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    Emerging From Covid, Small Theaters in Los Angeles Face a New Challenge

    A state law threatens to drive up labor costs for the city’s hand-to-mouth small theater scene as it tries to emerge from the pandemic.LOS ANGELES — “And here she is, in all her glory.”With a clank of a switch, Gary Grossman, the artistic director of the Skylight Theater Company in Los Angeles, turned up the lights over the 99 seats of his shoe box of a theater in Los Feliz the other morning. The Skylight looked pretty much the way it did when it abruptly shut down in March of 2020. Planks of scenery from its last production, “West Adams,” were gathering dust, leaned up against the rear of the stage.Concert halls, arenas, movie houses, baseball stadiums and big theaters are reopening here and across the country as the pandemic begins to recede. But for many of the 325 small nonprofit theater companies scattered across Los Angeles, like the Skylight, that day is still months away, and their future is as uncertain as ever.“How long will it be until we get back to where we were?” Grossman asked, his voice echoing across the empty theater that was founded in 1983. “I think three to five years.”This network of intimate theaters, none bigger than 99 seats, is a vibrant subculture of experimentation and tradition in Los Angeles, often overlooked in the glitter of the film and television industry. But it is confronting two challenges as it tries to climb back after the lengthy shutdown: uncertainty as to when theatergoers will be ready to cram into small black boxes with poor ventilation, and a 2020 state law, initially intended to help gig workers such as Uber drivers, that stands to substantially drive up labor costs for many of these organizations.The new gig worker law mandates that all theaters, regardless of size, pay minimum wage — which is ramping up to $15 an hour in California — plus payroll taxes, workers’ compensation and unemployment insurance. While some unionized theaters paid a minimum wage before, many had exemptions from Actors’ Equity which allowed them to pay stipends that typically ranged from $9 to $25 for each rehearsal or performance.Producers say the new state law means expenses for many small theaters will climb steeply at an exceptionally fragile moment for the industry.“Small performing arts organizations are on the verge of disappearing in California,” said Martha Demson, the board president of the Theatrical Producers League of Los Angeles. “It’s an existential crisis. We had the 15 months of Covid. But also now the California employment laws; to remain good employers we have to hire all of our employees as full-time employees.”Many organizations have survived these past months with government grants, support from donors and breaks from landlords. But Demson said some theaters that were forced to turn off the lights may never be able to return in this difficult environment.The Fountain Theater held outdoor performances of “An Octoroon.”Philip Cheung for The New York TimesIt has all added to an atmosphere of anxiety for a part of Los Angeles that has often felt a bit like a cultural stepchild. For all its growth and accolades, and its importance to actors looking for a place to work or stay sharp between roles in movies or on television, the theater scene has been too often overlooked. There is no central district of small theaters, as there is in many cities: They are scattered across North Hollywood, Atwater Village, Westwood, a stretch of Santa Monica Boulevard in Hollywood, Culver City and downtown Los Angeles.“Reminding the public that intimate theater not only exists but is essential to a well-balanced life in L.A. has been a challenge for decades,” said Stephen Sachs, the co-artistic director of the Fountain Theater. “We are always up against the goliath of the film and television industry.”Danny Glover, an actor who began his career on small stages in Los Angeles and San Francisco and was a co-founder of the Robey Theater Company in Los Angeles, described the theater scene as central to his own success.“Something happened in those small places with 50 people in there that opened me up in different ways, that made me realize there was something I could say in front of a camera or in front of a stage,” Glover said in an interview. “I’ve seen actors in a small theater, whether it’s in San Francisco or L.A., the next thing they are on their way to a career. That doesn’t often happen with the kind of pressures that are there when you are in a theater for profit.”Intimate theaters operate hand-to-mouth. Only 19 of the 325 small theaters have budgets over $1 million, and those account for 83 percent of the combined revenue of the entire sector, according to the Theatrical Producers League.“We are always underfunded,” said Taylor Gilbert, the founder of the Road Theater Company. “Live theater is not the best of models for making money.”Many theaters operated on the margins even before the pandemic; now producers worry about when audiences will feel safe returning. With the highly contagious Delta variant spreading, Los Angeles County health authorities recently recommended that people resume wearing masks at indoor venues.Demson, the producing artistic director of the Open Fist Theater Company, estimated the new law, which took effect just before California shut down, would add $193,500 in labor costs to her company’s annual budget, which now varies between $200,000 and $250,000.Many industries have responded to the bill, known as AB5, by lobbying Sacramento for exemptions. But there is little support for that in this theater community, which tends to be politically progressive.“It puts another financial burden on already strapped small companies,” Gilbert said. “At the same time we all support the idea that an artist should get a living wage. That’s the conundrum.”Actors’ Equity has come out strongly against exempting its members from the law, instead pushing for financial assistance from state and federal government to help theaters get back on their feet.“We think it’s a bad idea to have an exemption,” said Gail Gabler, the western regional director of Actors’ Equity. “We all want the same thing, We want the theater to open. It’s important for our economy and it’s important for our souls and it’s important for the actors who work in theater. But we want our actors to be fairly paid and work in safe conditions.”As a result, theater leaders are pressing lawmakers in Sacramento for legislation that would provide aid to help theaters cover the explosion of costs. There are two main initiatives: A one-time $50 million subsidy included in the state budget for struggling small theaters, and another that would set up a state agency to handle the cost of processing the new payroll requirements.But some small theater operators say that those bills would not do enough.“The financial subsidies would be great if they were written as a long-term sustaining line item in the California state budget,” said Tim Robbins, the Academy Award-winning actor and artistic director of the Actors’ Gang, a small theater in Culver City. “The real question is what happens next year when there are no financial subsidies left and the new precedents for nonprofits has been established?”The Fountain transformed its parking lot into an outdoor theater.Philip Cheung for The New York Times“For me the essential question is how AB5 went from a bill meant to address the nonprotection of gig workers (Lyft and Uber, etc.) to a bill that is bullying nonprofit theater companies?” he asked in an email.Susan Rubio, the Democratic California senator who is sponsoring the bill to set up a state agency and pushing for the $50 million subsidy, argued her approach would help the industry survive these challenging times.“Many have concerns and will continue to have concerns,” she said in an interview. “But California prides itself in taking care of its workers.”Grossman said he is hopeful that the Skylight will begin live performances by the fall. But other theaters are not as optimistic.Jon Lawrence Rivera, the founding artistic director of Playwrights’ Arena, which only produces the work of Los Angeles writers, said he was resigned to a difficult few years. Before the crisis, the Arena would fill 90 percent of its 50 seats. “Now, I’m thinking 30 to 40 percent capacity at the most,” he said.Most ominously, he worries that emergency grants will dry up as things return to normal.“The resources that we have been able to accumulate will disappear within two or three shows,” he said.The pressure to open is intense. The Hollywood Bowl staged its first public shows at the beginning of July, and in August, “Hamilton” is coming back to the Pantages Theater, with 2,700 seats, in Hollywood.Some theaters took advantage of the California climate and headed outside. The Wallis Center for Performing Arts in Beverly Hills recently reopened with a show on a pop-up outdoor theater it built on a terrace — “Tevye in New York!”The Fountain Theater, which has 80 seats, transformed its parking lot into an outdoor theater, and opened last month with “An Octoroon.” Bright red bushes of blooming bougainvillea offered a lush wall on one side of the seating area as cars buzzed by on Fountain Avenue and the occasional helicopter rumbled overhead. “Mufflers!” grimaced Rob Nagle, one of the actors, without breaking out of character, as a particularly deafening motorcycle roared by.There seems to be a resignation that many small theaters will face a hard time. “We know once the smoke clears some of them won’t be reopening,” said Mitch O’Farrell, a member of the Los Angeles City Council whose district includes many of the theaters.But Grossman said for all the concern — and the likelihood that some theaters would not reopen — he was confident that in the end, this scrappy culture would survive. “We are like cockroaches,” he said. “You’re never going to get us. We are going to sustain. But it’s going to be tough.” More

