Eliana Willis

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    in Theater

    How ‘Stranger Things’ Scaled Up for Broadway

    The cold open: In television, it’s a scene that begins an episode before the title sequence, often without leading characters but almost always with foreshadowing hooks to confound or set a mood.Theater doesn’t really have much of a cold open tradition. The expectation is that you introduce the main characters and get moving.Not so for “Stranger Things: The First Shadow.” The new Broadway play, based on Netflix’s hit horror-science fiction series, starts with a bold five-minute cold open of loud gunfire, marauding Demogorgons and no leading characters. It’s a coup de théâtre, and it swiftly signals that the lead producers, the Broadway heavy-hitter Sonia Friedman and Netflix, are betting their big-money gamble will knock theatergoers’ socks right off.The scene begins with audiences glimpsing a ship’s crew members via two rectangular boxes. It look straight out of a graphic novel. “We always wanted to open with a big scene and a big moment, something that’s going to shock the audience,” said Ross Duffer, who, with his twin brother, Matt Duffer, created the “Stranger Things” series. Both are credited as the play’s creative producers.The play is a prequel to the 1980s-set TV series, and gives an origin story about a shy teenager named Henry Creel (played by Louis McCartney) who became an important figure in Season 4. It’s set in small-town Hawkins, Ind., mostly in 1959.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 Television

    ‘WrestleMania 41,’ Plus 8 Things to Watch on TV this Week

    John Cena continues his farewell tour, and ‘Abbott Elementary’ concludes its fourth season.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, April 14-20. Details and times are subject to change.They’re baaaaaack.The next installment of “Ghost Adventures” is here. In a hair-raising two-hour special, paranormal investigators Zak Bagans, Aaron Goodwin, Jay Wasley and Billy Tolley confront mysterious occurrences and possibly supernatural entities lurking within the walls of the suburban house where the 1982 cult-classic film “Poltergeist” was filmed. Wednesday at 10 p.m. on Discovery and streaming Thursday on Discovery+ and Max.“Ghosts” stars Rose McIver and Utkarsh Ambudkar, foreground.Bertrand Calmeau/CBSAdapted from the original British comedy and now in its fourth season, “Ghosts” follows a young couple after they inherit a dilapidated estate — but they soon discover there’s much more than just mice and mold hiding in the shadows. With a few trapped souls in their midst, the couple finds that running a bread-and-breakfast is more complicated than they’d originally thought. Thursday on CBS.This next show introduces a different kind of haunted house into the mix: a sterile suburban home with white walls and no personality. Through clever renovations, house flippers and skilled designers — Jonathan Knight, a member of the boy band New Kids on the Block and host of HGTV’s “Farmhouse Fixer,” among them — resurrect a set of drab, identical homes as they compete for bragging rights and the highest appraisal on “Rock the Block.” The sixth season premieres Monday on HGTV at 9 p.m. and streaming Tuesday on Discovery+ and Max.Field trips and life lessons.Sheryl Lee Ralph, left, and Quinta Brunson in “Abbott Elementary.”Gilles Mingasson/Disney, vía Associated PressWe 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 Television

    ‘The Last of Us’ Season 2, Episode 1: Meanwhile, Back at the Ranch

    It seems this season will be driven by one simple idea: that when Joel saved Ellie at the end of Season 1 and then lied to her, he made a mess.‘The Last of Us’ Season 2, Episode 1: ‘Future Days’“The Last of Us” began with a prologue that set up everything about to happen, in the episode and in the series. In a scene set in 1968, a scientist explained that his greatest fear was that a warming planet would provide the perfect incubating conditions for a mind-controlling fungus that could turn humans into brainless killers. There is obviously more to “The Last of Us” than just, “What if there were mushroom zombies?” But that idea put the plot in motion.The second season of “The Last of Us” begins with two prologues. In one, we meet Abby (Kaitlyn Dever), one of the surviving Fireflies from the Season 1 finale’s Salt Lake City massacre. Abby and her fellow resistance-fighters gather around their loved one’s graves to discuss a plan to retaliate against Joel Miller (Pedro Pascal), the man who slaughtered so many of their people. (“Slowly,” Abby says, when her allies say they will kill Joel.)In the other prologue, we flash back to the final scene from that finale, when Ellie (Bella Ramsey) made Joel swear that he took her away from the Fireflies because they had given up on finding a cure for the cordyceps plague. Joel gave Ellie his word, which she warily accepted.I expect there to be as many twists, turns, new characters and new story lines in Season 2 as there were in Season 1. But based on the premiere, it seems this season will also be driven by one simple idea: that when Joel saved Ellie from the Fireflies and then lied to her, he made a godawful mess.After the prologues, the episode jumps ahead five years. Joel and Ellie are now settled in Jackson, Wyo., the edenic survivor colony run in part by Joel’s brother, Tommy (Gabriel Luna), and Tommy’s wife, Maria (Rutina Wesley). Joel is making himself useful with his fix-it know-how, and Ellie has been honing her fighting skills and going on patrols, to gather supplies and to winnow down the numbers of the infected in the area. But while they seem reasonably content, something has soured between them.As I mentioned in my reviews last season, one of my great fascinations with any postapocalyptic story is in seeing how people make fortresses for themselves, sealed off from the surrounding mayhem — and also seeing how they try to build fulfilling lives inside their hidey-holes. So it’s a pleasure early in this episode to get reacquainted with Jackson, a place that has electricity, agriculture, law, and even culture in the form of music and dancing.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 Television

