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    Late Night Is Tired of Tucker Carlson’s ‘Foaming’ at the News

    The Fox News host joined his network in insisting the company’s burned-down Christmas tree is proof of the war on Christmas.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.Fired UpOn Thursday, Fox News hosts continued their insistence that the Christmas tree outside its headquarters had been burned down as part of the war on Christmas.Jimmy Kimmel said the network must not have had anything else to talk about this week, “because they really went to town on this ‘We have been victimized’ jag, and no one did more phony foaming at the mouth than the little dumber boy,” referring to Tucker Carlson.“According to Tucker Carlson, this is not an isolated incident of some disturbed rando lighting their tree on fire,” Stephen Colbert said, even though the police have said the suspect was a homeless man, and that drugs or mental illness could have been a factor in the torching.Seth Meyers imitated Carlson during one of his monologues.“[imitating Carlson] When will it end? Will every new variant mean new powers for our political class? Will they be able to test you, trace you, come to your house and inject you with a microchip hidden in a vaccine that tracks your movements? And will that tracking microchip allow them to see that you went to the anime convention, in secret, of course, because you didn’t want your friends at Fox News to know you’re into that kind of thing. And will they find out about the time you asked Sean Hannity what he thought of ‘Dragon Ball Z,’ and he looked at you like you were crazy, and that hurt your feelings so much that you ran into the bathroom to cry, only to realize you had run into the women’s bathroom and you were so worried that someone would see you run out that you instead removed a ceiling panel and climbed into a heating duct for the purposes of shimmying back to your office, not knowing that the duct wouldn’t be strong enough to support your weight, causing you to, mid-shimmy, collapse through the ceiling, where you landed on top of Rupert Murdoch’s desk while he was sitting at it, causing him to look up from his soup and yell ‘Crikey!’ Will that happen to you? Well, I can tell you it will because it happened to me.” — SETH MEYERSThe Punchiest Punchlines (Hillary’s MasterClass Edition)“Oof, that is brutal! And the way she’s sitting like that, and she’s reading it to us, it’s like the world’s most depressing fairy tale: ‘Once upon a time, an ogre crushed the dreams of a princess, and nobody lived happily ever after. The end.’” — TREVOR NOAH“But, yes, Hillary Clinton is giving a master class on resiliency that’s now available everywhere —except in Wisconsin, for some reason.” — TREVOR NOAH“And in it, she reads the victory speech she never got to deliver. And I really love how she’s like, ‘I’ve never shared this speech with anybody before. it was too painful. You’re paying me how much? Oh, well, I guess I could read a few pages.’” — TREVOR NOAH“Wait, why? We don’t want to hear that. You know when we wanted to hear that? After the election in 2016.” — JIMMY KIMMEL“What is this? What is she doing? Is this a Christmas present for Donald Trump?” — JIMMY KIMMEL“It’s like she made him a cameo video for his birthday.” — JIMMY KIMMELThe Bits Worth WatchingOn their Thursday night episode, Desus and Mero tried to convince the actress Sandra Bullock to reboot “Miss Congeniality.”Also, Check This OutClockwise from top left: Norah Jones, Bryson Tiller, Kelly Clarkson and She & Him are entering (and in some cases, returning to) the holiday music scene this year.Kelly Clarkson and Bryson Tiller are just two artists with holiday albums redefining the genre. More

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    Jussie Smollett Found Guilty of Reporting a Fake Hate Crime