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    Tim Gunn’s Happy Place Is ‘Schitt’s Creek,’ Washed Down With Good Gin

    The ‘Making the Cut’ host discusses the marvels of Derek DelGaudio, how Nora Ephron didn’t disappoint and why he’s tempted to steal a Picasso.Tim Gunn, the impeccably turned-out fashion emperor of Amazon’s “Making the Cut,” traded his suits for a turtleneck and jeans during the pandemic. He even dared to don sweatpants, but only if there was no one around to see him.“The silver-lining, fashion-wise, to this pandemic is that it’s taught me to respect and understand and, in fact, empathize with comfort dressing,” Gunn said.Still, there’s comfort and there’s comfort.On the day of our phone interview, the temperature was in the 90s, his air conditioning had conked out, and Gunn had a confession to make.“Frankly, I’m wearing — I’m wearing my underwear,” he said, struggling to spit out the words before erupting into laughter. “And I’ll tell you why. It’s because I care about my apartment and what’s in it, and I’m sweating so profusely, I don’t want to get sweat stains on the upholstery.”Seventeen years after first putting their style noggins together on “Project Runway,” Gunn and Heidi Klum are back as the tough-love overlords of “Making the Cut.” In the second season, shot on a ranch in Malibu, Calif. — it kicks off on Friday — 10 designers compete for $1 million to invest in their business, a mentorship with Amazon Fashion and the chance to sell a collection through the online retailer, with each episode’s winning garment immediately available for purchase.But shooting the season wasn’t the crashing surf, expansive vistas and ocean breezes that Gunn had envisioned. Smoke from wildfires sometimes enveloped the set. And Covid-19 restrictions made for convoluted distancing proposals, like the suggestion that Gunn meet with contestants not in the design studio, but out on the lawn.He was having none of it.“I said, ‘This is too artificial, it’s too contrived,’” he said. “I need to be where they are. I need to see the bolts of fabric they’re not using. I need to see what that item is — on that dress form across the room. Why is it over there? Why have you rejected it already?”“My goal is to get the designer to see what I see, or understand where I’m coming from, without telling them,” he added, before diving into his list of cultural must-haves. “In some ways, it’s sort of psychotherapeutic to get them to talk enough and to reveal enough to have that ‘aha’ moment of ‘Oh, I get it.’”These are edited excerpts from the conversation.1. Picasso’s “Gertrude Stein” at the Metropolitan Museum of ArtBefore the pandemic, I went to the Met at least once a week. I haunted the place. I love all the curatorial departments passionately, but you would think that if I were choosing a favorite painting or sculpture, it would be from the ancient world. It’s not. It’s Picasso’s portrait of Gertrude Stein from 1906. And if I could steal anything, that would be it.I’m just spellbound by the painting. The neutrals of it. There’s nothing that shouts out at you, yet it has such depth, and it has a lyrical quality. On the one hand, it’s quiet. On the other hand, it’s like a TNT explosion. I can’t get enough of it, and every time I go to the Met, I go to visit it. And regrettably, I’ve said this to a number of guards, “Why do you keep moving it?”2. Derek DelGaudio’s “In & Of Itself” and “Amoralman”I went three times, and I went first knowing nothing about Derek DelGaudio and not frankly being much of a fan of illusionists. I couldn’t get up from my seat at the end of it. When you enter the lobby of the theater, there’s a huge wall of little tickets, and on them is printed something that you may be: “I am” blank. “I am a teacher.” “I am a crack smoker.” “I am — whatever.” I stumbled upon “I am a good Samaritan” and picked it.At the end of the show, Derek asked for members of the audience who had a real conviction about the “I am” that they chose to please stand. So I stood, and I’m waiting my turn, and I’m totally unemotional about it. But when he gets to me — I’m tearing up right now — and he said, “A good Samaritan,” I completely lost it. I thought, “How could he possibly know this?”The book [“Amoralman”] is as captivating as the show was. He has a way of luring you in and then twisting things that make you challenge what it is you thought you understood about what just happened. I mean, I thought this is a man with an extraordinary gift, but he’s also quite an artist.3. “Alice’s Adventures in Wonderland” and “Through the Looking-Glass” by Lewis CarrollI have reread those two books easily a dozen times. And at each juncture, I have new insight about them and their relevance to things that are happening to me. I reread them during the pandemic. It was in a way shining a light onto it, which was sort of metaphorical to what was happening not only in this nation, but in the world. And another case of don’t make assumptions, and the world really is turned upside down, and we’ll tumble through a rabbit hole and end up in a place that we’ve never imagined.4. GinWhy are there so few gin drinkers? Everybody’s drinking vodka or in some cases white rum. Ugh. I happen to be a huge