    Jean Marsh, Actress Who Co-Created ‘Upstairs, Downstairs,’ Dies at 90

    She not only helped develop the hit 1970s show, but also acted in it, and had a decades-long career in film, TV and theater.Jean Marsh, the striking British-born actress who was both the co-creator and a beloved Emmy-winning star of “Upstairs, Downstairs,” the seminal 1970s British drama series about class in Edwardian England, died on Sunday at her home in London. She was 90.The cause was complications of dementia, the filmmaker Michael Lindsay-Hogg, her close friend, said.“Upstairs, Downstairs” captured the hearts, minds and Sunday nights of Anglophile PBS viewers decades before “Downton Abbey” was even a gleam in Julian Fellowes’s eye.The show, which ran from 1971 to 1975 in England and from 1974 to 1977 in the United States, focused on the elegant Bellamy family and the staff of servants who kept their Belgravia townhouse running smoothly, according to the precise social standards of Edwardian aristocracy. Ms. Marsh chose the role of Rose, the household’s head parlor maid, a stern but good-hearted Cockney.The New York Times review, in January 1974, was affectionate. John J. O’Connor described the show as “a charmingly seductive concoction” and a “frequently marvelous portrait.” He praised Ms. Marsh for playing Rose with “the perfection of a young Mildred Dunnock.”By the time the show ended its American run, it had won a Peabody Award and seven Emmys. Ms. Marsh herself took home the 1975 Emmy for outstanding lead actress in a drama series.Robert Blake and Ms. Marsh hold up their Emmys for best actor and best actress in a drama series at the Emmy Awards in 1975.Associated PressWe 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 Television

    ‘SNL’ Pokes Fun at Trump’s Tariffs and Economy Chaos in Easter Cold Open

    Among the sources of all the fun is ‘The White POTUS,” a parody that casts members of the administration in their own twisted playground for the privileged.With Easter approaching, it seemed appropriate for “Saturday Night Live” to resurrect a favorite bit: a scene from the Bible that is interrupted by a comic monologue from James Austin Johnson playing President Trump.This weekend’s broadcast, hosted by Jon Hamm and featuring the musical guest Lizzo, began with what looked like a straightforward re-enactment of the Cleansing of the Temple, with the role of Jesus played by Mikey Day. “This will not stand,” Day said, overturning a money changer’s table. “I will rid this place of all its money.”The action paused so that Johnson could enter as Trump. “Remind you of anyone?” he asked. “Wow. I also got rid of money last week. But instead of one temple, I did whole country. Maybe even the globe. The money’s gone.”Johnson continued: “Hi, it’s me, your favorite president, Donald Jesus Trump, comparing myself to the son of God once again. You know, many people are even calling me the messiah, because of the mess-I-ah made out of the economy.”The financial turmoil, he said, was “all because of my beautiful tariffs — they’re so beautiful. They were working so well that I had to stop them.”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 Television

    ‘The Last of Us’ Review: On the Road Again

    Season 2 of HBO’s zombie drama begins with Joel and Ellie safe and settled. One guess how long that lasts.HBO’s video-game-inspired, postapocalyptic hit “The Last of Us” likes to cover all its zombie bases. The first season emphasized urban hellscapes — lots of cowering and running in the ruins of Boston, Kansas City and Salt Lake City — while moving toward the open spaces of Wyoming. Season 2, premiering Sunday, goes the other direction, starting out as a grisly western — stockaded town, horse patrols, waves of attackers — but moving back to the city, this time an emptied-out Seattle.Wherever it goes, though, “The Last of Us” remains (as my colleague James Poniewozik pointed out in his Season 1 review) a zombie tale that polishes and elaborates on the conventions of the genre but does not transcend them. The course of its action and the dynamics of its relationships run in familiar grooves, lubricated by generous applications of blood and goo.Where the show has differed from the genre standard is in the dramatic weight and screen time it devotes to those relationships, or, seen another way, in its sentimentality. (I say potahto.)Other zombie shows flesh out love, friendship and loyalty just enough to provide a little extra frisson when a character becomes lunch. “The Last of Us,” which was created and is still overseen by Neil Druckmann and Craig Mazin, doesn’t reverse that equation — it still spends time, and a lot of HBO’s money, on elaborate scenes of mayhem, in close quarters or on broad canvases. But it really wants you to care. If the Hallmark Channel had a zombie drama, it might look like a PG version of “The Last of Us.”At the heart of the series, making the greatest demands on our emotions, is the Mutt and Jeff pairing of Joel (Pedro Pascal) — a hard case whose daughter was killed at the beginning of the show’s zombie-spawning fungal pandemic — and Ellie (Bella Ramsey), a teenager he met two decades later. Ellie, who would try the patience of adults far saintlier than Joel, happens to be immune to the fungus, and in Season 1 Joel reluctantly agreed to take her on a cross-country journey in pursuit of a cure. They emerged from the perilous, season-long road trip as each other’s surrogate family.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 Television

