More stories

  • in

    Donald Wildmon, Early Crusader in Conservative Culture Wars, Dies at 85

    He founded the American Family Association, which became a juggernaut in the Christian right’s campaign against sex and gay themes in art, television and pop culture.Donald E. Wildmon, a conservative activist whose alarm over indecency on television spawned a national organization, the American Family Association, a once powerful cog of the Christian right, and who led boycotts over sexuality and gay themes in some of America’s most popular TV shows and in the arts, died in Tupelo, Miss., where he lived, on Dec 28. He was 85.The cause was Lewy body dementia, according to a statement posted by the American Family Association.Mr. Wildmon’s crusades beginning in the 1970s against boundary-pushing trends in popular culture and the arts — including high-profile attacks on the National Endowment for the Arts — were an early thunderclap of the culture wars that have moved from the fringe of the Republican Party to its mainstream.A former pastor in the United Methodist Church, Mr. Wildmon became a lightning rod for liberals, who attacked him for bigotry and stifling free speech. In 1981, the president of NBC, Fred Silverman, a champion of socially conscious television, said that Mr. Wildmon’s threats to boycott advertisers were “a sneak attack on the foundation of democracy.”“A boycott,” Mr. Wildmon responded in an interview with The New York Times that year, “is as legal and as American as apple pie.”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?  More

  • in

    Pat McAfee Apologizes Over Role in Aaron Rodgers-Jimmy Kimmel Feud

    Rodgers, the Jets quarterback, suggested during an appearance on “The Pat McAfee Show” that Kimmel had a connection to Jeffrey Epstein, leading Kimmel to threaten legal action.Pat McAfee on Wednesday apologized for airing comments that Jets quarterback Aaron Rodgers made toward Jimmy Kimmel on McAfee’s ESPN television show a day earlier suggesting the late-night talk show host had a connection to the disgraced financier Jeffrey Epstein.“Some things obviously people get very pissed off about, especially when they’re that serious allegations,” McAfee said. “So we apologize for being a part of it. I can’t wait to hear what Aaron has to say about it. Hopefully those two will just be able to settle this, you know, not work-wise, but be able to chitchat and move along.”Speaking on his weekly Tuesday appearance on McAfee’s television show on ESPN, Rodgers, a four-time winner of the N.F.L.’s Most Valuable Player Award, suggested that Kimmel, the host of “Jimmy Kimmel Live!” on ABC, was acquainted with Epstein, who was accused of having sex with minors and in 2019 died by suicide while in jail. Epstein was a longtime friend to powerful politicians and business executives, and the names of some of his associates are expected to be publicly released soon in court documents.“There’s a lot of people, including Jimmy Kimmel, really hoping that doesn’t come out,” Rodgers said on McAfee’s show. Kimmel denied the allegations on X, formerly known as Twitter, and threatened potential legal action against Rodgers.“Your reckless words put my family in danger,” Kimmel said. “Keep it up and we will debate the facts further in court.”ESPN and ABC are owned by Disney, placing McAfee and both entities in an uneasy situation. The predicament highlights the leeway ESPN gives McAfee, including the regular appearances by Rodgers, who has used his time on the show to speak out against vaccines and even challenged Travis Kelce to a debate during a recent appearance. In October, McAfee confirmed a report that Rodgers had been paid over $1 million to appear on the show.Spokesmen for ABC and ESPN did not immediately respond to requests for comment.ESPN signed McAfee, a former N.F.L. punter, to a reported five-year, $85 million contract last year to bring his popular digital show to the network and to appear on other programing. The hire came as ESPN underwent layoffs as part of an overall cost-cutting strategy from Disney.McAfee stands out among the network’s other personalities, often using profanity on what had long been family-friendly programming and eschewing the usual business-casual attire for tank tops. Though he has scaled back on the coarse language, ESPN has hoped his show’s freewheeling format would attract new viewers as the network’s business model changes.“We’re not putting a suit and tie on him,” Burke Magnus, ESPN’s president of content, told The Wall Street Journal in September. More

