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    ‘Love Island USA’ Reunion: 5 Biggest Takeaways

    After a chaotic and fun season, even more drama unfolded on social media in the weeks that followed. This Peacock special broke everything down.This summer’s season of “Love Island U.S.A.” has been the most popular of the franchise so far. And, if it feels like everyone is talking about it, it’s because they probably are — during the second week of July, this show was the most watched streaming original series in the U.S., according to Luminate, an entertainment data tracking service. That means it outranked “The Bear.”Because of the season’s popularity, it made sense for the show to have its first ever reunion special. Hosted by Ariana Madix, whose training included being grilled by Andy Cohen during her many “Vanderpump Rules” reunions, the show featured 25 Islanders — both OGs and Casa Amor — discussing not only what went on during the season but also all the messy drama that has unfolded on social media in the weeks after the show aired.Here are the five biggest takeaways from the reunion.Full footage of the firepit vote between Serena Page, Olivia Walker, Leah Kateb and Kaylor Martin is revealed.One of the biggest and longest running dramas in the villa this season had to do with the dumping of Andrea Carmona. At the time, Carmona was coupled up with Rob Rausch, who had just gotten out of a couple with Leah Kateb.A handful of the women in the villa had to decide whom to dump between Carmona, Nicole Jacky or JaNa Craig.The decision to send Carmona home caused many fights, including one during which Martin and Walker told Rausch that Kateb had been the one pushing to send Carmona home — and this information discouraged Rausch from recoupling with Kateb. Kateb maintained that she “tried to take a back seat” in the decision making.Throughout and following the season, viewers asked on social media why the show didn’t just air the entire unedited footage of the four women making the decision, instead of allowing a seemingly endless “he-said-she-said.”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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    He Wants People Restarting Their Lives to See Themselves Onstage

    Tarell Alvin McCraney, the artistic director of the Geffen Playhouse in Los Angeles, is focused on bringing marginalized people to the theater.At a time when nonprofit theaters are still recovering from the pandemic shutdown and are looking to connect with their communities, Tarell Alvin McCraney is looking in unorthodox places: prisons, homeless shelters and the foster care system.One year into his tenure as the artistic director of the Geffen Playhouse in Los Angeles, McCraney, 43, doesn’t just want to expand his audience, he wants the theater to be a place where the marginalized and struggling see themselves onstage and feel welcome.“The first thing we do is make sure that they can see plays that reflect their lives,” McCraney said in a recent interview, “plays that deal with folks who are in the system, formerly incarcerated, trying to rebuild their lives.”It is with this priority in mind that McCraney decided to start this season with his own play, “The Brothers Size,” which began previews Aug. 14 and explores the complicated but loving relationship between Oshoosi, just out of prison, and his older brother Ogun. The Geffen has offered free tickets to “populations impacted by incarceration” through its Theater as a Lens for Justice initiative, which McCraney started shortly after his arrival.The Geffen, which has an annual operating budget of about $15 million and a staff of 45 full-time employees, will do the same with its upcoming productions of “Waiting for Godot,” which opens in November, and “Furlough’s Paradise,” which opens next April.These types of outreach efforts might not necessarily translate into ticket sales. But nonprofit theaters all over the country are eager to build their audiences at a time when subscriptions have declined; the Mark Taper theater in Los Angeles suspended productions last year.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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    At Edinburgh Fringe, There Are 2 Plays About Gwyneth Paltrow

