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    Martha Plimpton’s Favorite Things: Pamela Adlon, the Tate Modern, Abortion Rights

    The star of Amazon Freevee’s new comedy, “Sprung,” also confesses her public radio addiction and shows off her Edward Gorey tattoo.In a perfect world, Martha Plimpton typically has three to six months before shooting to get into character.But her latest role, in “Sprung” — which reunites Plimpton with her “Raising Hope” creator, Greg Garcia — happened on the fly.About a year ago, Plimpton was at her London home cooking dinner when Garcia called to ask about her plans for the next couple of months.Why? she responded.“He said, well, could you get on a plane on Sunday, do fittings on Monday and start shooting my series on Tuesday?” she said. “And I said, yeah, absolutely, get me the ticket.”“I didn’t even have to read the script,” she added. “It was Greg, and I would follow him into a volcano.”On her flight to Pittsburgh, she dug into that script. And somewhere over the Atlantic, Barb was born: the mother of a recently released convict (Phillip Garcia) who offers two of his fellow inmates room and board — if they join her robbery crew to earn their keep. A dowager’s hump, bright red hair streaked with white and a perma-snarl completed the character. “Sprung” debuts Aug. 19 on Amazon Freevee.In a video call from London, where she lives when she’s not in Brooklyn or Los Angeles, Plimpton elaborated on 10 things she can’t live without from a list of hundreds — “I wanted to say toilet paper or, I don’t know, clementines,” she quipped. Among them: driving Highway 101; her pandemic pooches, Walter and Jimmy Jazz; and abortion rights, for which she is a famously outspoken advocate.“They can make all the laws they want,” she said of the Supreme Court’s recent ruling, “but they’re not going to stop us.”These are edited excerpts from the conversation.1. “Gloria” (1980), directed by John Cassavetes “Gloria” is the first movie I remember seeing that was an action film with a woman heroine, firing a gun and running through Penn Station in heels and a fabulous silk Ungaro suit and easily the best hair in the history of Hollywood. I get goose bumps from Gena Rowlands’s power in this movie. It’s just a badass woman, kicking butt and taking names. It’s part of why I wanted and still want to be an actor, because I really [expletive] hope I get a role like that someday.2. Her Dogs During the early months of the pandemic, I thought I was going to lose my mind if I didn’t have an animal to take care of to get me out of the house. I contacted a lot of shelters and nobody had any dogs left. Then this lovely woman named Tiffany [at Animal Haven] wrote me back and said, “I just happen to have two little dogs here. I’ll bring these guys over.” I wanted to foster first, but I’m a typical foster fail because my dogs bring me enormous peace and a sense of living in the moment as much as humanly possible. They’re magical little creatures that make my heart bigger and teach me patience.3. Highway 101 It’s the route to my family home in Oregon. It’s astonishingly beautiful going from the California coast up through the redwoods and past the little motels on the side of the road and the lighthouses. And you’ve got to drive slow. You cannot go 75 miles an hour on Highway 101 or you’ll end up in the ocean. It forces you to take it all in one mile at a time.4. Tate museum membership Some of the most exciting things I’ve seen have been at the Tate Modern. Also, they have the best museum gift shop, and I’m huge on museum gift shops. The last show I saw was Lubaina Himid, who’s an extraordinary artist who works in a multitude of mediums, from sculpture to audio to site-specific stuff to these colorful, bright, beautiful paintings about life in London and colonialism, family, food.5. Public Radio I listen to NPR or WNYC easily 24 hours a day. I love the reporters. I love the name generator, where you can type in your birthday or whatever and it gives you one of those kooky names that they all have. It brings me a sense of continuity and keeps me informed because I don’t like to watch television news. I’m like one of those crazy spinster ladies who listen to the radio at night.6. The photographer Weegee My mom, for a time, was a research librarian so she had a lot of great photography books, like Robert Frank’s “The Americans.” But the one that I still have, and that I will never let go of, is her book of photographs by Weegee. I’ve been totally entranced by those photographs, completely mad for them. Photos of city life, freaks and weirdos and criminals and cons and card players and kids playing in the street. His photograph of a transsexual being carted off in a police wagon — just the look of joy on her face as she lifts her skirt to show her stocking — is one of the most extraordinary photographs I’ve ever seen.7. Edward Gorey My first and only tattoo is an Edward Gorey phrase. [Reveals the underside of her arm.] It says, “On which she flung herself over the parapet.” And then down here [shows her rib cage], there she is flinging herself over the parapet. I got that when I was 42. But Edward Gorey is an artist that I’d been looking at since I was very little — 3, 4, 5, 6. His “Gashlycrumb Tinies” book is, I suppose, the most famous. It’s all these children’s names that start with a letter from the alphabet, along with what horrible way they died.8. Abortion rights I’m angry, and I’m frustrated. I feel very strongly that a law codifying the right to abortion federally needs to be passed. I think we should pass the [Equal Rights Amendment] sooner rather than later. I think that our president has an obligation to do these things without concern necessarily for the climate in the Senate. Abortion is normal. It is a regular health procedure. I think the way we’re living now with this is sadistic and cruel, and it’s meant to silence us and to sideline us. And that’s just not going to happen.9. Pamela Adlon “Better Things” is one of the greatest shows I’ve ever seen. I have rarely seen family portrayed so brutally honestly and also with such heart and good humor. Pamela has this sort of signature move. She leans over, she grabs her knees and she just exhales. [Demonstrates the move.] And that’s something that I so relate to, even though I don’t have kids. The boring, tedious agony of being a middle-aged woman, and particularly an actress, in our culture is ripe for that kind of exploration, for that kind of truth.10. Stephen Sondheim He is easily for me the greatest composer-lyricist of the 20th century, and he was utterly fearless, seemingly, in what he was willing to do. Musical theater has died a million deaths and he always seemed to be the one to bring it back to life. There are certain things that I will never be able to listen to without collapsing in a heap of tears and chills and goose bumps. “Sweeney Todd” might be up there as my absolute favorite. “Sunday in the Park With George” is another. When he died, I had those two on repeat very, very loud in my house, listening to them over and over again. He’s just such an extraordinary capturer of what it means to be a human being and to love and to believe in art. More

