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    ‘Bridgerton’s’ Nicola Coughlan on Her Season 3 Glow Up

    The stars of the Shondaland series, streaming on Netflix, are given very different looks when they’re promoted from the supporting cast — a phenomenon fans have dubbed “the Bridgerton glow-up.”When the actress Nicola Coughlan joined the cast of Shondaland’s period costume drama “Bridgerton,” as the young socialite and secret gossip pamphleteer Penelope Featherington, the hair and makeup artist Marc Pilcher informed her that the creative brief they had for her character was only one word: “dowdy.”Penelope, the demure youngest daughter of the domineering matriarch Lady Portia Featherington, was to be done up in garish pastel dresses and gaudy jewelry, with a hairdo clogged with curls — none of it particularly flattering. “For the first two seasons, the objective, in the nicest way, was not meant to make me look nice,” Coughlan said in a recent interview. “A lot of the Featherington aesthetic was a ‘more is more’ approach.”A supporting player through the show’s first two seasons, Penelope is the main character of Season 3, which begins streaming May 16 on Netflix. And as she has moved into the spotlight, her entire style has been altered: a transformation that fans of the show refer to as the “Bridgerton glow-up.”Gone are the canary-yellow gowns and tacky headpieces. She’s now wearing milder colors and less ostentatious jewelry, and her hairstyles are looser and more elegant. In short, she is no longer dowdy. “At the first fitting for Season 3, I got teary-eyed,” Coughlan said. “It felt like a ‘Pretty Woman’ moment. They were finally going to let me shine.”In Season 1, the brief for Nicola Coughlan’s character was a single word: “dowdy.”Liam Daniel/NetflixIn Season 3, as the leading lady, Coughlan gets a romantic look that showcases Penelope’s growing confidence.Laurence Cendrowicz/NetflixThis kind of stylistic reinvention has become common practice on a series known for rotating actors in and out of its sweeping ensemble, and adapting their appearances accordingly. “When the transition is made from side character to leading character, we think a lot about what story it is we’re trying to tell,” the showrunner and executive producer Jess Brownell explained. When it comes to styling, she said, “it’s a lot more heady when it comes to the main characters.”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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    Stephen Colbert Finds Donald Trump ‘Past His Expiration Date’

    Michael Cohen’s testimony gave the host plenty of fodder, especially when he described Donald Trump speculating about going back “on the market.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.‘Only One Way to Get Paid’Donald Trump’s former lawyer and fixer, Michael Cohen, took the stand on Monday in the former president’s hush money trial.“Now, you never want to be the middleman between your boss and a porn star,” Colbert said of Cohen. “Sure, it sounds titillating when they ask, but eventually it’s just a tangle of limbs, and you’re just kind of watching.”“Michael Cohen testified today that former President Trump once said that he wouldn’t be single for very long if former first lady Melania Trump were to leave him. So, yeah, he wrote his own vows.” — SETH MEYERS“That’s right, Michael Cohen testified today that Trump once asked him how long he’d be single if Melania were to leave him and said, ‘How long do you think I’d be on the market for? Not long.’ On the market? You’re a 78-year-old psychopath with massive debt. That’s not a market, that’s a lost-and-found bin.” — SETH MEYERS“Coincidentally, ‘not long’ is how Stormy described it.” — STEPHEN COLBERT“But it’s true — he would be off the market soon. I mean, he is clearly past his expiration date.” — STEPHEN COLBERT“During his testimony today, Cohen also said that he was never paid for early legal work he did for Trump. Of course not! He doesn’t pay his lawyers, he doesn’t pay his contractors. There’s really only one way to get paid by Donald Trump, and it is not worth it.” — SETH MEYERSThe Punchiest Punchlines (Hannibal Lecter Edition)“At this rally, Trump talked about the ‘Silence of the Lambs’ character Hannibal Lecter and said he was a ‘wonderful man.’ First of all, Hannibal Lecter isn’t real. He’s a character played by Anthony Hopkins, a wonderful man who is real. Second, the character Hannibal is not a wonderful man, he’s a cannibal who murdered a bunch of people. And third, please tell me this is not your VP announcement.” — SETH MEYERS“What is going on? I’m no political expert, but maybe don’t keep saying, ‘the late, great Hannibal Lecter.’” — JIMMY FALLON“Oh, I love ‘Silence of the Lamb.’ It’s one of my favorite movies right up there with ‘Star War,’ “Dance with Wolf’ and ‘Jaw.’” — STEPHEN COLBERT“‘Late great’? In none of the stories does Hannibal Lecter die, and Sir Anthony Hopkins is very much still alive. Does Trump just think a character dies when he turns off the T.V.?” — STEPHEN COLBERTThe Bits Worth WatchingSnoop Dogg and Jimmy Fallon wore matching American tracksuits on Monday to celebrate the upcoming Paris Olympics.What We’re Excited About on Tuesday NightThe “All Fours” author Miranda July will appear on Tuesday’s “Daily Show.”Also, Check This OutIn “Appropriate,” Sarah Paulson aims to present “a fully realized person up there that you can have some connectivity to.”Matthew Leifheit for The New York TimesThe actress Sarah Paulson received a Tony Award nomination for her return to Broadway in “Appropriate.” More

