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      Dark Hedges: 6 ‘Game of Thrones’ Trees Will Be Cut Down

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      Six of the Dark Hedges beech trees, a tourist destination in Northern Ireland for fans of the HBO fantasy series, will be cut down because they are in poor condition, officials said.Six trees with long branches that twist up to the sky that were made famous by the series “Game of Thrones” will be cut down in the coming weeks, officials in Northern Ireland said on Monday.The trees are part of the Dark Hedges, an international tourist attraction for fans of the HBO fantasy series. As many as hundreds of tourists visit each day. The beech trees, which form an arch over a road, have become one of the most photographed spots in Northern Ireland.Northern Ireland’s Department for Infrastructure said that the six trees, in bucolic County Antrim, needed to be cut down because they were in poor condition and posed a risk to the public. An additional four trees will require remedial work and a fifth will be assessed, the statement said. The work will begin on Nov. 20.Essential public safety works, including removal and remedial works, to a number of trees at The Dark Hedges on Bregagh Road, Armoy will start on Monday 20 November 2023.More details: https://t.co/DLvlOTHzMQ pic.twitter.com/Vl4sjT3SOb— Department for Infrastructure (@deptinfra) November 13, 2023
      “This decision has not been made lightly and whilst the amenity value afforded by the corridor of trees is acknowledged, the safety of road users is paramount,” the Infrastructure Department said. The government said it would engage with the landowner and others to determine a strategy for protecting the other trees.“Game of Thrones” is based on the first five novels in George R.R. Martin’s series “A Song of Ice and Fire.” The Dark Hedges appear in the first episode of Season 2, when Arya Stark, disguised as a boy, escapes from her enemies in a cart, traveling north on the Kingsroad.“Game of Thrones” was filmed in locations around Northern Ireland, including at Titanic Studios in Belfast. Popular tourist locations for fans include Cushendun Caves, the beach where the priestess Melisandre gives birth in a cave to a supernatural assassin, and Ballintoy Harbour, built in the 1700s. There were more than 20 “Game of Thrones” filming locations in Northern Ireland, including medieval castles, harbors and coastlines, according to the country’s tourism board, which advertises of “Game of Thrones” tours.The Dark Hedges were also featured in “Transformers: The Last Knight.” There were originally about 150 trees, but today just 86 remain, with some having been damaged in storms or by rot.The trees that make up the Dark Hedges, which sit on privately owned land on Bregagh Road, were planted by the Stuart family in the 18th century. They were arranged to impress visitors as they approached the entrance to a Georgian mansion, Gracehill House. According to local lore, the area is haunted by a ghost known as the Grey Lady.A line from one of Martin’s books, “A Storm of Swords,” gives readers a sense of how foreboding the Kingsroad could be: “I’d stay well clear of that kingsroad, if I were you,” a peasant says. “It’s worse than bad, I hear. Wolves and lions both, and bands of broken men preying on anyone they can catch.” More

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      ‘A Murder at the End of the World’ Review: P.I. Meets A.I.

