Eliana Willis

More stories

  • 138 Shares99 Views

    in Television

    Leslie Jones Gets Revved Up by Vinyl, Live Tweeting and ‘Euphoria’

    Sometimes even Leslie Jones doesn’t want to be Leslie Jones. That’s why her new comedy series, “Our Flag Means Death,” checks all of the boxes.“I was in as soon as they said, ‘Black pirate,’” Leslie Jones recalled about the offer to play Spanish Jackie in the HBO Max series “Our Flag Means Death.”Even better, Jones — a three-time Emmy nominee during her five audacious years on “Saturday Night Live” and a provocative live-tweeter on everything from Zoom backgrounds to the Olympics — was being asked to leave behind what she called her “crazy, out-there personality.”“We are so happy that Leslie Jones is here, but we don’t want Leslie Jones right now,” the comedy’s creator, David Jenkins, told her, giving Jones the freedom to embrace her inner rogue.“Our Flag Means Death” sends up the historical partnership between Stede Bonnet (Rhys Darby), an aristocrat turned pirate, and the legendary Blackbeard (Taika Waititi). The marauders first encounter each other in the Republic of Pirates, where Spanish Jackie, in a Prince-style get-up, is a fearsome bar owner with 19 husbands — and out for revenge for the death of the 20th, her favorite.“She came up hard, and she’s probably had to fight so many men and prove that she is the captain of her ship and the boss of her life,” Jones said. “I’m not saying Leslie don’t have a little of that in her, but Spanish Jackie embodies being a badass.”Jones will soon be transforming into another not-so-Jones character — Mrs. Claus — for an as-yet untitled Christmas movie expected in 2023.“Now, if Santa knows when you’ve been naughty and nice, you definitely know Mrs. Claus knows that, right?” Jones said while discussing her cultural appetite in a recent video call from Los Angeles. “If anything, she’s doing most of the work.”Here are edited excerpts from the conversation.1. Los Angeles Lifestyle I always was in L.A. before I went to New York to do “S.N.L.” But I don’t think I appreciated L.A. until I moved back, because New York is hardcore. If you stay there longer than two years, you’re going to get sinus infections. It’s terrible. I never thought of New York as a place to actually live, but people do. They love it, you know? L.A. is just more personal space, just the sunshine out here. I love how relaxed it is, because the last seven years have been hectic. It’s like a nice breath of fresh air.2. Vinyl Records My dad was a D.J. forever, and he used to collect albums. I think he had up to 2,000 albums and when he passed, I had to sell the collection because I had nowhere to keep it. I was broke at the time. So now I’m collecting a lot of albums back. I got my little private record player in my office. Then I got one for the house that I could play over the speaker. It’s been so fun to have people send me albums because when you see them again, you go, “Oh my God, I thought it was a dream.”3. The Olympics The Olympics were a very important thing [when I was growing up]. I remember us getting school time off. I remember people taking days off of work to support the Games and the athletes. I always loved it, especially the gymnastics and the figure skating. What it’s come to now is great and how beautiful it is. I’ve always thought that this is the one time that all countries put down whatever it is that they have against each other and just compete in the Games. It’s almost a moment of world peace to me. Of course, it’s not now, with the timing and everything. But I always loved it because you had a team to cheer for. It was like, “Yeah, our country! Yeah, U.S.A.!”4. Mental health accountability in sports This is what people need to understand: It’s not enough just to be physically fit for these Games. You have to be mentally fit for these Games. One doesn’t work without the other. And the pressure that is put on these athletes has to be enormous. The way that they attacked Simone Biles, I was ashamed of our country because, first of all, most of the people that complained were sitting on their fat asses on the couch. You’ll never do a cartwheel and you have the nerve to talk about someone and tell them that they let the country down? We have to start taking accountability that they are not actually superheroes. They do make it look like they’re superheroes, but they are humans.5. Live Tweeting It’s a blessing and a curse at the same time, because I’m going be honest with you — I didn’t actually think people were going to catch on to it. The first time I live-tweeted might have been “Breaking Bad.” It had already been off the air for about five years, but it was so good that I was like, “I’ve got to tell people about this.” So it really did start off as fun. Now it is a job. The politics [commentary] started during Covid and sitting on the couch watching TV, and I don’t think people were paying attention to their backgrounds. I was like, “Does she know she’s in front of — what the [expletive] is that?” I’m always trying to find a way to make people laugh when things are bad. It’s relief. That is what a comic’s job is. We’re jesters.6. “Euphoria” Oh my God, it’s just such a great show. It also proved to me I was a [expletive] nerd if that’s really what’s going on in high school. And I thank my parents because this is the worst version of “Charlie Brown” I have ever seen. What in the absolute hell is going on in that town?7. “Bel-Air,” the “Fresh Prince” reboot I got to go to the premiere of “Bel-Air,” and it is sensational the way they did that. TV in the ’80s and ’90s used to be kind of goofy. But behind some of these goofy shows were great plots. So they took the goofiness out of it and made it an actual dramatic story. I told Will Smith, “This is chef’s kiss.” The Fresh Prince on the basketball court wasn’t just some goofy scene of the ball hitting the dude’s head. People got shot. It was like, “Whoa, so that’s why your mama got so scared to send you to L.A.”8. Stand-up I’ve been a comedian since 1987. All those years of hustling, hustling, hustling to be famous. And then when you become famous, the one thing that you’re so good at is not something that you can just go do anymore, because you’re known as a different person. For a long time, people didn’t even know I was a stand-up — they just thought I came on “S.N.L.” And I was like, “Are you kidding me? That used to pay all my bills.” Doing stand-up in its purest form is still something I love, but it’s not something I always get to do now because it’s hard to go into the clubs. I’m not going in as Leslie the comic, “Hey, can I get a spot?” I’m going in as Leslie Jones, “She’s about to bump everybody off the list.”9. Brown Bag Lady Charity in Los Angeles Everybody should know about Jacqueline Norvell. She literally started out on a bicycle with a basket full of lunches that she would give to homeless people. And now it’s turned into a big thing where she goes out every day. Sunday, she does a whole meal. She brings barbers down. She brings beauticians down. She gets some coats. She’s doing this by herself. I mean, everybody thinks that they can solve homelessness. You are not going to solve it. You just really have to be kind and do what you can. She’s taking that to the next level.10. Bryan Buckley, the director of her Super Bowl commercial Usually those commercials are kind of tedious or annoying. People will be asking you for stuff that you just go, “You’re not going to use that.” He was the first guy that I was like, “Oh, this guy knows what he is doing.” He asked specifically for what he wanted, and it’s just like, “Bam!” I think he’s known to be one of the best Super Bowl commercial directors. I was like, “I hope the commercial turns out OK, because it was so easy to do.” Usually when it’s really, really hard and stuff happens, the project turns out beautifully. I was scared that it was so easy. More

