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    Dave Chappelle’s Netflix Special: Three Key References to Know

    Dave Chappelle released a lacerating new special, “8:46” — the length of time that a police officer held his knee on George Floyd’s neck as Floyd pleaded for his life — that has become among the first live shows in the Covid era to reckon with the protests gripping the nation.“This is weird,” Chappelle tells audience members, wearing masks in socially distanced seats.The show was taped in Ohio on June 6, and a title card explains that it was Chappelle’s first performance in nearly three months. Dressed in black, he refers regularly to a notebook and smokes a cigarette onstage.Chappelle’s performance isn’t much of a comedy set, because, as he notes, there aren’t really any jokes. Instead, it’s a raw accounting of police brutality, punctuated with images of black men who died at the hands of officers, and deftly interweaving his own personal history.He covers a wide range of topics, including the media, the death of Kobe Bryant, and his family members, some of whom were in the audience. But three subjects, including a run-in Chappelle had with an Ohio police officer who went on to kill a young black man, are not well known. Here’s more context for the special.The Killing of John Crawford IIIIn 2014, days before the police killed Michael Brown in Ferguson, Mo., a 22-year-old black man named John Crawford III was shot and killed in a Walmart in Beavercreek, Ohio — Chappelle’s community — by a white police officer. The night before, Chappelle says in the special, the same officer pulled him over. He “let me off with a warning and the next day kills a kid.” More

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    Blackface on British TV Finally Faces a Reckoning

