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    ‘The Bear’ Season 3: Tastes Great, Less Fulfilling

    It’s still TV’s best and most beautiful series about work and creation. But the new season is a tease.This article discusses scenes from the beginning through the end of FX’s “The Bear” Season 3, now available in full on Hulu.No one loves a mixed review. The final moments of “The Bear” Season 3 confirm this, as Carmy Berzatto (Jeremy Allen White), the doe-eyed maniac at the center of the dramedy, receives an alert for the make-or-break Chicago Tribune review of his ambitious, cacophonous restaurant. He has imagined a million versions of it — absolute raves, devastating pans. Now it’s here.We don’t get to see the review, only a Mad Libs rush of contradictory words, out of context: “Brilliant.” “Complex.” “Confusing.” “Innovative.” “Stale.” “Talent.” “Disappointed.” Carmy, alone with his phone and the verdict, lets fly the season’s last words, a hearty curse.Sorry, Chef: Sometimes the truth is mixed. It is for the third season of “The Bear,” in which one of the most brilliant shows on TV attempts a complex, at times confusing, elaboration on its themes. The 10 episodes are often innovative in execution but sometimes stale in their repetition of established conflicts. It’s an astonishing display of talent. But it is likely to leave anyone hoping for narrative momentum disappointed.“The Bear” does not lack confidence. The premiere, “Tomorrow,” is a bravura scene-setter that is as much an overture as an episode. Picking up the morning after the Season 2 finale — in which Carmy successfully soft-launches the Bear but sabotages his romance with Claire (Molly Gordon) — it’s an impressionistic tour of his manic consciousness.There is very little dialogue; mostly this episode, written by the series creator Christopher Storer, tells its stories in a series of quick cuts set to a mesmerizing score by Trent Reznor and Atticus Ross. It dips into the near and remote past, flashing on scenes from the previous seasons, sneak-peeking moments from later in Season 3 and fleshing out events from Carmy’s history. At times it’s hard to tell what’s present and past as you tumble about in his perseverating mind.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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    Enough With Prestige TV. Give Me the Bloopers!

    In a world of bad vibes, I just want to see an actor break.In the summer of 2023, while a confused nation binged old episodes of the gourmet cheeseball legal drama “Suits,” I chose instead to fixate on a “Suits” blooper reel. It’s on YouTube. It’s 16 minutes long and consists primarily of the star of the series, Gabriel Macht — he plays Harvey, a cocky lawyer who works at the same firm as the woman played by the future Duchess of Sussex — flubbing lines, wiggling his eyebrows, moonwalking, mispronouncing “behalves,” playfully pretending to punch his co-stars in the face and dissolving into giggles when one of those co-stars calls him “Chucklebutt.”I have never watched a full episode of “Suits,” neither when it originally ran on the USA Network throughout the 2010s nor when Netflix shrewdly revived it. Still, I returned to these “Suits” bloopers multiple times a day, every day, for months. They delighted and comforted me, as legal dramas never do.I dig blooper reels, man. I dig the slapstick, the loopiness, the unexpected poignancy, the genial chaos. I first encountered this universe as a child via the crucial (and poignant!) 1989 direct-to-VHS classic “Dazzling Dunks and Basketball Bloopers,” in which the N.B.A. gods of my youth proved themselves to be mortal by occasionally whining to the refs. And now, as a weary adult with too much to worry about and too much stuff to watch, I find blooper reels to be richer texts than the shows and movies from which they derive. Macht from “Suits” saying, “Donna, Judge Atkins is ready to hear my motion for summary judgment”: boring. Inert. I don’t care about any of these people. Macht from “Suits” repeatedly stumbling over the words, “Donna, Judge Atkins is ready to hear my motion for summary judgment” until he growls, “Oh, my God, this line”: hilarious. Winsome. Engrossing. A celebration of man’s imperfection. I think that’s beautiful.Sometimes I love bloopers for their wanton silliness. Jason Schwartzman splitting his pants during a “Scott Pilgrim vs. the World” sword fight. Will Ferrell waxing rhapsodic about the nice bluish hue of his plums on “Eastbound & Down.” Jenna Ortega accidentally clonking a young lady in the face with a flashlight while filming “Wednesday.” Jerry Stiller incapacitating Julia Louis-Dreyfus with his impassioned delivery of “What the hell does that mean?” on “Seinfeld”; Chris Pratt incapacitating the entire set of “Parks and Recreation” by suggesting that Kim Kardashian has a great comeback story. The bloopers during the end credits of Jackie Chan movies, in which Jackie Chan gets injured doing various Jackie Chan-type stunts. Ryan Gosling as a competent dramatic actor: Lovely. Good job. Ryan Gosling tittering ineptly through nearly every “Saturday Night Live” sketch in which he has ever appeared: awesome. Bizarrely compelling. A legacy to be proud of.Sometimes I watch this stuff while I’m writing. For each paragraph (or sentence) I grind out, I reward myself by returning (briefly!) to the split pants, the juicy plums, the copious giggling. This is not an especially noble impulse: Bloopers distract me, revert me to the childlike state that is my preferred adult mode.But often my love for such tomfoolery is more complicated, more emotionally fraught, more, dare I say, sophisticated. Because it turns out that sometimes grimly prestigious TV shows have blooper reels too, and I find these bloopers to be both delightful and bizarrely soothing. Look: I hate conflict, stylized cruelty, cross-examination, grittiness, bleakness, middle- to highbrow tragedy. Regrettably, the best (or at least biggest) shows on TV are often full of all that. I watched every episode of “Breaking Bad” and “Game of Thrones” and “The Americans” but didn’t really enjoy myself at all; I enjoy all those shows’ respective blooper reels very much, though. I hate watching people being mean to one another, and I love it when one of those people biffs a line and ruins the take and everyone dissolves into giggles. See? They’re actually friends! Everyone’s having a good time! The world is a fundamentally friendly and goofy and joyful place! Bleakness and cruelty are entirely fictional constructs!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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    Shay Youngblood, Influential Black Author and Playwright, Dies at 64