    Mr. Smollett was convicted of filing a false police report in 2019 claiming he had been the victim of a racist and homophobic attack. The jury deliberated for more than nine hours.A jury in Chicago found the actor Jussie Smollett guilty on Thursday of falsely reporting to the police that he had been the victim of a racist and homophobic assault in 2019, an attack that investigators concluded was a hoax directed by the actor himself.With its finding, after more than nine hours of deliberation, the 12-person jury indicated it had chosen to believe the accounts of two brothers who testified that Mr. Smollett had asked them to mildly injure him as part of a publicity stunt.Mr. Smollett, wearing a dark gray suit and a blue shirt, sat upright in his chair, hands clasped, staring directly at the jury just after the verdict was read.Daniel K. Webb, the special prosecutor who handled the case, said afterward that Mr. Smollett only made matters worse by continuing to stand by his account at trial.“This jury worked so hard,” Mr. Webb said, “and for Mr. Smollett to come up before them and lie for hours and hours and hours — that really compounded his misconduct.”Jussie Smollett, an actor in the Fox music-industry drama “Empire,” was found guilty of filing a false police report after staging a hate crime against himself.Charles Rex Arbogast/Associated PressThe case dated back to the frigid early hours of Jan. 29, 2019, when Mr. Smollett — known then for his role in the Fox music-industry drama “Empire” — told the police he had been the victim of a hate crime near his apartment building in Chicago. Mr. Smollett said one of his attackers had even yelled, “This is MAGA country.”His account captured the attention of a politically polarized nation concerned with rising hate crime reports and the persistent threat of racism. But public support for Mr. Smollett quickly evaporated when investigators came to the conclusion three weeks later that he had staged the attack on himself.Chicago officials, upset at the amount of police work that was spent on the case, have sued Mr. Smollett to recoup some of the city’s costs. They were similarly critical in 2019 when the office of the city’s top prosecutor, Kim Foxx, who early on had recused herself from the case, citing a potential conflict, quietly dropped the charges in exchange for Mr. Smollett’s agreement to forfeit his $10,000 bond and perform community service.The case was later revived by Mr. Webb, who reviewed that decision and ultimately announced that a grand jury had charged Mr. Smollett with six counts of felony disorderly conduct. Mr. Smollett was convicted on five counts on Thursday, relating to conversations he had with the police just after the attack. He was acquitted on the sixth count, which related to a follow-up conversation with an investigator two weeks later.The actor faces up to three years in prison. The judge did not set a sentencing date and released him on bond.His defense team said Mr. Smollett would appeal.“We remain confident that we’re going to come back and he’s going to be vindicated,” said Nenye Uche, one of the actor’s lawyers.Prosecutors argued in court that Mr. Smollett had instructed two brothers, Abimbola Osundairo and Olabinjo Osundairo, on all of the details of the attack, specifying that they should punch him only hard enough to create a bruise, pour bleach on his clothing and place a rope around his neck like a noose. The prosecutors faulted Mr. Smollett for not cooperating adequately with the investigation by balking at turning over evidence like his cellphone.“Mr. Smollett didn’t want the crime solved,” Mr. Webb said during his closing argument on Wednesday. “He wanted to report it as a hate crime; he wanted media exposure; but he didn’t want the brothers apprehended.”Mr. Webb told the jury that Mr. Smollett staged the attack because he had received a death threat in the mail and was upset by the muted response of the producers behind “Empire,” the television show on which he starred.The defense came forward with a sharply different account of Mr. Smollett’s attitudes and behaviors. The actor had not been upset by the TV studio’s response to the letter, his lawyers said, and had, in fact, turned down its offer to have security drive Mr. Smollett to and from the set. They said the Osundairo brothers were liars who had attacked Mr. Smollett to scare him into hiring them as bodyguards, and who concocted a story to avoid prosecution themselves.Mr. Smollett’s lawyer Mr. Uche argued that prosecutors had not established that the actor had a clear motive for any scheme, and that, in fact, his client had every reason not to have faked an attack.“His lack of motive is pretty obvious: Media attention, he doesn’t like it,” Mr. Uche said. What is more, he said, Mr. Smollett had a music video shoot coming up and could not afford his face getting bruised.Mr. Smollett, 39, took the stand and testified for more than seven hours in an effort to counter the narrative of the brothers, who had detailed how Mr. Smollett planned the attack. He said his interactions with the brothers in the days and hours leading up to the attack had been harmless. A “dry run” in his car that the brothers had described to the jury as a planning exercise two days before the attack was really an aimless drive through Chicago smoking marijuana.But the jury chose to believe the brothers. Abimbola Osundairo, 28, a fitness aficionado who had appeared on “Empire” in minor roles, testified that the planning began when Mr. Smollett, whom he was helping train for the music video, texted him for help with something “on the low.”“He said he wanted me to beat him up,” Mr. Osundairo said of their meeting. “I looked puzzled, and then he explained he wanted me to fake beat him up.”Mr. Osundairo said he agreed to the plan because he felt “indebted” to Mr. Smollett for getting him a role as a stand-in on “Empire.” Olabinjo Osundairo, 30, who had also appeared on “Empire” in minor roles, said he participated to “curry favor” with Mr. Smollett.Understand the Jussie Smollett TrialCard 1 of 5A staged hate crime? More