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    Review: A New Lens on Auschwitz in ‘Here There Are Blueberries’

    Archivists are the heroes of a documentary play about a photograph album depicting daily life among the perpetrators of the Holocaust.You do not expect a camera to be the first thing you see in a play about the Holocaust. Yet even before “Here There Are Blueberries” begins, a spotlight illuminates a Leica on a pedestal. A period advertisement projected behind it promotes it as “the camera of modern times.”That’s apt for a dramatized documentary that looks at its subject from an unusual angle: the discovery of photographs taken at Auschwitz and the archivists who brought them to light.“Blueberries,” which opened on Monday at New York Theater Workshop in a co-production with Tectonic Theater Project, focuses on the so-called Höcker album, which the United States Holocaust Memorial Museum acquired from an anonymous donor in 2007. Uniquely, none of the album’s 116 photographs depict victims of the Nazis — only the Nazis themselves, going about the banal daily business of living and enjoying their lives at the camp.That the play takes a similar approach, keeping the victims mostly out of frame, is a blessing and a problem. A blessing because in so doing it avoids both active horror and the cynicism of Holokitsch, in which the murder of six million Jews is appropriated to zhuzh some emotion that might otherwise be absent.But in backgrounding the tragedy, even with the noblest intentions, “Blueberries” (conceived and directed by Moisés Kaufman; written by Kaufman and Amanda Gronich) gets caught in a different dramatic problem: a problem of moral scale. What it’s about, however worthy, is so much smaller than what it insistently isn’t.It’s not just that the album at the center of the story, being the keepsake of an assistant to the commandant of Auschwitz in 1944, makes no reference to major atrocities in its portrayal of minor pleasures like the title blueberries. We do not see — as we do in the film “The Zone of Interest,” which features some of the same characters and locations — smoke from crematories or glowing evil light at night. In keeping with the museum’s efforts to “avoid undue attention to the perpetrators,” the play’s Nazis are characterized almost as little as their victims.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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    Tony Awards 2024: Print Your Ballot!

    Best New Play
    “Jaja’s African Hair Braiding”
    ☐ “Mary Jane”
    ☐ “Mother Play”
    ☐ “Prayer for the
    French Republic”
    ☐ “Stereophonic”
    Best New Musical
    “Hell’s Kitchen”
    “Illinoise”
    ☐ “The Outsiders”
    ☐ “Suffs”
    “Water for Elephants”
    Best Play Revival
    ☐ “Appropriate”
    ☐ “An Enemy of the People”
    “Purlie Victorious”
    Best Musical Revival
    ☐ “Cabaret”
    ☐ “Gutenberg! The Musical!”
    “Merrily We Roll Along”
    “The Who’s Tommy”
    Best Book
    of a Musical

