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    17 New York Arts Organizations Are Among Those Receiving $30 Million

    The Queens Museum, Harlem Stage and 44 other groups were chosen to receive aid from Bloomberg Philanthropies for digital innovation.The Queens Museum is among 46 cultural nonprofit organizations selected for a new $30 million program by Bloomberg Philanthropies that is intended to support improving technology at the groups and helping them stabilize and thrive in the wake of the pandemic. A Bloomberg Tech Fellow is being appointed at each organization, the philanthropies announced Tuesday.Heryte Tequame, assistant director of communications and digital projects at the museum, was chosen as its fellow in what is known as the Digital Accelerator program and will be in charge of developing a digital project of her choice. In an interview she said that in 2020, the museum “realized where we needed to expand our capacity and invest more.”“I think now we’re really taking the time to see what we can do that has longevity,” Tequame said. “And not just being responsive, but really being proactive and having a real future-facing strategy.”The organizations don’t know exactly how much of the $30 million each will receive yet, but Tequame said she wants to use at least some of it on the museum’s permanent collection.Another recipient, Harlem Stage, selected Deirdre May, senior director of digital content and marketing, as its tech fellow.That performing arts center — which largely focuses on artists of color — aims to use the assistance in part to increase accessibility, Patricia Cruz, its chief executive and artistic director, said in an interview. “People who cannot leave their homes, for example, would be able to see some of the finest artistic performances that could be made,” Cruz said, because “that’s the core of what we do.”The 46 organizations selected for the program include nonprofits in the United States and Britain. Among them are 26 in the United States, and 17 of those are in New York City, including the Apollo Theater, the Ghetto Film School and the Tenement Museum. The chief executive of Bloomberg Philanthropies, Patricia E. Harris, said in a statement that when the pandemic hit, cultural organizations had to get creative to keep their (virtual) doors open.“Now we’re excited to launch the Accelerator program to help more arts organizations sustain innovations and investments,” Harris said, “and strengthen tech and management practices that are key to their long-term success.”As Cruz from Harlem Stage put it, “We’re ready to be accelerated.” More

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    Review: ‘Schmigadoon!’ Has a Song in Its Heart, and Everywhere Else

    The Apple TV+ series both mocks and embraces the glories of classic musicals like “Brigadoon,” “Oklahoma!” and “Carousel.”Welcome to Schmigadoon, “where the men are men, and the cows are cows,” a magical musical land where Melissa and Josh (Cecily Strong and Keegan-Michael Key) find themselves stranded during a trip meant to rehabilitate their romance. At first they think it’s like Colonial Williamsburg, or a warped Disney experience, but they quickly buy into their new reality: They’re trapped in this wholesome, old-timey parallel universe until they learn the lessons about true love it is meant to impart. More

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    Covid Surge Shuts Down West End Shows