  • in

    The Best Movies and TV Shows Coming to Netflix in January

    Sofia Vergara’s narco queenpin miniseries and a crypto documentary highlight this month’s slate.Every month, Netflix adds movies and TV shows to its library. Here are our picks for some of January’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)‘Bitconned’Now streamingThe collapse of big-time cryptocurrency exchanges like FTX grab a lot of headlines, but these are far from the only crypto businesses that have misled investors into losing fortunes. The documentary “Bitconned” tracks the rise and fall of Centra Tech, a company that promised — dubiously, in retrospect — to make crypto assets accessible via a debit card. Directed by Bryan Storkel (best-known for the quirky docs “The Pez Outlaw” and “The Bad Boy of Bowling”), the film is anchored by extensive interviews with the Centra Tech masterminds, as well as with some of the journalists who figured out early that something was fishy here. The details of the story are at once amusing and alarming, involving easily persuaded celebrity spokespeople, phony apps engineered to demonstrate a nonexistent technology and a FOMO culture where the bold promise of quick cash drowns out common sense.‘Fool Me Once’Now streamingThe author Harlan Coben’s novels are prime adaptation fodder for two simple reasons: He creates sympathetic protagonists with relatable anxieties; and he writes twisty plots that keep readers guessing. In the British miniseries “Fool Me Once,” Michelle Keegan plays a typical Coben hero, Maya Stern, an ex-military special operations agent who is shocked one day to look at the footage from her home security camera and see her husband, Joe (Richard Armitage), whom she thought had been murdered. Her investigation into this mystery leads to Maya crossing paths with a distrustful homicide investigator (Adeel Akhtar) and Joe’s rich and powerful mother (Joanna Lumley) — as well as some family members of her own who believe Joe’s strange case may be tied to the death of Maya’s sister.‘Society of the Snow’Starts streaming: Jan. 4In 1972, a plane crash in the Andes left over two dozen passengers stuck on a remote, icy mountain, with little hope of rescue and only a small amount of food to share. Famously — or infamously — the survivors resorted to cannibalism while waiting for the spring thaw. But the director J.A. Bayona (adapting a book by the journalist Pablo Vierci) doesn’t make the eating of human flesh the primary point of emphasis in his film “Society of the Snow.” He’s more interested in hardships like extreme cold and sudden avalanches, and in how a desperate situation strengthened the bond between these people, many of whom played together on the same rugby team. This is film about young men fighting hard to stay alive for each other’s sake, in a landscape at once picturesque and cruel.‘The Brothers Sun’ Season 1Starts streaming: Jan. 4The two brothers in the action-dramedy “The Brothers Sun” couldn’t be more different. One is Bruce (Sam Song Li), a cash-strapped Los Angeles college student with aspirations to be an improv comic; the other is Charles (Justin Chien), a skilled amateur chef who also happens to be a top-level assassin in a Taiwan triad. Michelle Yeoh plays the boys’ mother, Eileen, who has been sheltering Bruce from the criminal life in America. But when killers from the old country start invading her suburban sanctuary, she has to get her gangster groove back to keep her family safe. Created by Brad Falchuk (a creator of “Glee” and “American Horror Story”) and Byron Wu, this series combines dynamic martial arts sequences with scenes where the dysfunctional Suns relearn how to trust each other.‘Griselda’Starts streaming: Jan. 25Sofia Vergara plays the notorious drug lord Griselda Blanco in this miniseries, created by the writer-producer Ingrid Escajeda alongside some of the team behind the Netflix favorite “Narcos.” (Vergara, a Colombian herself, is also a producer on the project.) Blanco’s story has been told before in documentaries and TV movies, most of which treat her as a larger-than-life criminal legend. “Griselda” aims to be more grounded, following the cocaine queenpin from her origins in Medellín to her dominance of the Miami market, while frequently jumping back and forth in time to compare the mild-mannered immigrant mother that Blanco once seemed to be with the ruthless woman who went on to outfox the mob’s macho men.Also arriving:Jan. 1“You Are What You Eat: A Twin Experiment”Jan. 5“Gyeongseong Creature” Season 1, Part 2Jan. 10“The Trust: A Game of Greed” Season 1Jan. 11“Champion” Season 1“Detective Forst” Season 1“Sonic Prime” Season 3Jan. 12“Lift”“Love Is Blind: Sweden” Season 1Jan. 19“The Bequeathed” Season 1“Sixty Minutes”Jan. 22“Not Quite Narwhal” Season 2Jan. 23“Jacqueline Novak: Get on Your Knees”“Love Deadline” Season 1Jan. 24“Queer Eye” Season 8“Six Nations: Full Contact”Jan. 30“Jack Whitehall: Settle Down”Jan. 31“Baby Bandito” More