    LONDON — On Thursday night, the British chat-show host Trisha Goddard discussed the impact of an impersonation of her by a white comedian in blackface that was popular on television here in the early 2000s.“I’ve only recently discovered how bullied my children were” as a result of the character, Goddard said on the BBC program “Newsnight.”“Let me be clear on this. If the parody was just of me, that would be one thing,” she said. But “it was racial, over-the-top: the big lips, the big wide hips, the rice and peas.” It was “all the things that every black child has been bullied about,” she added.The character was one of several caricatures of black celebrities on the show “Bo’ Selecta!” that were played by the white comedian Leigh Francis, wearing masks with grotesquely exaggerated features. At the time, the musician Craig David described in interviews how humiliating he found the show’s character based on him.Last Friday, Francis apologized via a video on Instagram for these impersonations, saying, “I didn’t realize how offensive it was.” A few days later, the broadcaster Channel 4 removed the show from its streaming service.“Bo’ Selecta!” is one of a host of once-popular British comedy shows that have been pulled from streaming services here this week, including Netflix and the BBC’s iPlayer, because they include blackface or racial slurs, some from as recently as 2010.For many Britons, blackface is understood to be an ugly relic of the country’s past, used to ridicule and demean people of color and perpetuate racist stereotypes. Blackface on British TV is largely associated with “The Black and White Minstrel Show,” a now notorious but once extremely popular variety show that featured people singing in blackface. The BBC stopped airing it in 1978, but the shows pulled this week, including “The League of Gentlemen,” “Little Britain” and “The Mighty Boosh,” highlight how many more recent depictions have been accepted on British television.Now, with the mainstream representations of black lives at the forefront of many people’s minds, after tens of thousands attended Black Lives Matter protests across the country and protesters removed a slave trader’s statue in Bristol, British television is having to grapple with these recent racist depictions.Gina Yashere, a British comedian and the executive producer of the CBS series “Bob Hearts Abishola,” said in a telephone interview that it shouldn’t have taken George Floyd’s killing and the global response to make people rethink blackface.Black comedians had been pointing out that using blackface in comedy was wrong “for years,” she added. “We were told we had no sense of humor. We were told we were being negative,” she said. “We were told that it was sour grapes, that we were jealous.”“They say, ‘Oh it’s just us playing characters,’” Yashere added. “It isn’t characters. It’s always in comedy and it’s always sending up black people.”Some of the shows pulled from streaming services were made by household names here. On Tuesday, the BBC removed “Little Britain,” a sketch show created by David Walliams and Matt Lucas that aired from 2003-05, from its streaming service because it featured Walliams playing an obese black woman in a sauna. “Times have changed since ‘Little Britain’ first aired,” a BBC spokesman said in an emailed statement. The pair both also played minority characters in their follow-up BBC show from 2010, “Come Fly With Me,” which was not available for streaming.Earlier this year, Lucas was appointed a host of “The Great British Baking Show.”On Wednesday, Netflix removed the surreal comedy shows “The League of Gentlemen” and “The Mighty Boosh” from its platforms. Noel Fielding, who is also a host of “The Great British Baking Show,” appeared as a character called The Spirit of Jazz in one “Mighty Boosh” sketch, wearing dreadlocks and blackface. (“The League of Gentlemen” and “The Mighty Boosh” are still available to stream on the BBC’s platform.)Ava Vidal, a British comedian, said in a telephone interview that she had never been surprised about the use of blackface in these shows. “I think it’s so ingrained,” she said, “people don’t even realize what’s going on.”“You’ve got to let black people and people of color decide what racism is,” she added.In Britain, blackface has promoted “harmful stereotypes that are often not even based in truth,” she said. She pointed to the impersonation of Goddard, saying it also included a Jamaican accent.“It was simply generic nonsense,” Vidal said, adding that people often talk to her with “fake” West Indian accents. “Those types of stereotypes make life hell for people, and kids suffer terribly at school because of it.”Yashere said she had spent her school years being mocked with references to the “Black and White Minstrel Show.” “These are the things you put up with because of blackface, because we were dehumanized and made to look stupid,” she added.It’s not just on comedy series. On Wednesday, Anthony McPartlin and Declan Donnelly — two high-profile presenters of British reality TV — posted an apology on social media for “impersonating” people of color in order to prank other celebrities on their show “Saturday Night Takeaway.”On Friday, it emerged that UKTV, another streaming service, had taken down an episode of the John Cleese comedy “Fawlty Towers” that contains racial slurs. (The segment had long been edited out of the episode when it was broadcast on television, but is still viewable on Netflix.) On social media, some people of color expressed concern that the pushback around removing an episode of a “classic” comedy such as “Fawlty Towers” risks distracting from the wider debate about race in Britain.“It makes me sick to think of all the petty culture war nonsense that’s going to absolutely flood the zone soon and risk turning an epic moment into just more ammunition for bad faith actors to say black people and lefties are trying to cancel everything,” Nesrine Malick, a columnist for The Guardian, wrote on Twitter.Representatives for Fielding, Lucas, and other stars whose shows were removed from streaming services all declined or did not respond to interview requests. But in the past, several have defended or sought to explain their use of blackface.“There was no bad intent there,” Lucas said in a 2017 magazine interview. “The only thing you could accuse us of was greed. We just wanted to show off about what a diverse bunch of people we could play. Now I think it’s lazy for white people to get a laugh just by playing black characters.”Reece Shearsmith, one of the writers and stars of “The League of Gentlemen,” has repeatedly said that one of his characters on the show, Papa Lazarou — a carnival owner whose face is painted black with white circling his eyes and mouth — was not intended to be black. In February, The Independent newspaper asked Shearsmith if he understood the complaints. “I guess so,” he said.“It was always this clown-like makeup, and we just came up with what we thought was the scariest idea to have in a sort of Child Catcher-like way,” he added.After hearing Shearsmith’s claims, Yashere said they were scarcely believable given that the makeup looked the same as old racist imagery. “That was not a clown. That was a golliwog,” she said, naming a minstrel caricature once shown on jar labels in Britain. “He didn’t come up with anything,” she added. “All he did was take all the horrible depictions of black people on products as far back as the 1800s and reconstituted it, and said it’s ironic.”British comedy has a long and uneven tradition of continuing to push boundaries of taste, even when people of color raise concerns. The last week even saw one former star defend blackface on BBC radio.On Thursday, Harry Enfield, a comedian who was popular on British TV in the 1990s, said he had appeared as black characters “several times in the past,” including once playing Nelson Mandela as a drug dealer. That was “so wrong, it was right,” he said of the sketch. “I wouldn’t do it now,” he added, “but I don’t think I regret it.” He then mentioned the stage name of one music hall star despite it containing a racial slur.Several British comedians mocked Enfield’s comments online. “Essentially a lot of the defense of blackface in comedy comes down to people being more outraged that they’re not allowed to play dress up than racism itself,” tweeted Lolly Adefope, who stars in Hulu’s “Shrill.”On the radio show, Enfield tried to make a final defense for blackface by asking what would happen if Rishi Sunak — Britain’s chancellor — ever became prime minister. “I’ve played Margaret Thatcher, Tony Blair, David Cameron,” he said. “I would find it difficult that I would not be allowed to play him because of the color of his skin.”Vidal was a guest on the show and was asked for her response. She said she was sure Enfield could find ways to mock the prime minister “without blacking up.”Comedy, she had said earlier in the segment, is “about being funny, first and foremost. Punching down and picking on oppressed people is not funny.” More

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    Margaret Holloway, the ‘Shakespeare Lady’ of New Haven, Dies at 68

