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    Judith Miller, ‘Antiques Roadshow’ Mainstay, Is Dead at 71

    Known for her many guidebooks, she helped determine what was trash and what was treasure on the BBC series that inspired the American show.Judith Miller, the author of popular antiques price guides and a member of the team of appraisers who determined what was trash and what was treasure on “Antiques Roadshow,” the beloved long-running BBC program that inspired the American series of the same name, died on April 8 in North London. She was 71.Her husband, John Wainwright, confirmed the death, in a hospital. He did not specify the cause, saying only that she died after a short illness.Ms. Miller, known to the British news media as the queen of collectibles, was often buttonholed on the street by Britons eager to share their back stories of Great-Aunt So-and-So’s bibelots, and at antiques fairs, where many attendees clutched fresh copies of “Miller’s Antiques Handbook & Price Guide” or “Miller’s Collectibles Handbook,” the twin bibles of the antiques and collecting world. Once, Mr. Wainwright recalled, at the reception for his mother’s funeral, a woman approached Ms. Miller and pulled a plate out from under her coat, wondering what it might be worth. (He did not know the woman, he hastened to add.)Ms. Miller’s books, updated regularly, are encyclopedic in their range and eclectic in their categories. They describe thousands of objects — the current antiques edition lists more than 8,000 — each illustrated by a sumptuous color photograph. There were the usual suspects, like Royal Doulton Art Deco teacups and saucers, Meissen pottery, Murano glass and pages of Scandinavian ceramics. But Ms. Miller also covered the world of material and popular culture, including a signed photograph of Whoopi Goldberg; a letter from Lyndon B. Johnson on White House stationery; a first edition of William S. Burroughs’s novel “Naked Lunch”; ’60s-era Barbies; and British utility clothing from the ’40s. There was also Inuit art, Swinging Sixties fashion, ’50s-era Ferragamo shoes, James Bond books, baseball cards, soccer jerseys and what was described as the world’s smallest pen, 1.5 inches long, made by Waterman in 1914.Riffling through a Miller’s collectibles guide is delicious social history, an intriguing romp through the decades. A reader could learn, for example, that a plastic box purse from the 1940s in bright, jaunty colors took its shape from the telephone cables that were used because of the shortages of other materials in the years after World War II.Ms. Miller’s books are encyclopedic, describing thousands of objects, each illustrated by a sumptuous color photograph. The current edition of her antiques guide lists more than 8,000.Mitchell BeazleyA mild-mannered woman who spoke with a soft Scottish burr, Ms. Miller was the expert in charge of “miscellaneous and ceramics” on “Antiques Roadshow,” which began in 1979 and she joined in 2007. (The American version first aired in 1997.) One of the treasures she was most proud of identifying was a collection of British Art Deco transport posters by the French artist Jean Dupas, which was brought to the show by a man who had paid 50 pence for them at a yard sale when he was a boy in the 1970s. Ms. Miller estimated their value at more than 30,000 pounds (nearly $40,000).“That was a very well-spent 50 p,” she told the man, who responded with British understatement: “Wow. Gosh.”Her other favorite discoveries, The Guardian reported, included a stash of 2,000 18th-century shoe buckles and a toilet seat used by Winston Churchill.Ms. Miller was a history student at the University of Edinburgh when she began buying cheap antique plates from local junk shops to brighten up the walls of her student digs. Intrigued by their history, she began to research and collect in earnest.With her first husband, Martin Miller, she wrote the first “Miller’s Antiques Price Guide.” Published in 1979, it was an instant success, selling hundreds of thousands of copies. After the couple divorced in the early 1990s, Ms. Miller continued to produce books on collectibles and antiques; she had completed more than 100 at her death.Her own collecting ranged from 15th-century porcelain to midcentury modern furniture. She was addicted to auctions, she told The Telegraph: “I get sweaty palms, my heart starts beating faster, and I start glaring at anyone bidding against me.”She loved costume jewelry, as well as pieces by the Danish silversmith Georg Jensen and chairs, which she bought in abundance. She was agnostic with regard to period and preferred buying single chairs to buying sets. Her favorites included an 18th-century ladder-back chair, an Arne Jacobsen piece from 1955 and a Queen Anne chair from 1710. When Ms. Miller set out on an antiques expedition, Mr. Wainwright invariably sent her off with these words:“Repeat after me: We do not need one more single chair.”Judith Henderson Cairns was born on Sept. 16, 1951, in Galashiels, Scotland. Her father, Andrew Cairns, was a wool buyer, and her mother, Bertha (Henderson) Cairns, was a homemaker.Judith grew up in an antiques-free household; she always said that her parents were part of the “Formica generation” and had paid to have their parents’ things carted away after their deaths. She had planned to be a history teacher, but in 1974 she took a job as an editorial assistant at Mr. Miller’s publishing company.After they married in 1978, the Millers embarked on a career of publishing and house flipping; they would move 12 times in 16 years. In 1985 they bought Chilston Park, an enormous estate in Kent, England, with no running water or electricity, where they lived for a time with their two young daughters before turning it into a luxury hotel.In addition to Mr. Wainwright, her partner since the early 1990s, Ms. Miller is survived by her daughters, Cara and Kristy Miller; her son, Tom Wainwright; and four grandchildren.Ms. Miller’s own collection ranged from 15th-century porcelain to midcentury modern furniture. She was addicted to auctions, at which she once said her heart “starts beating faster.”Andrew CrowleyCara Miller has been working on “The Antique Hunter’s Guide to Murder,” the first in a series of mystery novels to be published next year for which Judith Miller was both consultant and inspiration. At one point Cara asked her mother the crucial question: “What antique would you kill for?” Her answer, as Cara recalled by email, was “Of course for an antique for someone to kill over I suppose it would have to be worth a vast amount — a Ming vase, a Fabergé egg — but that’s not nearly as interesting as what item we love and why we love it. So often the value is in the story behind it and what that story means to us.”In 2020, Ms. Miller told Fiona Bruce, the host of “Antiques Roadshow,” her own story of an object she particularly valued.It was a late-19th-century cranberry glass claret jug. It had belonged, Ms. Miller said, to her great-aunt Lizzie, who had been a downstairs maid at a grand house in Scotland and had married the footman. The jug was a wedding present from the lady of the house. The footman died in the trenches during World War I, and Lizzie never remarried.“To her, this was her most precious object,” Ms. Miller said. “We used to go see her twice a week, and if I was a very, very good girl I was allowed to pick it up.”When Great-Aunt Lizzie died, she left the piece to Ms. Miller.“I think on a good day it’s worth about 40 quid” ($50), she told Ms. Bruce. “But you can’t put a value on the memories.” More

