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      ‘Succession’ Recap, Season 3, Episode 4: Meep-Meep

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      After last week’s punishingly bleak episode, this week “Succession” brought some much-needed comic relief alongside the ongoing melodrama.Season 3, Episode 4: ‘Lion in the Meadow’Last week’s punishingly bleak “Succession” episode was maybe the roughest since Season 2’s “Hunting” (a.k.a.“Boar on the Floor”). But as often happens in this series, this week’s episode pulls back a bit, bringing some much-needed comic relief alongside the ongoing melodrama. In “Lion in the Meadow,” the Roys take a break from scorching the Earth and get back to more subtle power plays, using schoolyard insults and small gestures of disrespect to needle each other. It’s all so oddly delightful.The pettiness comes early and often. When Kendall has to join a Waystar conference call to strategize about the upcoming shareholders’ meeting, he uses an unprintable variation on “Little Lord Fauntleroy” as his sign-on (which is then repeated, hilariously, when he abruptly hangs up). Later, when he’s asked to talk with Logan briefly on a private airstrip tarmac, before they both meet up with a nervous Waystar investor, Kendall zooms off to get to the meeting first, leaving the message, “Tell Dad, ‘Meep-meep’ … It’s from ‘Road Runner.’” For the most part, that’s the level of the attacks and counterattacks this week.The investor in question is Josh Aaronson (Adrien Brody), who owns about 4 percent of Waystar — a holding which, he complains, has lost 10 percent of its value since Kendall started giving news conferences. If Josh is going to back the Roys over Sandy and Stewy at the shareholders’ meeting, he needs to know how far this family feud will go. Does Kendall really want his father in jail? Does Logan really think his son is a mentally ill drug addict? How does this all end? Can the Roys maybe “close up the outrage shop”?There’s another reason Josh invites Logan and Kendall to join him at his sprawling estate. He needs to know if they think of him as a smart guy who knows what to do with his money — and is thus owed some respect — or as some speculator who got lucky, and who only has value because of what he can buy. Is he really an important part of their business? Is he a part of this Waystar family?The biggest chunk of this episode features these three guys putting on a show for each other. Josh tries to tease a little honesty out of the Roys, while Logan and Kendall pretend they’re still a loving family running a viable business, and wielding acumen no outsider can match. What makes these scenes so absorbing is that it’s not too hard to imagine Kendall, and maybe even Logan, wanting to believe the fantasy they’re selling. As they sit side by side in their matching black baseball caps — with Logan saying he can still see his son in charge of Waystar someday, and Kendall lovingly calling his old man “geezer” — they almost seem to be playing roles they wish were real.It doesn’t last. The first few times Josh steps away, the Roys maintain stony silence. Later, as they walk back to the main house through some exhaustingly bumpy hills, Josh leaves the two behind and they start making threats, each insisting the other is playing with a weak hand.Then Logan gets physically ill and the game is up. Josh makes it clear he can only back the Roys if Logan is running things, and seeing the patriarch stumble spooks him — as does Kendall’s attempt to keep talking business while his father is sick. The first cue that these three weren’t on the same page came earlier in the day, when Kendall called the Beatles a “great band” and Josh and Logan both said they’re just a “good band.” The lines were drawn then. Kendall never could convince Josh to cross them.Beyond the vigorous one-upmanship on the beach, what makes this episode so lively is that much of it is spent with the two most reliably comic “Succession” characters: Greg and Tom.Greg is persuaded to meet with Logan, who offers him a drink and then exasperatedly calls in his assistant to sweeten the nervous, indecisive kid’s cocktail with Coca-Cola. (The sound of the soda can opening is like a tiny rebuke to Greg’s manly ambitions.) Logan lets his great-nephew know that he has a little leverage over Waystar right now, and that he needs to use it wisely. Greg, though, is too shaky to assert himself. He keeps getting distracted by his beverage, calling it “strong for a man” and reflecting on the hard-drinking olden days, saying, “I don’t know how you did it back in the ’60s. Different times indeed. Better times? Not for all.”As for Tom, he’s been spending his time lately trying to pick out a good prison for himself and indulging in gallows humor, laughing that his co-workers are calling him “Terminal Tom.” Finally he breaks down in front of Shiv, dropping his fake-courage and musing anxiously about his future life behind bars.“What if I forget to burp the toilet wine?” he frets. “How late can I read? When is lights-out?”There’s a good contrast between the Logan/Kendall/Josh scenes — featuring three guys comfortable with flexing — and the much sillier confrontation in this episode between Tom and Greg. When Tom tries to get his former lackey to make a clear decision on what he wants, Greg finally admits that he’d like to be moved into a leadership position in Waystar’s theme parks division. Tom then moans again about jail before trying to wrestle with Greg, snarling, “Let’s fight like chickens!”Greg refuses, shouting, “I don’t want to do it,” prompting Tom to reply, “Neither do I, Greg!” He tries to turn this into avuncular advice saying, “You’re so hard to riff with. That is a big career obstacle.”But that “neither do I” may be the most honest moment Tom has had in this show. Guys like Logan genuinely enjoy a bloody fray. Guys like Tom only like it when they’re winning.Due DiligenceThe three other Roy children all get moments in the spotlight this week, too. While Kendall