Eliana Willis

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    Netflix Builds a ‘Squid Game’ Universe as It Awaits a Second Season

    A reality show and a live experience are two ways of keeping the dystopian series in the public eye. Is the original’s bleak message being diluted?On the same soundstage where Bob Barker lorded over “The Price Is Right,” “Squid Game” is coming to life.On Wednesday, Netflix will unveil its latest live experience, based on the dystopian hit show in which desperate South Koreans competed in a brutal contest of simple schoolyard games for a prize of 45.6 billion won (around $38 million). Winners moved closer to the money. Losers died. The live attraction mimics both the popular iconography of the series — the massive piggy bank filled with cash, a giant animatronic doll named Young-hee, the sterile white dormitory — and the childish games.For $30, fans of “Squid Game” will compete in some 70 minutes of play, with moral twists and turns and six group activities, including the schoolyard race Red Light, Green Light and a nonlethal version of the series’ terrifying Glass Bridge challenge, which forced contestants to choose between two clear squares for each step across a bridge. If they chose incorrectly, they descended hundreds of feet to their death.To feel even more like a character on the show, customers can buy a tracksuit for $50 and wear it during the experience. There is also a $100 V.I.P. ticket option: In a nod to the original, you can watch the unfortunate masses compete in the games while you sip cocktails in a swanky lounge.“It’s all the fun without the death,” said Greg Lombardo, Netflix’s head of live experiences.A game called Harvest Festival at Netflix’s live experience, which is scheduled to open to the public on Wednesday.Jenna Schoenefeld for The New York TimesNetflix plans to expand the live experience into other cities, but no additional locations have been confirmed. It’s one of several “Squid Game” adaptations that Netflix has planned in the hope of keeping viewers engaged during the long gap between the show’s first season, which debuted in September 2021, and its second, which is filming in South Korea and will come out next year.One is an unscripted English-language competition show, “Squid Game: The Challenge.” Its first five episodes debuted on Nov. 22, and a second batch became available on Wednesday; the final episode will arrive Wednesday.Also coming soon is a video game in which players will be able to compete with characters from the series. A virtual reality game is already available, and in Brazil, Burger King has been offering “Squid Game”-themed food combos in four cities. (Care for an umbrella-shaped onion ring to go with that shake?)The brand offshoots follow a formula that Netflix has employed successfully for other popular shows, like “Bridgerton” and “Stranger Things.” A “Stranger Things” play that the streaming service helped develop will open in London’s West End on Dec. 14.The expansion of intellectual property like the “Squid Game” brand, however, is getting more scrutiny in Hollywood. In recent years, the closest an entertainment studio could get to a sure thing was a franchise spun from a popular piece of intellectual property: A film begets a sequel begets a theme park ride begets a line of consumer products. Now a certain amount of audience fatigue has set in.Marvel films like “Ant-Man and the Wasp: Quantumania” and “The Marvels” struggled at the box office. The recent Harry Potter spinoff, “Fantastic Beasts: The Secrets of Dumbledore,” and the D.C. Comics film “The Flash” also underperformed. The industry has been forced to ask: What deserves franchise-building attention, and when is it too much?“I’d say in general when you have I.P., if you just do too much of something, that can dilute what it is,” Netflix’s chief content officer, Bela Bajaria, said in an interview. “The other thing we look at is, are you being true to the DNA of the show and why people loved it but expanding that connection?”Losing competitors are marked off at Squid Game: The Trials. Jenna Schoenefeld for The New York TimesThe reasons that Netflix is trying to expand “Squid Game” are obvious. Not only is it the most-watched show on the platform but unsanctioned merchandise from the game, including tracksuits and Young-hee dolls, began selling almost immediately after its debut. Netflix now works with two global partners to meet the demand for the green athletic wear, especially around Halloween.Influencers have also capitalized on the show’s popularity. Last year, the YouTube star MrBeast enlisted 456 contestants to compete for $456,000 by playing tug of war and Red Light, Green Light. The video of the content generated 112 million views in the first five days online.With that kind of interest in an outside version of a real-life “Squid Game,” Netflix decided the time was right to try to capitalize with a reality show of its own, but in English, so as not to confuse audiences.“I was very curious how people would react to those games, the situations, the moral dilemmas,” said Minyoung Kim, Netflix’s head of Asian content, who was responsible for bringing the South Korean show to the service.The contests inspired by “Squid Game,” which is shooting its second season in South Korea, include Red Light, Green Light. Jenna Schoenefeld for The New York TimesStill, some question whether a reality show based on the South Korean filmmaker Hwang Dong-hyuk’s bleak view of his country’s class struggles and the global inequities of modern-day capitalism should exist at all.While “Squid Game: The Challenge” debuted at the top of Netflix’s English-language TV list with 20.1 million views and the original show vaulted back into the Top 10, reviews of the reality series have been scathing. Most criticized the 10-episode season for missing the broader critique of capitalist culture that is at the heart of the nihilistic series.A scene from “Squid Game: The Challenge,” a Netflix reality show, displaying an interim cash prize.NetflixThe show drew 20.1 million views when it premiered.Netflix“I see it obviously as an attempt to expand and monetize a franchise, but it seems particularly absurd given the anticapitalist message of the show,” said Miranda Banks, the chair of Loyola Marymount University’s film, television and media studies department.“‘Squid Game’ was a South Korean series, and it’s inflected with the politics of South Korean culture,” she added. “So part of this is not just a translation of the genre, but it’s also a translation of a nation. And in doing that, it is not surprising — and it’s arguably quite hilarious — that it becomes a pro-capitalist dream fulfilled.”The producers of the reality show are aware of the irony. But they said that by hewing as close to the original as possible — the same number of contestants (456) and a life-changing amount of prize money ($4.56 million) — they felt they could create compelling television despite the lower stakes.The live attraction is just one prong of Netflix’s campaign to expand the “Squid Game” brand.Jenna Schoenefeld for The New York Times“This was a drama that was so much about the fact that people who were eliminated were killed,” the producer Stephen Lambert said. “We were obviously never going to do that, but having such a big prize pot meant that when you were eliminated, your dreams died, and they were really big dreams that people had.”(The filming of the reality show has generated its own drama, with complaints from several contestants about “inhumane” conditions. When asked about the complaints, the producers said in a statement that they “take the welfare of our contestants extremely seriously.”)Still, does allowing fans to play along with a social satire cheapen its integrity?Ms. Banks doesn’t believe so.“I think that you probably have the fans who are there for the social commentary and the drama and the state of the game,” she said. “And then you have the people who love to play games. That might be different age groups. It might be different demographics.”A happy ending to Warships at Squid Game: The Trials. Jenna Schoenefeld for The New York TimesFor Marian Lee, Netflix’s chief marketing officer, the brand offshoots are doing their job — bringing renewed attention to “Squid Game” — yet she acknowledges the risks of creating so many versions that relied on the same source.“We have a hugely popular show that basically captures the cultural zeitgeist, but the doll, all the iconography, is carried through to the unscripted,” she said. “For us as a marketing team, how do you make sure that people understand that this is an unscripted version of that, and not the second season yet? You have to make sure that fans are following along: Oh, this is the unscripted version. Oh, this is the live experience. Oh, Season 2 is coming.“The fandom is there. It’s just making sure that we’re able to create distinct moments for each of those things.” More