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      The story of death at a mogul’s retreat (no, not “Glass Onion”) has a few interesting ideas about tech within a familiar mystery scenario.An eccentric tech billionaire invites a slew of notables to a private retreat, where a detective must solve a mysterious death. If the premise of “A Murder at the End of the World” jumps out at you, it may be because you not so long ago encountered it as the premise of Rian Johnson’s “Glass Onion: A Knives Out Mystery.”Or it may jump out at you because “Murder” is the latest creation from Brit Marling and Zal Batmanglij of Netflix’s “The OA.” That series was a poetic and baffling testament to the force of human connection, involving interpretive dance and a telepathic octopus. The murder mystery, in comparison, is among the most literal, plot-reliant of genres. Could Marling and Batmanglij really have made something that … ordinary?FX’s “Murder,” which begins Tuesday on Hulu, is neither as weird as you might hope or as conventional as you might fear. (Or vice versa.) It takes an Agatha Christie scenario and spins it into a chilly, stylized cyber-noir with ideas about artificial intelligence and some familiar Marling/Batmanglij themes of global consciousness. Think of it as “Glass OAnion.”The detective here is a relative newcomer. Darby Hart (Emma Corrin), an intense young computer hacker, tracked down a serial killer with Bill Farrah (Harris Dickinson), a moody amateur investigator she met online and fell in love with. Her true-crime memoir earns her some literary notice, as well as an invitation from Andy Ronson (Clive Owen), a tech magnate who is convening a meeting of “original thinkers” — artists, entrepreneurs, an astronaut — at a sleek, remote hotel that he had built in Iceland.The purpose of this Arctic TED Talk is, ostensibly, to cogitate on the existential threat of climate change to humanity. Andy, however, has another intelligence at his disposal — an advanced A.I. called “Ray” that manifests in the holographic form of a neatly goateed man in black (Edoardo Ballerini). Andy believes in the transformative power of this technology and others, but transformative to and for whom?Darby questions whether and why she fits in with the luminaries at the gathering. But she accepts the invitation for the chance to meet a tech idol: Not Andy, but his wife, Lee Andersen (Marling), a renowned coder who dropped out of public life after a Gamergate-style harassment campaign and lives in seclusion with Andy and their young son (Kellan Tetlow).But another guest grabs Darby’s attention: Bill, now a famous artist, whom she has not seen since a falling-out at the end of their investigation. Before they have time to catch up — don’t say the title didn’t warn you — somebody turns up dead, and Darby’s wiring for suspicion kicks in.Misogyny and technology are the twin themes of “A Murder.” Darby was drawn into the serial-killer case by her talent for hacking and her empathy for forgotten female victims. A common theme of her investigations is how little credibility she is granted as a young woman. When she pulls her hoodie over her head, yes, it is a universal visual symbol for “hacker,” but she also might as well be drawing an invisibility cloak.Then there’s A.I., which pervades the story like it does Andy’s icy retreat. In some cases technological reality has moved faster than the TV production process. A scene in which Ray produces a Harry Potter story in the voice of Ernest Hemingway astonishes the guests, for instance, but you’ve likely seen a dozen similar examples over the past year.Still, “A Murder” has a multifaceted view of A.I., not just as a threat but as a possible helpmeet. On the one hand, Andy is another arrogant billionaire who looks to software to compensate for the deficiencies that annoy him in humans. But the surveillance features built into the retreat’s setting, however creepy, are also a trove of clues. As Darby digs into the mysterious death, she finds herself using Ray as a source and even an aide — part Sherlock Holmes’s Watson, part IBM’s.The present-day whodunit isn’t especially inventive, but Corrin carries the story with a nervy, febrile performance that invests Darby with the life that the dialogue sometimes fails to provide. And the series has atmosphere to spare, making the most of the stark volcanic beauty of its location in Iceland. (It also shot in Utah and New Jersey.)The flashbacks to Darby and Bill’s serial-killer chase, which take up much of the seven episodes, are emotional and involving; Dickinson gives Bill an open-wound vulnerability. But rather than adding resonance to the whole, these scenes end up outshining the long, talky story they’re meant to flesh out.“A Murder,” in its main arc, feels like a bit of an artificial life form itself. The blandly drawn retreat guests get no more than a stroke or two of characterization and are weighted with self-serious dialogue. Andy mostly plays to bullying tech-mogul type. And while Marling always uses her enigmatic air as a performer to good advantage, Lee is more of a riddle — how did a coding revolutionary become a tech tradwife? — than a rounded character.Marling and Batmanglij’s work has often been more about the delivery of ideas and intangibles than plotting or naturalism, however. At its best, “A Murder” has grandeur, chilly beauty and intellectual adventurousness (and it pulls off a satisfying final twist). It might have been more effective if, as with so many limited series lately, it were tighter and shorter. In this sense, technology is the culprit: Streaming-TV bloat has its fingerprints all over this case. More

