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    Colbert on Afghanistan: ‘It’s Heartbreaking’

    “Why should our soldiers be fighting radicals in a civil war in Afghanistan? We’ve got our own on Capitol Hill,” Stephen Colbert 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.‘The Right Thing Feels So Wrong’Late-night hosts addressed the news out of Afghanistan this week, with the Taliban taking swift control after President Biden’s decision to pull out American troops.“We have had troops there for 20 years — they fought, they sacrificed, their families sacrificed so that we wouldn’t have a terrorist attack in America planned in a foreign country,” Stephen Colbert said on Monday. “Why should our soldiers be fighting radicals in a civil war in Afghanistan? We’ve got our own on Capitol Hill.”“The Taliban yesterday entered the city of Kabul and took control of Afghanistan’s presidential palace. Most Americans watched in horror, while some Americans watched for tips.” — SETH MEYERS“As recently as last month, an overwhelming majority of Americans, 70 percent or more, supported Biden’s withdrawal. Seventy percent. You know how few things 70 percent of Americans agree on? I think it’s this and extra cheese, which also often ends badly and faster than you planned.” — STEPHEN COLBERT“The U.S. foreign-policy apparatus should not approach Afghanistan the same way I approach trying to install a wireless router: ‘“Connect the router to a broadband gateway from your I.S.P. by inserting the Ethernet cable to the port located on the back of the TP-link extender”? I don’t have the foggiest notion of what I’m undertaking! Do you know how this works?’” — SETH MEYERS“So in the end, you can make us accept that there was no good alternative, but you can’t make us feel good about it. The only people who can feel good about this are the service members and their families who aren’t going to see soldiers sent into harm’s way for no reason that the commander in chief of either party can articulate. But there’s one more thing: For the last 20 years, four separate administrations told the American people to care about the plight of all the Afghan people, especially the women, and we did care and that’s not going to change. All that’s changed is that there’s nothing we can do about it now. So pulling out may be the right thing to do, but it’s heartbreaking; it’s humbling when the right thing feels so wrong.” — STEPHEN COLBERTThe Punchiest Punchlines (Blame Game Edition)“Former President Trump released a statement on Friday amid the deteriorating situation in Afghanistan and, yeah, he’s enjoying this.” — SETH MEYERS“Pretty weird to blame Biden for withdrawing troops when this summer he was claiming credit for it.” — STEPHEN COLBERT“So you can’t put all the blame for a debacle you helped set the stage for. That’s like Andrew Lloyd Webber calling ‘Cats’ a terrible movie. You wrote a musical with no plot — how did you think this was going to end?” — STEPHEN COLBERT“You can tell things aren’t good for Biden, because today he said, ‘You know, maybe the election was stolen.’” — JIMMY FALLON“Trump made a peace deal with the Taliban to end the war, and now after Biden’s withdrawal, they’re back in power. So, on the bright side, it’s nice to have a bipartisan screw-up.” — JIMMY FALLON“I have a hard time believing Trump would have done it in a more orderly way, since nothing he ever did was orderly. He couldn’t even withdraw from an umbrella in an orderly fashion.” — SETH MEYERS“So what’s happening now is the responsibility of both parties, and the American people who voted them into office. So, children and convicts, you’re off the hook. Also, thanks for watching.” — STEPHEN COLBERTThe Bits Worth WatchingThe country music star Maren Morris was the guest host on Monday’s “Jimmy Kimmel Live.”What We’re Excited About on Tuesday NightCourtney Barnett will perform on Tuesday’s “Tonight Show.”Also, Check This OutJan GrueNTB Scanpix Sipa USA
    Michael J. Fox reviews “I Live a Life Like Yours,” Jan Grue’s new memoir about living with spinal muscular atrophy. More

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    ‘Walden’ Review: Getting Away From It All

