Eliana Willis

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    West Wilson is the Breakout Star of “Summer House”

    West Wilson never thought he’d be spending the summer in a house in the Hamptons, let alone as part of a reality television show. The unemployed former football player from Missouri was about to run out of money following a three-week boys’ trip when he got a call that would change his life.“My severance ended that weekend,” Mr. Wilson, 27, recalled. “I came home and it was like the most depressing Monday of all time.”Mr. Wilson decided to check his voice mail to see if there was something — anything — in there to cheer him up. To his shock, a Bravo producer had left a message. She was interested in possibly casting him on Season 8 of “Summer House,” an unscripted show that follows the lives of a group of New York media workers, influencers and entrepreneurs who share a house in the Hamptons — the last few seasons have been filmed at a mansion in Water Mill — each summer.Though he had never seen “Summer House” and wasn’t a fan of reality TV (except for the occasional “Bachelor” binge), Mr. Wilson had an intuition that it might be right for him. “I just had something in me that was like, just see what this is and call back,” he said. He had recently met a “Summer House” cast member named Lindsay Hubbard at the bar of Lamia’s Fish Market in the East Village. Mr. Wilson was so unprepared to be cast that he didn’t initially make the connection between having met Ms. Hubbard and receiving the call from Bravo. “I was like, ‘Oh I actually know someone on that show’ and they were like, ‘That’s how we found you, you idiot,’” Mr. Wilson said.The son of an OB-GYN and a cattle rancher has been an unlikely hit with viewers. As Joel Kim Booster wrote: “Haven’t liked a straight white guy this much since friggin Bernie Sanders.”Marissa Alper for The New York TimesWe 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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    Harry Hamlin Got Into Gardening Because of ‘The Martian’

    “If he can do it on Mars,” said the actor, now starring in the cooking show “In the Kitchen With Harry Hamlin,” “I can do it in my backyard.”The actor Harry Hamlin pronounces “Bolognese” the way Italians do, with the final “e” enunciated. His niece, the chef Renee Guilbault, says it like an American, with that last syllable ending in an “s.”But potato, potahto. With “In the Kitchen With Harry Hamlin,” their five-part cooking series on AMC+ and IFC, they find a happy meeting place — including on the subject of the aforementioned pasta sauce, which ignited a squabble on the reality series “The Real Housewives of Beverly Hills” back when his wife, the actress Lisa Rinna, was one of its cast members.“Everywhere I go, people say two things to me: ‘Oh God, I love your wife’ and ‘Where can I get your sauce?’” said Hamlin, 72, who also stars in “Anne Rice’s Mayfair Witches,” on a video call. He also discussed space travel, the High Sierras and his grandfather’s Canadian gin-drinking hide-out. These are edited excerpts from the conversation.1Weekly Acting ClassesI’ve been in class my whole career. I chose this profession because it’s impossible to perfect. You can’t become an expert. OK, someone like Meryl Streep, she’s an expert. But I’m going to be a perpetual student. And I learn stuff every week because I’m sort of a character actor stuck in a leading man’s body.2Clean EnergyIt’s the holy grail. It’s how human beings will get their energy for the next 100,000 years, provided that we survive that long.3Hiking the High SierrasIf you’re alone, the animals aren’t afraid of you. The deer come up to you, and the bears don’t run away from you, which can be a problem. So it is quite an amazing experience to trek solo. I go up to 12,000 feet and get to places where even mountain goats would have a hard time getting.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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    ‘Doctor Who’ Episode 4 Recap: Now You See Her