    This obituary is part of a series about people who have died in the coronavirus pandemic. Read about others here.On the streets of New Haven, Conn., Margaret Holloway was known as the “Shakespeare Lady,” a tall, striking woman in ragged clothing who recited dramatic monologues for spare change.Her stage, often, was outside Willoughby’s coffee shop, a hangout for Yale students and professionals. Her repertoire included “The Tempest,” “Macbeth” and the Greek alphabet, which she acted out letter by letter.Many regarded Ms. Holloway as an eccentric local fixture; in the view of some business owners, however, she was an aggressive panhandler and public nuisance. But for those who knew her personal history, her life had tragic dimensions not unlike the material she performed.Ms. Holloway was a 1980 graduate of the Yale School of Drama and a once-promising director, playwright and actor. In the early 1970s she was a drama major at Bennington College in Vermont“She was star of the theater department,” Laura Spector, a college friend, said in an interview. “She was so talented, so powerful, so magnetic.”Ms. Holloway’s career was cut short by mental illness and drug addiction soon after she left Yale. But she never stopped seeking understanding, human connection and, above all, artistic expression.“She loved people — she had relationships with everyone all over New Haven,” said Joan Channick, a Yale drama school professor who struck up a friendship with Ms. Holloway in the 1990s. “She called herself a great thespian. She had a lot of confidence in herself.”Ms. Holloway died at 69 on May 30 at Yale New Haven Hospital. Gloria Astarita, her court-appointed conservator, said the cause was the novel coronavirus.In “God Didn’t Give Me a Week’s Notice,” a short documentary about Ms. Holloway released in 2001, Ms. Holloway said she began experiencing signs of mental illness about 1983. She described her mental landscape this way: “I’m being raped. I’m being raped 24 hours a day, seven days a week.”Living in a dingy rooming house or on the streets, Ms. Holloway performed in the shadow of Yale’s campus, clinging, in a way, to a time in her life when she was healthy, successful and full of promise. Through it all her aspirations remained high-minded.“She would want to have a disquisition about directing some Shakespeare play,” Ms. Channick said. “Having those conversations with someone who was living on the streets, it was jarring. Here’s this person so connected to people, well-educated, with a love of art and theater, whose life was destroyed by mental illness.”Margaret Ann Holloway was born on Sept. 7, 1951, in Albany, Ga., to the Rev. Walter Holloway, a minister, and Bertha (Prince) Holloway, a homemaker. Ms. Holloway became estranged from her family as an adult.Through a nonprofit group that provides scholarships to gifted minority students, Ms. Holloway attended Northfield Mount Hermon, a prep school in Massachusetts. She attended Carleton College in Minnesota for a year before transferring to Bennington, where she came into her own as a drama student.Ms. Spector said she vividly remembered the one-woman autobiographical play that Ms. Holloway wrote, directed and starred in for her senior thesis, a work that dealt with her upbringing as a young black woman in the rural South. “She brought down the house,” Ms. Spector said.After decades out of touch, Ms. Spector reconnected with Ms. Holloway in 2005 after reading a newspaper article about her. She found the same lively, gregarious, emotionally intelligent person she had known. “I knocked on the door and from the top of the stairs she called out, ‘Laura, how the hell are you?’” Ms. Spector said. “She didn’t miss a beat.”Ms. Holloway, who stopped performing in the street about three years ago because of failing health, found a measure of stability and calm in recent times. Residing in a nursing home in New Haven, she had clean clothes, regular meals, a shower and monthly visits from Ms. Channick and other friends, who brought her money and the small luxuries she asked for, like lipstick.“We would talk about what was going on in the world,” Ms. Channick said. “But mostly, we would talk about theater.” More

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    Snapchat Expands Deals With N.F.L., Disney and Others