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    Julianna Margulies Apologizes After Remarks on Black Support of Jews

    The actress had said on a podcast that some Black people not standing with Jews after the Hamas attacks had been “brainwashed to hate Jews.”The actress Julianna Margulies, who drew criticism this week after saying on a podcast that some Black people not standing with Jews after the recent attack by Hamas had been “brainwashed to hate Jews,” said on Friday that she “did not intend for my words to sow further division, for which I am sincerely apologetic.”On the Nov. 20 episode of “The Back Room With Andy Ostroy,” Margulies, who has starred on the television series “E.R.,” “The Good Wife” and, presently, “The Morning Show” on Apple TV+, accused Black and L.G.B.T.Q. people of showing insufficient support for Israel and Jews in the United States since the deadly Oct. 7 attacks by Hamas.“I am horrified by the fact that statements I made on a recent podcast offended the Black and LGBTQIA+ communities, communities I truly love and respect,” Margulies said in a statement on Friday afternoon to Deadline, which her publicist sent to The New York Times in response to a query. “I want to be 100% clear: Racism, homophobia, sexism, or any prejudice against anyone’s personal beliefs or identity are abhorrent to me, full stop.”Some social media users objected to Margulies’s comments as racist, and questioned why she was focusing her criticism on marginalized groups.Margulies, who is Jewish, contrasted Jews’ vocal support for Black civil rights in the 1960s with the present: “Now the Black community isn’t embracing us and saying, ‘We stand with you the way you stood with us?’”She added, “The fact that the entire Black community isn’t standing with us, to me, says either they just don’t know or they’ve been brainwashed to hate Jews.”She also said on the podcast that progressive protesters on college campuses, whom she accused of “spewing this antisemitic hate,” include gender nonbinary people who, she said, “will be the first people beheaded and their heads played like a soccer ball on the field” in places run by militant Islamist groups like Hamas.Margulies also said on the podcast, “There was a film being shown by this Black lesbian club on the Columbia campus, and they put signs up that said, ‘No Jews allowed.’” (The president of LionLez, a group for queer women and nonbinary people of color at the university, had emailed, “Zionists aren’t invited,” The Columbia Spectator reported.) Margulies said that to Hamas and its ilk, members of that student club would be “even lower than the Jews — A. you’re Black, and B. you’re gay. And you’re turning your back against the people who support you?”Margulies added that she was offended as someone “who plays a lesbian journalist on ‘The Morning Show.’ I am more offended by it as a lesbian than I am as a Jew, to be honest with you.”In her statement on Friday, Margulies said that she usually seeks to “forge a united front against discrimination.” More

