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    What’s on TV This Week: ‘Burden of Proof’ and the Tony Awards

    A brother investigates his sister’s 1987 disappearance in a new true crime series from HBO, and the 76th Annual Tony Awards air live on CBS.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, June 5-11. Details and times are subject to change.MondayFrom left, Adam Rippon, Richard Sherman and Ariel Winter in “Stars on Mars.”Brook Rushton/FOXSTARS ON MARS 8 p.m. on FOX. In this new competition series hosted by the “Star Trek” actor William Shatner, 12 celebrities live 24/7 in a “space station” that simulates life on Mars. The “celebronauts,” who include the comedian Natasha Leggero, the wrestler Ronda Rousey and the “Modern Family” star Ariel Winter, will compete against one another in a series of “missions,” and vote to eliminate one of their crew members at the end of each week.Lexi Underwood, left, and Sadie Stanley in “Cruel Summer.”Justine Yeung/FreeformCRUEL SUMMER 9 p.m. on Freeform. Told through three different timelines, the second season of this drama anthology series follows the friendship among the teenagers Isabella (Lexi Underwood), Megan (Sadie Stanley) and Luke (Griffin Gluck) as their relationships evolve, and they become embroiled in a mystery that profoundly affects all three of their lives. The series “takes a lot of its cues from prestige crime dramas, so its performances are terrific and its central mysteries appropriately tantalizing,” the New York Times TV critic Margaret Lyons wrote.Tuesday30 FOR 30: THE LUCKIEST GUY IN THE WORLD 8 p.m. on ESPN. Directed by Steve James (“Hoop Dreams,” “Abacus: Small Enough to Jail”), this four-part documentary series about the basketball Hall of Famer Bill Walton is the latest installment in ESPN’s Peabody- and Emmy-winning series, “30 for 30,” which explores the role of sports in society and culture. Through commentary from Walton, his family and a number of basketball stars, the episodes tell the story of Walton’s life, following him from antiwar protests at U.C.L.A. to an N.B.A. career in Portland, Ore., and Boston, while also exploring Walton’s struggles with his mental and physical health.BURDEN OF PROOF 9 p.m. on HBO. Shot over the course of seven years, this four-part true crime docuseries follows Stephen Pandos as he pursues his own investigation into the disappearance of his sister, Jennifer, who went missing from their family home in 1987 at age 15. Their parents told everyone she ran away. The series features Jennifer’s journal entries and letters, police documentation and interviews with family and friends to paint a picture of what may have happened the night of Jennifer’s disappearance. As missing evidence is uncovered and Stephen’s parents fail lie detector tests, he becomes increasingly convinced of their culpability.WednesdayGlenn Howerton and Kaitlin Olson in “It’s Always Sunny in Philadelphia.”Patrick McElhenney/FXIT’S ALWAYS SUNNY IN PHILADELPHIA 10 p.m. on FXX. The longest-running live-action comedy series in American TV history is back for its 16th season — and so are Mac (Rob McElhenney), Dennis (Glenn Howerton), Charlie (Charlie Day), Sweet Dee (Kaitlin Olson) and Frank (Danny DeVito), the potty-mouthed protagonists who run Paddy’s Pub in Philadelphia. They’re up to new high jinks, as this season finds Dennis and Mac investing in inflatable furniture, Frank shooting Dennis and Dee, and Mac and Charlie going on a road trip with their mothers in order to get their inheritances. The series “isn’t for everyone,” writes Austin Considine in an episode guide to the show, as there is little redemption or character growth. But for those willing to give it a chance, “Sunny” features a “brilliant ensemble of self-centered neurotics who somehow manage to be likable, despite their best efforts.”ThursdayALONE 9 p.m. on History. The 10th season of this popular survival show takes place in Northern Saskatchewan, Canada. Ten survivalists are separated and scattered across the wilderness to see who can endure living in the harsh climate the longest. There are no camera crews or outside aid, and each contestant is given only 10 items of their choice, enough camera gear to self-document their experiences and a radio for emergencies. The last person standing wins $500,000.FridayWALK THE LINE (2005) 6:25 p.m. on HBO. Based on two autobiographies by the singer-songwriter Johnny Cash — “Man in Black: His Own Story in His Own Words,” published in 1975, and “Cash: The Autobiography,” published in 1997 — this Academy Award-nominated biopic tells the story of Cash’s ascent in the music scene. With Joaquin Phoenix playing Cash, the film begins with his abusive childhood on a cotton farm in Arkansas, and follows him as he joins the Air Force, gets married and becomes a country music star, with a large portion of the film devoted to his romance with the singer June Carter (Reese Witherspoon) and his drug addiction. “The sheer range of material is staggering,” A.O. Scott wrote of Cash’s music in his review for The Times, adding that “there is no way a feature-length movie could do justice to such bounty, and ‘Walk the Line’ settles for the minimum.” Yet, Scott wrote, the film’s personal treatment of Cash and his rise “remind us why we should care about this guy in the first place.”SaturdayKINGS ROW (1942) 3:45 p.m. on TCM. This Oscar-nominated film, based on the 1940 novel of the same name by Henry Bellamann, tells the stories of five friends from the small Midwestern town of Kings Row. The film follows them as they transition from childhood to adulthood at the turn of the 20th century, and face a series of setbacks and challenges in pursuit of the lives they want. Featuring Ronald Reagan in one of the lead roles, the film is just as “gloomy and ponderous” as the book, Bosley Crowther wrote in his review for The Times, adding that the story centers on “several sordid and perverse folk.” Ultimately, Crowther wrote, “there are moments of pathos in ‘Kings Row,’ and occasionally it strikes a sharp nostalgic note,” but overall, “it just shows a lot of people feeling bad.”SundayTHE 76TH ANNUAL TONY AWARDS 8 p.m. on CBS. The annual awards ceremony meant to honor Broadway plays and musicals will take place this year at the United Palace, a large theater in New York City’s Washington Heights neighborhood. Ariana DeBose, the Academy Award and Golden Globe winner who was nominated for a Tony in 2018, will host the ceremony for the second time in a row. More

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    Peter Simonischek, Beloved Austrian Actor, Is Dead at 76