    Multiple shows at the Edinburgh Fringe make camp fun out of the 2023 civil action that spurred a thousand memes — and one of them is a triumph.Terry Sanderson, a retired optometrist, was unsuccessful when he sued the actress turned wellness entrepreneur Gwyneth Paltrow over a collision on a Utah ski slope. Though he claimed that she had crashed into him, a jury determined it was actually his fault. The live-streamed 2023 civil case was an unseemly but strangely fascinating spectacle featuring two equally dislikable archetypes: the vexatious litigant and the preening, out-of-touch celebrity.But in another sense, Sanderson won: His name is now forever etched into pop culture folklore, as not one but two new stage productions about the ski trial at this year’s Edinburgh Festival Fringe attest.In “Gwyneth Goes Skiing,” Sanderson’s vibe is that of a spurned lover.Jonny RuffThe more rough and ready of the two, “Gwyneth Goes Skiing,” at the Pleasance Courtyard, is a camp burlesque in which both parties are mercilessly skewered. Linus Karp, in drag, plays Paltrow with the drawling malice of a pantomime witch. She’s an entitled girlboss whose altruistic affectations mask a sociopathic character, while Joseph Martin as Sanderson is dull mediocrity personified. The characters’ partners are played by plucky audience volunteers, aided by a teleprompter, and Kristin VanOrman, Sanderson’s lawyer, is represented as star-struck and hopelessly incompetent by a disheveled ventriloquist’s dummy, voiced by Martin.In this telling, both Sanderson and his lawyer are driven not so much by monetary greed as by a pathetic desire to connect with Paltrow. They are moths to the flame of celebrity, and Sanderson’s vibe is that of a spurned lover. There are snowball fights, some jousting with skis and snatches of music. When Paltrow utters the immortal line that spurred a thousand memes, “I lost half a day of skiing,” the stage lighting switches to a deep red to emphasize the severity of her plight. At the end of the show, the audience gets to be the jury, voting via QR code to decide who wins.Linus Karp as Paltrow, with Kristin VanOrman, Sanderson’s lawyer, played by a puppet.Jonny RuffWe 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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    ‘Reservation Dogs’ Showed D’Pharaoh Woon-A-Tai What Is Possible

    The actor received his first Emmy nomination for his performance on the acclaimed Native comedy. In an interview, he talks about breaking down stereotypes, and possibly reviving his character.Much like his “Reservation Dogs” character, D’Pharaoh Woon-A-Tai grew up wondering if he was a good guy.If his dedication to his craft and his community is any indication, the 22-year-old actor of Anishinaabe, Guyanese and German descent seems to be a pretty upstanding citizen. The day we chat about his Emmy nomination for lead actor in a comedy series, for example, he is visiting his parents in his native Toronto (from his adopted hometown, Los Angeles) and has spent most of the morning chauffeuring his auntie around on a several-hours-long excursion. After all, mothers, grandmothers and aunties are considered the bedrock of Indigenous communities.That’s a fact any “Reservation Dogs” fan would know. With the groundbreaking FX series, the creators Taika Waititi and Sterlin Harjo provided a rare look at everyday life on an Oklahoma Indian reservation through the eyes of four teens reeling in the aftermath of a friend’s suicide. Harjo, who also served as showrunner, has said there was only one way to do it: with an all-Indigenous team of writers, directors and regular actors who could authentically tell this story.Alongside his young co-stars, Woon-A-Tai made uncharted television territory feel warm, raw and utterly relatable, garnering “Rez Dogs” broad acclaim as well as four Emmy nominations this year, including a best comedy nod. His portrayal of Bear Smallhill also earned him an Emmy nomination, placing him alongside Lily Gladstone (“Under the Bridge”) and Kali Reis (“True Detective: Night Country”) as the first Indigenous actors to be nominated in 17 years.In an interview, he talked about breaking down stereotypes, possibly reviving his “Rez Dogs” character and being a good, healthy Indigenous man. These are edited excerpts from the conversation.Despite critical acclaim, “Rez Dogs” was notably overlooked by the television academy for its first two seasons. What does it mean to you to break through with a best comedy nomination and one of the few Indigenous acting nominations in Emmys history?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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    Phil Donahue’s Neutral Wardrobe Kept the Focus on His Subjects