  • in

    ‘Fargo’ Season 5, Episode 8 Recap: Rude Awakenings

    Dot learns some harsh truths about her past and present. Danish takes an ill-advised trip to North Dakota.Season 5, Episode 8: ‘Blanket’When Dot was kidnapped early in the season and then she simply returned home as if nothing had happened, it was absurd on its face. No one, other than Wayne, could believe that she had stepped out for a while and come back in time to whisk up some Bisquick for their daughter. And even though she knew that her abductors would lay siege to the house again, she was determined to enjoy Halloween with her family, even as she laid out booby traps like Dustin Hoffman in “Straw Dogs.” She’s the sort of determined fantasist who believes she can bend reality to her will.That bubble is punctured in two lines in this week’s episode, as Roy finally has her back at his ranch in North Dakota, shackled to the floor like an animal. “You’ll end up same as Linda,” he hisses. “I’ll bury you right next to her.” We had just spent most of the previous episode at Camp Utopia, the women’s shelter that Dot had conjured in a reverie over pancakes, which seemed at the time like a clever way to fill in a crucial piece of her back story. But now it’s clear that she was clinging to the idea that Linda had fled Tillman Ranch to save herself and perhaps could one day reappear to make amends with Dot and be a mother again to her wayward son, Gator, who has gone to the dark side in her absence.In the time leading up to Roy’s revelation about what really happened to Linda, Dot is still dead set on returning to the fantasy life that she has nearly succeeded in making real. She needs to order an ice cream cake for Scotty’s birthday. She has her duties as a den mother for a girl scout troop. She has 13 seasons of “Call the Midwife” to get through with Wayne. Yet the incontrovertible truth about Roy is that he is a killer with a badge, unrestrained by the laws of man or the influence of a powerful lawyer like Danish Graves, who smugly assumed he had the upper hand in a negotiation. From her shelter on the ranch, Dot can see that corpse disposal is so routine for Roy that he has a pit on site for it.At this point, it may be worth questioning how sincere “Fargo” is about domestic violence. As skillfully as the show’s creator, Noah Hawley, has spun his serio-comic yarn this season, it can be difficult to reconcile the glib, knowing, referential tone of the show with the content warnings that have bracketed the last two episodes. When Roy takes his long walk back to Dot in the shelter, following his humiliation at the county sheriff’s debate, a Lisa Hannigan cover of the Britney Spears hit “Toxic” blankets the soundtrack and it strikes a bum note. “Dark” covers of pop songs have become a staple of movie trailers, and here it’s the coming attraction to a type of abuse the show isn’t sober enough to handle. What worked for the puppets in Camp Utopia feels more like genre exploitation here.It doesn’t help that the prelude to violence is so extravagantly silly. Lorraine and Danish’s plan to spoil Roy’s re-election campaign surely ranks as the strangest of the onerous debt consolidation options offered by Redemption Services. In order for the plan to work, Danish has to get name changes approved for three Roy Tillmans, secure spots for each of them on the debate stage for Stark County sheriff and provoke the real Roy Tillman so shrewdly that he melts down and slugs the female moderator. Those seem like a lot of unpredictable variables, but the scene itself is reasonably funny, with the fake Roys echoing the real one like siblings pranking their older brother.Now that the Roy-Dot-Linda situation has been clarified, can we get a puppet-assisted back story on how Indira and Lars Olmstead ever became a couple? Because whatever it is that Lars brought to the table when they fell in love and got married, there’s no evidence left of it now. Indira catching Lars with another woman adds infidelity to a long list of flaws that she itemizes one last time before kicking him out of the house. Throughout the season, Indira’s troubles at home have been placed in contrast with Dot’s blissful marriage to Wayne, and it has offered a different picture of domestic toxicity than Dot’s abuse at Roy’s hands. They are both women fighting for their own happiness, and the show has engineered an unspoken bond between them.The final shot of Dot peering out a small, broken window on the ranch, fully awake to Roy’s capabilities, introduces a genuine fear that we haven’t yet seen from her. “You don’t have a plan, do you?,” she asked him earlier. She intended it as a rhetorical taunt, but perhaps now she realizes that his not having a plan is a terrifying proposition. He will assert his authority over her. He hasn’t planned anything after that.3 Cent StampsDot knowing the truth about what happened to Linda does increase the possibility that Gator will turn on his father, especially given the vulnerability he shows at any mention of his mother. He will have to survive Ole Munch first, however.Nice to see Deputy Witt Farr re-emerge in the hospital, where he tries to pry Dot away from Roy’s clutches. He has shown a lot of courage already in standing up to the Tillmans, but it’s his insistence on repeatedly calling Dot “Mrs. Lyon” that is touching in this context. He wants her (and Roy) to know that he recognizes who she really is.One Coens reference in this episode: Indira’s opening the bedroom closet door on Lars’s mistress recalls when George Clooney discovers Brad Pitt hiding out in “Burn After Reading.” The mistress gets off a little easier, though.Kudos to the people of Stark County for packing the house for a sheriffs debate. You don’t expect such things to be standing-room-only media events.Another small movie reference: The squeaky windmill above the spot where Roy dumps his victims seems like a nod to the famous opening of “Once Upon a Time in the West,” where such a squeak is among the new sounds we hear in the pregnant moments before three outlaws ambush Charles Bronson at a train station. It’s also a callback to the place where she hid the postcard from Linda in her reverie. More