    Amy Berryman’s three-character drama, set in a one-room cabin as crises rage outside, asks how much we owe to ourselves and our world.We don’t know exactly how many years into the future Amy Berryman sets “Walden,” her incisive three-character drama. But the climate emergency has already worsened, along with a refugee crisis. Synthetic foods are now widespread. Cloning, too. War rages somewhere. (Everywhere?)“The bombs on Christmas? We could see them through one of our telescopes on the moon,” Cassie (Jeena Yi), a NASA astronaut, says by way of casual conversation.Cassie, recently returned from a lunar mission, has arrived at a secluded cabin in an undisclosed location to visit her twin sister, Stella (Diana Oh), and Stella’s partner, Bryan (Gabriel Brown). Stella had also trained as an astronaut, but she failed NASA’s physical fitness test. Bryan is an avowed Earth Advocate. He holds that the government should put money toward problems on Earth rather than investing elsewhere in the solar system. So the visit, though lubricated by bartered wine and home brew, isn’t an entirely cozy one.TheaterWorks Hartford and the director Mei Ann Teo have given the play, which runs through Aug. 29, an environmental staging, locating it in a functional one-room cabin, ringed with chicken coops and a vegetable garden, in a meadow alongside the Connecticut River. (The set, rough-hewed and ingenious, is by You-Shin Chen; Jeanette Oi-Suk Yew provides the inspired lighting.) If you can’t travel to Connecticut, TheaterWorks has made the play available for streaming, also through Aug. 29.That’s how I saw it. And if it felt wrong to watch a drama so concerned with environmentalism from a laptop, on my sofa, with a window unit whirring quietly in the background, tensions like this interest Berryman. She doesn’t situate herself as smarter than her characters, and distributes her sympathies equally among them. Still, go to Connecticut if you can, especially if you can get there by emissions-friendly means. Because that meadow looks beautiful. And birdsong and crepuscular rays are best experienced in person. Then again, there are no mosquitoes in digital theater. The filming is deft enough, and the performances — layered, unshowy — land even through the screen.“Walden” borrows its name from Henry David Thoreau’s “Walden; or, Life in the Woods,” a memoir, harangue, self-help manual and work of autofiction rolled into one clothbound volume. “Walden,” which extols solitude and self-reliance, was a favorite text of Cassie and Stella’s father, also an astronaut. And Walden is the name that Stella gives to the habitat she has designed for Mars. “I sort of think it reads like a whiny hipster’s blog from 19whatever,” Cassie says dismissively of the book. She isn’t exactly wrong.Thoreau went into the woods, he wrote, “because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” While Berryman loads her play with vivid details and plenty of plot mechanics, it’s Thoreau’s question of how to live and what constitutes a good life that animates her. Should we live for ourselves or for others? Engaged with the present or focused on the future? What do we have to sacrifice to live in community and what do we have to forfeit if we live without it?It’s probably that last question, which became a lot less rhetorical during the pandemic, that lends the play its poignancy. The humans of “Walden,” thrust together for this visit, are responding to various disasters — natural, unnatural, interpersonal — and trying their best to treat one another decently.The play never fully resolves its philosophical dilemmas, except to suggest that no philosophy will fit everyone comfortably. Even Thoreau, who preached self-reliance while famously bringing his laundry home to his mother, might have agreed. “Heaven,” he wrote, “is under our feet as well as over our heads.” So why not have both?WaldenThrough Aug. 29 at 100 Meadow Road, Windsor, Conn. and online; twhartford.org/events/walden. Running time: 1 hour 40 minutes. More

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    Beanie Feldstein to Star in ‘Funny Girl’ on Broadway

    With the “Booksmart” actress taking on the role originated by Barbra Streisand in 1964, the show is getting its first Broadway revival in 58 years.Beanie Feldstein will star as Fanny Brice, the role that helped make Barbra Streisand a star, in a production of “Funny Girl,” which is returning to Broadway for the first time in 58 years.The revival of the 1964 musical will be directed by Michael Mayer, who oversaw a 2015 revival of the show in London. Producers said performances would begin in the spring, but did not specify a date — though a recent Equity casting call gave April 2 as the first performance. The theater where the musical will be housed will be announced later.“The first time I played Fanny Brice was at my third birthday party, in a head-to-toe leopard print outfit my mom made for me,” Feldstein said in a statement. “So, it’s safe to say that stepping into this iconic role, on Broadway and not in my family’s backyard, is truly my lifelong dream come true.“I am immensely grateful to be able to do so alongside such a remarkable creative team,” she added, “and cannot wait for audiences to get back in theaters again!”Feldstein made her Broadway debut in 2017 as Minnie Fay in “Hello, Dolly!,” which starred Bette Midler, and had memorable roles in the films “Booksmart” and “Lady Bird.” She’ll play Monica Lewinsky next month in the new FX series “Impeachment: American Crime Story.”“Funny Girl” charts the rise of the self-deprecating comedian and actress Fanny Brice, and her relationship with the professional gambler Nick Arnstein. The original production was nominated for eight Tony Awards, including best musical.Streisand won a best actress Oscar for the 1968 film and her performance has cast a long shadow over the title role — a multidimensional character who must sing, generate laughs and succeed against the odds all at once.An attempt to revive the show in 2012, with Bartlett Sher directing the television actress Lauren Ambrose in the lead role, fell apart. So for many theatergoers, the long-awaited return of “Funny Girl” makes it one the most highly anticipated revivals in years.Jule Styne and Bob Merrill’s score includes such classic songs as “People” and “Don’t Rain on My Parade.” Isobel Lennart’s original book is being revised by Harvey Fierstein. And Mayer has a strong track record, though some of his biggest directing successes have been with rock-inflected material, including “Spring Awakening” in 2006 (for which he won a Tony) and the 2014 revival of“Hedwig and the Angry Inch.”The new production will also feature the choreography of Ellenore Scott and scenic design by David Zinn. Ayodele Casel, an artist in residence at Little Island, will oversee tap choreography for the show.Producers said that additional casting announcements would be released shortly. “Funny Girl” is the second previously unscheduled musical to announce its Broadway opening since the pandemic began. Preview performances for the new musical “Paradise Square” will begin on Feb. 22 at the Ethel Barrymore Theater. More