    The talk show host made a career of exposing polarizing topics while dressed in a relatively neutral wardrobe.The hoary tabloid axiom “if it bleeds, it leads” played no small part in the decades-long career of Phil Donahue, the pioneering host of “The Phil Donahue Show,” who died on Sunday at 88. Mr. Donahue spent three decades exposing subjects difficult for many Americans to confront — homosexuality, atheism, civil rights, consumer protection and abortion among them — to the disinfectant light of daytime TV.Central to Mr. Donahue’s success was his physical appearance. A conventionally handsome man with a boyish cast to his features, he had a perpetually merry look of bemusement and a virile, Kennedy-esque thatch of hair that grayed and then whitened as he aged in front of viewers in their living rooms. The aura Mr. Donahue conveyed was that of genial, avuncular family doctor who distracts you with innocuous banter as he rips off the bandage.Mr. Donahue deliberately played to that look with an on-air wardrobe that occasionally veered toward dapper — vested three-piece suits, wide ties, broad ’80s lapels — but was seldom, if ever, flamboyant. No “groovy” Merv Griffin shirts or turtlenecks for him, or the loud jackets and pastel polyester suits that were Johnny Carson’s sartorial signature. By comparison, Mr. Donahue’s style was resolutely neutral: He wore good clothes that fit his trim frame neatly but still seemed unremarkable, as though bought off a rack at J.C. Penney.When at times Mr. Donahue shed his jacket, it was to roam the studio aisles with his shirt sleeves rolled up, wielding the mic like a baton and putting it and the authority into the hands of audience members, whose questions he once remarked were often better than his.“Donahue’s subjects were often sharp, but his presentation was soft,” Wayne Munson, the author of “All Talk: The Talk Show in Media Culture,” said in an interview. Mr. Munson’s 1993 book took aim at a cultural form that, reviewers noted, blended interpersonal exchange and mediated spectacle and that would ultimately, as few then predicted, give way to all the yapping now consumed on social media.Mr. Donahue’s appearance, demeanor and habit of sharing the mic with audience members suggested his was never to be the authoritative voice of God but that of a neighbor.Getty ImagesWe 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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    Late Night Congratulates Biden for Staying Up So Late

    When the president finally took the stage at the Democratic convention, “the cheers were so loud that even Biden could hear them,” Jimmy Fallon said.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.Past His BedtimeThe Democratic National Convention kicked off in Chicago on Monday with a focus on celebrating President Biden.Late-night hosts took the opportunity to poke fun at his age once more. Jimmy Fallon said that when the president took the stage for his speech, “the cheers were so loud that even Biden could hear them.”“Biden gave a speech highlighting his accomplishments. He talked about the economy, health care and how he walked to the podium.” — JIMMY FALLON“Biden stood on that stage, gave a powerful speech and proved to the country and the world that he can stay up past 8 p.m.” — STEPHEN COLBERT“They decided to have Biden speak on Monday, in hopes that he’d be done by Thursday.” — RUPAUL, guest host of “Jimmy Kimmel Live”The Punchiest Punchlines (For the People Edition)“It was an extraordinary night and extraordinarily long.” — STEPHEN COLBERT“Each night of the convention has its own theme, and tonight’s was ‘For the People.’ Yeah, it’s a big change from a month ago, when the theme was ‘For the Last Time, Please Drop Out.’” — JIMMY FALLON“Surprise, it’s Kamala! Which one month ago became the Democrats’ campaign slogan.” — STEPHEN COLBERT, on Kamala Harris’s unscheduled appearance at the convention on MondayThe Bits Worth WatchingMichael Keaton talked about reprising his role as Beetlejuice (for a sequel, “Beetlejuice Beetlejuice”) on Monday’s “Tonight Show.”What We’re Excited About on Tuesday NightColman Domingo, star of “Sing Sing,” will sit down on Tuesday with RuPaul, the guest host of “Jimmy Kimmel Live.”Also, Check This OutRichard Belzer, left, and Andre Braugher in a scene from “Homicide: Life on the Street.”NBCU Photo BankThe foundational ’90s cop drama “Homicide: Life on the Streets ” is available to stream for the first time, on Peacock. More