and Logan are strutting by the sea, Shiv is back at the office hustling to execute some of her dad’s big plans. These include interfering with ATN’s editorial independence by suggesting the news team take a harder line on the presidential administration. For her trouble, she gets a cranky phone call from her father, who is annoyed that the other executives are complaining about her. “I don’t need another toothache,” he growls. Logan also reminds Shiv, somewhat ominously, that no position he takes is set in stone. “Nothing is a line,” he says. “Everything, everywhere, is always moving, forever.”Meanwhile, Connor is still figuring out what he can ask for in exchange for being publicly loyal to Logan. He nixes Shiv’s idea that he become a host on one of Waystar’s travel and cuisine shows, because he still has presidential ambitions and he doesn’t think that spitting out wine on cable TV is going to help his numbers in the Rust Belt. Currently his team is angling for 2024; Connor assumes the current president — who everyone calls “the Raisin” — is going to get re-elected. But who knows? Maybe if Connor resumes his campaign in earnest, he can also help with Shiv’s White House problem.As for Roman, he is initially distracted by the news that Gerri is going on a date. (“With who?” he asks, incredulously. “Montgomery Clift? The Ghost of Christmas Past?”) Once he gets past that, he suggests a particularly nasty way to take down Kendall: By locating “Tattoo Man,” a down on his luck guy his brother once paid to tattoo his initials on his forehead, while the siblings were on an “ironic” New Orleans bar crawl. The man has since had the tattoo removed, but Roman eventually persuades him to provide Waystar with an old picture, which Gerri suggests Roman keep under wraps for now. She advises him to start asking himself, with every bold move or dirty trick, “How does this advance my position?” More

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      An Indigenous Canadian Director Channels Traumatic Memories Into Film

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      Tracey Deer based “Beans” on her experiences as a child during the 1990 Oka crisis, a confrontation between the Mohawk people and the government.Tracey Deer can still remember the sound of rocks hitting the car, her panicked mother’s orders to “Get down!” and the loud smash as a back passenger window shattered, showering glass over her screaming little sister.Deer, an Indigenous Canadian filmmaker, was only 12 on Aug. 28, 1990, when a white mob hurled stones and racial insults at vehicles filled with Mohawk women, children and the elderly, all trying to evacuate a reservation near Montreal. The Oka crisis, a dispute between Canadian authorities and the Mohawk people over land rights, was reaching its height, and the frightened children crouched on the floor until Deer’s mother could drive on.“My sense of safety was stolen from me,” Deer said. “My sense of self-worth, as of that moment, was nonexistent.” But after spending most of her adolescence consumed by anger, she said in a video interview, “I ended up finding a way to channel that instead into my drive to prove all those people wrong.”One result is “Beans,” her first narrative feature, which was named best picture at the Canadian Screen Awards this year and has collected more than 20 prizes on the film-festival circuit. The newly released drama is a long-sought milestone for Deer, 43, a screenwriter, director, documentarian and television showrunner. (She was a creator of the comedy-drama series “Mohawk Girls,” streaming on Peacock, as well as a writer for “Anne With an E” on Netflix.)A fictionalized version of her experiences, the film focuses on a bright, ambitious Mohawk girl, nicknamed Beans (portrayed by the Mohawk actress Kiawentiio). She lives with her family on the Kahnawake reserve, as Deer did, and has applied to enter seventh grade at an elite, mostly white academy that’s similar to the school Deer went to before graduating from Dartmouth.“I wanted to be the one to tell the story,” Kiawentiio (pronounced Ghee-ah-wen-DEE-o) said via video from Canada, where she was shooting the new live-action “Avatar: The Last Airbender” series for Netflix. Thirteen while filming “Beans,” she felt a personal connection to the history, having grown up in Akwesasne, a reserve not far from the conflict. “A lot of people from my community went there and were helping,” said Kiawentiio, whose own parents were teenagers at the time.Violah Beauvais, left, and Kiawentiio in a scene from Deer’s film.Sebastien Raymond/FilmriseBeans’ journey begins when she is caught up in the real protests that unfolded after the mayor of Oka, a town near Montreal, announced plans to expand a golf course onto land containing a sacred Mohawk burial ground. Devastated by the violence that ensues — she is present when gunfire erupts at a confrontation between Mohawk demonstrators and the police, precipitating the 78-day crisis — Beans falls in with a rough crowd of Mohawk teenagers. They include a charismatic boy who tries to force her to perform oral sex; the scene is based on a sexual assault Deer experienced when she was 20.“It’s a big story,” said Anne-Marie Gélinas, founder of EMAfilms, which produced the drama. “And Tracey’s challenge was to talk about, of course, the bullies outside,” which in the film include the government and real-estate developers. But, Gélinas added in a video call, “she also wanted to talk about the bullies inside her community.”Although Beans’ struggles relate specifically to her time and place, they are likely to resonate with anyone who has raised an adolescent — or been one. When Beans practices profanity in front of her bedroom mirror, smiling proudly when she finally utters a curse, it’s impossible not to notice the doll and stuffed animals still on her bureau. And any viewer will be alarmed when a tough older girl encourages Beans to harm herself so she will be impervious to the pain inflicted by others.