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    Daniella Topol of Rattlestick Theater’s New Calling: Nursing

    The artistic director of Rattlestick Playwrights Theater is making an unusual career change after preparing the company for a major renovation.There’s been a lot of turnover in theater leadership lately. Some have been drummed out of their jobs. Others have quit to do something else in the arts. Many have retired.Daniella Topol, the artistic director of Rattlestick Playwrights Theater and a career-long theater director, is leaving to become a nurse.The unusual move arrives at a pivotal time for Rattlestick, a small Off Broadway company that, in addition to rejuvenating following the long pandemic shutdown, is about to embark on a much-needed renovation of its cozy but imperfect West Village home, located in a 19th-century church parish house.Topol, 47, has been leading Rattlestick since 2016, succeeding David Van Asselt, who co-founded the company. Just before assuming the leadership position, she directed at Rattlestick a production of “Ironbound” by Martyna Majok, who went on to win a Pulitzer Prize for “Cost of Living.”Marin Ireland played a Polish immigrant in New Jersey in Martyna Majok’s “Ironbound,” directed by Topol for Rattlestick in 2016.Sara Krulwich/The New York TimesThree years later, another production Topol directed at Rattlestick altered her trajectory. While working on “Novenas for a Lost Hospital,” a play that both chronicled and mourned the demise of St. Vincent’s Hospital in Greenwich Village as patrons moved from location to location connected to the story, she consulted with nurses and nursing students, and something sparked.“A seed was planted and then we continued forward — a pandemic happened six months after that, and there was a lot of reflection around, ‘Where are we as a field?’ ‘Where are we as a city?’ ‘Where are we as a country?’ ‘Where are we going?’ ‘What role do we play or not play?’ ‘How do I as white woman hold power and privilege?’ ‘How don’t I?’ ‘Where do I fit in a constellation in a way that is productive?’” she said. “I have been doing, obviously, a lot of reflection about my own personal life, and meaningful and challenging experiences that I have had, on a very personal level, and many of them have centered inside of maternal care complexities, and so it sort of felt like it was aligning with the stars.”She said she is not sure exactly what she wants to do as a nurse, but she plans to stay in New York, and said that maternal health and birth equity — a term used to describe efforts to reduce racial and class inequities for new mothers and their infants — have become particular interests, intensified by the overturning of Roe v. Wade. “I’ve been pregnant many times — I’ve had a late-term loss, early term losses, and I have a child,” said Topol, who lives in Brooklyn with her husband and 10-year-old daughter. “I feel like it’s a way to hold the loss and let that help inform my next steps on a very personal level.”Ensemble members in “Novenas for a Lost Hospital,” a play marking the death of St. Vincent’s Hospital. “A seed was planted,” Topol said of her work on this 2019 production.Sara Krulwich/The New York TimesSo now, while preparing to direct a final play for Rattlestick this fall and working on other theater projects, she is taking prerequisite courses and volunteering at a hospital; Rattlestick is beginning a search for her successor, and she hopes that she will overlap with that person and then leave sometime next year, before starting nursing school next summer or fall.“I’ve only been a theater person,” she said. “Here I am, I’m waking up at 4:30 a.m. to study science and memorize muscles and bones and I’m dissecting a pig. It’s all kinds of things I never thought I would do.”Topol said there were other factors as well. She said that she has thought about “how long should anybody stay in any kind of leadership position,” and that the civil rights unrest of 2020 had intensified that thinking: “Part of the reckoning was about who is running companies, where does power lay, and how much power sharing is there — defining what the trajectory of the field is.”“There are other wonderful artists who can take over Rattlestick and do a beautiful job leading it and imagine things I haven’t been able to imagine,” she added.As the paths of Topol and Rattlestick diverge, she’s interested in highlighting the theater’s survival and growth, and its commitment to a smooth transition.Dael Orlandersmith in her one-woman show “Until the Flood,” which was produced at Rattlestick in 2018 during Topol’s tenure.Sara Krulwich/The New York TimesThe company, founded in 1994, is small — its annual prepandemic budget was $1.2 million, of which 80 percent was raised from foundations and donors — but has consistently attracted attention for its ambitious work, including not only Majok’s early play, but also work by Annie Baker, Samuel D. Hunter, Dael Orlandersmith and Heidi Schreck. The theater describes its mission, in part, as prompting “social change,” and much of its programming reflects that; its first post-shutdown play was “Ni Mi Madre,” a much-praised autobiographical examination of culture and sexuality by Arturo Luís Soria, whom the theater has now commissioned to write a follow-up.“What I’ve loved about Rattlestick is we’re small and scrappy and authentic and take chances and aren’t burdened by huge institutional issues of massive unaffordable space — we’re like a motorcycle, not a cruise ship,” Topol said. “You don’t get the luxury of the cruise ship — you get the scrappy ride of the motorcycle — but you get the flexibility to be able to twist and turn as things go.”Topol said she feels comfortable leaving in part because the theater now has a fully financed plan to redo its performance space, which it rents harmoniously from St. John’s in the Village, an Episcopal church. The theater space, where it has been located since 1999, has had two serious challenges: The only way to get there is to climb a narrow stairway, which means the theater is not accessible to those who can’t navigate those stairs; and the only way to use the bathroom is to traverse the stage.Rattlestick has now raised the $4 million — about half from the city — to finance a project that will, at its most basic, add an elevator and patron bathrooms, but will also modernize the entrance and the theater itself by relocating the front door, adding a box office and a small lobby, and removing the raised stage so that the performance and seating areas are flexible, as well as accessible. The theater will be able to seat up to 93 people — about the same as it does now. “It’s not ‘bigger is better,’” Topol said. “It feels like we are really right-sized for the work that we are doing.”“I was shocked, but also, as I thought about it, I saw where there was a connection with who she was,” Jeff Thamkittikasem, the chairman of Rattlestick’s board, said of Topol’s move.Dana Golan for The New York TimesThe renovation will allow Rattlestick to stay in the West Village, which has become a very pricey area, but is the neighborhood where the theater has long been located and is determined to remain. Rattlestick also shares a rehearsal space on Gansevoort Street with three other theater organizations. “It is critical to maintain places for artists in our neighborhoods,” said the renovation’s architect, Marta Sanders.Construction, Topol hopes, will begin next summer, pending city approval, and would last a year; during construction, the theater would present work at other locations. The theater is continuing to raise money for programming and operations.The chairman of the theater’s board, Jeff Thamkittikasem, acknowledged surprise at Topol’s move, but said he had become supportive.“When I first heard about it, I tried to talk her out of it, but my mom is a nurse, and at some point it switched for me and I saw that connection about wanting to care for others in a much more direct, physical way,” he said. “I was shocked, but also, as I thought about it, I saw where there was a connection with who she was.”Thamkittikasem said the organization is healthy and that the board has retained a search firm to look for Topol’s successor. He added, “Rattlestick is in a very strong place since Daniella took over — we’re stronger financially, we have good connections to foundations and funders, we have an active board and a solid staff, and our reputation has grown.” More