  • in

    Do You Know These Imaginary Worlds in Popular Fantasy Novels?

    “A Song of Ice and Fire,” George R. R. Martin’s fantasy series, is best known for its first book, “A Game of Thrones,” which was published in 1996. In the novels, as well as the HBO television adaptation titled “Game of Thrones,” much of the action takes place on the continent of Westeros. Name two of the powerful families in Westeros. More

  • in

    What’s on TV This Week: ‘RuPaul’s Drag Race’ and the Golden Globes

    The competition show featuring drag queens comes back for a 16th season. The annual award show airs on CBS.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Jan. 1-7. Details and times are subject to change.Monday2023 ROCK & ROLL HALL OF FAME INDUCTION CEREMONY 8 p.m. on ABC. Though celebrating music highlights of 2023 on the first day of 2024 feels a little belated, for Missy Elliott and Sheryl Crowe I’ll let it go. This ceremony, which took place in Brooklyn in November, includes performances by Elliott and Crowe, inductees that year, as well as appearances by Stevie Nicks, Elton John and LL Cool J.From left: Harpo, Zeppo, Chico and Groucho Marx in “Monkey Business.”Film Society of Lincoln CenterMONKEY BUSINESS (1931) 8 p.m. on TCM. The title of this movie aptly portrays the shenanigans that go on when the Marx Brothers stow away on an ocean liner, stirring up drama and laughs while they avoid the wrath of the captain and his crew.TuesdayFINDING YOUR ROOTS 8 p.m. on PBS (check local listings). This show has told us that Bernie Sanders and Larry David are in fact related, the best-friend duo Matt Damon and Ben Affleck are 10th cousins (once removed) and Kevin Bacon shares relatives with his wife, Kyra Sedgwick. Now it’s back for its 10th season, hosted, as always, by Henry Louis Gates Jr. The first episode will feature the singers Ciara and Alanis Morissette.WednesdayI CAN SEE YOUR VOICE 8 p.m. on Fox. “The Voice” allows judges to hear contestants’ singing before laying eyes on them. This competition show does the opposite. Judges on the show, hosted by Ken Jeong, have to rate contestants based on lip-sync challenges and facts about them. The answers are revealed when the celebrity judges, including Adrienne Bailon-Houghton and Cheryl Hines, sing a duet with the contestant — either it goes really right or really wrong.ThursdayTHE POWER OF FILM 8 p.m. on TCM. This original six-part documentary series uses storytelling devices to take a closer look at some of the most popular films of the last century. Using more than 50 film scenes, the episodes go through themes of paradoxes, character relationships and heroes and villains to illuminate what makes a film powerful.Maurice Benard and Lexi Ainsworth on “General Hospital.”ABC/Adam LarkeyGENERAL HOSPITAL: 60 YEARS OF STARS AND STORYTELLING 10 p.m. on ABC. The first episode of “General Hospital” had its premiere on April 1, 1963 — and it is now the longest running soap opera still in production and has a record for most outstanding daytime drama award wins. This special, celebrating the show’s 60 years (and counting!), features some of its actors, including Maurice Benard, Jane Elliot, Genie Francis, Finola Hughes, Kelly Monaco and Laura Wright. They will share behind-the-scenes memories, bloopers and a fan tribute.FridayRUPAUL’S DRAG RACE 8 p.m. on MTV. The new year is exactly when we need to hear: “If you can’t love yourself, how in the hell are you going to love somebody else?” RuPaul Charles returns for the 16th season of this drag queen competition show; as usual, we will see amazing customs outfits, passionate lip syncs from the queens and panels of celebrity guest judges, including Charlize Theron, Becky G and Ronan Farrow.SaturdayMeryl Streep and Steve Martin in “It’s Complicated.”Melinda Sue Gordon/Universal PicturesIT’S COMPLICATED (2009) 10:30 p.m. on E! Just because the holidays are over doesn’t mean we have to say goodbye to Nancy Meyers — the filmmaker has plenty of movies for every occasion. This one stars Meryl Streep as Jane, a restaurateur who is divorced from Jake (Alec Baldwin), except their romance has been rekindled — until Jane finds out Jake is remarried and she is now “the other woman.” Meanwhile, the architect Adam (Steve Martin) starts remodeling Jane’s kitchen (one of the most gorgeous I have ever seen), and you can guess what happens next.SundayTHE GOLDEN GLOBE AWARDS 8 p.m. on CBS. This award show has been struggling to get back on its feet after NBC bowed out as the broadcaster in 2022 because of ethical concerns and a lack of diversity within the Hollywood Foreign Press Association, which hosts the event. In June, the Golden Globes brand was bought by Eldridge Industries and Dick Clark Productions, and the voting body expanded to about 300 — so change is in the air. For movies, “Barbie” leads the nominations with nine, followed by “Oppenheimer” with eight — for television, “Succession” has the most nominations at nine.THE GREAT NORTH 9:30 p.m. on Fox. This animated adult cartoon is back for a fourth season. Nick Offerman voices Beef Tobin, an eccentric dad trying to keep his equally eccentric children close. The season begins with Ham Tobin (Paul Rust) enlisting his family to help out with a speech he has to present during his public speaking class. More