    A strong episode focuses on Ruby, the Doctor’s companion, and the mysterious older woman who starts following her from a distance.Season 1, Episode 4: ‘73 Yards’Let’s get the easy bit out of the way. “73 Yards” is not just the best episode of the season so far, but also the strongest story “Doctor Who” has produced in years — despite the Doctor (Ncuti Gatwa) hardly featuring.That’s not to say the decade-spanning story’s success depends on Gatwa’s absence. Yes, Episode 4 gives Millie Gibson space to break out of her companion role for the first time, and she gives a nuanced performance well beyond her 19 years.But it’s Russell T Davies’s ambitious, unpredictable script that will ensure a place for “73 Yards” in the Whoniverse history books. The episode constantly wrong-foots viewers, plays with folk stories and horror tropes, and finds a genuinely terrifying villain in a nuclear-warmongering politician.“We are in Wales. Spectacular!” shouts the Doctor as the TARDIS materializes on a craggy cliff face. For international viewers, it’s a swift introduction to a nation that has long been associated with “Doctor Who”: Davies is Welsh, and the show is a former BBC Wales production.In a seemingly throwaway comment, the Doctor mentions a future prime minister, a Welshman named Roger ap Gwilliam, who will lead Britain to “the brink of nuclear war” in the 2040s. “Sorry, spoilers,” he says, shooting Ruby a smile.The Doctor, played by Ncuti Gatwa, and Ruby start the episode on a cliff in Wales.Bad Wolf/BBC StudiosWe 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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    Brooke Shields Elected President of Stage Actors’ Union

    She takes office immediately. The previous leader of Actors’ Equity, Kate Shindle, had been president since 2015, and did not run again.Brooke Shields, the model-turned-actor who has starred in films, on television and onstage, has been elected as the next president of Actors’ Equity Association, the labor union representing stage actors and stage managers.Shields, 58, will take office immediately. She succeeds Kate Shindle, who had been the union’s president since 2015, and announced last month that she would not seek re-election.The position of Equity president is a volunteer job, and Shields was elected to a four-year term. There have been a number of other well-known performers who have served in the post previously, including Burgess Meredith, Ellen Burstyn, Colleen Dewhurst and Ron Silver.Shields won the election with about half the vote; the balance was split between two Equity vice presidents, Erin Maureen Koster and Wydetta Carter. Her victory was reported by the newsletter Broadway Journal and announced by the union on Friday; a union spokesman said she was not available for an interview.In a campaign video posted on YouTube, Shields said that among her priorities would be lobbying for greater government funding for the arts. “I understand the real need to support live theater, and I have a history of being able to open doors and of being able to help,” she said.Equity has about 51,000 members, and represents them in contract negotiations around the country. Just last week, the union won the right to represent a variety of performers at Disneyland, so the union will now need to try to bargain for a contract for those workers.The union is negotiating for a new contract for Off Broadway workers, and it is at odds with the Broadway League over a new contract governing developmental work — how performers are compensated when participating in workshops for shows in development. Equity has threatened that its members would stop working on those developmental projects if a deal is not reached by mid-June.Shields became famous through films like “Pretty Baby” and “The Blue Lagoon” and by modeling, notably for Calvin Klein. She has appeared in five Broadway musicals, always as a replacement: “Grease,” “Chicago,” “Cabaret,” “Wonderful Town” and “The Addams Family,” as well as a handful of Off Broadway shows.Her early career, and the problematic ways in which she was sexualized as a child and adolescent, was the subject of a documentary last year. More

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    Where New Yorkers Start Being Polite and Stop Getting Real

    The Portal, a video art installation connecting the city with Dublin, is open again, now with safeguards. But does changing the rules change the artwork?At 2:45 p.m. on a sunny Wednesday in a plaza near the Flatiron Building, a crowd of a few dozen was watching, and appearing in, New York City’s most infamous new reality show.On a round video screen, encased in a porthole-like structure behind a railing, they could see a livestream of onlookers across the Atlantic, in the center of Dublin. “They can see you just like you see them!” a staff member minding the exhibit told the crowd.Therein lay the attraction, and the problem. The Portal, a two-way-video art installation, opened on May 8, then promptly closed down on May 14, because of “inappropriate behavior.”On the American side, an OnlyFans model had flashed her breasts at Dublin, a stunt that, she later said, netted her a boost in subscribers worth tens of thousands of dollars. From the Irish side, people displayed images of swastikas and of the 2001 World Trade Center attack. The transgressions went viral, not the sort of global connection and sharing that the organizers were hoping for.Who, besides everyone, would have thought that some people would behave badly given access to a public live camera? When the Portal reopened on May 19, it had new hours — 6 a.m. to 4 p.m. New York time — and new safeguards, including a “proximity-based solution” that would blur the livestream if anyone or anything got too close.Today, the crowd was keeping it on, keeping it all on. At least on this side of the ocean. Onscreen in Dublin, a pair of high-spirited lads lifted their shirts and exposed their bellies to America. In a few minutes they graduated to full topless, whirling their shirts over their heads, before they were seemingly encouraged to leave by security.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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    Review: In ‘The Fires,’ a Triptych of Stories About Gay Men and Love