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    Hulu’s ‘The Bear’ Fuels Demand for Chicago’s Italian Beef Sandwich

    The FX series has fueled a spike in sales of the sandwich at Chicago-specialty restaurants across the country.Last month, Dan Michaels, an owner of Gino’s East of Chicago in Los Angeles, watched as orders for Italian beef — the classic Chicago sandwich of thinly sliced roast beef and tangy giardiniera piled on a roll — suddenly soared to 300 a day, from 150 a day in June.“The Bear” had struck again.The cross-talking, anxiety-inducing series from FX about a struggling Chicago beef sandwich shop and its harried kitchen brigade has drawn acclaim from food media and restaurant veterans, propelled a slew of “Yes, Chef!” memes gushing over the lead actor, Jeremy Allen White, and energized a collective lust for sweaty line cooks.The show has also spurred instant demand for the delectably sloppy Italian beef sandwiches at the center of the plot’s chaos. Search interest on Google, according to Google Trends, nearly doubled after the show was released on Hulu on June 23, and Chicago-style restaurants across the country are feeling the effects in person.From left, Jeremy Allen White, Lionel Boyce and Ebon Moss-Bachrach convening in a walk-in refrigerator on “The Bear.”FX, via Associated PressMike Klaersch, the owner of the Pizza Man, a mom-and-pop Chicago joint outside Kansas City, Kan., noticed customers piling in for the sandwiches. The restaurant, he said, sold five to six times as many as it did in June.Jarret Kerr, an owner of Dog Day Afternoon, a Chicago Italian beef and hot dog restaurant in Windsor Terrace, Brooklyn, said he had seen at least a 50 percent increase in orders of hot Italian beef sandwiches — at $15, the most expensive item on the menu — since the show debuted. The cramped shop used to sell up to a dozen a day; the staff is now slinging 30 or more a day and selling out daily.“It’s been a godsend,” Mr. Kerr said. “Now every day we say, well, thank you to ‘The Bear,’ thank you to ‘The Bear.’”The shop was name-checked last month on “Late Night With Seth Meyers” when Mr. Meyers and the actor Mr. White, who stars as Carmy in the series, took bites of its Italian beef sandwich. (A “Late Night” intern snagged the last two sandwiches before the shop sold out for the day, Mr. Kerr said.)Goldbelly, an e-commerce company that delivers specialties like lobster rolls and gumbo from restaurants around the country, has seen a 30 percent increase in sales of Italian beef sandwiches since “The Bear” premiered, a spokeswoman for the company said. (That number could soon rise with the recent addition of the Chicago staple Al’s Beef to the site.)According to Chicagoans, a true Italian beef relies on a consistent, harmonious formula of roast beef and hot giardiniera, all atop — this is important — a Turano Baking Company French roll. Roasted peppers, for a touch of sweetness, are optional. The sandwich is then “dipped, dunked or baptized” in beef juices according to jus preference, said Henry Tibensky, a native Chicagoan and the founder and chef of Hank’s Juicy Beef, a roving Chicago hot dog and sandwich pop-up in New York City.The gloriously messy sandwich as served at Al’s Beef in Chicago.Anjali Pinto for The New York TimesAmjad Haj, an owner of two Al’s Beef locations in Chicago, hasn’t seen an increase in business, but his customers are talking about the show. “One thing I’ve heard a couple of times though is they don’t think the accent is right,” Mr. Haj said. (Staff members at three other Chicago-area restaurants we contacted hadn’t heard of “The Bear” at all.)Not even the recent heat wave that hit much of the country could slow demand. Italian beef sandwich orders have doubled over the last two weeks at Emmett’s, a Chicago-cuisine restaurant in Manhattan, said the owner, Emmett Burke.At Mr. Beef On Orleans in Chicago, where exterior scenes for “The Bear” were shot, business is booming. Joseph Zucchero, an owner who opened the shop in 1979, said he went from selling 250 to 300 Italian beefs per day pre-“Bear” to 800 daily in early July.“The week after it aired, all of a sudden, we were out of bread,” Mr. Zucchero said. Some days he keeps the shop open three to four hours past closing time to accommodate the line of customers.As for the show? “I haven’t seen it yet,” he said as a phone started to ring in the background. “I’m too busy. I’m waiting for all of the hullabaloo to calm down.”Follow New York Times Cooking on Instagram, Facebook, YouTube, TikTok and Pinterest. Get regular updates from New York Times Cooking, with recipe suggestions, cooking tips and shopping advice. More