“It doesn’t matter if you’ve never heard of the Oka crisis,” Deer said, adding that the character is coming of age “in a tumultuous, unwelcoming world that is indicative of where we currently are.”An incident during filming reinforced that view. Deer shot “Beans” at several spots where the historical events occurred, including the Honoré Mercier Bridge, which Mohawk demonstrators blockaded during the crisis. It’s where the rock-throwing confrontation, recreated in the film, took place as well. When Deer began shooting in 2019, the structure was partly closed for maintenance. But some motorists, she said, assumed the movie crew had shut down the route.“They were beeping and yelling at us and revving their engines,” said Deer, who added that the occupants of one car began shouting racial slurs. Thirty years after the Oka crisis, she said, “the same kind of moment played out.”To show that she was not distorting the historical backdrop, Deer used archival footage throughout the film, in one case inserting an actor into the Mohawk protesters in a 1990 news clip. “Nobody remembered it to be so violent, so negative, so traumatic,” Gélinas said, describing audiences’ reactions in Canada, where the response to “Beans” has been overwhelmingly positive.Although the Oka conflict ended in September 1990 with the cancellation of the golf course expansion, disputes over the land rights continue. But in the Canadian cultural sphere, the concerns of Indigenous people are gaining increased attention, said Jesse Wente, chairman of the Canada Council for the Arts and executive director of the Indigenous Screen Office in Toronto. (The organization supports Native film projects but did not contribute to the financing of “Beans.”)“I think what you’re seeing is maybe an industry that is so ravenous for stories that it’s realized it has to open the gates beyond its usual suspects,” Wente, who is Anishinaabe, said in a phone interview. He added that while Indigenous representation in the Canadian film industry had been largely confined to documentaries until recent years, artists like Deer were now delving into many genres. “What that means is that Indigenous cinema is about to become commercial in a way it never was,” he said.Likening Deer’s film to Spike Lee’s “Do the Right Thing,” Wente said, “‘Beans’ is exactly what happens when you empower storytellers from a community who’ve had stories told about them forever, but rarely have had the opportunity to tell them themselves.”Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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      ‘Saturday Night Live’ Introduces a New Donald Trump

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      James Austin Johnson took on the role of Trump in an episode that also featured appearances by Dionne Warwick and Tracy Morgan. Kieran Culkin of “Succession” was the host.The last time Cecily Strong played the Fox News host Jeanine Pirro on “Saturday Night Live,” it seemed like she might be saying goodbye to her longtime TV home. (She did, after all, end the segment by singing “My Way” and dousing herself in a giant box of wine.)But to the benefit of the show, Strong did not leave “S.N.L.,” and she was back tonight playing Pirro in the show’s cold open. She’d get a more memorable moment in the spotlight later in the night — for now, the segment belonged to a rookie cast member, James Austin Johnson, who has rapidly become one of “S.N.L.”’s most versatile celebrity impressionists and brought his capable sendup of former president Donald J. Trump to the program for the first time.Strong began by interviewing a guest she introduced as “an American brave enough to stand up and say, screw you science — I know Joe Rogan.” That turned out to be Pete Davidson playing the Green Bay Packers quarterback Aaron Rodgers, who tested positive for the coronavirus earlier this week and confirmed, in a combative interview on Friday, that he was not vaccinated.Davidson, as Rodgers, defended his ambiguous remarks about his vaccination status. “I never lied,” he said. “I took all my teammates into a huddle, got all their faces three inches away from my wet mouth, and told them trust me, I’m more or less immunized. Go team!”He added, “At the end of the day, my record is still 7-1. Meaning, of the eight people I’ve infected, seven are fine.”Strong also interviewed Alex Moffat, playing Glenn Youngkin, the Republican governor-elect of Virginia. When she asked him to provide a definition of critical race theory, Moffat answered, “It’s simple: It’s what got me elected.” Pressed for more clarity, Moffat added, “It’s not important. What’s important is parents.”He introduced Heidi Gardner as a member of his parental task force on education, and she cited some of the books she wanted removed from the state’s curriculum, including “Pride and Prejudice” (“Prejudice is fine, but pride is a term that has been co-opted by the gays,” Gardner said) and “The Great Gatsby” (“Too much jazz”).Strong brought out her surprise final guest: Trump, as played by Johnson (who is already holding down the recurring role of President Biden on “S.N.L.”).“I just wanted to congratulate Glenn Youngkin and mostly myself on a tremendous victory in Virginia,” Johnson said. “You know what Glenn? We did it together.”Moffat uncomfortably replied, “You don’t have to say that.”Johnson went on to deliver a discursive monologue, complete with a “Pardon the Interruption”-style topic list and countdown clock, in which he rambled on about “Star Wars” (He claimed to have told George Lucas, “You need to do it with swords — the lasers are not enough”), “Dune,” Timothée Chalamet, Jason Momoa, “Game of Thrones” and, finally, the state of Virginia.An impressed Strong asked him, “How do you keep that all in your brain?”Johnson answered, “I had my ears sealed so nothing comes in or out.”Opening Monologue of the WeekKieran Culkin, who plays the sarcastic media scion Roman Roy on HBO’s “Succession,” naturally used his opening monologue to crack some jokes about his role on