  • in

    Shecky Greene, High-Energy Comedy Star, Is Dead at 97

    A Las Vegas institution, he would do just about anything for a laugh, including physical comedy so broad that it sometimes left him black and blue.Shecky Greene, a high-energy stand-up comedian who for many years was one of the biggest stars in Las Vegas, died on Sunday at his home in Las Vegas. He was 97.His daughter Alison Greene confirmed his death. Mr. Greene was a frequent guest of Ed Sullivan, Johnny Carson and other television hosts, and had acting roles in movies and on television. But he never reached as wide an audience as many of his fellow comedians, probably because his humor was best experienced in full flower on a nightclub stage rather than in small doses on the small screen. In Las Vegas, though, he was an institution. A versatile entertainer of the old school — he told stories, he made faces, he ad-libbed, he did impressions, he sang — he would do just about anything for a laugh, including physical comedy so broad that it sometimes left him black and blue.He was not one to stick to a set routine. “I wasn’t an A-B-C-D comic. ‘Hello, ladies and gentlemen’ and then the next line,” he told the comedy historian Kliph Nesteroff in 2011. Audiences who went to see Shecky Greene never knew quite what to expect.“One of the greatest I ever saw in a nightclub,” his fellow comedian Pat Cooper told Mr. Nesteroff. “I saw him climb the curtain and do 20 minutes on top of the curtain! He destroyed an audience.”Some said he was at his funniest when he was angry, which was often. “He’s got to be somewhere where he hates the owner, hates the hotel,” the comedian Jack Carter once said, “so that he’s got something to go on.”He was at least as unpredictable off the stage as he was on it. He became famous not just for his act but also for his drinking binges, gambling sprees and erratic, often self-destructive behavior.“I should have been fired maybe 150 times in Las Vegas,” Mr. Greene told The Las Vegas Sun in 1996. “I was only fired 130 times.”Probably the most famous Shecky Greene story involved the time he drove his car into the fountain in front of Caesars Palace. In a 2005 interview with The Los Angeles Times, he confirmed the story, but admitted that the way he told it in his act was slightly embellished: He did not really greet the police officers who rushed to the scene with the words “No spray wax, please.” That line, he said, was suggested to him after the fact by his friend and fellow comedian Buddy Hackett.Another of his best-known jokes was also, he insisted, based on a true story. Frank Sinatra, the joke went, once saved his life. Five men were beating Mr. Greene, but they stopped when Sinatra said, “OK, boys, that’s enough.” Onstage, Mr. Greene told stories, made faces, ad-libbed, did impressions and sang. He also appeared on various television shows.Jeff Kravitz/FilmMagic, via Getty ImagesAs amusing as the stories of Mr. Greene’s behavior were, the truth is that he had severe mental health problems, including bipolar disorder and panic attacks, which were apparently exacerbated when he developed a dependence on his prescription medication. He had other ailments as well, including cancer, and by the mid-1980s he had stopped performing.Mr. Greene, who had a family history of mental illness, went public with his condition in the 1990s and, with the help of a new therapist and new medication, gradually resumed his career. He even incorporated his illness into his shtick.“I’m bipolar,” he told a Las Vegas television interviewer in 2010. “I’m more than bipolar. I’m South Polar, North Polar. I’m every kind of polar there is. I even lived with a polar bear for about a year.”By 2005, although he was happily describing himself as retired, he could be persuaded to perform at private parties. In 2009 he made his first Las Vegas appearance in many years, at the Suncoast Casino, and he continued to perform occasionally in Las Vegas. As early as 1996, Mr. Greene was performing, he said, for one reason only. “I’m not in it for a career anymore,” he told The Sun. “I had my career. I’m in it to enjoy myself.”Although never known as the most decorous of comedians, Mr. Greene made news in the comedy world in 2014 when he stormed out of a Friars Club event in Manhattan and announced that he was resigning from the club after his fellow comedian Gilbert Gottfried did material that Mr. Greene, who had been scheduled