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    Gil Birmingham Took the Road Less Traveled

    A star of “Under the Banner of Heaven” and “Yellowstone,” he started performing when there wasn’t much room for Indigenous actors. His persistence is paying off.Early in “Under the Banner of Heaven,” FX’s limited Hulu series based on the true story of two grisly murders in the Church of Jesus Christ of Latter-day Saints, Detective Bill Taba makes his stand. His partner (Andrew Garfield) on a small-town Utah police force, a church member, is getting territorial and pulling rank. Taba, a Paiute Indian played by Gil Birmingham, isn’t having it.“I’m well aware that my skin is darker than most in this valley,” Taba, who comes from Las Vegas, tells his younger partner. “And I’m very well aware that’s not smiled upon in a 99 percent L.D.S. town. But I know cases like this a hell of a lot better than you do.”It’s the kind of moment, with a Native character taking charge and claiming authority, that was rarely found on TV until recently. The kind of moment that excites Birmingham. Best known for playing the tribal chairman Thomas Rainwater on the hit western “Yellowstone,” Birmingham, who is of Comanche heritage, has become one of the most visible Native actors on television. That means he’s not just doing it for himself.Birmingham (left, with Andrew Garfield) plays a detective in “Under the Banner of Heaven,” an FX series based on the true-crime book by Jon Krakauer.Michelle Faye/FX“I think there’s a responsibility to represent all of our people truthfully,” Birmingham said from Los Angeles a few weeks before the series finale of “Banner,” which comes to Hulu on Thursday.“Generally speaking, you might be the only Native on a set,” he added. “So you really have to have some integrity about the nature of the portrayal of the character.”Birmingham, a tall, muscular and youthful 68, has been at this for a while, even if you’ve only noticed him recently. He’s one of those overnight success stories that took a few decades to tell.A military brat raised around the country — San Antonio, Kentucky, San Francisco, Alaska — he trained to be a petrochemical engineer. His one-word assessment of his first career: “boring.” He preferred singing, playing guitar and body building. Then, one day in the early ’80s, a music video producer approached him as he worked out in a Los Angeles gym and offered him his first acting job, for the 1982 Diana Ross video “Muscles.” Go to YouTube and there’s a young, shirtless Birmingham, laughing and flexing.Tell him you’ve seen the video, and you’ll get a characteristically dry response: “Well, my apologies.”“He’s got a wicked sense of humor, but you don’t know it at first,” said Dustin Lance Black, the creator of “Under the Banner of Heaven,” from his London home. (The show is based on the 2003 investigative book by Jon Krakauer.)“I think sly is a good way to put it,” Black continued. “You’ll be sitting there, and he’ll be very quiet, and you realize he’s listening because he’ll just slip in a little barb that shows just how closely he’s observing. And that humor, it’s like a scalpel. It cuts right down into the truth.”After “Muscles,” his physique continued to serve him. He spent several years playing Conan the Barbarian at the Universal Studios of Hollywood theme park, using his free time to go on auditions. “There’s a whole journey of sacrifices that you’re making in your life to keep following that road and be diligent with it and be persistent,” Birmingham said. “I didn’t have the same appreciation for it in the beginning as I did later.“Then the very first pop culture exposure was with ‘Twilight.’ And I think that’s where most people came to know me.”From left: Pete Sands, Mo Brings Plenty, Birmingham, Cole Hauser, Kevin Costner and Wes Bentley in a scene from the runaway Paramount hit “Yellowstone.”Emerson Miller/Paramount NetworkAn actor’s big break is rarely high art. It’s usually something with a wide enough following to cement a face in the public consciousness. That’s what Birmingham got with the role of Billy Black, father of the hunky werewolf kid Jacob, in the five-movie “Twilight” franchise (2008-2012).More cotton candy than balanced meal, the movies, based on the megaselling vampire romance novels by Stephenie Meyer, made careers, including those of Kristen Stewart and Robert Pattinson. They also gave Birmingham his steadiest gig to that point.Most important to Birmingham, it made people happy.“Those movies give a lot of joy to a lot of people,” he said. “I know there’s some debate about whether the books are real literature. But if it speaks to people and it speaks to their heart and if it gives them some kind of joy or maybe escapism, then gosh, I think that’s such a great gift for any artist to give their audience.”Fast forward a few years. Birmingham is reading a script so good he can barely believe it. The writer has no shortage of confidence. The role is a droll Native American Texas Ranger named Alberto Parker, on the trail of a couple of bank robbers with his partner.The director, David Mackenzie, fights for Birmingham, and he gets the part, playing alongside Jeff Bridges in “Hell or High Water” (2016). The screenwriter, Taylor Sheridan, is floored.“‘I didn’t know who you were before,’” Birmingham recalled Sheridan saying. “‘But after seeing your work, you’ll never have to audition for me again.’” (Sheridan was unavailable to comment for this article.) And Sheridan was already cooking up a pet project, a TV series about a stubborn Montana rancher fighting to defend his land from encroaching modernity.That’s how Birmingham got the role of Thomas Rainwater on “Yellowstone,” the most watched show on cable. Ivy League educated, schooled in realpolitik, Rainwater is a thoroughly modern Indigenous character. He is also the savviest adversary of Kevin Costner’s rancher, John Dutton. Even as they do battle, they share a grudging, mutual respect.Birmingham got his start in a beefcake role in the 1982 Diana Ross video “Muscles.” “Well, my apologies,” he said when a reporter mentioned having seen the video.Michelle Groskopf for The New York Times“They share a real love for the land, and an intent to keep the land the way it is,” said Birmingham, who when we spoke was preparing to fly to Montana to shoot Season 5. The way Rainwater sees it, he is just trying to take back what was stolen from his people.Birmingham considers himself fortunate to have Sheridan, who also cast the actor in the film “Wind River,” in his corner. He is an ally when it comes to casting Native actors, Birmingham said. On top of that, he added, he’s just a great writer.“His work is unpredictable, and it’s so soulful,” Birmingham said. “It speaks in such a poetic language to the hearts of the characters.”“I’ll ride with whatever he writes,” he added.Birmingham is old enough to remember watching the likes of “Bonanza” and “Rawhide” during their first television runs in the ’60s. “They had horrible portrayals of Native people, with a lot of red facing,” he said, using a term for when white actors colored their skin to played minstrel versions of Native characters. He remembered his pleasant surprise at seeing “Dances With Wolves” in 1990, which brought dignity and several speaking roles to Native peoples. (And he appreciated the humor in its having starred and been directed by Costner, his “Yellowstone” adversary).Now Birmingham looks around a sees a different, fuller landscape. There’s “Yellowstone,” and there’s “Under the Banner of Heaven.” There’s the FX comedy “Reservation Dogs,” about four Native teens growing up an Oklahoma reservation, and there’s “Dark Winds,” the upcoming AMC series about two Navajo police detectives, starring Zahn McClarnon and created by Graham Roland, whose is of Native heritage.“Now we have projects and productions that are telling our story,” Birmingham said. “I think that’s the thing we’ve been waiting for, this opportunity to be able to tell our own stories from our own point of view.” More