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    Review: In a Gender-Flipped Revival, ‘Company’ Loves Misery

    Bobby is now Bobbie in this confusing, sour remake of the 1970 musical by Stephen Sondheim and George Furth.If there was ever a good time to dislike “Company,” now isn’t it.No, the death on Nov. 26 of the composer-lyricist Stephen Sondheim makes this more properly a time for sorrow and gratitude. He was, after all, the man who wrote those feelings into a beautiful “Company” song — “Sorry-Grateful” — and, in so doing, introduced ambivalence at an almost cellular level to the American musical theater.But let’s face it, the revival that opened on Thursday night at the Bernard B. Jacobs Theater is not the “Company” Sondheim and the book writer George Furth (along with the director Hal Prince) unleashed on Broadway in 1970. Sure, the score remains great, and there are a few perfectly etched performances in supporting roles, especially Patti LuPone’s as the undermining, pickled Joanne.As directed by Marianne Elliott, however, in a gender-flipped version abetted by Sondheim himself, what was once the story of a man who is terrified of intimacy becomes something much less interesting: the story of a woman who is justifiably tired of her friends.That woman — now Bobbie instead of Bobby, and played by the winsome Katrina Lenk — no longer hears the busy signal of missed emotional connections that pulsed through the songs in their original incarnation. This time, what accompanies her as she studies five partnerships and samples three lovers is the ticking of a biological clock.Reframed that way, and with heaps of oversize symbolic baggage piled on top, the story comes to seem overwrought and incoherent. Gone is the affirmative lesson Bobbie learns from the smothering couples attending her 35th birthday party — a milestone she’d rather ignore. Instead, as if to prove that “Company” loves misery, this production drags her off the pedestal of her aloofness and into the mud of a long, dark night of the soul. At one point she vomits into a bucket.Indecent proposal, from left: Terence Archie as Larry, Patti LuPone as Joanne and Lenk.Sara Krulwich/The New York TimesNot that coherence was ever the material’s strong point. From the start, critics complained about a main character who seemed dangerously recessive, observing other people’s foibles in loosey-goosey comic sketches that barely added up. No wonder: They started life as separate one-act plays..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}In one of those sketches, the low-level friction between a husband and wife erupts in a jiu-jitsu match; in another, the apparently perfect shine of marital bliss turns out to be the glow of impending divorce. A third couple learns the meaning of devotion while smoking pot; a fourth couple — now configured as two gay men — experiences hiccups on the way to the altar.Still, as strung together by Sondheim’s diamantine songs, “Company” offered a groundbreaking way of looking at its subject, less through a microscope than a kaleidoscope. Sarcasm warming into insight was the hallmark of the style, which borrowed the nonrepresentational techniques of midcentury drama and wed it to a psychological acuity rarely before seen in American musicals. The result was a new method of storytelling in which thematic consistency trumped conventional plot — and nearly obliterated it.Though fascinating in theory, and worth considering as a way of reorienting the original’s outdated sexual politics, Elliott’s idea that the material could be regendered for a new era completely disrupts that consistency. Aside from Sondheim’s customized new lyrics, only a few of the alterations made to accommodate the thesis scan. One involves the gay couple, Jamie (formerly Amy) and Paul. For them, getting married really is the terrifying unknown described in the showstopping, tongue-twisting “Getting Married Today.” Explaining his decision to cancel the ceremony, Jamie (Matt Doyle) says, in a line that’s been added: “Just because we can doesn’t mean we should.”That moment rings true. But when Bobbie takes advantage of Jamie’s jitters to suggest that he marry her instead of Paul, she doesn’t seem needy or wolfish, as Bobby did when propositioning Amy; she seems foolish and disrespectful. That Lenk fails to make sense of the moment is not her fault. There are no lines or logic that would allow her to do so.From left, Jennifer Simard and Christopher Sieber, with Lenk. The low-level friction between Simard and Sieber’s characters, a husband and wife, erupts in a jiu-jitsu match.Sara Krulwich/The New York TimesEven more flummoxing is the scene in which, as originally written, Joanne, tired of Bobby’s passivity, and perhaps her own, suggests they have an affair. Short of turning Joanne into a lesbian, which might have been more interesting, Elliott has little choice but to turn her into a pimp, goading Bobbie to “make it” with her husband, Larry. Perhaps if Larry were not a tertiary character, barely fleshed out in Furth’s script, this might not seem like a directorial hail-Mary pass.Yet it’s amazing what a little LuPone can do to distract from such things. Whether swinging her legs like a mischievous child or squatting on a toilet — yes, Elliott’s staging goes there — she brings her precision comedy and riveting charisma to every moment she’s onstage. Her two big numbers, “The Little Things You Do Together” and “The Ladies Who Lunch,” both left pretty much alone, are uncommonly taut and specific.Too bad that Lenk, so beguiling in “The Band’s Visit” and “Indecent,” is not as lucky, both miscast and mishandled. Bobby’s transformation into Bobbie has been accomplished at the cost of a few ribs, turning the character into a rag doll. Unable to meet the dramatic and vocal demands of the role, Lenk seems merely pummeled by it. To be fair, Elliott’s staging, full of athletic busywork and “Alice in Wonderland” contortions of scale on Bunny Christie’s almost too-fascinating set, is quite a workout. Maybe that’s why Christie, who also designed the costumes, has oddly given Lenk plain white sneakers to wear with her dressy scarlet pantsuit.But in trying to disguise the show’s revue-like structure by centering the action in Bobbie’s mind, Elliott paradoxically causes her to recede even further than usual. (At one point she brings on a battalion of Bobbies, as if to compensate.) In response, you become uncommonly grateful for secondary characters who have clear things to do and do them smartly, like Jennifer Simard as the jiu-jitsu wife and Claybourne Elder as a himbo flight attendant.Eventually, though, the show runs out of distractions.Sondheim was collaborative to a fault; it’s no contradiction that he hotly resented criticism of Furth’s work on “Company” and yet (after initial skepticism) eagerly endorsed Elliott’s renovations. “What keeps theater alive is the chance always to do it differently,” he told The Times shortly before his death. This was no mere bromide; Sondheim allowed a masterpiece like “Sweeney Todd” to be cut to ribbons for Tim Burton’s film and saw the cult flop “Merrily We Roll Along” through more surgeries than Frankenstein’s monster.In that sense, this “Company” is perfectly in line with his intentions: It’s new. And truth be told, I was never less than riveted — if usually in the way Bobby is, eyeballing messy marriages. Nor is the chance to hear the great score live with a 14-piece orchestra to be taken lightly; is there a more exciting opening number than the title song?So I guess I’m sorry-grateful. Sorry for not liking this version of “Company” better — and grateful to Sondheim for providing the chance to find out.CompanyAt the Bernard B. Jacobs Theater, Manhattan; companymusical.com. Running time: 2 hours 50 minutes. More