  • 88 Shares119 Views

    in Television

    Jimmy Fallon Rags on America’s Gas Problem

    “Gas prices are so high, the Indy 500 was just changed to the Indy 5,” Fallon joked.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.How High?President Biden announced a ban of imported Russian oil, gas and coal on Tuesday. The move prompted fears of higher prices at the pump.“Yeah, this is devastating for Russia,” Jimmy Fallon said. “Now their biggest export is bad guys in ‘John Wick’ movies.”“Of course, we’ve got to get oil from somewhere else, which is why today, Biden looked at Rudy Giuliani and was like, ‘Let’s get you in the sauna, buddy.’” — JIMMY FALLON“And luckily America produces a lot of its own oil. There’s Texas, there’s Alaska, there’s Rudy Giuliani, but it’s still not enough.” — TREVOR NOAH“Like, if this keeps up, the next ‘Fast and Furious’ movie will take place on public transportation.” — TREVOR NOAH“That’s right, gas prices were already on the rise, and with the decision to ban Russian oil, they’re higher than ever before. Gas prices are so high, the Indy 500 was just changed to the Indy 5.” — JIMMY FALLON“Gas prices are so high, this morning, parents were like: ‘All right, kids, we’re Amish now. Let’s get in the buggy — we’re taking the horse to school.’” — JIMMY FALLON“Gas prices are so high, Americans are just filling their cars with Red Bull and hoping for the best.” — JIMMY FALLON“But on the bright side, this is the perfect excuse to pretend you’re going to get back on the bike you bought mid-pandemic and rode twice.” — JAMES CORDENThe Punchiest Punchlines (Unhappy Meals Edition)“Meanwhile, in the battle, McDonald’s and Starbucks are cutting ties with Russia, both announcing they would temporarily close all locations in the country. No Starbucks, no McDonald’s — that’s a sad life to live. And no pick-me-up in the morning, no Happy Meals — or, as they call them in Russia, meals.” — TREVOR NOAH“Yeah, we don’t want their oil and they can’t have our grease.” — JIMMY FALLON“McDonald’s in Russia is a little strange. It’s the only country that sells unhappy meals.” — JIMMY FALLON“Not to be outdone, Arby’s announced that they are punishing Russia by staying open.” — JIMMY FALLON“Yes. Russia just became a ‘no fry zone.’” — STEPHEN COLBERT“Some people go for the jugular. America? They go for the McRib.” — JAMES CORDENThe Bits Worth WatchingDina Gusovsky, a writer for “Late Night With Seth Meyers,” delivered a monologue about reconciling her Russian heritage during the Vladimir Putin era.What We’re Excited About on Wednesday NightDolly Parton will pop by Wednesday’s “Daily Show.”Also, Check This OutAt the 2019 “Peaky Blinders” Festival, actors recreated scenes from the show on the streets of Birmingham, England.PA Images, via ReutersThe final season of the crime drama “Peaky Blinders” is currently airing in Britain, where some superfans are staging re-enactments in public. More