gin fan, and I have had friends, my local liquor store, their acquaintances bring me their gin recommendations based on something unusual. And New York state gin is something people are talking about now. Now, if it’s not from the U.K., forget about it. It’s absolutely undrinkable. My niece’s boyfriend brought me a bottle of gin three weeks ago, and I thought, “Oh, this is thrilling, and it’s a beautiful label, and I can’t wait to try it.” Oh my god, I thought I was going to die of poison. [Walks to his bar to look at the brand] It’s dark, and it’s from Rochester. It’s a stunning bottle. It’s called Barr Hill Reserve Tom Cat Gin, and it has a lovely B on the stopper on top. [A loud crash] Oops. There goes my bar. It’s rejecting the Tom Cat.I love Bombay. I usually have a gin and tonic, though I love a restaurant martini. I’m not certain that I like Tim Gunn’s martinis. There’s something about having a martini out that’s really fantastic. And something about having it at home that’s kind of sad.5. “Schitt’s Creek”I was excited about Season 1 when it was first airing. I couldn’t get through two episodes. I thought: “This is horrible. I can’t stand this show.” And I left it. Then when I came back for Season 4, I thought, “Good heavens, in some ways it’s a different show.” It struck me that it had matured in a way. I can’t get enough of it. In fact, I try to squeeze in one 22-minute episode a day just because it takes me to a happy place.6. Little IslandI’m a huge fan of the Diller-von Furstenberg philanthropy. We have the High Line thanks to them. And now we have Little Island. It’s so beautifully, sensitively done, but it doesn’t feel precious. You feel as though you could just throw out a picnic blanket and have a meal there. It’s a remarkable, remarkable piece — and frankly, I saw the architectural plans and I thought: “This is so ambitious. How can this possibly be executed?” Well, it’s even a greater statement in real life.7. “Tootsie,” the MusicalAnother show I saw three times. The cast was brilliant. The writing’s brilliant. The songs are hilarious, if they’re not plucking at your heartstrings. I liked the movie. It certainly would not be one of my Top 10, maybe not even one of my Top 100. But the musical is one of my Top 10 musicals ever, if not the top. It’s just so delightfully told and uplifting, without being saccharin and ridiculous. Just plain laugh-until-you-hurt fun. I hope it returns to Broadway.8. Nora Ephron’s EssaysThose essays are a bit like the written form of “Schitt’s Creek.” They’re just so purging and cathartic. She says what’s on her mind, and she calls things the way they are, and it’s done with humor and intellect and a great deal of irony. I’ve reread them and I’ve reread, and I laugh just as hard. Everyone should have at least one volume, and have it handy.I say this with great pride. I still can’t quite believe it, but I was her dinner partner at a private home. She was very ill at that dinner, but she was effervescent and hilarious and delightful. I loved her. And I have to tell you, I approach these people I love so much very ambivalently because I’ve been disappointed. I thought, “I don’t want to hate her.” And I didn’t. If anything, I adored her even more. So I laugh even harder when I reread her.9. “Cleopatra” by Stacy SchiffBy nature, I’m a very curious person and I thought, “I want to read about the fall of the Roman Empire. How did this happen?” I’ve been fascinated with Cleopatra for a long time, and this book is completely and totally captivating and compelling.The world that Stacy Schiff paints for us is much more than Egypt and Alexandria. It’s really the entire known world from Mesopotamia and Iraq and Iran to the British Isles. It’s a phenomenal, phenomenal story. I’m going back to Trump and the U.S. and democracy. When you think about the shining highlights of ancient Rome, all of that happened within about 300 years. When you think about Egypt and Cleopatra, and the fact that she was a Ptolemy — the Ptolemys ruled Egypt for 300 years and then, over. And 300 years of the Romanovs in Russia, and then it’s over. So for me, it has been, “Oh my god, the United States. Will we make it to 300?”10. “Two Fat Ladies”Heidi and I and Sara Rea, the former [“Project Runway”] showrunner and uber-executive producer now, all had a vision about what we wanted to do on “Project Runway,” and no one would let us do it. When we left “Runway,” we thought, “Let’s pitch this vision.” And Amazon was thrilled about it.I love interacting with Heidi. On “Runway,” we had such separate and discrete roles that we barely ever did. We wanted to have these interactions that really had nothing to do with advancing the plot — just having fun together and an additional window onto whatever it is we’re doing. And the inspiration for these scenes was “Two Fat Ladies,” which premiered in the ’90s. They would have little vignettes where they would go off and make butter or go to a horse race, and you loved them for it. You felt that you had this sort of intimate relationship with them and that you knew them better, and you really did. So I kept telling everyone, “Watch the ‘Two Fat Ladies.’ That’s what I think we should be doing.” And it is what we did. More

