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    in Television

    SNL’s Cast for the 50th Season Includes Ashley Padilla, Emil Wakim and Jane Wickline

    Ashley Padilla, Emil Wakim and Jane Wickline will be the show’s new faces in its landmark season.The cast for Season 50 of the NBC sketch comedy series “Saturday Night Live” is in place, with the up-and-coming comedians Ashley Padilla, Emil Wakim and Jane Wickline joining as featured players, the network announced on Tuesday. The new season is scheduled to premiere on Sept. 28.Chloe Troast, who joined “S.N.L.” as a featured player last season, was not asked to return, she said in an Instagram post on Monday.“Unfortunately I was not asked back to ‘S.N.L.’ this season,” Troast wrote. “I wish I was going back to be with all the amazing friends I made there, it truly felt like home. But it wasn’t in the cards.”Padilla, like many “S.N.L.” alumni before her — including Will Ferrell, Maya Rudolph, Kristen Wiig and Phil Hartman — comes from the Los Angeles improv and sketch comedy troupe the Groundlings. She also appeared this year in a final-season episode of HBO’s “Curb Your Enthusiasm” and in an episode of the NBC revival of “Night Court.”Chloe Troast, pictured playing Mama Cass in 2023, will not be returning to “S.N.L.”Will Heath/NBCWakim, a Lebanese American comedian who grew up mostly in Indiana, made his late-night stand-up debut in 2022 on NBC’s “The Tonight Show Starring Jimmy Fallon.” That year, he was named the New Face of Comedy at the Just for Laughs comedy festival in Montreal and has opened for the comics Roy Wood Jr., Nikki Glaser, Hasan Minhaj and Neal Brennan.Wickline is probably most recognizable from TikTok, where she has nearly a million followers and contributes regularly to “Stapleview,” a live TikTok comedy show.Also returning are the main cast members Michael Che, Mikey Day, Andrew Dismukes, Chloe Fineman, Heidi Gardner, James Austin Johnson, Colin Jost, Ego Nwodim, Sarah Sherman, Kenan Thompson and Bowen Yang. The former featured players Marcello Hernández, Michael Longfellow and Devon Walker — all of whom joined “S.N.L.” for its 48th season — will move up the ranks to the main cast.In August, Punkie Johnson, who had been a part of “S.N.L.” since 2020, confirmed that she would not return for the coming season. Among the characters Johnson played was Vice President Kamala Harris. Maya Rudolph, an “S.N.L.” cast member from 2000 to 2007 who has returned to play Harris 10 times through 2021, seems poised to reprise the role as Harris vies for the White House as the Democratic candidate.Molly Kearney, the show’s first nonbinary cast member, announced in August that they would not be returning after two seasons with the program. “It was such a dream come true,” Kearney wrote in an Instagram post. “So incredibly grateful for this period in my life.” More

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    in Theater

    James Earl Jones’s Rich Career in Theater: ‘Othello,’ ‘The Great White Hope’ and More

    The world will remember James Earl Jones, who died Monday at the age of 93, for his contributions to film, some of which are secure in the pop-culture canon.New York, however, will remember Jones for his contributions to theater, for which he received three Tony Awards (including one for lifetime achievement in 2017) and, in 2022, a rare distinction: the renaming of a Broadway theater in his honor.Jones once recalled that when he moved to New York to study acting, in 1957, his father, Robert Earl Jones (himself an actor), took him to live performances. In rapid succession, the young man saw the opera “Tosca,” the ballet “Swan Lake,” the musical “Pal Joey” and the drama “The Crucible.” This wide range may help explain Jones’s own rich, startlingly diverse stage career.For years, the actor deftly navigated oft-produced classics, head-scratching experimental theater, searching new works by major contemporary playwrights and, later in his career, popular dramas and comedies. Jones made his Broadway debut in the late 1950s but throughout the 1960s and ’70s, he also appeared in smaller venues. In 1961, for example, he was in the Living Theater’s avant-garde, resolutely countercultural production of “The Apple.” In 1965 he won an Obie Award for his performance in Bertolt Brecht’s “Baal” and also appeared in Georg Büchner’s “Danton’s Death” at the Vivian Beaumont Theater. In the 1970s, he was Hickman in “The Iceman Cometh,” and in the 1980s he starred in two dramas by the South African playwright Athol Fugard — all three on Broadway.Here are five productions that reflect Jones’s astonishing range and his commitment to the theater.1961‘The Blacks’A cast of unknowns that included Jones, Cicely Tyson, Maya Angelou, Roscoe Lee Browne and Louis Gossett Jr. appeared in this explosive work by the French writer Jean Genet. An experimental take on power and oppression in which some of the Black actors wore white masks, “The Blacks” had its New York premiere in 1961 at St. Mark’s Playhouse in Manhattan’s East Village. In just over a week, Howard Taubman of The New York Times wrote not one but two raves about the production, praising it as “one of the most stimulating evenings Broadway or Off Broadway has to offer” and deeming it an event “on any level that matters.”1964‘Othello’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

