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    Phil Donahue’s Neutral Wardrobe Kept the Focus on His Subjects

    The talk show host made a career of exposing polarizing topics while dressed in a relatively neutral wardrobe.The hoary tabloid axiom “if it bleeds, it leads” played no small part in the decades-long career of Phil Donahue, the pioneering host of “The Phil Donahue Show,” who died on Sunday at 88. Mr. Donahue spent three decades exposing subjects difficult for many Americans to confront — homosexuality, atheism, civil rights, consumer protection and abortion among them — to the disinfectant light of daytime TV.Central to Mr. Donahue’s success was his physical appearance. A conventionally handsome man with a boyish cast to his features, he had a perpetually merry look of bemusement and a virile, Kennedy-esque thatch of hair that grayed and then whitened as he aged in front of viewers in their living rooms. The aura Mr. Donahue conveyed was that of genial, avuncular family doctor who distracts you with innocuous banter as he rips off the bandage.Mr. Donahue deliberately played to that look with an on-air wardrobe that occasionally veered toward dapper — vested three-piece suits, wide ties, broad ’80s lapels — but was seldom, if ever, flamboyant. No “groovy” Merv Griffin shirts or turtlenecks for him, or the loud jackets and pastel polyester suits that were Johnny Carson’s sartorial signature. By comparison, Mr. Donahue’s style was resolutely neutral: He wore good clothes that fit his trim frame neatly but still seemed unremarkable, as though bought off a rack at J.C. Penney.When at times Mr. Donahue shed his jacket, it was to roam the studio aisles with his shirt sleeves rolled up, wielding the mic like a baton and putting it and the authority into the hands of audience members, whose questions he once remarked were often better than his.“Donahue’s subjects were often sharp, but his presentation was soft,” Wayne Munson, the author of “All Talk: The Talk Show in Media Culture,” said in an interview. Mr. Munson’s 1993 book took aim at a cultural form that, reviewers noted, blended interpersonal exchange and mediated spectacle and that would ultimately, as few then predicted, give way to all the yapping now consumed on social media.Mr. Donahue’s appearance, demeanor and habit of sharing the mic with audience members suggested his was never to be the authoritative voice of God but that of a neighbor.Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Late Night Congratulates Biden for Staying Up So Late

    When the president finally took the stage at the Democratic convention, “the cheers were so loud that even Biden could hear them,” Jimmy Fallon 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.Past His BedtimeThe Democratic National Convention kicked off in Chicago on Monday with a focus on celebrating President Biden.Late-night hosts took the opportunity to poke fun at his age once more. Jimmy Fallon said that when the president took the stage for his speech, “the cheers were so loud that even Biden could hear them.”“Biden gave a speech highlighting his accomplishments. He talked about the economy, health care and how he walked to the podium.” — JIMMY FALLON“Biden stood on that stage, gave a powerful speech and proved to the country and the world that he can stay up past 8 p.m.” — STEPHEN COLBERT“They decided to have Biden speak on Monday, in hopes that he’d be done by Thursday.” — RUPAUL, guest host of “Jimmy Kimmel Live”The Punchiest Punchlines (For the People Edition)“It was an extraordinary night and extraordinarily long.” — STEPHEN COLBERT“Each night of the convention has its own theme, and tonight’s was ‘For the People.’ Yeah, it’s a big change from a month ago, when the theme was ‘For the Last Time, Please Drop Out.’” — JIMMY FALLON“Surprise, it’s Kamala! Which one month ago became the Democrats’ campaign slogan.” — STEPHEN COLBERT, on Kamala Harris’s unscheduled appearance at the convention on MondayThe Bits Worth WatchingMichael Keaton talked about reprising his role as Beetlejuice (for a sequel, “Beetlejuice Beetlejuice”) on Monday’s “Tonight Show.”What We’re Excited About on Tuesday NightColman Domingo, star of “Sing Sing,” will sit down on Tuesday with RuPaul, the guest host of “Jimmy Kimmel Live.”Also, Check This OutRichard Belzer, left, and Andre Braugher in a scene from “Homicide: Life on the Street.”NBCU Photo BankThe foundational ’90s cop drama “Homicide: Life on the Streets ” is available to stream for the first time, on Peacock. More