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    The jury has reached a verdict in the Jussie Smollett trial.

    A jury in Chicago has reached a verdict in the trial over charges that the actor Jussie Smollett lied to the police about being the victim of a racist and homophobic hate crime in 2019.The New York Times has a reporter in the courtroom and will be filing updates on Thursday as soon as the jury returns to the courtroom to report its decision.The jury’s deliberations followed six days of testimony, which included Mr. Smollett taking the witness stand for more than seven hours on Monday and Tuesday. He decided to testify to counter a narrative put forward by two brothers who testified that Mr. Smollett directed them to mildly assault him as a publicity stunt.Mr. Smollett is charged with six counts of disorderly conduct related to what investigators said was his filing of a false police report.In January 2019, he told the police that he had been returning to his apartment at about 2 a.m. after a late-night run to Subway when he was attacked by two men who beat him up, yelled racist and homophobic slurs at him and put a rope around his neck like a noose.Less than a month after he made the report, Mr. Smollett himself became a suspect — and was accused of having staged the attack — but he has maintained his innocence throughout, accusing the police of a rush to judgment. More

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    Jussie Smollett Timeline: A Case With Twists and Turns

    The case began in 2019 when the actor reported that he had been the victim of a racist and homophobic attack, and led to a trial in which he was accused of staging the attack himself.Nearly three years have passed since the actor Jussie Smollett reported that he had been the victim of a racist and homophobic attack in Chicago. The police initially investigated the incident as a possible hate crime, then accused Mr. Smollett of staging the attack himself. Charges were filed against Mr. Smollett, then dropped. A special prosecutor was appointed and charges were filed again, leading to his trial on charges of disorderly conduct for making a false report to the police.Here’s a timeline of how we got here.Jan. 29, 2019: Mr. Smollett, who is Black and gay, tells the police that at about 2 a.m., two masked men, one of whom he believed to be white, attacked him on the 300 block of East Lower North Water Street in downtown Chicago. The assailants, according to Mr. Smollett, hurled homophobic and racial slurs at him, put a rope around his neck and poured a chemical substance on him.Mr. Smollett says he went home and a close associate of his reported the incident to the police 40 minutes after it happened. Anthony Guglielmi, the chief spokesman for the Chicago Police Department, later told The Chicago Sun-Times that Mr. Smollett had been hesitant to call the police because of his status as a public figure.Law enforcement officials say they are treating the incident “as a possible hate crime.” At a follow-up visit by investigators, Mr. Smollett says the attackers mentioned “MAGA country,” a reference to the campaign slogan of former President Donald J. Trump.Celebrities, politicians and advocacy groups offer their support to Mr. Smollett. Fox, the network on which “Empire” airs, issues a statement saying the “entire studio, network and production stands united in the face of any despicable act of violence and hate.”Detectives comb through surveillance camera recordings but say they can’t find images of the attack.Jan. 30: Investigators announce the first possible break in the case: A surveillance image shows “potential persons of interest wanted for questioning” in connection to the case. The images are of two men with their backs to the camera.At this point, the F.B.I. is already investigating a threatening letter sent to Mr. Smollett at the “Empire” production offices in Chicago the week before.Jan. 31: Mr. Trump is asked about the incident in the Oval Office. He refers to it as “horrible” and added that it “doesn’t get worse.”The Smollett family releases a statement: “Jussie was the victim of a violent and unprovoked attack. We want to be clear, this was a racial and homophobic hate crime. Jussie has told the police everything from the very beginning. His story has never changed, and we are hopeful they will find these men and bring them to justice.”Feb. 1: Mr. Smollett releases his first public statement through his publicist. It says: “Let me start by saying that I’m OK. My body is strong but my soul is stronger. More importantly, I want to say thank you. The outpouring