that hit series. Roman, he said, is “one of the nicer characters on the show — which still makes him one of the Top 10 worst humans on TV.”Culkin also reminded viewers that he had previously appeared on “S.N.L.” some 30 years ago when his brother Macaulay had hosted the program, and that 9-year-old Kieran had been hoisted aloft by grown-up cast members during the show’s good nights. Did a 39-year-old Kieran repeat the tradition at the end of this weekend’s broadcast? You’ll just have to watch and see. (OK, fine, he did repeat it.)Surprise Celebrity Cameo of the WeekThis is why you watch an “S.N.L.” sketch all the way to the end. It seemed, at first, like a typical outing of “The Dionne Warwick Talk Show,” a recurring segment in which Ego Nwodim plays a delightfully kooky version of that enduring pop singer. And as usual, she was joined by guests that she doesn’t recognize or particularly care about, including Chloe Fineman as Miley Cyrus, Culkin as Jason Mraz and Ed Sheeran as Ed Sheeran.But just as the sketch seemed to be winding down, Nwodim said, “I’m sick and tired of interviewing people who are not icons. Please welcome: me.” And out strode the real-life Warwick, who sat down in a chair opposite her. Nwodim asked the singer, “Dionne, why are you perfect?” Warwick replied, “My darling, I am not perfect. I’m just very, very good.” Their brief duet of “What the World Needs Now” that followed was almost too generous but we’ll take it anyway.Weekend Update Jokes of the WeekOver at the Weekend Update desk, the anchors Colin Jost and Michael Che riffed on the passage of President Biden’s infrastructure plan in the House of Representatives, and the results of Tuesday’s elections.Jost began:Our top story tonight, like it’s been for as long as I can remember: infrastructure. Last night, the House passed President Biden’s $1.2 trillion infrastructure bill, which should be enough to clean as many as two of LaGuardia’s bathrooms. The infrastructure bill will also expand internet access across the U.S., which is great news, because when has more internet ever been bad for America? [His screen displays a photo of the Jan. 6 Capitol riot.]Che continued:Democrat Terry McAuliffe lost to Republican Glenn Youngkin in the Virginia governor’s race. But on the bright side, losers from Virginia usually get a statue. [His screen displays a photo of a monument to Robert E. Lee.] Political experts say that the Republican victory in Virginia’s governor’s race was fueled by white women who didn’t go to college. Which just so happens to be the same exact group I target on Tinder.Weekend Update Character of the WeekHere, as promised, was Cecily Strong’s true standout moment from the episode.At the Weekend Update desk, Jost began with a prelude about the recent Supreme Court arguments on a restrictive Texas law that bans most abortions after six weeks of pregnancy. He then introduced Strong as a character called Goober the Clown Who Had an Abortion When She Was 23.While she sprayed Jost with water from a trick boutonniere and tried to make balloon animals, Strong talked about how common it is for clowns to have abortions and how they feel more comfortable discussing the subject with one another when they learn that other clowns have had them. It was not the easiest subject to mine for comedy. But as Strong explained, describing a doctor who jokingly asked if she had gotten pregnant on her way over to the clinic, “It’s not like a funny ha-ha joke, but like a funny, you’re not an awful person and your life isn’t over now joke. The best kind.” More

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      JoAnna Cameron, an Early Female Superhero on TV, Is Dead at 73

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      In addition to achieving Saturday morning fame as Isis, she was said to have appeared in more national television commercials than anyone in advertising history.JoAnna Cameron, who in the 1970s portrayed Isis, the first female character on television with superpowers, and appeared in more national network television commercials than anyone else, died on Oct. 15 in Oahu, Hawaii. She was 73. The cause was complications of a stroke, said Joanna Pang Atkins, who starred with Ms. Cameron on the Saturday morning children’s series “Isis.”Ms. Cameron, who broke into the movies in 1969 with a small part in a Bob Hope film, blazed a trail when she arrived on the small screen as Isis in September 1975, two months before Lynda Carter made her first appearance as Wonder Woman. “The Bionic Woman,” starring Lindsay Wagner, began in January 1976.“Isis” starred Ms. Cameron as Andrea Thomas, a high school science teacher who had acquired the powers of Isis, the Egyptian goddess of healing and magic. Running with the speed of a gazelle, flying like a falcon and displaying superhuman strength, she used her extraordinary powers to fight crime.The series ran on CBS from 1975 to 1977; reruns were later syndicated as “The Secrets of Isis.”Ms. Cameron’s other television roles included appearances on “Columbo,” “Marcus Welby, M.D.” and “The Bold Ones: The New Doctors.”A lithe brunette, she also received tremendous exposure as a television model for scores of commercial products. The Guinness Book of World Records said in 1979 that she had appeared in more than 100 commercials on network television, more than anyone else in advertising history.Advertisers spent more than $100 million “using JoAnna as the beauteous centerpiece of their commercials for cosmetics, shampoo, wine, beer, pantyhose and breath freshener,” TV Guide reported in 1979, adding that “she certainly has a face that can sell a product.”Ms. Cameron was outdoorsy and athletic, and she appeared in commercials skiing, scuba diving, piloting a jet, driving a racecar and romping through a field of flowers. She flew with the Blue Angels and worked to promote the United States Navy. But many of her other commercials were for personal products. In an ad for pantyhose, she struck a Mrs. Robinson-like pose. In a cigarette