    Raja Feather Kelly makes his playwriting debut with a spellbinding story of three generations of Black men at Soho Rep.The choreographer Raja Feather Kelly’s dance-theater works have made him a mainstay on the downtown arts scene. With his latest piece, “The Fires,” Kelly is making his debut as a playwright. Rarely does a show live up so honestly to its title — wrecking and illuminating in equal measure.In his lustrous, emotionally textured play, which opened on Tuesday at Soho Rep, three gay Black men are stuck in a railroad apartment. But those men — Jay, Sam and Eli — are not roommates; they live in the same space across separate time periods: 1974, 1998 and 2021. Since the actors rarely leave the elongated stage, the characters’ stories play out in tandem.In the ’70s, Jay (Phillip James Brannon) lives with his lover, George (Ronald Peet), and becomes depressed while journaling about the Greek goddess Aphrodite, whom, he claims, is gravely underestimated: More than a mere mirthful goddess of love, Aphrodite was vengeful, war-driven and unsettled because, like Jay, she never knew her real father. Sam (Sheldon Best) in the ’90s is George’s son. He feels deeply misunderstood but finds a kinship with his recently deceased father while reading the journals he and Jay left in the apartment. Eli (Beau Badu) in the 2020s has the most sexual freedom but is stuck playing a tug-of-rope game with Maurice, (Jon-Michael Reese), a tender young man who has the potential to be Eli’s great love.Kelly does not have these characters speak directly to one another across time, but there are parallels in each scene that evoke a ghostly connection between the men. And the idea is supported by the scenic designer Raphael Mishler’s set: Most of the 1974 scenes occur on our left in a bedroom with a fireplace, typewriter and a retro two-knob radio; for the majority of the 2021 scenes, our attention is directed to the right, to a living room with an electric fireplace, Eli’s laptop and a smart speaker. Time and technology leap forward, but human desire for heat, expression and a groove remain the same.Jumbling timelines on a railroad apartment of a set does present some direction challenges, as when characters in one period trek right in front of (but aren’t acknowledged by) characters in another. You can find yourself ping-ponging between these freewheeling vignettes, desperate to catch all of the action.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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    ‘Zarqa’ Is a Madcap Canadian Comedy

    This new YouTube sitcom from the creator of “Little Mosque on the Prairie” follows a divorced Muslim mother trying to pull one over on her ex.The Canadian sitcom “Little Mosque on the Prairie” premiered in 2007 and centered on a small Muslim community in a fictional Saskatchewan town. It ran for 91 episodes over six seasons, eventually showing around the world (it is streaming on Freevee, the Roku Channel and Tubi). Now its creator, Zarqa Nawaz, has a new short-form comedy with a narrower focus but a similar cartoony vibe.“Zarqa,” created by and starring Nawaz, is on YouTube and follows a divorced Muslim mother in Regina, Saskatchewan. In the opening moments of the show, she learns on social media that her ex-husband is marrying a younger woman — a white yoga instructor. Zarqa panics and posts that she is dating a white brain surgeon, which she is not, and the shenanigans are afoot.She begins a contrived romance with a pasty neurosurgeon, Brian (Rob van Meenen), though neither of them can tell if they’re actually interested in each other or just in pulling one over on everyone else. Zarqa wants to show off at her ex’s wedding, and Brian gets a rush from freaking out his tightly-wound, racist parents. Adding to the rom-com of it all, Zarqa is surprised and delighted to learn an old college flame (Rizwan Manji) has been appointed as the new imam at her mosque — and wouldn’t you know, her ex (Anand Rajaram) might be having cold feet.“Zarqa” has a madcap urgency to it, partly because the episodes are barely 10 minutes long and partly because of Zarqa, who is brusque and driven and tends to stir up drama. Her grown son recoils from some of her antics but reminds himself, “We don’t say ‘crazy’ anymore.” Her parents lament that she is “a double D: divorced and difficult.”Both “Zarqa” and “Little Mosque on the Prairie” have an exaggerated sitcom style; most characters repeat one behavior and express one idea, which sometimes can make both series feel a little like kids shows with grown-ups in them. On “Mosque,” the central theme was the perceived differences — and lo, the similarities — between Muslims and non-Muslims. On “Zarqa,” the focus is on race. “I sell white people brown-people things,” Zarqa tells Brian.The jokes and observations in “Zarqa” are pretty mild, but the story is fun, and it is told with endearing warmth and energy. So far all six episodes of Season 1 and some of Season 2 are on the CBC’s YouTube channel, with the rest arriving shortly. More

