Eliana Willis

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    ‘Free to Be … You and Me’ Took the Revolution to the Playground

    Fifty years ago, the TV landmark showed Gen X kids that no one else has the right to tell you who you are.“Free to Be … You and Me,” the 1974 kids-TV special and feminist milestone, begins with footage of children riding a carousel. I was one of them. Not literally — I watched the show on TV like millions of other baby Gen X-ers. But these kids, laughing and spinning, were my cohort at a strange point in history.We were born at the tail end of one of the country’s great periods of social revolution. Our mothers were getting jobs outside the home, and so was Mary Richards on “The Mary Tyler Moore Show.” Later in our childhoods would come the era of Phyllis Schlafly and He-Man, and things would jerk backward again for a while, maybe without our even being aware of it at the time.But on “Free to Be,” the future was baby steps away. The theme song, by the New Seekers, imagines a land “where the children are free” and says that “it ain’t far to this land from where we are.” The children transform into cartoons on lively horses. They leap out of the spinning wheel’s orbit, galloping through an animated desert, girls and boys side by side.In the show’s animated stories, chivalry doesn’t protect girls, self-reliance does: In “Ladies First,” a “tender, sweet young thing” who insists on special treatment ends up eaten by tigers.ABCMarlo Thomas, the former star of the sitcom “That Girl,” created “Free to Be” as an album in 1972, in collaboration with the Ms. Foundation for Women. She was inspired, she said in the introduction to a 2010 DVD of the TV special, by reading bedtime stories to her niece — books that “told girls and boys who they should be, who they ought to be, but seldom who they could be.”Through songs, skits and stories, “Free to Be” told them they could be, and do, anything. Girls could run races and grow up to be doctors; boys could play with dolls and grow up to push a stroller. A princess could decide not to marry a prince, or anybody. A man could cry.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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    Lisa Ann Walter of ‘Abbott Elementary’ on the Show She’ll Never Forget

    “I would challenge anybody to see Patti LuPone in her prime sing ‘Evita,’” the actress said, “and not say, ‘That was the best show I’ve ever seen in my life.’”It was a Monday morning in Los Angeles and Lisa Ann Walter had the day off from “Abbott Elementary,” the ABC sitcom about an underfunded public school in Philadelphia.But that didn’t mean she wasn’t working.The Season 3 premiere was a little more than a week away, and even though Walter knew where her character — the veteran second-grade teacher Melissa Schemmenti — was headed, she would divulge only that “there are changes. Big changes.”But there were plenty of other things to discuss: Her stand-up tour. A movie script she’d written during the pandemic. A project that’s an animated series about a single mom of teenage boys called “Bitter.” The $1 million she’d bagged for the Entertainment Community Fund on “Celebrity Jeopardy!” The playoff dinner the night before that began with a pot of chili and ended up a smorgasbord.“I go overboard,” she said in a video call.Then there’s the project she’s doing with her bestie Elaine Hendrix — she couldn’t talk about that either — who played Meredith to Walter’s Chessy on “The Parent Trap” some 25 years ago.“Elaine and I can’t go anywhere together without people losing their minds,” Walter said before talking about the origin story of “Outlander,” her fixation on muscle cars and kissing during bar trivia. “I always used to say I don’t really have to do anything else with my career.”These are edited excerpts from the conversation.1‘Sense and Sensibility’ OnscreenI think Emma Thompson is a genius with the screenplay. It’s Alan Rickman at his finest. It evokes enough of that period, the lushness and quietness, that it’s genuinely that article. But it’s modern enough where it resonates — that need to find your person.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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    Akira Toriyama’s “Dragon Ball” Hero Goku Is One for the Ages