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    Review: In ‘Romeo & Bernadette,’ It’s Off to Brooklyn for This Tale of Joy

    In this sweet, spoofy romp of a musical comedy, Romeo awakens from a 400-year slumber and follows a Juliet look-alike to Brooklyn.Cutting a lovelorn swath through 1960 Brooklyn in search of his Juliet, Romeo Montague is as charming as ever, with his courtly manner and his embroidered speech so different from the local patois.He didn’t die at the end of Shakespeare’s play after all; he was merely asleep for 400 years. In “Romeo & Bernadette,” Mark Saltzman’s sweet, spoofy romp of a musical comedy, Romeo (Nikita Burshteyn) awakes in modern fair Verona and spies a young woman who is the very image of his lost sweetheart.She is not Juliet Capulet but rather Bernadette Penza (Anna Kostakis), a tough-as-nails Italian American vacationing with her parents. He pursues her, she rebuffs him, he threatens to throw himself off a bridge — always so dramatic, our Romeo — and she stops him by agreeing that she is, in fact, Juliet. When she flies home to Brooklyn, and to her thuggish fiancé (Zach Schanne), Romeo follows.In this fish-out-of-water romantic fantasy, money and passports prove no obstacle to a guy from the 1500s, though some of Romeo’s old troubles pop up in 20th-century guises. His new best friend, Dino (Michael Notardonato), is the son of a mafia don (Michael Marotta) — and all three of them get caught in a clash with another mob boss, Bernadette’s father (Carlos Lopez).“Again my love suffers in a war between two families!” Romeo laments, but this time he is intent on a happy resolution.Directed and choreographed by Justin Ross Cohen at Theater 555, and presented by Eric Krebs in association with Amas Musical Theater, this is a first-rate production of a show that could easily teeter on the edge of cheesy. It delights in cartoon mobsters and cares not a whit for hipness — unlike, say, “& Juliet,” the West End jukebox musical that imagines a different fate for Romeo’s beloved, or “Fat Ham,” James Ijames’s Pulitzer Prize-winning “Hamlet” reclamation at the Public Theater, both of which have a much higher glamour quotient.With “music adapted from classic Italian melodies,” as the program credit puts it (many of the tunes are by Francesco Paolo Tosti; music direction is by Aaron Gandy), and witty period costumes (by Joseph Shrope), “Romeo & Bernadette” feels fond, familiar, escapist: theater as merry comfort food. The appeal of that — especially in this time of relentlessly dire headlines — is not to be underestimated.The one real clunk in the works is the framing device. The musical begins at a Brooklyn Community Players performance of “Romeo and Juliet,” whose corpse-strewn ending leaves an English major (Ari Raskin) in tears and her uncultured date (Notardonato) worried that his chance of scoring with her is doomed. So he spins the tale of “Romeo & Bernadette” as the story of “the real Romeo.” His inventiveness might come off as more plausible, and less mansplainy, if we hadn’t seen him barely paying attention to the play.Still, inside the story he weaves, Burshteyn makes Romeo an absolute darling, with an ingenuousness that parents swoon over. It is no spoiler to say that Bernadette eventually recognizes him as a gentler version of a man than her violent fiancé will ever be.The protean Troy Valjean Rucker is a standout in multiple roles, including a florist who delivers a rib-tickling Shakespeare pun. Judy McLane brings depth to the role of Camille, Bernadette’s mother, who yearns for the glory of her distinguished ancestry and, in the show’s most realistic scene, warns her daughter of the danger of committing to mafia life. The fine cast is rounded out by Viet Vo as Lips, the Penzas’ bodyguard.Street violence, men and boys killing one another — these things are part of “Romeo and Juliet.” But in ancient Verona, knives are the weapons of choice. “Romeo & Bernadette” is not “West Side Story,” with carnage on the stage; there are no deaths, and goodness wins. But there are guns and the sound of gunfire, which is when you may feel brutal reality intrude.Welcome to America, Romeo.Romeo & Bernadette: A Musical Tale of Verona & BrooklynThrough June 26 at Theater 555, Manhattan; romeoandbernadette.com. Running time: 2 hours. More

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    Marvin Josephson, Who Scored Big Deals for Stars, Dies at 95

