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      Late Night Dives Into a New Senate Report on Trump

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      “So far, I’ve only read the title page, and it seems to be about how the former president and his allies pressured D.O.J. to overturn the 2020 election,” Stephen Colbert said on Thursday.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.Under PressureThe Senate Judiciary Committee released a new report on Thursday, titled “Subverting Justice: How the Former President and His Allies Pressured D.O.J. to Overturn the 2020 Election.”“So far, I’ve only read the title page, and it seems to be about how the former president and his allies pressured D.O.J. to overturn the 2020 election,” Stephen Colbert said on “The Late Show.”“According to a new Senate report, former President Trump directly asked the Justice Department on nine separate occasions to overturn the 2020 election. Nine? Was he in the back seat of the car? [Imitating Trump] ‘Will you overturn the election?’ ‘No!’ ‘Will you overturn the election?’ ‘No!’” — SETH MEYERS“Trump really thought he could get away with throwing out the vote. He told people at the D.O.J., ‘You guys aren’t following the internet the way I do,’ which I assume means they aren’t Googling ‘Mushroom penis normal?’ over and over again.” — JIMMY KIMMEL“Fortunately, lawyers at the Department of Justice threatened to resign en masse if he replaced the attorney general, who refused to do his dirty work, with one of his cronies, who presumably would. He’s such a Karen, isn’t he? ‘Let me speak to the attorney general! He won’t? Well, does he have a supervisor? Put him on the phone!’” — JIMMY KIMMEL“Of course, there was no acknowledgment of this attempted coup — and that’s what it was — from his fellow Republicans. Senator Chuck Grassley’s office this morning issued the G.O.P. version of the report, which says, and I quote: ‘Trump listened to his senior advisers and he followed their advice and recommendations,’ which is a nice way of saying he wanted to overthrow the government but the lawyers wouldn’t let him do it.” — JIMMY KIMMEL“But that’s how close we came. Trump tried every avenue he could think of: the courts, the states, the vice president, the Justice Department. He’s like the guy in gridlock traffic who keeps switching lanes, and then throws his hands up when it doesn’t work.” — SETH MEYERSThe Punchiest Punchlines (Raise the Roof Edition)“We almost didn’t have a government to save, thanks to former President The Big Lie-bowski.” — STEPHEN COLBERT“As I mentioned, Congress has reached a deal to raise the debt ceiling for two months. I’ll tell you what I think: Just do what Netflix does and raise the ceiling a little bit each month so nobody notices.” — JIMMY FALLON“Woo! Raise the financial roof!” — STEPHEN COLBERT“This means America will remain solvent and free from financial calamity. Until Dec. 3.” — STEPHEN COLBERTThe Bits Worth WatchingMadonna answered all of Jimmy Fallon’s burning questions on “The Tonight Show.”Also, Check This OutJovani Furlan, photographed virtually via FaceTime, keeping in dancing shape in Joinville, in Brazil. Three New York City Ballet dancers reflect on not being able to perform during the pandemic and how it feels to return to the stage. More

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      For Sutton Foster, Crochet Is a Survival Tactic