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    ‘Yellowjackets’ Season 2, Episode 6 Recap: Little One

    Teen Shauna goes into labor. Adult Shauna goes into the police interrogation room.Season 2, Episode 6: ‘Qui’“Yellowjackets” often favors the disturbing over the tragic. And for a moment it appears that’s how the long-awaited birth of Teen Shauna’s child is going to go. Shauna wakes up to find that the boy is gone from his crib beside her. She stumbles out of bed, disoriented, and sees her teammates in a huddle, blood dripping from their mouths.“Are they going to eat the baby?” is a question I had heard floated from viewers this season, and it makes sense that that would be the expectation. It’s the most upsetting thing that could possibly happen — or at least it’s what you would think would be the most upsetting thing that could possibly happen. This week’s episode, titled “Qui,” challenges that with a bait-and-switch scenario that swaps out the gruesome for the mournful.It turns out the nightmare of the Yellowjackets feasting on Shauna’s child is just that: A nightmare. When she awakes, her friends are gathered around her. Her baby never made it. “Why can’t you hear him cry?” Shauna weeps, trying to convince the others that her vision was real as they slowly back away.Sophie Nélisse’s sobs burrow under your bones as she cradles the corpse. Because horror has become de rigueur on this series, Nélisse’s portrayal of Shauna’s sorrow hits harder. It was easy to guess that Shauna’s baby wasn’t going to survive. After all, he doesn’t exist in the present timeline, and his chances of surviving the winter wilderness were probably slim. But the revelation that he was stillborn, directed skillfully by the filmmaker Liz Garbus, allows the viewer to experience a raft of emotions that make the final revelation all the more heartbreaking.Immediately, Shauna’s labor is not going smoothly. Misty, still reeling from Crystal’s death, is too panicked to occupy the role she so relishes of the helpful savior. Lottie, meanwhile, is gathering her followers for offerings on an animal skull. The placenta emerges first. The baby is late. As the team chants, ‘We hear the wilderness and it hears us,’ the screen fades to black on Shauna’s anguished face.Then there is a glimmer of hope. Misty places the child in Shauna’s arms as the Elliott Smith song “Pitseleh,” starts to play. It’s a track that takes its name from a Yiddish word for “little one,” but it is also, as is typical for Smith, a sad song about love lost and a relationship that was never meant to be. It sounds like a lullaby, but in context it’s an omen.Shauna’s fantasy of her baby is just realistic enough to fool the audience. Malnourished, she can’t get the boy to latch onto her breast. He cries and cries and is seemingly soothed only when Lottie comes along, offering up her own milk, a detail that begins to indicate that something here is off. When Shauna finally gets her child to breastfeed, there is sweet relief. “It’s you and me kid,” she says. “It’s you and me against the whole world.”But then that maternal happiness is shattered. The tea Natalie has brought her seems to have knocked her out, and she awakens to discover the horrific image of her progeny turned into food. But that’s yet another trick of the mind. The baby never made it.This week’s episode resets the season. The 1990s plotline offers up two events the audience has been anticipating: The birth and the death of Shauna’s child. Now, the remaining three episodes of Season 2 must contend with how Shauna reckons with the loss and how the rest of the Yellowjackets deal with her immeasurable pain. (I’m still not ruling out the possibility that the baby will be eaten. If nothing else, I assume the placenta will provide some nutrients.)In the present day, this installment finally brought the surviving women all back together, each of them making the pilgrimage to Lottie’s community. Given the magnitude of what is happening in the wilderness, the dramas of the 2020s feel like filler to get to the big reunion.Misty arrives at the commune, where she halfheartedly participates in a drum circle. Her initial goal is still to rescue Natalie, but she ends up beckoning more Yellowjackets to this place. This time there are better eats, however. “It’s a bunch of granola losers, but the food is great and the B.O. factor is surprisingly low,” Misty tells Taissa, who decides to meet her. Van drives her, and despite her skepticism and plans to immediately leave, ends up getting out of the car when she sees Lottie.On the journey over, Taissa calls Shauna, who is being interrogated by the cops. Jeff picks up and hears Tai’s pitch on the trip. In the station, Callie thinks she has an angle with Kevyn Tan, telling him that she had sex with Saracusa so any evidence he collects will be inadmissible. But Adult Shauna finds herself in a more vulnerable spot. Saracusa’s line of questioning hits a nerve, and Shauna starts to spill about how she never really wanted to be a mom.The conflicted, occasionally dispassionate way she describes her relationship to motherhood stands in opposition to Teen Shauna’s desperation. Still, her stream of consciousness confession — which seems in Melanie Lynskey’s portrayal at least partially calculated — leads to her admitting that she did have an affair with Adam Martin, which means she’s screwed.When she returns to Jeff and her minivan, he encourages her to go meet up with Tai and Van at Lottie’s.So now they are all back together. Natalie, who has found something resembling real friendship with Lisa; Misty, still scheming; Van, pushing away her problems; Taissa, trying to reckon with her second personality; and Shauna, evading the police. They stand in one line as Lottie, clothed in a blue robe turns to them. In an overhead shot we see that the gulf between Lottie and the other Yellowjackets forms the shape of that pesky symbol from the wilderness. The layout of Lottie’s camp isn’t arbitrary. Instead, it’s beckoning the darkness.During her meeting with her psychiatrist, Lottie explains that she isn’t worried that she is ill, she is worried that she never was ill, that all of the terrors she experienced were very much real and now they are re-emerging. The past has now arrived on her land in the form of these five women. Even if they are seeking peace, it’s hard to imagine that’s what they are bringing with them.More to chew onAnother great Jeff moment: Listening to N.W.A. outside the police station, trying his best to seem tough.The purple fashion options that Lottie’s community provides for newcomers are truly cute. Misty’s coat, for one.I’m still wondering where the Ben flashbacks are going to lead.That said, Ben freaking out over the birth, explaining that he only hit play on a tape during health class is pretty great.Long live the 14th Gilly.I’m rooting for the friendship between Lisa and Natalie — something genuine in this messy world. More

