Television

Subterms

    More stories

    • 100 Shares99 Views

      in Television

      ‘Succession’ propels HBO to huge haul of nominations.

      by

      “Succession,” HBO’s operatic saga about a media dynasty and a two-time best drama winner, scored 27 Emmy nominations for its farewell season on Wednesday morning, the biggest haul of any series. Here’s what to know:That tally helped propel HBO, a perennial Emmys heavyweight, to one of its strongest years. In addition to “Succession,” HBO landed best drama nominations for the second season of “The White Lotus,” as well for its popular video game adaptation, “The Last of Us,” and “House of the Dragon,” its “Game of Thrones” prequel. It was the first time since 1992 that a single network landed four nominations in the best drama category.The timing of this year’s announcement was awkward: More than 11,000 television and feature film writers have been on strike for 72 days. The union representing 160,000 actors could declare a strike as soon as its contract expires later on Wednesday. The strike — or strikes — could postpone the September ceremony.This year’s best actor in a comedy category will be closely watched. Jason Sudeikis, who has won two years in a row for playing the title role in “Ted Lasso,” faces competition from Jeremy Allen White of “The Bear.”Here are the nominees in some of the most closely-watched categories.HBO’s moment of triumph is coming at a time of transition for the network, which since last year has been run by a debt-ridden parent company, Warner Bros. Discovery. The network is now part of a streaming service that removed its call letters in May (bye HBO Max, hello Max). And, for the first time, HBO is in the process of licensing revered older series — “Insecure,” and soon, “Six Feet Under,” “Band of Brothers,” “True Blood” — to its archrival, Netflix, in an attempt by Warner Bros. Discovery to drum up cash.Frank Scherma, the chair of the Television Academy, which organizes the Emmys, alluded to the labor disputes right before presenting the nominations on Wednesday morning.“We hope the guild negotiations can come to an equitable and swift resolution,” he said. More

    • 125 Shares169 Views

      in Television

      How Steven Soderbergh and Ed Solomon Straightened Out ‘Full Circle’