    Lincoln Center Theater Chooses Lear deBessonet as Artistic Director

    DeBessonet, currently the artistic director of Encores!, will work alongside Bartlett Sher, who will serve as executive producer.Lincoln Center Theater, a leading nonprofit theater with a long track record of producing luxe Broadway musical revivals as well as contemporary plays, has chosen new leadership for the first time in more than three decades.The theater’s next artistic director will be Lear deBessonet, 44, a stage director who specializes in musical revivals as the artistic director of the Encores! program at New York City Center. DeBessonet will succeed André Bishop, who has led Lincoln Center Theater since 1992, most recently with the title of producing artistic director; he is retiring in June.DeBessonet will work with Bartlett Sher, 65, a Tony-winning director who is a resident director at the organization, and who will now assume the title of executive producer. DeBessonet will select and oversee the theater’s shows and its day-to-day operations; Sher will focus on strategic planning, fund-raising and global partnerships. They will both report to the board’s chairman, Kewsong Lee.In an interview, DeBessonet said that “there is no greater job I can imagine” than running Lincoln Center Theater. “The American theater is the great passion of my life,” she said. “I’ve wanted to be a director and to run a theater since I was a 5-year-old in Baton Rouge.”The changes come amid a tidal wave of turnover throughout the American theater, prompted by a variety of factors, including the retirements of many regional and Off Broadway theater pioneers, as well as the ousters of some leaders who lost support. Across the industry, leaders are facing a new reality: These jobs have become increasingly challenging as nonprofits face rising costs, dwindled audiences, pressures to feature programming that advances social justice but also sells tickets, and changing entertainment consumption habits.Bartlett Sher, who has been directing at Lincoln Center Theater for two decades, will become the nonprofit’s executive producer. Cindy Ord/Getty Images For Tony Awards ProWe 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

    ‘Emily In Paris’ Goes on a Roman Holiday

    The frothy Netflix show frustrated Parisians with its portrait of their city. Now its heroine is heading to Rome — and the showrunner doesn’t care if residents there feel the same way.“Emily in Paris,” the hit Netflix series about a young American living a life of romance and luxury in France, has ignited a blaze of indignation since it premiered in late 2020.Emily’s clumsy grasp of the native tongue, brash designer clothes and exaggerated encounters with dashing chefs and flamboyant artists left some Parisians irate and American expatriates embarrassed, even as it became one of Netflix’s most popular comedies.Now in its fourth season — split into two installments, with the second arriving Thursday — the show continues to both charm and vex with its sunny vision of what the French newspaper Liberation has called “Disneyland Paris.”But in the new batch of episodes, Emily (Lily Collins) departs Paris and heads to Rome. Invited by her new Italian love interest Marcello (Eugenio Franceschini), she zooms around on his scooter, offering a picture-postcard view of the Eternal City with stops at touristic hallmarks like the Trevi Fountain, the Colosseum and the Spanish Steps. As he entices Emily to move on to a new European capital, Marcello makes a pitch that doubles as the season’s mandate: “Forget about crepes. We’ll be eating pizza.”Darren Star, the creator and showrunner of “Emily in Paris,” said that Emily “was becoming very comfortable in Paris. I wanted to throw her into some unfamiliar waters.” He added that “we were able to live Emily’s life in Paris, and now we’re going to do the same thing in Rome.”Lily Collins as Emily, exploring her new surroundings.Giulia Parmigiani/NetflixWe 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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    Super Emmy: Is the Time Now Right for This Former Disaster?