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    ‘Ted Lasso,’ Season 3, Episode 8 Recap: Ends and Beginnings

    Ted prepares for a new reality, Nate plunges in and Keeley (maybe) steps away.Season 3, Episode 8: ‘We’ll Never Have Paris’This is yet another episode that feels somewhat disjointed, following multiple story lines that don’t overlap much or offer a strong through-line. One could make the case — as I did in the headline — that this is an episode about the ends and beginnings of relationships. But the subplots nonetheless felt more like separate pieces than parts of a whole.Ted and HenryWe open with the news that AFC Richmond has beaten Aston Villa 3-0 for their second decisive victory in a row, an outcome that was easy to anticipate following last episode’s discovery that Total Football with Jamie as facilitator rather than scorer is a winning recipe. (To underline the point we hear the play-by-play of Jamie passing to Dani for a goal.) Moments later, we learn the win streak is up to four.“You have to think,” one of the commentators declares, “that no one is happier than Coach Ted Lasso.”Well, if you did think that, it surely became unthunk as soon as we cut to a close-up of Ted looking not at all happy. He’s in the pub with his ex-wife, Michelle, and her new beau — and their former marriage counselor — Dr. Jacob. “Please, I insist, call me Jake,” he tells Ted, proving that he is just as bad at reading a room as he is at meeting a minimal standard of professional ethics.Michelle and Jake are dropping off Henry with Ted as they take a surprise trip to Paris. (“Jake told me on the plane,” Michelle explains.) Ted may not know much about Europe, but he is confident of this arithmetic: Paris + newish couple = marriage proposal. This assumption is confirmed when, asked where they would propose if they could do so “anywhere in the world,” Trent and Roy in unison cite the City of Lights.This entails a meeting of the Diamond Dogs — plus the rookie member Trent but minus a cranky Roy — though a brief one. Once the others learn that an engagement is merely Ted’s assumption, they agree to follow Higgins’s advice to “find out before you flip out.” It’s OK, though, because this meeting is largely a setup for … But no, that would be getting ahead of ourselves.Ted — again, not happy — decides not to wait for Michelle’s return but instead to ask Rebecca to procure a private investigator to shadow the couple in Paris. Even when he reads to Henry (a children’s book by the Premier League footballer Marcus Rashford), he is consumed: Does “Mommy’s friend” Jake read to Henry? Watch TV with him?Granted the wish to do whatever he wants on a day that Ted and Beard are taking off, Henry opts for a Premier League game and, wouldn’t you know, the only team playing is Rupert and Nate’s West Ham United. So the fellas go to the game, deck out Henry in a West Ham jersey, and shout and wave to get Nate’s attention on the sideline. Again, more on this soon.We next see Ted, Henry and Beard sitting outdoors at the pub as a busker plays “Hey Jude” nearby. My mind immediately went to the song’s Paul-John-Julian back story, which Beard then helpfully unpacked for Henry before advising him, “I know right now it feels like you’re in a sad song. But you, young man, you have the power to take a sad song and make it better.”Ted has by now absented himself to call Rebecca, who had texted to say she had “info.” Its precise nature, however, was apparently revealed to Ted while we were Beatling with Beard and Henry. The most we hear from Rebecca is, “But seriously, who gives a flying [expletive] if Michelle gets engaged,” which is suggestive but not dispositive.Is the omission deliberate and, if so, what is it intended to accomplish? Time will tell. But the tug that Henry exerts on his father’s heart, while scarcely new, is ever more evident — in particular during the goodbyes that close the episode, when Ted can scarcely let go of Henry’s backpack.NateWhen we first run across Nate this episode, he is in bed in the morning. Moreover, he is not alone but with Jade, our favorite hostess at Nate’s favorite Greek restaurant. Upon waking, she quickly determines that, charmingly, Nate had already gotten up, showered, shaved, brushed his teeth and gotten back into bed. Alas, love-struck boy that he is, he quickly falls into the trap of trying to “label” the “relationship” while claiming he’s trying to do no such thing. Slow down, tiger.I confess I feel somewhat disappointed that we went directly from Jade not standing Nate up at dinner to the two comfortably ensconced in bed for what is evidently not the first time. (Indeed, in a later scene, she accedes to the label “boyfriend.”) We have not yet seen a single real conversation between the two, a glimpse of why it is they enjoy each other’s company. We’ve gone straight from romantic tension to romantic fulfillment without witnessing the romantic journey at all, at least so far.Which is perhaps part of the reason Nate’s most moving relationship is still his complicated one with Ted. I noted last episode that even as we watched Good Nate’s re-emergence from Bad Nate, it had been some time since we’d seen him at work at West Ham. Could Good Nate survive in the malignant shadow of Rupert?Smitten, he evidently can, even if only briefly and only with Rupert absent. Nate gathers a couple of subordinates together for a meeting of the “Love Hounds,” a shameless rip-off of …well, I hardly need to tell you. It goes about as well as one might expect, which is to say that the drop-off from the “Diamond Dogs” — I told you we’d get here — is comparable to that between Alvy Singer’s first and second lobster dates in “Annie Hall.” Does the awkward fiasco remind Nate of what made his time at Richmond with Ted special? Oh yes, it most assuredly does.And in case he abruptly forgot, he gets another reminder when Ted, Beard and West-Ham-clothed Henry show up at his match. Visibly stunned at first, he then briefly allows a small smile past his lips.Yet it’s soon clear that Nate still has a way to go. When Rupert later texts him, “Sorry about Ted being there. Won’t happen again,” Nate begins to type, “It’s okay, I thought it was funny.” But even that level of moderate snark seems insufficient. So Nate deletes it in favor of a corporately cold “Good. Thank you.”Still, his ongoing path seems clear. Even in the aforementioned “boyfriend” scene with Jade, what lingers is the smile on his face as he looks at a news photo of Ted, Henry and Beard at the match.Keeley and Jack (and Roy and Jamie)Did I mention the preponderance of red flags in this relationship last week? Why, yes I did. But whether or not the relationship is actually over, as this episode suggests it may be, the developments are connected only peripherally to Jack’s creepily over-the-top love-bombing.Rather, we have what could be called a fairly literal “ghost in the machine”: a selfie sex video Keeley filmed for a past