    ‘The Last of Us’: What to Remember Ahead of Season 2

    Where did we last leave Joel and Ellie? Well, it was a little complicated. It was also over two years ago. Here’s a refresher.Videogame adaptations have not, historically, had the best critical reputations; and zombie apocalypse stories are a bit played out. This is what was working against “The Last of Us” when HBO debuted Season 1 in 2023. A series based on a game, set in a postapocalyptic landscape populated by ferocious monsters? Did we need another show like this, given that we already have something like seven iterations of the “Walking Dead”?Apparently so, given the level of acclaim and popularity the first “The Last of Us” season enjoyed. Craig Mazin, working with the game’s creator, Neil Druckmann, reimagined and reinvigorated an exhausted action-horror subgenre, making it work for television by taking advantage of what the medium allows. They broke their sweeping, epic story into gripping individual episodes, filled with small but potent moments of tension and tragedy.It helped also that “The Last of Us” has such appealing lead characters: the gruff mercenary Joel (Pedro Pascal) and the foul-mouthed teenager Ellie (Bella Ramsey), who travel together across a country populated by murderous gangs and rapacious creatures. Viewers very quickly became invested in these two, pulling for them not only to survive but also to make the most of whatever time they might have left on Earth.It has been over two years since the Season 1 finale aired, so some fans might need a refresher on what Joel and Ellie went through and where they are now. So before Season 2 debuts on Sunday, here is what you need to know.So there are these mushrooms …Some say the world will end in fire; some say ice. In “The Last of Us,” we fear the fungus. The story starts with an explanation of the fungi cordyceps, a parasitic genus that in the real world can infect insects, effectively seizing control of their brains. In the TV series, these parasites begin infecting humans in 2003 (perhaps through tainted flour). In a matter of days, the whole planet is overrun with mindless killing machines who can infect other humans with their bite.Most of Season 1 is set in 2023, after many of the noninfected have been clustered into scattered, isolated enclaves, each with its own rudimentary government and social structure. In the decades since the cordyceps plague started, the infected have gone through changes, evolving new powers and becoming stronger, while guided by an interconnected fungal root structure. The best way for humans to survive has been to seal themselves off as best as possible from the rampaging hordes.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    in Theater

    ‘Khovanshchina’ Is Finished in Time to Be Newly Resonant

    Mussorgsky’s “Khovanshchina” has been added onto by Rimsky-Korsakov, Stravinsky and Shostakovich. Now, another composer gets to have his say.Instead of finishing his masterpiece “Khovanshchina,” Modest Mussorgsky is drunk in a ditch. His friend Nikolai Rimsky-Korsakov urges him to compose, using a walking stick to tickle him awake. But Mussorgsky would rather stay in the ditch, drunk.That’s fiction: a scene from “Moscow-Petushki,” a 1969 satire by the Soviet writer Venedikt Yerofeyev. But, said the composer, musicologist and author Gerard McBurney, who completed a new version of “Khovanshchina” that premieres at the Salzburg Easter Festival on Saturday, the moment shows the mythic place of the unfinished opera in Russian history.“Yerofeyev, writing to an audience who had probably never been into the opera in their life — they know this story about this great genius who is the emblematic Russian failure,” McBurney said in an interview.In real life, Mussorgsky “embarked on this monstrous piece which was supposed to sum up the whole disaster of Russian history from beginning to end,” McBurney added. “And he couldn’t finish it.”A scene from Simon McBurney’s production, which will travel to the Metropolitan Opera.Inés BacherMcBurney has created a new, completed “Khovanshchina,” and he joins a long line of composers and musicologists who did the same. Mussorgsky died in 1881, leaving key scenes in the final act unfinished. Rimsky-Korsakov made the first performance edition of the opera (which Mussorgsky preferred to call a “musical folk drama”), and it premiered at the Mariinsky Theater in 1886. In 1913, Sergei Diaghilev enlisted Stravinsky (and possibly Ravel) to prepare another version for performance in Paris, and Shostakovich reorchestrated the score for a 1959 film.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