spot, she smoked. She also made a brief foray into directing commercials, but did not enjoy it.When she appeared on “The Merv Griffin Show,” Mr. Griffin said that if all her commercials were strung together, they would run for 150 hours, or six days of continuous viewing. He noted that advertisers said she had “the perfect face,” although he did not specify what that meant.When Mr. Griffin asked her if she felt pretty, she demurred. “Pretty,” she said, “comes from being healthy and feeling good about who you are and what you do.”Patricia Kara Cameron was born on Sept. 20, 1948, in Greeley, Colo., where her parents, Harold and Erna (Borgens) Cameron, operated a drive-in restaurant.She showed an interest in acting from an early age. While in high school, she worked with the Little Theater at Colorado State College, where she had a part in “A Midsummer Night’s Dream.”Moving to California in the 1960s, she worked part time at Disneyland as a tour guide. She was a winning contestant on “The Dating Game” and JoAnna finalist on the televised beauty pageant “The Dream Girl of 1967.”Her big break came when she became friends with Bob Hope’s daughter, Linda. Mr. Hope cast her in “How to Commit Marriage” (1969), a comedy in which he starred with Jackie Gleason and Jane Wyman.On Mr. Gleason’s advice, she dropped the name Patricia and started calling herself JoAnna Cameron, although her screen credits list her variously as Jo Anna Cameron, Joanna K. Cameron, Joanna Kara Cameron and Joanna Cameron.Her other movies included “Pretty Maids All in a Row” (1971) and “B.S. I Love You” (1971). She was under consideration for the role of Jenny Cavilleri in “Love Story” (1970), but it went to Ali MacGraw.After her last movie, in 1980, she moved permanently to Hawaii, where she had often visited. She lived a quiet and anonymous life there, a friend in Hawaii said by email, and few people knew about her Hollywood career or that she had starred in “Isis.”With a nursing degree she had earned in California, she turned to patient care, working in private facilities or patients’ homes and providing comfort and care — similar to hospice work.She also had a marketing degree, and she later became a marketer for two major hotels. Information about survivors was not immediately available.Asked in a 2002 interview for an “Isis” fan website if she had ever been afraid of being typecast by her role as Isis, she expressed no doubt.“Who’s afraid of being typecast as a superhero?” she responded. “If you have to be typecast, take superhero. Or Egyptian goddess.” More

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      Get Your Kill Room Ready. Dexter Is Back.

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      Eight years after the lovable serial killer went into bearded self-exile, he returns for “Dexter: New Blood.” Here’s a refresher on where things left off.“Dexter” ended in 2013, with its protagonist self-exiled to the frozen North and most major characters dead. But you can’t keep a high-functioning psychopath down. “Dexter: New Blood,” which premieres on Showtime on Nov. 7, finds Michael C. Hall’s Dexter Morgan working at a fish and game shop under an assumed name. His side hustles including bladesmithing, goat farming and maybe some vengeance.In the intervening eight years, you may have forgotten a few details of the show — other than, say, its wildly unpopular finale. Here are a few mementos.The KillerDexter Morgan, born Dexter Moser, grew up in Miami, the adopted son of Harry Morgan (James Remar), a Miami Metro police officer, and his wife, Doris. He has an adoptive sister, Debra Morgan (Jennifer Carpenter). During the first season, it is revealed that Dexter also has a half-brother, Brian (Christian Camargo), and that the two boys witnessed their biological mother’s murder, via chain saw, and were left with her dismembered body in a blood-flooded shipping container for days. If you’re thinking trauma like that might make anyone into a serial killer, you’re right! Twice!When Dexter was still a child, Harry discovered the corpse of the neighbor’s yappy dog, which Dexter had buried alongside other animal bones. Accepting Dexter’s antisocial tendencies, Harry channeled those impulses into hunting — first animals, then, as Harry put it, “other kinds of animals” who have escaped justice. With Harry’s permission, Dexter killed his first human at 20, offing a nurse who was overdosing her patients.Dexter became a bloodstain pattern analyst for Miami Metro. Deb joined him there as a police officer, working first in vice, then in homicide, and in time becoming a detective. Eventually, Deb learned Dexter’s secret (walking in on your adopted brother mid-stab will do that) and later killed to protect him, which sent her spiraling. She also discovered that she was in love with him, an upsetting twist even for a show that specialized in upset.Armchair psychiatrists watching at home have diagnosed Dexter as a sociopath and a secret schizoid. Dexter claims not to feel human emotion. He lets the audience in on his real thoughts through voice-over, like this one from the pilot: “People fake a lot of human interactions. But I feel like I fake them all. And I fake them very well. And that’s my burden, I guess.” As the original series progressed, Dexter seemed to move closer to authentic emotion, maintaining friendships and romantic relationships and enjoying a close bond with Deb, even as he never lost his need to kill. He personified that predatory urge as his “dark passenger.”Is Dexter a bad person who does good things or a good person who does bad ones? Or neither? Or both? He loves a pulled pork sandwich and is surprisingly good at bowling.James Remar, left, plays Dexter’s adoptive father, Harry, who appears to Dexter in visions to remind him of the code.Sonja Flemming/ShowtimeThe CodeOnce he recognized Dexter’s death drive, Harry taught Dexter to adhere to a code. “There were so many lessons in the vaunted Code of Harry — twisted commandments handed down from the only God