paramour that has made its way onto the internet and, by extension, Keeley’s phone. Keeley is mortified and begs the seemingly omnipotent — read: ultrarich — Jack to fix the situation. “I’m gonna take care of it,” Jack promises.But the photos ripple outward quickly. When Sam tells the rest of the team, Roy leaves the room angrily while Jamie looks worried. Could the latter be wondering what terrifying vengeance the former might be contemplating? Jamie doesn’t know about the rope-dipped-in-red-paint scenario, but he had firsthand experience with the genitalia strings.But no, it’s simpler than that. Jamie is genuinely concerned, as he expresses near the end of the episode — and concerned not only that the video was leaked but that he may have been unintentionally responsible. Keeley had sent it to him, of course, and he confirms that his password is the highly crackable “password,” even if he cunningly disguised it by using two “S”es. For anyone rooting for a Jamie-Keeley reunion, this is a clearly promising scene. For the rest of us …Roy is genuinely angry, and not merely at the leak but at what was leaked. He approaches Keeley and, after saying all the right things, moves on to say precisely the wrong thing: “Who’s it for?” — a question to which he has almost certainly guessed the answer. Keeley promptly exits, and who could blame her?An overdue aside here: What in the world is the show doing with Roy and with Keeley? The original sin was not merely breaking up the two of them, but doing it at the start of this season (and so offhandedly) rather than at the end of last one, when the emotional impact would have been exponentially greater. The show has only compounded that misstep with how it has presented each character since — let me start with Roy and then return to Keeley at the end of the section.I made the case last season that Roy had become the star of the show, and it wasn’t a hard case to make. But this season? His screen time is a fraction of what it was, and his charming, obscenity-laden crankiness has devolved into outright sadism. (See, again, the paint-rope and penis-strings.) And now this scene with Keeley?Was Brett Goldstein, who plays Roy, too busy with “Shrinking” — he is one of the creators of the show, which is quite good — to occupy as central a role as he did last season? Were the other writers punishing him for his televisual two-timing? Whatever the explanation, “Ted Lasso” is killing one of the best things it had going. No matter what the intended narrative payoff, happy or sad, it’s hard to envision it making up for the way Roy’s been portrayed for two-thirds of the season and counting.Sorry not sorry: Juno Temple in “Ted Lasso.”Apple TV+But back to Keeley and Jack. It turns out that the latter’s “taking care of it” is not quite as envisioned, when Keeley receives the abjectly apologetic note that she is expected to post to social media. Confronted about the statement, Jack demurs that her dad’s lawyers drafted it. But her solution to the dilemma is simply another, different apology note for Keeley to put her name to.Keeley refuses. And after showing her hand probably more than she intended — “the person I’m seeing, the person whose company I’m funding” — Jack shows herself the door with no promise she will return.I confess that this scene didn’t really work for me in any direction: On the one hand, Jack seemed far too quick to make such an existential issue of the dispute, even for someone clearly accustomed to getting her way; on the other, Keeley seemed implausibly surprised that a lover or a boss — let alone someone who is both — would be unhappy about the public exposure of her partner/employee’s sex tape.But this relationship has always seemed a bit forced, a way to give Keeley’s P.R. firm story line the semblance of a plot without actually spending any time on her job itself. Keeley has been largely broken off from the story of Ted and the team with the premise of embarking on her own career. Yet instead of giving us any meaningful sense of that career, her season has consisted almost exclusively of Shandy drama followed by Jack drama, with regular scenes to discuss each with Rebecca.Indeed, there are times it’s hard to believe — between traveling to Amsterdam with Rebecca, Aurora Borealising in Norway with Jack, and then taking the day off for mini-golf — that Keeley has a job at all. Likewise with Jack, who was initially introduced as something of a business titan but who seems more and more to be the daughter of a billionaire who dabbles in investing while reserving most of her energy for amusing herself.While I’m on the subject: It’s wonderful that “Ted Lasso” has made such a clear effort to have substantive female characters in a show about a men’s sports team. But it would be awfully nice if one of its two female multimillionaires had achieved her fortune through skill or perseverance rather than marrying or inheriting it from a man. (How much time, for that matter, has the show devoted to Rebecca’s job? Awfully little since Season 1, when her “job” was principally undermining Ted.)Last season, Keeley and Roy were the delightful hub around which much of “Ted Lasso” revolved. This season, they’ve both spiraled out into disappointing spots on the periphery of the show.ColinKeeley’s relationship with Jack is not the only potential casualty of the leaked sex videos, which Colin initially laughs off with a self-protective “I guess I know what I’ll be doing this weekend.” But after Isaac commands the team to empty their cellphones of any signs of past sexual encounters, he sees Colin lagging behind and snatches his device. We don’t see what Isaac sees, and obviously we don’t have to. If we didn’t know it already, Colin’s crestfallen face speaks as loudly as any dialogue.What will Isaac do? I have no more idea than any of you. I expect there will be considerably more to say about this next week.Odds and endsThere was no mention of Rebecca’s charming Dutchman from Episode 6. Does this mean he really was just a one-night love affair to remind Rebecca she still had the ability to fall so happily? Or is he being held in reserve for a late-season surprise? Obviously, I’d prefer (and honestly, anticipate) the latter. But I’d ideally like it sooner than later, by which I mean immediately.So, Keeley sent a topless photo to one of her teachers when she was 15? Are we supposed to find that amusing?On a lighter note, here’s to Jamie’s extensive inventory of deodorant sprays.As with the Episode 5 locker-room banter regarding “She’s All That,” “My Fair Lady” and “Pygmalion,” I thoroughly enjoyed Dani’s reference to “Les Misérables,” followed by another player (left back Jeff Goodman?) concurring, “[Expletive] yeah, 24601!”Likewise, Rebecca’s description, however unfounded, of the Eiffel Tower as a “lamppost with a publicist.”I’m not entirely sure what to make of Alyssa, Jack’s college friend whom she and Keeley meet at mini-golf. Perhaps an ex? More