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      Sutton Foster is finishing up a 15-week run at the Barbican as Reno Sweeney in “Anything Goes,” a role for which she won a Tony a decade ago, and she is preparing to return to Broadway later this year to co-star with Hugh Jackman in “The Music Man.”But before we got into all that, she wanted to show off a washcloth.“They didn’t have any washcloths here in the flat,” Foster said during a video interview from London last month, “so I was like, ‘Well, I’ll make some!’” She plans to give them as Christmas presents.When she isn’t performing onstage or onscreen (recently as one of the stars of the television series “Younger”), there is a decent chance that Foster is crocheting, cross-stitching, baking, drawing or gardening, hobbies she explores in her new essay collection, “Hooked: How Crafting Saved My Life,” which Grand Central will release on Tuesday.The chapters are craft-themed, but this book is not all about Mod Podge and Jo-Ann Fabrics. Foster, 46, writes about how keeping her hands busy has helped her cope with the stress and pressure of her career and the ups and downs of a life in which she didn’t always get what she needed from her family, loved ones or colleagues.“Hooked” is out on Oct. 12.“Anxiety runs in my family — in me,” she writes. “I am the daughter of an agoraphobic mother. I make a living as a performer. It’s complicated. And yet, if I’m feeling anxious or overwhelmed, I crochet, or collage, or cross-stitch. These hobbies have literally preserved my sanity through some of the darkest periods of my life.”There are light moments, like when we learn that Foster crocheted an octopus toilet-paper-roll cover as a wedding gift for her “Younger” co-star Hilary Duff. But these are balanced with heavier revelations, such as when Foster writes about the baskets she cross-stitched for her mother as a means of escaping toxic cast dynamics early in her career.She opens up about snowman-shaped holiday cookies she baked with the family of her first husband, Christian Borle, and the floral blanket she pieced together, one “granny square” at a time, when that marriage ended. She describes drawing interconnected circles with paint pens while undergoing fertility treatments, and the striped baby blanket she crocheted while waiting for her daughter’s birth mother to go into labor.Foster taught herself how to crochet when she was 19, and estimates that she has eight to 10 projects going at a time. She has a yarn dealer who shipped three boxes of Lion Brand supplies to London, then flew over to see “Anything Goes.” (You know what a big deal this is if you’ve ever been a novice in a certain kind of a yarn store, where customers tend to be sorted into varsity, junior varsity and invisible.) Sometimes Foster works from a book or consults YouTube for assistance, but she also creates her own designs.Foster said she has crafted many evenings of song, so she brought the same approach to writing her book: “You’re taking a reader on a journey, like taking an audience on a journey.”Ellie Smith for The New York TimesGrowing up in Georgia and, later, Michigan, Foster got her start, like many thespians of her generation, in a community production of “Annie.” After performing in national tours of “Grease” and “Les Misérables,” she appeared in Broadway productions of both shows, as well as “Annie” and “The Scarlet Pimpernel.” In 2002, she won her first Tony for “Thoroughly Modern Millie.”Like her perennially cheerful “Younger” character, Liza Miller, Foster was a bundle of can-do energy and enthusiasm, until our conversation turned to her mother. Then she spoke slowly, eyes closed, choosing each word painstakingly.Helen Foster’s health began to decline when Sutton and her brother, Hunter, were teenagers. She had a fraught relationship with Sutton and stopped speaking to Hunter for close to a decade; the siblings’ connection with their father suffered as a result. Since Helen Foster’s death in 2013, Sutton and Hunter have enjoyed a new chapter with the man known as Papa Bob, and “Hooked” includes his tips for growing the perfect tomato. (No. 9: “Pick the tomatoes when they’re near ripe but not quite ripe, so others can grow.”)“Crafting was the way I could tell my mother’s story that felt most authentic to me,” Foster said. “A way to weave, pun intended, all the facets of my life together in a way that felt true to me today.”In the book, she takes readers inside the squalid house in Florida where her mother spent her final years. “I flipped on the light and gasped,” she writes. “All of her windows had been blacked out with black garbage bags, secured to the walls with duct tape.” Her mother had been bedridden for months, refusing to seek medical treatment: “That explained the bedpan and pee pads on the floor next to her bed.”In “Younger,” Foster plays a 40-year-old empty-nester who lands an entry-level publishing job — and a whole new life — by pretending to be a millennial.Nicole Rivelli/CBS“It was mental illness that was never treated, never dealt with,” Hunter Foster said in a phone interview. After mentioning that he spends as much time as possible outside, he added, “I don’t allow myself to sleep past a certain time because my mom stayed in bed half the day.”His and his sister’s relationship with their mother is likely to surprise some readers, Sutton Foster said. “It’s a part of our story that people don’t know. It’s this underbelly: my mother’s illness and protecting her and being afraid of her. No one talked about it, and there’s this freedom now.”Behind her on the wall was a framed poster that said “Breathe.”Foster wrote “Hooked” with Liz Welch, who has collaborated on best sellers by Malala Yousafzai, Elaine Welteroth and Shaun King. “Sutton is a Broadway musical actress, my mother was a Broadway musical actress. Sutton’s an adoptive mother, I’m an adoptive mother. Honestly, I think we’d be friends anyway,” Welch said. “Crochet was the perfect metaphor for holding oneself together, taking all these different threads of her incredibly interesting, not-what-you’d-expect life.”Suzanne O’Neill, a vice president and executive editor at Grand Central, said: “One thing that’s very hard for people who are writing memoirs to do is to excavate their stories, and Sutton was game for it, even if there were moments that were hard. She wanted the book to be excellent. She dove into it. It was a piece of art for her, and she worked really hard to make it the book it is.”In “Hooked,” Foster recalls being 16, mesmerized as her idol, Patti LuPone, belted out “Being Alive” on TV. “There was something simultaneously terrifying and thrilling about her confidence,” she writes. Her mother, who had recently stopped driving and grocery-shopping, said, “You can do that.”Foster, center, won a Tony for her performance in “Thoroughly Modern Millie.”Sara Krulwich/The New York TimesShe later met LuPone, who also played Reno Sweeney in “Anything Goes,” and LuPone inspired one of Foster’s favorite collages: a colorful confection of craft paper on plywood, spelling out BADASS.“She’s a beautiful creature,” LuPone said of Foster. “She exudes a very positive light. We’re drawn to tortured souls, just to find out why they’re tortured. And we’re also drawn to the light, and the light is much more nourishing. You see somebody onstage that makes you feel better. That’s Sutton.”Foster is set to open “The Music Man” in December, playing Marian Paroo opposite Jackman as Harold Hill. But before she embarks on more soul-soothing craft projects backstage at the Winter Garden Theater, she will have time to settle into the Orange County farmhouse she moved into last spring with her husband, Ted Griffin, a screenwriter, and their 4-year-old daughter, Emily.She plans to bring at least one piece of her past into this next phase of life: a cross-stitched scene depicting baskets of various shapes and sizes that she made for her mother. For years, the piece hung in the front hallway of her parents’ house and was a stabilizing presence during difficult visits.Foster recently collected the baskets from her father’s basement. “I have them now,” she said. “They’ll go in the new house.” More