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    5 Takeaways from the ‘Love Island U.S.A.’ Season 6 Reunion

    After a chaotic and fun season, even more drama unfolded on social media in the weeks that followed. This Peacock special broke everything down.This summer’s season of “Love Island U.S.A.” has been the most popular of the franchise so far. And, if it feels like everyone is talking about it, it’s because they probably are — during the second week of July, this show was the most watched streaming original series in the U.S., according to Luminate, an entertainment data tracking service. That means it outranked “The Bear.”Because of the season’s popularity, it made sense for the show to have its first ever reunion special. Hosted by Ariana Madix, whose training included being grilled by Andy Cohen during her many “Vanderpump Rules” reunions, the show featured 25 Islanders — both OGs and Casa Amor — discussing not only what went on during the season but also all the messy drama that has unfolded on social media in the weeks after the show aired.Here are the five biggest takeaways from the reunion.Full footage of the firepit vote between Serena Page, Olivia Walker, Leah Kateb and Kaylor Martin is revealed.One of the biggest and longest running dramas in the villa this season had to do with the dumping of Andrea Carmona. At the time, Carmona was coupled up with Rob Rausch, who had just gotten out of a couple with Leah Kateb.A handful of the women in the villa had to decide whom to dump between Carmona, Nicole Jacky or JaNa Craig.The decision to send Carmona home caused many fights, including one during which Martin and Walker told Rausch that Kateb had been the one pushing to send Carmona home — and this information discouraged Rausch from recoupling with Kateb. Kateb maintained that she “tried to take a back seat” in the decision making.Throughout and following the season, viewers asked on social media why the show didn’t just air the entire unedited footage of the four women making the decision, instead of allowing a seemingly endless “he-said-she-said.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    At the Ruhrtriennale, Searching for the Sublime Among the Ruins

    In the abandoned industrial sites that serve as the festival’s venues, our critic witnessed beauty struggling to be born: fitfully, clumsily and sometimes stunningly.“I Want Absolute Beauty,” the title of the opening production for this year’s Ruhrtriennale, sounds like a mission statement of sorts.The event, one of Germany’s major arts festivals, lights up the former industrial sites that dot the Ruhr region, in the country’s northwest — though hulking power plants and abandoned steelworks aren’t where you necessarily expect to find beauty. Then again, this 22-year-old festival has always been about letting audiences encounter the sublime among the ruins. Everywhere I turned during the Ruhrtriennale’s opening weekend, I witnessed beauty struggling — fitfully, clumsily and sometimes stunningly — to be born.This summer, the Ruhrtriennale welcomes a new artistic leader, the acclaimed Belgian theater director Ivo van Hove. His three-season tenure kicked off on Friday night with “I Want Absolute Beauty,” a staged cycle of songs by the English singer-songwriter P.J. Harvey that van Hove has created for the German actress Sandra Hüller, presented at the Jahrhunderthalle, a former power station in the city of Bochum.Hüller, best-known for her Academy Award-nominated performance in “Anatomy of a Fall,” gives gutsy and full-throated renditions of 26 of Harvey’s songs accompanied by a four-person band. It’s a heroic performance over an intermission-less hour and a half. Van Hove doesn’t impose a narrative, in the style of jukebox musicals, but a journey of sorts can be followed through the titles (“Dorset” — “London” — “New York”) that appear on a screen where both live and prerecorded video is projected throughout the evening.The stage area is covered in dirt, and dancers twirl, writhe and gyrate around Hüller. The choreography, by the collective (La)Horde, is earthy and elemental, sometimes joyous and liberating, but often menacing and with hints of sexual violence. Hüller is always front and center, her voice tough but with an edge of fragility. Sometimes she joins the dancers in their primeval thrashing. The results can be exhilarating but are just as often exasperating. Despite the high caliber of the performances, it’s easy to lose interest. Occasionally there’s an earsplitting crescendo or blinding flood light to jolt us back to attention.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Matthew Perry’s Death Shines a Harsh Light on Ketamine Treatment