      by

      Their gripping new crime thriller for Max is loaded with twists and layers. But it is actually much simpler than what they originally conceived.The first time the director Steven Soderbergh and the screenwriter Ed Solomon worked together was on the murder mystery “Mosaic” (2017), which could be watched as a choose-your-own-adventure-style story using a smartphone app or as a six-episode HBO mini-series.“Mosaic” drew mixed reviews, but the two men learned a lot doing it. For their next collaboration — what eventually became the six-part series “Full Circle,” debuting Thursday on Max — they envisioned another show that would have two distinct, separately shot versions: one told in classic, linear fashion and another that would present the same events told from different perspectives and whose meaning changes depending on which path the viewer chooses.The idea was greenlighted in 2021, and Solomon started writing two versions that would tell the same story differently. Then last spring, reality hit.“When I got the schedule and I saw the number of days and the page count of just the linear, I was like, ‘This is physically impossible,’” Soderbergh said in a recent joint interview with Solomon. He added: “I had visions of ‘The Sorcerer’s Apprentice’ — that this was going to become a legendary folly.”Soderbergh decided to jettison the branching version. But then he had to tell Solomon, who had already written 175 pages of it in addition to the six linear episodes.“That was not a lunch that I was looking forward to,” Soderbergh said. It turned out, though, that Solomon already agreed with him. “It was just too much,” he said.There are few better ways to spend an afternoon than talking about film and television with these two men, who love making and watching stories. Soderberg’s résumé careens among blockbusters (“Ocean’s Eleven,” “Magic Mike”), daring oddities (“The Girlfriend Experience”) and the odd Liberace biopic (“Behind the Candelabra”). Solomon’s often has comic undertones, with films including “Bill and Ted’s Excellent Adventure” and “Men in Black.”Together, their efforts have had a decidedly noirish bent — sandwiched between their two series is the 1950s crime feature “No Sudden Move” (2021), for HBO Max. The premise of “Full Circle” follows suit, inspired by Akira Kurosawa’s suspenseful 1963 film “High and Low”: What if there were a kidnapping but the wrong child was taken?Even without branching, the story delivers plenty of twists and layers, toggling between two families in an unlikely entanglement: One is the Manhattan family of a celebrity chef played by Dennis Quaid (with Claire Danes as his shot-calling daughter and Timothy Olyphant as his son-in-law with a mysterious past); the other, led by a criminal matriarch (CCH Pounder), is rooted in a Guyanese community in Queens. In the middle stands a rogue Postal Service inspector played by Zazie Beetz (“Atlanta”).Timothy Olyphant and Claire Danes, right (with Lisa Janae), play a wealthy Manhattan couple who become entangled in a botched kidnapping of their son.Sarah Shatz/MaxCCH Pounder (with Phaldut Sharma) plays a crime boss based in Queens; she has mysterious historical links to the wealthy Manhattan family. Sarah Shatz/MaxSoderbergh and Solomon’s methods and history of close collaboration helped them turn on a dime and adapt the show as they went along.“Scenes were being rewritten, lines were being thrown in while we were doing it,” Phaldut Sharma, a Britain-based actor who plays Pounder’s right-hand man, said in a recent video call. “It was my first my first experience of doing a job in America and I thought this must be the norm, but members of the crew told me this is not really the way it normally goes.”Soderbergh, 60, and Solomon, 62, sat down for a lengthy chat at Soderbergh’s office, in the TriBeCa neighborhood of Lower Manhattan. These are edited excerpts from the conversation.Steven works famously fast, editing himself at the end of every day on a shoot. How does the writer factor in?ED SOLOMON Most weekends we would meet, usually on a Sunday. I would get a text: “Are you around?” Which meant “I’m going to be in the office for the afternoon.” [Laughs.] And we would just talk through: “Where’s this going? And what does that mean for what we’ve got?” We were constantly reassessing — the writing continues as the shooting starts, and it continues as the editing is happening. I really appreciate how fluid you are with that.STEVEN SODERBERGH It has to swing both ways. I can’t say to Ed, “Rethink this,” or, “Rejigger that,” without looking at my own work and going, “I’m throwing out stuff that I worked hard on trying to figure out and shooting.”SOLOMON Sometimes the show outgrows your original idea, which is part of what’s exciting.“Full Circle” relies more on detail than on back stories — Quaid’s character, Chef Jeff, has a ponytail that speaks volumes about his personality. Was there a deliberate effort to be lean?SODERBERGH There can be a tendency to spoon-feed the viewer about the back story of the characters before you’ve even really gotten into the story. That’s something that I resist as a viewer, and it’s something that I’ve tried to resist as a filmmaker. Most things that I see, both movies and television, are too long. My motto is, if it can be pulled out and it still works, it should be pulled out. I want this thing to be all marrow as much as possible.Dennis Quaid plays a celebrity chef whose empire has some unsavory ties.Sarah Shatz/MaxThe loose, sometimes shaggy atmosphere recalls the noir movies of the 1970s. Were they part of your influences?SODERBERGH I’m after a sort of discovered precision. I want the construction of something that’s been considered, but I want it to feel like it’s happening right in front of me for the first time. I was looking at “The French Connection,” the Sidney Lumet cop films from the ’70s, because I did want that kind of feeling.What draws you to noir?SODERBERGH It’s just a very cinematic form of storytelling. The conflicts are clear, they’re interesting. They inevitably lead to some burst of violence, either physical or emotional, because the pressure builds up in the clash between people’s dreams and desires, and reality, and shifting loyalties, mistrust, all of these things. It’s a very sexy genre to work in as a director.SOLOMON When people are hiding their truth from others, and then the circumstances pressurize them and they’re trying harder and harder to keep that from coming out — to me that’s an exciting place to write from.SODERBERGH Genre is just a great and efficient delivery system for ideas. It’s built to have a sort of superficial narrative layer and then this subterranean thematic space that you can put anything you’re interested in, and that’s what makes it fun.Zack Ryan’s score is interestingly jarring. Why did you set a gritty thriller to such lush music?SOLOMON We talked about Douglas Sirk at the very beginning.SODERBERGH I like the juxtaposition of that visual aesthetic and the sonic aesthetic of a ’50s melodrama. I didn’t want a hip, trendy score — I wanted something very classical and emotional. Which is not typical for me, to be this in your face or in your ears with the music, trying to enhance the emotional state of the character you’re watching.SOLOMON I never told you this: I had a theory that the score was doing the work that the original branching narrative was going to do, which was all about inner life and people’s emotional experience, while this other crime story was going on.It’s always a risk when form and content don’t gel.SODERBERGH I’ve seen extremely skilled filmmakers whose style is so developed and so detailed, you can feel the intelligence and the work. It exposes the fact that the script they’ve shot isn’t as good at its job as they are at their job. Your talent has to match your ambition — you need both, but if they’re out of whack, it’s not going to happen for you. I’ve seen talented people who are not ambitious enough. We see many more people who are more ambitious than they are talented. The universe eventually tends to catch up with them.Too much back story is “something that I resist as a viewer,” said Soderbergh (right, with Solomon, middle, and Olyphant). “And it’s something that I’ve tried to resist as a filmmaker.” Sarah ShatzDo you feel the writers’ strike is making people think harder about how movies and TV are made? Are you reflecting on the way you create?SODERBERGH It’s something I think about a lot. My entire career has been a test of my ability to improve and optimize my work process, which is about getting to the best version of something as quickly as possible with the least amount of drama and ego. I don’t feel that the work we’re doing is necessarily important with a capital I, but it’s also not meaningless. I want to be in that space of taking it as seriously as it needs to be taken to be good. Because if you take it too seriously, it tips over into indulgence, and that’s not what I want.SOLOMON I think art made by human beings has a feel that cannot be replicated. The problem is, the people making decisions on the highest level that are all about bottom line and “How can I get rid of as many human beings as possible?” don’t have the ability to judge what is good art and not good art. My fear is, if we don’t draw a line in the sand now, we’re going to continue to a place where a lot of people are out of work.What keeps you on your toes?SODERBERGH I need a pocket of fear to keep me alert.Where was that pocket on “Full Circle”?SODERBERGH The complexity of the story, of the schedule. You need that sense that this could go sideways if I don’t execute at the best of my ability. You’ve got to find this balance of being self-critical without being paralyzed. You have to make decisions but you’ve also got to be willing to say to yourself: “That can be better. It has to be better.”SOLOMON I want to be a better writer on the other end of it. I want to know that I will have learned a lot about myself, about this project. I will push myself to a degree that when I come out the other end of it, I’m moving forward, I’ve learned stuff. More

    • 138 Shares169 Views

      in Television

      Maggie Siff Stars in a Rare Revival of Williams’s ‘Orpheus Descending’

