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    6 Takeaways From Alec and Hilaria Baldwin’s TLC Reality Show

    The series begins just before he was scheduled to stand trial in the fatal shooting on the set of “Rust.” The reviews have been somewhat uneasy.Reality television producers had been circling Alec and Hilaria Baldwin for years. His Hollywood fame and history of public combustibility, her social media following and their many children and pets were all classic ingredients for a slice-of-life series.Last year, the couple decided to let the cameras in.They did so at perhaps the most precarious time of Alec Baldwin’s life: the month before he was scheduled to stand trial in New Mexico on an involuntary manslaughter charge, in connection with the fatal shooting of a cinematographer, Halyna Hutchins, on the set of the movie “Rust” in 2021. The result is a fly-on-the-wall series called “The Baldwins,” which premieres Sunday on TLC, a network whose marquee titles include “90 Day Fiancé” and “Sister Wives.”The first episode of the show has landed a bit uneasily with critics, who view the show as something of a crisis communications project. Here are six takeaways from the episode.The premiere begins just ahead of Alec Baldwin’s manslaughter trial.Alec and Hilaria Baldwin in court during in the “Rust” accidental shooting case. Alec Baldwin faced a charge of involuntary manslaughter.Pool photo by Ross D Franklin/EPA, via ShutterstockThe filming started in June last year, just before Baldwin was scheduled to stand trial in New Mexico. In the first episode, the couple drives their seven children (and six of their eight dogs and cats) from their home in New York City to their home in the Hamptons, where they often spend the summer.The decision to start filming was a risk. In the event that he had been convicted, Baldwin, who was handling a revolver on set when it discharged a live bullet, would have faced a potential maximum prison sentence of 18 months.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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    Review: ‘Suits LA’ Is Flat and Joyless

    This NBC attempt to capitalize on the surprising Netflix success of “Suits” has almost none of the charming traits that distinguished the original.“Suits LA” is a spinoff of “Suits” — a sequel, sort of, but it feels like a seance. Gather, viewers, as we attempt to contact the spirit of “Suits.” Can you feel it in the room with us? Its fraternal jockeying? Its fascination with sleeveless tops as office wear for women? Maybe looking at a photograph of one of its characters will help maintain the delusion. Maybe hearing the theme song. Ooooohh. “Suits” says hi. “Suits” misses you.And like a seance, “Suits LA,” premiering Sunday on NBC, is an attempt to turn an unanswerable question into a little money. A question not about the nature of mortality but rather the nature of hits: Why does a show become popular? Why did a series that was a decent USA show from 2011-2019 become a Netflix sensation in the summer of 2023?The truth is, no one knows. If they did, they would make hits every time, and no show would be canceled prematurely, and we would have candy for dinner every day before the bliss orgy. But we live in the same world as the characters on “Suits LA” — the one where nothing nice can be simply enjoyed; it must be capitalized upon. Maybe plenty of “Suits” fans will be perfectly satisfied with this conjuring.Not all of us, though, because “Suits LA” is flat and joyless. The original “Suits” distinguished itself with its quick dialogue, pert sense of humor and thrilling, wall-to-wall horniness, none of which are present here. Instead of a brilliant little scammer who stumbles into a law career under the tutelage of an alluring alpha, we have a generic mad hunk who snarls within the first five seconds of the show, “My father left when I was very young, and I never respected him.” Fun! When does Meghan Markle get here? (She does not.)Our big dog here is Ted, played by Stephen Amell, whose voice and cadence resemble that of Gabriel Macht, who played the cocky boss in the original, thus adding a bit of “Suits”-iness. Years ago, Ted was a federal prosecutor taking down mob guys in New York. We see this story unfold in tedious flashbacks that include scenes with his slimy dad and warm memories of his tender relationship with his brother, who has Down syndrome.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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    ‘Running Point,’ Plus 5 Things to Watch on TV This Week

    Kate Hudson stars as a basketball team executive in a new comedy on Netflix, and the Oscars air on Sunday night.Between streaming and cable, there is a seemingly endless variety of things to watch. Here is a selection of TV shows and specials that air or stream this week, Feb. 24-March 2. Details and times are subject to change.Home is where the good food is.If you watch “Queer Eye” you know that the show’s food expert Antoni Porowski loves nothing more than nosing around in people’s fridges and sampling even the most questionable looking item. On his new show, “No Taste Like Home With Antoni Porowski,” he’s digging even deeper by learning the family history of celebrity guests and taking them on a culinary journey related to their ancestors. Whether it’s Britain with Florence Pugh, Germany with James Marsden or Korea with Awkwafina, you can be sure Poroswki will be luxuriating in new foods. Streaming Monday on Hulu and Disney Plus.Let’s get down to business.Though medical dramas never went out of style, they’re back in full force this season — including the new series “Berlin ER,” a German-language show that follows Dr. Parker (Haley Louise Jones) as she starts working in an extremely chaotic and understaffed emergency room in, you guessed it from the title, Berlin. Her task is to unite her team to work the best they can in a broken system. The series has an eight-episode arc with a new one coming out every week. Streaming on Wednesday on AppleTV+.There seems to be no rest for Mindy Kaling, who is back at it just a month after the third season finale of her “The Sex Lives of College Girls.” This time she is a co-creator, alongside Elaine Ko and Ike Barinholtz, of “Running Point,” a comedy that follows Isla Gordon (Kate Hudson), a former party girl who has to take on the role of managing the L.A. Waves, a fictional professional basketball team owned by her family. The cast also features Brenda Song, Justin Theroux and Max Greenfield. Streaming on Netflix on Thursday.Surviving in Fiji.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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    5 Comedy Specials to Watch: Josh Johnson, Rosebud Baker and More