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      What’s on TV This Week: ‘BlackBerry’ and ‘Jay-Z and Gayle King: Brooklyn’s Own’

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      AMC airs its original program in three parts. And Gayle King interviews Jay-Z on CBS.With 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, Nov. 13-19. Details and times are subject to change.MondayLOVE HAS WON: THE CULT OF MOTHER GOD 9 p.m. on HBO. On April 28, 2021, police searched a house in Moffat, Colo., where they had gotten reports of a dead body. The remains they found belonged to Amy Carlson, a livestreamer and leader of a group called “Love Has Won.” Carlson and her followers believed that she was a reincarnation of Jesus, Cleopatra and Joan of Arc, among others, and referred to her as Mother God. The coroner reported that her cause of death was a combination of alcohol abuse, anorexia and chronic colloidal silver ingestion, which she sold as supplements. This three-part documentary series interviews former cult members, including her partner, who calls himself Father God.BLACKBERRY 10 p.m. on AMC. This film, which originally had a limited release in Canadian and U.S. theaters, is coming to small screens after the filmmaker Matt Johnson reworked it into a three-episode limited series with 16 minutes of previously unseen footage added. “BlackBerry” is scripted and fictional, but shot like a docu-series, looking behind the scenes of the company that created the BlackBerry pagers, personal digital assistants and cellphones. It stars Jay Baruchel, Glenn Howerton and Johnson.TuesdayFrom left: William McInnes, Mavournee Hazel and Olivia Swann in “NCIS: Sydney.”Daniel Asher Smith/Paramount+NCIS: SYDNEY 8 p.m. on CBS. This spinoff in the extremely popular “NCIS” universe was originally meant to air only in Australia — but after other American-based NCIS franchise series had their release dates delayed to 2024 because of strikes by the Hollywood writers and actors unions, the network decided to air the Australian show here as well. It centers on a joint task force of U.S. NCIS agents and the Australian Federal Police working to uncover naval crimes.JAY-Z AND GAYLE KING: BROOKLYN’S OWN 9 p.m. on CBS. Jay-Z, the famously private rapper, sat down with the interviewer Gayle King for three hours in conjunction with the opening of “Book of HOV,” billed as a tribute exhibition, at the main branch of the Brooklyn Public Library. The exhibition follows him from his Brooklyn childhood to stardom and devotes attention to each of his releases as well as to his philanthropic work and to artifacts from his life. Though some of this interview aired on CBS in October, this special features longer excerpts from the interview and portions never aired before.WednesdayDaniel Radcliffe and David Holmes in “David Holmes: The Boy Who Lived.”via HBODAVID HOLMES: THE BOY WHO LIVED (2023) 9 p.m. on HBO. While David Holmes was working on “Harry Potter and the Deathly Hallows: Part 1” as Daniel Radcliffe’s stunt double, his neck was broken in an on-set accident that left him paralyzed from the neck down. Through it all, his friendship with Radcliffe continued. This documentary contains interviews with Holmes, Radcliffe, friends and family about how Holmes overcame his injury and adjusted to life after the accident.ThursdayCREATURE FROM THE BLACK LAGOON (1954) 8 p.m. on TCM. While now we have “Saw,” “Hereditary” and “A Quiet Place” as modern-day horror films, this one is a classic. When a group of scientists treks to the Amazon rainforest to try to capture and study a jungle-dwelling prehistoric beast, all hell breaks loose.THE BLOB (1958) 9:30 p.m. on TCM. If the creature from the lagoon doesn’t raise the hairs on the back of your neck, you can scream in terror as you watch a giant blob of jelly from another planet consume everything in its path. “One thing you can count on with ‘The Blob,’” Howard Thompson wrote in his review for The New York Times, “goo galore.” (My father made me watch this movie when I was way too young and I probably haven’t been the same since.)FridayNATIONAL LAMPOON’S CHRISTMAS VACATION 8 p.m. on TBS. It seems like this year while some of us are still buying festive fall decorations and pinning recipes for creative Thanksgiving sides, TV has decided to skip right to Christmas. If you’re ready to indulge, this winter favorite is already on the schedule. Chevy Chase and Beverly D’Angelo, at the helm of the Griswold family Christmas planning, see their arrangements go awry when a long lost country cousin shows up with his family that needs a place to live.SaturdayFrom left: Ray Bolger, Jack Haley, Judy Garland and Bert Lahr in “The Wizard of Oz.”Everett CollectionTHE WIZARD OF OZ (1939) 8:45 p.m. on TBS. “We’re off to see the wizard, the wonderful Wizard of Oz!” In this essential movie, the magic begins when a tornado picks up Dorothy (Judy Garland) and her dog, Toto, from Kansas and drops them in Oz. There, she meets all sorts of colorful and often frightening characters and teams up with the Scarecrow (Ray Bolger), who wishes for a brain, the Tin Man (Jack Haley), who longs for a heart and the Cowardly Lion (Bert Lahr), who desperately needs courage, for a perilous journey up the yellow brick road to Emerald City in the hope of asking the wizard to grant all their wishes.SundayANNIKA 10 p.m. on PBS (check local listings). This show about the Glasgow Marine Homicide Unit, starring Nicola Walker in the title role, is wrapping up its second season this week. In the six new episodes, the team investigates more complicated murders that metaphorically — and literally — wash up on the shores of Scotland. More