    Many London theaters are canceling performances, and people in the industry fear that more productions will have to close when England ends distancing and mask-wearing requirements next week.LONDON — The cast and crew of “Seven Methods of Killing Kylie Jenner,” an experimental play at the Royal Court, were just two weeks into their run when they received some bad news: One member of the company had tested positive for the coronavirus, and everyone had to quarantine.On July 4, the theater canceled performances for a week.The next day, the producers of “Hairspray” at the London Coliseum announced that they were canceling nine days of shows, because a member of the production team had tested positive, and later that week the Globe called off a performance of “Romeo & Juliet,” because an actor in the show had, too.This Monday alone, “The Prince of Egypt” at the Dominion Theater; another “Romeo & Juliet,” at the Regent’s Park Theater; and “Bach and Sons,” at the Bridge were all canceled for at least five days because of confirmed or potential cases.The spate of abandoned shows comes at what was supposed to be a celebratory moment for British theater. Starting Monday, playhouses in England will be allowed to open at full capacity for the first time since the pandemic began, as the country ends restrictions on social life in an effort to restore normalcy while living with the virus. Audience members will no longer have to wear masks inside theaters, although many are encouraging patrons keep them on.Yet with coronavirus cases soaring in Britain because of the more contagious Delta variant, theaters fear more cancellations, given that many young actors and crew members are not yet fully vaccinated. “We are all ready for it to happen again,” Lucy Davies, the Royal Court’s executive producer, said in a telephone interview. “It’s going to be fragile all summer.”“The Prince of Egypt,” at the Dominion Theater, shut down on Monday along with two other London shows.Matt CrockettCalled-off shows will cause further financial stress on cash-strapped theaters, Davies said, especially because no commercial insurers in Britain offer cover for coronavirus-related cancellations. And producers say the British government’s coronavirus rules are part of the problem. When people test positive here, they are required to quarantine for 10 days, as must all of their “close contacts” — defined as anyone who has been within about six feet of an infected person for 15 minutes.In Britain, more than 42,000 new coronavirus cases were recorded on Wednesday, a number last seen in January when the country was in lockdown to prevent its health system from being overwhelmed. Sajid Javid, the health minister, said on Monday that daily numbers were likely to rise to over 100,000 a day during the summer, although hospitalizations and deaths are expected to be much lower than in previous waves of infection, because two-thrids of adults have been fully vaccinated.In the first week of July, more than 520,000 people in England were told to quarantine as close contacts, according to official figures. They have to isolate even if they test negative for the virus or have had two vaccination shots.Eleanor Lloyd, a producer who is the president of the Society of London Theater, said that most of the cancellations were because of close contacts who were told to isolate, rather than positive cases.The Regent’s Park Theater said in an emailed statement that several of its staff members had been told to stay at home and were still in quarantine, despite later testing negative. “We do need an alternative to automatic self-isolation for our acting company and crew, as the current situation is simply unsustainable,” the statement said.Starting Aug. 16, fully vaccinated close contacts will no longer need to quarantine. “It’ll be better from then,” Lloyd said. But that is still a month away, and the risks may continue longer. So she is considering employing more understudies for a forthcoming production of Agatha Christie’s “Witness for the Prosecution.” That would have a cost, too, she said.London theaters have adopted safety measures to try to limit the risk of outbreaks. In most, casts and crew are tested several times a week, and masks and distancing are typically required offstage. But “people are traveling to and from the theater, and that is a risk, however safe our environment is,” Davies said.Joel MacCormack and Isabel Adomakoh Young in the title roles of the Regent’s Park Theater production of “Romeo and Juliet.” The show’s producers also had to call off performances.Jane HobsonThe safest productions seem to be those created especially for these pandemic times, with social distancing among the players both onstage and behind the scenes. The Globe has used this approach for shows like its “Romeo & Juliet.”Even so, last Saturday, Will Edgerton, who is playing Tybalt, learned that he had the virus after performing a home test.The Globe canceled that afternoon’s show so that a new actor could rehearse the role, then went ahead with the evening performance. “We are unique, as Shakespeare’s plays can be presented with distancing,” Neil Constable, the theater’s chief executive, said in a telephone interview. “But when you’ve got a major musical like ‘The Prince of Egypt,’ which costs millions of pounds and has lots of people onstage, you don’t have that option.”He said the British government should underwrite theaters’ risks, a sentiment that echoes calls by other leaders from Britain’s theater industry for a state-run insurance program. Last year, the government introduced a similar initiative for TV and movie shoots, but it has not announced anything for other forms of cultural life, as European governments like those of Germany and Austria have done.“We understand the challenges live events have in securing indemnity cover and are exploring what further support may be required,” a spokeswoman for Britain’s culture ministry said in an email.Davies, the Royal Court executive, said a safety net was badly needed, especially for commercial theaters that don’t receive public subsidies.She had a recent experience of the benefits of insurance, she said. On Monday, the cast and crew of “Seven Methods of Killing Kylie Jenner” were scheduled to return to the stage for their first performance since completing their quarantines — but then a severe storm flooded the theater’s basement and the show was canceled again.“It was devastating — it was their comeback,” Davies said, before adding that the theater’s insurers had covered some of its losses that night. “We’re insured for flooding,” she said, “just not Covid.” More

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    In ‘Bach & Sons,’ a Composer Stares Down Death