    The creator of “Dragon Ball” helped bring anime to the world. Its main character became a cultural phenomenon.“It’s over 9,000” is perhaps the most popular line in the English dub of the “Dragon Ball Z” series. The line is beloved for its drama; it’s an exclamation referring to the unmatched power level of the main character, Son Goku. It was an ongoing joke in my middle school and became one of the internet’s most enduring memes.But Goku was always an exemplar of staying power, back from his beginnings in the “Dragon Ball” manga created by Akira Toriyama, whose death was confirmed on Friday.Toriyama is the creator of the manga “Dr. Slump” and “Sand Land” but is best known for “Dragon Ball,” which first published in 1984 and for years ran in the popular Japanese magazine Weekly Shonen Jump. It was successful from the start, but as more people around the world learned about it, “Dragon Ball” attained such levels of popularity that it became one of the standard-bearers of anime.Despite the prominence of greats like Hayao Miyazaki and the recent surge of live-action adaptations in the United States, it’s still fairly rare that a manga or anime — even given the massive scope, breadth and history of the art form — achieves crossover appeal to mainstream Western media. There have been a few big exceptions. “Pokémon.” “Naruto.” And “Dragon Ball.”“Dragon Ball” is the story of an alien boy named Son Goku who ends up on Earth. He teams up with a brilliant blue-haired teen named Bulma, and they search for seven dragon balls to summon the powerful wish-granting dragon Shenron.The worlds and images Toriyama created combined the kung fu-inspired fight sequences of old martial arts flicks with science-fiction and a fantasy-style reimagining of space and technology. The characters burst off the page and the screen: A wild-haired boy in an orange gi flying on a cloud; a whiskered green dragon whose serpentine body coils in Gordian knots in the sky; and seven orange orbs, speckled with small red stars, that when combined offer their collector infinite power.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 Ingrid Michaelson Made ‘The Notebook’ Into a Musical

    Family history is “wrapped up in these songs,” said the singer-songwriter Ingrid Michaelson, who is making the leap to Broadway with an adaptation of the popular romance novel.The stage manager’s office on the second floor of the Gerald Schoenfeld Theater in Times Square is about the size of a half bathroom and has the charm of a utility closet. It’s crowded and overlit, thanks to a high-wattage vanity mirror situated near a 1970s-era mini sink.Ingrid Michaelson surveyed the room where we were to begin our interview, and sighed. “It’s not glamorous at all — but it is,” she said. “There’s just a small, lucky group that gets to see these little rooms.”With the opening of “The Notebook” on Thursday, Michaelson will make the turn from a successful mid-list singer-songwriter to Broadway composer. Though other pop writers have made the same foray into musical theater — including Dolly Parton, Cyndi Lauper, and Michaelson’s friend Sara Bareilles — Michaelson was an unlikely choice, because “The Notebook” is a huge franchise and she isn’t a hitmaker. “Quirky” is a word that turns up in articles about her, and quirky is rarely a mass-market trait.Nicholas Sparks’s 1996 romance novel was a publishing phenomenon that has sold 14 million copies worldwide. In 2004, it was adapted into a film starring Ryan Gosling and Rachel McAdams, and its feverishly passionate dialogue (“It wasn’t over. It still isn’t over!” Gosling shouts, in the middle of a rainstorm.) made it as beloved by fans as it was scorned by critics. Wielding a double-barreled shotgun in his review for The New York Times, the critic Stephen Holden dismissed Sparks’s book as “treacly” and called the film “a high-toned cinematic greeting card.”“I remember watching the movie with my friend — we rented it from Blockbuster,” Michaelson, 44, recalled. “I cried and cried and cried at the end.” She was dressed casually, in a gray knit cap, baggy flannel shirt and torn jeans. In conversation, she gravitated toward self-deprecation and the spilling-over candor of a lifelong New Yorker. She was droll and funny, but cried several times during our interview. At one point, on the topic of losing our parents, we both cried at the same time.“The Notebook” begins in an old age home, where Allie, who has Alzheimer’s disease, doesn’t recognize her husband, Noah. He reads to her from a notebook, which tells the story of how they met and fell in love in their late teens, only to be separated by a conniving parent. They meet again 10 years later, when Allie is engaged to someone else. Will her marital pledge hold firm in the face of true love? We know the answer, but the reward of their reunion is offset by the pain of seeing them both in distress.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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    Melissa Benoist Hits the Campaign Trail in ‘The Girls on the Bus’