    Was Mr. Perry, whose struggles with substance abuse were widely known, a good candidate for a drug used to relieve depression? Doctors say his case raises thorny questions.The actor Matthew Perry, who had long struggled with addiction, grew intrigued by ketamine a few years ago during a stay at a rehab facility in Switzerland where he received daily infusions of the powerful anesthetic “to ease pain and help with depression.”“Has my name written all over it — they might as well have called it ‘Matty,’” he later wrote of ketamine, which is known for its dissociative properties, in his 2022 memoir, “Friends, Lovers and the Big Terrible Thing.” It felt, he said, “like a giant exhale.”“As the music played and the K ran through me, it all became about the ego, and the death of the ego,” he wrote. “And I often thought that I was dying during that hour. Oh, I thought, this is what happens when you die.” As much as he was drawn to it, he wrote, he found the hangover unpleasant and ultimately decided that “ketamine was not for me.”But he eventually returned to the drug, getting ketamine treatments from doctors at clinics and then, as he grew addicted to it, buying it from illicit sources and getting multiple injections each day at his Los Angeles home, the authorities have said. On Oct. 28, after he received several shots from his personal assistant, he did die — face down in his hot tub. An autopsy determined that Mr. Perry had died from “the acute effects of ketamine,” with drowning one of several contributing factors.“Matthew Perry sought treatment for depression and anxiety and went to a local clinic where he became addicted to intravenous ketamine,” Anne Milgram, the head of the federal Drug Enforcement Administration, said at a news conference last week. “When clinic doctors refused to increase his dosage, he turned to unscrupulous doctors who saw Perry as a way to make quick money.”Drugs and paraphernalia connected to a person accused of distributing ketamine to Mr. Perry. While ketamine poses a lower addiction risk than opioids, it can produce an out-of-body experience that some people enjoy.U.S. District Court Central District, via Agence France-PresseWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Phil Donahue’s Most Memorable Episodes

    In his very first episode, which aired locally in Dayton, Ohio, the host, who would go on to redefine such talk shows, interviewed one of the most notorious figures in America.Phil Donahue, who died on Sunday at age 88, will long be remembered as the king of daytime television.Starting in 1967 at a local Ohio station, he immediately set a new tone for what a talk show could be by tackling some of the most taboo topics of the day. His unique approach, which included making audience participation fundamental, proved wildly successful, and over the next 29 years, he would record more than 6,000 episodes of “The Phil Donahue Show” — shortened to “Donahue” during his heyday in the late 1970s and ’80s.He was such a juggernaut that in Oprah Winfrey’s early days, she was told it would be impossible to compete. In an Instagram post on Monday that included a glitzy black-and-white photo of them together, Winfrey said, “There wouldn’t have been an Oprah Show without Phil Donahue being the first to prove that daytime talk and women watching should be taken seriously.”In a lengthy 2001 interview with the Television Academy, Donahue said he struggled the most with questions like, “Who was your best guest?” These questions are easy to ask but impossible to answer, he said.Even if Donahue himself was loath to pick the most memorable moments, some episodes do stand out from the pack. Here are three that explain how he endured.Madalyn Murray O’HairWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Homicide’ Is One of the Best TV Shows Ever. And It Is Finally Streaming