    The new play at the Bridge Theater in London and two other productions on the city’s stages examine characters facing the end.LONDON — Few actors could stare down mortality better than Simon Russell Beale in “Bach & Sons,” a problematic new play at the Bridge Theater that benefits from a piercing central performance. Telling of the often testy relationship between the composer Johann Sebastian Bach and two of his 20 children, both sons who were musicians as well, the writer Nina Raine has come up with a research-heavy play that could be described as “Amadeus” lite. Like that play, Peter Shaffer’s celebrated take on Mozart, “Bach & Sons” features extended discussions of the nature of mediocrity, and also leans toward the scatological. Amid an expletive-heavy script, one character makes a passing reference to “a turd in the tureen.”Nicholas Hytner’s production boasts an evocative design from Vicki Mortimer, with cascading keyboards hanging above the stage; as in “Amadeus,” the dialogue often cuts off to make way for excerpts from the composer’s output. Beale with Racheal Ofori as Anna Magdalena Wilcke in another scene from “Bach & Sons.” Manuel HarlanOver time, Bach Sr. loses his sight and cedes ground to his son Carl (a vivid Samuel Blenkin), whom the father derides as musically “efficient” — a decided slight from a visionary who likes his art messier and more inspiring. Yet all Carl wants is simply to be loved. (Another son, Wilhelm, is played by Douggie McMeekin as an artistic prodigy doomed to failure.)The family chat consists largely of extolling the power of music, when you can’t help but feel that, really, they would have gotten on with making it. A climactic discourse on dissonance reminded me of Georges Seurat’s quest for harmony in the musical “Sunday in the Park With George,” to cite a more moving depiction of the creative process than “Bach & Sons,” with its boilerplate pronouncements about the value of art. Even so, Beale commands attention as the aging and worn Bach fades away. The composer’s canon, we’re told, can be characterized as a meditation on “the variety of grief,” and Beale communicates a man who has lived that grief himself: The actor cuts against the sentimentality of the writing to catch directly at the heart. “You can’t go on living and living and living,” says a character at the start of Nick Payne’s “Constellations” — and so it’s not altogether surprising when this 70-minute play turns toward confronting death in its second half.Payne’s one-act two-hander was first seen at the Royal Court in 2012 before transferring to the West End and then Broadway. The elegant staging from the director Michael Longhurst is now being revived at the Vaudeville Theater through Sept. 12, with the designer Tom Scutt’s buoyant cloudscape of balloons intact.Peter Capaldi and Zoe Wanamaker in Nick Payne‘s “Constellations,” directed by Michael Longhurst at the Vaudeville Theater.Marc BrennerThis time, there are four casts rotating across the run, and London theatergoers have so far had the opportunity to see two of them. (Among those still to come is a gay coupling that will feature the TV and stage name Russell Tovey.) The changing players reveal wildly contrasting takes on a tricky if accessible text in which events, large and small, are replayed with different outcomes, in accordance with Payne’s interest in the existence of a “multiverse.” That notion of alternate worlds coexisting alongside ours fuels a play that explores the infinite variability of life’s every moment, except the final one, which is always death.Peter Capaldi and Zoe Wanamaker, the oldest duo of the four, are also the more actorly of the two seen so far: You feel Wanamaker, especially, standing outside her character, Marianne, a Cambridge brainiac who holds forth on quantum mechanics and string theory. The parts don’t feel like a natural fit for either performer, though Capaldi, a onetime Doctor Who on TV, compensates with an abundance of charm. A much younger company brings together Sheila Atim (who won an Olivier for her role in “Girl From the North Country”) and Ivanno Jeremiah, who have a visceral connection onstage. Jeremiah is immediately likable as Roland, a beekeeper who meets Marianne at a barbecue and engages with her in a strange conversation about licking your elbow — to be honest, such exchanges work much better with the younger cast. Sheila Atim and Ivanno Jeremiah in “Constellations.”Marc BrennerAnd when Marianne confronts her possibly foreshortened life, the astonishing Atim communicates the gravitas of the situation even as Payne’s play makes clear that her fate can be rewritten with a happier ending in a parallel universe. These two are so good that, on a fourth viewing of the play, I felt as if I were seeing “Constellations” afresh: Atim and Jeremiah replay familiar material so it seems new — a virtue in a play that makes so much of repetition.If “Constellations” is late in raising the specter that its leading woman will die too soon, we know from the start that this is what will happen to the heroine of “Last Easter,” the 2004 play by Bryony Lavery at the intimate Orange Tree Theater through Aug. 7. (The show will be livestreamed on the theater’s website on July 22 and 23.) The director Tinuke Craig’s nimble production finds surprising levels of comedy in this story of June (the excellent Naana Agyei-Ampadu), a lighting designer with terminal cancer who goes on a pilgrimage with three friends to Lourdes, France, because — well, why not? Maybe a miracle will happen.June, it seems, is especially fond of the painter Caravaggio, and the first act veers away from anything maudlin toward lessons in art history one minute, a jaunty snatch or two from the song “Easter Parade” the next. The tone is unexpectedly breezy, and the camaraderie between June and her pals, also theater practitioners, is nicely done. These friendships keep June’s spirits buoyant, even as her body starts to let her down.From left, Naana Agyei-Ampadu, Jodie Jacobs and Peter Caulfield in Bryony Lavery’s “Last Easter,” directed by Tinuke Craig at the Orange Tree Theater.Helen MurrayYet after the intermission, as June’s condition worsens, the writing turns more self-conscious. June’s devoted buddy Gash (Peter Caulfield) twice calls out “cliché alert,” and several events are described as “undramatic,” an unusual choice of adjective for a dramatist. (The quartet also includes the character of a heavy-drinking actress who soon wears out her welcome, both as written and performed.)The imminence of death seems to defy this gifted writer, who goes for the sort of deathbed scene that has been seen onstage and in movies many times over. Whatever the reason for “Last Easter’s” prosaic closing scenes, they share with “Constellations” a sense that mortality comes best in good company.Bach & Sons. Directed by Nicholas Hytner. Bridge Theater, through Sept. 11.Constellations. Directed by Michael Longhurst. Vaudeville Theater, through Sept. 12.Last Easter. Directed by Tinuke Craig. Orange Tree Theater, through Aug. 7. More

