Eliana Willis

More stories

  • 113 Shares199 Views

    in Television

    ‘Industry’ Is Back With Boats, Cocaine and Bigger Ambitions

    In its new season, the HBO finance drama expands beyond the trading floor and moves into the network’s marquee Sunday-night slot.The creators of “Industry” pitched the Season 3 opener to HBO with three words: “Coke and boats.”“We were like, ‘Don’t kill us, but this is where we want to start Season 3,’” Mickey Down, one of the creators, said in a video call.The HBO executives did not want to kill them. They were thrilled that the show, which follows a chaotic group of young employees at an investment bank in London and often deals with the more specialized details of finance, was going in a broader direction.While illegal substances are nothing new for the show, most of the action had been centered on the trading floor. The new season, beginning on Aug. 11, opens with a hedonistic party on a luxury yacht, filmed in Majorca. It is a flashback with devastating implications for one of the principal characters, a rich woman named Yasmin, played by Marisa Abela.“Coke and boats” was just one of the ways in which Down and the other creator, Konrad Kay, sought to expand the show, in the new season, Down said.HBO hopes that the wider vision will draw a bigger audience. The series previously debuted new episodes on Mondays and now gets a marquee Sunday-night slot, taking the place of “House of the Dragon,” which just finished its second season.“We have high hopes for the show,” said Francesca Orsi, head of drama for HBO, adding that if “the world embraces Season 3 in the way that we have, both in its critical praise but also its viewership, there’s no question that we want to continue moving forward with it.”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

  • 100 Shares179 Views

    in Television

    On Netflix, a Very British ‘Love Is Blind’

    The creators of a new version of the reality show, in which contestants agree to marry before meeting face to face, sought to challenge a nation’s archetypal reticence.Tom Stroud, a 38-year-old advertising consultant, sits on the floor of a 12-foot-square room on the reality dating show “Love is Blind: U.K.,” facing a blank wall. On the other side is Natasha Waters, a 32-year-old job counselor, who has just told Tom that he’s everything she’s looking for in a man. He’s flattered — but he needs to let her know that he’s interested in somebody else.“I can feel how good you are,” he begins tentatively. “Um … but … I’m thinking about, sort of, um,” he trails off. He stares off into the distance, sighs heavily, fidgets with a ballpoint pen. “I need to be really honest with you …” he says, after a long pause. “I don’t know if it’s romantic love … it could just be friendship.”It may be no surprise to learn that Stroud is from Britain. This is, after all, the country’s archetypal reticence on display — a contrast to the freewheeling earnestness and candor of the six seasons of the American version of “Love is Blind.” The greater emotional restraint of contestants on the spinoff show is one aspect that makes it extremely, unmistakably British.Nazleen Karim, the showrunner and an executive producer of the series, acknowledged that this inhibition had been a possible concern. “Initially, we were like, ‘Will the Brits be able to emote and be as effusive as the U.S. cast?’” she said in a recent video interview.“We knew the format of the show was so strong, and that the emotion would get there, but part of us was thinking, ‘Will they be able to do it? Will it take them more dates?’” Seeing that process play out against “the stereotype of the stiff upper lip,” she said, was part of the attraction of taking the show’s format outside the United States.That format, in which a group of men and women conduct a series of blind dates from different pods to decide whether to get engaged before meeting in person, builds on the success of other American shows, such as “The Bachelor” and “Married at First Sight,” that have combined marriage with reality TV. The most popular British show in the same style, “Love Island,” is not centered around wedlock.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

  • 150 Shares179 Views

    in Television

    Steve Martin Is Out. Who Will Play Walz and Vance on ‘S.N.L.’?