      by

      “Orpheus Descending,” a rarely revived play about the treatment of outsiders, has only become more meaningful for its star and its director.After Maggie Siff’s husband died of brain cancer in 2021, the last thing she wanted to do was a play about a woman with a husband dying of cancer.But then, after initially pondering whether to commit to the show in 2019, she reread the script — and reconsidered her hesitation.“I was like, ‘Oh, no, I have to do it,’” Siff, 49, said of starring in the Theater for a New Audience’s revival of Tennessee Williams’s “Orpheus Descending.” Now in previews, the play is scheduled to open July 18 at the Polonsky Shakespeare Center in Brooklyn.Williams’s play — a modern retelling of the Orpheus and Eurydice myth, in which a man has the opportunity to get the woman he loves back if he can just follow one simple rule — is set at a small-town dry goods store in the Deep South. The writing was revelatory to Siff, especially after she had attended to her own sick spouse, Paul Ratliff, for a year.“It has that quality of living at the edge of what’s real and realistic, and what’s mysterious and beyond our comprehension,” she said.Siff, who is best known for her starring turn as the strong-willed psychiatrist Wendy Rhoades in the Showtime series “Billions,” plays Lady Torrance, a middle-aged storekeeper’s wife who becomes infatuated with a wandering young guitar player, Val, as her elderly, bigoted husband lays dying in a room upstairs. As the two lovers navigate their doomed tryst, they confront the ecstasies of reawakened passion, the racism of an insular community and the gradual erosion of sensuality into newfound resilience.“It’s like sitting at the deathbed of a loved one,” said the play’s director, Erica Schmidt, who directed a New Group production of “Cyrano” for the stage in 2019, and then for the screen in 2021, both of which starred her husband, the actor Peter Dinklage.Members of the cast rehearse “Orpheus Descending.” Pico Alexander, center, plays the roaming musician who attracts the attention of Lady Torrance.Clark Hodgin for The New York TimesThe show, which is a rewrite of Williams’s 1940 play “Battle of Angels,” was first staged on Broadway in 1957. It was a flop, running for only 68 performances. (The New York Times theater critic Brooks Atkinson called it a “second-rate play” by Williams, though he praised the “lyric intensity” of its dialogue and “tender writing that recalls the delicacy of ‘The Glass Menagerie.’”)“Orpheus Descending” has rarely been revived, but Schmidt, who saw the 1989 Broadway revival and a 2019 production at the Menier Chocolate Factory in London as well as the 1959 film adaptation, “The Fugitive Kind,” said she was drawn to its exploration of how outsiders are treated in the United States. She felt the theme would resonate in 2020, when the play was originally set to be staged before the pandemic forced a postponement — even more so now, amid a wave of anti-immigrant sentiment nationwide.“That’s possibly why it hasn’t been so successful in the past,” Schmidt, 48, said at a rehearsal on a sweltering Wednesday last month at the Brooklyn Academy of Music. “It’s grappling with these issues that maybe we don’t want from our Williams.”In a conversation during their lunch break, Siff and Schmidt — unintentionally twinning in all black — discussed the play’s appeal, how it speaks to the modern moment and what has surprised them in their now years of wrestling with the work. These are edited excerpts from the conversation.Why did you want to do this play?ERICA SCHMIDT The play is shot through with desire; this need to really live life and to cling to what matters to you with both your hands until your fingers break, as Carol [an eccentric aristocrat character] says. It reminds me of when Thornton Wilder says in “Our Town,” “Do any human beings ever realize life while they live it?”MAGGIE SIFF I was drawn to it because of the size of life and the dark, liminal space of the world. I was also incredibly scared of it. It felt like an undeniable piece of work that one would need to throw oneself into. And then a lot of life happened — my husband passed away, and I didn’t think I would be able to do this play, but I picked it up again, and these are people who are living right on that line. It’s heaven and hell, living and dying. Being alive but dead inside. And then being alive, but coming into life.What has surprised you about the text?SCHMIDT Williams is very prescriptive in his stage directions and his punctuation, but there is an emotional size or participation that is necessitated by this play in certain moments. The question is how you get there without just being dramatic for the sake of being dramatic.SIFF The thing about the play that always made me the most anxious was the hysteria. For the longest time, whenever I’d read it, the third act, I was just like, “I don’t know how this happens.” And the surprise to me in working on it is how organically it happens. While it’s very difficult to earn those states of being that are so heightened and so large, it’s really masterfully built into the play.The other surprise is that while the play is very grim, dark and tragic, there’s so much in it that is really life-affirming and joyful to perform.SCHMIDT The subtext of the play is live, live, live.After rehearsals at the Brooklyn Academy of Music, the play has now begun previews at the Polonsky Shakespeare Center.Clark Hodgin for The New York TimesThe original was a flop. What are you doing differently in this production?SCHMIDT Williams talks a lot about the vast expanse of darkness outside the door. When you look at “Battle of Angels,” the hanging tree and cotton fields are described as being right outside the door. So this is the hell that Orpheus — Val — is descending into, Two Rivers County, Mississippi, this vast, racist, sexist 1950s hell. And so, working with the set designer, Amy Rubin, we decided to put the store in the middle of the stage so we can create the vast expanse. And that’s not something I’ve seen in other stagings. Why is now the right moment to revive this?SCHMIDT The play demands that you pay attention to how complicit and complacent you are. Lady is essentially sleeping next to the man who wears a white hood in the night. And the legacy within the play of the Choctaw Indians who were driven from Mississippi in the Trail of Tears and the crimes of the slave trade and the legacy of all that blood on the ground. In our current cultural moment, it feels like only by looking at the past — by really looking at it — are we able to understand it and move forward, hopefully. We can’t pretend there isn’t blood on the ground.SIFF The play takes a mythic frame that it puts on top of a very political setup.SCHMIDT How we get out of hell?SIFF What is hell? What is the nature of heaven?SCHMIDT Can one person save another?SIFF Can people change? What does it mean to be corrupt in your soul? Is love redemptive?SCHMIDT Is love real?SIFF These are the questions that galvanize the play, and they’re questions we’ve been asking for centuries. And he’s not afraid to be like ‘Yes, I’m going to take these,’ and he throws all of those things at the wall. Maybe too many!“She’s lived through a lot to be in a place where she can come alive, which is, I think a feat,” Siff said of her character, Lady Torrance.Clark Hodgin for The New York TimesMaggie, what do you admire about Lady Torrance? And what frustrates you about her?SIFF She reminds me of some of the women in my family. She’s such a survivor — I want to say tensile, is that the right word? It’s also the thing that’s her undoing — her pride.SCHMIDT [Reading from a dictionary app on her phone] Tensile, relating to tension, capable of being drawn out. A tensile rod.SIFF I think of it as like the thing that supports bridges, right? She’s lived through a lot to be in a place where she can come alive, which is, I think a feat.SCHMIDT Oh, it is a feat.She’s reminiscent of Williams’s other strong female characters who try to bring about change in a male-dominated society but fail. Or even your “Billions” character, Maggie, who’s similarly sharklike.SIFF She would be a mean — I don’t know, what would she be in this day and age?SCHMIDT The owner and proprietor of a really fancy club, like some kind of massively successful Italian wine garden.SIFF She might also be a singer.SCHMIDT Yeah, and a mandolin player.SIFF She’d be some kind of fabulous diva.What do you hope people walk out of the theater thinking?SIFF Like all great pieces of theater that have tragic endings, I hope an audience will be able to walk out and still feel somehow more expanded, rather than “Oh, why did I put myself through that for three and a half hours?”SCHMIDT Oh, no! It’s not three and a half. It’s going to be two and a half, with intermission. And it’s funny.SIFF There’s a lot in it that’s very life-affirming. More

