Eliana Willis

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    Move Over, Charlie Brown: Lessons From ‘The Boondocks’ Christmas Special

    One of the most beloved holiday traditions that doesn’t involve gift-giving is “A Charlie Brown Christmas.” The 1965 animated special, depicting the trials of the titular sad sack and a crew of kids wearied beyond their years by commercialism, has inspired repeat viewings and countless appraisals, including in The New York Times. But the genre of Christmas specials it inspired, including “How the Grinch Stole Christmas!” and “Frosty the Snowman,” largely leaned away from Charlie’s melancholy and toward a wholesome belief in the righteous power of the holiday spirit.Almost 60 years ago, “A Charlie Brown Christmas” dared to ask: What’s more Christmas-y than acknowledging the weight of the holiday? Four decades later, “A Huey Freeman Christmas,” a standout episode from the first season of “The Boondocks,” did the same.“The Boondocks,” Aaron McGruder’s satire about an aspiring young Black revolutionary and his rapscallion brother, was a comic strip I read every morning in junior high. It offered me a two-minute solace from the estrangement I felt from the rituals of Catholic school, the mainstream tastes of my classmates and the bits of mid-2000s culture that I was told I should like. I remember coming to believe that social and political critique was a way to understand that distance, and “The Boondocks” television series, which aired from 2005 to 2014 (with some long breaks between seasons), was just lowbrow hilarious enough for a 12-year-old loner to start giving form to that malaise.The chaotic satire that had captivated me also coursed through the show, so I dutifully tuned in when the Christmas episode debuted. It starts out like a sendup of “Charlie Brown”: Huey, a 10-year-old with outsize activist ambitions, tries his hand at directing a school play. When he finds his cast dancing instead of rehearsing, as Charlie Brown did, he immediately fires them with the backing of his teacher, a white man whose enthusiasm for Kwanzaa is a punchline. In another plot thread, Riley, Huey’s brother, writes a letter to Santa Claus. But it’s a threat: He didn’t get the car rims he had asked for, and the debt is due.None of the characters have a Bible passage memorized to sort them out when things inevitably get out of hand. Riley spends most of the episode waging a one-boy war against mall Santas with an airsoft gun, and Huey leverages the contract he finagled from his teacher to nab the services of Quincy Jones (voiced by Mr. Jones himself), Denzel Washington and Angela Bassett for his play, titled “The Adventures of Black Jesus.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Cult of Love’ Review: We Wish You a Wretched Christmas

    A hilarious, harrowing holiday gift from Leslye Headland, who brings another unhappy family to Broadway. Zachary Quinto and Shailene Woodley star.Though figgy pudding is on the menu, Evie Dahl has a different Yuletide horror in mind. “Christmas is exactly the time to talk about the things we never talk about,” she tells her reluctant siblings.No, Evie, no!Alas, despite the happy presence of stars including Zachary Quinto, Shailene Woodley and Mare Winningham, the annual ritual dinner of the Dahls is doomed from the start of Leslye Headland’s “Cult of Love,” a rip-roaring home-for-the-holidays dramedy that opened on Thursday at the Helen Hayes Theater. What begins as a cheery reunion in a New England farmhouse decked out like Santa’s workshop ends as a collective meltdown with carols.Because Evie, even if she’s bossy, is right. The four Dahl children, now in their late 20s through early 40s, have plenty of grudges that urgently need airing. But how? Ginny, their passive-aggressive control freak of a mother, will not admit into her home any problems, doubts or identities that violate her sense of upbeat Christian propriety. So what if her husband, Bill, is hovering on the edge of the abyss of Alzheimer’s? Ignore it, excuse it; it will go away.The same applies to the couple’s firstborn, Mark, a divinity student turned lawyer who has lost his faith in both callings. (When he says he’s no longer a Christian, Ginny responds, “That’s not true.”) Evie, their second, a chef, is a lesbian. (“Or not,” Ginny adds.) Johnny, their third, of no known profession, is a recovering drug addict. (“If you all say so,” Ginny allows.) And Diana, the youngest? She’s either a Christmas miracle, complete with baby on board, or just psychotic, espying the devil and speaking in tongues.If that setup doesn’t exactly sound funny, there’s a reason. Though “Cult of Love,” like many unhappy family reunion plays, draws big buckets of humor from the toxic brew of religion and repression, those buckets also draw blood.Headland knows just how to get there, suggesting deep familiarity with the territory. But she also has a gift for complication and construction, as was already evident in “Bachelorette,” her Bridezillas Gone Wild breakthrough play of 2010. (That play, like this one, was a Second Stage Theater production, and later became a movie.) Loading pattern on pattern — a holiday-season design don’t for most — is for her an opportunity to dizzy us down to hell.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘No Good Deed’ Is Star-Studded California Gothic