    Steve Martin is out, and the roles of Kamala Harris and Donald Trump seem settled. But the internet has been busy dream-casting the rest of the “S.N.L.” election ticket.The approach of another presidential election brings with it many questions: In what direction is the United States headed? Who will be our next president and vice president? And, most crucially, who will play them on “Saturday Night Live”?Election-season comedy sketches are an “S.N.L.” staple, providing cast members with opportunities to gain visibility for their impersonations of prominent politicians and — increasingly — for the show to tap into its network of celebrity guests, friends and spouses to play these roles. When new political figures come to national attention, we can’t help but indulge our inner Lorne Michaels and imagine who we’d cast to imitate them.The show’s plans were likely scrambled last month when President Biden announced that he would stand down as the Democratic presidential nominee. That paved the way for Vice President Kamala Harris to take his place at the top of the ticket, and for Governor Tim Walz of Minnesota to join as her running mate. On the Republican side, former President Donald J. Trump offered his vice-presidential slot to Senator JD Vance of Ohio.These are all characters likely to appear on “S.N.L.,” whose 50th season will begin on Sept. 28. And while the show hasn’t officially announced who it intends to cast in these key roles (and NBC declined to comment for this article), there is plenty of history and wild internet speculation to sift through. Let’s take a look at where these races currently stand.Kamala HarrisHarris’s increased prominence in the campaign should lead to the same on “S.N.L.”Doug Mills/The New York TimesRudolph has already won Emmy Awards for playing Harris on the show.Angela Weiss/Agence France-Presse — Getty ImagesThe front-runnerNecessity is the mother of invention, and now that “S.N.L.” needs a Harris impersonator to play a prominent role this fall, Maya Rudolph is clearly the mother to call on. An “S.N.L.” cast member from 2000 to 2007, Rudolph began playing Harris in guest appearances during the Democratic primaries in 2019, racking up some highly GIF-able moments and winning two Emmy Awards along the way. Rudolph appeared as Harris 10 times through 2021, and the woman herself, in social media posts, appeared to approve of the portrayal. “S.N.L.” has not confirmed that Rudolph will play Harris, but Deadline has reported that production on her Apple TV+ series, “Loot,” has been pushed back to make room for her return to the show — as everyone and their mother seems to be clamoring for.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

  • 125 Shares119 Views

    in Television

    This Bawdy Dramedy Presents a Fantasy of Online Sex Work

    A new Norwegian series on Max follows a stifled wife and mother who finds excitement and a new identity by posting explicit photos online.Mariann Hole plays a woman looking for a jolt in a new Norwegian dramedy.MaxThe Norwegian dramedy “MILF of Norway,” (on Max in Norwegian, with subtitles, or dubbed) follows a stifled wife and mother looking for attention, approval, money, pleasure — a jolt. And if all it takes is posting some topless photos on the internet, what of it? “A little change should be fun,” her dry husband tells her. “You need that.” If only he knew.Lene (Mariann Hole) takes a back seat in her life. Truly: Her 14-year-old son, Mons, rides shotgun when her family drives somewhere. She’s fresh off an obnoxious firing from an agency she calls a “pathetic hipster dump,” and she feels undervalued and ignored in her life. Her best friend can’t stop griping about her husband’s online porn habits, and eventually curiosity gets the better of Lene — or maybe it’s a dormant adventurousness stirring back to life. After a mere nipple pic garners 37 likes, she’s all in, scrolling and posting and trying to find her specific niche in the market. Push notifications become her drug of choice, and she starts taking classes and networking.The series plays out a cotton-candy fantasy of online sex work, in which the adoration and cash roll in and nothing bad happens, and Lene can convince herself that she’s the special genius this whole industry has been waiting for. Calamitous dinner parties do not bother her; if others choose prudishness, that’s sad for them, but now she’s more sexual, evolved and interesting than they are. Maybe she’ll just make some new, cooler friends who also post explicit content of themselves. Maybe they’ll all just have a flirtatious, laugh-filled montage together.Some of the beats here feel ordinary, but the show’s cheeky tone brightens the proceedings, giving them a kooky, fun edge. Even better is the set and production design — if you are a fan of interesting lamps, this might be television’s richest bounty. Lene’s house practically glows, as if we’re seeing it in dreamy flashback.“I understand it can be hard to know how you should look at people,” Mons’s teacher tells him after some classmates complain that he is staring. Everyone in this show is struggling with that — some in concrete ways and others more philosophically.Five of eight episodes have aired, with new installments arriving each Thursday. More