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    Monica Aldama, Coach in Netflix Series ‘Cheer,’ Retires

    The series propelled Monica Aldama to become one of the most famous cheer coaches in the country.Her obsessive goal of training an elite small-town cheer squad into national champions made Monica Aldama one of the most famous cheer coaches in the country.But Ms. Aldama, who entranced viewers in the popular Netflix documentary series “Cheer” before her team became mired in a series of controversies, will no longer be head coach at Navarro College. The community college in Texas announced her retirement from its cheer program on Thursday after nearly three decades of coaching.“There is not a larger figure in the sport of cheer than Monica Aldama,” said Michael Landers, the college’s executive director of student services and athletics. “She is an icon in the sport and built our program from the ground up with class, grace and a championship mindset.”A former cheerleader herself, Ms. Aldama was hired to teach mathematics and sponsor the cheerleading program at the college in the small town of Corsicana. Over the next few years, she built it into a championship-winning juggernaut that drew ambitious practitioners of competitive cheerleading, who often perform physically grueling stunts and gymnastics.Under her leadership, the team won 17 national titles in annual collegiate competitions in Daytona Beach, Fla., organized by the National Cheerleaders Association.The niche world of Navarro Cheer, and its head coach, burst into the mainstream in the 2020 Netflix series ”Cheer,” after a documentary crew followed the team as it prepared for a competition. The series gave audiences an intimate front-row seat for the trials of the squad’s cheerleaders, as they endured Ms. Aldama’s meticulous training sessions and confronted more personal problems.Ms. Aldama’s no-nonsense coaching style and demand for discipline left some viewers inspired. Others, however, were unsettled by her determination to push Navarro’s cheerleaders to win the title.The show’s success made stars out of Ms. Aldama, whose students called her “the queen,” and her cheerleaders, leading to appearances on talk shows, a spoof on “Saturday Night Live” and even a live tour. Ms. Aldama joined the ranks of reality TV royalty by competing on “Dancing With the Stars,” and she released a book in 2022.But the team also was shaken by scandal. One fan favorite cheerleader, Jerry Harris, was accused of using his status to solicit sexually explicit content from teenage boys. Mr. Harris was sentenced to 12 years in prison in 2022 after pleading guilty to two charges of sex crimes involving minors. A second season of the show, two years after the first, showed Ms. Aldama and other members of the squad grappling with that revelation.Then, a former cheerleader on the team claimed in a civil suit filed in April that Ms. Aldama had pressured her to keep quiet after she accused another team member of sexually assaulting her on campus.Ms. Aldama called the allegations “demonstrably false,” in a statement, and said she had been temporarily suspended from participating in cheerleading by its national governing body, USA Cheer, as it investigated the complaint. Navarro College, which was also named as a defendant, also denied any wrongdoing.She was later dropped as a defendant in the lawsuit, according to an amended complaint filed in May. A lawyer for the plaintiff did not immediately respond to a request for comment about why Ms. Aldama had been dropped from the case.Ms. Aldama decided to retire in part because she and Elizabeth Pillans, an administrator who had also been listed in the civil lawsuit and later dropped from it, planned to file a lawsuit.“She did not want forthcoming litigation she and Ms. Pillans intend to file to distract from the upcoming Navarro College cheer season,” Russell Prince, her lawyer, said in a statement.Ms. Aldama has since returned to coaching and no longer appears on USA Cheer’s suspensions list. A spokeswoman for USA Cheer said in a statement that Ms. Aldama had been removed from the list after the organization completed its “investigation and adjudication process.”In an Instagram post last month, Ms. Aldama expressed “incredible relief” about USA Cheer’s decision, but criticized the organization for its handling of the investigation.“Everything Ms. Aldama has endured in the last year has done nothing to protect athletes and participants in sport,” Mr. Prince said, adding that she hoped USA Cheer would work with her to address her concerns.She will retire after finishing the fall 2023 semester, Navarro College said in its announcement.Lola Fadulu More

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    Review: A Shady Documentary Becomes a Weapon of War in ‘Spain’