    Lisa Kudrow and Ray Romano star as a Los Angeles couple with secrets trying to sell their house. Things get complicated quickly.“No Good Deed” is the latest rich-people-with-sad-secrets show, filled exclusively with famous faces, luxurious real estate and brittle misery.Lisa Kudrow and Ray Romano star as Lydia and Paul, a concert pianist and a contractor who are trying to sell their house. And maybe their grand piano, too, because Lydia is unable to play these days — among the reasons they badly need money. There are several potential buyers, including a couple struggling with fertility (Abbi Jacobson and Poppy Liu); expectant newlyweds and the husband’s overbearing mother (Teyonah Parris, O-T Fagbenle and Anna Maria Horsford); and a soap star and his tarty wife who already live in the neighborhood (Luke Wilson and Linda Cardellini). The show takes a while to get rolling. But then, with a jolt, it introduces its violent ne’er-do-well (Denis Leary), an outsider to the chichi circles but one who has dangerous leverage over Lydia and Paul.“Deed” was created by Liz Feldman, whose previous work includes “Dead to Me,” another Southern California show starring Cardellini as someone who is not quite who she claims to be. “Dead to Me” had much sharper teeth, and its bites went far deeper. “No Good Deed” is more California gothic, still focused on grief and gaining social status but less about how they affect each other than about how each reflects the hollow helplessness of life. You can make a house your life’s work, but everybody moves out eventually.The show plays up its sunny ominousness with a central mystery that some characters are trying to cover up and some are trying to expose, though they often switch sides in that tug of war. Sarah (Liu, a highlight) is horrified when her wife uncovers some specifics. “I’m sure a lot of Indigenous people were also murdered on the block, if that helps,” her wife says as feeble comfort.“Deed” feels shallow and nonspecific in comparison to, say, “White Lotus,” and its mystery is not all that hard to crack. But there’s something alluring about watching the Spill Your Guts Fairy visit each character, the various rituals of shame, blame and contrition. Everybody’s a faker, a liar, trapped. Every house is a glass house. More

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    Interview: S.E. Hinton on ‘The Outsiders’ and Her Reading Life

    What books are on your night stand?I am currently rereading “Middlemarch” (it takes rereading), and “The Last of the Wine,” by Mary Renault. Socrates is a character in that book. So is Plato. To have them appear casually in a novel, yet be very faithful to what we know of them, is great.How do you organize your books?I have a beautiful library, organized by subjects: History (early to late), Author Biographies, Exploring, Women’s Studies, Journalism, Entertainment, English Fiction, American Fiction and Children’s Books. The Paranormal books are organized by Ghosts and Hauntings, Reincarnation, Coincidences, Strange but True.Why so many books on the paranormal?I have had many strange things happen in my life.Describe your ideal reading experience (when, where, what, how).Any time, on the sofa, with good lighting, my cat and a small glass of wine.What’s the last great book you read?“Demon Copperhead.” I don’t know a whole lot of Dickens but I know “David Copperfield” inside and out. I love the way Barbara Kingsolver followed some of the plot. Also, Demon is a great narrator — talking the way you can imagine him talking, thinking the way you can imagine him thinking.What books are you embarrassed not to have read yet?I wish I knew more Shakespeare.Have you ever gotten in trouble for reading a book?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Stephen Colbert Is Surprised by Luigi Mangione’s ‘Minifesto’