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    Stephen Colbert Taunts Trump for Bad Bathroom Behavior

    “To be fair, it’s unclear if those are official White House documents or his toilet’s suicide note,” Colbert said.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Name DropperStephen Colbert couldn’t resist razzing Donald Trump on Monday night after photos were released that were said to show ripped up notes in the former president’s toilet.“Not the first time the former president tried to flush something embarrassing. One time, staffers went in there and found Eric,” Colbert joked, referring to the former president’s son.“Of course, when the story broke, the ex-president denied it. So, that’s it. There’s no way to know the truth — until this weekend, when the plot went from one-ply to two, because Haberman revealed these photos from a White House source, showing some torn-up toilet memos. To be fair, it is unclear if those are official White House documents or his toilet’s suicide note.” — STEPHEN COLBERT, referring to Maggie Haberman, a New York Times reporter“He even wrote the name ‘Stefanik,’ as in Elise Stefanik, one of the ex-president’s biggest G.O.P. defenders in Congress. If you’re in the MAGA world, that’s huge. Congrats, Elise, heard the president dropped your name.” — STEPHEN COLBERT“Wow, even the toilets are writing tell-alls.” — JIMMY FALLONThe Punchiest Punchlines (Biden’s Back — Again Edition)“Good news, President Biden is now Covid-free! Happy to hear that. He’s back on his feet and as healthy as a 175-year-old horse.” — ROB MCELHENNEY, guest host of “Jimmy Kimmel Live”“This was Biden’s second bout with the virus. You know, these rebound Covid cases are quite rare. They say the odds of Joe Biden getting reinfected were almost as low as the odds that he gets re-elected.” — ROB MCELHENNEY“And 18 days is a long time in quarantine, but I’m sure he’ll get right back into the swing of things, you know, because, yeah, being president is a lot like, you know, riding a bike — oh, Joe, no, don’t do it! Don’t do it!” — TREVOR NOAH“Yeah, Biden had a great weekend. He’s feeling so good, last night he looked at his bottle of Cialis like, ‘Not tonight, pal. I got this.’” — JIMMY FALLONThe Bits Worth WatchingThe Canadian singer-songwriter Lauren Spencer-Smith made her U.S. television debut on Monday’s “Tonight Show.”What We’re Excited About on Tuesday NightKate McKinnon will pop by Tuesday’s “Tonight Show.”Also, Check This OutAbbi Jacobson plays a talented, anxious catcher who becomes her team’s leader.Amazon StudiosAbbi Jacobson cocreated and stars in the new Amazon television adaptation of the popular 1992 film, “A League of Their Own.” More

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    ‘Better Call Saul’ Season 6, Episode 12 Recap: Hit the Road