  • 113 Shares199 Views

    in Theater

    Review: In ‘Jane Anger,’ Michael Urie Shines as Shakespeare

    Talene Monahon aims to give Shakespeare his comeuppance in this comedy at the New Ohio Theater.In “Jane Anger,” a new comedy by Talene Monahon, everyone is fed up with the endless waves of sickness and quarantine. The year is 1606, and we are in England, which is enduring another outbreak of the plague. But for one man, a late-career William Shakespeare, there are graver concerns: writer’s block.Portrayed as a vain, out-of-touch celebrity by Michael Urie, Shakespeare struts and frets about the dozens of plays his rivals must be writing, angrily tossing the contents of his chamber pot out his window and onto the street below. In an effort to revitalize his career, he settles on adapting “King Leir,” claiming his version — with a slightly different spelling — will be “naturally superior because of the language and the dialogue and the general vibes.”Another (fictional) obstacle to his livelihood lurks outside, one that this uneven play, which opened on Monday night at the New Ohio Theater, clumsily tries to imagine could be his legacy’s true downfall: Jane Anger, a former lover seeking to strike a bargain with him in order to have her proto-feminist pamphlet published.This one-act work — whose full title is “The Lamentable Comedie of Jane Anger, that Cunning Woman, and also of Willy Shakefpeare and his Peasant Companion, Francis, Yes and Also of Anne Hathaway (also a Woman) Who Tried Very Hard” — creates a tidy blend of the past and present. Social and comedic sensibilities converge to highlight the pervasiveness of misogyny and the differing chances of survival across class lines in times of disease. Billed as a “feminist revenge comedy,” this workshop production, first developed online last October, succeeds at creating smart, lightly absurdist humor, but misses the mark in its attempt at a revisionist redemption.It doesn’t help that the play is mostly dedicated to its two male characters: Shakespeare and his servant, Francis (a show-stealing Ryan Spahn). Described as having “the off-putting air of an aged eunuch,” Francis is an unkempt, overeager fan of the writer and his occasional sexual overtures read less as genuine pining and more like a fan’s willingness to ingratiate. Urie (at the top of his game) and Spahn are a longtime couple, and their chemistry lends their characters’ farcical setups an easy, endlessly watchable flow.Amelia Workman as the title character in the play.Valerie TerranovaThough their dynamic is appealing, it takes up most of the play’s run time, practically swallowing the production whole, and leaving little room for the play’s women to make much of an impact.In creating Jane, Monahon (“How to Load a Musket”) has some fun compounding fact and fiction. Jane Anger is the, most likely pseudonymous, name of the author of the first English-language essay to defend womanhood, released in 1589. Here, she is revealed to be the “Dark Lady” about whom Shakespeare wrote a couple dozen sonnets, now working as a cunning woman, a type of medieval folk healer who also developed spells to counter witchcraft.As Jane, Amelia Workman plays up the double meaning of this cunning woman by delivering an arched eyebrow that rivals Joan Crawford’s. But in trying to explode the Western canon through her own feminist intervention, suggested in the first of Jane’s many fourth-wall breaks, Monahon ultimately fails to give Workman much to chew on other than audience-pandering quips. (She’s aided by Joey Mendoza’s set, a medieval apartment with a central window through which she must hoist herself, and Nic Vincent’s lighting, which brightens to involve those present in Jane’s queries.)We know Shakespeare’s behavior is sexist, so why didn’t Monahon address her critiques directly to the men onstage, in true, anachronistic fashion?Not all is lost, however. Monahon is clearly a gifted comedy writer, and a sweet stage presence, too. She shows up, late in the play, as Anne Hathaway, Shakespeare’s neglected wife. Monahon giddily mines comparisons between her character’s earnestness and her modern namesake, and her sharp writing blends Shakespearean lowbrow humor with contemporary concerns. Under the direction of Jess Chayes, the production has a liveliness that the exceptional cast runs away with, delivering Monahon’s mile-a-minute gags with zest.Jane AngerThrough March 26 at the New Ohio Theater, Manhattan; newohiotheatre.org. Running time: 1 hour 30 minutes. More