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    Logos Lose Their Power on the New ‘Gossip Girl’

    Contrasting the fashions from the original series tells a much bigger story about trends overall.Even after the beloved teen drama series “Gossip Girl” ended in 2012, viewers couldn’t stop talking about the fashion. And now the show is back, with a Gen Z update. The reboot, which had its premiere on July 8 on HBO Max, takes place in the same world of wealthy Upper East Side elite as the original, but this time it’s barely recognizable as the same place.The show is significantly more diverse. The high school clique of the original show was mostly white and straight. Now there are several characters of color and plotlines that revolve around explorations of sexuality. The clothes the characters wear — maximalist sneakers, vintage purses, tote bags that promote their values — reflect a more intersectional worldview.The cast of the first season of “Gossip Girl,” when flats were the characters’ footwear of choice.Timothy White/The CWIn the rebooted series, Julien Calloway, played by Jordan Alexander, favors chunky Balenciaga sneakers.via HBOBalenciaga Sneakers Are the New Tory Burch Flats“Are those last season’s Tory Burch flats?” an incredulous Blair Waldorf asks a fellow student in Season 2 of the original show.Today, the question would be, “Are those Tory Burch flats?”When designing the wardrobes for the original show, the costume designer Eric Daman recalls walking by Upper East Side private schools and seeing groups of girls in Tory Burch flats. “It cemented the idea of, ‘OK, these young girls wear these designer brands and have cult favorites,’” he said. You’d see few logo-emblazoned ballet flats in that setting today.“The giant Balenciaga sneakers kind of replaced the Tory Burch flat,” Mr. Daman said. The change is indicative of what people, and young people in particular, consider the “it” shoe of today. Blending streetwear and luxury in a single commercial object, the sneaker is what epitomizes cool now.The new footwear is also part of the larger shift to sneakers, which rarely showed up in the old show. In the reboot, Zoya Lott, an outsider from Buffalo, wears the Adidas X Beyoncé Superstars in a key scene in which she meets the popular kids at school. The shoes are a gift from Julien, her half sister and an established Manhattanite. Showing up in the hot commodity shoes symbolizes a turning point for the character.“The shoes are kind of like a bridge into this other world for her,” Mr. Daman said.Blair Waldorf, played by Leighton Meester, carried a logo-heavy Louis Vuitton handbag in the original series.Ignat/Bauer-Griffin – GC ImagesWhitney Peak as Zoya Lott with one of her character’s signature expressive tote bags in the reboot.MediaPunch/ShutterstockThe New LogomaniaBig brand logos will be rare sights on the new show. Large logos don’t “feel authentic to what’s going on with this generation,” Mr. Daman said. “They’re less faithful to brands and less cliquey about them.”Logos used to signify status and a certain level of wealth, but today logos are often meant to convey political or social values. In the reboot, Zoya carries a tote from Revolution Books, a progressive indie bookstore in Harlem, as well as a “Recycling Black Dollars” tote bag from Melanin Apparel.Zoya’s bags are “all from really, really cool stores,” said Whitney Peak, who plays Zoya. “The bags very much speak to who she is.”Serena and Blair do their take on tights in the old series in 2007.Eric Leibowitz/The CWIn the new series athleisure pieces like bike shorts have replaced tights.via HBOAthleisure Is In, Tights Are Out“Tights are not pants!” Blair famously declared in the original series. Blair and her posse of mean girls commonly wore tights in a variety of colors and were offended at the sight of anyone wearing leggings without a skirt.With the exception of some plain black tights, the reboot is “a tightless world,” Mr. Daman said. And to what would certainly be Blair’s dismay, bike shorts are definitely considered pants now.Queen bee Julien frequently wears bike shorts, sometimes styling them with a collared shirt and tie. The athleisure movement, Mr. Daman said, “is a huge part of our culture and what’s going on in fashion. Coming out of the pandemic, people are holding onto their sweats but still want to dress up.”Jordan Alexander, who plays Julien, sees her character’s bike shorts as a highly relevant article of clothing today. “I don’t think it matters if you’re on the Upper East