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    A New Writer for Superman

    AdvertisementContinue reading the main storySupported byContinue reading the main storyA New Writer for SupermanPhillip Kennedy Johnson begins his run on Superman this week. First up: a two-part story about the hero, his son and his succession.There should always be a story with a message, said Phillip Kennedy Johnson. “That idea applies more than ever when you’re writing Superman, who embodies the idea of service.”Credit…Matt Roth for The New York TimesMarch 9, 2021, 11:00 a.m. ETWhen the Brian Michael Bendis run on Superman and Action Comics ended (the last issue he wrote came out in December), readers wondered who the next writer would be. Not many would have predicted Phillip Kennedy Johnson would be the one.“Bendis casts a long shadow and is a legend in the industry,” said Johnson, whose previous credits includes limited series and specials. “I think people expected someone of a similar stature to take over.”Fans were able to preview Johnson’s take on Superman in Future State, a two-month storyline that began in January, which explored DC’s heroes decades, and sometimes eons, from now. Susana Polo, the comics editor on the gaming and pop culture website Polygon, wrote, “After reading his Future State Superman books, I’m very excited to see where this lyrical writer with a flare for epic events and asking for epic visuals goes.”It is an exciting time to be a fan of the Man of Steel. The CW series “Superman & Lois” debuted last month and it was announced last week that the writer Ta-Nehisi Coates is working on a Superman screenplay to be produced by J.J. Abrams.Johnson’s first story, set in the present, is a two-parter that will run in Superman and Action Comics this month and is drawn by Phil Hester and Eric Gapstur. It features Jonathan Kent, the teenage son of Lois Lane and Clark Kent, who worries that he is not ready to replace his father.Jonathan Kent, the teenage son of Superman, wonders if he’ll ever be ready to replace his dad in Action Comics No. 1029.Credit…Phil Hester and Eric Gapstur/DCJohnson broke into the industry in 2015 with Last Sons of America, drawn by Matthew Dow Smith, for Boom! Studios, about an attack that hampers reproduction and forces would-be parents to take children from other countries. (Peter Dinklage is set to star in a film version of the series.) Johnson also wrote the horror-fantasy series The Last God for DC and is writing an “Alien” series for Marvel, whose first issue arrives on March 24.He is a sergeant first class in the Army and a member of the Army Field Band. “I’ve learned to devote any skills or talents I have in the service of things that matter,” he said. “There should always be a story or message that’s true, one that deeply matters. That idea applies more than ever when you’re writing Superman, who embodies the idea of service.”AdvertisementContinue reading the main story More

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    ‘Blindness’ Sets Opening, Off Broadway and Indoors

    #masthead-section-label, #masthead-bar-one { display: none }At HomeFall in Love: With TenorsConsider: Miniature GroceriesSpend 24 Hours: With Andra DayGet: A Wildlife CameraAdvertisementContinue reading the main storySupported byContinue reading the main story‘Blindness’ Sets Opening, Off Broadway and IndoorsAn audio adaptation of the celebrated novel has no live actors and was a pandemic hit in London. In New York it will play to 50 people per show.Audience members listen to the narration through headphones in the Donmar Warehouse production of “Blindness,” which, after delays, will open in New York in April.Credit…Helen MaybanksMarch 9, 2021An immersive audio adaptation of José Saramago’s dystopian novel “Blindness” will be among the first productions to open in New York City since the coronavirus pandemic shuttered theaters a year ago.The producer Daryl Roth said she would present the show, which was created by the Donmar Warehouse in London and was a critical and popular success there, at her namesake Off Broadway theater, the Daryl Roth, for an open-ended run beginning April 2.The 75-minute show does not involve live actors, which considerably reduces the complexity of producing it during the pandemic; the audience listens, via sanitized headphones, to a story narrated by the British actor Juliet Stevenson.The play was written by Simon Stephens, a Tony Award winner for his stage adaptation of “The Curious Incident of the Dog in the Night-Time,” and directed by Walter Meierjohann. (Stephens is currently up for a Tony as the writer of the first of the monologues that comprise “Sea Wall/A Life.”)Roth said she would allow just 50 people to attend each performance, in a Union Square venue that has held up to 400. Patrons will be required to wear masks and to have their temperatures taken upon arrival.The production is among the first announced since Gov. Andrew M. Cuomo said last week that he would allow indoor arts and entertainment to resume April 2 at 33 percent capacity, with a limit of 100 people. If the “Blindness” productions sell out, the theater will be at just 12.5 percent capacity; Roth said tickets will be sold in blocks of two, and each pair of seats will be six feet from the others.Roth had hoped to bring “Blindness” to her theater last fall, but the worsening pandemic prevented that; productions scheduled for Washington and Toronto were shelved for the same reason. Now the Donmar is trying once again to present the show around the world; a production in Mexico City, narrated by Marina de Tavira (“Roma”), is scheduled to begin performances on Friday at Teatro de los Insurgentes.AdvertisementContinue reading the main story More

