Eliana Willis

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    Jason Sudeikis, Spike Lee and Fans Cheer on WNBA Champions New York Liberty

    At halftime at Barclays Center in Downtown Brooklyn, where the New York Liberty, the defending W.N.B.A. champions, were leading in their season opener against the Las Vegas Aces, the team’s mascot, Ellie the Elephant, danced to Nicki Minaj.Downstairs in the Crown Club, a space reserved for select ticket holders, the “Severance” actors John Turturro and Zach Cherry chatted in the front of the room. In the back, Robin Roberts, the broadcaster, had a quiet meal with Russell Wilson, the quarterback of the New York Giants. Joining them were the owners of the Liberty, the Brooklyn Nets and Barclays Center, Clara Wu Tsai and Joe Tsai, who is also the founder and chairman of the Chinese tech company Alibaba.After dominating much of the game, the Liberty won, 92-78.Jonquel Jones, a power forward for the Liberty.Jutharat Pinyodoonyachet for The New York TimesSabrina Ionescu, a guard for the Liberty.Jutharat Pinyodoonyachet for The New York TimesBefore the game, the team was presented with rings commemorating their 2024 championship victory.Jutharat Pinyodoonyachet for The New York TimesThe filmmaker Spike Lee was also in the Crown Club, browsing a room filled with free popcorn, water and candy, including boxes of Milk Duds and Swedish Fish.“It’s just such a great moment for the city,” he said, reflecting on an unusually momentous weekend for New York sports teams, which also included a subway series between the Mets and the Yankees, as well as a playoff run for the Knicks.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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    ‘Love on the Spectrum’ Delivers on the Promise of Reality TV

    The Netflix series, which follows a group of autistic people as they search for love in their hometowns, feels good to watch, but don’t just call it feel-good TV.You know the story: A superstar surprises a fan on a talk show, and the online crowd goes wild, sending the clip viral. But when the affable actor Jack Black surprised Tanner Smith on “The Kelly Clarkson Show” in April, a particularly poignant and joyful alchemy was conjured.“Jack! Jack! I’m so excited to finally meet you,” Smith exclaimed as they embrace. “You’re so handsome, you’re looking good, Jack!”“I love you on the show, and I can’t wait for the next season,” Black told Smith, referring to the Netflix reality series “Love on the Spectrum,” which recently wrapped up a memorable third season. “I’m so happy for you for having all of this success,” Black said. “To meet you in person is really amazing for me, too.”Smith is a beloved star in his own right. Online — his handle, tannerwiththe_tism, nods cleverly at his having autism — he has about 2.5 million followers. It’s a number that is not unusual among his castmates, all of whom are autistic.On the viral clip, one commenter called Smith “easily one of the most beautiful humans to walk this earth.” Another wrote, “This was a moment where humanity remembered what love, truth, and presence really looks like.”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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    The Broadway Best of Charles Strouse

    The composer’s musicals, including “Annie” and “Bye Bye Birdie,” captured essential elements of American culture. Here are five of his most memorable songs.“Bye Bye Birdie” and “Annie,” the composer Charles Strouse’s most popular musicals, were not just big hits that are regularly revived on professional and amateur stages. They captured essential elements of American culture, including a yearning for escape from an older generation’s shackles and a can-do spirit to overcome adversity.Strouse, who died Thursday at 96, wrote jingles, pop songs and movie scores, but he remains famous for his Broadway shows. In addition to those two blockbusters, three others help make up his career peaks.Here are five numbers that illustrate Strouse’s suppleness as a composer and his knack for instantly hummable melodies.1960‘Bye Bye Birdie’Few musicals showcase as many great numbers as this hit about the Elvis Presley-like star Conrad Birdie, who, as a publicity stunt, visits a Midwest family before shipping off to the Army. The movie version, from 1963, is one of Hollywood’s best musicals of that decade, even though it made big changes to the show. The most egregious was casting Janet Leigh in the role of Rose Alvarez, played by Chita Rivera on Broadway. But it is hard to nitpick with the focus being shifted to Kim, a teenager discovering her sultry side, because she was played by Ann-Margret in an explosive performance that made her a star — she was particularly electric in the number “A Lot of Livin’ to Do.”Bonus video: In 2024, Vanessa Williams performed that song at the annual Miscast event, keeping the pronouns originally sung by Conrad Birdie intact.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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    ‘Is Betty Buckley Still Alive?’ Trump Asked. She Certainly Is.