Side and in the one percent,” she said. “You’d still be rocking shorts.”Blair with an enormous, by today’s standards, handbag.Ray Tamarra/Getty ImagesJulien with a vintage Dior Saddle Bag.via HBODesigner Bags, But Now UsedIn the first iteration of the show, everything was big and new. Serena carried large hobo bags, and none of them were bought at resale shops. “If I brought in a secondhand bag to Serena van der Woodsen, she would’ve hit me with it,” Mr. Daman said.Today, staying true to Gen Z’s affinity for buying resale, several of the bags in the reboot are vintage. “We’ve done a lot of vintage Dior Saddle Bags, Fendi Baguettes,” Mr. Daman said. “It’s been great to have some eco-sustainability with these high-end bags.”Gen Z has been called Generation Green or the Sustainability Generation, and there’s a reason for it. Studies have shown that Gen Z makes shopping decisions based on how sustainable a business is, and at a higher rate than other generations. They want what they buy and what they wear to reflect their values.The size of the bags has also changed. The large hobo bag, Mr. Daman said, “is just not the jam” today. The micro Jacquemus Le Chiquito has yet to make an appearance, but it probably will soon, he said.Chuck Bass, played by Ed Westwick, in his element in a conventional men’s wear suit.Patrick Harbron/The CWThomas Doherty as Max Wolfe in a women’s Paco Rabanne blouse, breaking gender norms in a way the original show didn’t explore.via HBOExploring Gender Fluidity Through ClothesIn the original show, Chuck Bass was most often seen in a suit, conforming strictly to gender norms. “If I’d put a women’s blouse on Chuck Bass, it would’ve been a joke” Mr. Daman said.In the reboot, Max Wolfe, the flirty troublemaker of the group and the character most similar to Chuck, wears a white lace women’s Paco Rabanne shirt. Max, who is sexually fluid, is able to pull it off in a way that’s not kitschy or excessive. “To use clothing that doesn’t fit in with gender norms and not have it look like drag and be very sexy — he identifies as a male but wears this blouse — expands on the dialogue of what gender norms are and how we can have that conversation through clothing,” Mr. Daman said.Blair carried Chanel in the original series.James Devaney/FilmMagicSavannah Smith as Monet wears a classic Chanel belt.Jose Perez/Bauer-Griffin – GC ImagesOld Chanel Is the New New ChanelIn the first iteration of the show, Chanel was huge for the characters’ style but also for getting other designers to open up their collections to the show. “We didn’t have access to all the designer houses and weren’t getting loans,” Mr. Daman said. “Once Chanel said yes to us, the floodgates opened.”Today Chanel pieces that hold historic value are of huge importance to the characters. “It’s these archival pieces that have a heritage to them that are on point, especially for the Zoomers who seem to love all things throwback to late ’90s and early ’00s,” Mr. Daman said. Classic Chanel handbags and accessories make heavy appearances in the show, as they are pieces that still resonate with younger generations.Headbands were practically mandatory in the original series and were an essential accessory for Blair.The CWJulien repurposing Zoya’s headband as a necktie when she was made fun of for wearing it.Gotham/GC ImagesGoodbye, HeadbandAny OG “Gossip Girl” fan knows that headbands were a big deal. “Blair Waldorf’s headband has a life of its own,” Mr. Daman said. “It was always like her security blanket, for someone who was very tightly wound, very Type A. It was like the last piece of a very thought-out outfit that holds it all together.”The Gen Z characters don’t need that anymore. “They have a different kind of self-confidence that comes from just being,” Mr. Daman said.In the reboot, the mean girl Monet de Haan snarks, “She has a headband on” when she spots Zoya, the out-of-towner. Julien, her half sister, promptly unties the silk scarf and slips it around Zoya’s neck.Headbands may be scarce, but neckties of all sorts are in. Audrey Hope, another member of the gang, wears hair ribbons or scarves around her neck, resembling a tie. “It really shows both sides of her — very feminine, classic energy as well as a side of her that’s a little bit more masc,” said Emily Alyn Lind, who plays Audrey.The desire to ditch the stuffy headband speaks to the times. “We’re in an internet age,” said Ms. Alexander, who plays Julien. “People don’t feel like they need to be one thing anymore. We’ve been exposed to so much.” More