    He played a prankster and adoring father in “Toni Erdmann,” the Oscar-nominated 2016 comedy that made him an international star, but he had long been a celebrity at home.Peter Simonischek, an eminent Austrian theater actor who found international fame as the shambolic prankster and adoring father in Maren Ade’s Oscar-nominated 2016 German film “Toni Erdmann,” died on May 29 at his home in Vienna. He was 76.The cause was lung cancer, his wife, Brigitte Karner, said.Mr. Simonischek was a member of the Burgtheater, the venerable Viennese institution otherwise known as the Burg, one of the oldest and largest ensemble theaters in the world.“He was one of the last great stars of Austria,” said Simon Stone, the Australian director who is based in Vienna and cast Mr. Simonischek in his 2021 play, “Komplizen,” at the Burg. Mr. Simonischek, he said, was a beloved public figure, recognized by taxi drivers and passers-by in the streets of Vienna, where he was more of a celebrity than most film stars.He was certainly easy to spot: a handsome, shaggy-haired bear of a man who used his physical heft to marvelous effect.His size “lent his performances a hulking grandeur,” said A.J. Goldmann, who covers German theater for The New York Times, “that could be tragic or give them a Falstaffian absurdity.”In the comedy “Toni Erdmann,” the story of a workaholic management consultant named Ines (played with brittle humor by Sandra Hüller), Mr. Simonischek is Winifried, Ines’s mortifying father, a retired music teacher who sets out to liberate Ines from her soul-squashing profession by camouflaging himself as Toni Erdmann, a loutish, lumbering corporate consultant to her boss, and upending all she holds dear.The film, written and directed by Ms. Ade, enthralled critics at Cannes and the New York Film Festival and was nominated for a 2016 Academy Award for best foreign language film (losing to “The Salesman,” from Iran). A.O. Scott, writing in The New York Times, called it “a study in the radical power of embarrassment” and described Mr. Simonischek’s character as “a slapstick superhero.”Mr. Simonischek in a scene from the 2016 film “Toni Erdmann,” which brought him international fame.Photo 12/Alamy Stock Photo“Sometimes he’s a clown,” Mr. Stone said of Mr. Simonischek. “And sometimes he’s an authority figure or a debonair leading man. He was willing to completely humiliate himself. He used his beauty and his imposing physicality as a kind of canvas on which he could paint any kind of disgusting or extraordinary quality that any of his characters needed.”In Mr. Stone’s play “Komplizen,” which he said translates not quite accurately as “Complicit,” Mr. Simonischek played an industrialist who is facing a reckoning as the world turns against him and his ilk.It is Mr. Stone’s process to write his scripts in rehearsal, to encourage the actors to come to the material fresh and make room for improvisation. It’s a grueling process, he said, and Mr. Simonischek excelled at it, cheering on the younger cast members who struggled with the practice. Also, the production called for a rotating stage, making rehearsals even more grueling.“Once you’ve got Peter in your corner, you can achieve anything,” Mr. Stone said. “His brilliance was infectious; he shared it with the cast on a daily basis. It’s a quality he has had from the beginning of his career — to make other actors brilliant while never becoming less brilliant himself.”Peter Simonischek was born on Aug. 6, 1946, in Graz, Austria. His mother was a homemaker and his father was a dentist who had hoped his son would study medicine, as Mr. Simonischek told an interviewer last year. But after seeing a performance of “Hamlet” when he was a teenager, he said, “I was lost.”He attended the Academy of Music and Performing Arts in Graz, and found work as an actor in Switzerland and Germany. In 1979, he joined the Berlin Schaubühne, an innovative ensemble theater, where he became a star. He joined the Bur in 2000.In addition to “Toni Erdmann,” for which he received the European Film Award for best actor, his most recent film roles include “The Interpreter,” a 2018 Slovak film, and “Measure of Men,” a German film about the country’s colonial atrocities in Africa; it came out in February.Besides his wife, who is also an actor, Mr. Simonischek is survived by three sons, Max, Kaspar and Benedikt, and two grandchildren. His first marriage, to Charlotte Schwab, ended in divorce.Just before his death, Mr. Simonischek had been playing the stage role of the patriarch of a Pakistani American family in a production of Ayad Akhtar’s “The Who and the What” at the Renaissance Theater in Berlin, following an enormously popular run at the Burg, where it opened in 2018. (The Renaissance stopped the show when Mr. Simonischek fell ill a few weeks ago.)The play tells the story of a devout and charismatic Muslim man whose daughter has written a novel about the Prophet Muhammad, scandalizing their traditional community and upending their relationship.Mr. Akhtar, who won the Pulitzer Prize for drama in 2013 and is the author of the critically acclaimed 2020 novel, “Homeland Elegies,” said that of all his plays this production is the longest running and most popular. And in contrast to its American run in 2014, it was staged with an all-white cast, only because that is the cultural and racial makeup of Burg’s ensemble. It’s a scenario that in years past might have given him pause, as he told Mr. Goldmann of The Times in 2018. But Mr. Simonischek and his castmates had won him over.Mr. Simonischek in 2008 with the German actress Sophie von Kessel in a dress rehearsal of “Jedermann” at the Salzburg Festival.Schaadfoto, via Agence France-Presse — Getty Images“What was remarkable was this weird alchemy,” Mr. Akhtar said in a phone interview, “because Simonischek at that point was the patriarch of Austrian theater, a father figure to the Austrian public, and he was playing this conservative Muslim father.“On opening night the notoriously stoic Viennese audience was in tears,” he went on. “Maybe not as much as me” — Mr. Akhtar said he was sobbing onstage at the curtain call — “but not far from it. It was one of the peak moments of my career.”At Mr. Simonischek’s death, Mr. Akhtar was in the middle of writing a play for him. Mr. Simonischek, he said, was “soulful, precise and enthralling — an actor whose heart and generosity were as wide as his talent.” More

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    Review: In ‘Love + Science,’ a Meet Cute Becomes a Medical Mystery

    In 1980s Manhattan, two medical students find themselves at the forefront of the AIDS crisis in David J. Glass’s new play at New York City Center.The two medical students in “Love + Science” a new play by David J. Glass, quickly tumble into bed together and then spend five years too afraid to kiss. The time is 1980s Manhattan, and the students, Matt and Jeff (Matt Walker, Jonathan Burke), are gay men both researching virology when reports of a frightening new infection arise. In this meet cute turned medical mystery by In Vitro Productions, the pair find themselves at the forefront of the H.I.V./AIDS crisis, investigating a deadly threat to which they’re both vulnerable. Glass sets the clock ticking (the years are marked between scenes) and asks us to observe the history of the devastating disease, ensuing protests and therapeutic breakthroughs.Since the 1980s, a genre of plays dramatizing the AIDS epidemic, has generally sought to render on a human scale a catastrophe that might otherwise seem unfathomable. In “Love + Science,” Glass returns to the tradition of documentation, detailing both the microscopic maneuvers and social consequences of H.I.V. with the schematic precision of a lab experiment. (Glass is a senior lecturer in cell biology at Harvard University.) This meticulous drama that opened on Sunday at New York City Center functions primarily as a chronicle of developments, with characters whose particulars are cursory and incidental.Walker and Burke are able and appealing performers, but surface-level charm is all the information-saturated dialogue will allow. (The push and pull between them as lovers, hyper-informed by risk but lacking in chemistry, has the erotic charge of a leaflet.) Of the five supporting cast members, who play multiple roles, Imani Pearl Williams brings welcome pizazz as a lab student and a blind date who each deliver truth bombs like punchlines. Adrian Greensmith and Ryan Knowles make the terror and uncertainty faced by AIDS patients both palpable and affecting.The director Allen MacLeod’s lively production at least relishes the fun of 1980s aesthetics, with flashes of electric pink and blue in the lighting and projection design by Samuel J. Biondolillo and with costumes by Camilla Dely that are Zoomer catnip. And perhaps “Love + Science” will offer a bit of essential education, and opportunity for reflection, to those who did not live through the outbreak depicted onstage but have just experienced another pandemic.If the coronavirus is the playwright’s claim to timeliness, that context is left almost entirely inferred until a present-day coda attempts to draw a rushed and tenuous through line. At the performance I attended, the audience seemed to assume the show was over before its leap three decades forward. Not that the final scene offers narrative resolutions; the relationships between the characters hardly ask for any, and the future of scientific study is still unwritten.Love + ScienceThrough July 6 at New York City Center Stage II, Manhattan; loveandscienceplay.com. Running time: 1 hour 40 minutes. More

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    ‘The Idol’: The Weeknd, Sam Levinson and Lily Rose-Depp on Their Graphic Pop Drama