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      Peter S. Fischer, Who Helped Create ‘Murder, She Wrote,’ Dies at 88

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      He spent many years as a writer and producer of the hit mystery series starring Angela Lansbury. He later wrote his own mystery novels, set in Hollywood.Peter S. Fischer, a creator, writer and producer of “Murder, She Wrote,” the long-running television series that starred Angela Lansbury as a mystery novelist and amateur sleuth, died on Oct. 30 in Pacific Grove, Calif. He was 88.His death, at a care facility, was confirmed by his grandson Jake McElrath, who said he did not know the cause.In 1983, Mr. Fischer and the prolific producers Richard Levinson and William Link pitched CBS on a new series. The three had worked together on “Columbo,” the hit show starring Peter Falk as a rumpled, underestimated police detective, and “Ellery Queen,” with Jim Hutton as a detective who was also an author. This time, their idea was “Blacke’s Magic,” about a magician who solves mysteries.At a meeting with a CBS executive in late 1983, they were told that the network was more interested in a murder mystery series with a female lead. Soon after, Mr. Fischer, he came up with an idea when he watched A Caribbean Mystery,” a CBS-TV movie starring Helen Hayes as Miss Jane Marple, the amateur detective created by Agatha Christie.“Why don’t we meld Miss Marple and Miss Christie into one character, a mystery writer who actually solved murder mysteries using logic, good sense, observations and a twinkly sense of humor that masks the sharp brain lurking beneath a very attractive hairdo?,” Mr. Fischer recalled thinking in his 2013 autobiography, “Me and ‘Murder, She Wrote.’”He came up with the names of both the character, Jessica Fletcher, and the fictional town where she solved murders — Cabot Cove, Maine.But they needed a star. Jean Stapleton, who had portrayed the saintly, ditsy Edith Bunker on “All in the Family,” turned them down. Then they heard that Ms. Lansbury, who was renowned for her work in Broadway shows like “Sweeney Todd” and films like “The Manchurian Candidate,” was willing to star in a TV series. She signed on.Ms. Lansbury with Erin Moran and Tom Bosley in a scene from a 1986 episode of “Murder, She Wrote.”Everett CollectionThe series was an immediate hit and lasted 12 seasons. Mr. Fischer wrote a few dozen episodes and was the executive producer from 1984 to 1991. He shared nominations for the Primetime Emmy Award for outstanding dramatic series three times and won the Golden Globe Award for best drama series twice. In 1985, Mr. Fischer won an Edgar Award from the Mystery Writers of America for the “Murder, She Wrote” episode “Deadly Lady.”“Peter was a very good showrunner,” Ms. Lansbury, who died last year, told the Television Academy in 1998. “He was really quite brilliant at what he did.”But, she said, “I always wanted to make it appeal to more people and to enlarge our audience even more.”One of the changes she made after succeeding Mr. Fischer as executive producer in 1992, was to move Jessica part time to an apartment in Manhattan, where she taught criminology at a college and tracked down killers in a new location. He disagreed with that decision, but it was no longer his to make.“To throw this over to become a ‘big city woman’ violated everything I believed about her,” he said in interview with his son Christopher in 2012 after he started writing mystery novels.Mr. Fischer in 2018. He retired from television in the 1990s and later wrote murder mysteries set in postwar Hollywood.Nic Coury/Monterey County WeeklyPeter Stephen Fischer was born on Aug. 10, 1935, in Queens. His father, Paul, worked for Johnnie Walker, the Scotch whisky maker. His mother, Dorothy (Sullivan) Fischer, was a homemaker.Peter fell in love with reading at a young age and started writing short stories as a boy. He wrote plays in high school and at Johns Hopkins University, where he studied in a department devoted to writing, speech and drama, graduating with a bachelor’s degree in 1956.He married Lucille Warnock in 1957.Mr. Fischer did not become a full-time writer right away; instead he made a living in direct mail, as an insurance investigator and as a trade magazine editor. He also published a monthly magazine, Sports Car News, out of his house in Smithtown, N.Y., on Long Island.At 35, he got his screenwriting break. He had written a script about a dystopian future in which couples are permitted only one child and people over 65 are denied medical care. With help from his brother, Geoffrey, a casting director at Universal Television, the script found its way to the producer Aaron Spelling and was made into an ABC movie, “The Last Child” (1971), with Michael Cole and Janet Margolin as a couple who are willing to defy the law to have a second child after the death of their firstborn.He then wrote episodes of several Universal series, including “Marcus Welby, M.D.,” “Owen Marshall, Counselor at Law,” “Kojak,” “Baretta” and “Columbo,” for which he also worked as a story editor.Three shows Mr. Fischer created or co-created had short runs: “The Eddie Capra Mysteries” (1978), starring Vincent Baggetta as a lawyer; “The Law & Harry McGraw” (1987), a spinoff of “Murder, She Wrote” starring Jerry Orbach as a private investigator; and “Blacke’s Magic” (1986), starring Hal Linden — the collaboration with Mr. Link and Mr. Levinson that CBS did not want. (It ended up on NBC.)In addition to his grandson, Mr. Fischer is survived by his daughter, Megan McElrath; four other grandchildren; two great-grandchildren; his half sisters, Paula Shorts and Stephanie Donnelly; and his half brother, Stephen Fischer. His wife died in 2017. His sons also died before him — Stephen in 2014, Christopher in 2020.Mr. Fischer retired from television in the 1990s. He recast himself a decade ago as a murder mystery writer. He self-published more than 20 books set in postwar Hollywood, with a studio press agent as the sleuth and real movies as backdrops.“He loved old movies,” Ms. McElrath, his daughter, said by phone. “So he came up with this idea of a Jessica Fletcher-like character who’s not in law enforcement but finds himself tripping over all these murders.” More

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      Late Night on the GOP Debate