    • 100 Shares149 Views

      in Television

      Kristen Kish Chosen as Next ‘Top Chef’ Host

      by

      Kish, who will bring considerable TV experience to the role, succeeds Padma Lakshmi, who hosted the show for 19 of its 20 seasons.Kristen Kish, an acclaimed chef who won the 10th season of “Top Chef” more than a decade ago, will return as the next host of the long-running culinary competition, Bravo announced on Tuesday. She will succeed Padma Lakshmi, who said last month she would be departing the show, which she had hosted for 19 of its 20 seasons.Kish, who has hosted several other food-related series, will take the reins for Season 21, which the network has said will take place in Wisconsin. She will join the food writer Gail Simmons and the chef Tom Colicchio at the judges table.“‘Top Chef’ is where I started my journey — first as a competing chef, then a guest judge and now as host, I have the honor of helping to continue to build this brand,” Kish said in a statement. “It feels like coming home.”Kish, who was adopted from South Korea and grew up in Kentwood, Mich., attended Le Cordon Bleu in Chicago. She then spent a decade working at restaurants in Boston, rising through the ranks to become the chef de cuisine at Barbara Lynch’s crown jewel restaurant, Menton.As The New York Times reported in 2014, Lynch had encouraged Kish and another young chef from her restaurant group to compete on “Top Chef.”Kish won Season 10, and has become a familiar face on the show in recent years as a guest judge. She has also opened her first restaurant, released a cookbook and has hosted or starred in several shows including “36 Hours,” a Travel Channel show that is a collaboration with The Times; “Iron Chef: Quest for an Iron Legend,” and “Restaurants at the End of the World.”Ryan Flynn, an NBCUniversal senior vice president, said in a statement that Kish was “the perfect host for the next chapter of ‘Top Chef’ as we take on a new region of the country we haven’t explored.”Both Colicchio and Simmons published posts on Instagram Tuesday afternoon applauding the choice of Kish.“She is an excellent chef, brings a world class perspective and most importantly, having been a past contestant and judge, she knows what it takes to win @bravotopchef,” Colicchio wrote.“Psyched beyond words to have her pull up that seat at Judges’ Table,” Simmons said.In a statement to The Times on Tuesday, Kish added that she was already “overwhelmed by the amazing outpouring of support by the fans of ‘Top Chef’ embracing this new chapter.”“I am eager to get started!” she said.Maya Salam contributed reporting. More

    • 125 Shares99 Views

      in Television

      Timothy Olyphant Is Back for a New Chapter of ‘Justified’