    In an interview, the Weeknd, Sam Levinson and Lily Rose-Depp discussed their controversial new HBO drama. “Running headfirst into that fire is what thrills us all,” Levinson said.From left, Abel Tesfaye (a.k.a. the Weeknd), Sam Levinson and Lily-Rose Depp during filming of “The Idol.” The series, premiering Sunday on HBO, has already been the subject of scathing reports and reviews.Eddy Chen/HBOLast month, the director Sam Levinson and his stars, Abel Tesfaye (a.k.a. the Weeknd) and Lily-Rose Depp, walked into the Lumière Theater at the Cannes Film Festival for the premiere of the first two episodes of their show, “The Idol,” to a standing ovation. The lights hadn’t yet dimmed, but celebrity fuels Cannes, where ovations are cheap. By the time the screening was over, the amped-up crowd was on its feet again and critics were racing out to fire off some of the most scathing reviews to emerge from this year’s event, with pans studded with barbs like “regressive,” “chauvinistic,” “skin-crawling” and “grim disaster.”“The Idol” centers on a chart-busting pop star, Jocelyn (Depp), who, in the wake of a nervous breakdown, is prepping for a comeback. Surrounded by handlers — the cast includes Hank Azaria, Troye Sivan, Jane Adams, Da’Vine Joy Randolph and the horror-film impresario Eli Roth — Jocelyn has made a lot of money for a lot of self-interested people. One night at a Los Angeles dance club, she meets Tedros (Tesfaye), a smooth-talking enigma with a rattail. Before long, she has invited him back to her mansion and they’re grinding in the shadows, and a mystery has taken root: What in the world is she doing with this guy?Created by Levinson, Tesfaye and Reza Fahim, “The Idol,” which premieres on Sunday, was already a heat-seeking target by the time it played at Cannes. In April 2022, word hit that its original director, Amy Seimetz, had left the show amid a creative overhaul. For whatever reason, the brain trust at HBO decided to pump up the show’s notoriety in a teaser, released three months later, that trumpeted Levinson and Tesfaye as “the sick & twisted minds” behind “the sleaziest love story in all of Hollywood.” But unwanted attention arrived this past March in a damning Rolling Stone article that, among other rebukes, accused Levinson’s version of being “a rape fantasy.” That teaser has since disappeared from HBO’s YouTube channel.Levinson, Tesfaye and other “Idol” collaborators have vigorously defended the show and its creators. “The process on the set was unbelievably creative,” Azaria said at a news conference a day after the Cannes premiere, as Adams nodded along. “I’ve been on many, many a dysfunctional set, believe me,” Azaria continued. “This was the exact opposite.”For his part, Levinson, who is best known for “Euphoria,” yet another HBO show about a beautiful young woman in crisis, said at the news conference that the specifics in the article felt “completely foreign.” But he also seemed to welcome the controversy.“When my wife read me the article,” he explained, “I looked at her and I just said, ‘I think that we’re about to have the biggest show of the summer.’”On the day after the “Idol” news conference, I met with Levinson, Tesfaye and Depp — whose father, Johnny Depp, was also at the festival this year — for a sit-down at the Carlton Cannes, one of the grand hotels that faces the Mediterranean in this rarefied resort city. We talked about the show while tucked into a private patio corner, just out of earshot of nervously hovering publicists and other minders. During our chat, Levinson and his two colleagues alluded to the negative reviews, but if they were upset by them, they didn’t show or share it.“I’m still spinning from it,” Levinson said of the premiere. “It was maybe the most surreal moment I’ve had — I don’t really leave my house much.” These are edited excerpts from the interview.Can we talk about the genesis of “The Idol”?SAM LEVINSON Abel and I have known each other for quite a few years, and we’ve always wanted to work together. We got on a Zoom because I’d heard he has this project. The genesis was he said, “Look, if I wanted to start a cult, I could. And I don’t know if that’s necessarily a good thing.”ABEL TESFAYE I actually don’t remember saying that [laughs]. I think I was just trying to say anything to finally work with you. I’ve always wanted to work with Sam; we’ve been friends forever. It was more about celebrity culture and how much power they have.How much power they have?TESFAYE It’s probably hard to believe, but I can’t see myself in that way. I never have. Even when I move around with security, it feels so weird because I don’t ever want to be seen. I feel like I have to be seen — fans want to see who they listen to, who they love. But for me, celebrity culture was always fascinating, and how much power they have on their fans.Depp plays a pop star named Jocelyn who comes under the sway of an enigmatic man named Tedros, played by Tesfaye.Eddy Chen/HBOLily, you grew up in a famous family, but it was fame by proxy.LILY-ROSE DEPP I’ve experienced it by proxy since birth. That’s simultaneously a strange thing and also not strange at all, because I don’t know anything different. My childhood looks nothing like Jocelyn’s, a character who has been working from a young age, and who was a child performer and had a mother who was pushing her. My childhood was never going to be “normal,” but they gave us the best sense of normalcy that we could have.Did you watch any of the Britney Spears documentaries?TESFAYE It’s not about Britney at all, but how could we not pull inspiration from Britney, from Madonna, from every pop star that’s gone through any kind of serious pain? I’ve always called Lily one of the creators of the show, because I couldn’t write Jocelyn until we knew who was going to play her. Once Lily got the role, she and Sam worked together on creating the character. What I could provide was the music industry around her — management, labels, touring, everything that I know.DEPP I was so nervous about the musical aspect. It’s not what I do and this character has been doing this her entire life. I remember the first time that I had to sing in front of Abel, I was, like, I’m going to blow my brains out. Little by little, we got to know each other more and got comfortable with each other.LEVINSON We basically moved into Abel’s house, which was our shooting location. We knew that we were going to shoot the entire show in this one place, so we turned it into a live set.Abel, obviously performing for a live audience is different from performing in a music video, and this is very different.TESFAYE I never wrote Tedros for myself; it was Sam who planted the idea. I just focused on being Tedros and living as the character and spending all my time with Sam and listening and allowing him to just be my teacher. Tedros is such a dark, complicated, scary, pathetic human — I had to just distance myself from who I am. And it’s scary, you know, it’s a big risk.“Tedros is such a dark, complicated, scary, pathetic human,” Tesfaye said of his character.Eddy Chen/HBOSo far, the only pathetic thing about him is his hair.TESFAYE We made sure of it. He’s pathetic. It’s funny, we were in the theater watching Tedros and there are moments where only us three were laughing. People have no idea ——LEVINSON —— where it goes. The moment that Tedros clicked for me and, I think, for Abel was, imagine you have all of this ambition, all of this drive, this ability to tell a story through music. But none of the talent. So you have to find a puppet, someone to work through. I also think part of what was fascinating is that he’s rolling up to this mansion and it’s a world that he’s never been invited into. She opens this door ——TESFAYE —— like Dracula, inviting him in.In the first episode there’s a lot of comedy about the intimacy coordinator who doesn’t want Jocelyn to expose part of her body. What is agency for someone brought up in a bubble?DEPP I totally respect and love intimacy coordinators. I think they belong on sets, and that it’s important to make everybody feel safe. I’m very comfortable saying, “I’m fine to do this or not this,” but some people aren’t. At the same time, you have to have this nudity rider, it has to be submitted in advance and it has to be signed by this person and the lawyer. It becomes this very structured legal thing when the purpose is to give freedom and safety to the person who may or may not be doing nudity. You literally can’t make a decision about your own body.“I think that they are two twisted psychopaths who love each other,” Depp said. “She’s going to use him, too.”Eddy Chen/HBOIs Jocelyn her own person? She’s surrounded by this apparatus. Abel, is the show inspired by your life in terms of wanting to do what you want to do?TESFAYE There have been moments where I’ve felt like it is me-against-them. But because of my situation — I own my masters — I’m very fortunate. But what if I didn’t? They would automatically win: 99.99999 percent of pop stars don’t have that and are in Jocelyn’s position. So it’s not autobiographical; it’s like an alternate reality.LEVINSON That’s part of what we wanted to set up. Here is this machine and we’re not sure how complicit she is. We see how it grinds her down. But that moment of agency is when they’re in bed and Tedros says, “Maybe I should move in for work purposes.” You see this slight smile on her face. That’s her going, I’ve got him. He’s hooked.DEPP It’s going to be easy for the audience to immediately think, Oh my God, he’s using her. I think that they are two twisted psychopaths who love each other. She’s going to use him, too.TESFAYE Everything is very intentional. We knew that the reaction was going to be the way it is because of those two episodes.Much of the early talk surrounding the show has been about the amount of nudity. Lily, were you surprised by how your body was shown?DEPP No, honestly. Her bareness, physically and emotionally, was a big part of the discussions that we all had. Those were decisions I was completely involved in. There are many women who have felt exploited by the nudity they’ve done and have thought, I didn’t feel great about that. But I’m comfortable performing in that way, I enjoy it. It informed the character. In the conversation around the risqué aspects, there’s the implication that it’s something being consistently imposed upon women. Obviously, that has been true a lot historically.LEVINSON It also plays into that feeling that the audience has: Oh, she’s a victim. She has to be a victim. I believe people will underestimate Jocelyn as a character because of how exposed she is.I wondered about all the nudity, and about having a Black man be the villain.LEVINSON Playing into those stereotypes in the first couple of episodes is important for the journey and the arc and the emotional experience. It has a way of disorienting us because of our knowledge of who we are, and what has happened in the world. I think the audience will slowly begin to see who the true villain of the piece is.TESFAYE We wanted to make a fun show, as well. It’s a thriller. There are a lot of topics, but it’s really important that it’s entertaining as well.Do you worry about how the show will be received, given that larger discussions about race, gender and representation are so fraught right now?LEVINSON That’s what makes it exciting, that these discussions are fraught. I think running headfirst into that fire is what thrills us all.TESFAYE Someone’s got to do it. No one’s really doing it now. They just need to see the whole show.DEPP We always knew that we were going to make something that was going to be provocative and perhaps not for everyone. That was a draw for all of us. I don’t think any of us were interested in making anything that was going to be, you know, fun for the whole family.TESFAYE When I first started making music, it was the exact same thing. It was provocative, and I knew it was going to be tough for people. And a lot of people didn’t like it. Not to compare it, but I feel that this is kind of like that again. This is not going to be for everybody, and that’s fine. We’re not politicians. More