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      “Oh, yeah, there was name-calling, wild rants and personal attacks. Even Trump was watching like, ‘Game recognize game,’” Jimmy Fallon said of the event.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.‘Game Recognize Game’The third Republican presidential debate took place on Wednesday, with five G.O.P. hopefuls taking the stage in Miami.On Thursday, late-night hosts weighed in on the debate, which Jimmy Fallon said was “being described as ‘unhinged.’”“Oh, yeah, there was name-calling, wild rants and personal attacks. Even Trump was watching like, ‘Game recognize game,’” Fallon joked.“Yeah, it was vicious. At one point, Lester Holt was like, ‘We interrupt this debate with a Real Housewives reunion already in progress.’” — JIMMY FALLON“During last night’s debate, Vivek Ramaswamy criticized Nikki Haley’s foreign policy views and said she was ‘Dick Cheney in three-inch heels.’ ‘Hey, I’m right here,’ said Ron DeSantis.” — SETH MEYERS“During the two-hour debate, Nikki Haley got the most questions, Tim Scott spoke the longest, and Ron DeSantis spoke the [cough] shortest.” — JIMMY FALLONOn “The Daily Show,” the guest host Sarah Silverman pointed to Vivek Ramaswamy’s disparaging comments about Nikki Haley’s daughter’s use of TikTok, calling him “really annoying.”“I mean, Nikki Haley was America’s top diplomat at the United Nations. She literally kept her cool with the worst dictators in the world, and eight minutes onstage with Vivek, and she’s like, ‘You are scum!’” — SARAH SILVERMAN“Ramaswamy elicited a reaction from me that I thought was impossible when he said, ‘You might want to take care of your family first.’ I actually thought, ‘Donald Trump would never!’ No, I’m kidding, of course he would.” — SETH MEYERS“He is so insufferable. He should just lean into it, you know? He should say, ‘Make me president so I can annoy our enemies for America.’ Like, he’ll have one meeting with Vladimir Putin, and 20 minutes later Putin will mysteriously kill himself.” — SARAH SILVERMAN“Then, the moderator tried to calm things down. He was like, ‘Nikki, Vivek, remember, none of you are going to be president.’” — JIMMY FALLONMerry Christmas, the Strike is OverSAG-AFTRA reached a tentative deal with studios on Wednesday, allowing Hollywood actors to return to work after 118 days. Jimmy Kimmel thanked viewers for “Take Your Actor Back to Work Day.”“One member of the actors’ negotiating committee said that there were ‘tears of exhilaration and joy’ in the room after the deal was approved, and it only took them a few takes. It was very realistic.” — JIMMY KIMMEL“It is a big night: the S.A.G. strike is over. Which means Hollywood can finally get back to what they do best: turning your children gay.” — SARAH SILVERMAN“The strike is over! So, tune in tomorrow when my guests will be everyone.” — JIMMY FALLON“When the actors heard a deal had been reached, they gasped, screamed, laughed, cried, and then were like ‘I also do accents.’” — JIMMY FALLON“The Hallmark Channel immediately started shooting all 1,200 of its Christmas movies this morning.” — JIMMY KIMMELThe Punchiest Punchlines (Tim Scott’s Girlfriend Edition)“Politico published an article today after last night’s debate titled, ‘Tim Scott’s Girlfriend Is, in Fact, Real.’ However, jury’s still out on Tim Scott.” — SETH MEYERS“For a while now, Tim Scott has claimed to have a girlfriend, but no one has ever seen her, and donors have been worried it’s hurting him in the race so, after the debate he brought her up onstage. Yeah, when asked how they met, she was like, ‘I was his Uber driver on the way over.’” — JIMMY FALLON“Aw, that’s so sweet! Man, you look for love your whole life, and you finally find it with a respectable-looking woman just two months before the Iowa caucus. I mean, what are the odds?” — SARAH SILVERMAN“He really should have just proposed right there, got down on one knee, like, ‘Mindy, would you make my campaign manager the happiest man alive?’” — SARAH SILVERMAN“It’s just too bad for Tim that he had to get this nonunion actor to play his girlfriend. I mean, if he had waited one more day for the strike to end, he could have gotten a professional actor fake girlfriend.” — SARAH SILVERMAN“It’s a smart move by Tim