      by

      “I like to think there’s been some growth.”This was the actor Timothy Olyphant in New York last month, musing on the trajectory of his career from a TriBeCa sidewalk. He was referring specifically to the task of resurrecting past roles, which he first did a few years ago in the 2019 movie revival of “Deadwood.”Now comes “Justified: City Primeval,” an eight-episode limited series premiering on July 18, on FX. It features Olyphant returning to what is arguably his signature character, Raylan Givens, the Stetson-sporting deputy U.S. Marshal who anchored the Kentucky crime drama “Justified” for six seasons.The new show follows Raylan to Detroit for a fish-out-of-water adventure with a murderous baddie (Boyd Holbrook) and a sharp-elbowed but alluring lawyer, played by Aunjanue Ellis. The creators describe it as the existential evolution of a character, invented by the crime fiction grandmaster Elmore Leonard, who is starting to realize that he can’t chase killers forever and that he is running out of chances to connect with his teenage daughter.“It’s a mature, grown-up version of the show that we did,” said Michael Dinner, who created the limited series with Dave Andron. Both are former writers and executive producers on “Justified,” which ended its run on FX in 2015.The creators and Olyphant, who is also an executive producer on “City Primeval,” hope to bring back Raylan for at least one more series after this one. But first, they are going to find out if people are still interested in the character or “Justified” without the original show’s evocative backwoods setting and colorful criminals, played by the likes of Walton Goggins and Margo Martindale.“Justified: City Primeval” moves the action from Kentucky to Detroit, where Olyphant’s character, Raylan, joins a sharp-elbowed lawyer played by Aunjanue Ellis.Chuck Hodes/FXOlyphant (left, with Claire Danes and Dennis Quaid) plays a man who marries into the family of a celebrity chef in the Max series “Full Circle,” directed by Steven Soderbergh.Sarah Shatz/Max“With all due respect to our original cast, who I loved, adored and miss, it was really a fun experience being with all these new cast members but still feeling like we were doing our show,” Olyphant said. “This feels right in the sweet spot, but I don’t know, it could be a total failure.”If he didn’t seem particularly bothered by the possibility of tainting the legacy of his most famous creation, this is partly an effect of his affect. In conversation Olyphant is easygoing and quick-witted, qualities he brings to his work that also belie another of his defining traits: a simmering intensity.That combination proved perfect for the darkly comic, morally murky world of “Justified.” Olyphant’s performance in the series shifted his previously hit-and-miss career into a higher gear, which in turn has made his future prospects less dependent on the success of the “Justified” revival.As it happened, Olyphant was in New York for a screening of a different twisty crime thriller: “Full Circle,” in which he plays a Manhattanite with secrets who has married into the wealthy family of a celebrity chef, played by Dennis Quaid. (Other stars include Claire Danes, Jharrel Jerome and CCH Pounder.) Premiering Thursday on Max, the gripping six-episode serial revolves around a botched kidnapping with international repercussions.“Full Circle” was directed by Steven Soderbergh, the latest on a list of talented people with whom Olyphant long wanted to work and now has. Others include Quentin Tarantino, who cast Olyphant as the 1960s TV cowboy James Stacy in “Once Upon a Time in Hollywood” (2019), and David O. Russell, who hired him to play a disfigured thug in “Amsterdam” (2022). Kenneth Lonergan made him the center of his acclaimed play “Hold On to Me Darling” (2016).“You can throw Larry David on the list,” Olyphant said, referring to his appearance as a smarmy groom in “Curb Your Enthusiasm” in 2020. “I don’t know how long I’ll keep doing this, but I’ll show up every day for that guy.”There was also a brief run as a “Star Wars” lawman in “The Mandalorian” and “The Book of Boba Fett,” and a longer one as a Mormon U.S. Marshal in “Fargo.” He played a zombie’s husband in the horror comedy “Santa Clarita Diet” and himself in two different sitcoms: “The Good Place” and “The Grinder.” Earlier this year he had a memorable turn as a grizzled tour manager with terrible hair in “Daisy Jones & the Six.”Soderbergh, who said he had wanted for years to cast Olyphant, called him “the best example of an experienced professional, in that he can give you anything that you want.”“That is the best thing I can say about somebody,” he added.The afternoon after the “Full Circle” screening, Olyphant reclined in a metal chair outside a TriBeCa cafe and marveled at the company he is keeping these days.“I had a blast working with the writers,” Olyphant said of the “Justified” revival. “They picked up where we left off except for this time, there wasn’t anyone throwing things.”Philip Cheung for The New York Times“Being with Steven Soderbergh last night watching something that he’s made that I’m a part of, it just means the world,” he said. “I don’t know why it took me so long to get there, but it’s really nice to be there now.”Now 55, Olyphant retains an athlete’s physique — he had just come from swimming at Asphalt Green in Battery Park — but his hair has gone mostly gray. As he has revived old roles, he has entered a new phase of his life: His three children with Alexis Knief, his wife of over 30 years, are now grown, and one has followed her father not just into show business but also into the world of “Justified.” Vivian Olyphant plays Raylan’s daughter, Willa, in the revival. “Nepotism, you can’t beat it,” he cracked.Olyphant wasn’t sure he wanted to reprise his “Deadwood” role as Sheriff Seth Bullock. (Bullock got a promotion for the movie, adding yet another marshal to Olyphant’s résumé.) Once on set, however, he realized how much the show meant to him. It also gave him a final opportunity to work with David Milch, one of television’s greatest writers, whom Olyphant deeply admires. (Milch has since entered an assisted-living facility for Alzheimer’s care.)“I don’t know what I was so afraid of,” he said. “It was quite moving for everybody involved.”But Olyphant always figured he would play Raylan again. “It seemed like the kind of character that could age well,” he said.The new series updates Leonard’s 1980 novel “City Primeval: High Noon in Detroit,” one of his most beloved books. As Raylan joins the Detroit police in a case that encompasses a string of murders, a psychopathic aspiring singer, Albanian gangsters, corrupt cops and a crooked judge, he is frequently the odd man out in his own show.“I think they wanted that collision, which is why they sent him to one of the Blackest cities in the country,” said Ellis, who plays a defense attorney at the heart of the story. Other stars include Victor Williams, Vondie Curtis-Hall and Marin Ireland.During the original run of “Justified,” Olyphant was known as an occasionally demanding Leonard purist, insisting that the show stay true to the author’s dry wit and sneaky emotional complexity. That hasn’t changed — Ellis said Olyphant carried around a tattered copy of “City Primeval” on set “like it was the Bible” — though Olyphant suggested that the terms of engagement had evolved.“I had a blast working with the writers,” he said. “They picked up where we left off except for this time, there wasn’t anyone throwing things. They were all used to my [expletive].” (Dinner, who also directed multiple episodes, said that “he was a great collaborator.”)“The game has gotten simpler,” Olyphant said of his acting career. “I realize it’s all kind of a joke, just getting away with it.”Philip Cheung for The New York TimesAll productions have highs and lows, but this show’s were more extreme than most. In the plus column, Olyphant called working with his daughter, who studies acting at the New School in New York, “one of the greatest experiences of my adult life.”“So special and challenging, walking that line between trying to get a scene and trying to be a parent,” he said. (“He definitely did give a lot of notes,” Vivian, 20, said. “But in between takes, we would have a lot of fun.”)Less great: the night when the show, shot mostly in Chicago, was filming in a park and the cast and crew found themselves in the middle of an actual shootout. They all dove for cover as two cars tore down the street toward and past them, trading sprays of automatic gunfire.“You could hear the bullets kicking off the back bumper of the front car: tink, tink, tink,” Olyphant recalled. No one in the production was injured, but everyone was left shaken.“My heart goes out to the people that live in those neighborhoods because that is just not any way to live,” he said.So does Raylan age well? Is there growth? Viewers will have to draw their own conclusions.“The road in front of him is a lot shorter than the road behind,” Dinner said. “We get him into a place by the end of the story where he makes some decisions about his life.”Olyphant’s road is getting shorter, too, but the trade-off is that “the game has gotten simpler,” he said. “I realize it’s all kind of a joke, just getting away with it.” His co-stars say that whatever his penchant for downplaying the job, his enthusiasm for it is apparent.“He’s obviously very experienced now,” Danes said. “But there’s still that sense of giddiness and searching, which is wonderful.”Olyphant in turn takes inspiration from those with even more experience, from their example that growth can be its own reward. Co-stars like Quaid, he said, “seem to be having even more fun than I’m having.”“So if they’ll have me and keep inviting me to the dance,” he said, “I think I’ll keep showing up.” More