    She wrote memorably about her upbringing by a circle of maternal elders and the life lessons they imparted, and of her yearning for the mother she lost.Shay Youngblood, a novelist and playwright whose works about her upbringing by a churchgoing cohort of “Big Mamas” and her adventures in Paris as a young aspiring writer inspired a generation of young Black women, died on June 11 at the home of a friend, Kelley Alexander, in Peachtree City, Ga. She was 64.Ms. Alexander said the cause was ovarian cancer.Ms. Youngblood, whose mother died when she was 2 years old and whose father was not in her life, grew up in a housing project in Columbus, Ga., where she raised by her maternal grandmother and great-grandmother, along with a close circle of eccentric and adoring maternal stand-ins.The Big Mamas — stoic, arthritic and wise — had much to impart to the young Shay: their dim view of most men; their love of music, dancing and church; their often bawdy humor; their dignified, powerful resistance to the indignities and horrors visited upon them by the racist white employers for whom they worked as maids.Ms. Youngblood said that she prayed often for her mother to return, but that as she grew older, she appreciated the richness of her upbringing and turned the experience into her first book, “The Big Mama Stories” (1989), which before being published was adapted into her first play, “Shakin’ the Mess Outta Misery.” First produced by the Horizon Theater Company in Atlanta in 1988, it has since been staged all over the world, in schools and local theaters.“The simple act of centering on the stories of Black women, with barely any references to the men (white or Black) in their lives, is itself an act of resistance,” Kerry Reid wrote in a review for The Chicago Tribune when “Shakin’ the Mess Outta Misery” was produced in Chicago in 2017, 20 years after its first staging there. “And the women we meet in Youngblood’s unapologetically fierce, funny and ultimately hopeful memory-play-with-music might make you want to jump up at the curtain call and ask all of them to run for office.”Lisa Adler, Horizon’s longtime co-artistic director, recalled that when Ms. Youngblood gave her the play in its original raw form in the early 1980s, when they were both in their early 20s, she thought: “This isn’t quite a play, but it’s something. I’ve got to do something!” She convened the director Glenda Dickerson and the dramaturgs Gayle Austin and Isabelle Bagshaw, and together they shaped the work.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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    ‘Starlight Express’ Review: The Gravy Train Rolls On