    Bekah Brunstetter,
    “The Notebook”
    Kristoffer Diaz, “Hell’s Kitchen”
    ☐ Rick Elice,
    “Water for Elephants”
    ☐ Adam Rapp and Justin
    Levine, “The Outsiders”
    ☐ Shaina Taub, “Suffs”
    Best Leading Actor
    in a Play
    ☐ William Jackson
    Harper, “Uncle Vanya”
    Leslie Odom Jr.,
    “Purlie Victorious”
    ☐ Liev Schreiber, “Doubt”
    Jeremy Strong,
    “An Enemy of the People”
    ☐ Michael Stuhlbarg, “Patriots”
    Best Leading Actress
    in a Play
    ☐ Betsy Aidem, “Prayer for
    the French Republic”
    0000
    Jessica Lange, “Mother Play”
    Rachel McAdams, “Mary Jane”
    Sarah Paulson, “Appropriate”
    ☐ Amy Ryan, “Doubt”
    Best Leading Actor
    in a Musical
    ☐ Brody Grant, “The Outsiders”
    ☐ Jonathan Groff, “Merrily
    We Roll Along”
    Dorian Harewood,
    “The Notebook”
    ☐ Brian d’Arcy James,
    “Days of Wine and Roses”
    ☐ Eddie Redmayne, “Cabaret”
    The New York Times
    2024 Tony Awards Ballot
    Best Leading Actress
    in a Musical
    Eden Espinosa, “Lempicka”
    ☐ Maleah Joi Moon,
    “Hell’s Kitchen”
    Kelli O’Hara,
    “Days of Wine and Roses”
    ☐ Maryann Plunkett,
    “The Notebook”
    ☐ Gayle Rankin, “Cabaret”
    Best Featured Actor
    in a Play
    ☐ Will Brill, “Stereophonic”
    Eli Gelb, “Stereophonic”
    ☐ Jim Parsons, “Mother Play”
    Tom Pecinka, “Stereophonic”
    Corey Stoll, “Appropriate”
    Best Featured Actor
    in a Musical
    ☐ Roger Bart,
    “Back to the Future”
    ☐ Joshua Boone, “The Outsiders”
    ☐ Brandon Victor Dixon,
    “Hell’s Kitchen”
    ☐ Sky Lakota-Lynch,
    “The Outsiders”
    ☐ Daniel Radcliffe,
    “Merrily We Roll Along”
    ☐ Steven Skybell, “Cabaret”
    Best Featured Actress
    in a Play
    ☐ Quincy Tyler Bernstine,
    “Doubt”
    ☐ Juliana Canfield,

    “Stereophonic”
    Celia Keenan-Bolger,
    “Mother Play”
    Best Direction
    of a Musical
    ☐ Maria Friedman,
    ㅁㅁㅁ ㅁ
    “Merrily We Roll Along”
    Best Lighting Design
    of a Musical
    ☐ Brandon Stirling
    Baker, “Illinoise”
    Michael Greif, “Hell’s Kitchen”

    Isabella Byrd, “Cabaret”
    Leigh Silverman, “Suffs”

    ☐ Jessica Stone,
    “Water for Elephants”
    ☐ Danya Taymor, “The Outsiders”
    Best Scenic Design
    of a Play
    Natasha Katz, “Hell’s Kitchen”
    ☐ Bradley King and David
    Bengali, “Water for Elephants”
    ☐ Brian MacDevitt and Hana S.
    Kim, “The Outsiders”
    Best Sound Design
    dots, “An Enemy of the People” of a Play
    ☐ dots, “Appropriate”
    Derek McLane,
    “Purlie Victorious”
    David Zinn,
    “Jaja’s African Hair Braiding”
    David Zinn, “Stereophonic”
    Best Scenic Design
    of a Musical
    ☐ AMP featuring Tatiana
    Kahvegian, “The Outsiders”
    ☐ Robert Brill and Peter
    Nigrini, “Hell’s Kitchen”
    ☐ Tim Hatley and Finn Ross,
    “Back to the Future”
    ☐ Riccardo Hernández and
    Peter Nigrini, “Lempicka”
    ☐ Takeshi Kata,
    “Water for Elephants”
    David Korins, “Here Lies Love”
    ☐ Tom Scutt, “Cabaret”
    Best Costume Design
    of a Play

    Dede Ayite, “Appropriate”

    Dede Ayite,
    “Jaja’s African Hair Braiding”
    ☐ Sarah Pidgeon, “Stereophonic” ☐ Enver Chakartash,
    ☐ Kara Young, “Purlie Victorious”
    Best Featured Actress
    in a Musical
    ☐ Shoshana Bean,
    “Hell’s Kitchen”
    ☐ Amber Iman, “Lempicka”
    Nikki M. James, “Suffs”


    Leslie Rodriguez
    Kritzer, “Spamalot”
    Kecia Lewis, “Hell’s Kitchen”
    ☐ Lindsay Mendez,
    “Merrily We Roll Along”
    ☐ Bebe Neuwirth, “Cabaret”
    Best Direction of a Play
    Daniel Aukin, “Stereophonic”
    ☐ Anne Kauffman, “Mary Jane”
    Kenny Leon, “Purlie Victorious”
    Lila Neugebauer, “Appropriate”
    Whitney White,
    ☐ ☐ ☐ ☐ ☐
    “Jaja’s African Hair Braiding”
    ☐ ☐
    “Stereophonic”
    ☐ Justin Ellington and
    Stefania Bulbarella,
    “Jaja’s African Hair Braiding”
    ☐ Leah Gelpe, “Mary Jane”
    ☐ Tom Gibbons, “Grey House”
    ☐ Bray Poor and Will
    Pickens, “Appropriate”
    ☐ Ryan Rumery, “Stereophonic”
    Best Sound Design
    of a Musical
    ☐ M.L. Dogg and Cody Spencer,
    “Here Lies Love”
    Kai Harada,
    “Merrily We Roll Along”

