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    What’s on TV This Week: ‘In Treatment’ and ‘Inside the Met’

    HBO debuts a new version of the therapy drama “In Treatment.” And a PBS documentary looks at the Metropolitan Museum of Art.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, May 17-23. Details and times are subject to change. More

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    Evan Peters on That Explosive End of This Week’s ‘Mare of Easttown’

    The actor talked about the shocking events of Sunday’s episode, about working alongside Kate Winslet and about those delicious Wawa hoagies.This interview contains major spoilers for Episode 5 of “Mare of Easttown.”When Detective Colin Zabel (Evan Peters) breezes into the grim, insular, working-class Pennsylvania community of Easttown, he’s the young hot shot from county, sent to babysit the troubled detective Mare Sheehan (Kate Winslet) as she investigates the murder of a teenage mother. More

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    AT&T-Discovery Deal Would Create a Media Juggernaut

    A merger could be announced as soon as Monday, in a deal that would offload the media business that AT&T fought to buy.Less than three years after AT&T spent over $85 billion and millions more fending off a government challenge to buy Time Warner, one of the biggest prizes in media, the phone company has decided on a completely different strategy. More

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    ‘S.N.L.’ Is Just as Confused About the New Mask Guidelines as You Are

    In the opening sketch of “Saturday Night Live,” Kate McKinnon played Dr. Anthony S. Fauci, attempting to explain the latest recommendations for people who are fully vaccinated.If you still have questions about the newest recommendations for fully vaccinated Americans issued earlier this week by the Centers for Disease Control and Prevention, “Saturday Night Live” has answers. More

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    Jimmy Fallon Is Psyched About Going Maskless

    “Yeah, if you are fully vaccinated, you can go back to doing the things you did before the pandemic,” Fallon said. “Well, not everything — if you’re Trump, you still can’t tweet.”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. We’re all stuck at home at the moment, so here are the 50 best movies on Netflix right now. More

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    ‘Woman’s Party’ Review: At War With Inequality, and Each Other