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    Stephen Colbert Tackles Books About Trump’s Time in Office

    Tell-alls about the Trump presidency include “Landslide,” “Betrayal” and “Nightmare Scenario,” “which is also how the former president describes having to read a book,” Colbert joked on Wednesday.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.Good Reads“We’re learning a lot of new details about the last days in office of former president, the Turd Reich,” Stephen Colbert joked on Wednesday of Donald J. Trump. Those books have names like “Landslide,” “Betrayal” and “Nightmare Scenario,” which Colbert said was “also how the former president describes having to read a book.”“Other new books are using titles that are actually quotes of his, like ‘I Alone Can Fix It,’ and ‘Frankly, We Did Win This Election.’ Those, of course, join the ranks of other great titles, like ‘People Are Flushing Toilets 10 Times, 15 Times,’ ‘The Kidney Has a Very Special Place in the Heart,’ ‘Person, Woman, Man, Camera, TV: The Book,’ and, of course, ‘In Europe, They Live, Their Forest Cities. They Are Called Forest Cities, They Maintain Their Forests, They Manage Their Forests. I Was With the Head of a Major Country — It’s a Forest City.” — STEPHEN COLBERT“The big bombshell from these books is an account of the infamous moment during the D.C. Black Lives Matter protest when the big strong law and order president hid in an underground bunker. The ex-president was so embarrassed when his little hidy-hole adventure was leaked that he reportedly said, ‘Whoever did that, they should be charged with treason,’ adding, ‘They should be executed.’ Careful, sir, if you start executing people for leaking, you’ll have to find a new lawyer.” — STEPHEN COLBERTTonight’s Monologue: Trump says whoever ‘leaked’ info on his White House bunker stay should be ‘executed,’ the Olympics’ new weird medal rule, and Biden’s “red phone” with China. #FallonMono #FallonTonight pic.twitter.com/hm3CYZwVps— The Tonight Show (@FallonTonight) July 15, 2021
    “In Trump’s defense, he didn’t want to stay in that bunker, but once he went down all those stairs, there’s no way he’s going back up.” — JIMMY FALLON“Speaking of Trump, a new book just came out that describes ‘anarchy and chaos’ in the final days of his administration. Yeah, the final days were ‘anarchy and chaos,’ as opposed to the early days of Omarosa and Scaramucci that were a well-oiled machine, I guess.” — JIMMY FALLONThe Punchiest Punchlines (‘Good 4 You’ Edition)“Pop star Olivia Rodrigo met with President Biden and Dr. Anthony Fauci today to discuss coronavirus vaccine outreach. That story, again: America’s No. 1 teen idol met with Joe Biden and Olivia Rodrigo.” — SETH MEYERS“Vaccination rates are especially low among the younglings, so today pop star Olivia Rodrigo went to the White House to promote vaccines. Rodrigo told everyone who has already been vaxxed, ‘Good for you, you look happy and healthy.’ If you didn’t get that reference, I’m guessing you’ve been eligible for a vaccine since December.” — STEPHEN COLBERT“There she is about to enter the same door used by historical figures like James Monroe, Abraham Lincoln and Kid Rock.” — STEPHEN COLBERTThe Bits Worth WatchingThe comedian Phoebe Robinson, who was the guest host on Wednesday’s “Jimmy Kimmel Live,” surprised the Scripps National Spelling Bee champion Zaila Avant-garde with an appearance from Bill Murray.What We’re Excited About on Thursday NightLorde will perform her new single, “Solar Power,” on Thursday’s “Late Show.”Also, Check This OutIn “Ted Lasso,” Jason Sudeikis plays a character he helped create in 2013 for NBC Sports promos. “It was like, What about just playing a good guy?” he said.Daniel Dorsa for The New York TimesJason Sudeikis and the creative team behind the Apple TV+ show, “Ted Lasso,” which returns for a second season on July 23, talk about its surprise success. More