  • 163 Shares119 Views

    in Television

    Conrad Janis, Father on ‘Mork & Mindy’ and Much More, Dies at 94

    His role on the hit sitcom was just one of more than 100 film and television credits; he was also a fine jazz trombonist and co-owner of an art gallery.Conrad Janis, an actor familiar to television viewers as Mindy’s father on the hit sitcom “Mork & Mindy” who was also a skilled jazz musician and a gallerist well known in the New York art world, died on March 1 in Los Angeles. He was 94.Dean A. Avedon, his business manager, confirmed the death.Mr. Janis, a child of the noted art collectors and gallerists Sidney and Harriet (Grossman) Janis, moved easily between the worlds of high art, jazz and acting, sometimes switching one hat for another in the same evening.“Conrad Janis Is Glad to Live Three Lives,” the headline on a 1962 Newsday article read. At the time he was starring in the romantic comedy “Sunday in New York” on Broadway and, after the Friday and Saturday night performances, playing trombone with his group, the Tailgate 5, at Central Plaza in Manhattan. (On Sundays he’d trek to Brooklyn to play at the club Caton Corner.) When not onstage or on the bandstand, he could often be found at his father’s art gallery.Sixteen years later he found himself on one of the most popular shows on television when he was cast on “Mork & Mindy,” which premiered in September 1978, as the father of Mindy (Pam Dawber), a Colorado woman who befriends an eccentric alien (Robin Williams). On Sundays during this period, he played in the Beverly Hills Unlisted Jazz Band at the Ginger Man, a club in Beverly Hills, Calif., whose owners included Carroll O’Connor of “All in the Family.”The key to juggling three areas of expertise, Mr. Janis told Newsday, was keeping his personas separate.“It just wouldn’t do to tell a knowledgeable art patron that ‘man, I dig Picasso the wildest,’” he said.Mr. Janis, an accomplished trombonist as well as a busy actor, peformed regularly with the Beverly Hills Unlisted Jazz Band. Among the other members of the band, seen in performance in 1980, was his fellow actor George Segal, who played banjo and sang.Ralph Dominguez/MediaPunch, via AlamyConrad Janis was born on Feb. 11, 1928, in Manhattan. His parents had a successful shirt-making business early in their married life, which gave them the wherewithal to begin collecting art and, in 1948, open the Sidney Janis Gallery, which became, as The New York Times put it in Sidney Janis’s obituary in 1989, “a major pacesetter for the art world in the 1950s and ’60s.”Harriet Janis also wrote books with the jazz historian Rudi Blesh, including “They All Played Ragtime” (1950). That connection led to Conrad’s musical expertise. Mr. Blesh’s daughter played trombone in her school’s marching band but lost interest; the spare trombone ended up in Conrad’s hands. He particularly studied the music of the influential New Orleans trombonist and bandleader Kid Ory.“I memorized a lot of what he did,” he told The Los Angeles Times in 1988.His acting developed alongside his musicianship. When he was 13, a classmate at the Little Red School House in Manhattan told him that “Junior Miss,” a popular Broadway comedy about a teenage girl, was holding auditions for a road company. He auditioned, got in, and spent two years with the tour, advancing to a leading juvenile role. He started doing radio voice work at the same time.“I played kids of 14 and old men of 40” on the radio, he told The New York Times in a 1945 interview.He landed a role in the pre-Broadway run of “The Dark of the Moon,” which got him noticed by a Hollywood talent scout. He remained with the play when it went to New York, making his Broadway debut in March 1945, but within a few months he was on the West Coast to make his first film, the comedy “Snafu,” in which he played a teenager who lies about his age to enlist.It was the first of more than 100 film and television credits. In the movies, he played alongside some famous names: Ronald Reagan and Shirley Temple in the notoriously bad “That Hagan Girl” (1947), Charlton Heston and other prominent stars in “Airport 1975” (1974), Lynn Redgrave in “The Happy Hooker” (1975), George Burns in “Oh God! Book II” (1980).He was on television from the medium’s earliest days, playing numerous roles in the late 1940s and ’50s, many of them on shows like “Suspense,” “Actor’s Studio” and “The Philco Television Playhouse” that were broadcast live. Some of those roles took advantage of his familiarity with musical instruments.“All through the ’50s,” he told The Philadelphia Inquirer in 1981, “I was in so many TV shows as a young musician on drugs, desperately trying to kick the habit, that I’m sure I helped cement in the public’s mind a relationship between musicians and dope. All they cast me in were shows in which I did or didn’t kick the habit. I was always saying, ‘Hey, man, I just got to have a fix.’”He continued to play small parts on TV in the 1960s and ’70s before landing his best-known role, Mindy’s father. His character operated a music store, but although “Mork & Mindy” ran for four seasons, he never got a chance to play his trombone on the show, something he regretted.“The producers wouldn’t go for it,” he told The Albany Democrat-Herald of Oregon in 1990. “We had a really cute script where I got together with my old Dixieland jazz band, but they didn’t think it was funny enough.”Mr. Janis with Thomas Scott, left, and Steven Scott in the 1996 movie “The Cable Guy.”He continued to work in television after “Mork,” with appearances on “St. Elsewhere,” “Murder, She Wrote,” “Frasier” and other shows. His later movie appearances included small roles in “Mr. Saturday Night” (1992) and “The Cable Guy” (1996). He sometimes collaborated with his wife, Maria Grimm, including directing two movies she wrote, “The Feminine Touch” (1995) and “Bad Blood” (2012).Mr. Janis’s acting career also included a dozen Broadway credits, among them the Gore Vidal play “A Visit to a Small Planet” in 1957 and a revival of “The Front Page” in 1969.Throughout his musical and acting adventures, Mr. Janis also kept a hand in the art world.Arne Glimcher, the founder and chairman of Pace Gallery and a friend of Mr. Janis’s for almost 60 years, said Mr. Janis worked for his father at the Sidney Janis Gallery and was responsible for certain artists there, including Claes Oldenburg and Tom Wesselmann.“His knowledge of 20th-century art and Modernism was really encyclopedic,” Mr. Glimcher said in a phone interview.When Sidney Janis reached 90, he turned the Janis Gallery over to Conrad and his brother, Carroll, who kept it going until 1999.Mr. Janis’s first marriage, to Vicki Quarles, ended in divorce, as did his second, to Ronda Copland. Ms. Grimm, whom he married in 1987, died in September. He is survived by his brother; two children from his first marriage, Christopher and Carin Janis; two grandchildren; and two great-grandchildren.Mr. Glimcher said that in recent years some of Mr. Janis’s old jazz pals would come to his home in Beverly Hills on Thursdays and play. When his wife died, Mr. Glimcher said, Mr. Janis gave her a jazz funeral, then changed the location of those jam sessions.“Every Thursday,” Mr. Glimcher said, “he took the jazz band to her mausoleum and played there.” More