I’ve ever worshiped,” as Dexter put it. “One through 10: Don’t get caught.” Other rules: Never kill an innocent person. Kill only those beyond the reach of the justice system. Be prepared. Leave no trace.Dexter occasionally violated some aspect of the code. (He was caught surprisingly often. But that’s what happens when you run for eight seasons.) But he killed the wrong person only once, and he rarely lets emotions cloud his judgment. He often killed when threatened, but he sometimes refused to kill people — even dangerous or inconvenient people — when they failed to meet Harry’s criteria. He has even released a few people from his kill rooms.Dexter (Hall, with Sam Underwood) delivers a lecture to one of his many, many victims per the usual routine.Randy Tepper/ShowtimeThe RitualUnless acting in self-defense or within a significant time crunch, Dexter adhered to a specific ritual. Knocking his victims out with a synthetic opioid, he brings them to a plastic-draped kill room, decorated with photographs of their own victims. He undresses his prey, then binds them to a table with duct tape or cling wrap. Using a scalpel, he makes an incision on his victims’ cheeks, placing a droplet of their blood on a glass slide, adding the slides to his collection of trophies.Before killing his victims, whom he refers to as his playmates, he often toys with them, engaging them in conversation. His preferred weapon is a knife, but he knows his way around a saw — and an anchor, a cleaver and a pen. After the kill, he dismembers the bodies, places the parts into plastic trash bags and dumps them into the bay.Dexter at one of many funerals with his sister, Debra (Jennifer Carpenter, in plaid shirt), who . . . also later died.Sonja Flemming/ShowtimeThe DeadBy the time the original series ended, most major characters had died. There are Dexter’s direct victims, of course, a list that includes his brother, Brian; an ex-lover or two; and more than 100 others. Most of his known associates have also come to bloody ends, like his wife, Rita Morgan (Julie Benz), a victim of the Trinity Killer (John Lithgow), and several of Dexter’s co-workers, including James Doakes (Erik King), an antagonist, and Maria LaGuerta (Lauren Velez), his former lieutenant, shot by Deb in a bid to protect Dexter.Deb died, too. (More on that in a minute.) But deceased “Dexter” characters often cameo, courtesy of Dexter’s vivid imagination.Dexter said goodbye to his sister in the original series finale, and goodbye to his life in Miami.Randy Tepper/ShowtimeThat FinaleThe final season found Dexter stalking the Brain Surgeon, a serial killer with ties to a famous psychologist. The Brain Surgeon shot Deb in the abdomen. In the finale, she suffered a complication during surgery, a blood clot (way to work those metaphors) that left her in a vegetative state.Dexter had planned to escape to Argentina with his onetime girlfriend and fellow serial killer, Hannah McKay (Yvonne Strahovski), a poisoner, and Harrison, the child he had with Rita. But Dexter can’t escape himself. As a storm approached, he murdered the Brain Surgeon. With a pen! Sending Hannah and Harrison ahead, he turned off Deb’s life support and absconded with her sheet-wrapped body, which he dumped alongside his other kills. The hurricane arrived, wrecking Dexter’s boat and ostensibly killing him, too. But the final shots find Dexter in some frozen waste, having grown a lumbersexual beard and invested heavily in flannel.It’s an ending that no one saw coming. Probably because it lacked closure, retribution and attentiveness to Dexter’s journey toward personhood. Maybe the snowy new series, set in upstate New York, will provide that. More

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      Jimmy Kimmel: ‘Aaron Is a Karen’

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      As Covid sidelined the Green Bay Packers quarterback Aaron Rodgers, Kimmel and other hosts scorned him for implying that he’d been vaccinated.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.Rodger ThatThe Green Bay Packers quarterback Aaron Rodgers tested positive for Covid this week, which means he’ll sit out Sunday’s game against the Kansas City Chiefs (or as Stephen Colbert put it, “the next five State Farm commercials”).“He’ll be watching it from ‘Mahome.’” — JIMMY KIMMEL, referencing Chiefs quarterback Patrick MahomesLate-night hosts found it egregious that Rodgers had vaguely referred to himself as “immunized,” leading some to believe he’d been vaccinated. Instead, according to a report, he received homeopathic treatment.“I’m no expert, but I’m guessing it’s a lot easier to just play football with a shot in your arm than a jade egg stuck where the sun don’t shine. Then again, they are called the Packers.” — STEPHEN COLBERT“That’s not the only confusing statement that he’s made about his vaccine status. For example, in one press conference he said, ‘I’d like to think of myself as vaccine-adjacent.’ In another press conference he said, “In a spiritual sense, are any of us truly vaccinated?’ And finally, he cleared things up by saying, ‘I didn’t not, not, not not, not get the shot. Not.’” — JIMMY FALLON“That’s really vague. He better not talk that way in the huddle.” — STEPHEN COLBERT“Honestly, the only thing worse than not getting vaccinated when you’re in close contact with other people is letting them think you’re vaccinated when you’re not. It’s basically the Covid equivalent of ‘The condom fell off.’” — JIMMY KIMMEL“Aaron is a Karen, that’s the fact of the matter.” — JIMMY KIMMELThe Punchiest Punchlines (More Shots Edition)“The Biden administration today ordered U.S. companies with 100 or more employees to have their workers fully vaccinated or regularly tested for the coronavirus by Jan. 4. All right, you heard the man, Arcade Fire.” — SETH MEYERS“It’s great timing — make sure everyone is vaccinated right after the holidays.” — JIMMY FALLON“Team Biden today announced that more than 100 million American workers are required to be fully vaccinated by Jan. 4. And if I know my fellow American workers, everyone’s going to be super chill about that.” — JIMMY KIMMEL“Because I guess Jan. 1 — just way too obvious.” — JAMES CORDEN“What’s the thinking here? ‘Nobody expects this policy to start on a random Tuesday, let’s do that!’” — JAMES CORDEN“Like the drunkest friend at a bachelor party, Joe Biden’s going to make sure everyone gets shots.” — JIMMY KIMMELThe Bits Worth WatchingOn “The Tonight Show,” Ariana Grande got to see Jimmy Fallon play a clip of her singing the national anthem at eight years old.Also, Check This OutMeryl Streep as President Orlean, a commander in chief very focused on her approval ratings, in “Don’t Look Up.”Niko Tavernise/Netflix Finally, a world in which Meryl Streep is president — in Adam McKay’s apocalyptic satire “Don’t Look Up.” More