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    Late Night Recaps Oprah’s Royal Interview

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyBest of Late NightLate Night Recaps Oprah’s Royal Interview“You know things are bad at Buckingham Palace if they came to America to get away from racism,” Jimmy Kimmel joked on Monday night.Jimmy Kimmel said Prince Harry and his wife, Meghan, had made a number of startling accusations. He added, “The governor of New York, Andrew Cuomo, vigorously denied all of them, just out of reflex.”Credit…ABCMarch 9, 2021, 1:41 a.m. ETWelcome 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.Spilling the TeaLate night spent Monday recapping some of the biggest reveals from Oprah Winfrey’s bombshell interview with Prince Harry and his wife, Meghan Markle, including racism the couple experienced after Meghan, who is biracial, joined the British royal family.“Harry said racism was a big part of their decision to leave, which you know things are bad at Buckingham Palace if they came to America to get away from racism,” Jimmy Kimmel said.“Everyone thinks marrying a prince is like a fairy tale. Turns out, it’s not. Meghan Markle said that when she joined the royal family, they took away her passport, driver’s license and keys. ‘Welcome to the royal family. Please remove your belt and get ready for a cavity search.’” — JIMMY KIMMEL“Meghan said that at one point things got so bad, she went to H.R. at Buckingham Palace for help and they refused to help. It’s funny that the royal palace has H.R. and it’s just as unhelpful as H.R. everyplace else.” — JIMMY KIMMEL“Hold up, you’re saying Buckingham Palace has H.R.? How long has that been around? Because you would think someone in Human Resources might have stepped in to tell Henry VIII that chopping off your wife’s head could be interpreted as a hostile work environment.” — STEPHEN COLBERT“And her husband Harry made a number of startling accusations. The governor of New York, Andrew Cuomo, vigorously denied all of them, just out of reflex today.” — JIMMY KIMMEL“I’m going to go out on a limb here and say that there is a possibility — just a possibility, mind you — that this medieval selective breeding program might be racist.” — STEPHEN COLBERT“Also, it’s never good when the British ruling class thinks someone is too dark — they steal their land and make them play cricket.” — STEPHEN COLBERT“Awkward is four people in the back seat of a car. Awkward is forgetting your friend’s child’s name. One of your relatives asking you to place your child on the Sherman Williams color wheel is royally [expletive].” — STEPHEN COLBERT“Imagine after centuries of inbreeding, all of a sudden these people are concerned about the color of a baby’s skin.” — JIMMY KIMMELThe Punchiest Punchlines (‘Royal-ish’ Edition)“Well, guys, I have some news to make people feel a little better, and that is the royal family is just as messed up as everyone else’s.” — JIMMY FALLON“Britain’s Prince Harry and Duchess Meghan Markle sat down for an interview last night with Oprah Winfrey, or as British tabloids reported it, ‘Harry’s kidnapper speaks.’” — SETH MEYERS“Yeah, it was a big event, mainly because they revealed the baby’s gender in California without burning down an entire forest.” — JIMMY FALLON“They also told Oprah they’ve been cut off financially. Oprah was like, ‘Sorry, I already gave out all my cars — I can’t help you.’” — JIMMY KIMMEL“The ratings were so big, ABC just offered the couple their own weekly show called ‘Royal-ish.’” — JIMMY FALLONThe Bits Worth Watching“Conan” had an exclusive look at the response by Queen Elizabeth II and Prince Charles to the Oprah interview on their podcast, “Fiddlesticks.”What We’re Excited About on Tuesday NightKathryn Hahn, a standout member of the “WandaVision” cast, will appear on Tuesday’s “A Little Late With Lilly Singh.”Also, Check This OutFrom left: Taylor Swift, Megan Thee Stallion and Dua Lipa are among the artists announced as performers for the 63rd annual Grammy Awards.Credit…Dia Dipasupil/Getty Images For Iheartmedia, Rich Fury/Getty Images For Visible, Kevin Winter/Getty Images For DcpTrevor Noah will host this Sunday’s Grammy Awards, featuring live performances from Taylor Swift, Billie Eilish, Dua Lipa, BTS, Harry Styles, Cardi B and Megan Thee Stallion.AdvertisementContinue reading the main story More