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    Court Orders Resentencing of Joe Exotic in ‘Tiger King’ Murder-for-Hire Plot

    An appeals court upheld the conviction but ruled that the trial court had miscalculated the sentence for hiring people to kill Carole Baskin.The 22-year prison sentence given to Joe Exotic, the central character in the popular Netflix series “Tiger King,” was vacated as improper on Wednesday by a federal appeals court that affirmed his conviction but ordered him resentenced for hiring people to kill his nemesis, Carole Baskin.Joe Exotic, whose real name is Joseph Maldonado-Passage, was sentenced to prison last year after he twice tried to hire people — including an undercover F.B.I. agent — to kill Ms. Baskin, a self-proclaimed animal-rights activist who had criticized his big cat zoo’s treatment of animals.The U.S. Court of Appeals for the 10th Circuit ruled in favor of Mr. Maldonado-Passage’s appeal that his sentence was too long. He argued that a Federal District Court in Oklahoma did not group his two murder-for-hire convictions when his sentence was calculated. If the court had grouped the two counts together instead of considering the counts for separate sentences, his prison term could have been as low as 17 and a half years, according to the court ruling.In addition to two counts of murder-for-hire, Mr. Maldonado-Passage, 58, was found guilty of falsifying wildlife records and violating the Endangered Species Act for his role in trafficking and killing tigers. The court on Wednesday upheld his convictions.In a recording his lawyers provided to The Times, Mr. Maldonado-Passage said after the ruling that he believed his original sentence was “absolute crap.” He also said that Ms. Baskin said she would help him get out of prison if he supported the Big Cat Public Safety Act, a congressional bill limiting the trade of big cats.Mr. Maldonado-Passage’s lawyer for the appeal, Brandon Sample, said in a statement on Wednesday that he was optimistic that the court’s decision was the first of many victories for his client.“I knew when I agreed to represent Joe that an appeal would be difficult,” Mr. Sample said, “but I also knew that the law was on Joe’s side.”Carole Baskin at her Big Cat Rescue compound near Tampa, Fla., in 2017.Loren Elliott/Tampa Bay Times, via Associated PressThe contentious relationship between Mr. Maldonado-Passage and Ms. Baskin, 60, was one of the main plot lines of “Tiger King.” He owned a zoo, the G.W. Exotic Animal Park in Wynnewood, Okla., that housed lions, tigers and big cat crossbreeds, which Ms. Baskin condemned, prosecutors said. Ms. Baskin operated her own big cat facility in Florida, but she described hers as a sanctuary that did not crossbreed big cats.The feud escalated when Mr. Maldonado-Passage renamed his cat shows “Big Cat Rescue Entertainment,” a name similar to Ms. Baskin’s sanctuary, “Big Cat Rescue.” Ms. Baskin won a $1 million lawsuit against him over the name dispute, and he filed for bankruptcy because he could not afford his legal fees, prosecutors said.“It was a rivalry made in heaven,” the court ruling said.Mr. Maldonado-Passage decided to retaliate by hiring two people in 2017 to kill Ms. Baskin in Florida, a federal jury found. He paid his zoo employee, Alan Glover, $3,000 to travel to Tampa and cut off Ms. Baskin’s head.But Mr. Glover “got no further than partying on Florida beaches,” the appeals court ruling said.A month later, Mr. Maldonado-Passage offered a $10,000 payment to a man who turned out to be an undercover F.B.I. agent. He was arrested in 2018.“Despite all his efforts, Maldonado-Passage’s murderous plans failed,” the court ruling said.Mr. Maldonado-Passage now awaits a new sentence as he languishes in a Texas prison, the same place where he tried and failed to persuade President Donald Trump to pardon him. He’s hoping that President Biden will free him.“President Biden, if you are listening,” Mr. Maldonado-Passage said in the recording, “this is the time that you need to be a world hero and sign that pardon.”John M. Phillips, another lawyer for Mr. Maldonado-Passage, said in a statement that his team has new evidence that could change the outcome of the case. The lawyer claims that Ms. Baskin’s husband, Howard Baskin, had spoken years ago with the U.S. Fish and Wildlife Service about infiltrating Mr. Maldonado-Passage’s zoo.“People should know what they saw in television isn’t the full truth,” Mr. Phillips said. “It isn’t even the tip of the iceberg.”Mr. Baskin did not immediately respond to requests for comment. More