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    Museum of Broadway in Times Square Sets New Opening Date

    The first institution dedicated to the history of the Great White Way and the artistry of its shows and theaters plans to welcome visitors next summer.After multiple delays, the first museum dedicated to telling the storied history of Broadway shows is now expected to open its doors next summer in the heart of the theater district.The Museum of Broadway, described as an interactive and immersive experience, was originally scheduled to debut in 2020. But its founders, Julie Boardman, a four-time Tony nominated producer, and Diane Nicoletti, founder of Rubik Marketing, said the project was delayed by the pandemic.“We really thought it would be this great idea that was a hybrid of both an experiential museum that’s very interactive and colorful and fun,” Nicoletti said in an interview, “as well as making sure that we were really getting the integrity of the history of Broadway, by including costumes and artifacts and historic elements as well.”The museum, at 145 West 45th Street, next door to the Lyceum Theater, will have three sections: The first, a map room, will lay out the migration of the city’s theaters from the financial district to Union Square, Herald Square and then, eventually, Times Square.The second area will be a timeline, stretching from Broadway’s birth in the mid-18th century to classic book musicals and follies to shows currently running onstage. Opening-night telegrams, lyric sketches and handwritten pieces of sheet music have been obtained with the help of the Billy Rose Theater Division of the New York Public Library for the Performing Arts.Along the timeline there will be installations created by visual artists and Broadway designers — think vibrant murals or interactive augmented reality experiences — that will explore some of the most important and influential shows. A room at the end of this section will highlight the shows playing on Broadway at that moment, and examine some of the 41 theaters that make up Broadway.A stage door will open into a backstage that deconstructs the making of a Broadway show. This last area is intended to honor the professionals — both onstage and off, actors and not — who ensure the shows go on.“It really paints the picture of how that all comes to be, and then honors all of the brilliant, talented creatives, and people who bring that to life,” said Boardman, one of the producer’s of a revival of “Company” this season.The Museum of Broadway was founded in collaboration with Playbill, Broadway Cares/Equity Fights AIDS, the Al Hirschfeld Foundation, Concord Theatricals and Goodspeed Musicals. Tickets are expected to go on sale next year.“With Covid, and the industry being completely shut down, we’re really excited to be able to open our doors to everyone” next summer, Boardman said. More

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    What’s on TV This Week: ‘Stand Up to Cancer’ and ‘Nora From Queens’