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    Oprah, Meghan and Harry Draw 17.1 Million Viewers to CBS

    #masthead-section-label, #masthead-bar-one { display: none }The British Royal FamilyliveInterview and FalloutWhat Meghan and Harry DisclosedWhat We LearnedRace and RoyaltyAdvertisementContinue reading the main storySupported byContinue reading the main storyOprah, Meghan and Harry Draw 17.1 Million Viewers to CBSA two-hour special revived a faded TV genre, the “big-get” prime-time interview that once drew tens of millions for exclusive sit-downs with people like Michael Jackson and Monica Lewinsky.Meghan Markle and Prince Harry described racism within the royal family during an interview with Oprah Winfrey.Credit…Harpo Productions, via ReutersMarch 8, 2021Updated 4:36 p.m. ETOprah, Meghan and Harry drew a sizable audience on Sunday night, making for an old-style prime-time television moment in the age of on-demand viewing.Oprah Winfrey’s explosive two-hour interview with Meghan Markle and Prince Harry, who had largely kept their silence after announcing last year that they would give up their duties as members of Britain’s royal family, attracted 17.1 million viewers on CBS, according to preliminary Nielsen figures.The number of viewers climbed as the show went on. It drew 16.9 million in the first hour and 17.3 in the second, Nielsen reported. That audience was about twice the size of the viewership for the prime-time ratings winner in a given week.In a time when Netflix and other streaming platforms dominate viewing habits, the ratings for “Oprah With Meghan and Harry: A CBS Primetime Special” were strong — but they did not come close to the figures of similar prime-time exclusives from past decades. And the number of viewers fell short of the 22 million who watched a similarly ballyhooed interview in 2018, a “60 Minutes” episode in which Stephanie Clifford (also known as Stormy Daniels) told Anderson Cooper about her past affair with Donald J. Trump.Ms. Winfrey’s special aired after days of anticipatory coverage hinting at what the couple might reveal about their experiences with the royal family and their decision to leave the palace behind.Meghan did not hold back during the interview, telling Ms. Winfrey that she had contemplated suicide while living as a royal. She also blamed Britain’s first family for not providing her with sufficient protection from Britain’s ferocious tabloid press and described racism within the royal family, saying that, during her pregnancy, there had been “concerns and conversations about how dark” the skin of her child would be. Harry revealed a strained relationship with his father, Prince Charles, and brother, Prince William.The high level of interest in a special on a big broadcast network was something of a throwback to a moment when prime-time television interviews, jampacked with commercials, became a gathering spot for a mass audience.The “big get” interview is a TV genre unto itself, in which a famous anchor or host elbows out rivals to land an exclusive sit-down with a newsworthy subject. It is also a genre past its heyday. Along with Diane Sawyer and Barbara Walters, Ms. Winfrey, an interviewer extraordinaire who started her TV career in the 1970s, was a major player when the competition for such shows was at its height.In 1993, Ms. Winfrey’s prime-time interview of Michael Jackson at his Neverland Ranch, broadcast by ABC, attracted an audience of at least 62 million. Six years later, also on ABC, Ms. Walters sat down with Monica Lewinsky for a two-hour special that drew 48.5 million.Since then, the rise of digital media and its infinite screen-time options has cut deeply into the might of the big broadcasters. As the viewing audience fractured, opportunities for must-see prime-time interviews became vanishingly rare. Even the biggest one-on-ones of recent years have lacked the drawing power of the specials from two decades ago and more. The audience of 17.1 million for Ms. Winfrey’s interview of Meghan and Harry matched the number of viewers who tuned in when Caitlyn Jenner revealed that she was transgender to Ms. Sawyer on a 2015 episode of ABC’s “20/20.”The Sunday night special was unusual in that it was not overseen by a network news division. Ms. Winfrey’s company, Harpo Productions, produced it, and CBS paid at least $7 million to license the show, according to a person with knowledge of the arrangement. (The Wall Street Journal previously reported the figure.) The deal was also a gamble: It was taped after the network had bought the rights, according to two people with knowledge of how the show was made. During the interview, Ms. Winfrey said she had been trying to land the exclusive with the couple for about three years.CBS emerged the winning bidder despite Ms. Winfrey’s rocky experience at “60 Minutes,” where she was a special contributor in 2017 and 2018. In a 2019 interview with The Hollywood Reporter, Ms. Winfrey revealed that the show’s producers had criticized her delivery, saying she had “too much emotion” in her voice, even when she said her own name. (Ms. Winfrey has maintained a connection to the network through her good friend Gayle King, an anchor of “CBS This Morning,” and appeared on that show Monday.)Further complicating CBS’s attempt to get the big get was the thicket of media companies surrounding Ms. Winfrey and the former royal couple. Ms. Winfrey has her own cable network, OWN, and is a major part of the streaming platform AppleTV+. Recent episodes of Apple’s “The Oprah Conversation” have featured her interviews of Barack Obama, Dolly Parton and Mariah Carey.Meghan and Harry, for their part, signed a multiyear deal with Netflix last year to make documentaries and other shows. They also signed on to make podcasts for Spotify and released the first installment on Dec. 29. It included guest appearances by Elton John, Tyler Perry and other celebrities, as well as the first public utterance from their son, Archie.The pact between CBS and Harpo Productions was largely focused on TV rights. The interview ran live on ViacomCBS’s newly rebranded streaming service, Paramount+ but at least for now will not be available on Paramount+ for on-demand viewing. Instead, the special will be available on CBS.com and the CBS app for 30 days, a CBS spokesman said.Originally slotted for 90 minutes, it ended up a two-hour show. Before the broadcast, CBS released teaser clips, and British tabloids that have been unfriendly to Meghan shot back with anonymously sourced items on her apparent misdeeds.The estimate of 17.1 million viewers will only grow after Nielsen tabulates some viewers who streamed the special, as well as out-of-home viewing.AdvertisementContinue reading the main story More