    “What’s happening these days,” the singer said at the start of a Joe’s Pub residency, “is weird, and not cool.”An hour into Betty Buckley’s first set at Joe’s Pub, she began the aching ballad from “Cats” that has won her legions of fans. Among them, she now knows, is President Trump.Ms. Buckley, 77, who regularly reposts social media content critical of the Trump Administration, did not mention the president when she tore into “Memory,” which brought the reverent Thursday evening crowd to its feet, whistling and whooping. She didn’t mention him when she finished the number, either.But then she pivoted to Paul Simon’s “American Tune” — with lyrics like “I don’t have a friend who feels at ease” and “I wonder what’s gone wrong” — and called it “particularly perfect for what’s happening these days, which is weird, and not cool.”This has been an odd few months for Ms. Buckley, who has known for years that Mr. Trump loved “Memory,” but did not know her version, from the 1982 Broadway production, made her his favorite Grizabella, the once glamorous but now shunned feline whose plea for connection is the musical’s emotional high point.“I didn’t know he knew my name,” Ms. Buckley said of Mr. Trump. “It left me really gobsmacked that my name actually resides in his consciousness.”Graham Dickie/The New York TimesHow does she know now? Well, in March, Mr. Trump reminisced about seeing Ms. Buckley in that Andrew Lloyd Webber show while addressing the board of the John F. Kennedy Center for the Performing Arts, where his handpicked trustees had appointed him chairman. “The place went crazy,” he recalled of the “Cats” performance, before musing, “Is Betty Buckley still alive?” He continued: “Of all the great voices and stars, bigger stars than her, she had the best voice.”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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    Eurovision 2025 Final: Time, Running Order and How to Watch

    It has never been easier, no matter where in the world you are.The 2025 Eurovision Song Contest final will be broadcast live at 9 p.m. (3 p.m. E.S.T.) from the St. Jakobshalle arena in Basel, Switzerland. You can watch it from pretty much anywhere on a variety of platforms.The contest is run by the European Broadcasting Union, an umbrella organization of public-service broadcasters around the world. If you’re in the United States, you can stream the contest on Peacock because it is owned by NBCUniversal, and NBC is an associate member of the union.In Britain, you can watch on various BBC outlets (or listen to it on the radio). In Italy, tune in to RAI and in Spain, head to RTVE. The European Broadcasting Union’s members are mostly in Europe, but can also be found in such countries as Israel and Algeria.Australia has been competing at Eurovision since 2015, and there you can watch on SBS. Many people do in that pop-mad country, despite the contest airing at 5 a.m. on the Australian East Coast. If no broadcaster in your country of residence holds the rights to show the contest, you can check out the livestream on the Eurovision Song Contest channel on YouTube.Each broadcaster supplies its own commentary, and many of the pundits have followings of their own: Graham Norton’s fantastically funny play-by-play has led people in many countries to install a VPN so they can access the BBC coverage. And then there are nods to regional languages: SVT offers commentaries in Swedish and in two Sámi languages through a collaboration with the Finnish public broadcaster, Yleisradio.In other words: Nowadays, watching Eurovision is easier than ever, no matter where you are.The acts will appear in the following order on Saturday:1. Norway2. Luxembourg3. Estonia4. Israel5. Lithuania6. Spain7. Ukraine8. Britain9. Austria10. Iceland11. Latvia12. Netherlands13. Finland14. Italy15. Poland16. Germany17. Greece18. Armenia19. Switzerland20. Malta21. Portugal22. Denmark23. Sweden24. France25. San Marino26. Albania More

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    Theater to Stream: ‘Yellow Face,’ Joaquina Kalukango and More