of love and support from my village has meant more than I will ever be able to truly put into words.”Acknowledging some skepticism about his story on social media, Mr. Smollett adds, “I am working with authorities and have been 100 percent factual and consistent on every level. Despite my frustrations and deep concern with certain inaccuracies and misrepresentations that have been spread, I still believe that justice will be served.”The Chicago police superintendent, Eddie T. Johnson, says in an interview with a local television station: “We have to remember, he’s a victim. You know, so we have to treat it like he’s a victim. We have no reason to think that he’s not being genuine with us.”Feb. 2: Mr. Smollett appears in public for the first time since he reported the attack, performing a concert in West Hollywood.“I have so many words on my heart that I want to say, but the most important thing I can say is, thank you so much, and that I’m OK,” Mr. Smollett tells the crowd.Feb. 4: The Chicago police say the people of interest have not been identified yet but they are continuing to follow up on leads.Feb. 11: The department reacts to phone records that Mr. Smollett turned over to investigators. The police had asked Mr. Smollett for access to his phone because he had been in conversation with his manager when the incident occurred. Mr. Smollett provides the police with redacted records that they say “do not meet the burden for a criminal investigation.”Feb. 13: Two brothers of Nigerian descent, Olabinjo and Abimbola Osundairo, are detained by the authorities after a flight back home to Chicago from Nigeria. Police officers raid their home and, according to CBS Chicago, remove items including an “Empire” script and two hats.Feb. 14: Mr. Smollett gives his first interview about the incident to “Good Morning America,” where he is adamant that he is telling the truth.“It feels like if I had said it was a Muslim, or a Mexican, or someone Black, I feel like the doubters would have supported me much more,” Mr. Smollett tells ABC’s Robin Roberts. “A lot more.”He also says he is convinced that the men in the surveillance images were his attackers.“Because I was there,” Mr. Smollett says. “For me, when that was released, I was like, ‘OK, we’re getting somewhere.’ I don’t have any doubt in my mind that that’s them. Never did.”The Chicago police reveal publicly that at least one of the men detained has appeared as an extra on “Empire.” The department also says they “are not yet suspects.” Their lawyer, Gloria Schmidt, tells CBS Chicago: “They’re really baffled why they are people of interest. They really don’t understand how they even got information that linked them to this horrific crime. But they’re not guilty of it. They know that the evidence is going to prove them innocent. They send their best to Jussie.”The local news media releases its first reports that investigators are beginning to look at the possibility that this is a hoax, something the Chicago police dispute publicly.Feb. 15: In a whirlwind day, the detained brothers are identified as potential suspects by police, but that night are released without being charged. Investigators announce they are no longer considered suspects but do not say why.Feb. 16: The police say they are seeking to speak with Mr. Smollett again. Media outlets, including CNN, report that the two men have told investigators they were paid to take part in a hoax. Mr. Guglielmi says in a statement, “We can confirm that the information received from the individuals questioned by police earlier in the ‘Empire’ case has in fact shifted the trajectory of the investigation.”Lawyers for Mr. Smollett release a statement saying, “As a victim of a hate crime who has cooperated with the police investigation, Jussie Smollett is angered and devastated by recent reports that the perpetrators are individuals he is familiar with.”It added: “One of these purported suspects was Jussie’s personal trainer who he hired to ready him physically for a music video. It is impossible to believe that this person could have played a role in the crime against Jussie or would falsely claim Jussie’s complicity.”The lawyers say that Mr. Smollett will “continue to cooperate” and that they “have no inclination to respond to ‘unnamed’ sources inside of the investigation.”Feb. 20: Fox releases a statement in support of Mr. Smollett amid reports that his role was being reduced on “Empire.” Later in the day, the Chicago police announce that they consider Mr. Smollett a suspect in the filing of a false report.Understand the Jussie Smollett TrialCard 1 of 5A staged hate crime? More