    Jen Silverman’s noir play considers the role of artists in the making of propaganda.“Financing is complicated when it comes to the arts,” says a low-budget filmmaker in Jen Silverman’s “Spain.” That’s hardly news, but the clever if murky play, which had its world premiere on Thursday at Second Stage Theater, offers a solution: Let the Soviets foot the bill.In Silverman’s telling, the filmmaker, Joris Ivens, a Dutchman working in the United States, is already an undercover infiltrator for Soviet interests when the Spanish Civil War breaks out in 1936. Over bloody steak in a dim restaurant, his handler “offers” him the chance to make a big-budget pro-Republican documentary whose theme would be “The Noble Peasant Crushed by the Rich Fascist.” The goal: to end American neutrality, overthrow Franco and change the world. The part about communizing the emergent republic by any means necessary is left unsaid.Ivens was a real filmmaker, and his movie “The Spanish Earth,” released in 1937, was a real cause célèbre among leftists and artists. The frenemies Ernest Hemingway and John Dos Passos did write the screenplay, as Silverman relates. The financial role of Soviet intelligence is debatable, but then so is the intelligence of those who failed to perceive the threat of Stalinist terror in what was obviously propaganda.Despite the actual names, “Spain” behaves like a work of fiction. Much honored as an artist in his lifetime, Ivens (Andrew Burnap) could not have been as dim, especially about film, as Silverman makes him. (He imagines shooting part of the documentary from an ant’s point-of-view, or a raindrop’s.) Nor, for all his faults, was Hemingway (Danny Wolohan) so complete a buffoon, given to shouting such hollow nonsense. (“We are all Spain! But how?”) And though turning Dos Passos (Erik Lochtefeld) into a whiny milquetoast is a questionable liberty, it’s less problematic than the way he’s set up as the play’s firm moral center. His later support for right-wing causes suggests that his own moral center was movable.To correct for such blurriness, Silverman throws a largely invented (yet somehow truer) character into the mix. Helen (Marin Ireland) is another infiltrator, given the assignment of assisting Ivens under cover of being his girlfriend. In Ireland’s typically incisive performance, here colored with a touch of period archness, she is fascinating to watch even when seemingly stuck with Burnap in a Möbius strip of suspicion and self-doubt. The scenes in which they wrangle over their goals as artists and as citizens — wondering whether making the movie might be morally acceptable despite the compromises and risks involved — are the best in the play.“Can a false story be so good,” Helen asks, “that it does something true?”Danny Wolohan, left, as Hemingway and Andrew Burnap as the Dutch filmmaker Joris Ivens in the play.Sara Krulwich/The New York TimesRegarding “Spain,” a synthetic yarn with too many twists to follow in 90 minutes, the answer to that same question is no. I soon stopped trying to make sense of it, realizing that the story didn’t matter; ultimately Silverman is less concerned with Russian influence in the Spanish Civil War than with the permanent problem of art in the world. A final underwhelming gesture takes us even further from the facts to consider whether Soviet-style propaganda really died with the Soviet Union or merely moved elsewhere, co-opting more artists in the process.Dramatizing that airy premise by marrying it to a familiar entertainment template does neither spouse any favors. Silverman’s dialogue has the clipped rhythm of screwball comedy but not the wit — strange, because several earlier works, including “Collective Rage: A Play in 5 Betties,” “The Roommate” and “The Moors,” are so pointedly funny. Here, despite the quite palpable efforts of the actors, even the best lines seem unable to escape the dark gravity of Tyne Rafaeli’s staging.To be fair, that staging is faithful to Silverman’s instructions in the script, which emphasize the conventions of noir thrillers. Certainly, the clichés of the genre are reproduced too numerously and obviously not to be purposeful: Brutalist black boxes with sliding panels; shadowy figures in evening dress; slanting shards of chiaroscuro; reverberant amplification and portentous music cues. (Sets by Dane Laffrey, costumes by Alejo Vietti, lighting by Jen Schriever, sound and original music by Daniel Kluger.)The overall effect is heavy, and less clarifying than perplexing. When we finally see a bit of Ivens’s film — not projected on a screen but enacted live onstage — it is for some reason an opera, featuring an aria (“We Pray for Rain”) sung by the big-voiced bass Zachary James, who otherwise plays a Soviet agent.It may be that we are not meant to parse the scene’s meaning, or anything else in this overloaded effort. “Spain” is, after all, a play about propaganda, which is most effective when swallowed whole, if only that were possible.SpainThrough Dec. 17 at Second Stage’s Tony Kiser Theater, Manhattan; 2st.com. Running time: 1 hour 30 minutes. More

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    Netflix’s ‘Verified’ Gives Comedians a Path Forward