Scott. He’s never going to be president, but at least people will know that he has a fake girlfriend, so that’s good: ‘She lives in Canada, you guys don’t know her.’” — JIMMY FALLONThe Bits Worth WatchingThe drag star Trixie Mattel read to a group of unimpressed children from Sen. Ted Cruz’s new book, “Unwoke: How to Defeat Cultural Marxism in America,” on Thursday’s “Jimmy Kimmel Live.”Also, Check This OutWritten and directed by the philosopher and activist Paul B. Preciado, the movie “Orlando, My Political Biography” draws inspiration from a Virginia Woolf novel.Sideshow and Janus FilmsIn Paul B. Preciado’s film, “Orlando, My Political Biography,” the Spanish-born philosopher and activist shared the title role with 20 trans and nonbinary performers to make a point about identity. More

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      Late Night Mocks the GOP Debate

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      Kimmel called the five candidates in the latest G.O.P. face-off “a Who’s Who of who has no chance to beat Donald Trump.”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.Not-So-Heated DebateThe third Republican debate aired on Wednesday night without the participation of the front-runner, former President Donald Trump.Jimmy Kimmel predicted that no one would tune in, saying, “The GOP ‘dopefuls’ were just happy to be on television.”“Chris Christie, Ron DeSantis, Nikki Haley, Vivek Ramaswamy and Tim Scott — it’s a Who’s Who of who has no chance to beat Donald Trump.” — JIMMY KIMMEL“It was quite a night. There were five candidates onstage, three moderators asking questions, and two people watching at home.” — JIMMY FALLON“Putting the Republican debate on opposite the C.M.A. awards — it makes no sense. It’s like putting lasagna up against a Swedish meatball.” — JIMMY KIMMEL“But for these five Republicans, the stakes were higher than the lifts in a pair of Ron DeSantis’s boots.” — JIMMY KIMMEL“Whatever you think about Trump, Republican debates are kind of meaningless without him. It’s like a football game without Taylor Swift.” — JIMMY FALLONThe Punchiest Punchlines (Surprising Election Results Edition)“Well, guys, yesterday was Election Day, and despite some recent polls that show former President Trump leading President Biden, Democrats had a surprisingly strong night. Yep, Republicans were like, ‘How is that possible?’ and Democrats were like, ‘No, seriously, how is that possible?’” — JIMMY FALLON“Yep, Democrats had a strong night in Republican-leaning states like Kentucky, Ohio and Virginia. It’s odd — it’s like hearing BTS swept every category at tonight’s Country Music Awards.” — JIMMY FALLON“You’re telling me Trump, the guy who stocked the Supreme Court with ’80s movie villains with the explicit goal of overturning Roe v. Wade, is leading the polls in Ohio, where voters just overwhelmingly approved a ballot measure to protect abortion rights? This makes so little sense, even Steve Kornacki’s big board last night said ‘I give up.’” — SETH MEYERS“Yep, yesterday Americans went to the polls, and today we’re learning a lot about the new ballot measures each state approved. They’re pretty interesting. For instance, Ohio voted to legalize marijuana. Meanwhile, Indiana voted to enjoy the contact high from Ohio.” — JIMMY FALLON“The fact is, abortion limits have become such a losing issue that some conservatives have purportedly decided the problem isn’t pro-life policies but the phrase ‘pro-life.’ They’re looking to rebrand it but, personally, I think they should be forced to carry this phrase to term.” — SARAH SILVERMAN, guest host of “The Daily Show”The Bits Worth WatchingThe Grammy-winning Americana artist Margo Price, on Wednesday’s “Daily Show,” talked about writing her album “Strays” while on mushrooms.What We’re Excited About on Thursday NightHilary Duff will chat with Seth Meyers about her new children’s book, “My Little Sweet Boy,” on Thursday’s “Late Night.”Also, Check This OutMs. Hill, center, with members of the Rollettes, at a dance rehearsal in North Hollywood.Magdalena Wosinska for The New York TimesThe champion dancer and choreographer Chelsie Hill has changed lives and shaped careers with the Rollettes, a Los Angeles-based dance team for women who use wheelchairs. More