    Nostalgia will undoubtedly lure many to a London revival of the Andrew Lloyd Webber musical. It has more in common with a theme park than with theater, our critic writes.Andrew Lloyd Webber’s baffling musical, “Starlight Express” — in which trains, represented by performers on roller skates, compete in a championship at the behest of a little boy who is dreaming the whole thing — was a big West End hit in the ‘80s and ‘90s. Forty years after its 1984 premiere, it returns with a new production, this time in a purpose-built auditorium about 10 miles west of the theater district.This “Starlight Express,” directed by Luke Sheppard and running through Feb. 16, 2025, channels heady nostalgia for the recent past. The set design and sound effects are redolent of ‘90s video games and British TV game shows like “Gladiators”; the glittery, sci-fi costumes are reminiscent of “Power Rangers.” The show is a dazzlingly produced family entertainment with impressive special effects, but its appeal consists almost entirely in sensory overload rather than plot, music or drama.Our unlikely hero, the steam engine Rusty (Jeevan Braich), is initially intimidated by his competitors, the electric and diesel trains Electra (Tom Pigram) and Greaseball (Al Knott). Rusty’s got hots for a railroad car called Pearl (Kayna Montecillo), but she’s not sure if she likes him in that way. After several setbacks and some soul-searching, he teams up with a hydrogen engine, Hydra (Jaydon Vijn), to win both the race and the girl. Essentially it’s “The Karate Kid,” with trains.A talented cast do their best to breathe life into this somewhat unoriginal tale. Branch plays Rusty with just the right blend of halting self-doubt and plucky determination, and the baddies are rendered with cartoonish bravado. But the real star of the show is Tim Hatley’s spectacular set, with its racing track that snakes out from the stage into the audience seating, so that the performers occasionally zoom right through, complemented by an array of incredibly slick visuals: steam jets, flame effects, laser beams.Rusty with Hydra, played by Jaydon Vijn.Pamela RaithWe 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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    Angélica Liddell Brings Electricity to Avignon Festival

    The Spanish director and performer Angélica Liddell elicited a standing ovation at the Avignon Festival in spite of her attacks on critics.Theater critics can be masochistic creatures. On Saturday, the Spanish provocateur Angélica Liddell opened the Avignon Festival in France, one of Europe’s most prestigious theater events, with a no-holds-barred diatribe against them. She quoted, and taunted, several writers who were in the audience.The response from the rows of journalists in attendance, and the nearly 2,000 attendees? A standing ovation.Bizarre and grating as it was, Liddell’s “Dämon: El Funeral de Bergman” (“Demons: Bergman’s Funeral”) brought a level of electricity to the Avignon Festival, which runs through July 21, that few have matched in recent years. Its most prized venue, the open-air Cour d’Honneur of Avignon’s Palais des Papes, or papal palace, tends to foil even the most experienced artists. Not so Liddell and her visceral monologues.She spent long stretches of “Dämon: El Funeral de Bergman” alone on the vast, blood-red stage. Pacing back and forth, she vociferated as if she were possessed. At regular intervals, she took her cue from the intense, misanthropic writings of the Swedish filmmaker Ingmar Bergman, one of her idols. “I am Ingmar Bergman,” she declared at one point, before returning to her favorite themes: death, guilt, sex and excrement.Yet the first vocal shots Liddell fired were directed at critics, in a section called “Humiliations suffered.” With her back turned to the audience, she began reading excerpts from negative reviews of her work, starting with an article by Armelle Héliot, the former chief theater critic of the French newspaper Le Figaro. “Where are you, Armelle?,” Liddell yelled, before moving on to the next name.As those around me realized what was happening, mouths fell open. Many of us thought back frantically on our past reviews, wondering if we were next.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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    Netflix and Amazon Drive Bump in TV Show Market

    Netflix and Amazon are driving a small bump in the market for TV shows after a major slowdown.It has been nearly seven months since Hollywood resolved its strikes, but momentum still hasn’t taken hold in the entertainment industry. “Survive till ’25” has become an informal slogan among entertainment workers.But the global market for ordering new TV shows is beginning to show some signs of life, and it’s been overwhelmingly driven by two players — Netflix and Amazon.Netflix greenlit more scripted television projects through the first quarter of this year than in any quarter since 2022, according to Ampere Analysis, a research firm. Amazon had its most active quarter since Ampere started tracking market activity five years ago, the firm said.Many of their competitors are still taking a more cautious approach. As a result, Netflix and Amazon collectively accounted for 53 percent of the scripted television series orders among the major studios through the first three months of the year, according to Ampere.Most of the series orders have been made internationally. Netflix has been particularly active in Britain, Germany, Spain and South Korea, the research showed, while Amazon has been investing aggressively in India.Netflix and Amazon have also purchased more projects in the United States compared with the tail end of 2023, but the increases have been more modest. Netflix had its most active quarter domestically since the first quarter of last year. Amazon had its biggest quarter since the spring of last year, according to the research.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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    Brooke Shields Has Worn Many Hats. Now She’s a Labor Boss.