    “He could’ve just made it a Yelp review: ‘American health care sucks. One star,’” Colbert said of the content of a notebook found with the crime suspect.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.The Rest Is Still UnwrittenLaw enforcement officials said they recovered a notebook from Luigi Mangione after he was arrested on Monday at a McDonald’s in Altoona, Pa., in connection with the killing of the chief executive of United Healthcare, Brian Thompson. Officers said the notebook included detailed plans for the shooting last week.On Wednesday, Stephen Colbert expressed surprise over the brevity of the note’s 262 words. “That’s not a manifesto — that’s a ‘minifesto,’” Colbert said.“He could’ve just made it a Yelp review: ‘American health care sucks. One star.’” — STEPHEN COLBERT“The document basically rails against the health care industry and ends with, ‘I do apologize for any strife or traumas, but it had to be done.’ Well, at least he apologized. Reminds me of what Manson said after his murders: ‘Whoops, my bad!’” — STEPHEN COLBERT“It’s so crazy to think that Donald Trump working the French fry machine was only the second-weirdest thing to happen at a McDonald’s in Pennsylvania this year.” — JIMMY KIMMEL“Police in Altoona report that they’ve been getting threats from Mangione’s fans, demanding he be released immediately. You know, I’ve been on TV just about nonstop for 29 years. This guy’s been in the news since Monday. He has fans threatening the police? Why do I feel like if I shot somebody, even my mother would be like, ‘Lock him up, teach him a lesson! It’s the only way he’s going to learn!’” — JIMMY KIMMEL“OK, ‘I don’t really know what I’m talking about’ is a surprising thing to put in a manifesto. This is the first murder manifesto I’ve read that could have ended with ‘But no worries if not!’” — MICHAEL KOSTA“You never see the Taliban like, ‘Death to America, although we’re not experts, so, grain of salt.’” — MICHAEL KOSTA“Mangione has now been charged with second-degree murder, but he’s not pleading guilty, and he’s fighting attempts to extradite him to New York. Well, that makes sense — no one wants to be extradited to New York during the holidays. You’ve got to wait in a two-hour line just to be cavity searched at the M&M store.” — STEPHEN COLBERTThe Punchiest Punchlines (Two More Weeks Until Christmas Edition)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    The Highs and Lows on London Stages in 2024

    Our critics discuss which A-lister performances on the West End were worth the ticket price, and why so many new musicals struggled this year.This year saw London host buzzy productions like Jamie Lloyd’s “Romeo and Juliet,” starring Tom Holland and Francesca Amewudah-Rivers, and Robert Icke’s take on “Oedipus,” with Mark Strong and Lesley Manville. Other productions struggled, including more star vehicles — and some musicals, particularly.Matt Wolf and Houman Barekat, The New York Times’s London theater critics, discuss the triumphs and the disappointments of the last year in British theater, and also look ahead to 2025.Which productions impressed you most?HOUMAN BAREKAT James Macdonald’s “Waiting for Godot” at the Theater Royal Haymarket was superb. The Beckett estate is famously proscriptive about what can be done with his plays, so the performers have to make their mark in small, subtle ways. Ben Whishaw and Lucian Msamati delivered a master class in timing as the leads.I was hugely impressed by Rachel O’Riordan’s take on “Faith Healer” at the Lyric Hammersmith, featuring Declan Conlon as an insidiously charismatic Svengali. On a lighter note, I also loved the National Theater’s arch, camped-up version of Oscar Wilde’s “The Importance of Being Earnest,” with its gorgeous staging and costumes.The cast of “The Importance of Being Earnest,” including Hugh Skinner, center, as Jack Worthing.Marc BrennerMATT WOLF I second Houman’s choices, and would extend further kudos to the writer-director Robert Icke’s scorching take on “Oedipus,” whose sold-out run proved that there is still an appreciative audience in London for serious theater. Special shout-out to Icke’s Jocasta, Lesley Manville, who is well on the way to becoming a giant of British theater.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Labor Board Classifies ‘Love Is Blind’ Contestants as Employees

    The National Labor Relations Board’s case against the Netflix hit could have ripple effects across the reality TV industry.The National Labor Relations Board issued a complaint against the hit reality show “Love Is Blind” on Wednesday in which it classified the show’s contestants as employees, opening a case that could have ripple effects across the reality television industry.The complaint by the labor board’s regional office in Minnesota says that the show committed several labor violations, including unlawful contractual terms related to confidentiality and noncompete provisions.By classifying the cast members — who date and sometimes marry other singles on the show — as employees with certain federal legal protections, the complaint opens the door to possible unionization. It is one of the labor board’s first forays into reality television and a major development in the effort by some onscreen personalities to change the industry through the legal system.Several contestants on “Love Is Blind,” which streams on Netflix and has been one of the buzziest dating shows since its debut in 2020, have come forward in lawsuits, in interviews and on social media with objections to the restrictions outlined in their contracts.One contestant, Renee Poche, became involved in a legal dispute with the show after she publicly accused the production of allowing her to become engaged, in front of TV cameras, to a man “who was unemployed with a negative balance in his bank account.” She said in court papers that after she had made “limited public remarks about her distressing time on the program,” one of the companies behind the production initiated arbitration proceedings against her, accusing her of violating her nondisclosure agreement and seeking $4 million. (Poche, a veterinarian who lives in Texas, said she had earned a stipend of $1,000 per week, adding up to a total of $8,000.)Two “Love Is Blind” participants — Poche and Nick Thompson — submitted complaints to the labor board, resulting in an investigation into the policies and practices of the production companies behind the show, which include Kinetic Content and Delirium TV.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More