    Kim would like to make a confession, Gene has a new problem, and Jeff has car trouble.Season 6, Episode 12: ‘Waterworks’After years of blending in and keeping low in Omaha, Gene Takavic, a.k.a. Saul Goodman, is about to lam it. In the closing moments of this episode, he is outed for good by a terrified but determined Marion, who has discovered the truth about her overly helpful pal. All it took was a computer, Ask Jeeves and a few key words: “Con man” and “Albuquerque.”We still don’t know why Gene changed from a skittish, no-profile schmo into a risk-addled home invader. One assumed that there were clues to be gleaned from the conversation he had with Kim in the previous episode, but in this one, we hear that conversation and nothing about it says, “This guy needs a lot of cash, stat.” It might be that swindlers need to swindle, that Jimmy/Saul isn’t alive unless he is ripping someone off and skirting the law. Perhaps this isn’t a story about a man who needs money. It’s a story about a man who can’t change.If so, it sets up a stark distinction between Jimmy/Saul and Kim. We find her in Titusville, Fla., living an utterly pedestrian life designing brochures for a sprinkler wholesaler. She seems reasonably happy with her hunky boyfriend and their suburban, backyard-barbeque life. The justice-seeking lawyer in her has been quashed, and we get only the briefest peek at her former self when Kim flies to Albuquerque and visits the courthouse, where she looks enviously at a public defender. In a glance, she sees the life she has abandoned, the calling that drew her with such force that she hatched a very nasty scheme — to frame Howard Hamlin as a drug addict — in order to fund it.Kim has returned to New Mexico to right a wrong. She confesses everything in an affidavit, which she presents both to prosecutors and to Cheryl, Howard’s widow. It’s all there. Every petty twist in the plot that buried Howard, including his murder at hands of Lalo Salamanca. This drastic act happens right after that call from Jimmy/Saul in the previous episode.“I’m still getting away with it,” Jimmy/Saul says.“You should turn yourself in,” Kim replies, after a painful silence.The Return of ‘Better Call Saul’The “Breaking Bad” prequel is ending this year.A Refresher: Need to catch up? Here’s where things left off after the first seven episodes of the show’s final season, which aired this spring.Bob Odenkirk: After receiving a fifth Emmy nomination in July, the star discussed bringing some measure of self-awareness to the character of Saul for his final bow.Stealing the Show: Kim Wexler’s long slide toward perdition has become arguably the narrative keystone of the series, thanks to Rhea Seehorn’s performance.Writing the Perfect Con: We asked the show’s writers to break down a pivotal scene in the ​​transformation of Jimmy McGill into Saul Goodman.“Why don’t you turn yourself in, seeing as you’re the one with the guilty conscience,” Jimmy/Saul says. “What is stopping you?”He then lists the people, all dead, who could possibly help implicate Kim. It’s a reminder that she could tell the authorities the whole truth, and without any bodies and any witnesses, it might not matter.It’s a point that Kim herself makes when Cheryl asks whether this conscience-cleansing affidavit comes with any authentic legal peril. The truth is that Kim can keep getting away with it, too, even if she wants to be punished. Maybe that’s why she cries during the ride on the rental car bus. The unburdened life is unavailable to her. It’s a predicament worthy of Dostoyevsky, and it’s an especially gruesome fate given that she was the one who conceived and pushed for the scheme against Howard. There was a time — it started at the end of Season 5, to be precise — when Kim was the more wicked of this duo.Not that Kim has become a saint. Note that she tells Cheryl one whopper — that Jimmy might be dead. (To be lawyerly and specific about it, Kim says that there are no living witnesses to events described in the affidavit, other than her ex-husband, “assuming he’s still alive.”) She knows he’s alive. She just spoke to him. Kim was always the better liar in this couple, and that is still true.But with her job and boyfriend in Florida, Kim was taking a stab at a dull and law-abiding life. At first, it seemed hard to fathom that she had managed to become an office worker whose life revolved around writing vivid descriptions of plastic tubing. It seems a long way from the valiant efforts she made on behalf of indigent clients. Remember though, that the crusading incarnation of Kim was relatively new. She worked for years as an associate at a law firm, and then she burrowed deep into the intricacies of banking regulations as counsel to Mesa Verde, a local bank with regional dreams. She’s done the office drudgery thing before.Whether she can keep her quotidian existence is a question that is no longer hers alone to answer. Her affidavit incriminates Jimmy, too, and at minimum, he is going to need to run from the law. If he is caught, the show could end with an episode that pits Kim against Jimmy, back in Albuquerque, perhaps in a trial that garners national attention. (“Consigliere of Dead Meth Baron Implicated by Ex-Wife!”)Kim would be the only witness who could send Jimmy away. And it’s getting easier to root for some jail time for this guy, is it not? In the last few episodes the writers have put their collective and heavy thumbs on the scale by turning Saul/Gene into a monster. In this week’ episode, he appeared to be on the verge of strangling Marion with a cord, and earlier he seemed every bit as ready to cold-cock a man with the urn containing the ashes of his dog.This is a nervy turn of events. The show has ditched the idea that this is a narrative about love. The show will culminate, it seems, by posing questions about fairness and justice and maybe mercy. Will Cheryl forgive Kim or sue her? Will Kim testify against Jimmy or spare him?What ending does Saul Goodman deserve?Odds and EndsIt’s great to see Jesse Pinkman return for yet another scene, one that occurs before he goes to speak to Saul about springing his friend Badger out of jail, an event from the “Breaking Bad” timeline. His dialogue sounds utterly organic. (“It’s crazy, like bananas, all this rain. I thought we were, like, in a desert, you know?”)But this feels a bit like stunt casting because it’s hard to see how his presence moves the story forward. The scene ends with Kim saying that Saul was a good lawyer back when she knew him, underscoring the notion that the man she married no longer exists. That’s a point that could have been made without Jesse, and one that is pretty obvious during the signing of the divorce papers, moments earlier, when Saul feigns indifference as they muddle through the paperwork. It would have been great to learn something about Saul we could not have known unless Jesse showed up. Or even something new about Jesse.Fun fact: Kim represented Combo after he stole a creche.Wait, another scene of Kim brushing her teeth?Jeff’s freak out and car wreck seem implausible, even for Jeff.Saul/Gene uses the name Viktor St. Clair as a pseudonym when he calls Kim, which she appears to recognize immediately. Sound familiar? It’s the name he used (“Viktor, with a K”) when he and Kim ran their first con together, on the foul-mouthed stockbroker Ken, back in the Season 2 premiere (with help from a spiky-topped bottle of Zafiro Añejo).We learn during that phone conversation that Kim did not take the Sandpiper Crossing settlement money. Her conscience has been plaguing her for a while.Perhaps the best part of this episode is the way that its writer and director, Vince Gilligan, captured office life with such uncanny verisimilitude. The birthday cakes, the Miracle Whip lunch talk, the ritualized passing of hole punchers from one employee to another — it’s all so dead on. Offices like that of Palm Coast Sprinklers have been a part of television for a long time, but this might be the most accurate depiction of it Your Faithful Recapper has ever seen.The next episode is the last. The end of an era! Feel free to make predictions in the comments section. More