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    Seth Meyers Contemplates the 2024 Presidential Matchup

    Meyers said a Biden-versus-Trump rematch would be “like a book club you feel obligated to attend.”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.A Painful Re-pairingBefore the Hollywood writers’ strike was announced on Monday, Seth Meyers ruminated on the forthcoming 2024 presidential campaign, wondering who might be the Republican front-runner.“We’re still a year and a half away, so a lot could change,” Meyers said. “Like, I don’t know, the Republican nominee could be running while under house arrest.”“Ron DeSantis was supposed to help the G.O.P. move past the former president, but he has one big political liability: He’s Ron DeSantis.” — STEPHEN COLBERT“A Biden-versus-Trump rematch is like a book club you feel obligated to attend even though everyone there annoys the [expletive] out of you.” — SETH MEYERS“At this point, the Biden-Trump rematch just feels like your six-month checkup at the dentist. Like, when they ask you when you want to come back, you want to say ‘Never’ but, you know you just have to pick a random Tuesday in November and get it over with.” — SETH MEYERSThe Punchiest Punchlines (White House Correspondents’ Dinner Edition)“Speaking of Biden, on Saturday night, he gave some remarks at the White House Correspondents Dinner. Yep, Biden made jokes about his age, Ron DeSantis, Marjorie Taylor Greene and Fox News. Afterwards he called me up and said, ‘Jimmy, I’ve gotta say your job’s not that hard.’” — JIMMY FALLON“Biden took a few shots over the weekend at the annual White House Correspondents’ Dinner, which, you know, Trump never went to this event when he was in office. Hard to believe he doesn’t have a great sense of humor about himself.” — JIMMY KIMMELThe Bits Worth WatchingSasha Colby, the most recent winner on “RuPaul’s Drag Race,” sat down with correspondent-turned-guest host Dulce Sloan on Monday’s “Daily Show.”What to Expect on Tuesday NightIt is unlikely that any late night shows will be taped on Tuesday because of the strike. Earlier, British singer-songwriter Arlo Parks had been scheduled to perform on Tuesday’s “Tonight Show.”Also, Check This OutCovers of some of the books out in May.The New York TimesTom Hanks’ debut novel and a landmark biography of Martin Luther King Jr. are two of 13 recommended new books coming in May. More

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    In ‘A Small Light,’ an Ordinary Woman Helps Anne Frank’s Family

    A new series on Disney+ and Hulu tells the story of Miep Gies, a secretary who helped Anne Frank and others hide in Amsterdam during World War II.Two days after the Gestapo’s 1944 raid on the annex where Anne Frank and others were hiding, Miep Gies, a seemingly ordinary secretary, and her colleague walked into the hiding place and encountered a chaotic scene left behind by the Nazis.Years later, Gies described what she saw that day as a mess of books, newspapers and other everyday items. “And then we started searching. For what, I don’t know, but we were looking for something,” she said in a 1958 interview. Among the items, she found a red plaid diary. Gies grabbed it and put it in a drawer in her office.She had just saved one of the Holocaust’s most famous accounts: Anne Frank’s diary.On the Prinsengracht in Amsterdam, the building that housed Otto Frank’s office is now the Anne Frank House, a museum that tells Anne’s story.Peter Dejong/Associated PressIn the show, Anne Frank is played by Billie Boullet as an angsty girl chafing against the restrictions of German occupation. Dusan Martincek/National Geographic for DisneyThat moment, and much more about Gies’s life and heroism, is at the center of “A Small Light,” a new eight-part series that tells the story of Gies (Bel Powley), her husband, Jan (Joe Cole), and their involvement in Dutch resistance efforts during World War II. The show premieres Monday on National Geographic, and comes to Disney+ and Hulu the following day.Work on “A Small Light” began six years ago, after its showrunners Joan Rater and Tony Phelan, a married couple who used to be producers and screenwriters for “Grey’s Anatomy,” visited the Anne Frank House in Amsterdam. Walking around the museum and listening to tour guides, they learned that many people don’t really know the story of the Frank family anymore, let alone the story of the people who helped them, Rater and Phelan said in a recent video interview.Since then, they said, the moral question at the heart of Gies’s story — whether to do the right thing, the wrong thing or nothing at all — has only become more important, given how war, nationalism and antisemitism have once again been spreading across Europe.“When we started this project,” Phelan said, “it certainly didn’t feel as relevant as it feels now.”While the show opens with Gies, who wasn’t Jewish, trying to dodge a Nazi checkpoint, the first episode quickly takes the viewer back to 1934, when Gies was single and living with her adopted Dutch family. She finds employment with Otto Frank (Liev Schreiber) — a stern, fellow German-speaking immigrant — and meets her future husband, a social worker. Much of the first episode follows Gies living life as a modern young woman, meeting friends and going out dancing.Rater and Phelan wanted to give the show a contemporary feel by focusing “A Small Light” not just around war, but also around ordinary people’s ordinary lives being suddenly interrupted.The show’s creators wanted to give the episodes a contemporary feel by focusing not just on war, but also on ordinary people’s ordinary lives being suddenly interrupted.Dusan Martincek/National Geographic for Disney“Period pieces for me sometimes feel a bit sepia-toned, and that makes you feel distanced from them,” Powley said. But “A Small Light” didn’t feel that way. “It didn’t feel like I was wearing a costume,” she added.“These people, they had washing machines and toasters. They were living in a modern world and they couldn’t believe, in this modern world that they were living, that these things could happen,” Rater said.While the story of Anne Frank and what happened to her is well known, Gies — who died in 2010 at 100 — largely stayed out of the limelight. She published a memoir, “Anne Frank Remembered,” in 1987 and was involved with the Anne Frank House in Amsterdam, but much of her story stayed private.“When we started digging, we started putting together these pieces that I don’t know that anybody had ever put together before,” Phelan said. In the course of their research, with the help of a local researcher in the Netherlands, Rater and Phelan discovered that Gies and her husband also helped people hide in their own home, including two nurses.In the show, we see nurses help save babies from being killed by the Nazis, and instead sending them to live in the Dutch countryside. One memorable scene shows how nurses swapped babies for dolls, telling Jewish mothers to lose the dolls on their way to concentration camps.Miep and Jan Gies, pictured in 1957, hid people from the Nazis in their own home, as well as in Miep’s office.Sueddeutsche Zeitung, via AlamyIn the show, Jan is played by Joe Cole, and Miep by Bel Powley.Dusan Martincek/National Geographic for Disney“It is such a fascinating, heartbreaking, hard to believe story at times,” Cole, who plays Gies’s husband, said in a video interview.When in 1942, Otto Frank asked Gies to help hide him, his daughters, Anne and Margot, and his wife, Edith, in an annex at their office, Gies didn’t hesitate before saying yes.“She had no idea what she was saying yes to,” Rater said. “And then she had to keep saying yes for two years.”This was until a warm day in August 1944 when Nazis raided the office and found the eight people — the Frank family and four others — hiding in the annex.“A Small Light” was shot in the Netherlands — in Amsterdam and Harlem — and in Prague.Dusan Martincek/National Geographic for DisneyIn “A Small Light,” Gies’s decision to help despite the dangers and disruption this posed to her life (she kept the secret, brought food and books and more), her unwavering spirit and her reluctance to be seen as a hero makes the viewer ask: What would I have done in that situation? The show’s title is taken from a quote by Gies: “Even a regular secretary, a housewife or a teenager can turn on a small light in a dark room.”The show “is about your personal dynamics that are interrupted by the war,” said Schreiber who recently spent time in Ukraine raising money for humanitarian aid. “That’s part of what I saw in Ukraine. These people’s lives have been interrupted and they try to continue.”“A Small Light” was shot in the Netherlands — in Amsterdam and Harlem — and Prague, where the interior scenes were filmed in a three-story replica of Otto Frank’s Amsterdam office, where the annex was hidden behind a bookcase. (The original building, on the Prinsengracht in Amsterdam, is now the Anne Frank House.)While “A Small Light” has moments of levity and snippets of life’s mundanity despite the war raging outside, the episodes gradually become more intense, leading up to the inevitable betrayal that doomed all the people in the annex except for Otto Frank, Anne’s father.For Powley, the show never felt like a period piece. “It didn’t feel like I was wearing a costume,” she said.Dusan Martincek/National Geographic for DisneySchreiber, who is Jewish, said he was often asked to play roles in Holocaust films. “I hate the narrative that we went like lambs to the slaughter,” which is common in such movies, he said.“But this felt different,” he added. More