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    City Center Announces Its 2021-2022 Season

    The theater will reopen for in‐person performances with the Fall for Dance Festival in October.New York City Center will resume live, in-person performances in October with the Fall for Dance Festival, one of its signature events. The dance showcase will kick off the theater’s 2021-2022 season, which is also set to include a Twyla Tharp birthday celebration, Alvin Ailey American Dance Theater’s annual holiday season engagement and two new dance series.“We really wanted to reaffirm our commitment to New York audiences, as a very New York institution, and to New York artists,” Arlene Shuler, City Center’s president and chief executive, said of the ambitious season.“It’s such a huge opportunity for artists,” added Stanford Makishi, the vice president and artistic director of dance programs. “The ones with whom I’ve been speaking over the last 16 months, they’ve all been really dying to not only get back on the stage, but also to actually have the interaction with the audiences.”City Center announced four commissions for this year’s Fall for Dance on Tuesday. Ayodele Casel, Lar Lubovitch and Justin Peck will create new pieces that will be sprinkled throughout the festival’s five programs; and the Verdon Fosse Legacy, an organization dedicated to preserving the work of Bob Fosse and Gwen Verdon, will reconstruct three dances for the festival. The full lineup and schedule will be released at the beginning of September.In November, Twyla Tharp will celebrate her 80th birthday with “Twyla Now,” a program featuring two world premieres as well as signature works. A host of stars, Sara Mearns and Robert Fairchild among them, will perform, supported by an ensemble of young dancers.City Center’s new dance programming will begin in 2022. Tiler Peck, a principal at New York City Ballet, will inaugurate Artists at the Center, which gives an accomplished dancer the opportunity to craft a program; Peck’s program, March 3-6, will feature works by William Forsythe, Alonzo King and others. City Center Dance Festival, a spring counterpart to Fall for Dance, will follow, March 24 to April 10. It will showcase several New York companies, including Martha Graham Dance Company, Dance Theater of Harlem and Paul Taylor Dance Company.The Encores! series, which revives rarely produced Broadway musicals, will also return in 2022. The three shows, “The Tap Dance Kid” (Feb. 2-6), “The Life” (March 16-20) and “Into the Woods” (May 4-15), were announced last year. The coming Encores! season will be the first under the artistic leadership of Lear deBessonet, who was announced as Jack Viertel’s successor in 2019.More information is available at nycitycenter.org. More

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    Hollywood Foreign Press Presented With Golden Globes Reform Plan