    He started small as a talent agent in 1955, with an unknown kiddie TV performer who would soon become Captain Kangaroo.Marvin Josephson’s beginnings as a talent agent in the mid-1950s were humble, to say the least. His main client — practically his only client then, in fact — was Bob Keeshan, the children’s television performer who, with Mr. Josephson’s help, would become known far and wide as Captain Kangaroo.It wasn’t much of a foothold, but it was enough to start a career that would make Mr. Josephson a major behind-the-scenes force representing actors, directors, authors and more. In 1977, 22 years after he started his personal management agency and two years after his thriving company established a subsidiary called International Creative Management, which became an industry giant, a newspaper headline neatly summed up his reach: “Want to Make a Million? Hire Marvin Josephson.”He died at 95 on May 17 at his home in Manhattan. His daughter Nancy Josephson said the cause was complications of pneumonia.In a field where Michael Ovitz and other super-agents became almost as famous as the people they represented, Mr. Josephson kept an aggressively low profile. In 1991, when Newsday published a profile of him, he agreed to provide a photograph to go with it only if the article specified that he had declined to be interviewed in depth for the piece.“I am not someone who believes that an agent should get lots of publicity,” he told the newspaper, about the only thing he did tell it. “As a general rule, I believe the clients deserve the attention.”As his business grew, Mr. Josephson negotiated personally on behalf of only a select few of those clients, although he was adept at doing so. The “Want to Make a Million?” article in 1977 was occasioned by an estimated $5 million deal he had just struck on behalf of Henry A. Kissinger for his memoirs. He also personally handled deals for Steve McQueen, Gen. H. Norman Schwarzkopf, Colin Powell, Margaret Thatcher and others.Mr. Josephson was equally adept at acquiring other firms, some of them much larger than his own.“He’s more sponge than agent,” a 1969 article in The Los Angeles Times began, reporting about Mr. Josephson’s acquisition of the Ashley-Famous Agency — “a case of an ant eating a lion,” as the article said.He was also skilled at anticipating public tastes. Josephson Associates, his umbrella company, represented the producers, the director (Steven Spielberg), the writer and the screenwriter of “Jaws,” the top-grossing film of 1975. And, as The New York Times reported in June 1977, the firm had high hopes for another movie, released weeks earlier, that had been written and directed by another Josephson client, George Lucas. The movie was “Star Wars.”“Marvin is clearly one of the most important people in American entertainment,” the publisher Peter Osnos told Newsday in an interview for that 1991 profile, “but unlike many of the great powers, he has managed to protect his privacy.”Marvin Josephson was born on March 6, 1927, in Atlantic City, N.J. His parents, Joseph and Eva Rivka (Rounick) Josephson, ran a dress shop.He graduated from high school in Atlantic City, served in the Navy at the close of World War II, earned a bachelor’s degree at Cornell University and, in 1952, obtained a law degree at New York University. He went on to work in the legal department at CBS.“Three years of writing contracts convinced him that the pickings would be greener if he represented talent,” as Newsday put it, and in 1955 Mr. Josephson started his own personal management company. One potential source of business, he thought, might be the broadcast journalists he had come to know at CBS: When walking in Manhattan with one or another of them, passers-by would often stop to say hello and sometimes ask for an autograph.“They thought of themselves as newsmen,” he told The Miami Herald in 1984, “but they were becoming celebrities, or stars.”Charles Collingwood, the CBS newsman, became his first client, and others followed, including Chet Huntley and, years later, Barbara Walters. Then there was his other foundational client, Mr. Keeshan.At the time, 1955, Mr. Keeshan was on a local kiddie show, “Tinker’s Workshop,” on WABC-TV in New York. Mr. Josephson wanted to move him and the show to CBS, but WABC argued that the station, not Mr. Keeshan, owned the program.“Marvin went and saw the station manager and played him beautifully,” Mr. Keeshan, who died in 2004, told Newsday in 1991. “He said to him, ‘You know that the talent isn’t important, so what if Keeshan gives you the rights to “Tinker’s Workshop” and you let him go?’ The station manager said, ‘Gee, do you think Keeshan will go for that?,’ and Marvin said, ‘Maybe.’”The deal was struck, and “Tinker’s Workshop” was soon a footnote. At CBS in October 1955, Mr. Keeshan started “Captain Kangaroo,” which became the touchstone children’s program of generations.Marvin Josephson Associates, as Mr. Josephson’s company came to be called, didn’t stop growing for decades. In 1971 the company went public and was renamed Josephson International Inc. In 1975 it established ICM Artists to represent classical musicians; Yo-Yo Ma and Itzhak Perlman were among its clients.Mr. Josephson took the company private again in 1988, and through the 1990s his subsidiaries represented countless A-list actors and writers. In the 1990s, he handed off many of his management duties to others, including his daughter Nancy. A controlling interest in the company was sold in 2005 to a private investor, Suhail Rizvi.Mr. Josephson married Ingrid Bergh in 1950. They divorced in 1970. In 1973 he married Tina Chen, who survives him. In addition to her and his daughter Nancy, who is from his first marriage, he is also survived by two other children from that marriage, Celia Josephson and Claire Josephson; two children from his marriage to Ms. Chen, YiLing Chen-Josephson and YiPei Chen-Josephson; a brother, Jack; 16 grandchildren; and two great-grandchildren. Another son, Joseph, from his first marriage, died. More

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    ‘The Wire’ Creators, David Simon and Ed Burns, on the Show 20 Years Later