    The path forward for comedians is especially confusing now. Netflix’s “Verified” showcases are giving them a national stage, even if they have to share it.How in the world do you make it in stand-up comedy?This question has long kept aspiring stars up at night, and we are living in a moment when the route to a successful career is more confusing than ever. Do you have to get on TikTok? Does Comedy Central still matter? The days of being told you just need a spot on “The Tonight Show” are gone, and with myriad platforms, there appear to be many roads, most leading nowhere. And yet, the one that still has the biggest reputation for elevating comics is Netflix. But it’s unclear how much the streaming service, known for specials by boldfaced names like John Mulaney and Adam Sandler, cares about minting stars.That’s why Netflix’s “Verified” is important. It’s two showcases, each about an hour, featuring emerging comics doing short sets. There is a promising precedent: The streamer aired “The Comedy Lineup,” originally in 2018, which starred relative unknowns doing 15 minutes of jokes. Three in the Class of ’18 have since gotten their own series (Taylor Tomlinson, Michelle Buteau, Sam Jay). One just played Carnegie Hall (Tim Dillon). Another has been a head writer and sidekick on late night (Ian Karmel, a James Corden stalwart).Rosebud Baker brought her hard-boiled persona to “Verified.”Marcus Russell Price/Netflix“Comedy Lineup” didn’t vault these performers to fame, but it helped. And in retrospect, the selection of the entire group (including Jak Knight, Phil Wang and Sabrina Jalees) reflected foresight and taste. The artists in the new showcases are not exactly newcomers. There’s a correspondent for “The Daily Show” (Dulcé Sloan) and a comic who recently played the theater at Madison Square Garden (Nimesh Patel). There are jokes about dating in your mid-30s (Leslie Liao) and a comic showing off her pregnant belly (Rosebud Baker, whose hard-boiled persona backs up a strong, spiky set).“Verified” doesn’t amount to more than a perfectly fine tasting menu of comedy. Sometimes, though, that’s all you want.There’s something pleasing about following the transgressive intensity of Robby Hoffman with the laid-back charm of Patel. In a recent column on Hoffman’s podcast, “Too Far,” I compared that bulldozing stand-up to Larry David because of her mountain-out-of-a-molehill kvetching, but her hilarious rage over people who complain about interruptions during a conversation makes her sound like a modern lesbian Andrew Dice Clay. I didn’t even think that was possible.Patel takes a leisurely pace, mixing crowd work and topical jokes (some solid roasting of Vivek Ramaswamy) with dated bits (a Mike Pence joke). Patel makes this hour seem casual, offhand, just another night at the club.Sloan may adjust to the form best because she starts quickly (“How y’all doing? Great”), ends abruptly and sticks to a couple of nontopical subjects, including a bit about the benefits of dating a poor man and a great observational joke that might have you looking differently at the way people buy weed. In less than 15 minutes, her set packs a wallop.It’s interesting what seeing all these comics in one place reveals about what is missing from most Netflix specials. Isiah Kelly begins his set with a joke about being broke, and how you know you’re having a bad week when you have to check your bank account before finishing an order at McDonald’s. Financial hardship is one of the most common subjects in live comedy, inevitably relatable to audiences today, but you’re less likely to hear about it from Ricky Gervais or Kevin Hart.Sabrina Yu brought nervous energy to the showcase. Marcus Russell Price/NetflixOne of the revelations for me was Sabrina Wu, who barrels into jokes with a nervous energy, then exploits it. “Oh my God,” Wu says to the roar of applause, sounding grateful, then offended: “That’s it?” This is a young comic who knows how to pivot. Wu’s standout bit involves talking trash about Amanda Gorman, the former National Youth Poet Laureate, at a contest early in her career, then describing the futility of a rivalry with her. It’s one of the better jokes from a comic on an eternally rich subject: jealousy.Class does not come up as much as race and ethnicity. Comics tend to introduce themselves by playing with their own background. Along with jokes about her deep voice and impatience with first dates, Liao, a Chinese American comic, draws attention to how Asian people’s faces are “gender neutral.” Asif Ali does some shouty jokes connecting the large Indian population to the lack of sex education. “You know why we’re not talking about it,” he says, before pointing in the air with mock aggression: “We’re too busy being about it.”Gianmarco Soresi, a Jewish comic who alternates between silkily feline physicality and frenetic gesticulation, digs into antisemitism, but only as it affects his act. His jokes parody his own solipsism. “I just feel if white people would stop complaining all the time about cancel culture and actually fought,” he says with passion, shaking his fist, “then all of us could do the Chinese accent again.”He then turns his back to the crowd and the camera shifts, giving viewers a moody shot of him looking downcast from backstage, adding a visual joke that stands out because it’s such a dramatically different camera angle. I have no idea how he convinced the producers to do this, but the effort was worth it.This shot is notable because there is something modest and safe about these sets. (Patel’s “Lucky Lefty” on YouTube is a better showcase of his work.) Partly, the length makes it feel low risk, but also maybe the stakes. If Netflix is where comics go to make it, then YouTube is where you go to complain about why you haven’t.Louis Katz, a bald, filthy veteran comic with slingshot punchlines, opens his new self-released special, “Present/Tense,” with better-known comics explaining why he never became famous. Nate Bargatze says he’s too dirty. Marc Maron points to his hair line. Dave Attell blames personality.It’s a funny way to begin a special, which goes on to offer its own theory. People today, Katz argues, don’t want jokes. They want comics to bare their soul. Perhaps. But in a way, his lament about the state of his career (“Stand-up comedy does not have a great retirement plan”) is his best attempt.David Drake, a strong joke writer, begins his latest YouTube special, “That’s It!,” with a pointed joke that has the ring of truth. “Here’s how you make it in this business,” he says. “Have a famous dad.” More