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    Late Night Has Plenty of Virgin Jokes

    Richard Branson’s spaceflight with his company Virgin Galactic was the talk of late night on Monday.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.Taking Up SpaceLate-night hosts couldn’t resist poking fun at Richard Branson’s trek into space over the weekend with his company Virgin Galactic, the first in a series of planned trips by billionaire entrepreneurs.“You know these are crazy times when it’s safer flying to space than going on a Carnival Cruise, don’t you think?” Jimmy Fallon joked in his monologue on Monday.“That’s right, Virgin Galactic made history by launching the first goatee into space.” — JIMMY FALLON“Yeah, Branson went with two pilots and three of his employees. So if you think it’s awkward riding an elevator with your boss, try going to space.” — JIMMY FALLON“Actually, I got a little choked up watching Branson’s flight. It always warms my heart to see billionaires achieve their dreams.” — JIMMY FALLON“I was happy for him, though. Normally when a billionaire flies away faster than the speed of sound, it’s because they just got linked to Jeffrey Epstein.” — JIMMY FALLON“That’s right, Branson beat Jeff Bezos to space. That’s why Branson got home and found a little flaming Amazon package on his front porch.” — JIMMY FALLONThe Punchiest Punchlines (Virgin Jokes Edition)“The Virgin flight took about an hour, which is the first time any virgin has ever done anything in an hour.” — ARSENIO HALL, guest host on “Jimmy Kimmel Live”“Branson’s trip to space only lasted about four minutes, which is honestly pretty good for a virgin.” — JIMMY FALLON“Now, technically — technically — Branson’s flight reached the edge of space, and the Virgin Galactic crew experienced only four minutes of weightlessness. He barely went in and lasted only a few minutes? Well, that is a virgin.” — STEPHEN COLBERT“That’s right, the flight went more than 50 miles high to the edge of space. Southwest heard and was like, ‘Big deal. We did that last week when one of our pilots fell asleep.’” — JIMMY FALLON“Eighty kilometers? That’s not even worth mentioning at a party.” — SETH MEYERS“Just ’cause you touched net doesn’t mean you can say you dunked. Branson’s like one of those guys who say, ‘Yeah, I’ve been to Texas’ and then you find out he changed planes once at Dallas-Fort Worth.” — SETH MEYERS“Call me when you’ve reached the moon, Richard. Surprised he didn’t call me yesterday — he’s probably got cell service up there.” — SETH MEYERSThe Bits Worth WatchingSeth Meyers’s “Closer Look” delved into some of the more notable moments from the Conservative Political Action Conference over the weekend.What We’re Excited About on Tuesday NightRichard Branson, just back from space, will check in with Stephen Colbert on Tuesday’s “Late Show.”Also, Check This OutFrom left, Murray Bartlett, Jolene Purdy, Natasha Rothwell, Christie Volkmer and Lukas Gage in “The White Lotus.” The series focuses on the interactions between guests and staff members at a luxury resort.Mario Perez/HBOHBO’s new series “The White Lotus” is a perfectly timed satire of privilege from Mike White, the writer behind the short-lived but beloved show “Enlightened.” More

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    Paul Orndorff, Wrestler Known as Mr. Wonderful, Dies at 71

    The wrestler competed in the first WrestleMania, held in 1985 at Madison Square Garden.Paul Orndorff, the WWE Hall of Famer known to fans as Mr. Wonderful, who fought against Hulk Hogan in the first-ever WrestleMania, died on Monday in Fayetteville, Ga. He was 71.Mr. Orndorff’s death was announced by his son Travis Orndorff on Instagram. No cause was given.“Most of you will remember him for his physique,” his son said in the Instagram post. “Many will remember his intensity. But if I could only get you to understand and see his heart.”Mr. Orndorff joined the World Wrestling Federation, known today as World Wrestling Entertainment, in 1983, and debuted in 1984, according to WWE.He participated in the first WrestleMania at Madison Square Garden in March 1985 in a fight with Roddy Piper against Hulk Hogan and Mr. T., according to WWE. Mr. Hogan and Mr. T won the fight. The next year, Mr. Orndorff fought against Mr. Hogan in an event that drew more than 60,000 spectators to Canadian National Exhibition Stadium in Toronto, which Mr. Hogan won by disqualification.Mr. Orndorff was inducted into the WWE Hall of Fame in 2005, in the same class as Mr. Hogan.On Monday, Mr. Hogan paid tribute to Mr. Orndorff on Twitter: “Thank you for always making me fight for everything in our matches, heaven just got even more wonderful.”Born on Oct. 29, 1949, in Brandon, Fla., Paul Parlette Orndorff Jr. attended the University of Tampa, where he was a running back, and graduated in 1972, according to the university. Mr. Orndorff was selected by the New Orleans Saints in the 12th round of the 1973 N.F.L. draft, but later began a career in professional wrestling.Mr. Orndorff won his first championship, Memphis territory’s Mid-Southern Heavyweight title, in 1977, according to the University of Tampa Hall of Fame, which he was inducted into in 1986.In a tweet, WWE said Mr. Orndorff “brought a swagger and style to the WWE Universe that turned his talent into a prototype for the modern-day superstar.”Gary Cassidy, a freelance writer who covers professional wrestling, said in a tweet that Mr. Orndorff was “an integral part of the strides that made it possible for Hulkamania to run wild and one of the most WrestleMania matches of all time.”He said that Mr. Orndorff was “without doubt, one of the greatest wrestlers to never hold a major world championship.”In Instagram posts before Mr. Orndorff’s death, his son alluded to concerns about brain damage from wrestling.Three days before Mr. Orndorff died, his son posted a picture of one of his father’s notebooks on Instagram with a phone number.“If you can’t read it, it says ‘son, I think.’ I haven’t had that phone number since 2005,” Mr. Orndorff’s son said in the caption. “I hope the world will start to take notice of the brain damage and the consequences of this lifestyle.”Mr. Orndorff was involved in several cases filed by a group of former wrestlers against WWE. They claimed that they had suffered neurological damage, such as chronic traumatic encephalopathy, “as a result of physical trauma they experienced while performing.”The cases were dismissed because the claims were filed after a statute of limitations expired or because they were “frivolous,” court documents show.Complete information on survivors was not immediately available on Monday night. More