    David Simon concedes that it takes a special kind of [expletive] to say, “I told you so.”“But I can’t help it, OK?” he said recently. “Nobody enjoys the guy who says, ‘I told you so,’ but it was organic. Ed and I and then the other writers, as they came on board, we had all been watching some of the same things happen in Baltimore.”Two decades ago, Simon, a former cops reporter at The Baltimore Sun, joined Ed Burns, a retired Baltimore homicide detective and public-school teacher, to create HBO’s “The Wire.” Fictitious but sourced from the Baltimore that Simon and Burns inhabited, “The Wire,” which premiered on June 2, 2002, introduced a legion of unforgettable characters like the gun-toting, code-abiding Omar Little (played by the late Michael K. Williams) and the gangster with higher aspirations, Stringer Bell (Idris Elba).They were indelible pieces of a crime show with a higher purpose: to provide a damning indictment of the war on drugs and a broader dissection of institutional collapse, expanding in scope over five seasons to explore the decline of working-class opportunity and the public education system, among other American civic pillars.Michael B. Jordan, left, and Larry Gilliard Jr. in the first season of “The Wire.” The show’s drug dealers were as complex and three-dimensional as its police.HBO, via PhotofestThis was not the stuff of hit TV: In real time, the show gained only a small, devoted audience and struggled to avoid cancellation. But over the years, “The Wire” became hailed as one of television’s greatest shows, even as the systemic decay it depicted became more pronounced in the eyes of its creators.Burns and Simon went on to collaborate on other high-minded projects for HBO, most recently “We Own This City,” a mini-series created by Simon and their fellow “Wire” alumnus George Pelecanos, based on the true story of the Baltimore Police Department’s corrupt Gun Trace Task Force. In separate interviews, Burns and Simon discussed the legacy of “The Wire” — Burns by phone from his Vermont home and Simon in person in HBO’s Manhattan offices — and why it couldn’t be made in the same way today. They also talked about the inspirations for the show and the devastating effect of America’s drug policies. These are edited excerpts from those conversations.Could you have ever imagined “The Wire” would have had this kind of staying power two decades later?ED BURNS The first thing that comes to my mind is that this show will live forever, because what it tries to portray will be around forever. It’s just getting worse and worse. That’s all. And it’s expanding; it’s not just an urban thing anymore. It’s everywhere.DAVID SIMON Ed and I in Baltimore, George in Washington, Richard Price in New York — we’d been seeing a lot of the same dynamics. There were policies, and there were premises that we knew were not going to earn out. They were going to continue to fail. And we were fast becoming a culture that didn’t even recognize its own problems, much less solve any of them. So it felt like, “Let’s make a show about this.”I didn’t anticipate the complete collapse of truth, the idea of you can just boldly lie your way to the top. I did not anticipate the political collapse of the country in terms of [Donald] Trump. [The fictitious Baltimore mayor in “The Wire,” Tommy Carcetti] is a professional politician. Donald Trump is sui generis. It’s hard to even get your head around just how debased the political culture is now because of Trump.From left, the director Clark Johnson, the executive producer Robert Colesberry, Simon and Ed Burns on the set of “The Wire” in 2002.David Lee/HBOThe show seemed to hint at the collapse of truth with the fabricated serial killer story line in the final season, and how the media ran with it.SIMON We very much wanted to criticize the media culture that could allow the previous four seasons to go on and never actually attend to any of the systemic problems. We were going there, but I didn’t anticipate social media making the mainstream miscalculations almost irrelevant. You don’t even have to answer to an inattentive, but professional press. You just have to create the foment in an unregulated environment in which lies travel faster the more outrageous they are. If truth is no longer a metric, then you can’t govern yourself properly.BURNS If you look at the map, half of the Midwest and West are drought-ridden, and we’re treating it like how we used to treat a dead body on the corner or a handcuffed guy. It’s like a news thing or bad automobile accident: “Oh my, look, that tornado ripped apart this whole town.” And that’s it.There’s no energy. I’ve always thought about trying to do a story where the government has developed an algorithm to identify sparks, the Malcolm Xs and the Martin Luther Kings, these types of people, when they’re young, and then they just either compromise them away with the carrot or they beat them away with a stick. Because you need sparks. You need those individuals who will stand up and then rally people around them, and we don’t have that — those sparks, that anger that sustains itself.Is it a conflicting legacy that “The Wire” has gained a greater audience over the years, yet the institutional decay that it illuminates has seemingly worsened?BURNS Recently, the Biden administration and the New York mayor’s administration said they want to increase the number of police on the street. It amuses me that what they’re doing is a definition of insanity: You try something, it doesn’t work. You try it again, it doesn’t work. It’s about time you try something different. They’re still doing the same thing.Granted, “defund the police” is not the right way of presenting the argument. But rechanneling money away from the police to people who could better handle some of the aspects of it would be good. And then doing something even more dramatic, like creating an economic engine, other than drugs, to help people get up and start making something of their lives.In “The Wire,” even well-intentioned officers like Jimmy McNulty (Dominic West, left, with Benjamin Busch and Jonnie Louis Brown) were subject to a police department with misplaced priorities.Paul Schiraldi/HBOHow should “We Own This City,” be viewed in relation to “The Wire?”SIMON It’s a separate narrative. We’re very serious about having attended to real police careers and real activities and a real scandal that occurred. So no, it’s not connected to “The Wire” universe in that sense. It is a coda for the drug war that we were trying to critique in “The