  • 138 Shares99 Views

    in Television

    Gabriel Olds, Los Angeles Actor, Is Arrested on Sexual Assault Charges

    Gabriel Olds, who played the Christian broadcaster Pat Robertson in the 2021 movie “The Eyes of Tammy Faye,” has been accused of sexually assaulting three women.A Los Angeles actor was arrested on Wednesday after three women accused him of luring them into a “false sense of security” on dates and then sexually assaulting them, the police said.The actor, Gabriel Olds, 52, has had roles in television, film and stage productions since the 1990s, including a turn as Pat Robertson, the Baptist minister and broadcaster, in the 2021 movie “The Eyes of Tammy Faye,” starring Jessica Chastain and Andrew Garfield.The Los Angeles police said in a statement on Wednesday that investigators had identified three women whom Mr. Olds sexually assaulted since 2013, as well as two other women who reported “lesser violent sexual conduct.” Mr. Olds, who was charged with seven counts of felony sexual assault, was being held for $3.5 million bail.It was not immediately clear if he had a lawyer.Because Mr. Olds often traveled for work, detectives believe there may be more victims in other parts of the country who have not come forward, the Los Angeles police said.A New York native and Yale alumnus, Mr. Olds used his status as an Ivy League graduate with a long list of film credits to meet women and arrange dates, the police said. He met some of the women on dating apps, the police said.One of the three women, who was 41, reported on Jan. 19, 2023, that Mr. Olds had raped her at her home in Los Angeles, the police said. The two other women later reported similar assaults dating back to 2013, the police said.“We heard the same story again and again,” Detective Brent Hopkins, a supervisor in the special assault section of the Los Angeles Police Department, said in a statement. “Mr. Olds started off charming, but then used brutal violence to carry out these rapes. Some of these survivors suffered in silence for years before finding the strength to speak up. Now that he’s off the streets, we want to make sure everyone has a chance to be heard.”Mr. Olds’s television credits include appearances in two episodes of “NCIS: Los Angeles” and in a single episode of the NBC series “Blindspot,” according to IMDB. On the New York stage, he played Rodolpho in a 1997 production by the Roundabout Theater Company of Arthur Miller’s “A View From the Bridge.” More

  • 163 Shares169 Views

    in Theater

    Broadway Revival of ‘Glengarry’ to Star Kieran Culkin, Bob Odenkirk and Bill Burr

    A revival of “Glengarry Glen Ross,” David Mamet’s classic play about unscrupulous real estate agents, is to open next spring.“Glengarry Glen Ross,” David Mamet’s Pulitzer Prize-winning drama about the world of unscrupulous real estate agents, is returning to Broadway next spring with a starry cast for its seedy offices.Kieran Culkin, boosted to stardom by his role as a scheming son of a media titan in “Succession,” will be featured alongside Bob Odenkirk, the “Breaking Bad” and “Better Call Saul” alumnus, and Bill Burr, one of today’s most successful standup comics.The production — which will be the fourth “Glengarry” outing on Broadway — is to be directed by Patrick Marber, a Tony Award winner for Tom Stoppard’s “Leopoldstadt.” Marber was 19 when he saw the first production of “Glengarry” in London in 1983.“Glengarry” is one of the plays that solidified Mamet’s reputation as a great American dramatist. It is an ensemble drama, set in a Chinese restaurant and a real-estate office, about a group of salesmen competing to market real estate developments to unwitting buyers.The play arrived on Broadway in 1984, and it won the Pulitzer Prize in Drama that same year. It was adapted as a film in 1992, with a cast led by Al Pacino and Jack Lemmon.The play was revived on Broadway in 2005, with Alan Alda and Liev Schreiber, and again in 2012, with Pacino and Bobby Cannavale.Culkin, who will play Richard Roma, the alpha dog salesman, has appeared on Broadway once before, in a 2014 production of Kenneth Lonergan’s “This Is Our Youth.” Odenkirk will play Shelly Levene, the sad-sack veteran salesman, and Burr takes on the role of Dave Moss, Roma’s blustery rival; they will both be making their Broadway debuts in “Glengarry.” The rest of the cast and the production’s dates have not yet been announced.The 2025 revival is being produced by Jeffrey Richards, who has worked on every previous Broadway production of “Glengarry” and who often produces Mamet’s work on Broadway, as well as by Rebecca Gold, a frequent Richards collaborator. In 2018, Richards and Gold had plans to stage an all-female production of “Glengarry,” and in 2019, Patti LuPone said she was slated to star, but that production never happened.Mamet has become a polarizing figure in recent decades — his later plays have not been well-received, and his rightward political turn has alienated some onetime fans. But his early plays remain admired; most recently, “American Buffalo” was revived on Broadway in 2022, and Jesse Green, the chief theater critic for The New York Times, although critical of Mamet, called the production “electric.” More