    Proposals for the embattled Hollywood Foreign Press Association include adding 50 members to its voting ranks to bring in more diversity and creating a for-profit spinoff company.LOS ANGELES — For months, the Hollywood Foreign Press Association, the troubled nonprofit organization behind the big-money Golden Globe Awards, has been wrestling with how to reform itself after an outcry over financial, ethical and diversity lapses and NBC’s cancellation of next year’s Globes telecast.Part of the challenge: Swaths of the entertainment industry — and a few H.F.P.A. members, two of whom quit in protest in recent weeks — have deemed the “transformational” changes proposed by the group’s board as insufficient. A particular point of contention has been inclusion; the group currently has about 80 members, none of whom are Black.On Wednesday, an expanded reform plan was presented to the organization’s members for consideration.Todd Boehly, the chairman of Eldridge Industries, a holding group with assets that include Dick Clark Productions, the decades-long producer of the Golden Globes, presented the complex plan over Zoom. Its core components involve the speedy addition of 50 journalist voters to the current group of about 80, with an emphasis on diversity; the creation of a spinoff, for-profit Golden Globes company in partnership with Eldridge that would be governed by a 15-member board; and tougher and more transparent requirements for reaccreditation as an H.F.P.A. member, which must be done annually.Jesse Collins, a producer whose awards-show credits include the Academy Awards, the BET Awards and the Grammys, and who will produce the next American Music Awards, a Dick Clark production, has agreed to work with Eldridge to advance H.F.P.A. reform. “This is an exciting opportunity to be part of real change,” Mr. Collins said in an email.Eldridge has gotten involved because the Golden Globes generate tens of millions of dollars in revenue for Dick Clark Productions. Eldridge wants to set the Golden Globes up for long-term stability and even growth — possibly by expanding overseas to produce local versions of the show or perhaps turning the flagship ceremony into a multiday event. If the organization moves quickly enough (a long shot considering its recent infighting), Eldridge even believes the 2022 Golden Globes could be salvaged.“While we recognize that this is ultimately an H.F.P.A. membership decision, we look forward to investing time and resources to ensure that essential reforms — prioritizing inclusion, transparency and governance — are implemented, creating meaningful change and long-term, sustained success,” Eldridge said in a statement.The H.F.P.A. is expected to vote this summer on various reform proposals. The organization requires a two-thirds majority vote to change its bylaws.In the meantime, those in Hollywood who are pressuring the H.F.P.A. to change — stars, publicists, filmmakers, show creators — will undoubtedly scrutinize the fine print on Eldridge’s proposal and weigh in. It is unclear, for instance, how the voter-expansion plan will be received.Eldridge’s suggestion of 50 additional voters would be a 63 percent increase. But those voters would not become members, at least not immediately. That means they would not receive the same financial opportunities as the current members, who would become employees, with rolling terms, of the new for-profit company and have responsibilities that include producing content that can be used to promote the Globes.(A nonprofit H.F.P.A. arm would continue to exist as well, with responsibilities that include charitable giving; the organization says it has given away $45 million over the last 28 years. On Wednesday, Mr. Boehly proposed that the charitable entity expand its mission, including by endowing journalism chairs at one or more historically Black colleges and universities.)The foreign press association has been under fire since February, when a wide-ranging Los Angeles Times article found, among other things, that the group had no Black members, had more than $50 million in cash on hand at the end of October and paid large sums to members for serving on committees. The newspaper has continued to scrutinize the organization, publishing more than 40 articles about its problems and the most recent Globes ceremony.During the Globes telecast on Feb. 28, members of the foreign press association vowed to diversify the group. A set of changes were announced in early May. They included increasing the group’s membership by 50 percent over the next year and a half and hiring diversity consultants (those initially hired to do the job quit under protest). The association also said it planned to hire a search firm to seek potential candidates to run the group, and had retained a law firm to help carry out the changes.But Hollywood — long willing to turn a blind eye to the group’s problematic inner workings — pushed back. Netflix declared that it would not work with the organization unless additional changes were made. Amazon and WarnerMedia said the same. Scarlett Johansson said in a statement that the organization’s news conferences “bordered on sexual harassment,” and Tom Cruise returned his three Golden Globe trophies. A group of more than 100 publicity firms that serve the entertainment industry vowed a boycott.All of that, and the knowledge that the ratings for February’s show dropped precipitously, prompted NBC to cancel the 2022 show.“We continue to believe that the H.F.P.A. is committed to meaningful reform,” the network said at the time. “However, change of this magnitude takes time and work, and we feel strongly that the H.F.P.A. needs time to do it right.” More