Wire.” If “The Wire” had one political message — I don’t mean theme; if it just had a blunt political argument about policy — it was, “End the drug war.” And if “We Own This City” has one fundamental message, it’s “END. THE. DRUG. WAR.” In capital letters and with a period between every word. It’s just an emphatic coda about where we were always headed if we didn’t change the mission of policing in America.Is a goal of “We Own This City” to provide a sharper critique on policing than “The Wire” provided?SIMON No. I don’t think there’s that much difference between the two, other than the depths of the corruption of the bad cops. Police work is as necessary and plausible an endeavor as it’s ever been.In many cases, and in many places like Baltimore, the national clearance rate has been collapsing for the last 30, 40 years. That’s not an accident. That’s because they’ve trained generations of cops to fight the drug war. It doesn’t take any skill to go up on the corner, throw everybody against the wall, go in their pockets, find the ground stashes, decide everybody goes, fill the wagons. That’s not a skill set that can solve a murder.That’s not me saying, “Oh, policing used to be great.” No, I understand there were always problems with policing. But we’re one of the most violent cities in America. And all the discourse about abolish the police or defund the police — I’d be happy to defund the drug war. I’d be happy to change the mission, but I don’t want to defund the police. Good police work is necessary and elemental, or my city becomes untenable. I’ve seen case work done right, and I’ve seen case work done wrong, and it matters.BURNS I’m sorry [Baltimore] was labeled the city of “The Wire,” because we could’ve taken that show into any city, in exactly the same way. Akron, Ohio, would have suddenly become the “Wire” city. So it’s a shame that it was pushed onto this little town.From left, Clark Johnson, Brandon Young, Michelle Paress and Tom McCarthy in the final season, which criticized “the media culture that could allow the previous four seasons to go on and never actually attend to any of the systemic problems,” Simon said.Paul Schiraldi/HBOWould “The Wire” be greenlighted if you pitched it today?BURNS No, definitely not. HBO was going up the ladder at the time. They didn’t understand “The Wire” until the fourth season. In fact, they were thinking about canceling it after three. We caught that moment where networks were thinking, “Oh, we need a show for this group of people.”But now, it’s got to be “Game of Thrones.” It’s got to be big. It’s got to be disconnected from stepping on anybody’s toes. I’ve watched a couple of the limited series on HBO, and they’re good shows, but they’re not cutting new paths. They are whodunits or these rich women bickering among themselves in a town. I don’t see anybody saying, “Hey, that’s a really great show.”SIMON No, because we didn’t attend, in any real way, to the idea of diversity in the writers’ room. I tried to get Dave Mills, who had been my friend since college, to work on “The Wire.” But that would have been organic. It was just a friend; it wasn’t even about Black and white. But other than David, who did a couple scripts for us, and Kia Corthron, the playwright, did one, we were really inattentive to diversity. That wasn’t forward thinking.Why were we inattentive? Because it was so organic to what I’d covered and what Ed had policed. And then, I started bringing on novelists. The first guy was George Pelecanos, whose books about D.C. were the same stuff I was covering. And I happened to read his books, and I was like, “This guy probably could write what we’re trying to do.” And then he said: “Look, you’re trying to make novels. Every season’s a novel. We should hire novelists.” And so we went and got Price. If I had it to do over again, I would have to look at [the diversity of the creative team] in the same way that I looked at later productions.In retrospect, is there anything else that you wish that the show had done differently?BURNS I wish that Season 5 took a different direction, as far as the newsroom was concerned, and didn’t debase the idea of investigation. But it’s fine. What we tried to get across is that the kids that we saw in [Season 4] were becoming, as they approached adulthood, the guys that we saw in [Seasons] 1, 2, 3 and 4. It was continuous. This is just the next generation.“We were fast becoming a culture that didn’t even recognize its own problems, much less solve any of them,” Simon said. “So it felt like, ‘Let’s make a show about this.’”Mark Sommerfeld for The New York TimesOther than the fact that the issues it highlighted are still prevalent, why do you think “The Wire” has such staying power?SIMON Nothing’s in a vacuum. I would credit “Oz” for showing me that there was this network out there that would tell a dark story and tell an adult story. “Homicide” [Simon’s first book] had been made into a TV show. But with “The Corner” [Burns and Simon’s nonfiction book centered on a West Baltimore drug market], I was like: “The rights are worth nothing. Nobody’s going to put that on American television.” And then I saw “Oz,” and so that was the moment where I looked at HBO and said, “Oh, would you like to make a mini-series about a drug-saturated neighborhood and about the drug war?”And then the other places we stole from: We stole from the Greek tragedies, the idea that the institutions were the gods and they were bigger than the people. So, thanks to the college course that made me read Greek plays. Thanks to “Paths of Glory,” which was a movie about institutional imperative, the [Stanley] Kubrick film — I took stuff liberally from there. Thanks to a bunch of novelists, Pelecanos, Price, [Dennis] Lehane, who decided they were willing to write television. Obviously, the cast and crew and everyone.But it was a show that was ready for where TV was going to end up, and that’s where a lot of luck is involved. The idea that you flick on your TV screen and decide you want to watch something that was made 10 years earlier or has just been posted; or you’ll wait until there are enough episodes to binge watch it; or you have insomnia, so you’ll watch four hours of a mini-series and just acquire it whenever the hell you want — boy, I didn’t see that coming.BURNS It’s like a western: It’s mired in legend. But the legend is actually reality. Today, 20 years ago, 20 years from now — it’s the same thing. And each generation coming up, each bunch of kids coming up, discover it and inject more life into it. More