    Nick Lidster, “Cabaret”

    Gareth Owen, “Hell’s Kitchen”
    ☐ Cody Spencer, “The Outsiders”
    Best Original Score
    Will Butler, “Stereophonic”
    ☐ Adam Guettel, “Days
    of Wine and Roses”
    ☐ Jamestown Revival and Justin
    Levine, “The Outsiders”
    ☐ David Byrne and Fatboy
    Slim, “Here Lies Love”
    ☐ Shaina Taub, “Suffs”
    Emilio Sosa, “Purlie Victorious” Best Choreography
    David Zinn,
    “An Enemy of the People”
    Best Costume Design
    of a Musical
    ☐ Dede Ayite, “Hell’s Kitchen”
    ☐ Linda Cho, “The Great Gatsby”
    ☐ David Israel Reynoso,
    “Water for Elephants”
    Tom Scutt, “Cabaret”
    ☐ Paul Tazewell, “Suffs”
    Best Lighting Design
    of a Play
    ☐ Isabella Byrd,
    “An Enemy of the People”
    ☐ Amith Chandrashaker, “Prayer
    for the French Republic”
    Jiyoun Chang, “Stereophonic”
    Jane Cox, “Appropriate”
    ☐ Natasha Katz, “Grey House”
    ☐ Camille A. Brown,
    “Hell’s Kitchen”
    ☐ Shana Carroll and Jesse
    Robb, “Water for Elephants”
    ☐ Rick and Jeff Kuperman,
    “The Outsiders”
    ☐ Annie-B Parson,
    “Here Lies Love”
    Justin Peck, “Illinoise”
    Best Orchestrations
    ☐ Timo Andres, “Illinoise”
    ☐ Tom Kitt and Adam
    Blackstone, “Hell’s Kitchen”
    ☐ Will Butler and Justin
    Craig, “Stereophonic”
    ☐ Justin Levine, Matt
    Hinkley and Jamestown
    Revival, “The Outsiders”
    D Jonathan Tunick,
    “Merrily We Roll Along” More

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    George Clooney to Make Broadway Debut in ‘Good Night, and Good Luck’

    A stage adaptation of the film is planned for next spring, with Clooney playing the journalist Edward R. Murrow.George Clooney is planning to make his Broadway debut next spring in a stage adaptation of his 2005 film “Good Night, and Good Luck.”Clooney will play Edward R. Murrow, the pioneering newscaster whose storied broadcast career in the mid-20th century made him a journalism icon. That role was played by David Strathairn in the film.“Good Night, and Good Luck” portrays the period when Murrow’s work brought him into conflict with Senator Joseph R. McCarthy, the Republican of Wisconsin who became notorious for the excesses of his anti-Communist crusade.Clooney wrote the movie with Grant Heslov; the two are teaming up again to adapt it for Broadway. Clooney also directed the film, and performed in it as Fred W. Friendly, Murrow’s collaborator.Reviewing the film for The New York Times, the critic A.O. Scott called it “a passionate, thoughtful essay on power, truth-telling and responsibility.”The stage adaptation will be directed by David Cromer, who won a Tony for directing “The Band’s Visit.”The play’s producing team — Seaview, Sue Wagner, John Johnson, Jean Doumanian and Robert Fox — announced on Monday the plan to stage “Good Night, and Good Luck” next spring at a Shubert theater, but offered no other details.Clooney, 63, has won two Academy Awards, as an actor in “Syriana” and as a producer of “Argo.” More

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    ‘The Bachelor’ Promises True Love. So Why Does It Rarely Work Out?