    Common, Stevie Wonder and Brittany Howard are slated to perform at a fund-raiser for cancer research. And Awkwafina’s Comedy Central sitcom returns.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Aug. 16-22. Details and times are subject to change.MondayBEN & JERRY’S: CLASH OF THE CONES 9 p.m. on Food Network. While this title might call to mind the recent debate over the ice cream company Ben & Jerry’s political advocacy, the series is pretty tame. “Clash of the Cones” is a reality show in which six ice cream makers compete to create new and unusual flavors, which they feed to discerning judges.TuesdayCHANGELING (2008) 5:40 p.m. on HBO Signature. Angelina Jolie stars in this period drama, which was directed by Clint Eastwood and is based on actual events. The story, set in Los Angeles in the 1920s and ’30s, follows a single mother whose young son goes missing from their Los Angeles home. Months later, authorities present her with a boy that they say is her missing son. She insists that it is not, and is painted as delusional when she tries to argue that point. “When it works best, ‘Changeling’ is a feverish and bluntly effective parable of wronged innocence and unaccountable power,” A.O. Scott wrote in his review for The New York Times. But taken as a whole, Scott wrote, the movie presents a “distended, awkward narrative whose strongest themes are lost in the murky pomp of period detail.”WednesdayFrom left, Awkwafina, Lori Tan Chinn and BD Wong in “Awkwafina is Nora From Queens.”Zach Dilgard/Comedy CentralAWKWAFINA IS NORA FROM QUEENS 10 p.m. on Comedy Central. The actress and one-time viral video creator Awkwafina based the concept of this half-hour sitcom on her own upbringing in Queens. The first season saw her character, the fictional Nora, flitting from gig to gig — ride-hailing app driver, real estate assistant — while navigating life at home with her feisty grandma (Lori Tan Chinn), her father (BD Wong) and her cousin (Bowen Yang). The two episodes that kick off the show’s second season, which debuts Wednesday night, involve CBD and time travel. In a 2020 interview with The Times, Awkwafina discussed the show, which premiered after roles in “Crazy Rich Asians,” “Ocean’s Eight” and “The Farewell” had brought her a new level of stardom. “Nora is where a lot of us find ourselves in our 20s,” she said. “What’s next? Do you find success and suddenly it fixes everything? No, life is an open-ended question.”IN THE SAME BREATH (2021) 9 p.m. on HBO. Nanfu Wang, a co-director of the well-received 2019 documentary “One Child Nation,” about the history of China’s long-lived one-child policy, takes on another politically difficult subject in this new documentary, which looks at the Chinese and United States governments’ responses to the Covid-19 pandemic. Wang explores the flaws in those responses, and how many of the consequences of political decisions fell on the shoulders of health care workers.WAR OF THE WORLDS (2005) 12:30 a.m. on TNT, and on TBS and TNT on-demand platforms. For an apocalyptic scenario that’s entirely fictional, skip “In the Same Breath” and watch this take on H.G. Wells’s classic sci-fi story of invaders from space. This adaptation — the third in Steven Spielberg’s 2000s run of dark sci-fi films which includes “A.I. Artificial Intelligence” and “Minority Report,” — stars Tom Cruise as a New Jersey father who fights to protect his two children (played by Dakota Fanning and Justin Chatwin) as the alien tripods descend. If you’d prefer sci-fi with a higher fashion sense — Cruise’s character navigates much of the film in a hoodie — consider instead BLADE RUNNER 2049 (2017) with Ryan Gosling, which airs at 7:55 p.m. on HBO Signature.ThursdayHaruko Sugimura, left, and Setsuko Hara in “Late Spring.”ShochikuLATE SPRING (1949) 8 p.m. on TCM. The Japanese director Yasujiro Ozu kicked off a cycle of films about families with “Late Spring,” one of his most celebrated movies. The story follows a widower (Chishu Ryu) who is convinced to force his only daughter (Setsuko Hara) to marry, despite her wishes. In 2005, the critic Roger Ebert wrote that “Late Spring” is “one of the best two or three films Ozu ever made.” TCM is showing it alongside several other Ozu movies, including TOKYO TWILIGHT (1957) at 5:30 p.m. and BAKUSHU (1951) at 10 p.m. A large collection of Ozu’s films — including EARLY SUMMER (1951) and AN AUTUMN AFTERNOON (1962) — is also available to stream online through the Criterion Channel.FridayHERCULES (2014) 11 p.m. on TNT. What happens when you take Greek mythology, turn it into a graphic novel, and adapt that graphic novel into a movie from the “Rush Hour” director Brett Ratner? You get this 2014 blockbuster, which casts Dwayne Johnson as Hercules. (He might be one of the few performers who can make the 1990s animated Disney Hercules character look like a pipsqueak.) The plot, which imagines a Hercules who leads a gang of mercenaries, takes some liberties with the traditional myth: In his review for The Times, Ben Kenigsberg labeled this movie “tongue-in-cheek revisionist mythology, pitched at classics students who prefer to attend their lectures stoned.”SaturdaySTAND UP TO CANCER 8 p.m. on various networks including ABC, CBS, Fox and NBC. The seventh edition of this cancer research fund-raiser will be hosted by Anthony Anderson, Sofia Vergara, the comedian Ken Jeong and his wife, Dr. Tran Ho, who is a physician and a cancer survivor. The broadcast is slated to include appearances by Jennifer Garner, Matthew McConaughey and Ed Helms, and performances by Common, Stevie Wonder and Brittany Howard.SundayCindy Adams in “Gossip.”ShowtimeGOSSIP 8 p.m. on Showtime. The life of the longtime New York gossip columnist Cindy Adams is the subject of this new, four-part documentary. The series uses Adams’s career as a way to look at the history of American tabloids over the past several decades — she started writing a column for The New York Post in the late 1970s, soon after it was purchased by Rupert Murdoch. More

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    Jake Lacy Says Aloha to ‘The White Lotus’