    Fifty years ago, the Emmy Awards implemented a change deemed such a disaster it was quickly eliminated.For the 1974 ceremony, the Television Academy created a “Super Emmy” that pitted winners in the comedy and drama balloting against each other. For example, the “M*A*S*H” star Alan Alda took home two trophies that year: one for best comedy actor and a second in a head-to-head showdown with Telly Savalas, who had already won the drama lead acting award for “Kojak.”The stated goal was to streamline the televised ceremony — the category honors were given out before the telecast and only the Super Emmys were awarded on air. But Alda and his fellow winner Mary Tyler Moore joined critics like John J. O’Connor of The New York Times in panning the stunt, and organizers retreated.Yet a half-century and a reshaped television environment later, the Super Emmy, that strange visitor from the 1970s, might be one of those once-bad ideas whose time has finally come.Not that the Emmys are looking to prolong the show, which will air Sunday on ABC. Unlike the Oscars, TV’s most prestigious award remains pretty rigidly held to its allotted time, so adding a category would likely require pushing another out of the main broadcast.But a Super Emmy would do more than merely add a “Highlander”-style bolt of excitement — “There can be only one!” — to a generally predictable telecast. It would also acknowledge the blurring of lines in TV’s categorical designations, which often makes it hard to differentiate between drama, comedy and limited series.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

    Yesterday’s Broadway Warhorses, Saddled With Today’s Concerns

    Revivals of “Romeo and Juliet,” “Our Town,” “Gypsy” and “Sunset Boulevard” aim to show that rethinking for the present is what makes classics classic.Two cheers for new voices! Of the 16 productions scheduled to open on Broadway between now and the end of the year, 12 are new to the Boulevard of Broken Budgets.But I’d like to reserve a third cheer for the fall’s four revivals, which may get less attention, having been this way before, but are likely to earn their keep if history holds true. Old voices are, after all, where new voices come from. And though 240 years separate the Broadway debuts of “Romeo and Juliet” and “Sunset Boulevard,” with “Our Town” and “Gypsy” in between, they all have much in common, at least in their continued haunting of theatergoers’ imaginations.That haunting arises, in part, from our memories of past stars who hover alongside the new ones. In “Our Town,” Henry Fonda and Paul Newman will be whispering the Stage Manager’s lines to Jim Parsons. Ethel Merman, Angela Lansbury and Patti LuPone will no doubt watch over Audra McDonald as she takes on the role of Rose in “Gypsy.” LuPone will also be looking over Nicole Scherzinger’s shoulder in “Sunset Boulevard”; presumably keeping a safe distance, so will Glenn Close. And though few are likely to remember Robert Goffe, the original Juliet, he too will be felt on Broadway this fall. However long ago, the part was built on him.But revivals of shows like these have more to offer than ghosts. There’s a reason, aside from name recognition, that they keep coming back. Though products of vastly different times and cultures, they dig so deep into their specific truths that they reach a common, eternal one, from which many others may spring.Perhaps that’s most evident in “Our Town,” Thornton Wilder’s 1938 play about two families whose ordinary life events, from birth to death, are consecrated by a kind of communal love. The director Kenny Leon said that in his production, “1936 runs into 2024,” allowing the story to serve “as a metaphor for our world, for our country, even our time.”Paul Newman in a 2002 production of “Our Town.”Sara Krulwich/The New York TimesHenry Fonda in a 1969 production of “Our Town.”Everett CollectionWe 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

    Late Night Observes ‘Debate Night Eve’