  • 100 Shares199 Views

    in Theater

    ‘Cabaret,’ Starring Eddie Redmayne, Leads Olivier Award Nominees

    A revival of the 1966 musical, with Jessie Buckley as Sally Bowles, is up for 11 awards at Britain’s equivalent of the Tonys.LONDON — A revival of “Cabaret” that has been a topic of conversation here for its sky-high ticket prices as much as its stellar cast dominated the nominations for this year’s Olivier Awards — Britain’s equivalent of the Tonys — that were announced on Tuesday.The musical secured 11 nominations including a nod for best musical revival, as well as for best actor and actress in a musical for its stars Eddie Redmayne and Jessie Buckley.Its prominence was perhaps unsurprising given the acclaim “Cabaret” has received since opening last December in a production that transforms the West End’s Playhouse Theater into a seedy nightclub straight out of 1920s Berlin.Audiences enter the show through the theater’s backstage corridors, and can even have a preshow meal once inside, partly explaining why tickets cost up to 325 British pounds (or about $420).Matt Wolf, reviewing the show for The New York Times, called it “nerve-shredding” for its portrayal of a world on the verge of Nazism. Dominic Cavendish in The Daily Telegraph called it “2021’s kill-for-a-ticket theatrical triumph,” suggesting readers “dig like your life depended on it into your pockets” to pay for a ticket.Even with such praise, “Cabaret” faces stiff competition in the musical categories, especially from a revival of Kathleen Marshall’s 2011 Broadway production of “Anything Goes” at the Barbican, which secured nine nominations including for best musical revival and a best actress nomination for Sutton Foster as Reno Sweeney. Foster won a Tony in 2011 for the same role.Sutton Foster has been nominated for an Olivier for her role in “Anything Goes.”Peter Nicholls/ReutersIn the nonmusical categories, the nominations are led by “Life of Pi,” Lolita Chakrabarti’s adaptation of Yann Martel’s best-selling novel telling the story of a boy stuck on a lifeboat with a tiger. That play, at Wyndham’s Theater, has secured nine nods, including a best supporting actor nomination for the seven puppeteers who bring the tiger to life.“Life of Pi” was also nominated for best new play, where it is up against “2:22: A Ghost Story,” a haunted-house thriller that was at the Noël Coward Theater, “Cruise,” a tale set in London’s Soho in the ’80s (that was at the Duchess Theater), and “Best of Enemies,” James Graham’s play about the rancorous 1968 TV debates between William F. Buckley and Gore Vidal that was at the Young Vic.One of the most highly contested categories is likely to be best actress in a play, where Cush Jumbo is nominated for her performance as Hamlet at the Young Vic Jumbo is up against Emma Corrin, nominated for her role in “ANNA X” at the Harold Pinter Theater, the singer Lily Allen for “2:22: A Ghost Story” and Sheila Atim for a revival of “Constellations,” at the Vaudeville Theater.The winners will be announced in a ceremony at the Royal Albert Hall in London on Apr. 10. More

  • 125 Shares99 Views

    in Television

    Seth Meyers Skewers Trump for a ‘Looney’ Idea on Russia

    Meyers said the former president’s suggestion that the U.S. paint Chinese flags on planes and bomb Russia was “a slightly stupider version of Bugs Bunny dressing up as a sexy lady to distract Elmer Fudd.”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.Flag FooleryAt a Republican fund-raiser on Saturday, Donald Trump suggested that the U.S. should paint Chinese flags on F-22 jets and bomb Russia.“Look, we came very close, very close to a world where Trump was still in charge during Russia’s brutal and illegal invasion of Ukraine, which is scary for many reasons,” Seth Meyers said on Monday. “One of which is Trump keeps giving us a glimpse as to how he would have responded, and, as usual, he has that unique Trump blend of being both terrifying and incredibly stupid at the same time.”“Finally, a way to bring stability to the world — a war between Russia and China.” — SETH MEYERS“So, if you’re wondering what Trump has been up to lately, the answer is huffing glue.” — JIMMY FALLON“These are the types of ideas you come up with after you stare at the sun too long.” — JIMMY FALLON“Then Trump said that he would stop Russian tanks by painting a tunnel on the side of a mountain so they slam into it. [Imitating Trump] ‘Meep meep.’” — JIMMY FALLON“He definitely gets his ideas from cartoons. I mean, this is a slightly stupider version of Bugs Bunny dressing up as a sexy lady to distract Elmer Fudd.” — SETH MEYERSThe Punchiest Punchlines (Running Out of Gas Edition)“Meanwhile, here in the U.S., a convoy of truckers spent the last two days surfing the Capital Beltway outside D.C. to protest Covid restrictions. Yep, the truckers waited until all the mandates were lifted and gas hit five bucks a gallon.” — JIMMY FALLON“It’s a horrible time to be driving as your protest because now they are praying the cops tow them away just to save on gas.” — TREVOR NOAH“This is just sad. American truckers were trying to block traffic, but D.C. already has so much traffic that nobody really noticed they were protesting.” — TREVOR NOAH“And, I mean, let’s be honest — a protest isn’t much good if it is too subtle for people to know it is a protest. Yeah, it’s like if Rosa Parks bravely decided to sit in the middle of the bus — it just wouldn’t be the same.” — TREVOR NOAHThe Bits Worth WatchingJames Corden was flabbergasted by a moviegoer who released a live bat during a viewing of “The Batman.”What We’re Excited About on Tuesday NightLeslie Jones will sit down with Seth Meyers on Tuesday’s “Late Show.”Also, Check This OutThe Theranos founder Elizabeth Holmes was recently convicted of four counts of fraud.Photo Illustration by The New York Times; HBO (Elizabeth Holmes)With new limited series like “The Dropout,” “WeCrashed” and “Super Pumped,” television is saturated with ripped-from-the-headlines tales of self-immolating entrepreneurs. More