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      ‘The Buccaneers’ Arrives With More Arrivistes

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      This Apple TV+ drama joins HBO’s “The Gilded Age,” back for its second season, in portraying the late 19th-century collision of old money and new.A newly moneyed woman in Gilded Age New York is desperate to gain the acceptance of the aristocracy. So she schemes to get the ultimate symbol of old money approval: a box at the exclusive Academy of Music. When she is denied, she helps spearhead the construction of a new see-and-be-seen cultural playground, the Metropolitan Opera House. Take that, aristocracy.Welcome to the second season of HBO’s opulent drama “The Gilded Age,” a series laden with emblematic showdowns between the gaudy arrivistes and the idle drawing-room class. By chance, “The Gilded Age,” which returned last week, is back just ahead of “The Buccaneers,” a new series on Apple TV+ that is set amid the same late 19th-century collision of old money and new, robber barons and debutante balls, gold diggers and status obsession.“The Buccaneers,” which premieres Wednesday, sends its wealthy but not sufficiently connected young ladies, their frocks and their deeply insecure parents all the way to London, skipping the middleman of old American money and going right to the source in search of marriageable dukes and lords. As you might imagine, culture clashes and broken hearts ensue.Donna Murphy as Mrs. Astor, left, and Carrie Coon as Bertha Russell, based on real women like Alva Vanderbilt, in “The Gilded Age.”Barbara Nitke/HBOTV’s Gilded Age dramas are somehow both alluring and repellent. It’s fun to watch ugly Americans make like combative peacocks. And the social dynamics seem to resonate in the 21st century, even if the details feel exotic and unattainable.“Hierarchy of classes is something that people seem to be more preoccupied with right now than at other times in the past,” said Esther Crain, the author of the lavishly illustrated “The Gilded Age in New York” and creator of the historical website Ephemeral New York, in a phone interview. “There’s this vast gulf between the very rich and everyone else, with a vanishing middle class. This really echoes the Gilded Age.”The “Gilded Age” opera house showdown echoes a pitched battle from the end of Season 1, in which Bertha Russell (Carrie Coon), the Academy of Music snub victim, hosts a buzzy ball at her palatial home for her teen daughter. She invites her daughter’s friend, whose mother, Mrs. Astor (Donna Murphy), is the unofficial gatekeeper of the old-money elite. But then the gatekeeper snubs the social climber, who subsequently disinvites the gatekeeper’s daughter. The chess game is on, and the children are the pawns.In her book, Crain details the historical events behind both the music hall duel and the dance dust-up. In real life, it was Alva Vanderbilt who hosted a “fancy dress” masquerade ball in 1883, and who snubbed Mrs. Astor’s daughter, Caroline, prompting Mrs. Astor to show contrition to her nouveau riche rival. The showdown was seen as a major victory for new money over old.In actual late 19th-century New York, Alva Vanderbilt was a new-money upstart.Library of CongressCaroline Schermerhorn Astor represented the old guard of New York society.Wikimedia CommonsThe new rich, based in the Fifth Avenue mansions of Manhattan, were largely a product of the Civil War and new fortunes made in the railroad, copper, steel and other industries. (Bertha’s husband, George Russell, played by Morgan Spector, is a railroad tycoon who finds himself dealing with labor issues in Season 2.)Unlike the old-money aristocracy who traced their wealth to their European ancestors, the new rich thrived in industry and flaunted their wealth, much to the old rich’s disgust and chagrin.“They thought, ‘We’re Americans, we’re the new guys, we’ve got something new to sell in this world, and we have a place here,’” said the “Gilded Age” creator Julian Fellowes in a video interview from his home in London. “For me, the 1870s and 1880s was when modern America found itself. The new people building their palaces up and down Fifth Avenue were doing it the American way. This was an American culture — a new way of being rich, a new way of being successful.”Of course, the new rich could also be reckless and dangerous. In Season 1 of “The Gilded Age,” George, who Fellowes modeled on the railroad magnate Jay Gould, drives a corrupt alderman to suicide. He lives not just to defeat his opponents, but to crush them and their families. For him and his ilk, capitalism is a blood sport.Alisha Boe and Josh Dylan in “The Buccaneers,” inspired by real-life “dollar princesses” who married into titled European families.Apple TV+The games are a little different (if only slightly less brutal) in “The Buccaneers,” which is based on an unfinished novel by Edith Wharton. Looked down upon by the New York aristocracy and seeking suitable husbands, five young nouveau riche women high-tail it to London, where they and their financial resources are coveted by title-rich but cash-poor families. Nan (Kristine Froseth) is courted by a sensitive duke. Conchita (Alisha Boe) has a frisky marriage with a lord, whose parents are monstrous, anti-American snobs. All have romantic escapades that are, in many ways, brazenly transactional.“The girls’ mothers are coming over to London in order to effectively sell their girls into the aristocracy,” Katherine Jakeways, the series’s creator, said in a video interview from her London home. “And the aristocracy are welcoming them with open arms because they’ve got roofs to mend.”Added Beth Willis, an executive producer, from her home in Scotland: “How lonely that would be for so many of them. In America they might speak up a bit more at the dining table. They sometimes had their own money. And to come over to England and find these freezing cold houses with roofs literally falling in and being treated like a cash point must have just been awful.”Here, too, there is historical precedent. In one example, the socialite Consuelo Vanderbilt, of the shipping-and-railroad Vanderbilt family, married the ninth Duke of Marlborough, becoming perhaps the best known of what were called the “dollar princesses.”“Some of these marriages were arranged and didn’t end happily, but others did end happily,” said Hannah Greig, a historical consultant for “The Buccaneers.” “Sometimes the origins of the marriage were forgotten, and it became a love story. History offers lots of examples that you can draw on, for all of the different experiences that we see in ‘The Buccaneers.’”Both series include characters representative of people who existed in Gilded Age society, even if they were under-acknowledged at the time. In “The Buccaneers,” Mabel (Josie Totah) is torn between a marriage of convenience, to a man, and a romance of passion, with her friend Conchita’s new sister-in-law (Mia Threapleton). In “The Gilded Age,” the old-money Oscar Van Rhijn (Blake Ritson) carries on a passionate affair with John Adams, a scion of the presidential dynasty, all the while plotting his own marriage of convenience (and wealth) with the Russells’ debutante daughter, Gladys (Taissa Farmiga). (In a refreshing twist, the most avid gold diggers in both series are men.)Denée Benton stars in “The Gilded Age” as a member of New York’s Black elite, working with the journalist T. Thomas Fortune, played by Sullivan Jones.Barbara Nitke/HBOOne of the central characters in “The Gilded Age” is Peggy Scott (Denée Benton), a representative of 19th-century New York’s Black elite. At odds with her tradition-minded druggist father, Peggy goes to work for the real-life pioneering Black journalist T. Thomas Fortune (Sullivan Jones) and blazes her own trail, even as she faces down racism in her everyday life.Peggy’s story line gives the series a chance to look at issues of inequality that festered beneath the surface of the Gilded Age.“This season especially we see questions about the direction of Black America,” said Erica Dunbar, a Rutgers University history professor and “Gilded Age” historical consultant, in a video interview. “It’s a theme that still exists. What is the best way to move forward for a group of people who have already been marginalized or oppressed for hundreds of years at this point?”It all unfolds against a bloodless but volatile civil war between those who have been rich a long time and their freshly minted competition. The aristocracy’s view of the barbarians at the gate can be summed up by Agnes Van Rhijn (Christine Baranski), who has no interest in letting the newbies crash the party: “You shut the door, they come in the window.”But this is a fight Agnes won’t win. She can lock her windows, but the Metropolitan Opera House is coming soon. Despite the pitched battles of yore, if there’s one thing we’ve learned since it’s that money is money. And those who have the most generally have the upper hand, no matter the source of their riches. More