to speak, found offensive. “He got dirtier and dirtier,” Mr. Greene told a radio interviewer, without providing details, “so I got up and I said, ‘That’s it.’”Fred Sheldon Greenfield was born on April 8, 1926, in Chicago. (In 2004 he legally changed his name to Shecky Greene, long after his professional first name had come to connote a certain kind of brash, aggressive, old-school comedian even to people who had never seen him perform.) His parents were Carl and Bessie (Harris) Greenfield. His father was a shoe salesman and his mother sold hosiery at a department store before quitting to focus on raising their three children. Mr. Greene performing on “The Hollywood Palace” television show in 1965.ABC Photo Archives/Disney General Entertainment Content, via Getty ImagesAfter serving in the Navy during World War II, he enrolled at Wright Junior College (now Wilbur Wright College) in Chicago with plans of becoming a gym teacher. But he was sidetracked by his interest in performing.He took a summer job at a resort near Milwaukee, where, he once recalled, “They paid me $20 a week and gave me a fancy title, ‘social director.’” He became a performer, he said, because the resort couldn’t afford to hire big-name acts. “I wasn’t Red Skelton,” he recalled, “but I got a few laughs.”He returned to college that September but also continued developing a comedy act and occasionally performed in nightclubs. It would be a few years before his commitment to show business became full time.He left college to accept a two-week engagement in New Orleans; that booking stretched into three years, and ended only when the nightclub burned down. Unsure of his next move, he returned to Chicago and went back to college, but left for good when the comedian Martha Raye offered him a job as her opening act in Miami.“This time,” he said in an interview for his website, sheckygreene.com, “I made up my mind: I would stick with show business. I was only 25 years old and making $500 a week. Besides, I had a silent partner to support — I had discovered how to bet the horses.”He first ventured into Nevada, then in its early days as an entertainment mecca, when the Golden Hotel in Reno hired him for four weeks in 1953. His opening-night performance so impressed the hotel’s owners that they held him over for 18 weeks and offered him a new contract, for a guaranteed $20,000 a year (the equivalent of more than $200,000 today). He was soon headlining in Las Vegas, where for one week in 1956 Elvis Presley was his opening act.Mr. Greene on “The Tonight Show” with Johnny Carson in 1975.Gary Null/NBCUniversal, via Getty ImagesBy 1975 he was making $150,000 a week (more than $800,000 in today’s money), one of only a handful of comedians in that salary range at the time. He liked to say that he gambled most of it away, but that it didn’t matter because he had more money than God — whose weekly salary, he happened to know, was only $35,000.He was also gaining a reputation for his sometimes violent offstage behavior. A decade later, his mental health problems had brought his career to a halt.He eventually overcame those problems, for which he gave much of the credit to the support of his wife, Marie (Musso) Greene, whom he married in 1985.His first two marriages, to Jeri Drurey and Nalani Kele, ended in divorce. In addition to his daughter Alison, he is survived by another daughter, Dorian Hoffman — Mr. Greene and his first wife adopted both of them at birth — and by his wife. He moved to Las Vegas several years ago; previously, he had lived in Los Angeles and Palm Springs, Calif.Although destined to be remembered primarily as a Las Vegas performer, Mr. Greene had a considerable television résumé, as both a comedian and an actor.He had a recurring role on the World War II series “Combat!” in 1962 and 1963 and appeared on “The Love Boat,” “Laverne & Shirley” and “Mad About You,” as well as variety and talk shows. (He was an occasional “Tonight Show” guest host in the 1970s.) He appeared in a few movies as well, including “Splash” (1984) and Mel Brooks’s “History of the World, Part I” (1981).Interviewed by The Washington Times in 2017, Mr. Greene looked back on his career philosophically:“Why did I do this and that? At 90 I still don’t know. Once in a while I’ll have a nice sleep. Most nights I wake up yelling, ‘Why did I do that?’“Life is strange, but if you’ve had a mixture of a life like I had, it’s all right.”Alex Traub More