    In an interview, the actor discusses the HBO social satire, Sunday’s season finale and the possibility of his returning for Season 2.This interview includes spoilers for Sunday’s season finale of “The White Lotus.”Before Jake Lacy landed in Hawaii to shoot “The White Lotus,” he had only received the first script of what was at the time a six-episode limited series. (HBO recently renewed it for a second season.) He knew a character had died — a cardboard coffin of human remains was loaded onto a plane. But who was it?“Mike White [the show’s creator, writer and director] was like, ‘All these limited series start with a body,’” Lacy said. “So there’s an element of narrative satire along with the social satire. It’s like, If a dead body is what you want, then we’ll start with a dead body. We’re making fun of the device that is part of this very popular narrative format.”“The White Lotus” doesn’t deal with its opening mystery right away, and only gives us a few clues at first. Before a backward time jump to a week’s events at a Hawaiian luxury resort called the White Lotus, we see that Lacy’s character, Shane, seems disturbed both by the dead body and by a friendly question put to him regarding the whereabouts of his wife Rachel, (played by Alexandra Daddario). Hmmm.“I kept asking myself, ‘When do I kill my wife?’” Lacy said. He assumed he was the killer, and she would be his victim. From the character’s perspective, the couple’s honeymoon had gone off the rails the minute they failed to get the prized Pineapple Suite they booked, and the hotel manager Armond (Murray Bartlett) put them in the Palm Suite (no plunge pool, but a nicer view) instead. Things soured further thanks to Shane’s temper tantrums and Armond’s odd responses to them.“Either one could back down,” Lacy said, “but they both keep upping the ante.”The actor recalls reaching the last pages of the final script — the scene in which Armond slips into Shane’s room to leave a parting gift in his suitcase — and pumping his fists with glee. “I was like, ‘Oh, this is it!’ How did I not see this coming four episodes ago? I can’t believe we’re going to have a guy defecate in my suitcase and then I murder him!”During a phone conversation, Lacy, who was in Vermont, discussed the series’s social satire, male Karens and Season 2 possibilities. These are edited excerpts from the conversation.HBO just announced a renewal of “The White Lotus” for a second season, to focus on a new location, new staff and new guests.This is the first I’m hearing of it! I’m thrilled. I hope I get to have Shane in the background at the pool, complaining about his daiquiri.You think he would go back to a White Lotus resort? He wouldn’t rather avoid the chain entirely?I don’t think shame or embarrassment are in his wheelhouse. He might be haunted by what happened and make up some excuse why he’s not going back, but it would be out of paranoia. I think he assumes people are whispering, “That’s the guy who killed the guy.” The more brazen Shane move is to play the victim: “I should be able to stay at any one of these places for free, anywhere in the world, for the rest of my life, because of what they put me through! I should have sued them for this!” That might actually be his mentality, to think he’s got the short end of the stick as a multimillionaire 30-year-old. He doesn’t know he’s the villain, not the victim.Shane appears to escape all accountability and just walk away from the death he caused. On the other hand, Kai (Kekoa Kekumano) will likely be severely punished for stealing the Mossbachers’ jewelry.I think that’s intentional. In this “White Lotus”-reality, here’s how one class of person is treated by the criminal justice system and here’s how someone with access, money and privilege is treated. Yes, you would normally be told, “Don’t leave the island,” or “Don’t leave the state.” But Shane’s dad probably called in a favor — a senator? a judge? That’s how at times a certain level of this world operates. Kai will be a felon, but Shane will not have to serve any time — and Shane will still paint himself as a victim, because he might become a social pariah. He might not be invited to summer parties in the Hamptons because of this.How replicable do you think the show’s concept is as it continues as an anthology series? How many oblivious rich people can we take?If Mike White didn’t have more to offer at this same level, he would go do something else. But you could do something more like “Upstairs, Downstairs,” with the second season being more about the service end of things.People have been talking about how the show is about entitlement, but Mike says it’s more about how money corrupts the dynamics of every relationship, whether it’s a business relationship, a friendship or a marriage. Tanya [Jennifer Coolidge] unfairly dangles this hope to Belinda [Natasha Rothwell] of having her