  • 138 Shares169 Views

    in Television

    Supreme Court Will Not Review Decision to Overturn Bill Cosby’s Conviction

    Prosecutors had appealed a ruling by the Pennsylvania Supreme Court, which had overturned the conviction on due process grounds.The U.S. Supreme Court has rejected the bid by prosecutors in Pennsylvania to reinstate Bill Cosby’s conviction for sexual assault, a decision that ends the criminal case that had led to imprisonment for the man once known as America’s Dad.In an order issued Monday, the court said, without elaborating, that it had declined to hear the appeal filed by prosecutors last November.The Supreme Court’s decision leaves in place a ruling issued by an appellate court in Pennsylvania last year that had overturned Mr. Cosby’s 2018 conviction on due process grounds, allowing Mr. Cosby, 84, to walk free after serving nearly three years of a three-to-10-year prison sentence.Mr. Cosby had been found guilty of drugging and sexually assaulting Andrea Constand at his home outside Philadelphia, though his lawyers argued at trial that the encounter, in 2004, had been consensual.The case, one of the first high-profile criminal prosecutions of the #MeToo era, drew widespread attention, in part because of Mr. Cosby’s celebrity and in part because dozens of women had over a period of years leveled similar accusations of sexual abuse against the entertainer. But the Pennsylvania Supreme Court ruled last June that Mr. Cosby’s due process rights had been violated when the Montgomery County District Attorney’s office pursued a criminal case against him despite what the appellate court found was a binding verbal promise not to prosecute given to him by a previous district attorney.The former district attorney, Bruce L. Castor Jr., who said he believed Ms. Constand but was not sure he could win a conviction, said he had agreed years ago not to press charges against Mr. Cosby to induce him to testify in a civil case brought by Ms. Constand. He said the substance of his promise was contained in a news release he issued at the time that said he found insufficient credible and admissible evidence. But he held out the possibility of a civil action “with a much lower standard of proof.” Ms. Constand later received $3.38 million as part of a settlement in her civil case against Mr. Cosby.During the civil case, Mr. Cosby acknowledged giving narcotics to women as part of an effort to have sex with them, a statement that was later introduced as evidence at Mr. Cosby’s trial.Understand Bill Cosby’s Sexual Assault CaseBill Cosby was released from prison June 30, 2021, after the Pennsylvania Supreme Court overturned his 2018 conviction for sexual assault.Why He Was Released: Here’s a breakdown of the issues surrounding the ruling to overturn the conviction.What Legal Analysts Think: The court’s decision opened an unusually vigorous debate among the legal community.His Uncertain Future: Experts say it’s unlikely the ruling will change the public perception of the former star.The Aftermath: The Times critic Wesley Morris looks at what to do with our fondness for “The Cosby Show,” and W. Kamau Bell’s documentary series contextualizes his legacy.Following Mr. Cosby’s conviction in 2018, an intermediate appeals court in Pennsylvania found that no formal agreement never to prosecute had ever existed, a position that aligned with what the trial court had ruled.But in a 6-to-1 ruling, the Pennsylvania Supreme Court found that Mr. Cosby had, in fact, relied on Mr. Castor’s assurances that he wouldn’t be prosecuted, and that charging Mr. Cosby and using his testimony concerning drugs at the criminal trial had violated his due process rights.Prosecutors had argued that such a promise had never been made. They said that no one else in the district attorney’s office at the time had been made aware of it and that a news release could not be the basis of a formal immunity agreement.A spokesman for Mr. Cosby, Andrew Wyatt, welcomed the decision Monday, saying in a statement that the entertainer and his family “would like to offer our sincere gratitude to the justices of the United States Supreme Court for following the rules of law and protecting the Constitutional Rights of ALL American Citizens.”Ms. Constand and her lawyers released a statement Monday that criticized the Pennsylvania Supreme Court’s ruling, in particular faulting the panel for assuming “there was a valid agreement not to prosecute, which was vigorously disputed in the Habeas proceedings, and determined by the trial judge not to exist.”Andrea Constand and her lawyers have consistently taken issue with the reasoning of the Pennsylvania Supreme Court in overturning Mr. Cosby’s conviction.Angela Lewis for The New York TimesThe Montgomery County district attorney, Kevin R. Steele, released a statement in which he expressed his appreciation to Ms. Constand and described petitioning for Supreme Court review as “the right thing to do,” even though there was only a small chance the court would take up the case.“All crime victims deserve to be heard, treated with respect and be supported through their day in court,” the statement continued. “I wish her the best as she moves forward in her life.”Mr. Cosby was first accused in 2005 of having molested Ms. Constand, then an employee of the Temple University basketball team for whom he had become a mentor. The case was reopened in 2015, and Mr. Cosby went through two trials, the first of which ended with a hung jury. The second ended in April 2018, with a jury in Montgomery County convicting Mr. Cosby of three counts of aggravated indecent assault.Both cases were closely watched by many of the women who came forward with similar accusations but statutes of limitations in their cases made further prosecutions unlikely.Mr. Cosby has consistently denied the accusations that he was a sexual predator, suggesting that any encounters were completely consensual.Patricia Leary Steuer, who accused Mr. Cosby of drugging and assaulting her in 1978 and 1980, said in an interview on Monday that she felt “a little let down by the decision” but that “it does not change anything for me and the other survivors” since, she said, public sentiment is on their side.“The survivors did what we were supposed to do which was to come forward and tell the truth and that’s what we did,” she said. “The rest is out of our hands.”Legal experts had predicted it would be unlikely that the Supreme Court, which denies the vast majority of petitions for review, would take up the Cosby case. For one thing, they said, the case involved a unique set of circumstances that did not necessarily raise far-reaching constitutional issues.Dennis McAndrews, a Pennsylvania lawyer and former prosecutor who has followed the case, said the Supreme Court typically “looks to determine whether there are compelling issues of constitutional law about which the courts across the country need additional guidance, especially if the case is capable of repetition.”Shan Wu, a former federal prosecutor in Washington, said the Supreme Court likely considered whether its ruling would have the potential for broader significance outside the parameters of this case. “It’s a very unique set of circumstances,” he said. “It’s highly unlikely to be repeated.” More