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      The Best Movies and TV Shows New to Netflix, Amazon and Stan in Australia in November

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      Our picks for November, including ‘tick, tick … BOOM!’, ‘The Great’ Season 2, and ‘Passing’Every month, streaming services in Australia add a new batch of movies and TV shows to its library. Here are our picks for November.New to NetflixNOV. 5‘A Cop Movie’An inventive and tricky hybrid of fiction and nonfiction, the documentary “A Cop Movie” tells the mostly true story of two Mexico City police officers: a man and woman who briefly dated and were dubbed “the love patrol” by their colleagues. The director Alonso Ruizpalacios defies expectations throughout, using dramatic recreations, surprise reversals and raw interviews to keep the audience guessing about whether this is an earnest film about the challenges of being a cop or an exposé of institutional corruption.NOV. 10‘Passing’Based on Nella Larsen’s 1929 novel, “Passing” stars Tessa Thompson as Irene and Ruth Negga as Clare, two Black women who were friends when they were younger and who meet again later in life. Irene is a social activist, living with her husband (André Holland) in an upscale Harlem brownstone. Clare is passing as white, and is married to a rich, racist businessman (Alexander Skarsgard). Written and directed by Rebecca Hall — herself biracial — this handsome-looking black-and-white period drama examines the boundaries of race and class in early 20th century New York.NOV. 19‘Cowboy Bebop’ Season 1This live-action remake of the popular anime series “Cowboy Bebop” retains what made the original so beloved: a genre-bending story about planet-hopping bounty hunters, an eye-catching style that draws on old westerns and film noir, and a jazzy up-tempo Yoko Kanno score. John Cho stars as Spike Spiegel, who, alongside his partner Jet Black (Mustafa Shakir), chases criminals across the colonies built by the refugees of a post-apocalyptic Earth. The heroes add allies and enemies with each new adventure, in a show that mixes action, comedy and science-fiction weirdness.‘tick, tick…BOOM!’Netflix‘tick, tick … BOOM!’The “Hamilton” creator and star Lin Manuel-Miranda makes his feature film-directing debut, paying homage to one of his biggest influences: the late “Rent” writer and composer Jonathan Larson. In this adaptation of Larson’s lesser-known, semi-autobiographical theater piece, Andrew Garfield plays an aspiring Broadway composer named Jon, still working at a diner and waiting on his big break at the dawn of the 1990s. Miranda and the screenwriter Steven Levenson tinker a little with the stage production (which originated as a concert, before being turned into a small-scaled musical by David Auburn), turning “tick, tick … BOOM!” into more of a straight biopic with catchy songs.NOV. 24‘Bruised’Halle Berry both directs and stars in this underdog sports melodrama, about a down-and-out MMA fighter named Jackie Justice who comes out of retirement after the son she gave up for adoption shows up on her doorstep. Berry had to train hard to play an experienced, hardened athlete, and to take on this role of a woman trying to shake herself out of a fog and prove to her family and her sport that she’s still a winner. ‘Robin Robin’This half-hour Christmas special comes from the team at Aardman Animations, the studio behind Wallace and Gromit and Shaun the Sheep. “Robin Robin” tells the story of a small bird (voiced by Bronte Carmichael) who was raised by a family of mice, and who goes on an adventure during the holiday season where her unusual upbringing proves to be an asset. The adorable character-designs and the voice performances of Richard E. Grant (as a magpie) and Gillian Anderson (as a cat) accent what should be another of Aardman’s classy, funny, cleverly constructed family comedies.Also arriving: “The Claus Family” (Nov. 1), “The Harder They Fall” (Nov. 3), “The Club” Season 1 (Nov. 5), “Love Hard” (Nov. 5), “Narcos: Mexico” Season 3 (Nov. 5), “The Unlikely Murderer” (Nov. 5), “Father Christmas Is Back” (Nov. 7), “Swap Shop: Dash for Cash” Season 1 (Nov. 9), “Gentefied” Season 2 (Nov. 10), “Red Notice” (Nov. 12), “Christmas Flow” Season 1 (Nov. 17), “Tiger King” Season 2 (Nov. 17), “The Princess Switch 3: Romancing the Star” (Nov. 18), “Blown Away: Christmas” Season 1 (Nov. 19), “Waffles + Mochi’s Holiday Feast” (Nov. 23), “A Boy Called Christmas” (Nov. 24), “True Story” (Nov. 24), “A Castle for Christmas” (Nov. 26), “School of Chocolate” Season 1 (Nov. 26), “Charlie’s Colorforms City: Snowy Stories” (Nov. 30).New to Stan‘The Great’ Season 2StanNOV. 