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    A Play About Black Women’s Experiences, Met With Violence

    Rébecca Chaillon’s “Carte Noire Named Desire” provoked harassment in France this summer, leading one actor to pull out of a new run in Paris.One performer is missing from the current Parisian run of Rébecca Chaillon’s “Carte Noire Named Desire,” an arresting show about the experiences of Black women in France. When the actors gathered onstage for a dinner scene at the Odéon–Théâtre de l’Europe this week, Fatou Siby’s chair remained empty, and a monologue inspired by her life was delivered instead by a guest artist.The reason for Siby’s absence? She and other members of the all-Black cast were targets of racist attacks after “Carte Noire” played this summer at the Avignon Festival, which followed widespread protests in France over the police shooting of Nahel M., a 17-year-old of North African descent.“I need to protect myself,” Siby told the French news site Mediapart of her decision to withdraw from the Paris performances.In one short scene from “Carte Noire,” the cast stages a game of charades inspired by anti-Black racism. To help the audience guess the answer “colonization” this summer, Siby went into the auditorium and jokingly took bags and coats belonging to audience members. (The items were then set aside near the exit to be collected after the show.)According to Mediapart, one male audience member forcefully twisted Siby’s arm as she performed the scene. Others physically hit performers, called them “dictators” and implied they didn’t belong in France. In the days that followed, Siby told Mediapart, an audience member accosted her and her child on the street in Avignon. Since the incidents became public — in a statement, the Avignon Festival described them as “an outpouring of hate” — Chaillon and her team have also been cyber-harassed and become the subject of far-right pundits.Sitting in the audience at the Odéon this week, I found it hard not to feel anger on behalf of the seven cast members who have soldiered on. “Carte Noire” relies on their willingness to be highly vulnerable onstage. The excessive media attention on the charades scene obscured the rest of the piece, which is by turns powerful, lyrical and visually dazzling — an ode to Black women’s imagination in a world whose default setting is whiteness.In the show, Makeda Monnet sings a song about coffee — a product often produced in colonized countries — before being covered in a cloud of cocoa powder.Vincent Zobler“Carte Noire Named Desire” — the title is a play on a famous French ad for the coffee brand — offers some redress, starting with the seating arrangement. As the audience streams into the theater, a recorded announcement explains that 20 or so seats are reserved on comfortable-looking couches at the back of the stage for Black women or nonbinary people. There, they’re handed drinks, while the rest of the audience remains in folding seats for the next 2 hours and 40 minutes.The first half-hour prompts a different kind of discomfort. On her hands and knees, Chaillon, dressed in white, with white lenses covering her pupils and white powder all over her skin, tries to scrub an all-white floor clean, even as darker liquid drips from cups above her. As the scene stretches on, she starts stripping and using her own clothes as mops, ultimately dragging herself around the floor to wipe it.Coolly, without a word, the scene speaks to the disproportionate number of Black people in menial jobs in France. Chaillon, a bold performer and director who has been at the helm of her own company, Dans le Ventre, since 2006, excels at showing before telling. A castmate ultimately pulls her from the floor, and slowly washes the white powder off her body. Then the other women gather around her to braid oversized ropes into her hair — an evocative variation on a Black hair salon.The scenes that follow are often humorous and surreal. Chaillon reads from classified ads written by white men looking for Black women. Makeda Monnet, a trained soprano, trills her way through a song about coffee — a product often produced in colonized countries — on a table engulfed in white foam, before being covered in a cloud of cocoa powder.On the night I attended, however, the game of charades steered clear of its most controversial element. While the performers had audience members guess “Black Sea,” “Josephine Baker” or the film “12 Years a Slave,” the game didn’t include “colonization,” and no bags or coats were taken. While that word was intentionally removed from one Avignon performance to protect the cast, a spokeswoman for Dans Le Ventre said that its absence in Paris that night was random; charade rounds are sometimes skipped over when the game runs too long.What remained that night was a deeply felt production, interspersed with skits and monologues that walk a fine line between true accounts of pain and quasi-performance poetry. On that day, the story of the absent Siby was delivered by special guest Alice Diop, the filmmaker behind the award-winning “Saint Omer,” who sat on the couches in the back with other Black women.At the very end, the audience was left with an indelible tableau: Chaillon, naked, her heavy braids attached to a tangle of ropes above, as the other women sat at her feet — all assembled like roots in a tree of life. That any actor would be fearful of joining them onstage in “Carte Noire” only proves Chaillon’s point: For Black women, even an act of community is political.Carte Noire Named DesireOdéon–Théâtre de l’Europe through Dec. 17; theatre-odeon.eu More