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    Review: In ‘Romeo and Juliet’ With Tom Holland, Plenty of Style, but Little Love

    The London production, starring Tom Holland, sold out in hours. But its understated rendering of the central romance may leave some theatergoers wanting more.As the male lead entered the stage in a new production of “Romeo and Juliet” in London, a single, very loud whoop erupted from the orchestra level. Nobody else joined in — this is Britain, after all — but the breach of decorum was telling. This particular Romeo is the big-screen superstar Tom Holland, of “Spider-Man” fame, and his pulling power helped tickets for this show’s run sell out within hours — even though the actor playing Juliet wasn’t cast until many weeks later.Yet this “Romeo and Juliet,” directed by Jamie Lloyd (“Sunset Boulevard,” “The Effect”) and running at the Duke of York’s Theater through Aug. 3, is no straightforward crowd-pleaser. The visuals are stripped-down and the staging unconventional; instead of indulging the giddy melodrama of young love, the emphasis is on brooding atmospherics. The show is slickly executed by a talented cast and production crew, but its understated rendering of the lovers’ romantic infatuation may leave some theatergoers wanting more.The stage is dark, and entirely bare except for a sign that announces the setting in chunky capitals: VERONA. The performers, in monochrome streetwear, are illuminated by hazy spotlights. (Set design and costumes are by Soutra Gilmour.) In several scenes, they speak from fixed positions, stationed behind microphone stands, sometimes facing the audience rather than each other. The gloomy visuals are complemented by snatches of ambient techno and a dull humming sound that conjures a sense of anticipatory dread. To keep the audience on its toes, some scene changes are punctuated by blinding lights and obnoxiously loud flashbulb clacks. (The sound is by Ben and Max Ringham, the lighting by Jon Clark.)Amewudah-Rivers, center, with live video footage of Freema Agyeman, who plays the nurse, and Michael Balogun as the friar, behind her.Marc BrennerThe minimalist staging puts an extra onus on the actors to make the script shine, and they don’t disappoint. Holland gives a controlled performance as Romeo, evoking the halting, hopeful awkwardness of a love-struck teenager with understatement. As Juliet, Francesca Amewudah-Rivers is similarly restrained: Tentative and inscrutable during the early phase of the courtship, she is at her best in the scenes in which she stands up to her father, Lord Capulet (Tomiwa Edun) as he pressures her to end her to break it off with Romeo. In these moments, Amewudah-Rivers — who is making her West End debut — displays an impregnable abstractedness that rings true to the stubborn determination of adolescence.The supporting cast is also less experienced than the illustrious leading man, but for the most part, you wouldn’t know it. Edun convinces as the hectoring, overbearing patriarch. Freema Agyeman plays the Nurse, the affable go-between who enables the lovers’ forbidden affair, with a fine blend of sassy assertiveness and quasi-maternal tenderness. Ray Sesay’s Tybalt is impressively menacing and Nima Taleghani, with his wide-eyed and gentle bearing, is tenderly protective as Romeo’s trusty friend, Benvolio.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