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    What’s on TV This Week: ‘A Small Light’ and the Met Gala

    A new series about the woman who hid Anne Frank and her family premieres on National Geographic, and E! streams “the party of the year.”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, May 1-7. Details and times are subject to change.MondayE! LIVE FROM THE RED CARPET: MET GALA 2023 6 p.m. on E! Officially known as the Metropolitan Museum of Art Costume Institute benefit (unofficially as the party of the year) and attended by some of the biggest names in the media and art world, the Met Gala is a black-tie event that raises money for the fashion wing of the museum. This year’s themed exhibition is “Karl Lagerfeld: A Line of Beauty,” a homage to the longtime luxury brand designer who helped shape the modern fashion world. (Mr. Lagerfield died in 2019). Regina King, Blake Lively, Ryan Reynolds and Lin-Manuel Miranda are the event’s co-chairs this year.A SMALL LIGHT 9 p.m. on LIFETIME, NGC and NAT GEO WILD. This limited series tells the story of Miep Gies (Bel Powley), a Dutch woman who was the secretary to Otto Frank (Liev Schreiber), the father of Anne Frank (Billie Boullet), during World War II. Premiering on what would have been Gies’s 114th birthday with two back-to-back episodes, the series follows Gies and her husband whose lives changed when they agreed to help hide the Frank family — and four other individuals — over the course of two years.TuesdayJohn Pingayak, right, and his grandson Sonna Boy in “Life Below Zero: First Alaskans.”Tyler Colgan/National GeographicLIFE BELOW ZERO: FIRST ALASKANS 8 p.m. on NGC. This unscripted series, a spinoff of the Emmy Award-winning series “Life Below Zero,” follows Indigenous Alaskans as they survive and thrive in one of the most remote landscapes on Earth. In the show’s second season, the cast stays true to the traditions passed down from generations of Alaska Natives while adapting to 21st-century technology and advancements.COUPLES RETREAT 9 p.m. on MTV. Celebrity couples head to Las Vegas for the third season of this MTV reality series, in which they will challenge their relationships with the help of some unconventional experts. The couples, who range from R&B legends to “Real Housewives of Atlanta” alums, break out of their comfort zones in a series of adrenaline-fueled activities like zip-lining, cattle herding and wilderness training.1000% ME: GROWING UP MIXED 9 p.m. on HBO. The Emmy Award-winning producer and comedian W. Kamau Bell explores the joys and challenges of growing up mixed-race in this hourlong compilation of interviews with multiracial children in the Bay Area. Topics like casual racism, microaggressions and the pressure to pick a side are all fair game, as is a chipper rundown of the interviewees’ favorite animals and weekend hobbies.WednesdayTommy Lee Jones, right, and Garret Dillahunt in “No Country for Old Men.”Richard Foreman/Miramax FilmsNO COUNTRY FOR OLD MEN (2007) 10:17 p.m. on MAX. Joel and Ethan Coen “combine virtuosic dexterity with mischievous high spirits” in their film adaptation of Cormac McCarthy’s 2005 novel of the same name, writes A.O. Scott in his review for The New York Times. This neo-western thriller, which won the Oscar for best picture, follows three men entangled in a drug deal gone awry in 1980 West Texas. Javier Bardem plays Anton Chigurh, a “deadpan sociopath with a funny haircut.” Ed Tom Bell (Tommy Lee Jones) is a jaded sheriff, trailing the detritus Chigurh leaves behind. Both are following Llewelyn Moss (Josh Brolin), “the human center of the film, the guy you root for.” Scott promises you will be “jangled, stunned,” and “completely and ecstatically absorbed.”ThursdayVictor McLaglen, left, and Cary Grant in “Gunga Din.”Academy of Motion Picture Arts and SciencesGUNGA DIN (1939) 3:30 p.m. on TCM. “All movies should be like the first twenty-five and the last thirty minutes of ‘Gunga Din,’” wrote Benjamin Crisler in his review for The Times. This classic adventure film, which pulls elements from Rudyard Kipling’s 1890 poem by the same name, follows three British sergeants in colonial India (Cary Grant, Victor McLaglen and Douglas Fairbanks Jr.) who fight a murderous cult, with the titular Gunga Din (Sam Jaffe) as their guide. The film was deemed culturally significant by the Library of Congress in 1999 and selected for preservation in the National Film Registry.FridayRhiannon Giddens, right, and Francesco Turrisi in “The Articulate Hour.”Tom Contarino/The Ariculate FoundationTHE ARTICULATE HOUR 9 p.m. on PBS. This three-part mini-series features the journalist Jim Cotter in conversation with poets, musicians, neuroscientists and historians on a variety of topics. The first episode delves into the concept of human memory, while the second explores our contrasting needs for community and solitude.SaturdayChol Soo Lee, center, surrounded by TV news crews in “Free Chol Soo Lee.”Grant DinFREE CHOL SOO LEE 8 p.m. on PBS. For Asian American and Pacific Islander heritage month, PBS’s Emmy Award-winning anthology series, “Independent Lens,” presents a documentary about Chol Soo Lee, a Korean immigrant who was wrongfully convicted of murder in 1973. Though he is ultimately exonerated, this “isn’t an uplifting movie,” wrote Ben Kenigsberg in his review for The Times, as the documentary follows Lee on his troubled post-prison journey. “Just because Lee was innocent doesn’t mean he was perfect,” Kenigsberg writes.SundayMTV MOVIE & TV AWARDS 8 p.m. on MTV. The actress Drew Barrymore will host this year’s awards show, where a number of film and television stars will be recognized for their work — among them Jennifer Coolidge (“The White Lotus”), the 2023 winner of the Comedic Genius Award, which will be presented to her at the event.THE 2010s 9 p.m. on CNN. This seven-part series, from Emmy Award-winning executive producers Tom Hanks, Gary Goetzman and Mark Herzog, examines the last decade influenced by Instagram, the former presidents Barack Obama and Donald Trump, marriage equality and the Black Lives Matter and #MeToo movements, before culminating with the onset of the coronavirus pandemic. More