    Stand-up shows from Josh Johnson, Rosebud Baker, Craig Ferguson and others investigate Kendrick Lamar’s halftime show, motherhood and the politics of dumplings.Ian Karmel, ‘Comfort Beyond God’s Foresight’(Stream it on YouTube)In his debut special, Ian Karmel, a veteran comic and writer for late night and award shows, turns his worst joke into one of his best by continually refusing to tell it. It’s a neat trick, characteristic of his unpredictably funny style. Explaining his hesitance, he makes a meal out of the idea that it once killed an audience member who died laughing. It’s one of many distinctive riffs.There’s a long act-out of a guy putting a bumper sticker on a car that is somehow very funny. He makes a CPAP machine hilarious. Part of his gift resides in the subtext. He can get a laugh from just saying “I like books” because it’s clear that he doesn’t mean it. There’s a finesse to his delivery. He speaks deliberately, never straining. He veers in unexpected directions, even on a sentence level. “I was on tour with my podcast,” he said, pivoting, “which is a sentence I sometimes think about saying to someone who fought in World War II.”Karmel is committed to skirting free of cliché, but not in an indulgent, hipster way. There’s nothing ironic about his mustache. His interests (sex, politics, figures of speech) are basic. It’s the way he handles them that stands out. For instance, his take on how worried we should be about our current political moment begins with an observation that many of the countries (Poland, Italy) that make the tastiest dumplings have at one point succumbed to fascism. “So, the question we need to ask ourselves as Americans is,” he says, pausing for a dramatic beat. “Does Hot Pockets count?Rosebud Baker, ‘The Mother Lode’(Stream it on Netflix)Many, if not most, stand-up specials are shot over multiple performances, then edited together to make it seem like one integrated whole. Rosebud Baker’s breakout new hour finds meaning in this benign deception, weaving together a performance from when she’s eight months pregnant and another one after she had the baby. Wearing the same color clothes, she cuts between the two even in the middle of a joke. This mixing is never addressed or commented on, but supports a question hovering over the special: Does having a child change you? Baker says it does, but her shots make a different argument.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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    Celebrating Jonathan Larson, Creator of ‘Rent,’ in a New Show Off Broadway

    “The Jonathan Larson Project,” a years-in-the-making musical collage of Larson’s life, features songs he wrote before he died. Now it’s onstage at the Orpheum.In his Tony-winning musical, “Rent,” Jonathan Larson asked: “How do you measure a year in the life?”The question took on an even heavier weight, with striking resonance, after Larson died unexpectedly at the age of 35 in 1996, hours before the show’s first preview.In the years after, dozens of his unheard songs were discovered, revealing the inner workings of a prolific artist looking for his big break. Now, a new musical, “The Jonathan Larson Project,” celebrates those songs and raises a new question: How do you thread together snippets of Jonathan Larson’s creative output into a musical?“The Jonathan Larson Project,” currently in previews, opens on March 10 at the Orpheum Theater in the East Village.Sara Krulwich/The New York Times“It was like an expedition,” the show’s creator, Jennifer Ashley Tepper, said of what it was like to pore over the archive of Larson’s work at the Library of Congress. “Like a musical theater historian expedition, because you would go and you would find one lyric that sort of matched up with one demo that sort of matched up with an idea of another notebook.”The show is a collage of Larson’s life as told through his unproduced music, some of it written when he was as young as 22, including compositions for downtown revues and cabarets, music from Larson’s futuristic dystopian musical “Superbia” and songs cut from “Rent” and “Tick, Tick … Boom!”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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    Olga James, a Star of ‘Carmen Jones’ and ‘Mr. Wonderful,’ Dies at 95