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    Tim Robinson and the Golden Age of Cringe Comedy

    Tim Robinson loves spicy food.This minor fact is one of the major things I learned at my very awkward dinner interview with Robinson and Zach Kanin, creators of the cult Netflix comedy series “I Think You Should Leave.” Robinson ordered drunken spaghetti with tofu — spicy — and, almost immediately, the spaghetti started to make his voice hoarse. He insisted, however, that this had nothing to do with the spice — in fact, he said, his food wasn’t spicy enough. I asked our server if she could go spicier. She brought out a whole dish of special chiles. Robinson spooned them enthusiastically over his noodles.As I watched Robinson eat big red bites of his meal, I imagined a comedy sketch in which a man (played by Tim Robinson) gets himself out of an awkward dinner with a journalist (played by someone who looks exactly like me) by loading his food with increasingly hot peppers until he begins to lose control of his body. The sketch would end with him being wheeled away on a stretcher, on the brink of death — twitching, covered in filth, weeping — but also smiling.That would actually be a fairly tame premise for “I Think You Should Leave.” The show specializes in ratcheting mildly tricky social situations up to unbearable levels of cringe. It drives the good old vehicles of sketch comedy (corporate meetings, commercial parodies, game-show spoofs) into newly excruciating territory. If that sounds unpleasant, it often is — but it is also hilarious and bold and surprisingly poetic and addictive. Most of the sketches are short, and therefore easy to binge, which means that if they happen to vibrate on your comedy wavelength you will find yourself bingeing and rebingeing them until your favorite lines get stuck in your head for days, like music, and you end up talking almost exclusively in Tim Robinson references (“It’s interesting, the ghosts”) until your family asks if you might please stop soon.Over its first two seasons, “I.T.Y.S.L.” inspired a giddy and devoted following that spread memes and merch across the internet. Even if you’ve never seen an episode, you have probably encountered stray images from the show in the daily slush of content we all drink from our screens. You may have seen Robinson on Instagram, grinning in a hot-dog costume, standing next to a hot-dog-shaped car that has crashed into a storefront, saying, “We’re tryin’ to find the guy who did this and give him a spanking.” Or on TikTok, squinting his eyes and shouting, in a strange strangled voice that sounds almost too agitated to get out of his throat: “You SURE about that? YOU SURE ABOUT THAT???”NetflixAt the Thai restaurant, over dinner, Robinson was not shouting. In person, he is shy, mild, polite, sincere. He’s from Michigan, and he has a salt-of-the-earth Midwestern vibe. He speaks reverently about his family. He loves being a dad, he told me, and his kids are great kids (he has two, 12 and 13), and his wife, who was once his high school sweetheart, is an electrical engineer for Chrysler. “She’s smart,” he said, with feeling.It was strange to watch this man, whose face I had studied through so many violent comic contortions, in a subdued real-life setting. Robinson’s face is both anonymous and one of a kind. He has a big flaring dolphin fin of a nose; small, deep-set eyes that sit in little pools of shade; a warm, gaptoothed smile. His resting expression is bland, sweet, harmless — he looks, most of the time, like an absolutely standard middle-aged white guy who might be sitting next to you at an airport or a marketing conference. Someone you would feel perfectly comfortable asking to watch your stuff if you had to get up to go to the bathroom.But when Robinson activates that face, all kinds of amazing things happen. Tiny microexpressions ripple across it at high speed. He seems to have extra muscles in his forehead, because he can knit the space between his eyebrows into lumpy little mountain ranges of confusion, skepticism or disappointment. His quiet mouth gets very wide and loud. And his voice does things I’ve never heard a human voice do. It puffs up, squishes down, turns itself inside out. He can chew on his voice like a cow chews its cud.NetflixRobinson has mentioned in interviews that he has anxiety. I asked him if he still struggles with it.“Yeah,” he said, solemnly. “It gets worse. It gets worse, the older I get.”I had been warned that Robinson is deeply uncomfortable doing media. He dislikes, especially, being asked to analyze his comedy. That night, he and Kanin were exhausted. It was April, and they were nearing the end of the marathon process of finishing Season 3, basically living in the editing room, watching sketches over and over, trying to cut the material ruthlessly down to its essence. Their deadline was uncomfortably close; a writers’ strike was looming. They had no idea what day of the week it was. Netflix P.R. had very clearly forced them to meet with me against their will. (They agreed, after many weeks of pressure, to an 8 p.m. dinner at a restaurant that closed at 9.) They were friendly, but in the way you might be friendly to a dentist who is about to extract your wisdom teeth.I tried my favorite icebreaker question: “What is your very first memory?”Robinson said he couldn’t remember one. Neither could Kanin.“How many alternate titles did you guys have before you settled on ‘I Think You Should Leave’?” I asked.“That’s a great question,” Robinson said.“We had a lot,” Kanin said.“What were some of them?” I asked.They couldn’t remember.That’s how it went the whole time. Our conversation never took off. And the topic we kept returning to, the thing that flowed most naturally, was our small talk about spicy food.“Hey, that’s something good for the interview,” Robinson said.“That could be the headline,” Kanin said. “TIM ROBINSON LIKES IT SPICY.”Robinson spooned more chiles onto his noodles.“That’s the thing about spice,” he said. “It’s addicting.”Soon, mercifully, the restaurant closed, and we said goodbye, and they went off to do more late-night editing.Over the past 20 years, American culture has been gorging itself nearly to death on cringe comedy. “The Office”, “Curb Your Enthusiasm,” “Veep,” “The Rehearsal.” What is this deep hunger? Why, in an era of polarization, widespread humiliation and literal insurrection — in a nation full of so much real-life cringing — would we want to watch people simulating social discomfort? It hurts enough, these days, just to exist.I think it’s for the same reason, actually, that we enjoy eating spicy food: what scientists call “benign masochism.” In a harsh world, it can be soothing to microdose shots of controlled pain. Comforting, to touch the scary parts of life without putting ourselves in real danger. Humor has always served this function; it allows us to express threatening things in safe ways. Cringe comedy is like social chile powder: a way to feel the burn without getting burned.And so we take pleasure watching Larry David saunter around instigating petty grievances, testing the boundaries of our social rules like a velociraptor systematically testing the electric fences in “Jurassic Park.” Or Nathan Fielder, with his laptop on its holster, robotically plotting flow charts, conducting experiments to try to determine, once and for all, what is and is not allowed.Because it’s tricky, being a person in a society. You have your needs, your wants, your whims, your dreams, your appetites, your fantasies, your frustrations. But — unless you are a castaway or a sociopath — you have to square those things with the needs of some larger group. More likely, multiple groups. Which means you must follow the rules. What rules? So many rules! Laws, norms, mores, superstitions, sentence structures, traffic signals — vast, overlapping codes, written and unwritten, silent and spoken, logical and arbitrary, local and global, tiny and huge, ancient and new. Some rules are rigid (stop signs), while others are flexible (yield signs) — and it’s your job to know the difference. Not to mention that the rules are never fixed: With every step you take, with every threshold you cross, the rule-cloud will shift around you. It can change based on the color of your skin, the sound of your voice, your haircut, your accent, your passport. Sometimes even the thoughts you supposedly have in your head.