  • in

    Dave Chappelle Releases a New Netflix Special, ‘The Dreamer’

    “The Dreamer” predictably includes trans and disabled jokes but punches down in other ways, too. Chappelle is part of a comedy elite that Gary Gulman pokes at.The wildest moment in the new Dave Chappelle special, “The Dreamer” (Netflix), arrives about two-thirds of the way through when the comic says he’s about to tell a long story. That’s not the unusual part.Some 36 years into a storied comedy career, Chappelle, 50, is better known for controversial yarns than carefully considered punchlines. At this point in the special, he tells the crowd in his hometown, Washington, D.C., that he is going to get a cigarette backstage, asks them to act as if he were finished and says he would prefer a standing ovation. He then does something I have never seen in a Netflix special: He walks off for a smoke and costume change, leaving the stage empty. He strolls back as everyone waits, politely clapping. No one stands. He sits down and even mentions that he didn’t get the standing ovation, grumpily.He could have cut that out but didn’t. Why? Was it to reveal that his crowd refused to be told what to do, how he doesn’t mind, as he said at another point, if most people didn’t laugh at some jokes? Was it to include a momentary reprieve from the self-aggrandizing tone of the hour, which begins with rock-star images of Chappelle walking to the stage in slow motion and ends with a montage of him with everyone from Bono and Mike Tyson to the Netflix C.E.O. Ted Sarandos? I have no idea, but what sticks with you in Chappelle’s sets these days is less the jokes than the other stuff, the discourse-courting jabs, the celebrity gossip, the oddball flourishes.Later, Chappelle says, “Sometimes, I feel regular.” As an example, he describes being shy at a club where a rich Persian guy surrounded by women recognizes him and the comedian imagines him telling the story of seeing Dave Chappelle the next day. The idea that this is Chappelle’s idea of regular is funny.The last time he released a Netflix special on New Year’s Eve was in 2017, which now appears to be a turning point in his career. After vanishing from popular culture for a decade, Chappelle came out with four specials that year, a radically productive run that was the start of a stand-up phase that would grow to overwhelm the memory of his great sketch show, which then dominated his legacy.“Chappelle’s Show,” now two decades ago, began with a brilliant sketch about a blind Black white supremacist named Clayton Bigsby. It was inspired in part by Chappelle’s grandfather, a blind man named George Raymond Reed, who had served on the D.C. mayor’s commission for the disabled. Reed was funny. His Washington Post obituary reported that in describing how to spell his name, he would joke: “Reed with no eyes.”Back in 2017, Chappelle began making jokes about transgender people — and he hasn’t stopped, in special after special, show after show. How you feel about this fixation is baked in, at this point. He begins his new hour with a labored trans joke, before saying he’s finished making them. (Fat chance: They are as much a part of his brand as his name on his jacket.) Then he says he has a new angle: disabled jokes. “They’re not as organized as the gays,” he says. “And I love punching down.”He covers other topics. There’s a big set piece about Chris Rock getting slapped at the Oscars, the most popular subject of 2023 in comedy, and he does some