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    ‘Succession’ Season 4, Episode 6: Cool New Rule

    This week, Kendall, Roman and Shiv are on a mission to impress the grown-ups watching them in what amounts to their public debut as the stewards of Logan’s legacy.Season 4, Episode 6: ‘Living+’The “Succession” world tour stops in Los Angeles this week, where the Waystar power-players are gathering at their Hollywood studio for Investor Day. The plan is to show off a line of state-of-the-art retirement communities called “Living+,” which Logan signed off on before he died. But secretly, Kendall and Roman are hoping their pitch will bump the stock price up so high before the GoJo acquisition that Lukas Matsson backs out of the deal.Less secretly, the brothers plus Shiv are on a mission to impress the grown-ups watching them, in what amounts to their public debut as the stewards of Logan’s legacy — which they each, in their own inadequate way, try to uphold.Let’s start with Shiv, and her ongoing covert communication with Matsson. Last week I speculated that the two of them may have them had conversations in Norway we were not privy to, about his negotiations with the Roy boys. This latest episode begins with a rejection of that theory, as Shiv and Matsson meet on her private jet and he surprises her with his description of how the meeting on the mountaintop went. Throughout the day she will keeps him posted on how things are going with Living+ — a Waystar initiative he plans to kill as soon as he takes over.Matsson’s words are still ringing in Shiv’s ears when she reaches Los Angeles and hears her brothers tell the Waystar executives that Matsson melted down at that last meeting — and that maybe they should think twice about recommending a deal to the board with “a person of this character.” Shiv knows they are lying to tank the deal, and that they are cutting her out of their play. Roman, genuinely sorry after she calls them out, asks her, “Can we do the huggy thing?” But she does not seem to be in a forgiving mood.As for Roman, he is struggling with the interpersonal part of being in charge. Because he has favors to bestow and firing power, he thinks everyone he deals with at Waystar should just take his money and do as he asks. But at a meeting with a studio executive, he first suffers through her offer of condolences — “Refused!” he jokes — and then groans when she complains about ATN’s far-right lean. Roman’s initial response is to troll, by making a snide comment about the “incredibly evolved, ruthlessly segregated” community of Los Angeles. Then he decides it would be easier just to terminate her.When Gerri finds out what Roman did, she tries to play the mentor again, warning that he is “a weak monarch in a dangerous interregnum” and noting, “You cannot win against the money.” He snaps back, saying she is being disrespectful and adding, “I need you to believe that I am as good as my dad.” She replies, “Say it or believe it?” So he fires her too. (“Shall we get started on the paperwork? Do you want to do it yourself or do you want me to get someone a bit sharper?”)Knowing he overstepped, Roman turns to Kendall, hoping his brother will play the Good Cop and clean up the Bad Cop’s mess. But Kendall is excited about them putting their own stamp on Waystar, and thinks these two firings may impress the markets. (“Some are saying these Young Turks might just have what it takes to turn things around,” he says, imagining what the business pundits might write.) Distraught, Roman excuses himself from the Investor Day pitch, figuring a solo Kendall will flame out and then the adults will finally step in and fix everything.It’s a reasonable assumption too, because Kendall is in full Icarus mode throughout this episode. There are few things more entertaining in “Succession” than Kendall in a boss groove, tossing out big ideas and buzzy business jargon at a rapid clip. While Shiv is the kind of boss who hates making decisions and makes fun of everyone else’s ideas, and Roman is the kind of boss who hates interacting with anybody who is not saying “yes sir,” Kendall is a hands-on boss, urging his team to be as excited as he is about taking huge swings.On this day, Kendall is trying to pump up the market potential of Living+, dubbing it a “price-rocket.” Talking rings around the Waystar accountant Pete (John Quilty), Kendall tries to get him to work some mojo with the spreadsheets, to see what would happen if they just, y’know, plugged in bigger numbers. (“Numbers aren’t just numbers, they’re numbers,” Pete sputters.) The gambit results in a prospectus promising such a high rate of return that Kendall, in a moment of clarity, chuckles, “It’s enough to make you lose your faith in capitalism.” He is then brought back down to earth by Frank, who threatens to blow the whistle if Kendall asks him to support a fraud.Frank’s complaint comes on the heels of Kendall’s dumbest setback of the day. Eager to get his Hollywood studio to make some magic on his behalf, Kendall asks for a scale replica of a Living+ house, with clouds rolling overhead. (He saw something like that in Berlin once, he explains.) In the episode’s funniest moment, Kendall arrives at the auditorium to see a slapped-together, half-finished house and “clouds” that are essentially a rapidly dissipating mist. The look of disappointment on his face is a work of actorly art from Jeremy Strong, who has a gift for playing those moments when Kendall’s over-the-top enthusiasm suddenly craters.Strong is even better in Kendall’s make-or-break speech for the investors. This is a tricky thing to perform, because the presentation has to be both corny enough to make the people who know Kendall wince in embarrassment, yet credible enough that a general audience could buy him as someone who knows what he is doing. The