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    Prince Harry Finally Takes On White Privilege: His Own

    #masthead-section-label, #masthead-bar-one { display: none }The British Royal FamilyliveInterview and FalloutWhat Meghan and Harry DisclosedWhat We LearnedRace and RoyaltyAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s notebookPrince Harry Finally Takes On White Privilege: His OwnMeghan Markle and Harry’s interview revealed a catalyst for their reinvention, our critic writes: Harry’s racial awakening after attacks on Markle.Prince Harry and Meghan Markle speak with Oprah Winfrey about racism and other issues in a blockbuster interview on CBS on Sunday night.Credit…Harpo Productions, via ReutersMarch 8, 2021Updated 4:30 p.m. ETIt was well worth the wait. The first joint interview with Prince Harry and Meghan Markle since they stepped down from royal life last year (a process that became officially permanent last month) did not disappoint.I, for one, watched this tell-all with Oprah Winfrey while texting with many of the same Black women with whom I watched their wedding in 2018. Back then, we shared OMG emojis because we were pleasantly surprised by the way Black culture was so powerfully celebrated and Markle’s African-American identity so thoughtfully integrated into their ceremony at St. George’s Chapel.Now, we were aghast at the couple’s allegations that racism toward Markle and its various consequences were a primary reason they fled their home to find freedom in sunny California.Based on Markle’s deep commitment to women’s rights and the interview’s promo clip — Winfrey asks her, “Were you silent or were you silenced?” — I went into this assuming it would be a feminist revision of the couple’s fairy-tale romance. “The latter,” Markle responded in the interview. Later, she’d compare her life as a royal to Princess Ariel losing her voice after falling in love with a human in “The Little Mermaid.” In that analogy, this interview is the final breaking of that spell, with Markle now fully in control of her voice. It reminded us that she never needed a Prince Charming to rescue her, while showing us that their very modern marriage is what saved and ultimately liberated them both from the trappings and the trap that is the Crown.But therein lies the true catalyst for their radical reinvention: Harry’s racial awakening. Here, I do not just mean the accusations from the couple about the deep anxiety some royals had about the potential skin color of their son, Archie — which resulted, they said, in him not being offered the traditional rituals of the royal hospital picture, the title “Prince” and the security that comes with that status. Rather, the second hour of the interview was a culmination of a process that Harry had been undergoing since their first date in 2016, when he was becoming more cleareyed, confrontational and emboldened to take on the British monarchy into which he was born, and the white privilege that holds it up and has benefited him his entire life.Typically, we see racial awakenings as a tragic rite of passage for Black people. In slave narratives and early 20th-century African-American autobiographies and novels, there is often a moment in which a Black child realizes she is not only different from her white peers but that her darker skin or African-American parentage makes her inferior to them. The literary critic Henry Louis Gates Jr. once described it as a “scene of instruction.” In books like W.E.B. DuBois’s collection “The Souls of Black Folks,” from 1903, or Nella Larsen’s novel “Passing,” from 1929, this traumatic rupture is always intimate and severe, the first and most formative experience in a lifetime of racist insults.An official wedding photograph released by Kensington Palace in May 2018.Credit…Alexi Lubomirski/Agence France-Presse — Getty ImagesAs Black parents, we try to prepare our children for these inevitable encounters with The Talk, the sage advice and survival strategies we hope might blunt the damage of these betrayals. But every Black person I know has had such a moment. Mine was my senior year in high school when my white classmates charged that the only reason I had been admitted to the University of Pennsylvania was because