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    ‘Notes on Killing’ Review: For These Puerto Ricans, Promises Never Kept

    Mara Vélez Meléndez’s “Notes on Killing Seven Oversight, Management and Economic Stability Board Members” ferociously explores the intersection of the personal and the political.“Notes on Killing Seven Oversight, Management and Economic Stability Board Members,” a hot and bothered new play by Mara Vélez Meléndez, is a psychodrama with an emphasis — and I mean psycho in the nicest possible way. A coproduction of Soho Rep and the Sol Project, the show imagines a young woman with a personal mission to assassinate the bureaucrats responsible for restructuring Puerto Rico’s debt and the queer receptionist who abets her. A political allegory, a savage drag show and a folie à deux with far too much gunplay for anyone who has lived through the past week’s news, “Notes” is a trigger warning writ large and in glitter, a fever dream with streamers.For those who don’t follow Puerto Rico’s political and economic fortunes, a brief history lesson will prove useful. By 2016, Puerto Rico’s credit crisis had worsened significantly, with the island owing more than $70 billion. In a move with celebrity backing — Lin-Manuel Miranda was at the time a supporter — Congress passed the Puerto Rican Oversight, Management and Economic Stability Act, known as Promesa, which gave an unelected board the power to restructure the island’s debt and impose fiscal austerity. Few of that board’s members lived in Puerto Rico, which added to criticism of the act as colonialist.These circumstances have brought Lolita (Christine Carmela), a trans Puerto Rican woman, to the New York City offices of the Promesa board, with a gun in her purse. Lolita is not her real name, but she has styled herself, she tells us, after Lolita Lebrón, a Puerto Rican nationalist who participated in an armed attack on the House of Representatives in 1954. That attack wounded five members of Congress; our Lolita aims for a greater body count. Yet before she can assassinate anyone, a receptionist (Samora la Perdida) intercepts her and takes her firearm away.The receptionist doesn’t have a name and their gender identity is unresolved.“I haven’t found, haven’t been satisfied? With any word that represents myself maybe,” they say.A drag performer, the receptionist suggests that Lolita should prepare for her task by pretending to shoot a drag version of each of the seven board members. Conveniently, they have a prop gun coated in gold glitter in a handy drawer, which she can use in their playlet. The receptionist then provides a fabulous interpretation of each member — dancing and lip syncing, makeup immaculate.Demented, exuberant and appropriately angry, Vélez Meléndez’s play borrows from European absurdist theater, like the plays of Jarry and Genet, as well as a tradition of Latin American surrealism. As directed by David Mendizábal, who also designed the irrepressible costumes, the show takes place less in an office than in a shimmering theater of the mind. Is any of this real? Does that matter? Shh! They’re playing “Spice Up Your Life.”“Notes” is queer in its aesthetics, if not exactly in its form. The drag personae emerge tidily, one after the other, and the scenes take on a kind of sameness. But the play challenges Carmela and la Perdida to negotiate realism, fantasy and everything in between, a challenge they giddily accept, occasionally finding genuine poignancy even in the midst of the irrational and bizarre. And there’s delight, of course, in seeing la Perdida emerge in each new get-up. (This is likely a show in which the backstage action — the frantic donning and doffing of wig and makeup and costume — is probably just as exciting as what’s onstage.)Ultimately, Vélez Meléndez cares less about political consequence than about individual identity. Will Lolita accomplish mass murder? Maybe! Will she push the receptionist toward self-determination? Now there’s a question.The moral of “Notes,” simply stated by Lolita, is both provocation and invitation: “The journey of decolonization starts with the self!” Few of us can meaningfully affect Puerto Rico’s fiscal crisis or its vexed journey toward either statehood or independence. But can we shake it, shake it, shake it, with authenticity? Can we self-govern in our private lives? “Notes” suggests that, with enough glitter, we can.Notes on Killing Seven Oversight, Management and Economic Stability Board MembersThrough June 19 at Soho Repertory Theater, Manhattan; sohorep.org. Running time: 1 hour 35 minutes. More