own spa, and it’s messed up how quickly she snatches that hope away. But you also see how Belinda changes in the face of this opportunity. Nobody’s free from it, except maybe Quinn [Fred Hechinger] and the guys in the outrigger canoe, because none of them are making money from the ocean. There is a certain equality in that relationship.The story also seems to be about complicity. When Rachel joins Shane at the airport, she is essentially accepting his objectionable qualities in exchange for the benefits he provides. But since she spent the night in another hotel room, do you think she knew that Shane killed Armond?Oh, man! I always assumed that she knew, but maybe she just heard through the hotel, “Oh, somebody killed somebody.” Or maybe Shane’s mother Kitty [Molly Shannon] called her and told her. But it would be a wonderful scene to show her finding out after they get on the plane. He’d be like, “I killed that guy,” and she’d be like, “What are you talking about?! Oh no, no, no, no! I thought you were just rude to waiters!”But yeah, she’s giving Shane a get-out-of-jail-free card with her decision to stay. It’s just short of being in abusive relationship. The conclusion she’s come to is that having money is better than not having money in a capitalist society, but that’s not a healthy choice. You want to see her follow her heart, but that’s not what happens here. She makes a pretty pragmatic choice as to what she wants her life to be. Maybe she regrets it later. Maybe she walks away. But for the moment, she is settling, essentially, and the cost is the loss of some sense of self.“She’s giving Shane a get-out-of-jail-free card with her decision to stay,” said Lacy, with Alexandra Daddario in the season finale of “The White Lotus.”HBOOne of the things Shane and Rachel fight about is having sex on their honeymoon. Isn’t that when you’re supposed to have the most sex of your life?Some of what we shot didn’t make it in. We had one scene where Shane wanted to have sex, and Rachel wasn’t quite saying no, but she wasn’t in the mood. It’s not assault, but they took it out because it ended up looking far more aggressive than what they had intended. The purpose of the story wasn’t meant to be that Shane sexually assaulted his partner as much as he was not reading when she was in the mood or not.Some of those references about how sexed up he is maybe made more sense with those kinds of pieces in there. I think there is a multitude of things happening under that, too. She’s saying, “My concern is that is all you want from me.” She’s not saying, “This is too much sex.”If it were a white woman trying to get Armond fired, we’d have a name for her: Karen. I don’t know if we have a male equivalent of that name, but here it seems like “Shane” might work.I hope it does! The Karen thing is like, “I won’t stand for this,” as if they’re taking the side of justice. And Shane’s thing is, “Don’t make me make this ugly.” There is this aggression there, like, “I won’t be treated this way!” It’s the same in Shane as it is in a Karen.At the same time, Armond gave him the wrong room. I mean, these rooms cost $26,000 a night. It’s as if you bought a car, and they were like, “Oh, we just know this is the one you wanted,” and you’re like, “This is definitely not the car I paid for.” He booked a room, and he feels they should give him that room. Even if his behavior is increasingly inappropriate, and the way he treats people is terrible, what he wants seems pretty fair: “I want what I paid for.” Not that that excuses his behavior. In a perfect world, he would chill out and let it go.Who do you think was the worst?I feel like people are going to say Shane, but that’s my guy! I still have a little empathy for him. I feel like most of these characters are pretty unpalatable. In actions alone, Shane is the worst, for sure. No one else kills a guy. But Paula [Brittany O’Grady], as honest and progressive as she claims to be, is an accomplice to a felony, and when the rubber meets the road, she gets back on a plane. She doesn’t say anything. And Rachel will put up with Shane if it means she gets the nice dinners.To me, a lot of the show is saying is, “How clean are you? How innocent are you? How free of guilt are you?” Whether it’s the opportunities you’ve had that others haven’t, or your privilege, or money, or the way you look, or the color of your skin — if you’re in a transactional world, how clean are you?The hope is that all this gets reflected back to the audience: “You probably do some of the same things, don’t you? On some level?” Whether it’s at the Four Seasons, the carwash, in line at McDonald’s or at Starbucks, how much expectation do you have for what the world owes you and how you deserve to be treated?That is the part of the show that most intrigues me. It’s less about who’s worse, and more about who’s kidding themselves the most. More