    Jimmy Kimmel predicted Kamala Harris and Donald Trump will face questions “on all the big issues: the economy, immigration, electrocution, sharks.”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 Night BeforeVice President Kamala Harris and former President Donald Trump will meet for their only scheduled debate on Tuesday night.On Monday, Jimmy Kimmel predicted the candidates will field questions “on all the big issues: the economy, immigration, electrocution, sharks — everything we care about.”“It’s Debate Night Eve, so don’t forget to put out some milk and cookies for Santa and then give him two minutes for a rebuttal.” — STEPHEN COLBERT“Of course, both candidates are very busy with last-minute preparations. Right now, Trump is trying to decide which shade of bronzer: jack-o’-lantern orange or burned corn on the cob?” — JIMMY FALLON“How could you possibly prepare to debate Donald Trump? This is a man who, if he doesn’t like the direction a hurricane is going, just draws a new hurricane on the map — you can’t debate that.” — JIMMY KIMMEL“Trump, of course, is claiming that the debate is rigged against him, even though it hasn’t happened yet. Over the weekend, he announced that no boxes or artificial lifts will be allowed for Kamala — who is 5-foot-4 — to stand on because he says, ‘It would be a form of cheating, and the Democrats cheat enough.’ That’s right. You know, cheating is only allowed when it comes to wives, taxes and every round of golf that he’s ever played.” — JIMMY KIMMEL“There’s a lot riding on this. If Kamala doesn’t do well, you know, come January, our national bird might be the Kentucky Fried Chicken.” — JIMMY KIMMEL‘An Honor Just to be Nominated’An article in Rolling Stone said that while Trump was president, he tried to persuade Justice Department officials to use campaign finance laws and equal-time broadcast regulations to rule that anti-Trump jokes on late-night shows were illegal. Stephen Colbert and Jimmy Kimmel were among those on Trump’s list of targets.“Finally, I made an enemies list!” Colbert said. “I mean, obviously, there’s no guarantee I’ll be arrested, but it’s an honor just to be nominated.”“I’m now imagining me and all the other late-night hosts in prison together like the mobsters in ‘Goodfellas.’ I’m stirring the sauce, Colbert’s slicing the garlic with a razor blade.” — JIMMY KIMMEL“No doubt it’ll all be decided this weekend in Los Angeles — whoever wins the Emmy for best talk show will be sent to a camp: ‘And the gulag goes to …’ So, to my old colleague Jon Stewart, I just want you to know, I voted for you.” — STEPHEN COLBERT“How would this work for Jon Stewart? Would he only go to jail on Mondays?” — JIMMY KIMMELThe Punchiest Punchlines (Change of Heart 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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    James Earl Jones, Actor Whose Voice Could Menace or Melt, Dies at 93

    James Earl Jones, a stuttering farm child who became a voice of rolling thunder as one of America’s most versatile actors in a stage, film and television career that plumbed race relations, Shakespeare’s rhapsodic tragedies and the faceless menace of Darth Vader, died on Monday at his home in Dutchess County, N.Y. He was 93.The office of his agent, Barry McPherson, confirmed the death in a statement.From destitute days working in a diner and living in a $19-a-month cold-water flat, Mr. Jones climbed to Broadway and Hollywood stardom with talent, drive and remarkable vocal cords. He was abandoned as a child by his parents, raised by a racist grandmother and mute for years in his stutterer’s shame, but he learned to speak again with a herculean will. All had much to do with his success.So did plays by Howard Sackler and August Wilson that let a young actor explore racial hatred in the national experience; television soap operas that boldly cast a Black man as a doctor in the 1960s; and a decision by George Lucas, the creator of “Star Wars,” to put an anonymous, rumbling African American voice behind the grotesque mask of the galactic villain Vader.Mr. Jones in 1979 as the author Alex Haley on “Roots: The Next Generation.”Warner Brothers Television, via Everett CollectionThe rest was accomplished by Mr. Jones himself: a prodigious body of work that encompassed scores of plays, nearly 90 television network dramas and episodic series, and some 120 movies. They included his voice work, much of it uncredited, in the original “Star Wars” trilogy, in the credited voice-over of Mufasa in “The Lion King,” Disney’s 1994 animated musical film, and in his reprise of the role in Jon Favreau’s computer-animated remake in 2019.Mr. Jones was no matinee idol, like Cary Grant or Denzel Washington. But his bulky Everyman suited many characters, and his range of forcefulness and subtlety was often compared to Morgan Freeman’s. Nor was he a singer; yet his voice, though not nearly as powerful, was sometimes likened to that of the great Paul Robeson. Mr. Jones collected Tonys, Golden Globes, Emmys, Kennedy Center honors and an honorary Academy Award.

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