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    in Television

    What’s on TV This Week: ‘Julia’ and the MTV Movie & TV Awards

    A documentary about Julia Child airs on CNN. And Vanessa Hudgens hosts an awards show on MTV.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, May 30-June 3. Details and times are subject to change.MondayJULIA (2021) 8 p.m. on CNN. In this documentary, the filmmakers  Julie Cohen and Betsy West — who were nominated for a Academy Award in the best documentary feature category for their work on “RBG” (2018) — tell the story of the cookbook author Julia Child and her upheaval of the male-dominated culinary and television worlds. The documentary uses archival footage, personal photos and first-person narratives to follow Child’s path to publishing “Mastering the Art of French Cooking,” a book with an enduring influence: It topped the New York Times best-seller list in 2009, 48 years after it debuted, around the release of the film “Julie and Julia.”TuesdayGrandmaster Flash in “Origins of Hip-Hop.”Malike Sidibe/A&EORIGINS OF HIP-HOP 10 p.m. on A&E. This documentary series comes from Mass Appeal, a media company known for its production of “Wu-Tang Clan: Of Mics and Men” (2019) — which the Times critic Jon Caramanica called an “intimate” look at “how individuals use art as a lifeline.” The new show will tell the stories of hip-hop stars, including Busta Rhymes, Eve, Ice-T and Ja Rule. Narrated by the rapper Nas, each of the eight one-hour episodes explores the artists’ journeys to stardom. The series premieres with an episode on Fat Joe, one of the genre’s Latino stars.WednesdayTHE REAL HOUSEWIVES OF DUBAI 9 p.m. on Bravo. As the 11th entry in the franchise, “The Real Housewives of Dubai” premieres in a desert oasis following an opulent group of women — including Caroline Stanbury, a former Miss Jamaica — as they navigate a highly exclusive social scene. Teasers show metallic gowns in windy deserts and valleys of camels in the extravagant City of Gold. But after announcing the location, Bravo was hit with backlash on social media for overlooking the United Arab Emirates’ treatment of women and L.G.B.T.Q. people. The series has also been criticized in the past for featuring racially homogeneous casts. (In a 2019 article for The Times, the writer Tracie Egan Morrissey wrote that the show “shined its light on a certain type of woman: rich, opinionated and white”). But the women who make up the Dubai cast are among of the most racially diverse groups on the show to date.ThursdaySCRIPPS NATIONAL SPELLING BEE FINALS 8 p.m. on Ion. “Murraya.” This was the word that determined the best speller in the nation in last year’s tournament. Hosted by LeVar Burton, this year’s competition will include spellers from across the United States (and from four other countries) competing for a chance to be the 94th Scripps National Spelling Bee champion. Last year, a 14-year-old, Zaila Avant-garde, made history as the first Black American to win the Bee.N.B.A. FINALS 9 p.m. on ABC. The Golden State Warriors will play the winner of the Eastern Conference finals between the Miami Heat and the Boston Celtics in the first game of the National Basketball Association finals. Golden State returns to the finals for the first time since 2019 after defeating the Dallas Mavericks in the Western Conference finals last Thursday. It has been a long road rife with injuries and misfortune for many of Golden State’s key players, but the team’s celebrated core “is together again and playing some of its best basketball,” The Times’s Tania Ganguli and Scott Cacciola wrote in a recent article. Catch the second game on Sunday.FridayGloria Foster and Morgan Freeman in a production of “Coriolanus,” as seen in “American Masters: Joe Papp in Five Acts.”Estate of Bert AndrewsAMERICAN MASTERS: JOE PAPP IN FIVE ACTS 9 p.m. on PBS (check local listings). Ahead of the 60th anniversary season of Shakespeare in the Park in Central Park, “American Masters” will air “Joe Papp in Five Acts,” a documentary that tells the story of Joseph Papp, the founder of the Public Theater and Shakespeare in the Park, and a producer of plays including “Hair” and “A Chorus Line.”BABES IN ARMS (1939) 8 p.m. on TCM. Directed by Busby Berkeley and starring Mickey Rooney and Judy Garland, “Babes in Arms” is the film version of the 1937 coming-of-age Broadway musical of the same title. In a 1939 Times review, the writer Frank S. Nugent praised Rooney: “‘Babes In Arms’ — to express it in two words — is Mickey Rooney,” he wrote. The film is followed by BABES ON BROADWAY (1941) at 10 p.m. on TCM, another Berkeley musical that stars Rooney and Garland.SaturdaySTAGE FRIGHT (1950) 8 p.m. on TCM. In “Stage Fright,” a suspenseful British film noir from Alfred Hitchcock, an acting student (Marlene Dietrich) goes undercover to prove that a singing star killed her husband. Though the movie has become known as a Hitchcock classic, the Times review in 1950 wasn’t exactly favorable. The critic Bosley Crowther called it a “rambling story,” one “without any real anxiety,” but praised the cast of “fine actors.”SundayThe actress Vanessa Hudgens earlier this month. Hudgens will host the MTV Movie & TV Awards on Sunday.Stefano Rellandini/Agence France-Presse — Getty ImagesMTV MOVIE & TV AWARDS 8 p.m. on MTV. Vanessa Hudgens returns as host of the 2022 MTV Movie & TV Awards, where fans vote for their favorite films, shows and performances, and where Jack Black will receive this year’s Comedic Genius award. The ceremony will be followed by “MTV Movie & TV Awards: Unscripted,” which recognizes the best competition series, best reality romance, best music documentary, best reality star and other similar categories. The most-nominated reality programs are “RuPaul’s Drag Race,” “Selling Sunset” and “Summer House.” More

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    in Theater

    ‘Zoey’s Perfect Wedding’ Review: The Bride’s Big Disaster

    For affluent and educated 30-something New Yorkers, a favored set of the playwright Matthew López, a chain-hotel reception is as tacky as it gets.There isn’t enough food, the D.J. is playing Styx instead of Beyoncé, and a line for the cash bar looks like a humanitarian crisis. The bride’s big day in “Zoey’s Perfect Wedding,” streaming via TheaterWorks Hartford, is predictably a total disaster. (Would we have been invited otherwise?)If rubbernecking the collision of happily ever after with dire disappointment is your kink, buckle up. Though this ill-fated party is likely to be familiar.It’s 2008, Barack Obama has just been elected president, the economy is in the toilet, and Zoey’s college friends have been banished to a far-flung table in a drab ballroom at the Downtown Brooklyn Marriott. Zoey, played by Rachel B. Joyce, is the last of their school chums to get hitched, and this is not how they thought she’d go out. For affluent and educated 30-something New Yorkers, a favored set of the playwright Matthew López, a chain-hotel reception is as tacky as it gets.Charlie (Daniel José Molina) and Sammy (Herdlicka) at the reception.Mike MarquesNot only was Rachel (Blair Lewin) not asked to be a bridesmaid, but staving off a calamity like this one is her job — really. (She’s an in-demand wedding planner.) Sammy (Hunter Ryan Herdlicka), a sports agent impeccably dressed in a three-piece plaid suit, swipes a bottle of liquor from the bar to soothe his offended senses. (“Hey, cutie! Got any Cuervo?” he coos to an unseen male server.) And Rachel’s husband, Charlie (Daniel José Molina), is agog to hear how much more sex Sammy is having than they do (unlike the tequila that flows like water, the couple is on the rocks).Every cliché about bad weddings probably occurs during the first hour of Zoey’s. A cringe-inducing speech from a drunk guest oversharing her personal problems? Check. (Rachel really ought to know better.) A bride who shrieks and sobs and retreats to the bathroom? (Don’t forget that bottle of Cuervo.) Not until it seems as if nothing more could go wrong does the play push deeper into its exploration of relationships, which does not exactly reveal new territory: friendships wane, marriages fall apart, and romance rarely resembles a fairy tale.Unlike his two-part “The Inheritance,” an ambitious epic for which López won a Tony Award in 2021 for best play, “Zoey’s Perfect Wedding” is ready-made and on the nose, like a trifle you might pluck off the dessert table at a function less calamitous than this one. The 90-minute comedy, which premiered in Denver in 2018, predates the playwright’s saga about late-20th century gay Manhattanites, and demonstrates his sustained interest in the dynamics of connection amid the limitations of convention.No union could ever be perfect — and what does perfect even mean? — but López still defers to the value of conformity. Sammy’s open relationship becomes a point of rage for Rachel, who’s in the business of monogamy, and an occasion for Sammy to explain how gay men relate to each other differently than straight people (complete with a tutorial on anal sex). It could be provocative if the lesson weren’t so basic, and if Sammy didn’t eventually capitulate to sharing the emotional needs that are fueling the fiasco.The production, directed by Rob Ruggiero, is playful and polished. A dizzying-print carpet and bland sconces on textured walls are a suitable assault on the eyes (set and lighting design are by Brian Sidney Bembridge). And performances from the ensemble are uniformly strong, committed to the sitcom setup and believably tender as the details of their characters are more fully revealed.“Zoey’s Perfect Wedding” treats the early aughts with a certain nostalgia, a Myspace, post-George W. Bush era of social optimism when Gen X was easing into adulthood — and recognizing the potential disappointments of marriage and material achievement. The retro quality of the play’s perspective can feel almost mournful, rather than enriched with the benefit of hindsight. Letting go of youthful ideals can leave you with one hell of a hangover.Zoey’s Perfect WeddingThrough June 5 at TheaterWorks Hartford in Connecticut and streaming online; twhartford.org. Running time: 1 hour 30 minutes. More