    For years, the foundational cop drama, based on the book by David Simon (“The Wire”), languished in DVD-only purgatory. No longer.Pop the champagne, ring the bells, dance the jigs, cancel all other plans: A time of great rejoicing is here. “Homicide: Life on the Street,” one of the greatest shows in TV history, is finally streaming (on Peacock). So long we wandered in darkness, begging for its return. How we lamented its absence while the years rolled by, our cries growing louder and more sorrowful. But now at last we feast.“Homicide” debuted in 1993 with a tense, inventive nine-episode first season. Executive produced by Tom Fontana, Barry Levinson and Paul Attanasio, and based on the book by David Simon, the show often has a jangly, jumpy feel. Its instantly recognizable bloopy phones ring-ring in the background, and quick and distinctive edits keep the rhythm unpredictable — as if scenes were following the cadence of thoughts, not the cadence of shows. The series blends gallows humor and cynicism with operatic emotion and soaring monologues, and the signature interrogation scenes play out like seductions, like battles, like debates, like dances.The show is set in Baltimore and feels true to time and space in a way network cop shows no longer do. Everything is kind of grimy, yellowing before our eyes from the omnipresent cigarette smoke and general neglect, and you can hear how deflated the cushions on the chairs are at the precinct house.Characters remark often on the heat or the cold or the way a place smells, and the costuming is both naturalistic and specific, as if the characters really picked out their outfits themselves. This rewatch in particular, I was struck by how much touching there is on the show — how often the characters touch one another but also how often they interact physically with the set or props, knocking on tables and thumbing folders. That sense of contact anchors us, giving us a sense of solid-wood realism.The term “cop show” is frequently synonymous with “formulaic,” but “Homicide” is anything but. Some crimes stay with the show for its entire run, others for only an episode, and the depth and detail of all the one-off characters is unflagging, even when the show meanders a bit in later seasons. Andre Braugher’s performance as Frank Pembleton, the brilliant detective wrestling with his faith and purpose, is often the highlight, but all the acting here is top-notch. A symphony requires many instruments.If you want to watch one episode to get a taste for the show, watch Season 1, Episode 6, “Three Men and Adena,” in which Pembleton and his partner, Bayliss (Kyle Secor, also fantastic), interrogate a suspect (Moses Gunn, superb) for hours on end. If you want to watch five episodes and don’t care as much about self-spoiling, watch the first block of Season 3: “Nearer My God to Thee,” “Fits Like a Glove” and “Extreme Unction” follow the investigation into a serial killer, one who gets under Pembleton’s skin to an unusual degree; then “Crosetti” tells a more searing and intimate story, followed by “The Last of the Waterman,” which sends Melissa Leo’s guarded, thoughtful Kay Howard to her hometown on the Chesapeake Bay.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Phil Donahue, Daytime Talk Show Host, Dies at 88

    Phil Donahue, who in the 1960s reinvented the television talk show with a democratic flourish, inviting audiences to question his guests on topics as resolutely high-minded as human rights and international relations, and as unblushingly lowbrow as male strippers and safe-sex orgies, died on Sunday at his home on the Upper East Side of Manhattan. He was 88.His death was confirmed by Susan Arons, a representative of the family.“The Phil Donahue Show” made its debut in 1967 on WLWD-TV in Dayton, Ohio, propelling Mr. Donahue on a 29-year syndicated run, much of it as the unchallenged king of daytime talk television.Almost from the start, “The Phil Donahue Show” dispensed with familiar trappings. There was no opening monologue, no couch, no sidekick, no band — just the host and the guests, focused on a single topic.At the time, audiences were expected to be seen and not heard, unless prompted to applaud. Mr. Donahue changed that. He quickly realized from chatting with audience members during commercial breaks that some of them asked sharper questions than he did. And so he began his practice of stalking the aisles, microphone in hand, and letting those in the seats have their say. He also opened the telephone lines to those watching at home. Electronic democracy, as some called it, had arrived.Few subjects, if any, were off limits for Mr. Donahue, who was said to have told his staff, “I want all the topics hot.” It mattered little that at times the subjects made some viewers, and local station managers, squirm. His very first guest was guaranteed to stir controversy: Madalyn Murray O’Hair, at the time America’s most famous, and widely unpopular, atheist.Mr. Donahue’s very first guest was Madalyn Murray O’Hair, at the time America’s most famous, and widely unpopular, atheist.via Everett CollectionWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More