    The model-turned-actress-turned-businesswoman is the new president of Actors’ Equity. In an interview, she explained what she’s doing there.Brooke Shields has a new office. It’s empty, and she hasn’t figured out how she wants to furnish it, or even how often she’ll be there, but it’s a sign of her new and unexpected status, as president of Actors’ Equity Association, the labor union representing theater actors and stage managers in the United States.Shields’s candidacy was a surprise, even to herself. But when Kate Shindle, who had led the union for nine years, announced in April that she was stepping down, Shields’s music director suggested she consider the opening, and soon enough, she had tossed her hat in the ring, and in May she won the vote by members, defeating two more-seasoned labor activists. She’s already led her first meeting of the union’s council, and came away realizing she has a lot to learn, starting with parliamentary procedure.Shields, of course, is one of those people who has been famous for so long, and in so many ways, that even she can’t remember a different time. She was a childhood model, a preteen movie star, a sex object and an icon of beauty, all before she went off to college (Princeton, thank you very much). In the years since, she has acted onscreen and onstage, has written books, has spoken widely, particularly about depression, and has become a symbol and a subject for an evolving discussion about how women and girls have been sexualized by the entertainment and fashion industries.Shields (center as Brent Barrett’s ventriloquist’s dummy at a 2006 anniversary party) has had five roles on Broadway, including playing Roxie Hart in “Chicago.” Sara Krulwich/The New York TimesShe has had five roles on Broadway, each time replacing a principal in an already-running show (“Grease,” “Chicago,” “Cabaret,” “Wonderful Town” and “The Addams Family”). She has also performed occasionally at regional theaters (“The Exorcist” at the Geffen in Los Angeles, for example) and Off Broadway (in the star vehicles “Love Letters,” “The Vagina Monologues,” and “Love, Loss, and What I Wore,” among others).Now, at 59, she is thinking a lot about middle age. She is recovering from a foot surgery that attracted attention when she wore Crocs (yellow, matching her dress) to the Tony Awards. She has just started a new beauty business, Commence, with hair-care products developed for women over 40; she is writing another book, also aging-focused; and she is seeking new ways to harness the celebrity she can never shed. That’s where Equity comes in — she says actors and stage managers were extraordinarily supportive of her when she needed to jump quickly into an unfamiliar show. Now she wants to give back.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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    What’s on TV This Week: Shark Week and Macy’s Firework Show

    Discovery airs its annual lineup of ocean terrors. And NBC airs the annual firework show in New York City.For those who still enjoy a cable subscription, here is a selection of cable and network TV shows, movies and specials that broadcast this week, July 1 – 6. Details and times are subject to change.MondayBASKETBALL WIVES 8 p.m. on VH1. This show about the wives (and ex-wives and girlfriends) of N.B.A. players, is back for the second half of Season 11. In this world, the success of your partner dictates your power within the group and that continues to play out as the show goes on. Thankfully, these ladies are around to stir up drama because with most “Real Housewives” franchises in between seasons, it has been a little too quiet.TuesdayDISCO: SOUNDTRACK OF A REVOLUTION 9 p.m. on PBS (check local listings). This three-part documentary series uses different songs from the disco era to highlight the impact the musical genre had on its listeners. In the first episode, the focus is on “Stayin’ Alive” with conversations about how Middle America reacted to the genre’s queer and hedonistic themes.From left: Brandon Brown and Joe Schoen on “Hard Knocks: Offseason.”Matt Swensen/HBOHARD KNOCKS: OFFSEASON 9 p.m. on HBO. Since 2001, this series has shown us behind the scenes moments from over 20 teams in the N.F.L. season. This new version will instead follow a single team — this year it’s the New York Giants, as the team prepares for its 100th season.WednesdayHOPE IN THE WATER 9 p.m. on PBS (check local listings). Documentaries like “Seaspiracy” and “A Plastic Ocean” have warned us about the dangers of the fishing industry and the consequences of ignoring climate change. This documentary series is bit more hopeful since it outlines a solution: sustainable aquaculture, a method of fostering and harvesting seafood for people to eat, while protecting fragile ocean ecosystems.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