5‘Bobby’Sometimes written as “Bo66y” — to commemorate England’s 1966 World Cup championship — the title of this documentary refers to Bobby Moore, the star defender and team captain whose creativity and doggedness electrified his home country. After his pro career ended, Moore struggled with money and health woes, and at times felt like a forgotten man. “Bobby” is an attempt to right some of those wrongs, telling a triumphant and tragic story via thrilling vintage footage and impassioned testimonials from teammates and fans.NOV. 8‘Yellowstone’ Season 4One of TV’s most popular dramas returns, after a season three finale which saw the Montana ranching family the Duttons facing multiple threats. Will the “Yellowstone” creator Taylor Sheridan actually kill off any of his leads? Probably not. (Sheridan’s central antihero, the grizzled cowboy power-broker John Dutton, is played by Kevin Costner, one of the show’s producers.) After a season which saw the Duttons beset by investment bankers, environmental activists and revenge-minded outlaws, a few bombs and machine-guns shouldn’t keep them down too long.NOV. 20‘The Great’ Season 2Elle Fanning returns as Catherine II and Nicholas Hoult as Peter III in season two of the satirical dramedy “The Great,” an “occasionally true” look back at the tumultuous marriage between a cruel Russian emperor and his ambitious, coup-minded young bride. Gillian Anderson joins the cast this season, playing Catherine’s mother, who tries to manipulate things behind the scenes as her daughter prepares to become a mother herself. Expect more of the creator Tony McNamara’s puckish mix of purposeful anachronisms and courtly intrigue.Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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      Camille Saviola, ‘Deep Space Nine’ and Stage Actor, Dies at 71

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      She was known for her comic work in cabarets, for her performance in the musical “Nine” on Broadway and for her role in a “Star Trek” spinoff.Camille Saviola, an actress and singer who made an impression in the musical “Nine” on Broadway, in assorted cabaret spoofs and on television in “Star Trek: Deep Space Nine” and other series, died on Oct. 28 in a hospital in North Bergen, N.J. She was 71.Alyssa Romeo, a great-niece, said the cause was heart failure.Ms. Saviola frequently drew comparisons to Ethel Merman for her big voice, which she liked to use to comic effect. One character she played in more than one cabaret show received the Ten Commandments of Soul from James Brown, earning her something of a nickname: “the Italian Godmother of Soul.”Onstage, she was best known for originating the role of Mama Maddelena, a spa manager, in the original production of “Nine,” the Arthur Kopit-Maury Yeston musical about a film director having a midlife crisis, which opened on Broadway in May 1982 and ran for almost two years. She was featured in a comic number, “The Germans at the Spa.”But she wasn’t limited to comedy. In 2005, for instance, she starred in a production of “Mother Courage and Her Children,” Bertolt Brecht’s famed antiwar play, in Pasadena, Calif.“As Mother Courage, Camille Saviola is wily, indomitable and eminently practical,” Daryl H. Miller wrote in reviewing that performance in The Los Angeles Times.She endeared herself to a different group of fans when she was cast in “Deep Space Nine” as Kai Opaka, a spiritual leader on the planet Bajor. Though she appeared in only four episodes, from 1993 to 1996, Ms. Saviola was well known to followers of the franchise, many of whom posted about her death on social media.In a 1995 interview with a “Deep Space Nine” fan magazine that is quoted on the website Memory Alpha, Ms. Saviola talked about how she got the part.“I went in — every character actress was there — and did a little reading, the real thing,” she said, referring not to a script reading but to a tarot card reading. “My grandmother read cards and tea leaves down in Greenwich Village — she never charged people money — and I have a little bit of that gift.”Camille Saviola was born on July 16, 1950, in the Bronx to Michael and Mary (D’Esopo) Saviola. The performing bug bit early.“I wanted to be Elvis Presley, and at 6 I was already lip-syncing to his records and putting on magic shows,” she told The New York Times in 1985. “By the time I was 7, I knew a thousand jokes. Around puberty, I discovered Judy Garland.”Ms. Saviola in 2003. She was seen on Broadway, in cabarets and in more than 40 film and television roles. Bruce Glikas/FilmMagicShe graduated from the High School of Music and Art in New York and, her great-niece said, studied voice for a time at City College, but she left to work Off Off Broadway and in summer stock. She also sang with an all-female rock group for a time.In 1980 she was in the original Off Off Broadway cast of “Starmites,” a science fiction musical, billed only as Camille and belting out a number called “Hard to Be Diva.” (The show made Broadway briefly in 1989, though without her.) She was also in a touring production of the rock opera “Tommy,” playing the characters the Mother and the Acid Queen.In March 1985, at the Ballroom Theater in Manhattan, she was the central figure in a cabaret musical called “Hollywood Opera” that parodied eight classic films.“At the center of this nonsense stands the commandingly funny singer-actress Camille Saviola, who delivers two showstopping bits,” Stephen Holden wrote in a review in The New York Times. “The first is a heaving caricature of Anna Magnani retelling the story of ‘The Rose Tattoo’ in a pattery tarantella called ‘Della Rose’s Turn.’ Later, with Perry Arthur taking the Paul Henreid role, Miss Saviola, impersonating Bette Davis with Groucho Marx eyebrows, demolishes once and for all our fond memories of the two-cigarettes-in-the-dark love scene from ‘Now Voyager.’”Later that year she incorporated some of those bits into her own cabaret show, “Secrets of the Lava Lamp,” which found her alternately singing and telling stories.Ms. Saviola had small parts in two Woody Allen movies, “Broadway Danny Rose” (1984) and “The Purple Rose of Cairo” (1985), the first of her more than 40 film and television roles. She had recurring roles on the 1990s TV series “The Heights” and “Civil Wars” and, more recently, on “First Monday,” “Judging Amy” and “Entourage.” In 2018 and 2019 she had a recurring role on the TV Land series “Younger.”Ms. Saviola, who at her death lived in West New York, N.J., is survived by a sister, Mary Ann Horman. More