    • 188 Shares179 Views

      in Television

      What’s on TV This Week: ‘What We Do in the Shadows’ and ‘Barbie Dreamhouse Challenge’

      by

      The series about Staten Island vampires is back for a fifth season on FX and HGTV premieres a “Barbie” themed show.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, July 10-16. Details and times are subject to change.MondayUNBREAKABLE (2000) 8:10 P.M. on HBO. Starring Bruce Willis and Samuel L. Jackson, this M. Night Shyamalan film follows a security guard, David Dunn (Willis), who is the sole survivor of a train wreck and doesn’t seem to have sustained any injuries. On his journey to figure out what happened he runs into Elijah Price (Jackson), who tells him about how some people are “unbreakable.” “Mr. Shyamalan shows that ‘The Sixth Sense’ was no accident,” the critic Elvis Mitchell wrote in his review for The New York Times. “Deadpan melancholy has quickly become his signature.”TuesdayA still from “Iconic America.”Courtesy of Show of ForceICONIC AMERICA 10 p.m. on PBS (check local listings). This episode, part of an eight-part documentary series hosted by David Rubenstein, explores the symbolism behind the Statue of Liberty and how it relates to the current values of the United States, with the help of historians and experts. Other episodes in the series include Fenway Park, the Golden Gate Bridge and American cowboys.Wednesday2023 ESPYS 8 p.m. on ABC. This annual ceremony, which celebrates individual and team achievements in sports, is being co-hosted by LeBron James and Jimmy Kimmel and broadcast live from the Dolby Theater in Los Angeles this year. Awards include best athlete for both men’s and women’s sports, best team and best play. The United States women’s national soccer team are set to receive the Arthur Ashe Award for their fight for equal pay.ThursdayTHE BLACKLIST 9 p.m. on NBC. This series, following ex-government agent Raymond “Red” Reddington (James Spader), is wrapping up its 10-season run this week. As Red’s journey comes to an end, there are two big loose ends to tie up. The first is to figure out what is going to happen to the ongoing task force. The second is, What is going to happen to Raymond Reddington? With the end of the series, the show will have to answer the question: Will he live or will he die?WHAT WE DO IN THE SHADOWS 10 p.m. on FX. This mockumentary, about four vampires who live together on Staten Island, is back for a fifth season. In the first episode of the season Nandor (Kayvan Novak), Nadja (Natasia Demetriou) and Laszlo (Matt Berry) discover the joys of a mall. Also this season, they help throw a pride parade and Colin (the energy vampire, played by Mark Proksch) runs for office.FridayFrom left: Linda Cardellini and Reese Witherspoon in “Legally Blonde.”MGMLEGALLY BLONDE (2001) 7:30 p.m. on Bravo. This movie taught us that having knowledge of how hair treatments work could win you a legal battle — and more important, that “girlie” doesn’t mean incapable. Reese Witherspoon plays Elle Woods, a sorority girl who makes it her mission to get into Harvard Law School to prove to her ex-boyfriend that she is marriage material. Along the way she finds a real passion and ability for practicing law. Jennifer Coolidge, as Elle’s manicurist-bff Paulette Bonafonté, and Luke Wilson, as her love interest and colleague Emmett, round out the cast of this fun movie that still packs an emotional punch.FINAL DESTINATION MARATHON various times on POP. Beginning at 8 p.m. you can cozy up, pop some popcorn, and brew some coffee since you could be up until 6 a.m. watching all five “Final Destination” movies. The general plot of every movie in the franchise is that some people narrowly escape death, except they didn’t escape death, it was a premonition for a future death. To jog your memory of some of the horrific deaths in store: There was the swimming pool incident in the first movie, the tanning bed incident in the third movie, and the botched eye surgery in the fifth movie.SaturdayALMOST FAMOUS (1990) 8 p.m. on TCM. This coming-of-age film is a semi-biographical story inspired by the director Cameron Crowe’s own story. Set in 1973, a 15-year-old William (Patrick Fugit) gets an assignment to write a profile on an up-and-coming band for Rolling Stone magazine. Crowe himself wrote for Rolling Stone in the 1970s. In the film version, William ends up following the band, Stillwater, on tour. Kate Hudson and Billy Crudup round out the cast, as a groupie and the lead singer of the band, respectively. Crowe “has made a movie about sex, drugs and rock ’n’ roll that you would be happy to take your mother to see,” the film critic A.O. Scott wrote in his review for The Times.SundayBarbie in a 2012 version of her dreamhouse.Bethany Clarke/Getty ImagesBARBIE DREAMHOUSE CHALLENGE 8 p.m. on HGTV. If you haven’t noticed, pretty much everything is “Barbie” themed these days (she’s been collaborating with Coldstone Creamery, Xbox, Gap and many, many more), and houses are apparently no exception. Hosted by the model Ashley Graham, this four-part series will have eight teams of HGTV personalities, and one Food Network chef, work to turn a house in Southern California into their best recreation of the Barbie Dreamhouse.MS. MATCH (2023) 9 p.m. on E! Since the 2010s ended, the airwaves have been seriously lacking new romantic comedies. This week, E! is doing us a favor by releasing their new original movie. It follows Athena, who works as a dating coach at a company that teaches people how to better date — but with all that fake dating, what she really misses is a genuine connection. When her college ex-boyfriend comes back into the picture, Athena has to try to address what she actually wants and how to prioritize herself.REAL HOUSEWIVES OF NEW YORK CITY 9 p.m. on Bravo. Even though we love our OG RHONY stars, there’s a new cast in town. The revamp of this classic Bravo show features housewives Sai De Silva, Ubah Hassan, Erin Dana Lichy, Jenna Lyons, Jessel Taank, and Brynn Whitfield. Andy Cohen, the producer of the Real Housewives franchise, teased on his show “Watch What Happens Live” that “it’s going to be a different show” than the first iteration. “It’s so hard because everyone is going to compare it to RHONY, which was so perfect. And I hope this is perfect in a totally different way,” Cohen added. More