    In Rinne B. Groff’s historical comedy, the failure of the Equal Rights Amendment in 1947 looks awfully familiar today.Clubbed Thumb is a small New York theater company committed to “funny, strange and provocative” new plays, no more than 90 minutes long, by living American writers whose “questioning, formally inventive, theatrical” work features “substantial and challenging roles for all genders” as well as — here’s the killer — “a sense of humor.”A tall order, yet Clubbed Thumb has hit that sweet spot astonishingly often, in works like “Men in Boats,” “Of Government,” “Wilder Gone,” “Lunch Bunch” and “Tumacho,” to name just one in each of the past five years. Alas, “Tumacho,” a horse opera featuring a chorus of cactuses, was the last we heard from the company. The show opened on March 2, 2020, and closed, with the rest of the theater world, 10 days later.Now, like some kind of belated dramaturgical groundhog, Clubbed Thumb returns with “The Woman’s Party,” by Rinne B. Groff, to predict more funny-strange theater ahead. Directed by Tara Ahmadinejad and available online through Aug. 31, it checks off every item on the company’s wish list, and then one more: It’s historical.I don’t just mean that it’s momentous, though in some ways it is, if something so nearly silly can also be nearly profound. I mean that it is based closely — and yet imaginatively — on the true story of an important turning point in the American struggle for equal rights. In 1947, the National Woman’s Party, which almost three decades earlier had secured passage of women’s suffrage in the United States, stood on the brink of an even bigger victory: the passage of the Equal Rights Amendment.In 1947?Yes, and as Groff unpacks the reasons such a victory did not pan out, we quickly come to recognize the internal conflicts that have painfully delayed, and in some cases undone, so many breakthroughs ever since.Clockwise from top left: Rosalyn Coleman, Connie Winston, Emily Kuroda and Marceline Hugot in the Clubbed Thumb production.via Clubbed ThumbIn the case of the National Woman’s Party, founded in 1916 by Alice Paul and Lucy Burns, part of the conflict was generational. By 1947, with Paul long ensconced as the organization’s center of power — even if her power was nominally delegated to others — a struggle had broken out between her supporters and those who felt that new strategies and new blood were required to win the E.R.A. battle. How a progressive like Paul (who actually wrote the amendment) came to be perceived as a reactionary is one of the many paradoxes Groff neatly sets up.That setup is engineered into the play’s three-part structure. In Part One, we meet most of the relevant characters — all women over 50 — who are either planning a “coup” at the organization’s headquarters in Washington or looking for ways to foil it. The plotters want the party to embrace a broader agenda than just equal rights and a broader population than just wealthy white women; Paul’s cadre wants to limit their efforts to winning, at whatever cost to coalition building and diversity.Though the casting is mostly colorblind, it remains notable that Doris Stevens, Paul’s protégée and the leader of the uprising, is played by Rosalyn Colman, a Black actor. Groff introduces her as a noir antiheroine blowing smoke rings while jazz plays, suggesting a challenge to the establishment both of its time and beyond it. In Colman’s canny performance, Stevens is also complicated enough to undermine the authenticity of her stated motives; though a fan of Freudian analysis, she fails to notice that she has scheduled the takeover on her mentor’s birthday, Jan. 11.In Part Two, the coup occurs, to some degree based on the actual events of that night, including the singing of hymns, an emergency call to the Pinkertons and the repurposing of ironing boards as battering rams. Groff, juggling 10 characters, sometimes creates a blur, but the fine cast (including Alma Cuervo, Laura Esterman and Lizan Mitchell) corrects for that problem with stylish semi-caricatures.In any case, as seen in Zoom-like boxes representing various rooms in the headquarters — the ingenious virtual dollhouse set is by the design collective called dots — the women are perfectly clear in their allegiances, even if they are hopelessly divided within them.Groff’s dialogue, tying and untying ideological knots as she sketches their positions, keeps what could be leaden exposition bubbling. (So does Ahmadinejad’s sprightly pacing.) Gradually the knots coalesce into one giant tangle as the story builds to Part Three and the final confrontation between Stevens and Paul, played by the fantastically dry Rebecca Schull in a bathrobe.Here the play expands in several useful directions. One leads to a Shavian orgasm of argumentation, with its Jenga-like pileup of rhetoric that dares you to agree, and then deconstruct that agreement, at every turn.“Shouldn’t the organization we create recapitulate the principles we stand for?” Stevens asks.“No,” Paul answers. “The organization we create should achieve the principles we stand for.”Another direction, speaking to the “strange” and “formally inventive” parts of Clubbed Thumb’s agenda, extends the play’s metatheatrics and anachronisms into haunting new territory. Earlier in the story, when characters slyly acknowledged that they were actors in a play, the excuse for it seemed to be humor — a good enough excuse in my book.But now, as Stevens and Paul divulge to one another what will happen deep in the future, the effect is more biting. Paul, who as she lay dying in 1977 assumed the E.R.A. would soon be law, is crushed to be given a premonition of the truth in 1947. And Stevens, learning of her own subsequent dabblings in red-baiting and nativism, must look at her attempted overthrow of the party in a new, less flattering context.To the extent “The Woman’s Party” asks us, too, to re-examine our activist strategies in light of our societal goals — and vice versa — this is bracing political theater. But it is also theatrical politics, in the sense that it asks us to consider the role of drama in a time of upheaval.That’s why Groff, who in plays like “The Ruby Sunrise” often uses historical change to examine current conflict, is such a good fit for Clubbed Thumb. Over the last decade, and particularly over the last year, playmakers have been struggling to balance the traditional values of dramatic beauty and entertainment with the need to address, in radical terms, a radical moment.“The Woman’s Party” not only tells a story about that struggle but also, with its wit and light hand, and even its occasional raggedness, is a fine new example of it.The Woman’s PartyThrough Aug. 31; clubbedthumb.org More

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    As Broadway Plans Its Return, ‘Hamilton’ Will Require Vaccines Backstage