  • 125 Shares99 Views

    in Theater

    Compassion Is in Short Supply at This Grief Support Group

    In “Someone Spectacular,” Domenica Feraud skewers group therapy and the futility of sharing trauma in a fishbowl.The Irish literary critic Vivian Mercier once wrote that “Waiting for Godot” is “a play in which nothing happens, twice.” Domenica Feraud’s “Someone Spectacular,” with its own missing Godot-like figure, is a play in which nothing happens, six times.The nothing, in this case, refers mainly to the plot: Six members of a grief support group sit in a circle and wait for their counselor, Beth, to show up. Ten minutes pass. Then 20. Someone halfheartedly suggests they play a game; someone else speculates that Beth might have died, which gets a lungless laugh from a group member. Another belatedly wonders aloud: Should they even be talking without the mediating presence of their counselor?A modest proposal from Julian (Shakur Tolliver), who is grieving his aunt’s death, to start breathing exercises is roundly ignored, as is an idea to vote for a “Replacement Beth.” Nelle (Alison Cimmet), who is allergic to the idea of wasting time, proposes a vote on whether to proceed with the meeting sans Beth or disband. After some wrangling — “No one here is qualified to lead a session,” gripes the youngest attendee, Jude (Delia Cunningham) — votes are tallied. The yeas outnumber the nays.So: Progress?Not a snowflake’s chance in hell. In this meticulously crafted play, partly inspired by the death of Feraud’s mother, each attempt to begin the meeting is quickly derailed.When the matronly Evelyn (Gamze Ceylan), who has a worrisome cough, sensibly suggests a group check-in, she’s promptly dismissed. Only Jude, who is mourning a miscarriage, takes the invitation seriously; her “grief is at a 5 today. Maybe a 6. It gets worse at night, I’m not sure why.” Yet she’s immediately upstaged by Lily (Ana Cruz Kayne, flop sweatingly fine), a retired actress who thinks she killed her mom. Lily’s grief is at a 10, she says, because it’s always at a 10: “Every day I wake up shocked I haven’t killed myself. Happy?”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

  • 125 Shares99 Views

    in Theater

    A Play About J.K. Rowling Stirred Outrage. Until It Opened.

    The muted reaction to the Edinburgh Fringe show “TERF” suggests that when activists engage with potentially inflammatory art, offense can quickly vanish.There are more than 3,600 shows in this year’s Edinburgh Festival Fringe and most will struggle to get even a single newspaper review. Yet for months before the festival opened on Friday, one play was the subject of intense global media attention: “TERF,” an 80-minute drama about J.K. Rowling, the “Harry Potter” author, and her views on transgender women.Before anybody had even read the script, a Scottish newspaper called the play, which imagines Rowling debating her views with the stars of the “Harry Potter” movies, a “foul-mouthed” attack on the author. An article in The Daily Telegraph said that “scores of actresses” had turned down the opportunity to play Rowling. And The Daily Mail, a tabloid, reported that the production had encountered trouble securing a venue.On social media and women’s web forums, too, “TERF” stirred outraged discussion.The uproar raised the specter of pro-Rowling protesters outside the show and prompted debate in Edinburgh, the city that Rowling has called home for more than 30 years. But when “TERF” opened last week, it barely provoked a whimper. The only disturbance to a performance on Monday in the ballroom of Edinburgh’s Assembly Rooms came from a group of latecomers using a cellphone flashlight to find their seats. About 55 theatergoers watched the play in silence from the front few rows of the 350-seat capacity venue.The play imagines a showdown in a restaurant between Rowling and the stars of the “Harry Potter” movies.Andy Buchanan/Agence France-Presse — Getty ImagesGiven the regular disagreements between some feminists and transgender rights supporters, the uproar around “TERF” was not unexpected.But the muted response to the show itself suggests that fewer British people are riled by the debate than the media coverage implies — or at least that when activists engage with potentially inflammatory art, outrage can quickly vanish.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