“I.T.Y.S.L.” is obsessed with rules. Its characters argue, like lawyers, over everything: whether you’re allowed to schedule a meeting during lunch (no), whether celebrity impersonators are allowed to slap party guests (at certain price points, yes), whether you’re allowed to swear during a late-night adults-only ghost tour (it’s complicated).Robinson understands a nasty little paradox about rules: The more you believe in them — the more conscientious you are — the more time you will spend agonizing, worrying, wondering if you are doing things right.This obsession makes “I Think You Should Leave” the perfect comedy for our overheated cultural moment. The 21st-century United States is, infamously, a preschool classroom of public argumentation. Our one true national pastime has become litigating the rules, at high volume, in good or neutral or very bad faith. “Norms,” a concept previously confined to psychology textbooks, has become a front-page concern. Donald Trump’s whole political existence seems like some kind of performance-art stunt about rule-breaking. The panics over “cancel culture” and the “woke mob” — these are symptoms of a fragmented society wondering if, in a time of flux, it still meaningfully shares social rules. Every time we wander out into the public square, we risk ending up screaming, or screamed at, red-faced, in tears.“I Think You Should Leave” makes comedy, relentlessly, out of moments when the social rules break down. When things stick, grind and break.Almost always, sketches start quietly. The show reproduces, with loving accuracy, our small-talk, our polite jokes — the way groups use humor to defuse social tensions. A woman, holding her friend’s new baby, says to her partner, teasingly: “Maybe we could have another.” To which he responds, with a nervous grin: “Uh, let’s talk about that later.” Men at a poker game trade jokes about their wives. (“Trust me, my wife has nothing to complain about — unless you’re talking about every little thing I’ve ever done!”)A lot of “I.T.Y.S.L.” sketches seem to start with a little thought experiment: What would happen if someone took this throwaway joke literally and seriously? How would it warp social reality if these anodyne little pleasantries were actually brought center stage — if someone ignored all the rules we are supposed to intuitively understand?This is the premise of one of the show’s best sketches, a sketch I’ve memorized so deeply I can hardly even see it anymore. A man at a party is allowed to hold a baby, which cries as soon as it nestles into his arms. “It’s not a big deal,” he says, good-naturedly. “I guess he just doesn’t like me.” That’s a classic, lukewarm, tension-defusing witticism, and everyone smiles politely. But Robinson has invented a guy who takes this absolutely seriously, who becomes obsessed with explaining to everyone, at the top of his lungs and at great length, precisely why the baby doesn’t like him — because it knows, somehow, that he “used to be a piece of [expletive].” Gradually, the man hijacks the entire party with obsessive explanations of all the many ways he used to be reprehensible — “slicked-back hair, white bathing suit, sloppy steaks, white couch.” And he insists, over and over, that “people can change.” The reasoning is absurd, and yet he is so sure and persistent and literal that it becomes a kind of social contagion. By the end of the party, everyone has come over to his side — including the baby, who smiles at him.Robinson is a genius at stepping into these in-between social spaces — chitchat, reassuring smiles — and zeroing in on the tension at the heart of it all. Then he will isolate that tension, extract it and inflate it like a balloon until it fills the whole room, until it fills the whole universe. He is a virtuoso of social discomfort.NetflixTim Robinson grew up in the suburbs of Detroit. His mother worked for Chrysler. As a kid, he disliked school. He had no idea what he was going to do with his life. But then he went to a show that changed his life: a traveling troupe from Second City, the famous Chicago comedy group. Immediately, Robinson thought: Oh. This is what I want to do. So he did.The comic actor Sam Richardson, who also grew up in Detroit, told me he first saw Robinson perform in a suburban bowling alley. “I was like: This guy is the funniest dude in the world,” he said. “His cadence is so specifically his own. You can’t teach it. It’s incredibly human. It’s human beyond human.” Robinson quickly became a star in the local scene — Richardson said he was, hands down, the best improv comic he’d ever seen. “Hands down,” he repeated. “Like, all hands go down. I’ve never seen Tim flounder in a scene. We all flounder. But he could always just find the ball and dunk it. It was incredible.”Robinson’s talent propelled him out of Detroit to Chicago, after he joined Second City — and then eventually to New York, where he signed on as a cast member of “Saturday Night Live.” There is a clip that sometimes circulates on social media of Robinson, in a bit part on a forgettable “S.N.L.” sketch, making the host, Kevin Hart, break out laughing over and over. Although none of Robinson’s lines are particularly funny, he has an instant presence and charisma. He doesn’t even have to say anything; he just embodies some species of funniness that no one else can touch. It would have been easy to imagine him blooming into his generation’s Will Ferrell or Kristen Wiig.NBCBut it was not to be. Robinson’s sensibility was too specific and weird. His anxiety was crippling. His sketches kept being cut.“Tim would call me every Sunday morning and just be so broken down,” Richardson told me. “He’d say things like, ‘Maybe I’m not funny.’ He was grossly unhappy.” Richardson went to an “S.N.L.” taping once, during the holidays, and he remembers Robinson standing backstage in a Santa costume, beside himself with excitement because one of his sketches was scheduled to get on the air. Then, at the last second, it was cut. Robinson was crushed.Robinson was dropped from the “S.N.L.” cast after just one season. But he didn’t leave. Instead, he joined the writing staff. And this is when everything started to change. He found a comedy-writing soul mate in Zach Kanin, another staff writer, who was his polar opposite in terms of background (well-connected East Coast family, Harvard Lampoon, New Yorker cartoonist) but had exactly the same sense of humor. Robinson and Kanin shared an office and became a power duo. Although plenty of their sketches never made it to the air, they were always a hit at table reads. They were the cool guys, the artists. They just needed their own vehicle.It took a while to happen. Netflix let them make an episode of the anthology sketch show “The Characters” — and it was wild and foul and brilliant, the standout episode of the season. For Comedy Central, Kanin and Robinson made a sweet, kooky sitcom called “Detroiters,” co-starring Sam Richardson. That gained a cult following but was canceled after two seasons.This all led, eventually, to “I Think You Should Leave”: the full, shocking, unapologetic flowering of their weirdo comic vision.“I.T.Y.S.L.” creates, with shocking efficiency, a whole comic universe. There are so many sketches I’d like to describe. The one in which a prank-show host has an existential breakdown at the mall because his costume is too heavy. (He is pretending to be “Karl Havoc,” a huge guy in a wacky vest who messes with people in the food court — but he ends up just standing there, frozen, hulking and dead-eyed, muttering to his producer: “I don’t even want to be around anymore.”). There’s the sketch in which a man at a restaurant won’t admit he’s choking because he doesn’t want to look dumb in front of the celebrity who is sitting at his table. But the brilliance of these sketches never comes from the premise alone. Instead it’s in the rhythms, in the gymnastics of Robinson’s face and — especially — in the strange poetic writing. The way language glops out of everyone’s mouth like soft-serve ice cream. “I can’t know how to hear any more about tables!” a driver’s ed teacher yells at his students, after they won’t stop peppering him with questions about the bizarre centrality of tables in his instructional videos. “And now you’re in more in trouble than me unfortunately,” a man says to a co-worker who’s lost his temper.“It always feels like improv, when you’re watching the show, but it is not,” Akiva Schaffer, one of the show’s directors, told me. Robinson and Kanin are meticulous about their scripts — everything that feels slightly “off” is written exactly that way. That odd driver’s-ed-sketch sentence, Kanin told me, came from something his young daughter said. In fact, many of the show’s men, when they are agitated, speak like children: their words forced out by the pressure of need, right on the edge of coherence. Robinson shared a memory from his childhood. Once, when he was a kid, his family moved to a new house, and he and his brothers went out to play in the backyard. A boy next door stared at them, so they stared back — until, finally, agitated, the boy yelled: “Stop keep looking at me!”Robinson’s comedy is, as my wife has put it, “very male.” (She is, to be clear, a fan.) There’s a lot of yelling and nasty language and juvenile behavior. There are colorful synonyms for poop (“mud pie,” “absolute paint job”). When a man’s ego is threatened, the whole universe seems to hang in the balance.But it would be a mistake to confuse Robinson’s comedy with the usual “very male” comedy: the archetypal bad boy, swinging his id around, railing against P.C. culture and his nagging wife, preaching that the rules are stupid, that society is a scam and a cage, that we should follow our desires and never negotiate and certainly never apologize.Robinson’s comedy is doing something much more interesting. This is comedy of the superego. It understands that every moment of human life requires a negotiation with rules — and that this is hard, and stressful, and there are so many ways it can go wrong. But the negotiation is also vital. The rules, after all, are holding some pretty destructive forces back.One of my favorite things about “I.T.Y.S.L.” is all the crying. Robinson’s characters cry while driving and at parties and in the middle of work meetings — after, say, a man chokes on a hot dog he’s been secretly eating out of his sleeve, or after the boss makes him take off his ridiculous hat. One man tries to defuse a tense situation by doing a whole zany “Blues Brothers”-style dance — but it backfires, making everything worse, and so he pulls off his sunglasses to reveal a puffy wet red face.When a Tim Robinson character cries, it is a result of an epic struggle for selfhood — a Greco-Roman wrestling match between the man’s public persona (confident, respected, “normal”) and the private, vulnerable self that he alone secretly knows. Those two selves collide, like plates on a fault line, and what gushes out are all the molten emotions the man has spent his whole life stuffing down. His terror of vulnerability leads to an eruption of vulnerability. It is hilarious and troubling but also touching. You want to shun the man and yet you also want to hug him — until you want to shun him again. (Almost inevitably, while the tears are still flowing, Robinson’s character will double and triple down on whatever got him in trouble in the first place.)Netflix“These guys are really having a hard time,” Schaffer told me. He said Robinson and Kanin’s extremely meticulous scripts originally contained zero crying, but it arose naturally during filming. “We would do three takes and I’d be like: ‘Oh, this guy should start holding back tears,’” Schaffer said. Then, sketch after sketch, they’d realize: “Wait a minute, this guy seems like he might be getting teary, too. We started joking: Should every character be crying by the end?”Robinson’s tears come out in a variety of ways. Sometimes his eyes just get big and wet — as in one sketch, when a man gets caught after secretly complaining to the waiter that his otherwise wonderful date has been eating all the best bites of their “fully loaded nachos.” (“Just say the restaurant has a rule,” he pleads with the waiter. “One person can’t just eat all the fully loaded ones.”) Sometimes a single tear comes trickling down his cheek — as when an office worker can’t reciprocate when his co-workers are sharing viral videos. What is clear, in each case, is that the tears are coming from an extremely deep place, like the purest artesian well water. Something is being squeezed out of these men, under tremendous pressure — some kind of sacred male pain-juice.This is a big part of what sets “I.T.Y.S.L.” apart from other cringe comedy. Despite its loudness and brashness, it is somehow fundamentally touching and vulnerable and sad. Its tenderness keeps it bearable. Robinson’s characters are rarely proud of their antisocial behavior. They want, desperately, to follow the rules. They are searching, as hard as they can, for the elusive balance between self-interest and the interests of the group. They just can’t seem to find it. The pain of that leaks out of their eyes. And then, before long, the screaming begins.Opening illustration: Source photograph by Atiba Jefferson/NetflixSam Anderson is a staff writer for the magazine. He has written about rhinos, pencils, poets, water parks, basketball, weight loss and the new Studio Ghibli theme park in Japan. Lola Dupre is a collage artist and an illustrator currently based near Glasgow, Scotland. Working with paper and scissors, she references the Dada art movement and is influenced by modern digital-image manipulations. More