    • 150 Shares179 Views

      in Television

      In ‘The Horror of Dolores Roach,’ the Empanadas Are to Die For

      by

      Justina Machado and Aaron Mark went uptown to sample the savory pastries that play a central role in their new horror-comedy — minus the mystery meat.You know those days when you would kill for an empanada? Well.It was a cool and sunny morning last month in the Washington Heights neighborhood of Manhattan, and the actress Justina Machado and the writer Aaron Mark had agreed to meet there to talk about their new Amazon series, “The Horror of Dolores Roach.” An eight-part horror-comedy, starting Friday on Prime Video, the show makes the neighborhood a central focus, which was why I took the train uptown. It does the same for cannibalism, though there was nothing like that on the schedule as far as I knew.But we had all day to talk about eating people. First, empanadas. Grabbing a park bench, Mark and Machado fueled up on the hot, crisp hand-held pastries — guava and cheese, carne de res — from Empanadas Monumental, near 157th Street and Broadway, around the corner from where Mark lived for a decade as what he called a “broke, broke, broke” playwright.I drooled a little watching Machado and Mark take bites of the face-sized empanadas, which were perfectly golden brown, bubbly in the right spots and oozy, not greasy. They were tasty, Machado said, but she was partial to the chicken-and-cheese pastelillos, fried turnovers similar to empanadas, that her Puerto Rican mother used to make.“She would make them with a cafe con leche,” said Machado, known best for her roles in the “One Day at a Time” reboot and “Jane the Virgin.” “I could kill, like, four of them.”Empanadas devoured, we moved to a nearby cafe — this time, to talk over cinnamon buns — and got right to the macabre meat of “Dolores Roach.” Mark, who created the show, serves as showrunner with Dara Resnik. Based on his fictional Gimlet Media podcast of the same name (2018-19), the series itself is an adaptation of the one-woman play he wrote, “Empanada Loca.” A New York Times review of its 2015 Off Broadway production by the Labyrinth Theater Company called it an “exuberantly macabre” show.Mark was inspired to pursue a “contemporary gender-flipped ‘Sweeney Todd’” while living in Washington Heights. Machado made her Broadway debut in “In the Heights,” which is set there.Victor Llorente for The New York TimesMachado stars as Dolores, who returns to a gentrified Washington Heights after 16 years in prison for taking the rap for her drug-dealer boyfriend. Rattled by her new surroundings, she tries to start life over as a masseuse in the basement of an empanada shop run by her old friend Luis (Alejandro Hernández). But after her jerk of a first client gropes her, and she snaps, killing him in a sudden rage, she can’t seem to stop murdering.To the delight of his unsuspecting customers, the deranged Luis decides to make empanadas stuffed with the kibbled dead body parts of her victims, leaving Dolores to wonder how her life has taken such a monstrous path.Mark, a self-described “Jew from Texas” and a longtime horror fan, said the idea for a “contemporary gender-flipped ‘Sweeney Todd’” started percolating in 2013, when he and the actress Daphne Rubin-Vega developed the idea in New York. (She played Dolores in the play and podcast and is an executive producer of the series.) Mark moved four years ago to Los Angeles, where he had no luck pitching it as a TV series.But the theater world is small: Mimi O’Donnell, a former artistic director of Labyrinth, was tapped to head scripted podcasts at Gimlet, and she brought the project over as her first fiction podcast. (She is now the head of scripted fiction at Spotify Studios.) In 2019, the horror producer Blumhouse Television came aboard to help develop it for TV.Alejandro Hernández plays Dolores’s old friend Luis, who turns her murder victims into the filling for empanadas at his shop.Amazon Prime VideoThe show features some high-profile names in supporting roles, including Cyndi Lauper as a Broadway usher who moonlights as a private investigator and Marc Maron as the empanada shop’s landlord.But the series also has two uncredited stars: empanadas and Washington Heights. Mark said the show’s food stylist, Rossy Earle, tapped into her Panamanian roots to choreograph how Hernández rolled out, stuffed and fried the empanadas. She crafted distinct recipes for Dolores’s victims so that each corpse-meat filling had its own flavor.For Dolores’s first victim, Earle braised pork shoulder and butt in Achiote oil to give the filling an unctuous mouth feel — “Greasy and obnoxious,” like the character, Earle wrote in an email.Much of the series was shot in Ontario, but parts were filmed in Washington Heights, including on Mark’s old stoop on West 156th Street, where he recalled days spent “listening to what gentrification was doing to the humans who had been here for decades.”“That’s really what got me to ‘Sweeney Todd,’” he said. “I thought, this neighborhood is cannibalizing itself.”(Mark acknowledged in an email that he himself had been “very much an interloper uptown”; that awareness, and a growing “sense of culpability,” he said, had fueled his urgency to write about what he had seen and been a part of.)Machado, who grew up in Chicago, had a personal connection to Washington Heights, as well. In 2009, she made her Broadway debut in Lin-Manuel Miranda’s breakout musical, “In the Heights,” which is set there.Mark and Machado outside the building where Mark lived for a decade in Washington Heights.Victor Llorente for The New York Times“I guess there’s something about the Heights that’s calling me,” she said.As our conversation wrapped up and Machado and Mark eyed their doggy bags of empanadas, they were mum on whether a second season was in the works. But Roach isn’t Dolores’s last name for nothing. “She’s unkillable,” Mark said.Is she a coldblooded monster? Or a victim of circumstances? Machado and Mark didn’t entirely agree.“She’s not a maniac,” Mark said. “She wants to be a good person.”“She’s a survivor,” Machado offered. “But she’s a sociopath.”Either way, Machado called it “liberating” to be in a show about Latinos that wasn’t afraid to be comically sinister and eye-poppingly gory.“When we try to tell our stories, we feel a responsibility to make it a happy ending because we want to change the narrative, we want people to know that we have human experiences, that we are human beings,” she said. “But we love horror, too.”On playing Dolores, she added, with a laugh: “I’m a Latina serial killer, and I’m proud of it. I really am.” More