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    in Theater

    Why the Biggest Ovation at the Tonys Luncheon Was for a Waiter

    The Rainbow Room event is meant to honor nominees; guests aren’t allowed. But when your father works there, that changes everything.Klay Young, a 63-year-old Harlem resident who immigrated to New York as a teenager from Belize, has worked as a server at the landmark Rainbow Room for 30 years, taking orders, ferrying food, clearing dishes for any number of rich and famous people. He has pictures with Mikhail Gorbachev, Liza Minnelli, John Travolta, and Presidents Carter and Clinton.This week, he served a newly minted dignitary: his daughter, a stage actress who in November made her Broadway debut in a new Lynn Nottage play called “Clyde’s” and this month scored a Tony nomination for her quick-witted performance as a formerly incarcerated sandwich maker.Something about that confluence — a breakout performer reaching the literal heights (the Rainbow Room is on the 65th floor of Rockefeller Center) where her immigrant father has long toiled as a waiter — brought a much-needed moment of inspiration to an industry still struggling to rebound from a very rough few years.Here’s what happened: The Rainbow Room, once a restaurant and now an event space, has for years been the home of a treasured Tony Awards ritual: a nominees-only luncheon at which the actors, writers, directors, designers and others up for awards share a meal, get a plaque and bask in a moment of shared glory.This year, seated among the honorees was Kara Young in her white-and-black Maje dress with the gold necklace she borrowed from her mother. Working the room in his lunchtime uniform of dark blue pants, white shirt and dark blue vest was Klay Young, making sure everyone had what they needed.When Emilio Sosa, who was helping preside over the ceremony as chairman of the American Theater Wing, got up for the routine recitation of the names of honorees, he paused at Kara Young. He noted that her father was present — as it happened, he was getting a Diet Coke for a celebrant — and had worked there for years. The celebrants rose to their feet.“The whole room just lost it,” Sosa said. “To see her coming full circle, from a little girl watching him serve, and he had worked this luncheon for years, to having his daughter be a nominee was just one of those once-in-a-lifetime moments. There wasn’t a dry eye in the room.”The 2022 Tony AwardsThis year’s awards, the first to recognize shows that opened after a long Broadway shutdown during the pandemic, will be given out on June 12.Lifetime Achievement: Angela Lansbury, an acclaimed and beloved star of stage, film and television, will be honored with a special award during this year’s ceremony.Hugh Jackman: The actor may potentially win his third Tony Award for his role in “The Music Man.” He shared some thoughts on his life between film and theater.A New Star: Myles Frost is drawing ovations nightly on Broadway with his performance in “MJ,” a musical about Michael Jackson’s creative process.Among those moved to tears: Kara Young, who as a little girl on special occasions had come to the Rainbow Room with her father, taking in the sweeping views and dancing with him on the rotating floor.“I know that job has put food on our table and has given us a really beautiful life,” Kara Young said later. “He’s such an honorable man, and for him to get a standing ovation was the most unexpected moment ever.”Young, left, with Reza Salazar, was nominated for best featured actress in a play for her performance in “Clyde’s.”Sara Krulwich/The New York TimesKlay Young, who had been serving chicken paillard and arranging coffee cups at the lunch, was stunned. “Oh my goodness,” he said later. “I had to pause for a second. I looked at her. She looked at me. It was riveting. I could not say anything but ‘gratitude.’ And there were silent tears of joy coming down my face.”Sosa, a costume designer who immigrated to New York from the Dominican Republic and whose parents were janitors and factory workers, said he recognized the emotional power of the moment as soon as he realized the coincidence.“A lot of times, when young people say they want to be artists, the first thing they get is pushback about how they’re going to earn a living,” Sosa said. “So the pride in this man’s eyes really touched me. And I could not let that moment pass.”Among those also struck by the event was Nottage, who snapped a picture of the father-daughter pair.Tony Awards: The Best New Musical NomineesCard 1 of 7The 2022 nominees. More