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    in Television

    Henry Kissinger, Often Impersonated and Skewered by Sketch Comics

    Countless depictions on “Saturday Night Live” and beyond cast light on the idiosyncrasies and vanities of this diplomatic hard liner.In a November 1976 episode of “Saturday Night Live,” Gilda Radner, in her recurring impression of Barbara Walters — a.k.a. Baba Wawa — interviews Henry Kissinger, played by John Belushi. After inquiring about his “silly, silly” accent, which she says “really, really irritates” her, Radner asks Belushi to repeat after her: “I am a really, really fat, roly poly diplomat.” He does.The sketch includes a joke about Kissinger’s German-Jewish background. In a 1987 episode of “S.N.L.,” his religion comes up again in a sketch called “The Assimilated Jew’s Hanukkah.” In it, Al Franken imitates Kissinger, who is selling an album of Jewish Christmas songs. “Dozens of your favorite Christmas songs with lyrics a responsible Jew can feel comfortable singing,” he says — songs like “Silent Eight Nights” and “White Yom Tov.”After Kissinger’s death on Wednesday at 100 years old, Franken posted a memory on social media that referred to an American bombing campaign in North Vietnam in December 1972: “Kissinger called SNL once late on a Friday night looking for tix for his son. The Stones were playing that week. I told him that if it hadn’t been for the Xmas bombing, he’d have the tickets.”It is of little surprise that Kissinger, a polarizing figure who advised 12 American presidents and was the most powerful secretary of state of the postwar era, has been skewered and caricatured by comics for decades. His pronounced accent and manner of speaking were primed for satire, as was how he would regularly make statements that he seemed to think were quite profound but many found trite or ingratiating. (“Power is the ultimate aphrodisiac,” for instance.) He also appeared to be an irresistible target to those on the left in particular, who perceived him as an attention-seeking egotist and seemed to relish taking him down a peg by casting him as silly, albeit sinister.In the 1980s, the British comedy troupe Monty Python released a song titled “Henry Kissinger.” Among its lyrics: “You’re the doctor of my dreams/with your crinkly hair/and your glassy stare/and your Machiavellian schemes/I know they say that you are very vain/and short and fat and pushy/but at least you’re not insane.”In 1983, on “SCTV,” Eugene Levy took a drunken, stumblebum approach to Kissinger in a sketch that had him appear as a guest on a fictional late-night show hosted by Sammy Maudlin (Joe Flaherty). “I don’t want to talk about Watergate,” he says belligerently. “I don’t want to talk about Richard Nixon. He was a great president. He will go down as one of the great presidents in history. What do you know about Richard Nixon?” he yells, slamming his fist on the desk.At the start of the 2015 documentary “Call Me Lucky” about his life, the comedian and political satirist Barry Crimmins is seen giving a speech at an antiwar rally in Boston Common in 1990. “They tell us it’s not another Vietnam, and then they wheel out Henry Kissinger to tell us about it!” he yells before asking, “What, was Goebbels unavailable that day?” in reference to the Nazi propagandist Joseph Goebbels. Switching into a Kissinger voice, Crimmins says, “We must be very careful or war will be averted.”In 2015, Crimmins told The New Yorker that he was once in a green room with Kissinger, where he avoided being introduced. “I have a policy about not shaking hands with war criminals,” Crimmins said. Aside from being a guest in 2014, Kissinger himself made appearances in sketches (which drew pointed criticism) on “The Colbert Report,” Stephen Colbert’s satirical news program on Comedy Central in which he portrayed a conservative blowhard caricature for nine years. In 2013, Colbert danced to Daft Punk’s “Get Lucky” through various scenes that featured several stars and notable names, including Bryan Cranston, Jeff Bridges, the Rockettes and Kissinger, who picks up the phone and calls security.Years earlier, in 2006, Kissinger weighed in on a rock music contest in which Colbert and Peter Frampton competed against the Decemberists. In the episode, Kissinger said, “It’s time to rock,” and “I think the American people won.” In 2013, in an event at the New York Comedy Festival, Colbert said that Kissinger was also supposed to say, “Where are my pancakes? I was promised pancakes,” but he didn’t appreciate the line. “We have the tape of him reading the copy,” Colbert said, “and then he goes, ‘That is too much,’” quoting him with his accent.Jason Zinoman More