    • 113 Shares119 Views

      in Television

      ‘Silo’ Creator on the Show’s ‘Cautionary Tale’ About Tech

      by

      In an interview, Graham Yost discusses the Apple TV+ sci-fi series and the mysteries and revelations of its twisty season finale.This interview includes spoilers for the first season of “Silo.”In the cliffhanger season finale of the dystopian saga “Silo,” streaming on Apple TV+, Bernard (Tim Robbins), the true power of the closed Silo community, gives the condemned protagonist, Juliette (Rebecca Ferguson), a secret peek at some hidden truths.First he reveals the surveillance machinery used to keep tabs on an unassuming populace. Then, sitting in her cell, before her banishment into the mysterious outside world — a supposed death sentence — Bernard tries to convince Juliette (and himself) that his authoritarian actions were for the good of all.“To me, that was a really important scene,” said the series creator and showrunner, Graham Yost (“Justified”). “It’s not easy being Bernard. You get the sense that this guy who we’ve come to believe is stone evil is someone who has his own burden. You realize he has the worst job in the Silo.”That word, “Silo,” refers both to the enormous subterranean city that shelters 10,000 people and to the practice of information siloing: filtering data through narrow, manipulative networks. Those living in the Silo — this one, at least — believe themselves to be the last people on Earth, having been convinced that life is impossible in the wasteland outside.The echo chamber is carefully monitored by Bernard’s I.T. team, themselves unaware of the extent of the lies told on the screens inside the Silo. While the image everyone sees is of a gray and toxic world inhospitable to life, a contraband version shows blue skies and green trees — supposedly evidence of the Silo leadership’s manipulation. Which is the true depiction of the world?When Juliette is cast out by Bernard in the finale, she sees the ugly truth: The outside is, in fact, desolate and poisonous. She also discovers that there are many more Silos beyond her own. But unlike her doomed predecessors — Sheriff Holston Becker (David Oyelowo) and his wife, Allison (Rashida Jones) — Juliette survives because of the spacesuit-sealing power of the superior heat tape supplied by her pals in the lower reaches of the Silo, the subject of a running subplot.“At its heart, this is a mystery show,” Yost said. “You’re trying to find out what the hell happened to force people to live underground, when it will be safe to go out, what’s going on and why.”In an interview last month, Yost was careful not to spoil the many mysteries, though curious viewers can find answers in the Hugh Howey novels that form the basis of the series. (Howey himself makes a brief crowd-scene cameo in the finale.)“At its heart, this is a mystery show,” said Graham Yost, left, with the author Hugh Howey.Apple TV+As for what the future holds for “Silo,” Yost said he has a four-season plan to cover the three books in the series so far: “Wool,” “Shift” and “Dust.” (Howey has said he is writing more “Silo” novels.) The second season is currently in production in England, but Apple TV+ has yet to announce further seasons.Speaking by phone while on vacation in Newfoundland, Yost discussed his “Silo” game plan, a useful note from Apple and the continuing Writers Guild of America strike. These are edited excerpts from the conversation.Many television writers aren’t talking about their series right now, why are you doing so? And how does the strike affect your plans for Season 2?I’m on strike. But I ran this interview by the W.G.A., and I think it’s OK. We’ll see if I get yelled at. It’s a weird time. I did stop all producing activities as requested by the Guild, and I declined promotional stuff leading up to the launch of the show. Now it’s a month-and-a-half later, and if I get a chance to talk about the strike, I’m happy to do it.The reality is, we had to get started on Season 2 a long time before we would announce it. I imagine that if the show had done terribly, they might have pulled the plug. But scenes are being filmed in England as we speak because all the scripts were written for Season 2 long ago, and we did a mad dash before the strike to make sure we’d answered the actors’ and directors’ notes as best we could.In Howey’s first book, we learn early on that the greenery screen is a virtual reality simulation, but we don’t find that out in the show until the finale.At the end of the written story, when Holston takes off his helmet, he sees that the world is dead and that the display in the helmet is a lie, while the display on the screen in the Silo is actually telling the truth. That’s a really nice flip; that’s one of the things that hooked me on this. But we decided let’s hold off.Why?Frankly, that was a note from Apple. They said: “What if we don’t find that out until the end of the season? Let’s see how that feels.” The great thing is, when you write the scripts, you can read them all and go: “Yeah. Let’s hold off on that.” We could have gotten to the finale and said, “No, let’s not reveal it this season.” But we wanted to.Even before we brought the writers’ room together, we knew that Juliette going outside was a great end of the season. Then we went back and forth on how much to reveal. Do we reveal the other Silo berms, or do we hold off? In this instance, we wanted to reveal that the world really is dead out there. The stuff that Holston saw, the stuff that Juliette sees — it’s not true. It’s an augmented reality.We also wanted to add another big question with the additional Silos, which was something like the hatch in “Lost”: What does all this mean? That feels like a great thing to kick off another season.Juliette (Ferguson) spends much of the first season antagonizing powerful figures in the Silo and is eventually forced to leave.Apple TV+Now that you’ve established the world of the show, will there be more room for the story to breathe in Season 2? Perhaps more flashbacks, as in the second book?When I pitched Season 2, we thought we were going to be telling more of the deep back story than we are actually going to. It does appear, but I don’t want to say anything more about it. You have to put on the brakes and go, No, the audience isn’t going to enjoy that. They want to be able to focus on solving one big chunk of mystery at a time.The show is loosely blocked out for four seasons. I suppose there’s a world where we get into the fourth season and go, “Man, we’re going to need two more seasons,” but I honestly can’t see that happening now. We’re so far into it. We looked for things in the books like, “Wow, this would be a great end of Season 2”; “This would be a great end of Season 3”; “This is how the series should end”; and then worked backward from that.The story seems to be nervous about technology in general: I.T. is used for surveillance and manipulation, and even some of the “relics,” which seem initially like important clues, end up being misleading.Ultimately, be very afraid of technology. This is a cautionary tale: What happened to the world? Was it nuclear? Was it a disease? Was it A.I.?And that brings us back to the writers’ strike. A.I. was not a high priority on our agenda last year but then ChatGPT came out, and it was like, Oh my lord. It’s not great, but it can learn. We’ve got to figure this out, because A.I. is not the demon. It’s how you use it.If a studio or network wants to have A.I. write scripts and then just have one writer clean them up, I don’t think that would be good. And it’s not just because we’re afraid of being out of work: It’s also that we love the medium we work in. We want it to stay vital, humane, human, clever and groundbreaking. It would be a terrible shame if stuff was just churned out because A.I. is a cheaper way to do it: “We don’t need the writers. We don’t need the directors. And we can use digi-models of the actors, too.” That might cost $1.98, but what would it do for the human spirit? More