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    Drake Bell Given Two Years of Probation in Child Endangerment Case

    The former star of the Nickelodeon series “Drake & Josh” had pleaded guilty to two charges related to a girl he met online. She attended one of his concerts in 2017.Jared Drake Bell, a former star of the Nickelodeon series “Drake & Josh,” was sentenced on Monday to two years of probation after pleading guilty to two charges against him relating to a girl he had met online and who attended one of his concerts in Cleveland in 2017. More

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    Andrew Lloyd Webber’s New Act: Activism

    LONDON — Andrew Lloyd Webber, 73, has for decades been a household name in Britain for his flamboyant, quasi-operatic musicals. Now, he’s becoming known for something more unexpected: activism.For over a year now, Lloyd Webber — who redefined musical theater with shows like “The Phantom of the Opera” and “Cats,” and served for years in the House of Lords — has been harassing Britain’s conservative government to get theaters open at full capacity, at times making scientifically questionable claims along the way.This June alone, he made newspaper front pages here after pledging to open his new “Cinderella” musical “come hell or high water” — even if he faced arrest for doing so. (He quickly pulled back from the plan after learning his audience, cast and crew risked fines, too.)He went on to reject an offer from Prime Minister Boris Johnson of Britain that would have let him do a trial opening of “Cinderella” without restrictions because it left other theaters in the lurch; take part in legal action against the government demanding it release results of research into whether coronavirus spread at cultural events; and to tell an interviewer he regretted caucusing with Britain’s Conservative Party when in the House of Lords because the party was now failing to support the arts and commercial theater.“The way he’s done it is like something out of his musicals — it’s loud, it’s over the top,” said Arifa Akbar, the chief theater critic for The Guardian newspaper.A scene from Lloyd Webber’s new musical “Cinderella,” which is now playing to reduced capacity audiences, despite his wishes.Tristram KentonJames Graham, a leading playwright (whose “Ink” played Broadway in 2019) said approvingly that Lloyd Webber had become “a big thorn in the government’s side.”Theater has been one of the industries hit hardest by the pandemic. In New York, most Broadway theaters do not plan to reopen until September. In England, theaters have been allowed to open with socially distanced and masked audiences for brief periods, with the West End most recently reopening on May 17.But Lloyd Webber has, impatiently at times, urged the government to provide clarity on when theaters can reopen at full capacity, complaining that they were forced to remain shut or enforce restrictions far longer than other businesses.Now the government seems to be giving him the clarity he sought: it plans to lift most remaining restrictions on July 19.“I never wanted, never intended to be the sort of spokesman for the arts and theater in Britain,” Lloyd Webber said in a recent interview at the Gillian Lynne Theater, where his musical “Cinderella” was in socially-distanced previews. “But there came this strange situation where nobody else seemed to be.”Outside the theater, several theatergoers praised Lloyd Webber’s new role. “I’ve never been his biggest fan — I’m more a Sondheim fanatic,” said Carole Star, 70. “But if I see him tonight, it’ll be difficult not to hug him.”“I could cry at what he’s done this year,” she added.Lloyd Webber and Tim Rice last September at a socially distanced London performance of their musical “Jesus Christ Superstar.”David Jensen/Getty ImagesBut others said they were glad he had pulled back from the threat to fully reopen before the government decided to allow it. “I admire his passion, but I hope he keeps things safe,” said Samantha Fogg, 25.Lloyd Webber, who participated in vaccine trials, said he had been driven by “a real sense of injustice” that theater has been treated differently than other parts of British life. He complained that in June, tens of thousands of soccer fans were allowed in stadiums — “everybody singing completely pissed,” he said — while theaters could only open at limited capacity and amateur choirs were not allowed to sing indoors. (Scientists have been clear that outdoor events are far safer than indoor ones.)The British government’s attitude to the arts was “dumbfounding,” he said.But health officials are not impressed with a theater composer’s opinions on the safety of fully reopening.In June, the British government released a report on a series of trial cultural and sporting events. The events, mainly held outside for people who could show that they had tested negative, only led to 28 potential coronavirus cases, it said, but the data had to be interpreted with “extreme caution.” And the study was conducted before the more infectious Delta variant began sweeping Britain.The report “basically says everything’s completely safe,” Lloyd Webber claimed. But Paul Hunter, a British academic specializing in epidemics, said in a telephone interview the report did “not in any way” say it was safe to reopen indoor theaters. (He said he approved of the government’s plan to reopen at full capacity on July 19.)When the pandemic first hit Britain, Lloyd Webber tried to show that theaters could reopen safely by adopting measures like those that were keeping his “Phantom of the Opera” running in Seoul. Those included requiring audience members to wear masks, doing temperature checks at the door and spraying theaters with disinfectant.Thanks to strict protocols, the composer’s “Phantom of the Opera” played to full audiences in Seoul.Woohae Cho for The New York TimesLast July, he spent over 100,000 pounds, about $140,000, to stage a trial at the Palladium theater in London to prove such measures worked.