    With 23 shows setting Broadway reopening dates, audiences can expect full crowds, masks and flexible ticketing policies. But not lower prices.As Broadway prepares for a fall reopening, the “Hamilton” producer Jeffrey Seller said he will mandate that all of his show’s employees, including the cast and the backstage crew, be vaccinated against the coronavirus.Seller is the first producer to make such a declaration publicly, and it is not clear whether any of Broadway’s many labor unions could or would challenge such an effort. Brandon Lorenz, a spokesman for the Actors’ Equity Association, said of a vaccination requirement, “That would be something we would find acceptable, as long as the employer complies with the law.”Broadway’s cast and crew work in very close quarters in tight backstage spaces, and actors onstage are extensively exposed to one another’s exhalations because they are unmasked, speak and sing loudly in proximity, dance in partnered and group configurations, and in some shows kiss or fight.Seller’s plan comes as many American colleges and universities say they will require students to be vaccinated, and employers are wrestling with whether to do the same.Broadway producers, many of whom announced resumption plans over the last week, are still figuring out details, including what safety measures will be necessary come fall. But social distancing is not expected, and ticket prices, from early reports, are not going down.Seller, who said he does not plan to require vaccination for patrons, disclosed his intentions in a joint interview with Thomas Schumacher, who as president of Disney Theatrical Productions is the producer of “The Lion King,” and David Stone, the lead producer of “Wicked,” in which the three discussed their decision to reopen their productions — all popular juggernauts — on the same night, Sept. 14.Neither Schumacher nor Stone said whether they would require vaccinations for cast or crew.The trio said they and others started talking a week or two after Broadway shut down, trading tips and comparing coping strategies. Those periodic check-ins continued for more than a year, slowly pivoting to reopening plans. Then Stone made a suggestion in a call with Seller and Schumacher: What if, instead of jockeying for position, their shows all opened on the same night?A fan photographing the display outside “Hamilton,” which is one of four Broadway shows that will raise the curtain on Sept. 14. Jutharat Pinyodoonyachet for The New York Times“The three of us recognized that by joining together, the sheer announcement would get more play, and that’s good for everybody,” Schumacher said. Seller took the idea to his creative team, which, he said, “were so strongly in support of us holding hands and going together.”So on Tuesday, “Hamilton,” “The Lion King” and “Wicked,” which are regularly among Broadway’s biggest box office draws, jointly announced that they would open on a single night — a date they chose in consultation with industry leaders and government officials and based on an assessment of when vaccination rates will be high enough, and infection rates low enough, to do so safely.They are planning staggered curtains — 7 p.m. for “Wicked” (Glinda’s opening line: “It’s good to see me, isn’t it?”); 7:30 p.m. for “The Lion King” and 8 p.m. for “Hamilton” — to allow dignitaries and journalists to stop by them all.“It made sense, and it frankly was a very effective way to communicate,” Schumacher said. “It said Broadway is coming back.”Their plan became the focal point for Broadway’s reopening, as Gov. Andrew M. Cuomo declared Sept. 14 the date on which Broadway shows would start to return at 100 percent seating capacity.But not everyone was ready to defer to the troika.“The Phantom of the Opera,” with bragging rights as Broadway’s longest-running show, barged out of the gate with the first post-Cuomo reopening announcement, slated for October. “Chicago,” which touts itself as the longest-running American musical (“Phantom” originated in Britain), crashed the Big Three party, declaring it would open on the same night, but announcing it four days earlier.“Come From Away” opted to seize some of the attention, buying a TV ad spot during the “Good Morning America” segment in which the bigger shows announced their plan. And at least one musical is still hoping to get a jump on “Hamilton,” “The Lion King” and “Wicked” by opening even earlier.But there’s no question that the trio’s collective action drew national attention to Broadway’s planned return. As the delayed 2021-22 theater season starts to take shape, 23 shows have already announced performance plans, and more are expected soon.The nine shows that have chosen to start performing in September are well-established brands confident that they can find an audience even at a time when tourism is expected to be soft. They include “Six,” which has a strong tailwind coming out of London; “American Utopia,” a return engagement for David Byrne’s sold-out dance concert; as well as “Come From Away,” “Moulin Rouge! The Musical” and another Disney production, “Aladdin.”The long-running revival of “Chicago” announced its Sept. 14 reopening ahead of three other major shows whose producers had agreed together to return on that date.Jutharat Pinyodoonyachet for The New York TimesRiskier shows and those with more niche audiences are holding off a little longer. The nonprofits that present on Broadway are waiting at least until October to get started, as are many of the new commercial productions.Even some big draws are opting to give consumers more time to get comfortable with the idea of gathering in indoor crowds: “Dear Evan Hansen,” for example, is waiting until to December to resume, and two big-budget new productions, a Michael Jackson biomusical called “MJ” and a starry revival of “The Music Man,” are aiming to open in February, although both are planning to start performances in December.What do the first round of announcements tell us about post-pandemic Broadway?Ticket-buyers are being told they will be required to wear face masks (although it’s not clear how changing advice from the Centers for Disease Control and Prevention might affect that expectation). Theaters will have upgraded HVAC systems with virus-trapping filters. Most ticketing will be digital. And theaters are reserving the right to impose a variety of safety protocols — in an explanatory note similar to that posted by other shows, “Ain’t Too Proud” says “protocols may include mask enforcement, increased cleaning and ventilation/filtration enhancements, vaccination or negative test verification, and more.”Prices, at least so far, are similar to what they were prepandemic, although premium prices are somewhat lower. The priciest seat at “Hamilton,” for example, is now $549, down from $847 before the pandemic.But it will be far easier to cancel or exchange tickets.Disney, in particular, has taken steps to make ticket-buying less onerous: The company said it would pay all Ticketmaster fees for performances through Aug. 7, 2022. (High service fees often irk consumers; a $99 ticket to “Tina,” for example, costs another $14.70 in fees.) Disney said it would also allow free ticket exchanges and refunds, and would offer package deals for those who buy seats at both “Aladdin” and “The Lion King.”How often will shows perform? The Broadway League and labor unions, concerned about the possibility of soft demand for some productions, have been discussing whether to allow shows to come back with fewer than eight performances a week, and prorated salaries.The issue remains unresolved, but a few shows are now marketing a reduced schedule. “Chicago” and “Dear Evan Hansen,” for example, are offering tickets to just five shows many weeks; “Six” is listing mostly, um, six.For the big shows, early sales have been strong, producers said. “Yesterday, we had hope,” Seller said. “Today we have confirmation.”Among the early purchasers: Claire Grimble, 51, of Belmont, Mass., who bought tickets to “Jagged Little Pill” as soon as that show, featuring the songs of Alanis Morissette, went back on sale. She said the cast album had helped her teenage daughter, who had seen the show in 2019, get through the pandemic.“We booked tickets for the first weekend it is open,” she said. “We can’t wait.” More