cheap racial jokes, like an elaborate bit merely meant to set up his doing an Asian voice.At one point, he tells the audience that people in comedy think he’s lazy because he’ll tell a joke for a crowd of 20,000 that makes only two or three people laugh, but they will laugh hard. He goes on to tell that joke, an impression of the dead people on the Titanic seeing the doomed OceanGate submersible coming toward them, and it’s silly and fun, a throwback to earlier days. The truth is the more common criticism you hear these days is not that Chappelle aims for a niche but that he seems to prefer making points to getting laughs.This happens to some star comics. This month, Ricky Gervais released a dutifully predictable collection of jokes about supposedly taboo subjects. That special, “Armageddon” on Netflix, makes Chappelle look fascinating and unexpected by comparison.Gervais trots out complaints about people being easily offended, before setting up bits that lean so hard on the assumption of that response that there isn’t much more to them. His fans eat it up. But what’s striking about his hour is the justifications, the defensive explanations, the spelling out of themes. Fine, make your Holocaust and pedophile jokes. But how about: Show, don’t tell.Comedy is a crowded field, but for most audiences, it’s still defined by its biggest stars. Chappelle and Gervais are part of that elite, and the distance between them and the rest of the stand-up world feels greater than ever. That growing inequity is one of the subjects of Gary Gulman’s new special, “Born on 3rd Base” (Max), a meticulously funny hour that digs into the gap between the haves and have-nots.He attacks this subject in a variety of ways, in jokes dissecting the comedy world, an inspired bit about how people order at Chipotle and a rebuttal to the argument that welfare payments destroy initiative. As different as Gulman is from Chappelle in the choice of targets, style and level of fame, they share some qualities. Gulman, 53, also likes jokes that only some will get, and he has a distinct sense of timing that insists on the crowd adjusting to him. He begins his special with the word, “Anyhow.” Is he in the middle of a thought or the end? Either way, we’re disoriented. He likes us there. He plays at his own off-kilter pace.One tactic is the stop-and-go move of slowing down to let his viewers get ahead of him. He announces he has a one-man show called “Mommy, Look,” and the title, he explains, stems from his theory of “just about every one-person show.” Then he pauses and holds, and the crowd laughter grows as they anticipate his point about the origin of the artistic impulse. “You show me a 4-year-old on a diving board to an unreceptive audience,” he says, “I will show you a theater major.”But Gulman also likes to get ahead of his audience, with language-drunk sentences, references intended to be over some heads (“bandicoot,” “paramecium”) and others that wallow in wordplay. One gets the sense that he has whole jokes that are, among other things, an excuse to say words like “burglar” or “guillotine.”This is the only special that dares to engage in this debate: What is the most pretentious suffix in the English language?You’ll have to watch to find out. But the second most pretentious, he argues, is “-esque,” before qualifying the point in the most pretentious way possible: “Unless you’re talking about something French.”“I pander to my base,” Gulman confesses, “which is librarians.” More