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    Ken Jennings and Mayim Bialik to Share ‘Jeopardy!’ Hosting Duties

    The long-running quiz show decided to keep the hosts into its 38th season in 2022, putting an end, at least for now, to speculation and drama around the job.The quiz show “Jeopardy!” announced on Wednesday that Ken Jennings and Mayim Bialik would continue to share hosting duties into 2022, putting an end, at least for now, to months of speculation and drama around who would permanently succeed Alex Trebek, the host of more than 36 years.For months after Trebek’s death last year, producers of the game show struggled to decide who would replace him. For weeks, they cycled through a series of guest hosts, including Jennings, a former champion of the show who won a record 74 consecutive games, and Bialik, an actor known for her roles in the sitcoms “The Big Bang Theory” and “Blossom.”Other guest hosts included well-known television personalities such as Anderson Cooper, Katie Couric and LeVar Burton.On Aug. 11, Sony announced that it had named Mike Richards, an executive producer on the show, as the permanent host of “Jeopardy!” At the time, Bialik was also named as the host of primetime specials and spinoff series.But on Aug. 20, Richards abruptly quit the hosting job, after a report by The Ringer revealed offensive and sexist comments he had made on a podcast several years ago, the latest in a series of scandals that affected his brief tenure.In his place, Bialik and then Jennings became guest hosts of the regular program, splitting duties through the end of 2021.Both Jennings and Bialik have faced criticism for past remarks. Jennings apologized last year over insensitive tweets he made, including about people who use wheelchairs. Bialik has drawn controversy over several issues, including a “brain health supplement” she endorsed for a company that faced a lawsuit accusing it of false advertising, and for writing in a 2012 book about making an “informed decision not to vaccinate our children.”She clarified last year that her children would be vaccinated against the coronavirus.In its announcement on Wednesday, “Jeopardy!” said the executive producer Michael Davies would remain in that role. Davies, a veteran game-show producer who developed the original American version of “Who Wants to Be a Millionaire,” had replaced Richards as an executive producer at “Jeopardy!” and “Wheel of Fortune.”Despite the controversies around who would host “Jeopardy!,” the show, which first aired in 1964, has continued to be a TV institution, drawing a weekly audience of more than 20 million. More

