miller, of Starz’s ‘Power’ Series, Spends Her Sundays

    Patina Miller may play a fearless New York City drug queenpin inspired by 50 Cent’s mother on television, but for a long time, something scared her: having a child of her own.“I thought maybe I wouldn’t be good at it,” said Ms. Miller, 40, who plays the indomitable Raquel Thomas on the crime drama “Power Book III: Raising Kanan.” (The fourth season premieres Friday on Starz.)“I was always afraid of holding other people’s babies because I thought I’d break them,” she said.But now that she is a mother — to a 7-year-old daughter, Emerson Harper Mars, with her husband, the venture capitalist David Mars — she couldn’t imagine her life any other way.“Sundays are about being comfy, being with family,” said Ms. Miller, whose 15-year-old niece, Alanna Miller, also lives with her. She added, “It’s nice to sit and talk to each other without being on our phones.”Ms. Miller was born in Pageland, S.C., and raised by a single mother who encouraged her love for gospel music. She has lived in New York since 2007, when she moved from South Carolina after college and subsequently landed her breakout role as the nightclub singer Deloris Van Cartier in the Broadway adaptation of “Sister Act.” She won a Tony Award in 2013 for her performance as a circus artist in the musical “Pippin.”She has called the Upper West Side home for the past three years. Her family lives in a brownstone between Central Park and Riverside Park with their English bulldog, Maddie.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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    ‘Mary Said What She Said’ Review: A Hypnotic Huppert

    In this Robert Wilson production, Isabelle Huppert is everywhere onstage, all at once, reciting a nonstop script that may well touch on everything.Isabelle Huppert stands upstage center, demurely holding her hands in front of her waist, and starts to speak. She is motionless and in silhouette so we don’t see her mouth, creating a sense of dislocation as to where the words we hear are actually coming from. And as we quickly discover, the Robert Wilson production “Mary Said What She Said” interpolates live and recorded lines.But wait: After a few minutes, Huppert is standing a little closer to the audience. Moments later she is almost downstage. The entire time I could have sworn she wasn’t moving. How did she pull off that sleight of hand — or feet?Huppert is playing Mary Stuart and wearing a 16th-century-style dress, which means she can take tiny steps without the audience seeing them, as if she were on casters. This creates the illusion of stillness in motion, or perhaps freeze-framed movement — either way a neat encapsulation of Wilson’s art as a theater maker — that contrasts with the simultaneous verbal stream flowing in an almost uninterrupted manner over the course of this 90-minute monologue. (The show is in French with subtitles.)Written by Darryl Pinckney, who drew from the Queen of Scots’s letters, “Mary Said What She Said,” which is at NYU Skirball through Sunday, is inconceivable without Huppert, and she is the reason to see it.She gives a performance of rarefied virtuosity and rigor as she seemingly effortlessly handles the precise blocking and light and audio cues, the swings between immobility and fastidiously choreographed movement, the abrupt changes in tempo and pitch — and of course the dense, nonlinear text full of echoing repetitions, which must be a beast to memorize. Even when she’s not moving or speaking, she always needs to be committed to the moment. It is a marvel to behold.This is Huppert’s third collaboration with Wilson, after “Orlando” (1993) and “Quartett” (seen at the Brooklyn Academy of Music in 2009), so at least she knows his exacting M.O. She was also familiar with the character, having played her in Schiller’s “Mary Stuart” at the National Theater in London in 1996.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