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    5 Takeaways from the ‘Love Island U.S.A.’ Season 6 Reunion

    After a chaotic and fun season, even more drama unfolded on social media in the weeks that followed. This Peacock special broke everything down.This summer’s season of “Love Island U.S.A.” has been the most popular of the franchise so far. And, if it feels like everyone is talking about it, it’s because they probably are — during the second week of July, this show was the most watched streaming original series in the U.S., according to Luminate, an entertainment data tracking service. That means it outranked “The Bear.”Because of the season’s popularity, it made sense for the show to have its first ever reunion special. Hosted by Ariana Madix, whose training included being grilled by Andy Cohen during her many “Vanderpump Rules” reunions, the show featured 25 Islanders — both OGs and Casa Amor — discussing not only what went on during the season but also all the messy drama that has unfolded on social media in the weeks after the show aired.Here are the five biggest takeaways from the reunion.Full footage of the firepit vote between Serena Page, Olivia Walker, Leah Kateb and Kaylor Martin is revealed.One of the biggest and longest running dramas in the villa this season had to do with the dumping of Andrea Carmona. At the time, Carmona was coupled up with Rob Rausch, who had just gotten out of a couple with Leah Kateb.A handful of the women in the villa had to decide whom to dump between Carmona, Nicole Jacky or JaNa Craig.The decision to send Carmona home caused many fights, including one during which Martin and Walker told Rausch that Kateb had been the one pushing to send Carmona home — and this information discouraged Rausch from recoupling with Kateb. Kateb maintained that she “tried to take a back seat” in the decision making.Throughout and following the season, viewers asked on social media why the show didn’t just air the entire unedited footage of the four women making the decision, instead of allowing a seemingly endless “he-said-she-said.”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

    At the Ruhrtriennale, Searching for the Sublime Among the Ruins

    In the abandoned industrial sites that serve as the festival’s venues, our critic witnessed beauty struggling to be born: fitfully, clumsily and sometimes stunningly.“I Want Absolute Beauty,” the title of the opening production for this year’s Ruhrtriennale, sounds like a mission statement of sorts.The event, one of Germany’s major arts festivals, lights up the former industrial sites that dot the Ruhr region, in the country’s northwest — though hulking power plants and abandoned steelworks aren’t where you necessarily expect to find beauty. Then again, this 22-year-old festival has always been about letting audiences encounter the sublime among the ruins. Everywhere I turned during the Ruhrtriennale’s opening weekend, I witnessed beauty struggling — fitfully, clumsily and sometimes stunningly — to be born.This summer, the Ruhrtriennale welcomes a new artistic leader, the acclaimed Belgian theater director Ivo van Hove. His three-season tenure kicked off on Friday night with “I Want Absolute Beauty,” a staged cycle of songs by the English singer-songwriter P.J. Harvey that van Hove has created for the German actress Sandra Hüller, presented at the Jahrhunderthalle, a former power station in the city of Bochum.Hüller, best-known for her Academy Award-nominated performance in “Anatomy of a Fall,” gives gutsy and full-throated renditions of 26 of Harvey’s songs accompanied by a four-person band. It’s a heroic performance over an intermission-less hour and a half. Van Hove doesn’t impose a narrative, in the style of jukebox musicals, but a journey of sorts can be followed through the titles (“Dorset” — “London” — “New York”) that appear on a screen where both live and prerecorded video is projected throughout the evening.The stage area is covered in dirt, and dancers twirl, writhe and gyrate around Hüller. The choreography, by the collective (La)Horde, is earthy and elemental, sometimes joyous and liberating, but often menacing and with hints of sexual violence. Hüller is always front and center, her voice tough but with an edge of fragility. Sometimes she joins the dancers in their primeval thrashing. The results can be exhilarating but are just as often exasperating. Despite the high caliber of the performances, it’s easy to lose interest. Occasionally there’s an earsplitting crescendo or blinding flood light to jolt us back to attention.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