of affirmative action, an insinuation that equated being Black with being underqualified, and an injury that has caused me to obsessively overachieve in almost every aspect of my professional life.I’ve rarely heard white friends discuss their parallel experiences of first realizing their privilege. In fact, this summer was unprecedented in the sheer number of public figures and predominately white organizations that released statements or tweets acknowledging their role in perpetuating systemic racism. In private, I and many of my Black friends received more sympathetic emails or Black Lives Matter solidarity texts from our white colleagues than ever before. It seemed, suddenly, white people too were having their own version of The Talk.And in popular culture, these awakenings are appearing with more frequency. In this season of NBC’s “This Is Us,” Randall’s white siblings, Kate and Kevin, are, as a result of the Black Lives Matter protests this summer, slowly coming to terms with how much their own white household, and their ongoing refusal to deal with racism, has harmed their African-American brother, who was adopted.Without such recognition by our white family members and friends, racial inferiority is merely thrust onto Black people as a unique burden that we must bear, disprove of and reject. This innocence is at the core of white privilege, and by extension, white power.Back in 2005, when Harry wore a Nazi uniform to a costume party, it would have been impossible to predict his trajectory. By last fall, however, his awakening was well underway, with him talking about how his marriage to Markle immediately changed his understanding of race. “I had no idea it existed,” he said of unconscious bias in British GQ. “And then, sad as it is to say, it took me many, many years to realize it, especially then living a day or a week in my wife’s shoes.”Last night, he took it a step further. First, he noted how “the race element” distinguished the tabloid frenzy surrounding Markle from others in the past. “It wasn’t just about her, it was about what she represents,” he said. Next, he indicted his family for not taking on the racist attacks hurled at their own, and then linked their institutionalized reticence or refusal to intervene to Britain’s much longer history of imperialism.“For us, for this union and the specifics around her race, there was an opportunity — many opportunities — for my family to show some public support,” he told Winfrey. “And I guess one of the most telling parts and the saddest parts, I guess, was over 70 female members of Parliament, both Conservative and Labour, came out and called out the colonial undertones of articles and headlines written about Meghan. Yet no one from my family ever said anything. That hurts.”With this provocation, Harry suggests the Royals were not merely unwilling to accept his biracial Black wife and their multiracial child but also what Markle embodied: the millions of Black people throughout Britain and the Commonwealth who finally saw themselves in the monarchy through Markle’s existence, finding optimism in this interracial union.And with that confession, Harry declared his independence from British racism — whether he realizes it goes beyond his family’s treatment of his son and is an essential ingredient to the monarchy itself, I don’t know. But I turned off the interview wondering how American race relations will further change him. That the couple landed in the United States during a pandemic that has disproportionately harmed African-American and Latino families, and in a period of racial protest and rising white nationalism, feels a bit like jumping out of the frying pan into the fire.But, maybe that’s the point.Freed from the constraints of not being able to confront racism head-on might mean that he will dedicate his life to dismantling it, not just out of necessity, but also as a way of writing a new chapter in his family’s history and bequeath his children a legacy of antiracism.And if that is the case, it really will be better than any fairy tale ever imagined.AdvertisementContinue reading the main story More

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    Lessons From Oz: How Australian Theater Gives Broadway Hope