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    ‘The Devil Wears Prada’ Review: An Adaptation That Needs Tailoring

    The new Elton John-Shaina Taub musical, based on the popular film about a fashion-world ingénue and her demanding boss, isn’t yet ready-to-wear.CHICAGO — A movie-to-musical that wants to have its cake and eat it, too, and still fit into a sample size, “The Devil Wears Prada,” opened at the James M. Nederlander Theater here on Sunday. With music by the rock god Elton John and lyrics by the Off-Broadway sweetheart Shaina Taub (“Suffs”), it had seemed poised to set a trend or two.Though the show takes place at a fashion magazine, its creative team doesn’t seem to have agreed on a style. Is this a sincere story of a young woman’s education — sentimental, professional, sartorial — or a Fashion Week party? An inquiry into toxic workplace culture or an excuse to put an Eiffel Tower (technically, two Eiffel Towers) onstage? This is a show that has tried on everything in its closet. Nothing fits.Adapted from the 2006 film, itself adapted from Lauren Weisberger’s 2003 roman à clef of her year at Condé Nast, it follows Andy Sachs (Taylor Iman Jones), a recent journalism graduate. Andy has big dreams. The Big Apple quashes them quickly in “I Mean Business,” the show’s efficient opener. After six months of rejections, she somehow lands a coveted job at Runway — a fictional stand-in for Vogue — as the second assistant to its imperious editrix, Miranda Priestly (Beth Leavel.)Andy doesn’t care about fashion. She has the cable-knit tights to prove it. But she needs a job to pay the rent. (Yes, the musical assumes that an entry-level media gig guarantees financial security. How dear.) So she makes what she perceives as the first of many Faustian bargains — to put her dreams on hold and stick it out for a year.“My voice can wait,” she tells Miranda. I mean, Joan Didion got her start at Vogue. But sure.The trouble is, Andy isn’t very good at her job. Certainly she lacks the maniacal perfectionism and bonkers wardrobe of Emily Charlton, the venomous first assistant (Megan Masako Haley, wasted until the second act). For help, she turns to the magazine’s creative director, Nigel Owens (Javier Muñoz), who gives her the makeover she so desperately needs, in “Dress Your Way Up,” a power ballad inspired by the Met’s costume collection and the coffee mug platitude that you should dress for the job you want.But Andy remains ambivalent about her work. And is a hot pink romper and thigh-high boots really anyone’s idea of office wear? (The costumes, which range from the flamboyant — the chorus — to the unpersuasive and oddly wrinkled — the principals — are by Arianne Phillips.) The musical is ambivalent, too. The film, with its sleeker wardrobe and more substantial visual pleasures, seemed grudgingly admiring of the fashion industry, as commerce, as art. The show, directed by Anna D. Shapiro, a serious-minded artist I would not have associated with glitter or caprice, can’t make up its mind.The songs unfold pleasantly enough, with flashes of glam and morsels of wit, but they tend to feel last-season. The choreography, by James Alsop, defers to Broadway vernacular, with glimmers of ballroom. Of course there is voguing. Though Kate Wetherhead’s book makes a few updates — there’s a reference to collagen powder — it doesn’t take a point of view. And in a show with a stated aversion to starches, the jokes are deeply corny.“What should I do?” Andy wails as Miranda approaches.“Find a better exfoliant, for starters,” Nigel says.Javier Muñoz, center, as the creative director of Runway magazine, which is overseen by the imperious editor Miranda Priestly, played by Beth Leavel.Joan MarcusAt times, I wondered what a writer who takes bigger, more trenchant comic swings — Bess Wohl, say, Jocelyn Bioh, Halley Feiffer — might have done with this material. Would a score that acknowledged the last 40 years of popular music have made a difference? This version takes Jones, a charismatic actress with a lithe, flexible voice, and gives her little to do except stress and dither. (She glows, by the way, no exfoliant needed.) And though magazines like Vogue have finally admitted a lack of diversity, the musical never acknowledges that everyone mistreated by Miranda, who is white, is a person of color.“The Devil Wears Prada” wants to impart a vision of luxury and style — which explains the makeover scene, the gala scene, the Paris fashion week scene. Christine Jones and Brett Banakis, the set and media designers, have a lot of fun with Paris. But Andy, a woman with no professional bylines, seems to feel that fashion is somehow beneath her. Even when she comes to appreciate couture on a personal level (“Who’s She?”), she never recognizes it as substantive, rejecting the chance to write about it. It remains frivolous, unserious, girl stuff, which gives the musical, despite the presence of so many women on the creative team, a shade of antifeminism.None of the female characters in the show support one another until nearly the finale. Andy’s two roommates (Christiana Cole and Tiffany Mann) are sketched so thinly I never caught their names. They still make time to judge her. As looks go, it’s not great.Another nervous day at Runway: Jones, left, Muñoz and Leavel, with members of the ensemble.Joan MarcusWhich brings us, of course, to the Miranda of it all. In the film, Meryl Streep played Miranda with sleek silver hair and a voice like liquid nitrogen — an ice queen to sink the Titanic. But Leavel is an actress of humor and warmth with a gift, demonstrated in “The Drowsy Chaperone” and “The Prom,” for arch self-parody. Miranda should have her underlings shaking in their Louboutin boots. Here, everyone stands pretty tall.Has Wetherhead’s book melted Miranda or does Leavel lack the necessary frost? Both, really. The musical gifts her a late confessional, “Stay On Top.” Because if you have a voice like Leavel’s, of course you should showcase it. But Miranda isn’t built for self-reflection. And “Stay On Top” doesn’t offer much anyway.Curiously, the character the musical represents most fully isn’t uncertain Andy or meanie Miranda, but cucumber-cool Nigel. In addition to “Dress Your Way Up,” the musical’s best number, he also delivers the second act’s “Seen,” a poignant song about how fashion magazines succored him as a gay adolescent. Muñoz, a consummate performer, elevates both.The musical’s first act closes with its title song, a suggestion that the fashion world is a kind of inferno. “Hell is a runway,” the chorus sings (with a sound mix so muddy that I had to look up the lyrics later), “where the devil wears Prada.” But nothing in the show confirms this. The worst anguish Andy suffers? Her boss calls too often. “The Devil Wears Prada” isn’t as sumptuous as it should be or as bitingly incisive. If it wants a life beyond Chicago, it could use some alterations.The Devil Wears PradaThrough Aug. 21 at the James M. Nederlander Theater, Chicago; devilwearspradamusical.com. Running time: 2 hours 25 minutes. More