    After six years on “Supergirl,” the actor and producer took a crash course in political journalism to prep for a new Max series.Melissa Benoist has made a habit of playing journalists on television.She spent six years as the hero of “Supergirl,” Kara Danvers, who works in media when she’s not saving the world. Now Benoist is taking on the role of a campaign reporter named Sadie McCarthy in the Max series “The Girls on the Bus,” a very loose adaptation of the former New York Times reporter Amy Chozick’s nonfiction book “Chasing Hillary.”But Benoist does not think she’d be a good fit for the profession. Asked about the choice of some political reporters to refrain from voting in the elections they cover, she explained in a phone interview that she would be a “terrible journalist.”“I’m too emotional,” she said. “I’d for sure be biased.”“The Girls on the Bus,” created by Chozick and Julie Plec (“The Vampire Diaries”), is a fictional and frothy account of the lives of women chronicling a series of Democratic presidential contenders on their way to the national convention. Benoist’s Sadie works for a New York Times stand-in called The New York Sentinel, and is given an opportunity to return to the road after being publicly embarrassed during the previous election cycle when a video of her crying after her candidate lost, a journalistic no-no, went viral.The show has a fantastical bent, and not just because Sadie has conversations with the ghost of Hunter S. Thompson (P.J. Sosko). Despite arriving in an election year and taking inspiration from Chozick’s book about covering Hillary Clinton, the political landscape of the show looks very different from our current one. Sadie and her cohorts grapple with familiar topics, but they do so in a sort of parallel universe where the bonds they form while tracking down sources is at the center of the tale.In the series, Benoist’s character, left, competes and bonds with other reporters on the campaign trail played by, from left, Carla Gugino, Christina Elmore and Natasha Behnam.Nicole Rivelli/MaxFor Benoist, the show is her first series regular role since “Supergirl” and her first venture as a producer. In an interview, she discussed her crash course in political reporting and why that word “girl” keeps following her around. These are edited excerpts from the conversation.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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    Dominique Blanc, at 67, Is in Her Prime

    In 2003, three decades into her career, Dominique Blanc experienced every actor’s worst nightmare: The phone stopped ringing.Approaching 50, she was one of France’s most celebrated performers, fresh off an acclaimed stage run in a classic tragedy, Jean Racine’s “Phèdre.” But the subsequent, yearslong lack of offers “deeply unsettled me,” Blanc said in a recent interview. “I found myself in extreme solitude. I really believed I would never be able to set foot on a stage again.”“La Douleur,” a searing, award-winning one-woman show that will have its American premiere at the FIAF Florence Gould Hall in New York on March 13, became a way to process the hurt and take charge. Blanc’s character, lifted from a book by the French author Marguerite Duras, awaits her husband’s return from a Nazi concentration camp in 1945, uncertain whether he is even alive.The show grew out of a series of readings she did from the book with the director Patrice Chéreau, a longtime collaborator. In 2008, Blanc pitched him a light stage version, requiring only a table, chairs and old costumes from Blanc’s closet. While Duras’s book was translated into English as “The War: A Memoir,” its original title simply means “Pain,” and in her show, Blanc starkly recreates women’s anguish as their partners return from untold horrors.“It was the first time I was completely alone onstage, with this extraordinary yet difficult text. I had so much fear,” Blanc said. “But it saved me.”For several years, Blanc reclaimed her artistic agency by performing “La Douleur” in theaters, school gymnasiums and prisons, both in France and abroad. In 2022, as the theater world prepared to mark the 10th anniversary of Chéreau’s death, the production was revived.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 Late Show’ Goes Live to Recap the State of the Union