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    Padma Lakshmi Is Leaving ‘Top Chef’ After Its 20th Season

    The host said she wanted to concentrate on her new show, “Taste the Nation,” her writing and “other creative pursuits.”Padma Lakshmi announced on Friday that she was leaving the Bravo reality-competition juggernaut “Top Chef,” which she has hosted for 19 of the show’s 20 seasons, calling it a “difficult decision” made “after much soul-searching.”“I am extremely proud to have been part of building such a successful show and of the impact it has had in the worlds of television and food,” Lakshmi, who also serves as an executive producer on the show, said in a statement posted on her social media accounts.“Many of the cast and crew are like family to me, and I will miss working alongside them dearly,” she continued. “I feel it’s time to move on and need to make space for ‘Taste the Nation,’ my books and other creative pursuits. I am deeply thankful to all of you for so many years of love and support.”Lakshmi did not immediately responded to a request for comment on Friday. In an interview with The New York Times earlier this year, she discussed why she had decided to go on the show in the early days of reality television. “I liked how serious they were about the food,” she said. “It wasn’t about the cat fights and lowest common denominator.”At the time, she said, she figured that if nothing else, “Top Chef” would at least expose her to an audience of potential book buyers who did not yet know her work. “We had no evidence that this would be a huge pop culture phenomenon,” she said.Since 2006, the original “Top Chef” — there have been numerous international adaptations and spinoffs since — has traveled across the United States, filming seasons in Boston, New Orleans, Kentucky and Colorado, among other places. Each season brings together up-and-coming chefs who compete against one another in the hopes of winning cash prizes (and acclaim in the food world) and avoiding elimination — and the dreaded order to “please pack your knives and go.”Next week, Bravo will air the finale of Season 20 of “Top Chef.” The season, titled “World All-Stars,” has been based in London, and brought together winners, finalists and memorable competitors from “Top Chef” adaptations from around the world.In a statement to The Times, the food writer Gail Simmons, Lakshmi’s co-star and fellow judge on “Top Chef” (along with the restaurateur Tom Colicchio), said she is “so grateful for all the knowledge she shared and for the friendship that saw us through countless milestones both on and off camera.”“I could not have asked for a better host and partner in the job,” Simmons went on. “I’ll always admire her work ethic and how she paved the way for so many women and people of color across the many industries she touches. She is an important person not just in my career, but in my personal life, and will remain so. There’s no denying her impact on our show and she will be missed in our future ‘Top Chef’ adventures.”Colicchio did not immediately respond to a request for comment.Officials at NBCUniversal and Magical Elves, the production company for “Top Chef,” praised and thanked Lakshmi in statements which suggested that they planned to continue the program. “We will miss her on set at the judges’ table and as an executive producer, but we will remain forever grateful for her unwavering dedication to connecting with our cheftestants and Bravo’s viewers alike,” Casey Kriley and Jo Sharon, the co-chief executives of Magical Elves, said in a statement.Lakshmi, 52, an Indian-born model, author and activist, has been praised for imbuing the reality show with grace and humor, becoming the undeniable face of the franchise.Last month, Lakshmi’s other television show, “Taste the Nation,” aired its second season, on Hulu. On it, she travels the United States, exploring what it means to cook and eat in America.Also last month, she was featured in the Sports Illustrated swimsuit issue, posing in a gold-coin bikini. “This is me,” she wrote alongside a video of the photo shoot that she’d posted on Instagram. “I wouldn’t go back to my 20s if you paid me all the money in the world.”Her first cookbook, “Easy Exotic,” was published in 1999. Since then, she has released several other books, including “Tangy, Tart, Hot & Sweet”; a memoir, “Love, Loss and What We Ate”; a reference guide called “The Encyclopedia of Spices and Herbs”; and a children’s book, “Tomatoes for Neela.”Brett Anderson More

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    For Her New Play, Tori Sampson Revisited Her ‘Black Power Household’

    “This Land Was Made,” at the Vineyard Theater, is rooted in the playwright’s personal connection to a political movement’s awakening.The narrator of “This Land Was Made,” the playwright Tori Sampson’s speculative account of the Black Panther Party’s powder-keg origins, is an aspiring writer named Sassy. “Consider me your time-traveling griot,” she tells the audience with wry buoyanc‌y, evoking the West African tradition of storytellers who propagated endangered legacies.The play, which opens on Sunday at the Vineyard Theater in Manhattan, is an act of oral history rooted in Sampson’s personal connection to the political awakening at its center. “Sassy is not me,” Sampson made clear during a recent interview off the courtyard of the Marlton Hotel, a short walk from the theater.“The Black Panthers were like family to her,” Sampson said of her mother, who was orphaned at the age of 3 and raised by an aunt who was a member of the Black Panther Party in the 1970s. She would accompany her aunt to meetings, where activists became like kin and their reverence for Blackness a guiding principle.Sampson’s mother, Wanda Louise Thompson, went on to raise the playwright and her sisters (her twin and an older sister) in a “Black Power household,” first in Boston and then in North Carolina, where they were taught, with some militancy, to value Black beauty and culture. (When her twin sister wanted a Britney Spears poster, for example, their mother insisted that two posters of Black artists go up alongside it.)Antoinette Crowe-Legacy as Sassy and Julian Elijah Martinez as Huey P. Newton in the play “This Land Was Made” at the Vineyard Theater.Sara Krulwich/The New York TimesBut orphanhood was also to be part of Sampson’s inheritance; she was 13 when her mother died of a pulmonary embolism, and she and her twin sister, whom Sampson calls “my lifeline and compass,” became wards of the state. After a year of moving between foster homes, the twins petitioned to attend an all-Black boarding school in Mississippi, where their independence was contingent on high achievement.“I’m trying to connect who I am with my past,” said Sampson, 34, who lives in Los Angeles and has written for the streaming TV series “Citadel” and “Hunters.” She has only recently begun to process that her experience as an orphan is integral to her work. “I was always yearning to understand what it would look like to have a family,” Sampson said. “My imagination would run wild making up stories.”That impulse reverberates through “This Land Was Made,” which is set inside a Bay Area tavern with soul food simmering in the back kitchen. “I wanted to write a story where Huey P. Newton walks into a bar and changes the lives of the people there forever,” Sampson said of the Black Panther Party co-founder. She got the idea for the play, a blend of historical fiction and sitcom conventions, when she learned that Newton’s rise to prominence began with an unsolved mystery.The facts in the murky case are these: In 1967, Newton and a friend were pulled over during a traffic stop in Oakland, Calif., in which Newton took a bullet to the stomach and a police officer was fatally shot. ‌Newton was charged and later convicted of voluntary manslaughter. (His conviction was eventually overturned‌.) Rallies ‌to “Free Huey” helped set off the Black Power movement.Sampson, right, with Kathleen Cleaver, a retired law professor and former communications secretary for the Black Panther Party, at Yale in February 2017. via Tori SampsonSo, if Newton didn’t pull the trigger, Sampson thought, who did? And what might Newton’s influence have been on his neighbors before his activism grew to an international scale? In the play, Sassy, Sampson’s narrator, claims to have heard the truth through the grapevine. “This Land Was Made” then unfolds as both a comedy and a call to action.Sampson said her taste for humor that bends toward social justice also comes from her mother. Though Thompson didn’t let her kids watch much television (only “The Cosby Show” for an hour a day), she adored “All in the Family” and considered its skewering of bigotry the height of the form. That show’s creator, Norman Lear, remains an inspiration for Sampson, who likes to wind up her characters and set them loose to elicit eye-opening laughs.“Tori has a particular tempo in mind for each character and how the ensemble builds together musically,” the play’s director, Taylor Reynolds, said of Sampson’s ear for dialogue. In fact, both women said the production was deep into tech rehearsals before Sampson watched the play with her eyes open.“Let them be loud and wrong,” Sampson said of her Lear-inspired ethos. “Just give them conviction and don’t hold them back.”Adam Greenfield, the artistic director of Playwrights Horizons, where Sampson’s play “If Pretty Hurts Ugly Must Be a Muhfucka” was presented in 2019, said her work demonstrates an “unrelenting investigation of identity that feels both global but also very personal.” A sharp and riotous sendup of ‌Eurocentric beauty standards, “If Pretty Hurts” is punctuated with fourth-wall-breaking monologues and draws on Sampson’s personal experience to interrogate the body-image pressures faced by Black women. (The New York Times critic Jesse Green called the play “an auspicious professional playwriting debut.”)While more grounded in the conventions of realism, “This Land Was Made” demonstrates Sampson’s fascination with how social constructs shape imbalances of power. (Sampson earned a ‌bachelor’s degree in sociology from Ball State University.) The play’s Oakland residents argue about colorism, assimilation and the fallacies of trusting the system, embodying the tensions that propelled Newton’s broader ideologies about Blackness.Sampson, who also writes for TV, has various projects in the works. “My life has never been a box,” she said, “so my mind doesn’t work that way.”Jasmine Clarke for The New York TimesBut Sampson, who began “This Land Was Made” in 2014, during her second year at what is now called the David Geffen School of Drama at Yale, also aims to render the civil rights movement in America on a human scale.“I wanted to talk about the lowercase-p Panthers, as people,” Sampson said, in addition to exploring their role in striking up political currents that continue to reverberate. As violent incidents at the hands of the police have gained visibility over the past decade, often captured on video during traffic stops like the one Sampson imagines onstage, the consequences of failing to recognize the humanity of Black people have only grown.Conversations with former Black Panthers were also crucial to Sampson’s research process, more and less serendipitously. She spoke to Ed Bullins, the renowned playwright and the party’s onetime minister of culture, with permission from his wife, while he was in the hospital in 2014. (Sampson’s godfather happened to be his doctor.) “Make sure you remember those were some funny cats,” Bullins, who died in 2021, told Sampson of the party’s co-founders, Newton and Bobby Seale.The playwright ‌also interviewed Kathleen Cleaver, the first woman to hold a leadership position in the party, after Cleaver, now a retired law professor, spoke at Yale.If it’s true what Sassy says, that “every great story is about journeying to find home,” it follows that Sampson’s work will continue to venture in many directions. She is developing a play about a nerdy comedian who embarks on a superhero quest to regain her Black card after she mispronounces Tupac Shakur’s name during sex. (“It’s a lot,” she said.)‌ And she will directly address her orphan experience for the first time in an animated series called “How to Succeed Without Parents.”“It’s always going to look different,” Sampson said of her idea of home. “My life has never been a box, so my mind doesn’t work that way.” More