    An operatic soprano, she had high-profile roles on film and stage in the 1950s. But after that, she mostly spent her career away from the limelight.Olga James, an actress and operatic soprano whose career highlights occurred nearly back to back in the mid-1950s — as Harry Belafonte’s jilted girlfriend in the all-Black musical film “Carmen Jones” and as Sammy Davis Jr.’s love interest in the Broadway show “Mr. Wonderful” — died on Jan. 25 in Los Angeles. She was 95.Her death, in an assisted living facility, was confirmed by her niece Janet Adderley.Ms. James had performed with an opera company in France and in a popular musical revue in Atlantic City, N.J., when her manager, Abe Saperstein — the basketball impresario behind the Harlem Globetrotters — landed her an audition in 1954 for “Carmen Jones,” the movie version of Oscar Hammerstein II’s hit 1943 Broadway update of Georges Bizet’s opera “Carmen.” The opera is set in 1820s Spain; the setting of the film, like that of the Broadway musical, is the American South during World War II.Auditioning for the role of Cindy Lou, whose boyfriend, Joe (played by Mr. Belafonte), a soldier headed for flight school, is seduced by Carmen (Dorothy Dandridge), a worker in a parachute factory, Ms. James sang an aria at the Alvin Theater (now the Neil Simon Theater) for Otto Preminger, the film’s imperious director.“It wasn’t a stretch for me,” she was quoted as saying in “Otto Preminger: The Man Who Would Be King” (2007), by Foster Hirsch. “I was that character, a country-looking girl. I was just a little ingénue.”Ms. James with Harry Belafonte in a publicity photo for “Carmen Jones.” She did her own singing; his singing voice and Dorothy Dandridge’s were dubbed because they could not sing in an operatic range.20th Century Fox, via Michael Ochs Archives/Getty ImagesShe won the role. “Carmen Jones” would be her first movie — and her last.Of the film’s three lead performers, only Ms. James did her own singing; Mr. Belafonte’s and Ms. Dandridge’s songs were dubbed because they could not sing in an operatic range.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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    ‘Yellowjackets’ Season 3, Episode 3 Recap: It Wants More

    The Wilderness is becoming very vocal lately. And awfully demanding, too.Season 3, Episode 3: ‘Them’s the Brakes’In the third episode of this season of “Yellowjackets,” the Wilderness is playing mind games, but so are the girls. Which is worse? The fever dreams involving talking llamas and dangerous slap bracelets? Or the back-stabbing that comes with psychological manipulation? Honestly, it’s a toss up.This week’s episode highlights what has always been the strong suit of “Yellowjackets” — the ways in which being a teenage girl, or an emotionally stunted grown woman, dovetail with fantastical horror. The fights based on interpersonal drama can feel just as operatic as any hallucinogenic nightmare brought on by a mysterious woodland entity.Mari, perhaps the nastiest of the current Teen Yellowjackets, sums it up well when she is trapped in the cave with Ben. In Mari’s attempt to escape, they both were sprayed with mace, leaving them equally in pain and defeated. Ben starts lamenting his current situation, explaining how he only started being a high school substitute after tearing his ACL. He’s just a “normal guy” who goes to Dave Matthews Band concerts even though he doesn’t like them very much, he moans. The Wilderness wails.Mari responds with a story about when, as a 12-year-old, she watched her younger cousin die of cancer. It’s an oddly earnest tale from the usually sarcastic Mari. But she has a point. “I think maybe there are two versions of reality,” she says. “Most of the time the other one, the bad one, is just hiding or waiting, but it’s all real.” For Mari, it’s all one in the same: the supernatural horror they are facing and the cruelty of one another. Perhaps that’s why she herself is so cruel.Still, after what seems to be a shared moment of tenderness, she convinces Ben to let her go, promising to keep his secret. But Mari can’t discard her cynicism. As soon as she gets back to camp, her story falls apart. The other girls catch her in a lie, and she immediately spills Ben’s whereabouts.She invites her bad reality back to Ben. Shauna, furious, leads a witch hunt into the woods to find him with Mari as guide. They may as well be carrying torches and pitchforks. They do eventually find Ben, but they also encounter another terror.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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    ‘Safe House’ Review: Singing a Song of Loneliness

    Enda Walsh’s formal experiment, at St. Ann’s Warehouse, finds him in pared-back mode.Wearing a meadow-green T-shirt that proclaims her an Irish Princess, Grace dances with a white stuffed bunny that is her confidant. The music is Tchaikovsky’s “Sleeping Beauty” waltz, and it’s a clue to how Grace’s life plays out — not the ballet’s storybook ending, just the tragic parts.In this snippet of a scene near the top of Enda Walsh’s new play “Safe House,” which opened on Thursday at St. Ann’s Warehouse in Brooklyn, the music gets speedier, more intense, all sense of comfort vanishing. Control, too, but that’s hardly a constant for Grace, a homeless young woman with a mind blurred by alcohol. Like Sleeping Beauty after the curse kicks in, she is exiled from a life that looked secure enough from the outside but was treacherous from the start.Fair warning, though: Woven through with songs by Anna Mullarkey that are sung by Kate Gilmore as Grace, Walsh’s Abbey Theater production feels more like a live performance of a concept album than a play. In his plumbing of trauma and abuse — think “The Walworth Farce” or “Medicine,” his most recent play at St. Ann’s — he can have a way of reaching right into your viscera. Not here, unfortunately.In “Safe House,” it is 1996 in rural Galway, and Grace is scrabbling together an existence on the margins. Guzzling box wine, trading her body for money, she plays grim bits of her sepia past on repeat in her head; for us, these are projections upstage or scraps of audio. Long gone though she is from the home she grew up in, which for her was a place of harm, she has not severed every family tie.On the other end of a phone, we hear her father pick up.“I can hear you breathing,” he says, in Irish. “Where are you, Grace?”The set and costume design are by Katie Davenport, while video is by Jack Phelan.Teddy WolffWe 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