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      ‘The OA’ Creators Are Back With a Murder Mystery

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      “A Murder at the End of the World” resembles other luxe murder shows. But the mark of the creators, Brit Marling and Zal Batmanglij, is clear in its idiosyncratic tone and themes.The filmmakers Brit Marling and Zal Batmanglij have what they call a “garden.” It’s not an actual garden, however. It is what Batmanglij described in a recent interview as a “garden of ideas that exists between us.”“Some of those seedlings we’ve been cultivating for years, since our early days of sitting on skateboards in one of our bedrooms in Silver Lake and talking to each other,” he said last month, sharing a booth with Marling in the lobby of the Bowery Hotel. “We were ready to cut one of those blooms and plant it.”The latest product of that garden is their new series, “A Murder at the End of the World,” premiering with two installments Nov. 14 on FX on Hulu. The seven-episode show has a conventional, almost trendy hook: It is a murder mystery set at a remote Icelandic luxury retreat for some of the world’s most influential people, details reminiscent of buzzy recent films and shows like “Glass Onion” and “The White Lotus.” But with its time-jumping structure, uniquely eerie tone and warnings about artificial intelligence and climate change, it is also unmistakably the work of the idiosyncratic creators behind “The OA,” “Sound of My Voice” and “The East.”However even they were surprised by the protagonist they ended up with, a Gen-Z amateur detective named Darby Hart, played by Emma Corrin (“The Crown”). A true-crime author who grew up trying to crack cold cases on internet forums, Darby and her sleuth skills are tested when a guest ends up dead at a gathering hosted by a tech billionaire (Clive Owen) and his former coder wife (Marling), where a remarkably advanced A.I. named Ray (Edoardo Ballerini) serves as an assistant to the guests.“All of a sudden this outlier poppy in the corner, Darby, showed up, and said, ‘I represent the times,’” Batmanglij said.In “A Murder at the End of the World,” Emma Corrin plays a young true-crime author trying to solve a murder. (With Harris Dickinson.)Chris Saunders/FXMarling, 41, and Batmanglij, 42, talk in metaphors and big ideas. This makes sense if you’ve seen their body of work, which includes surreal sagas about grand topics, among them the afterlife and the end of the world, often featuring characters who consider themselves soothsayers.They have been planting their seeds for decades. They met as students at Georgetown in 2001 and started collaborating a couple of years later when Batmanglij invited Marling, then a summer analyst at Goldman Sachs, to participate in a 48-hour film festival, making a short film over the course of one weekend.The experience convinced Marling, the class valedictorian who was a double major in economics and art (with a focus on photography), to leave her business ambitions behind. “We had found this profound space together,” she said. “We basically have been telling stories in one way or another much in that fashion ever since.”Their first co-written feature, “Sound of My Voice,” was directed by Batmanglij and featured Marling, her long blond hair giving her an ethereal look, as a mysterious cult leader who claims to be from the future. It premiered at the Sundance Film Festival in 2011 alongside “Another Earth,” which Marling also starred in and co-wrote with another Georgetown friend of theirs, Mike Cahill. Both films sold and Marling was the de facto star of that year’s festival. But after their Sundance success and despite bigger offers from Hollywood, she and her cohorts opted to recommit to their indie mission.“We had this instinct of not doing those things, like not playing the girlfriend of the movie star in this sort of empty action film,” Marling said. “And to instead be like, ‘No, let’s keep telling our stories. Let’s keep getting better at telling them.’”Marling and Batmanglij followed up “Sound of My Voice” with “The East,” starring Marling and Alexander Skarsgard, about a woman who goes undercover with an anarchist group committing acts of eco-terrorism.“The OA” only lasted two seasons on Netflix but it built a devoted following.JoJo Whilden/NetflixTheir biggest platform yet came in 2016 when their series “The OA” debuted on Netflix. Marling played a formerly blind woman who arrives home, after a mysterious disappearance, having regained her sight and calling herself “original angel.” She tells the story of her life — which involves Russian aristocracy and a mad scientist experimenting on people with near death experiences — to a group of high schoolers and a teacher, showing them “movements” that can supposedly help them jump dimensions. In the even more ambitious second season, which debuted in 2019, there were plot lines about tree internet and a mind-reading octopus.Critics found the series fascinating and flawed, but it had a passionate following. When Netflix canceled the show after the second season, fans started a hashtag campaign and one even staged a hunger strike outside Netflix headquarters in Los Angeles.“It had scope and ambition and was, by design, not the lowest-budget project around,” said Cindy Holland, who was the streamer’s vice president of original content at the time. “It became clear that it was going to be unsustainable as an ongoing project in that form at Netflix at the time, and it was a fairly sad experience for all of us, including the audience.”Marling said she sees the unexpected end of the series now as almost prophetic. “‘The OA’’s cancellation was a harbinger for a transformation for something that was afoot in the industry,” she said.“The space had been disrupted, a bunch of creativity and market energy had rushed into that space,” she continued. “But now it was going to calcify or solidify into something that in many ways was a broken business model and much worse than what had been before.”“We make the world so real between ourselves at first, that it’s literally like a third place that exists,” Marling said of how she and Batmanglij develop their ideas.Ryan Pfluger for The New York TimesShe and Batmanglij are still convinced they will finish the story of “The OA” at some point, in some form, but they decided to move on to what would become “A Murder at the End of the World.” The pair wrote the episodes — some together, some separately, some with other writers — and took turns directing. The show’s themes seemed to get only more relevant as they were making it.“It was really eerie, actually, to see with this one the number of things that when we had set out to write it four years ago it was science fiction,” Marling said. “When we talked about any of this stuff with people, we had to explain what is a deep fake, what is an A.I. assistant, what’s a large language model — how does that work? And then by the time we were editing it, to see everything come to pass.”In an interview, John Landgraf, the chairman of FX networks, called the show a “Russian nesting doll of an idea” — a comparison Netflix also used regarding “The OA.”“There was a very rigorous depiction of technology and the physical world,” he said, explaining that the concept appealed to him because it promised a “very grounded, well-researched depiction that nevertheless had a very big set of abstract and imagistic and emotional ideas attached to it.”While fear of the apocalypse hangs over much of the Marling and Batmanglij canon, including “A Murder at the End of the World,” their work rarely feels dystopian.There is also a twinkly-eyed belief in the good of humanity lurking underneath the techno-terrors, and the need to pay attention to feeling over just data.“A Murder at the End of the World” takes place largely at a tech mogul’s remote Iceland gathering for influential people.Chris Saunders/FX“They want to be putting positive ideas out into the world,” said Alex DiGerlando, the series’s production designer and longtime collaborator. He said this optimism manifests in various ways on set — any time they are met with a potentially disheartening scenario, he said, they find a way to see the bright side.Among the roadblocks they hit while filming “A Murder at the End of the World” were supply shortages, Covid outbreaks and disruptive storms. Marling got hypothermia during their monthlong shoot in Iceland. (The hotel’s interiors were built on a soundstage in New Jersey.)“I was kind of blown away, to be honest, by how indefatigable they were,” Landgraf said. “They just literally did not, would not quit on anything until it was the very, very best they could possibly make it.”Marling said that the intensity of her and Batmanglij’s commitment takes root even before they share their ideas with anyone else.“We make the world so real between ourselves at first, that it’s literally like a third place that exists,” she said. “It has a floor and a door, and we can open the door and invite people in.”Floors, doors, gardens — Marling and Batmanglij might mix metaphors, but what’s clear is that they see their stories as tangible objects that they nurture together with a willingness to embrace the unexpected.“We don’t have a favorite plant or tree or seed or sapling in the garden,” Batmanglij said. “We treat them all with so much love because sometimes it’s the one that you don’t water at all that starts blooming.” More