  • 113 Shares179 Views

    in Theater

    The Flea Theater, Experimenting Again, Walks a New Tightrope

    Back from the brink of extinction, the Off Off Broadway fixture is testing a new structure that gives artists the autonomy they demanded.Since its inception in the mid-1990s, the Flea Theater has positioned itself as a haven for experimentation, an unpretentious home for risk-taking and for young actors eager to get their start.But for years, discontent simmered beneath the surface.Actors were frustrated by the fact that the theater asked for lots of work with no pay; Black artists felt mistreated even while working on shows meant to center Black experiences; artists felt exploited, intimidated, voiceless.In 2020, the bad feelings bubbled over when an actress who had performed at the Flea, Bryn Carter, published a letter detailing her experiences, pointing out what she described as elitist, racist and soul-crushing encounters and attitudes.When the reckoning at the organization collided with the pandemic shutdown, the survival of the Flea became uncertain.“What we’re doing is driven by our mission,” said the Flea’s artistic director, Niegel Smith, right, with Hao Bai, the show’s lighting, projection and sound designer.Nina Westervelt for The New York TimesBut now, the Off Off Broadway nonprofit theater is fighting to come back — this time with a new hybrid structure built to give complete artistic autonomy to a group of writers, directors and actors that has spoken out against the old Flea. That group, now known as the Fled Collective, is being given funding by the Flea to stage its own programming in the theater’s TriBeCa space. In addition, the Flea will produce shows of its own, but now all actors will be paid and there will be a focus on work by “Black, brown and queer artists.”The first Flea-produced show at the theater in two years, “Arden — But, Not Without You,” took the stage last month and just extended its run.But major challenges, chiefly financial, remain. When the organization’s longtime producing director, Carol Ostrow — a target of much of the criticism — retired following calls for her ouster, about half of the Flea’s board members followed her out the door. The departures resulted in a loss of trustee donations and fund-raising that depleted the organization’s $1.5 million budget by about a third, said Niegel Smith, the organization’s artistic director.Dolores Avery Pereira, a leader of the Fled Collective, which is trying to build a new future within the reconfigured Flea, said she is not discouraged.“I believe that the money will come,” she said. “I choose my artistic freedom every time.”When the Flea was born in 1996, the founders, who included the theater couple Jim Simpson and Sigourney Weaver, viewed it as a passionately edgy alternative to the commercial imperatives of Broadway.From its beginnings, the Flea was seen by aspiring actors as a place they could exercise their talents without needing to present a long résumé or a fancy degree at the door.“If you didn’t go to Juilliard or Yale or Brown, this was a place you could start,” said Adam Coy, a Fled leader who joined the Bats, the Flea’s resident acting company, in 2017.The first Flea-produced show at the theater in two years, “Arden — But, Not Without You,” during rehearsals in January.Nina Westervelt for The New York TimesThe new iteration of the Flea pushes the parameters of that kind of experiment a good bit further in its effort to dismantle traditional hierarchies — think autocratic impresarios — that have long ruled over theater spaces. In its push to democratize the production of works, the Flea is echoing the sorts of demands heard in theater communities across the country over the past two years as the pandemic’s threats to the industry and urgent calls for racial equity have spurred collective organizing among artists.But to pull it off under new financial constraints, the Flea’s leaders have had to reckon with the reality that its output may not match what it had been in the past, especially now that all actors will be paid. (In March 2020, for example, the Flea had 13 employees; it currently has two.)“We do a whole lot less now, and we’ll probably do a whole lot less for a long time,” said Smith, who is one of few Black artistic directors at New York City theaters. “But at least what we’re doing is driven by our mission.”The issue of pay for actors had been kicking around the Flea for years. Some recalled receiving no payment except a single stipend of $25 or $75 after spending weeks in rehearsals, on top of a requirement to spend several hours a month doing unpaid labor around the theater.The issue became particularly frustrating to actors when the Flea opened a new three-theater performing arts complex in TriBeCa which cost an estimated $25 million in 2017. As the Flea was transitioning to the new building, the phrase “pay the Bats” appeared written on the walls of its old theater, said Jack Horton Gilbert, who had been a member of the Bats for about five years. Beyond the question of surviving in New York, the lack of pay focused attention, critics said, on the demographics of who could afford to work for free.Leaders of the Flea have said that, going forward, they intend to employ a more democratic