    Watch the Tony nominee Daniel Dae Kim in David Henry Hwang’s comedy, and take in cabaret at 54 Below, all from your living room.‘Broadway’s Best’Watch on PBS, online or on the PBS app.At this year’s Tony Awards ceremony, on June 8, the PBS series “Great Performances” will be honored for excellence in theater. Its spring slate alone should remind everybody why “Great Performances” has been a theater gateway for so many people. Already available is a 2024 recording of the London premiere of the Brian Yorkey and Tom Kitt musical “Next to Normal,” starring Caissie Levy as a woman whose bipolar disorder has a ripple effect on her family. The New York Times’ review praised Michael Longhurst’s production for giving the show “a renewed sting.”Next, you can catch the Roundabout Theater Company’s recent revival of the acidic David Henry Hwang comedy “Yellow Face,” starring Daniel Dae Kim and Francis Jue — both nominated for Tonys this year. The glorious Bob Dylan jukebox musical “Girl From the North Country,” set in 1934 Duluth, Minn., arrives May 23. A week later, American audiences can discover last year’s London production of Cole Porter’s “Kiss Me, Kate” — a very funny twist on “The Taming of the Shrew” — with Stephanie J. Block as the fiery diva Lilli Vanessi and Adrian Dunbar (yes, Superintendent Hastings from the procedural “Line of Duty”) as her egotistical ex-husband, Fred Graham.‘The Other Place’ and ‘Vanya’Rent them on National Theater at Home.The National Theater at Home’s catalog is a veritable treasure trove, and a recent addition well worth checking out is “The Other Place” from the writer-director Alexander Zeldin (“Love”). Loosely based on the Greek tragedy “Antigone,” it is not driven by a high-concept staging like Simon Stone’s “Yerma” or Robert Icke’s “Enemy of the People,” which are also drastic reworkings of classics. Rather, Zeldin slowly builds a stifling sense of impending doom until an ending that hits as hard as it is quiet. Emma D’Arcy (“House of the Dragon”) appears haunted by bottled-up pain as the disrupter at a family reunion, while Tobias Menzies portrays a seemingly even-tempered uncle.Compared with that tragedy, Andrew Scott’s solo interpretation of “Uncle Vanya” feels almost cheery. If you missed the critically acclaimed, very sold-out recent run of “Vanya” in New York, you can watch an excellent capture of the original London version here. Sam Yates’s production offers not just a modernized take on the Chekhov classic but, as Jesse Green wrote in The New York Times, “a new way of seeing into the heart of its beauty.”‘Friends and Romans’Stream it on Tubi.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 ‘Sirens,’ Meghann Fahy Sounds the Alarm

    “People underestimate melon,” the actress Meghann Fahy said. ”I don’t think they give it a chance.”Fahy was speaking on a drizzly morning in April, two weeks before her 35th birthday, in an Edible Arrangements outlet on Manhattan’s Upper East Side. In the first episode of “Sirens,” a Netflix limited series, Fahey’s character receives an arrangement, the deluxe Party Dipped Fruit Delight, which weighs as much as a toddler.“I dragged that arrangement around for weeks,” Fahy said. Now Fahy had come to make her own, a gesture that felt a little like homage, a little like revenge.With some help from the store’s owner, she set about crafting a more modest assemblage. She combined cut pineapple and melon balls to form daisies, then speared honeydew and cantaloupe onto plastic skewers above a kale base. “And that’s how she stabbed herself,” she said, narrating the activity. “Sad.”Meghann Fahy stars in “Sirens” as a protective sister with self-destructive tendencies and, in early scenes, an enormous fruit basket.Macall Polay/NetflixFahy knows what it’s like to be underestimated. She performed on Broadway as a teen in 2009 and then barely worked until 2016, when she landed a role on the go-getting Freeform show “The Bold Type,” the rare series that makes a career in journalism look fun. She didn’t properly break out until 2022, in an Emmy-nominated turn in the second season of HBO’s “The White Lotus.”This year, she has her first proper leads, as an imperiled single mother in the date-night thriller “Drop,” which premiered last month, and as a class-struggle chaos agent in “Sirens.” Created by Molly Smith Metzler (“Maid”), the series premieres on May 22.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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    Darren Criss Does the Robot

    Darren Criss stood up, fast asleep, his head heavy. When he awoke, he reverse body rolled, slowly turned his head from side to side, then brushed his teeth, mechanically moving his toothbrush — left, right, left — like a cartoon character.But this was no cartoon come to life (that would be “Boop!,” playing a block away). This was a scene from the Broadway musical “Maybe Happy Ending” in which Criss and Helen J Shen play Oliver and Claire, android attendant robots called Helperbots.Playing a character onstage comes with its own process of world building. But playing a nonhuman character requires a different — or additional — calculation. Where is a robot’s center of gravity?As Claire, a Helperbot 5 with a defective battery (and heavy dose of sarcasm), Shen moves as a human would. As Oliver, a Helperbot 3, an earlier model, Criss moves stiffly, his reflexes stilted. He’s all elbows and knees and sharp lines. Her limbs move in bell curves. The challenge of playing an aging robot has been a field day for Criss, an opportunity to draw upon his formal training in physical theater.“In many ways I joke that Oliver is my excuse to overact for two hours,” Criss said, adding, “the joke being how beep boop bop are we going here without it feeling too, frankly, ridiculous.”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