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    When Does the Curtain Rise on Your Favorite Broadway Shows?

    Here are the plans for 23 productions so far, including old favorites, brand-new musicals and some that were just getting started.After being closed for more than a year, Broadway is showing signs of life. Several long-running musicals, including “The Lion King” and “Wicked,” have recently announced when they will reopen this fall. Shows that were just beginning their runs, and had not yet opened, when the pandemic struck — like “Six,” “Diana” and “Mrs. Doubtfire” — have also released their plans for resuming performances. The revival of “Caroline, or Change” and the new Michael Jackson biomusical “MJ” have taken their first steps toward welcoming audiences, as well.Here is a list of announced first performance dates, and how you can buy tickets. We will update it as more announcements are made.“Chicago” at the Ambassador TheaterSept. 14; tickets on sale at Telecharge.com“Hamilton” at the Richard Rodgers TheaterSept. 14; tickets on sale at Ticketmaster.com“The Lion King” at the Minskoff TheaterSept. 14; tickets on sale at Ticketmaster.com“Wicked” at the Gershwin TheaterSept. 14; tickets on sale at Ticketmaster.com“American Utopia” at a theater to be announcedSept. 17; tickets on sale at Americanutopiabroadway.com“Six” at the Brooks Atkinson TheaterSept. 17; tickets on sale at Ticketmaster.com“Come From Away” at the Gerald Schoenfeld TheaterSept. 21; tickets on sale at Telecharge.com“Aladdin” at the New Amsterdam TheaterSept. 28; tickets on sale at Ticketmaster.com“Moulin Rouge! The Musical” at the Al Hirschfeld TheaterSept. 24; tickets on sale May 19 at Seatgeek.com“Caroline, or Change” at Studio 54Oct. 8; non-subscription tickets on sale July 28 at Roundabouttheatre.org“Tina: The Tina Turner Musical” at the Lunt-Fontanne TheaterOct. 8; tickets on sale at Ticketmaster.com“Ain’t Too Proud” at the Imperial TheaterOct. 16; tickets on sale at Telecharge.com“Jagged Little Pill” at the Broadhurst TheaterOct. 21; tickets on sale at Telecharge.com“Mrs. Doubtfire” at the Stephen Sondheim TheaterOct. 21; tickets on sale at Telecharge.com“The Phantom of the Opera” at the Majestic TheaterOct. 22; tickets on sale at Telecharge.com“Trouble in Mind” at the American Airlines TheaterOct. 29; non-subscription tickets on sale July 28 at Roundabouttheatre.org“Flying Over Sunset” at the Vivian Beaumont TheaterNov. 4; ticket sales date not yet announced“Diana” at the Longacre TheaterDec. 1; tickets on sale at Telecharge.com“MJ” at the Neil Simon TheaterDec. 6; tickets on sale May 18 at Ticketmaster.com“Dear Evan Hansen” at the Music Box TheaterDec. 11; tickets on sale at Telecharge.com“Company” at the Bernard B. Jacobs TheaterDec. 20; tickets on sale at Telecharge.com“The Music Man” at the Winter Garden TheaterDec. 20; ticket sales date not yet announced“Birthday Candles” at the American Airlines TheaterMarch 18, 2022; ticket sales date not yet announced More