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    What’s on TV This Week: ‘The Princess’ and ‘Password’

    HBO airs a new documentary on the life and death of Princess Diana. And NBC brings back a game show.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, Aug. 8 — 14. Details and times are subject to change.MondayMOULIN ROUGE (2001) 5:49 p.m. on Starz. Over twenty years before Baz Luhrmann was focused on “Elvis,” he directed this whimsical, pop-music filled love story. Set in Paris in 1899 Christian (Ewan McGregor), a writer, meets Satine (Nicole Kidman), a cabaret dancer, at Moulin Rouge and tries to impress her in order to be able to perform his play at the now-iconic venue in the outskirts of Montmartre. They end up falling in love despite the relationship Satine is faking with a Duke (Richard Roxburgh) who is helping fund the club. “‘Moulin Rouge’ will be accused of having no heart,” Elvis Mitchell wrote in his review for The New York Times. “But the truth is just the opposite. The movie has so much heart that the poor overworked organ explodes in every scene.”TuesdayFrom left: a contestant, Jimmy Fallon and Keke Palmer in “Password.”Jordan Althaus/NBCPASSWORD 10 p.m. on NBC. In 1961, CBS aired its first episode of this game show. After a 14-year run, the show ended and instead became an occasional segment on Jimmy Fallon’s “The Tonight Show.” This Tuesday, the show is coming back with Fallon as an executive producer and Keke Palmer as the host. Each episode will feature Fallon teaming up with a celebrity guest (to name a few: Chelsea Handler, Heidi Klum and Martin Short), and they will be playing against two contestants to guess a secret password using one-word codes. The first episode of the show will honor Betty White, who originally played the game on the show in 1961 — which is also where she met her husband, Allen Ludden, who hosted the show.HARD KNOCKS: THE DETROIT LIONS 10 p.m. on HBO. With a new team and new season, football fans are getting another inside look into what goes on at training camp — this season follows the Detroit Lions. Each season of this long-running show follows a different NFL team’s players and coaches in their personal and professional lives. This year, cameras followed the Lions at their training camp in Allen Park, Mi. Later this fall, there will be another new season featuring the Arizona Cardinals.WednesdayAlan Tudyk in “Resident Alien.”SYFYRESIDENT ALIEN 10 p.m. on SYFY. After a midseason break, this show is back on Wednesday to tie up loose ends from the first half of the second season. In the series, which is based on a comic book of the same name, Alan Tudyk plays Harry Vanderspeigle, an alien who was dropped to earth on a mission to destroy all life but cannot do that until he fixes his spaceship. In the meantime, he pretends to be a small town doctor. The show has already been renewed for a third season.ThursdayBUMP 8 p.m. on the CW. Coming all the way from Australia, this show about an unexpected teen pregnancy is airing in the U.S. for the first time this week. The series begins when a 17-year-old girl named Olympia (Nathalie Morris) is rushed to the hospital for intense cramps and finds out she is actually in labor. She then has to reassess her ten-year plan when she realizes the baby’s father is not her boyfriend. The original run on Stan in Australia finished after two seasons.FridayCHILDREN OF THE UNDERGROUND 8 p.m. on FX. In the late 1980s into the early 1990s, Faye Yager was creating a secret network of women and children who she was helping protect from alleged abuse at the hands of their husbands or fathers when the criminal justice system did not step in. In 1992, she went to trial herself, for kidnapping and emotional cruelty of the children she was claiming to help. Though she was acquitted of all charges, public opinion has not decided whether she was hurting or helping the families she worked with. This original documentary is diving deep into who Yager was and what she was trying to accomplish in this five-part original series.SaturdayTHE PRINCESS (2022) 8 p.m. on HBO. Aug. 31 will mark the 25th anniversary of the death of Diana, Princess of Wales. Though there has been no shortage of details surrounding her untimely death in the years that followed, this documentary uses archival interviews and footage to highlight key moments in the princess’s public life and lay out the details as if they were happening in real time. The film focuses on the public adoration of the princess as well as the intense media scrutiny she faced.SundayAaron Paul in “Westworld.”John Johnson/HBOWESTWORLD 9 p.m. on HBO. This show, which was first set in a futuristic park meant for wealthy people looking for a vacation, is wrapping up its fourth season this week. The show first premiered in 2016, and viewers experienced a seven-year time jump in the show between season three and the current season. This season consisted of eight episodes, and there is no word from HBO yet about whether it will be renewed.WHO DO YOU THINK YOU ARE? 7 p.m. on NBC. It turns out that Zachary Quinto, who played Commander Spock in “Star Trek Beyond,” wasn’t the first person in his family to say the iconic greeting “live long and prosper” — his great-grandfather, P.J. McArdle, wrote a letter to the editor in a newspaper published in 1899 that ends with the phrase: “May it live long and prosper.” This is just one of the things that Quinto finds out about his history on this show, executive produced by Ancestry, which is finishing up its eighth season this week. This season comprised six episodes featuring Billy Porter, Nick Offerman, Allison Janney, Zachary Levi and Bradley Whitford.GRANTCHESTER 9 p.m. on PBS (check local listings). The seventh season of this series is set in the summer of 1959. There are lots of murders happening in the city of Grantchester, which gives the detective inspector Geordie Keating (Robson Green) and his friend, the Reverend Will Davenport (Tom Brittney) a lot of crime solving to do. The show, which originally aired on ITV in Britain, has not yet confirmed whether there will be an eighth season. More