    LOS ANGELES — Disney, NBCUniversal, ViacomCBS, the National Basketball Association and the National Football League are expanding deals to supply Snapchat with customized short-form content, underscoring the platform’s renewed momentum.Snap, which makes the ephemeral-messaging app, unveiled the multiyear deals on Thursday, along with a spate of original series and a breaking news feature called “Happening Now” that counts The Washington Post, Bloomberg and ESPN as partners. Maggie Suniewick, president of NBCUniversal Digital Enterprises, said in an email that Snapchat was “a brand-safe environment where we can reach millions of new viewers.”Snapchat’s reassertion of itself in entertainment and news comes as one would-be competitor, Quibi, an app offering short-form shows designed for viewing on phones, attempts to regroup after a disastrous arrival in April. Quibi fell out of the list of the 50 most downloaded free iPhone apps in the United States a week after it went live. On Thursday it ranked No. 285.Jeffrey Katzenberg, the Hollywood mogul behind Quibi, blamed the coronavirus pandemic for its rough start, but people have been spending more time on platforms like Snapchat and TikTok, an app for making and sharing short videos, since the shutdowns began. Snap said in April that daily active users had grown more rapidly than expected, reaching 229 million people. To compare, Twitter had about 166 million. Snap said time spent watching its original shows had doubled in recent months compared to a year earlier.Snap sells six-second, non-skippable ads for its originals. The company, based in Santa Monica, Calif., introduced scripted programs and docuseries in 2018 and unscripted shows in 2016. “The Rundown,” an E! News series, just celebrated its 500th episode. Episodes for scripted shows are typically five minutes long, with eight to 12 episodes in a season.Entertainment and news programming is still a small part of Snap’s business, however. “It’s not enough to move the needle — yet,” said Michael Pachter, an analyst at Wedbush Securities.Snap’s programming emphasizes inclusion and new storytelling tools, notably augmented reality lenses. A continuing unscripted series, “Nikita Unfiltered,” stars the transgender beauty influencer Nikita Dragun. Shows announced on Thursday include “Coach Kev,” billed as a daily dose of “positivity and wisdom” from the comedian Kevin Hart, and “Life by the Horns,” a docuseries about Ezekiel Mitchell, an African-American bull rider.Scripted shows coming to Snapchat include “Frogtown,” about an all-female skate crew (directed by Catherine Hardwicke of “Twilight” fame), and “Action Royale,” about a teenager who starts an underground e-sports gambling ring.“We’re getting better and better at programming,” Sean Mills, Snap’s content chief, said by phone. “It’s not about episode length. It’s not about aspect ratio. It’s not about how many stars you have. It’s how you tell the story and how well you know your audience.”Mr. Mills declined to give many specifics about the company deals that Snap unveiled, including how long “multiyear” meant. (“At least two,” he said.) All the deals call for expanded programming commitments. For instance, Disney has long had an agreement with Snap that covers exclusive content from ESPN; the new deal also covers Disney-owned properties like ABC and Freeform, a cable channel aimed at young adults, as well as unspecified Disney franchises.Under the expanded N.F.L. deal, the league will triple the number of what it calls “near real-time” highlights shows on Snapchat. The league will also continue to supply Snapchat with other video programming year-round and develop augmented-reality lenses and filters tied to specific teams and events, including the Super Bowl.Blake Stuchin, the league’s vice president for digital media business development, said that 70 percent of Snapchat users that view N.F.L. content are under the age of 25. Courting younger fans is crucial for the league’s future. Snapchat reaches more 13 to 34 year olds in the United States than Facebook or Instagram, according to public data from the companies.“We want to meet our fans where they already are, whether that means making sure they know there is a game coming up or telling them more about a favorite player or giving them creative tools to express themselves,” Mr. Stuchin said. More

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    Broadway in Trying Times: Join Us for Conversation and Song

    [embedded content]A virus. A lockdown. A city in crisis. A nation inflamed.And against that backdrop, Broadway — one of New York City’s most recognizable industries and powerful economic engines — shuttered indefinitely.How to reflect this unsettling moment, and provide insight and entertainment to readers who have largely been confined to their homes, was the challenge in creating the debut installment of “Offstage,” a New York Times streaming series about the theater world on pause.First, at 7 p.m. Eastern on June 11, the critic-at-large Wesley Morris will hold a conversation with four African-American artists who had shows in the 2019-20 season: the director Kenny Leon (“A Soldier’s Play”); the actress Celia Rose Gooding (“Jagged Little Pill”) and co-stars Adrienne Warren and Daniel J. Watts (“Tina: The Tina Turner Musical”). The topic: What it’s like to be black on Broadway, and how the nation’s biggest stages should change.On those stages this season: a gender-bent revival of Stephen Sondheim’s “Company”; shows set to the songbooks of Bob Dylan and Alanis Morissette; “Moulin Rouge! The Musical”; and the girl-power extravaganza “Six,” which was 90 minutes from opening before Broadway closed down.Dramatically, there was “Slave Play,” perhaps the season’s most provocative production; and “The Sound Inside,” an intense character study that gave Mary-Louise Parker one of her finest roles.[Jenna Wortham and Wesley Morris, hosts of the “Still Processing” podcast, will reunite to unpack the reckonings of the past few weeks. R.S.V.P. to join their live conversation, this Friday, June 12 at 4 P.M. E.T.]Following the conversation are the special performances: join the Times critics Ben Brantley and Jesse Green; the theater reporter Michael Paulson; and the editors Aisha Harris and Nicole Herrington as they present highlights from those shows and more.There will be song, dance and discussion — a chance to meet Sonya Tayeh, who choreographed “Moulin Rouge!,” and Jeremy O. Harris, who authored “Slave Play.” You’ll hear from Sarah Jessica Parker and Matthew Broderick, and learn how artists stay creative in lockdown.R.S.V.P. for this event. [Join the conversation on Twitter using #NYToffstage. |Sign up for The New York Times Events newsletter and Theater Update newsletter. | Subscribe to Times Events on YouTube.] More