cringe moments are sprinkled throughout, like in the way Kendall repeats the phrase “big, big shoes” multiple times and in his tacky interaction with a video-screen showing his father, taken from a video Logan made to promote Living+. (Kendall also makes the dubious decision to have a sound effects engineer manipulate the video so that Logan says Living+ will “double the earnings” of the cruise business.)Yet at no point in the speech does Kendall lose control. He makes self-deprecating jokes. He builds a persuasive case for how personally enriching a Living+ facility could be. In touting the potential for this new business to extend its customers’ lives, he muses, “Would I take an extra year with my dad?” and says he absolutely would. (Shameless? Sure. But effective.) Even when he gets asked about a cruel tweet posted by Matsson during the presentation, Kendall is flustered for just a couple of seconds before saying, “I’m not gonna fave it.” The crowd laughs. The markets are kind. Matsson deletes the tweet. A stunned Shiv and Roman seethe.Look, this is “Succession,” so there is no reason to believe that Kendall’s triumph will be long-lived. Still, throughout the series, one of the recurring visual motifs for this character has been water: Kendall sinking morosely into a bathtub; Kendall falling face down into a pool; and so on. So it is telling that at the end of this episode, Kendall plunges into the ocean and emerges floating face up. On this day at least, he swims.Due diligencePity the poor director who had to ask Logan Roy to make his lines in a Living+ promotional video “a touch more upbeat.”So what is Living+, exactly? According to Logan’s video, it is an attempt to “bring the cruise ship experience to dry land” with exclusive Waystar content piped into a home with state-of-the-art security. Or, as Shiv describes it to Matsson, “Prison camps for grannies.”Does anyone give worse Waystar presentations than Tom? After Kendall leaves the stage, Tom steps into the spotlight and looks like a wild-eyed maniac, pointing into different parts of crowd and shouting, “You are an ATN citizen!”Because Roman bailed on the presentation, Kendall gets his sound-manipulation guy to make a video of Logan calling Roman pathetic and clueless (among other things). Roman, a masochist, plays the video over and over, forcing himself to take the same kind of punishment he used to get from his father.Shiv and Tom resume their weird flirtation/foreplay this week, which includes playing “bitey,” a game that involves biting each other on the arm until one person stops. (Shiv, after losing: “Tom Wambsgans! Finally made me feel something.”) Later they have sex, after which Tom takes accountability for betraying her by admitting he partly married her for her money. “If you think that’s shallow, why don’t you throw out all your stuff for love?” he says, with a bitter undertone and a sickeningly sweet smile. These two are made for each other. More

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    Under the Hollywood Spotlight, a Fading Welsh Town Is Reborn

    A former industrial hub, Wrexham had long been in decline. Now, it’s reviving as the globally famous star of a reality series about its once forlorn soccer team’s rejuvenation.In the Welsh language, the virtually untranslatable word “hiraeth” (pronounced here-ayeth) describes a blend of nostalgia and longing for a time that can never be recreated.For Wrexham, a working-class town in northern Wales, it was a feeling that came to define a postindustrial malaise that descended in the 1980s as the last remaining coal mines shuttered their rickety gates and, later, the furnaces at the nearby steelworks ran cold.Only the beloved soccer club, Wrexham A.F.C., remained: the oldest team in Wales, a perennial also-ran but still an indomitable source of local pride.“We went through so much as a town,” said Terry Richards, 56, a lifelong fan of the club as he sat at home in the team’s bright scarlet jersey. “Those were difficult times.”Wales has its legends of heroes returning to save the day, but few could have predicted that an unlikely pair of Hollywood actors, Ryan Reynolds and Rob McElhenney, would waltz into town just over two years ago and buy the ailing club. That set off a chain of events that catapulted the town out of the doldrums and into the international spotlight, casting the residents as the main characters in their own Hollywood reality show based around the soccer club, “Welcome to Wrexham.”Few could have predicted that the two famous actors would walk into the town in the first place. But Mr. McElhenney, an American who had binged on sports documentaries during lockdown, conducted an exhaustive search for a down-and-out soccer team with growth potential, landing on Wrexham A.F.C., and persuaded Mr. Reynolds to join him in his pet project.Players from Wrexham A.F.C. practice at the Racecourse Ground while crews from the documentary series “Welcome to Wrexham” film them.Mary Turner for The New York TimesAfter paying the bargain sum of around $2.5 million, they moved into town (the Canadian-born Mr. Reynolds even bought a house) and began overhauling the team’s operation. They revitalized the training facilities and upgraded the roster, offering comparatively enormous salaries that attracted established players from the upper levels of English soccer.Last Saturday, that Hollywood story finally got its very own Hollywood ending — the team’s promotion after its winning season into the English Football League, the next tier of England’s multilevel soccer pyramid, after a 15-year absence. As the referee blew the final whistle, generations of teary-eyed supporters leaped from the stands onto the rain flecked field in joyous celebration.In that moment, a town was reborn, and that lingering “hiraeth” was no more. More