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    Greetings From My Shameless Summer

    Wear the crop top. Have the salad — and the fries, too.I live for moments when I feel encyclopedic. Yesterday, at a backyard party, people asked who sang the song that was playing and I screamed out “Keyshia Cole” with a little too much enthusiasm. I was right, and I lit up with such delight that I felt stupid.I always think I’m annoying people, when in reality people aren’t thinking about me at all. Liberating. Anyway, I love being right. It’s fun to be right, and people who act like it’s so Zen and cool and humbling to be wrong are … wrong! Get over yourself! Humility is so 2019; this year is all about shameless bragging.I want to see your vacation pics. I want to see your degree. I want to see your completed pile of beautiful, fragrant folded laundry. I want to see you win.Enough misery. Wear the crop top, flaunt the promotion, show me that salad you made and the french fries you ate when the salad wasn’t enough. As for me, I watched every single season of “Summer House” in less than a month. After I typed that sentence, I went to calculate how many minutes of TV that added up to. I closed the calculator within seconds of opening it because some mysteries are best left unsolved.Trying to be deep is exhausting. I’m definitely getting dumber. Why am I an expert in Mormon swinger TikTok drama? Meanwhile, I don’t know which plants are native to my area. Related to this uptick in Mormon swinger knowledge: I blew through my TikTok limit today (again!). So, once again, it’s time to do my self-care theater of deleting whatever social media app I’m allowing to ruin my life before getting bored again and redownloading it after three hours.“If you’re bored, you’re boring” — honey, prepare the starboard side, because that ship has sailed! I’m boring! And depressed, and anxious, and exhausted, and unwilling to watch a feature film unless I think it’s going to be bad. Where’s that in the D.S.M.? Don’t tell me.A friend recently told me that there aren’t any lightning bugs in Seattle. I couldn’t believe it. It was the same betrayal I felt when I found out that the restaurants in my hometown weren’t all mega-popular national chains. It kills me that I won’t get to see everything you love, no matter how hard I try, no matter who you are. I don’t care if you see the same colors I see — the colors aren’t important to me — but I need you to see a bug’s butt turn on and off as the sun slips away behind the trees of my yard back in Ohio.Maybe my friend was wrong. Maybe she wasn’t paying attention to the bugs all around her all those years. Maybe she was always surrounded by lightning and had no idea. Doubtful.Now I’m back in New York. I was gone for so long, and now you can use your phone to get on the subway. What the hell? Do we like that, or does it suck? Please don’t tell me; I don’t think I actually care. Is that bad? I just don’t feel like I can care about everything anymore. There were a couple years when I cared about everything, and all it got me was an ulcer.I never know what button to press at the gas station. I’m pretty sure I chose diesel for the first few months of driving because I was too scared to ask. Oops! Thankfully I totaled that car, so no one will ever know what I did to its internal organs.Usually, I realize I was in the right place at the right time shortly after I’ve left. The ache creeps in and I want to turn around and go right back to where we just were. I talk myself out of it — everyone’s already on the way home. Too inconvenient. And how humiliating, to be the only one craning my neck toward something that ended. It probably meant more to me than it did to you. But what if you’re looking, too? Is that something that happens only in movies, or should I be on the lookout for longing glances more often?Sometimes I say I have no goals, and I mean it. Is that pathetic or lovely? A little of both, I think. I believe that I can do everything and nothing. I believe I will disappear as quickly as I came, that I can hate olives one day and love them the next, that I’ll keep finding new things to love about myself and others. I believe that one day I’ll turn around to look behind me and you’ll be looking, too. We’ll meet right back at the middle and sit back down in seats so freshly vacated that they’re still warm. There’s something about a warm chair that’s disgusting, unless the heat comes from someone you know and love. Isn’t that funny? Heat from a butt is still heat from a butt, no matter which butt it came from. I digress.I hope you get to see lightning bugs at least once in your life. Their light shines on as quickly as it shuts off until, before you know it, the summer is over and the bugs are dead and you and I are still here, watching the world get bigger and smaller and louder and more cluttered. I’ll outlive millions of lightning bugs, but my butt will never be a light source. We’ve all got our special little things that no one else can claim. Show me yours and I’ll show you mine, pulsing gently in tandem as the pink summer sun climbs back up across the horizon.Episode is a weekly column exploring a moment in a writer’s life. Mitra Jouhari has written for “Big Mouth,” “High Maintenance” and other television shows. She is a co-creator and star of the comedy series “Three Busy Debras.” More