vision of artistic creation that gives actors, writers and other creatives greater voice in productions. Nina Westervelt for The New York Times“By not paying actors, the diversity of the company suffers because the people who can actually be around and invest are privileged,” Carter, who had been part of the Bats troupe, wrote in her June 2020 letter. “Many actors of color have not felt welcome or safe in your doors.”Much of Carter’s criticism was directed at Ostrow, who she said had mistreated her, generally was patronizing toward Black creatives and did “not know how to speak to Black people.” Once, she said, Ostrow had touched her hair without permission. Another time, she said, Ostrow had mixed up a Black lead actor and her understudy.Flea leaders apologized. Ostrow wrote Carter in June 2020 to say that she was “accountable for the behavior that you describe” and was “deeply sorry.”Later that month, a group of artists with the Flea posted a letter on social media condemning the theater for, among other things, creating a culture of “intimidation and fear.” The letter cited a case in which Black artists who took issue with a “trauma-centered” season of works about race were told, the critics said, that they could be replaced; it also repeated the concerns about expecting actors to work for free.“We have seen these same artists paid to cater your events and galas, rather than for their creative work,” the letter said.Members of the Fled Collective met in the Flea Theater in TriBeCa to plan their first season.Christopher Garofalo In response, the Flea’s leadership declared it would pay all artists for their work and said the theater needed to “reckon with the intersection of racism, sexism and pay inequity.”Later that year, the artists’ collective delivered demands to the Flea’s board, which included involving artists of color in planning the season, making sure there was board representation from their ranks and getting rid of Ostrow.In November 2020, Ostrow, who had been working without a salary for years, announced her retirement. Soon after that, five members of the board resigned, Smith said, resulting in a loss of about $475,000 in annual contributions. (Ostrow and her husband, the board member Michael Graff, had been major funders: the couple was listed as having donated more than $500,000 to the Flea’s new building.)Neither Ostrow nor her husband responded to requests for comment.Relations only soured further when the board, in what it said was a cost-saving measure, decided to dissolve its resident artist programs, including the Bats, infuriating the artists’ collective that had worked for months to try to shape an organization that they would be willing to return to.In a statement posted to social media, the artist group, now operating as the Fled, made a bold appeal to the Flea to “hand over the keys.” In a statement to New York Magazine days later, Simpson and Weaver threw their support behind the idea.Later on, Smith shocked Pereira when he told her that he and the board would be willing to explore actually transferring the property in TriBeCa to the Fled.Artwork by Carrie Mae Weems, one of the creators of “Arden,” in the rehearsal space. Nina Westervelt for The New York TimesThe agreement that was actually struck was more modest, but still extraordinary. The Flea, which continues on as a nonprofit, will still own the building. But the Fled, which is made up of about 100 artists, will operate there under a three-year residency, whose costs will be underwritten in part by the Flea. The theater will also provide production and marketing support.Separately, the Flea is producing its own content, like “Arden,” which was funded by a collection of grants. “Arden” includes sculpture and video by the visual artist Carrie Mae Weems, music by the multi-hyphenate artist Diana Oh, as well as improvisational song by the choreographer Okwui Okpokwasili and the designer and director Peter Born.Smith’s own segment of the show addresses the Flea’s recent turmoil head on, something he felt was necessary to do in the first work under the Flea’s new mandate.Wearing a white robe and no shirt, Smith walks around the stage of the small black-box theater in a ritualistic trance, muttering — and eventually shouting — the phrase “this place is fraught.”“This place has held oppressive structures fueled by coercion and ambition,” he says in the show.Some artists say they are still skeptical that an organization with the same artistic director can truly start anew. Others are simply uninterested in performing, or even sitting in the audience, at the Flea again after their personal experiences there.“I just moved on from wanting to be involved in any way in that space,” Carter said, noting that she nonetheless supports the Fled’s work.The leaders of the Fled, which plans to host its first developmental workshop at the Flea in May for a play by Liz Morgan, are unsure whether it will go beyond the three-year contract. The goal right now is to hold the Flea to the promises it has made and to create a model for an effective artist-led theater collective, said Raz Golden, one of the Fled’s leaders.“It hasn’t been easy,” Pereira said. “But it’s a relief to be at the art-making part.”Kirsten Noyes contributed research. More