    Of the 40 combined seasons of “The Bachelor” and “The Bachelorette,” only eight couples have stayed together. We spoke to former contestants and leads about roadblocks to a happy ending.The season premiere of any installment in “The Bachelor” franchise always starts the same: with the host talking directly to camera about the lead’s almost-certain path to finding lasting love. Unlike other popular reality dating shows, the franchise markets itself as a genuine chance to find love without any other incentives like cash prizes.But it’s actually not all that probable: Of the 40 combined seasons of “The Bachelor” and “The Bachelorette,” only eight couples have stayed together — not great betting odds.Morale in the franchise was low going into 2023, with no recently minted couples still together, until ABC announced a hopeful new twist. “The Golden Bachelor” pledged to aid then-72 year-old Gerry Turner make the most of a second chance at love following the death of his wife. At season’s end, he proposed to Theresa Nist in a teary finale. In January their wedding was televised on ABC. By April, they’d announced plans to divorce.That breakup felt like the last straw in believing this franchise could foster lasting love, so to look into why “The Bachelor” rarely makes good on its premise, we spoke to the former Bachelorettes Kaitlyn Bristowe and Tayshia Adams, as well as the former contestants Tyler Cameron and Melissa Rycroft about the flaws that doom the reality franchises’ lovebirds.“When you’re in that ‘Bachelor’ bubble, all you do is focus on and be brainwashed toward that person,” said Tyler Cameron, the runner-up on Hannah Brown’s “Bachelorette” season.Mark Bourdillon/ABC, via Getty ImagesThe main prize might not be the catch you thought.Many love-related reality television shows that are on the air today — think “Love Island,” “Are You the One?” or even “Bachelor in Paradise” — allow for participants to intermingle in environments specifically designed to mimic some version of real life.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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    How ‘Law & Order: SVU,’ ‘NCIS’ and ‘Grey’s Anatomy’ Have Kept Fans Hooked

    Shows like “Law & Order: SVU,” “NCIS” and “Grey’s Anatomy” have kept fans hooked for 20 seasons or more. How do they do it?Breanna DePasquale grew up watching “Law & Order: SVU” with her mother, Christina, in Brooklyn. Breanna loved Detective Olivia Benson on the show, while Christina was all in for Detective Elliot Stabler.Few were surprised when Breanna became Detective DePasquale with the New York Police Department. The show, she said, “absolutely” contributed to her pursuing a career in law enforcement.As they have for many fans, the characters and story arcs that seem ripped from the headlines keep Detective DePasquale, 29, coming back. Fans like her helped cement “SVU,” now in its 25th season, as the longest-running prime-time drama in history.“I always call her my own Olivia Benson,” Christina DePasquale said.Prime-time drama super fans like the DePasquales can reference their favorite episodes at the flip of a remote. They can quote lines by the protagonists — some have even turned them into tattoos.Regardless of whether the characters commit a crime, or a friend teases them about their dedication to a television show that has passed the legal drinking age, these fans are along for the ride.Yvonne Macklin, an “SVU” fan from Baltimore, at the show’s fan event in New York City.Hiroko Masuike/The New York TimesBrandi Burgos, at a recent “SVU” fan event, shows off her tattoo — a line in a letter from Detective Stabler to Captain Benson.Hiroko Masuike/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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    Sarah Paulson Dares to Play the People You Love to Hate

    Sarah Paulson still doesn’t fully understand why fans call her “mother.”At first, when she started seeing the word used online to describe her, she was bewildered and a bit irritated. She was in her 40s and childless. Did these people really think she looked like their mother?Once she began to understand it as an age-neutral compliment — a term Gen Z likes to use for famous women they adore — she leaned into the meme, appearing on “Saturday Night Live” last year, alongside Pedro Pascal, in a sketch in which he was “father” and she “mother” to a group of enamored high schoolers.“How did this happen to us?” Paulson wondered about her and Pascal, a longtime friend. “We were two 18-year-old kids who used to go to Sheep Meadow and smoke pot and go see Peter Weir movies. How did we become the mother and father of children on the internet?”For Paulson, the answer is a 30-year career that has wound its way from television bit parts to meaty lead roles as fraught real-life people. It is animated by an eclectic cast of characters orchestrated by the television producer Ryan Murphy, including conjoined twins, a Craigslist psychic, a ghost with a past as a heroin addict, an evil nurse and two of the most ridiculed and obsessed-over women of the 1990s.Paulson has long dared to play characters that viewers are liable to dislike — or downright loathe — and the role that has led to her first Tony nomination is one of her most provocative yet.In Branden Jacobs-Jenkins’s family drama “Appropriate,” her character is often the one audience members are rooting against: a sharp-tongued elder sister who lashes out against mounting suspicions that her recently deceased father harbored racist convictions.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