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    in Theater

    Review: Making S’mores Around the Campfire at the Apocalypse

    In “The Grown-Ups,” a play by Skylar Fox and Simon Henriques, audience members sit around a real fire in a backyard in Greenpoint, Brooklyn.In the light of the campfire on a summer night, after the children have gone to bed, some of the grown-ups sit up and talk. Most of them have been coming here since they were small, and when they roast marshmallows for s’mores, the scent must take them right back — the charred-sugar sweetness that means, yep, someone’s marshmallow is suddenly aflame.They’re so comforting, aren’t they, these seasonal rituals from childhood? In “The Grown-Ups,” an apocalyptic play by Skylar Fox and Simon Henriques staged for a handful of audience members around a real fire in the backyard of a house in Greenpoint, Brooklyn, the freshly minted adults are senior camp counselors at Indigo Woods, and they earnestly want to pass those traditions on.Well, except the traditions that are racist, like the Indigenous name their extremely white camp had until this year, or otherwise exclusionary, structured to favor the boys or the older kids. Trouble is, there are a lot of those traditions.“I guess it’s just a question of what you care about more,” says Cassie (Chloe Joy Ivanson), the self-possessed newcomer to this tight-knit group of counselors, and the only one who isn’t white. “Taking the best care of these kids that you can? Or doing things the way you’ve always done them.”Cassie (Chloe Joy Ivanson) is the self-possessed newcomer to this tight-knit group of counselors.Jeenah Moon for The New York TimesDirected by Fox for the experimental company Nightdrive, “The Grown-Ups” is part satire, part scary story. If it buckles under the weight of too many targets, that overstuffedness is very 2021: so many crises to frighten us, so much damage to fend off and fix, so much anxious-making news to navigate.At night, when these 20-something counselors retrieve their phones from Aidan (Justin Phillips), the endearingly dutiful assistant camp director, they scroll for the latest developments in what sounds like a new American civil war — sparked, absurdly, by an image of a pineapple in which some people see the face of Dwayne Johnson, a.k.a. the Rock, and well-armed others furiously do not.The counselors wonder whether to tell the children, and if so, what to say; then, as the danger moves closer, how to protect and prepare them, preferably without shattering their illusion of safety.“The second we tell the kids,” Aidan says, “this isn’t camp anymore.”Under a dusting of stars in Greenpoint the other night, the air smelled of earth and foliage and somehow of fresh water, too, as if Indigo Woods’s lake really were just out of sight. The firelight was soft, the physical space just right. It was quirkily charming that, as we filed through the house, whose location you learn only after you book a ticket, the other seven audience members and I had to pass through a bathroom to reach the yard.Justin Phillips as Aidan, the dutiful assistant camp director, and Emily E. Garrison as Becca, a veteran counselor.Jeenah Moon for The New York TimesIvanson and Phillips managed nicely with performances very different in style. Yet I never did feel truly immersed in the play, or sense the bone-deep familiarity that the three veteran counselors — Becca (Emily E. Garrison), Lukas (Henriques) and Maeve (Abby Melick) — would have from their years of shared summertimes.Doing theater this intimate, though, with actors and spectators in the same circle of chairs around a fire, is like doing close-up magic. It’s harder for the illusion to work, and relies on delicate calibration. It is also probably easier to pull off without a critic right in your face.The Grown-UpsThrough Oct. 3 at a secret location in north Brooklyn; nightdrive.org/thegrownups. Running time: 1 hour 40 minutes. More

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    in Television

    ‘Like Choosing a Pope’: How Succession Got Messy at ‘Jeopardy!’