“I’ve got to say this is a rather sad sight,” Lloyd Webber said that day, as he looked out over a largely empty auditorium. “I think this amply proves why social distancing in theater really doesn’t work,” he added. “It’s a misery for the performers.”That event didn’t lead to any major reopening of theaters, and Lloyd Webber said his frustrations grew as Britain let airplanes fly at full capacity, and people return to pubs, restaurants and garden centers with abandon. Last September, he sarcastically told a group of politicians that he had considered turning the Palladium into a garden center so it could hold performances again.“I am absolutely confident that the air in the London Palladium — and indeed in all my theaters — is purer than the air outside,” he added, despite the growing scientific consensus that it was far safer to be outdoors than in.Lloyd Webber’s breaking point came last December, he said, when theaters were allowed to reopen for a handful of performances only to be forced shut again as cases rose, even though shops were allowed to stay open. “You saw scenes of people literally cheek by jowl, no distancing, nothing,” he said.“That’s the point I realized this government has no interest in theater,” he added. “Once I realize that, I didn’t see any reason to hold back.”He later clarified that the government had been right to shut down theaters at that point (there were over 25,000 coronavirus cases in Britain on the day the West End shut, and in a matter of weeks they peaked at over 60,000). Lloyd Webber said he didn’t feel he’d ever called for reopening too early. “I think everybody thought things would get back earlier,” he said.Lloyd Webber, who owns significant real estate in the West End, has been the most outspoken critic of the British government’s commitment to the arts during the pandemic.Tom Jamieson for The New York TimesOther British theater figures, such as the producer Sonia Friedman, have also made headlines by urging the government do more for theaters, but none have garnered as much attention as Lloyd Webber, who along with being a composer, owns substantial real estate in the West End.Lloyd Webber, whose personal wealth has been estimated at £525 million, reported that it was costing his company £1 million a month just to keep his seven theaters closed, and said that he had to mortgage his London home to raise funds. But he insisted money was not behind his advocacy. “My main concern is to just get everybody back to work,” he said.“I don’t think money’s got anything to do with it,” Julian Fellowes, the creator of “Downton Abbey,” who wrote the book for Lloyd Webber’s “School of Rock,” said in a telephone interview, adding, “He’s a man on a mission and you can tell.”But Lloyd Webber has not escaped criticism in his own community. In April, it was reported that the orchestra for “The Phantom of the Opera” in London would be slashed in half when it reopens, with percussion, harp and oboe replaced by keyboards.“When I see him get on his soapbox, part of me wants to applaud him and part of me wants to take him to task,” Matt Dickinson, a percussionist who lost his job, said in a telephone interview.Asked about this, Lloyd Webber said he was not the show’s producer, and pointed out that during lockdown he had recorded a set of orchestral suites that employed 81 freelance musicians.Ivano Turco, left, and Rebecca Trehearn in “Cinderella,” which has been given a contemporary spin thanks to a book by Emerald Fennell (“Promising Young Woman”).Tristram KentonLloyd Webber remains an extraordinarily busy — or driven — man. As well as trying to produce and finish “Cinderella” — whose book, by Emerald Fennell, the director and screenwriter of “Promising Young Woman,” gives the fairy tale a contemporary twist — he has been involved in a £60 million refurbishment of the Theater Royal, Drury Lane.Even as he explored old churches in Hampshire the other day, he said, he could not escape his newfound role in politics, saying that people would tell him, “We cannot believe that the government could have treated the arts in the way it has.”But sometimes he clearly is happy to highlight it. When the government set the reopening date of July 19, Lloyd Webber wrote on Twitter that he would add a special “Freedom Day” performance and a gala with proceeds benefiting Britain’s health care system.“I am thrilled,” he wrote, “that at last it seems theaters can finally reopen!” More

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    What’s on TV This Week: ‘Catch and Kill’ and the MLB All-Star Game

    HBO airs a documentary about Ronan Farrow’s book “Catch and Kill,” and the MLB hosts its 91st annual All-Star Game.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, July 12 — July 18. Details and times are subject to change. More