    “Depending on what happens in November, next year might just be a Kid Rock concert and an immigrant catapult,” Stephen Colbert joked.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.Biden State of Mind“The Late Show” went live on Thursday night, after President Joe Biden’s State of the Union address.Stephen Colbert said that the press had so far described Biden’s address as “feisty, fiery, heated, supreme, crunch wrap. I’m sorry. It’s really late and I’m hungry.”“It was kind of a tense night, because it feels like this might be the last time we get a State of the Union. Depending on what happens in November, next year might just be a Kid Rock concert and an immigrant catapult.” — STEPHEN COLBERT“Now, coming into tonight’s speech, critics said Biden’s State of the Union challenge was to dispel ‘old-man vibes.’ Really? In Congress? Kinda hard to fight off the old-man vibe when you’re speaking to a room that looks like an open casket convention.” — STEPHEN COLBERT“On the Democratic side, they wore white. On the Republican side, they were white.” — STEPHEN COLBERTThe Punchiest Punchlines (State of the Union Edition)“Well, guys, if you’re watching at home, I assume you’re still cleaning up from your big State of the Union party. Yeah. What kind of wings do you want — right wing, left wing?” — JIMMY FALLON“Yeah, earlier tonight, President Biden delivered the annual State of the Union address, and Biden’s speech was historic. It was the first time that the font size on the teleprompter was 8,000.” — JIMMY FALLON“Biden looked out at the members of Congress and said, ‘Finally, a place where I seem pretty young.’” — JIMMY FALLON“Thanks to rules giving former members of Congress floor access, George Santos attended the State of the Union. Come on! You can’t just go back to your old job like you never left — unless you’re Jon Stewart. Keep it up, Jon! You’re crushing it.” — STEPHEN COLBERT“Tonight, the room was filled with over 500 members of Congress, but Senator Mitch McConnell wasn’t there. Well, he attended, but he wasn’t there.” — JIMMY FALLON“Ahead of the president’s arrival there, members of the Supreme Court filed in. Interestingly, Justice Clarence Thomas did not attend. It’s nice to know he’s willing to recuse himself from something.” — STEPHEN COLBERTThe Bits Worth WatchingOn Thursday’s “Daily Show,” Ronny Chieng asked his “Kung Fu Panda 4” co-star Awkwafina to interview him about his role in the movie.Also, Check This OutKaty O’Brian and Kristen Stewart in “Love Lies Bleeding.”Anna Kooris/A24Kristen Stewart and Katy O’Brian find love in a hopeless place in Rose Glass’s new neo-noir thriller “Love Lies Bleeding.” More

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    Review: Welcome to ‘Illinoise,’ Land of Love, Grief and Zombies

    Sufjan Stevens’s 2005 concept album has become an unlikely and unforgettable dance-musical hybrid, directed and choreographed by Justin Peck.When emotions get too big for speech, you sing; when too big even for song, you dance.Or so goes the standard theatrical formula. But what if the emotions are huge from the get-go?That’s the challenge and, it turns out, the glory of “Illinoise,” a mysterious and deeply moving dance-musical hybrid based on Sufjan Stevens’s similarly named 2005 concept album. (The title has acquired an extra “e.”) Exploring the hot zone between childhood and adulthood, when emotions can be at their most overwhelming, the show dispenses with dialogue completely and leaps directly to movement and song.But not together: Among a thousand other smart choices, Justin Peck (who directed and choreographed) and Jackie Sibblies Drury (who, with Peck, wrote the story) have delaminated the songs from the characters, thus avoiding the jukebox trap that diminishes both.Instead, in the show, which opened on Thursday at the Park Avenue Armory, Stevens’s wistful and sometimes enigmatic numbers, set in various Illinois locations, are performed by three vocalists on platforms high above the action, wearing butterfly wings as if to stay aloft. Below, the 12 acting dancers (or are they dancing actors?) perform a parallel story without being forced into overliteral connections.Or rather, they perform an anthology of stories, a kind of exquisite corpse of late adolescence. As they collect around a clump of lanterns that suggest an urban campfire — the poetic set, including upside-down trees, is by Adam Rigg — they engage in what seems to be a rite of passage: the sharing of deep truths with sympathetic friends. The truths are often traumas, of course: first love, first loss, first disillusionment, first death. They are “read” (that is, danced) from notebooks decorated, again, with butterflies, suggesting the privacy of cocoons and the fragility of emergence.Twelve acting dancers (or are they dancing actors?) perform a story that’s parallel to the one told in Sufjan Stevens’s wistful songs set in various Illinois locations.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