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    in Theater

    A Standing Army of Actors Keeps Germany’s Theaters Going

    In a country where the director is king, it’s the hundreds of full-time players in the many house ensembles who have assured that the lights stayed on during the pandemic.BERLIN — One of Germany’s best-known theatrical exports is Regietheater, a staging approach that grants directors godlike powers to rewrite and reinterpret plays as they see fit. The aesthetic sensibilities, philosophical preoccupations and egos of directors here help set the tone and define the identities of the country’s highest-profile playhouses. But make no mistake: German’s rich theater landscape is sustained by the hundreds of actors employed full time by the country’s 142 publicly owned theaters, as well as by several private ones.This truth has never struck me as forcefully as in the past 20 months during the coronavirus pandemic, in and out of lockdown, with all the resulting hygiene and distancing measures.One of the main reasons theater here has been able to rebound after repeated closures is that Germany effectively has a standing army of actors, most of whom continued to receive most of their salaries even during the monthslong stretches when stages were dark, thanks to a government program for furloughed workers. This also meant players on hand for digital theater experiments during lockdowns and for live performances in cleverly modified formats once theaters reopened. Now, as theaters once again begin limiting attendance to promote social distancing, the actors they employ are at the ready to play for limited audiences.Long before the pandemic turned much of our everyday reality on its head, house actors have been prized for their flexibility. Most of them are expected to be dramatic chameleons, moving from main to supporting roles in plays by Shakespeare or Sarah Kane as circumstances demand. The number of actors in a theater’s ensemble can vary wildly. In Berlin, the Deutsches Theater has 37 full-time actors, while the nearby Volksbühne employs a mere 12. Most ensemble actors are accustomed to grueling schedules and a grab bag of roles.Angela Winkler and Joachim Meyerhoff in Christian Kracht’s “Eurotrash,” directed by Jan Bosse at the Schaubühne in Berlin.Fabian SchellhornOne of Berlin’s most recently anointed acting gods is Joachim Meyerhoff, a member of the Schaubühne in the capital since 2019. After winning acclaim in productions of works by Molière and Virginie Despentes, Meyerhoff, one of 30 actors in the Schaubühne’s ensemble, starred in the late November premiere of “Eurotrash,” an adaptation of a novel by Christian Kracht that was a best seller this year in Germany.Meyerhoff brings a nervous, uptight energy to Kracht’s autobiographical narrator, a middle-aged son who tries to connect with his estranged mother during a dysfunctional road trip from Zurich to the Alps. The show’s director, Jan Bosse, stages this offbeat buddy comedy aboard a small yacht on an unadorned stage. It’s a delightfully absurd touch that visually enlivens what is an overlong and dramatically thin evening, despite the commanding central performance.During two intermissionless hours, much gets tossed overboard, including colostomy bags, vodka bottles and thousands of Swiss francs, but Meyerhoff’s pained and deadpan performance as a man-child struggling to connect with a mentally ill mother remains the emotional focus of the evening. As the stony, alcoholic and self-destructive matriarch, Angela Winkler is unable to invest her character with enough emotional nuance to make us truly care about the parent-child relationship. In the end, finding the actress onstage in 2021 is itself more moving than her actual performance: Winkler belonged to the ensemble of the Schaubühne in the 1970s, during the long tenure of the artistic director Peter Stein.To see this 77-year-old next to Meyerhoff is to be reminded of the Schaubühne’s long tradition of acting excellence.Less than a week later, I found the great female performance that had eluded me at the Schaubühne in southern Germany, in an unusual production of Friedrich Dürrenmatt’s “The Visit” that stars the Belarusian Israeli actress Evgenia Dodina, a recently minted ensemble member at the Schauspiel Stuttgart.Evgenia Dodina  in Friedrich Dürrenmatt’s “The Visit” at the Schauspiel Stuttgart.Julian Baumann“The Visit,” one of the few postwar German-language plays to achieve international success, has had many lives since its 1956 premiere in Zurich. It’s been adapted for the big screen and turned into an opera and a Kander and Ebb musical. Shortly before the pandemic hit, a misbegotten version by Tony Kushner played the National Theater in London. Yet the Stuttgart production, by the theater’s artistic director, Burkhard C. Kosminski, is perhaps the most unusual of all these incarnations.Dürrenmatt’s perverse plot, about a wealthy woman who returns to her impoverished hometown and offers to make the villagers rich in exchange for lynching the man who wronged her long ago, has often been interpreted as an allegory for postwar European life in the shadow of National Socialist crimes. That reading is made explicit by this fascinating and frustrating production, in which the play’s titular character is a Jewish woman whose being driven out of town in 1940 saved her from perishing in a concentration camp.When she meets her old flame (Matthias Leja, another of the theater’s 31 ensemble actors), they flirt nervously in both German and Hebrew. While Kosminski reimagines the main character’s background, Dodina periodically steps out of the play to narrate, in Hebrew, her own biography as well as her mother’s and grandmother’s wartime experiences fleeing the Nazis across Central Asia. Dodina is mesmerizing as the play’s avenging fury, as well as in her personal monologues, but it’s hard to see how the various elements add up. In the end, the modified and abridged Dürrenmatt text and the actress’s family reminiscences are an odd match, despite Dodina’s committed and captivating portrayal.The performance of “The Visit” I attended was the last that played to a full house. The next day, much of southern Germany slashed the numbers allowed in theaters there. Stuttgart got off lightly with 50 percent of capacity; in nearby Munich, most cultural events can go ahead with only a quarter. But for the most part, theaters, and their actors, have soldiered on as best they can while performing, once again, to comically small audiences.Delschad Numan Khorschid, left, and Steffen Höld in “Absent Dreams” in Munich. Sandra ThenTwo hundred and twenty masked spectators were allowed into the 880-seat Residenztheater in Munich for a recent performance of “Absent Dreams,” a trilogy of plays by the Dutch author Judith Herzberg that is a sprawling saga of an extended Jewish family in Amsterdam. Memories of the Holocaust and of perished relatives loom in the background, but Herzberg is more interested in showing the vibrancy of these characters and their complex relationships than in suggesting that they are hopelessly crippled by trauma. The director Stephan Kimmig’s five-hour production resounds with a kind of epic intimacy that the theater has been honing under its new artistic director, Andreas Beck. The large dramatis personae of “Absent Dreams” are played exclusively by members of the theater’s 50-actor ensemble, the biggest in Germany. For the duration of this long evening, 15 of them populate the vast stage, some in multiple roles.Yet beyond the accomplished performances, which are too many to enumerate, the production achieves a remarkable cohesion from the almost conspiratorial sense of rapport engendered by a group of actors who have been performing alongside one another, in both main and supporting roles, night after night and in play after play.As I watched Herzberg’s protagonists come to life, I could see the engine of Germany’s mighty theatrical tradition at close range. Throughout the pandemic, that dynamo has proved unstoppable.The Visit. Directed by Burkhard C. Kosminski. Schauspiel Stuttgart, through Jan. 30.Absent Dreams. Directed by Stephan Kimmig. München Residenztheater, through Feb. 23.Eurotrash. Directed by Jan Bosse. Schaubühne Berlin, through Jan. 2. More