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    in Theater

    A Wood-Carved Protagonist, Enduring the Brutality of War

    Mid-morning on Tuesday at St. Ann’s Warehouse in Brooklyn, a puppet named Michael K had just grabbed a mug when the director Lara Foot called a pause to the action onstage.“Let’s stop here,” she said, and he did so instantly.Still clasping the mug in his right hand, he gazed at her with black, glass-bead eyes like someone who had been taken by surprise. Even frozen mid-gesture, he was subtle, human, uncanny — a striking alchemy of art and imagination.In “Life & Times of Michael K,” based on the 1983 novel of the same name by the South African-born Nobel laureate J.M. Coetzee, this puppet is the sinewy, carved-wood star, designed and created by Adrian Kohler of Handspring Puppet Company. At two-thirds the size of an average adult human, Michael is operated bunraku-style by a team of three puppeteers. Craig Leo, the show’s puppet master, is in charge of Michael’s head and right arm.The puppeteers Markus Schabbing and Carlo Daniels with Michael K. The story is set amid a fictional civil war, whose Kafkaesque landscape Michael navigates with his ailing mother, Anna.Amir Hamja/The New York TimesManipulation is not the job, though. To Leo, it’s more a matter of following the puppet’s lead.“There’s something strange that happens,” he said in an interview in the lobby of St. Ann’s, game to chat despite feeling under the weather. “You have these moments — and you kind of aim for them, and you hope that you can do it as much as possible — where he just comes alive. It’s when the synchronicity really clicks in between the three puppeteers, and then all of a sudden you’re holding him and he becomes incredibly light. And he’s suddenly almost moving on his own.”Coetzee’s Booker Prize-winning novel is set amid a fictional South African civil war, whose Kafkaesque landscape Michael navigates as he attempts to take his old and ailing mother, Anna, on the long journey from Cape Town back to the countryside she loved as a girl.Foot, the artistic director of the Baxter Theater Centre at the University of Cape Town, adapted the novel in collaboration with Handspring. Kohler and Basil Jones, a fellow Handspring founder, directed the production’s puppetry. At the Edinburgh Festival Fringe in August, the show impressed critics, with The New York Times calling it “stylish” and a “standout.”The puppeteers Faniswa Yisa and Roshina Ratnam with Michael K’s mother, Anna.Amir Hamja/The New York TimesA young Michael K, with the puppeteers Markus Schabbing and Andrew Buckland.Amir Hamja/The New York Times“Puppets hold philosophy in them, and poetry,” Foot said in a separate interview. “Coetzee’s work, some of his work, lends itself to that because there’s a lot of thought-provoking narrative.”Having long wanted to work with Handspring, she thought a puppet would be perfect to embody Coetzee’s Michael — a gardener whose cleft lip makes people think him inferior — as a kind of everyman confronting existential questions.“When I sent ‘Michael K’ to Basil and Adrian,” she said, “Adrian had already read it and it was one of his favorite novels. We agreed that it would just be Michael, his mother, the children and the animals that would be puppets. And the rest of the world would be the context of the war.”So the company also includes five actors. One of its four puppeteers, Leo, arrived in New York this week from Mexico. That was the terminus of his nearly three-month tour across North America with the giant child refugee puppet Little Amal, who along with the horses of “War Horse” — another show on Leo’s résumé — is among Handspring’s most famous creations.“If you look at his left side of his face and his right side of his face, there are different expressions,” said Craig Leo, the show’s puppet master.Amir Hamja/The New York Times“He has kind of a tortured look on the one side,” Leo said. “From the other side, he’s actually very beautiful. In the light, his expression changes all the time.”Amir Hamja/The New York TimesAfter stilt walking to operate Amal from the inside, unable to see what her face was doing, Leo was palpably pleased to be reunited with Michael, a puppet he has worked with on and off for more than two years, and one he could keep his eye on from the outside.“If you look at his left side of his face and his right side of his face, there are different expressions,” he said. “He has kind of a tortured look on the one side; I don’t know how else to describe it. From the other side, he’s actually very beautiful. He’s a really handsome man. In the light, his expression changes all the time. It catches all those carved lines in the wood.”“He holds the pathos,” Craig Leo, the show’s puppet master, said of Michael K. “He holds it even when he’s hanging on his puppet rack.”Amir Hamja/The New York TimesOf the dozen-plus puppets in the play, there are four Michaels: a baby, glimpsed only briefly yet made, Foot said, with legs fully capable of kicking; a child; a miniature adult; and the main adult, with a head carved from Malaysian jelutong, legs of carbon fiber and ribs of Indonesian cane.“The joints are very finely made,” Leo said. “It breaks fingers because they’re so delicate. We just glue them back on. But as a whole, the puppet has never broken.”Which is lucky, because there is only one of him, no backup.“I’ve thought about that often, actually,” Leo said. “Should we be locking him up at nights? It’s a work of art, you know.”To him, Michael is also a magnet for empathy, as puppets are generally — and a portal into the story in a way that a human actor would not be.“He holds the pathos,” Leo said. “He holds it even when he’s hanging on his puppet rack.” More