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    “The Motive and the Cue” Asks What Makes a Great Performance

    “The Motive and the Cue,” a new play in London, imagines fraught behind-the-scenes maneuvering by John Gielgud, Richard Burton and Elizabeth Taylor during rehearsals for a classic Broadway production.“The classicist who wants to be modern, meeting the modernist who wants to be classical.” So says Elizabeth Taylor, summing up the fractious encounter between the revered Shakespearian actor John Gielgud, and her new husband, the actor Richard Burton. It’s 1964, Taylor and Burton are the most famous couple in the world, and Burton is rehearsing the role of Hamlet for a Broadway production that Gielgud is directing.It’s not going well.That’s the setting for “The Motive and the Cue,” a new play directed by Sam Mendes, written by Jack Thorne, and starring Mark Gatiss as Gielgud, Johnny Flynn as Burton and Tuppence Middleton as Taylor.The play, which opened to enthusiastic reviews in May and runs through July 15 at the National Theater, in London, was an idea born out of the pandemic, said Caro Newling, a co-founder with Mendes of Neal Street Productions, which developed the show.Newling said that, during the first coronavirus lockdown of 2020, Mendes was thinking about why theater mattered, and what went into creating great performances. When they were discussing those questions, she added, Mendes recalled reading a copy of “Letters From an Actor,” an account of the 1964 “Hamlet,” by William Redfield, who played Guildenstern in the production. “Suddenly, bang, this idea shot out,” Newling said.A 1964 photograph shows Richard Burton, left, and John Gielgud in a rehearsal for “Hamlet.”Getty ImagesThe idea was a play based on the fraught relationship between the rambunctious, hard-drinking Burton and the repressed, elegant Gielgud during rehearsals for “Hamlet,” with the added combustible element of a sidelined, glamorous Taylor, sitting out her honeymoon in a hotel suite.Newling and Mendes started researching, and discovered another out-of-print book: “John Gielgud Directs Richard Burton in Hamlet,” a fly-on-the-wall account by Richard Sterne, an ensemble actor who smuggled a tape recorder into the rehearsal room.Mendes called Thorne, the playwright behind the stage blockbuster “Harry Potter and the Cursed Child” and the television series “His Dark Materials,” and suggested the rehearsal dynamics might provide fruitful material.Initially unsure, Thorne found a focus by “understanding the position that Gielgud was in at the time. He wasn’t being loved by the public, treasured by the profession. His great rival Laurence Olivier was running the National Theater and a new kind of modern theater was dominating the West End. He took the Broadway job because he didn’t have other offers.”“Hamlet,” had been a defining role for Gielgud, who had played the part over 300 times. For the Broadway “Hamlet,” he came up with the idea — daring at the time — of doing the play as if it were a rehearsal run-through, in ordinary clothes. In “The Motive and the Cue,” Burton tries to stamp his brash personality on Hamlet, while the classicist Gielgud wants something more sensitively attuned to Burton’s deeper emotions.The cast of “The Motive and the Cue.” Jack Thorne, who wrote the play, said it was about “why we do what we do, what it feels like, and what it costs.”Mark Douet“What’s interesting is that Burton is getting it wrong, sort of on purpose, trying to show Gielgud that it must be modern,” said Flynn, who lived as a teenager in Wales, where Burton is a national hero. “I had a picture of him playing Hamlet on the door of my house for about 15 years,” Flynn said. “It felt eerie that now, I was playing him, playing Hamlet.”The irony of the Burton-Gielgud conflict, he added, was that Burton idolized Gielgud, and was desperate to be regarded as a serious actor. “He is incredibly successful, but deep down, he fears he has drifted into complacency, is not doing something valuable with his art,” Flynn said.The set, designed by Es Devlin, uses expanding and contracting scrims to create seamless transitions between the “Hamlet” rehearsals, a pink hotel suite in which Taylor and Burton throw glamorous parties for the cast and the scenes of more intimate encounters. One of these is between Gielgud and Taylor, who provides the psychological insight that allows the director to find a way to Burton.Middleton, who plays Taylor, said, “Elisabeth is the voice of reason, one of the wisest characters in the play.”“She completely understood Burton’s obsession with conquering Hamlet, and why it was so difficult for him.,” she added. “It was important to me to show she wasn’t this chaotic, floozy character she is sometimes seen as.”Tuppence Middleton as Elizabeth Taylor in “The Motive and the Cue.” The play is set shortly after Taylor’s marriage to Richard Burton.Mark DouetMuch of the play is concerned with how to play Hamlet: The breakthrough moment for Burton happens when he can connect his painful past to the character’s motivations. “This is what actors have to do when they strip themselves down to play a role,” Thorne said.In the end, the 1964 production was a triumph, running for 136 performances; “The Motive and the Cue” has been a hit, too. It is currently playing to sold-out houses and its popularity suggests that the play’s central ideas — theater as a community and a crucible of emotional connection between actors and audience — have resonated after the enforced closures of the last few years.“It’s about fathers and sons, classicism and modernity, the clash of these forces,” Thorne said. “But I hope it’s also about why we do what we do, what it feels like and what it costs.” More