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    in Television

    Late Night Has Some Ideas on Who Set the Fox Christmas Tree Ablaze

    “The fire is believed to have started after Fox News’ pants caught on fire,” Jimmy Kimmel said.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.We Didn’t Start the FireA 50-foot tree in front of Fox News’s New York City headquarters was set on fire early Wednesday.“The fire is believed to have started after Fox News’ pants caught on fire,” Jimmy Kimmel joked.“The fire is believed to have started because Judge Jeanine Pirro ate one too many rum balls and breathed on a cigarette.” — JIMMY KIMMEL“I’ve seen trees — this is not one of them. That is a hollow structure that sort of resembles a tree, in the same way Tucker Carlson is a hollow structure that sort of resembles a human.” — JIMMY KIMMEL“And Fox News tried to warn us this was coming. Every time a store clerk says, ‘Happy holidays,’ a Christmas tree bursts into flames.” — STEPHEN COLBERT“Authorities arrested a suspect last night, and police say that they believe he is homeless and mental illness may have played a factor. Homeless and mentally ill? Oh, my God — the fire was set by Bill O’Reilly!” — STEPHEN COLBERT“[To the tune of ‘It’s Beginning to Look a Lot Like Christmas’] It’s beginning to look a lot like arson, everywhere you go. Take a look at the tree and then, the flames are roaring once again. Doocy, stop, drop, roll.” — STEPHEN COLBERTThe Punchiest Punchlines (Fired Up Edition)“Even though lighting trees on fire is very much in line with Fox’s position on climate change, the hosts of their morning show were very upset today.” — JIMMY KIMMEL“And it is not clear how this happened. It could be an accident. It could be arson. It could be Santifa.” — TREVOR NOAH“Now, I know what you’re thinking, but the ghost of Hugo Chavez has an alibi.” — STEPHEN COLBERT“Of course, this never would have happened if the tree had a gun.” — STEPHEN COLBERTThe Bits Worth WatchingSamantha Bee got a tattoo to commemorate her 200th episode of “Full Frontal.”What We’re Excited About on Thursday NightMichael B. Jordan will sit down with Stephen Colbert on Thursday’s “Late Night.”Also, Check This OutAlexa VisciusThe “Hacks” star Meg Stalter loves Dolly Parton, Instagram Live and private karaoke. More