    The decades-old game show, TV comfort food for many, has been rocked by drama over who would replace the late Alex Trebek.When Ken Jennings arrived at the “Jeopardy!” studios in November for the first day of his audition to become the new host of the long-running quiz show, he found a gift waiting for him: a pair of Alex Trebek’s cuff links, along with a handwritten note from his widow, Jean.Mr. Trebek, the “Jeopardy!” galaxy’s central star, had died of pancreatic cancer three weeks before, setting off a frenzy in Hollywood: one of the greatest jobs in television was available for the first time in 37 years.For some members of the “Jeopardy!” crew, the cuff links validated their assumption that Mr. Jennings, a genial Utahn who rose to fame in 2004 after winning a record 74 consecutive games, had been Mr. Trebek’s preferred successor. (“Jeopardy!” producers had arranged for a phone call between Mr. Jennings and Mr. Trebek two days before he died.) But “Jeopardy!,” while a beloved cultural icon, is also a lucrative asset of Sony Pictures Entertainment, and in the television industry, sentiment only goes so far.“Jeopardy!,” whose first iteration began in 1964, is one of TV’s last bastions of comfort food, a place where politics don’t matter and the real world is easily digested in just-the-facts bites. Then its succession drama got messy. After a cattle call of guest hosts, including Anderson Cooper, Robin Roberts, Aaron Rodgers, LeVar Burton and even Dr. Mehmet Oz, the announcement of the winner sent fans into a tailspin. The new weekday host would be Mike Richards, the show’s obscure executive producer and the man initially charged with finding Mr. Trebek’s replacement.Mr. Richards, it seemed, did not have to look very far.Critics accused Mr. Richards of rigging the contest à la Dick Cheney, who led the vice-presidential search for George W. Bush. Old lawsuits surfaced from Mr. Richards’s previous job, at “The Price Is Right,” involving his treatment of female staff members. (He denies wrongdoing.) After Sony said the “Big Bang Theory” actress Mayim Bialik would host the show’s prime-time spinoffs, her past skepticism about vaccines recirculated. (Her team said “she is not at all an anti-vaxxer.”)Mike Richards, the show’s executive producer, was named Mr. Trebek’s weekday replacement.Carol Kaelson, via ReutersUnder the retro, feel-good surface of “Jeopardy!,” the succession battle is a story of television’s dwindling real estate in American life and the strenuous efforts to occupy one of its remaining desirable plots.“It is a little like choosing a pope,” Mr. Jennings said, in his first interview since the new hosts were announced. “If you don’t watch ‘Jeopardy!,’ you don’t understand, but people take this very seriously.”In an age of atomized audiences, “Jeopardy!” still averages 8.8 million viewers a week, according to Nielsen — not quite “NCIS” territory, but roughly comparable to a network evening newscast. Its audience skews older: Last year, about four viewers out of five were over age 55.And the job itself is, as any Hollywood agent would tell you, a pretty sweet gig.When the “Jeopardy!” cast and crew gather on the Sony Pictures stage in Culver City, Calif., they film five 30-minute shows in a single day, the equivalent of one week of syndicated television. The host works roughly two days a week, two weeks a month — and toward the end of his tenure, Mr. Trebek’s salary was estimated at $16.5 million. Sony would not disclose Mr. Richards’s compensation, but several people familiar with internal discussions said it was significantly less.There are other perks to being the face of a show that is still watched by a broad audience on local network affiliates, a rarity as the nation divides into ever-more-partisan extremes and as traditional TV is supplanted by niche streaming services.“It’s appointment television, which is rare,” said George Stephanopoulos, the ABC News anchor, who guest hosted for a week. “It’s the kind of thing you can watch with your whole family.”Plus there is the reflected glow of always having the right answers.“It’s absolutely iconic,” said Rick Rosen, the TV superagent at Endeavor. “Everybody knows the show and has played along with it. And it’s not the type of show where you’re just a genial host — there’s a perception of intelligence that goes along with it.”Unlike his rivals, Mr. Richards, 46, had a deep background in game shows. Born in Burbank, Calif., he started his career as a stand-up comedian and went on to host game shows like the mid-2000s concoction “Beauty and the Geek.” He hosted and produced numerous series on the Game Show Network before auditioning to replace Bob Barker on “The Price Is Right.” Drew Carey got the job, but Mr. Richards was brought on as executive producer; his successful 11-year tenure revived the wilting franchise into a hit.By “Jeopardy!” standards, though, he was a newcomer.He started as executive producer at both “Jeopardy!” and “Wheel of Fortune” in May 2020, replacing Harry Friedman, who oversaw both shows for 25 years. Mr. Richards overlapped with Mr. Trebek on set for only 15 shoot days before the host stepped aside, 10 days before he died.Sony said that while Mr. Richards initially led the hunt for Mr. Trebek’s replacement, he moved aside after he emerged as a candidate.But as executive producer, Mr. Richards retained a key role in selecting which appearances by each prospective host would be screened for focus groups, whose reactions weighed heavily in Sony’s decision-making, according to three people familiar with the show’s internal deliberations. The other supervising “Jeopardy!” producers were excluded from that process, the people said.Asked about Mr. Richards’s role, Sony referred to a memo from its TV chairman, Ravi Ahuja, who told staff that after the company began considering Mr. Richards as a potential host, “he was not part of” the selection process. The ultimate decision was made by Tony Vinciquerra, the chairman of Sony Pictures Entertainment.As questions mounted, Mr. Richards sent a memo to “Jeopardy!” staff that was distributed by Sony’s publicists.“The choice on this is not my decision and never has been,” Mr. Richards wrote. He said the “Price Is Right” litigation — which included an allegation that he made insensitive comments to a pregnant employee — “does not reflect the reality of who I am.” (Sony said it had “spoken with Mike about the issues raised in these cases and our commitment to maintaining a workplace environment where our employees are respected and supported.”)Mayim Bialik was announced as a co-host.Carol Kaelson, via ReutersOn Thursday, Sony announced Mr. Richards and Ms. Bialik as co-hosts, although for now, only one prime-time special featuring Ms. Bialik is scheduled. “What started out with my 15-year-old repeating a rumor from Instagram that I should guest host the show has turned into one of the most exciting and surreal opportunities of my life!” Ms. Bialik said in a statement.Mr. Jennings, who remains a consulting producer at “Jeopardy!,” praised Mr. Richards’s performance. “Mike was the only person up there with any game show hosting chops, and it showed,” he said.Some fans argue that a relatively bland, little-known host was always a better outcome than a celebrity. “The game is the star, and the contestants are the stars,” said John Podhoretz, the editor of Commentary magazine and a 1987 quarterfinalist in the “Jeopardy!” Tournament of Champions. “The host should be a secondary figure.”For his part, Mr. Jennings agreed. “What was great about Alex was we didn’t know anything about him: He came into our homes every night and he hosted ‘Jeopardy!,’” Mr. Jennings said. “Today, it’s very hard to find a broadcaster whose priors and opinions you know nothing about.”Mr. Jennings, who guest hosted six weeks’ worth of shows, said he harbored no hard feelings about the outcome.“I knew ‘Jeopardy!’ was in a spot this year, and I mostly wanted them to have a smooth transition,” Mr. Jennings said. “I was not going to lobby for that job in the media, ever. I was not going to plant stories about what a promising young candidate I was. I wasn’t interested in doing any of that. I am a company man.”Marc Tracy More