    AdvertisementContinue reading the main storySupported byContinue reading the main storyLessons From Oz: How Australian Theater Gives Broadway HopeCheck in with “Frozen,” “Come From Away,” “Moulin Rouge!” and “Harry Potter and the Cursed Child” in Offstage, our digital series about theater during the pandemic.“Frozen” fans entering the Capitol Theater in Sydney. Credit…Matthew Abbott for The New York TimesMarch 8, 2021Updated 4:29 p.m. ETTheater is up and running … in Australia.“Frozen” is onstage in Sydney, and “Come From Away” and “Harry Potter and the Cursed Child” are running in Melbourne. And there’s more to come: “Hamilton” opens later this month in Sydney, and “Moulin Rouge! The Musical” is gearing up for an August bow in Melbourne.How are they managing to perform when most of the theater world is dark? And what, if anything, do the Australian productions portend for a resumption of theater in New York, London, and everywhere else?That’s the subject of the next episode of Offstage, a New York Times digital series about theater during the pandemic. It airs at 7 p.m. Eastern on Thursday, April 29 (that’s 9 a.m. on Friday, April 30 in Sydney), and is free to Times subscribers.We’ll be talking with actors about what it’s like to perform at this time, and with producers about challenges faced and lessons learned. Plus, the casts of “Frozen” and “Come From Away” will sing.We’d love for you to join us. You can RSVP here.And if you missed the earlier episodes of Offstage, or just want to see them again, they’re all archived here.AdvertisementContinue reading the main story More

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    Making Chess Sing: ‘Queen’s Gambit’ to Be Adapted for the Stage

    AdvertisementContinue reading the main storySupported byContinue reading the main storyMaking Chess Sing: ‘Queen’s Gambit’ to Be Adapted for the StageA creative team has not yet been set for the proposed show, which would be based on the 1983 novel that spawned the hit streaming series.Anya Taylor-Joy and Thomas Brodie-Sangster in the Netflix adaptation of the novel “The Queen’s Gambit.”Credit…via NetflixMarch 8, 2021, 11:02 a.m. ETBeth Harmon is making her next move.A production company led by a Disney heir is planning to adapt “The Queen’s Gambit” into a stage musical. The fictional story is about an orphan girl — that’s Harmon — who becomes a pill-popping prodigy in the overwhelmingly male world of chess.Level Forward, a company whose founders include Abigail Disney, a grandniece of Walt Disney, said on Monday that it has won the rights to adapt Walter Tevis’s 1983 novel, which has become newly noteworthy thanks to the enormous success of last year’s streaming series adaptation on Netflix.Level Forward is not yet announcing a creative team or any other details of the project.The company has a decidedly progressive bent (it describes itself as “an ecosystem of storytellers, business people and social change organizers”), and is a relatively recent but active player in the theater industry, co-producing four Broadway shows in 2019: “What the Constitution Means to Me,” “Slave Play,” “Jagged Little Pill” and a revival of “Oklahoma!”The game of chess, although seemingly unlikely fodder for song-and-dance, has inspired at least one other musical: In the 1980s, the lyricist Tim Rice collaborated with Benny Andersson and Björn Ulvaeus of Abba to write “Chess,” a fictional account of a tournament between an American and a Soviet grandmaster. The show had a well-received score that remains an object of affection and fascination for some, but, despite repeated efforts at revisions, it has not found success onstage; it ran for two months on Broadway in 1988.“The Queen’s Gambit” project is just at the start of its developmental life, and it’s not yet clear when or where there might be a production.AdvertisementContinue reading the main story More

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    In Oprah Interview, Meghan Says Life as Royal Made Her Suicidal

    #masthead-section-label, #masthead-bar-one { display: none }The British Royal FamilyThe Oprah InterviewWhat Meghan and Harry DisclosedWhat We LearnedBehind the InterviewAdvertisementContinue reading the main storySupported byContinue reading the main story‘I Just Didn’t Want to Be Alive Anymore’: Meghan Says Life as Royal Made Her SuicidalIn a bombshell interview with Oprah Winfrey, the Duchess of Sussex said she had asked officials at Buckingham Palace for medical help but was told it would damage the institution.Oprah Winfrey’s highly anticipated two-hour interview with Prince Harry and his wife, Meghan, aired on CBS Sunday night.Credit…Joe Pugliese/Harpo Productions, via Getty ImagesPublished More