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      Seth Meyers Breaks Down Facebook’s Very Bad Week

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      “It’s the kind of week you normally post about on Facebook,” Meyers said on Wednesday night.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.Face-OffLate-night hosts continued to weigh in Wednesday night on Facebook’s horrible, no good, very bad week.“It’s the kind of week you normally post about on Facebook,” Meyers said, adding that the social media giant had it even worse than the Yankees, who lost their wild-card game Tuesday and were knocked out of the baseball playoffs.“Here’s the thing. Facebook is like a pocketknife: You can use it to peel an apple or stab a janitor at school.” — JIMMY KIMMEL“Speaking of destroying America, Mark Zuckerberg is pushing back after the bombshell testimony from a whistle-blower who gave Congress insight into what her former employer is up to. Zuckerberg fired back last night with the longest Facebook post ever recorded. This post was so long, I thought my Aunt Fran wrote it.” — JIMMY KIMMEL“The whistle-blower, Frances Haugen, claimed, among other things, that Facebook prioritizes angry posts — they get the most traction. Zuckerberg rejected those claims in an angry post.” — JIMMY KIMMEL“Up until now, Zuckerberg has been silent about a whistle-blower revealing that Facebook has misled the public about the negative effects of its platforms on children and teens, especially young girls, and that Facebook’s mechanics further the spread of misinformation. That’s why I’m not on Facebook. I get my news from a more reliable source: pantsless guy on the subway.” — STEPHEN COLBERT“Zuck actually posted a statement defending Facebook against charges that their algorithm encourages conflict, explaining, ‘I don’t know any tech company that sets out to build products that make people angry.’ Really? I do — it’s called cnn.com. Why is the video embedded in the article not about the article? If I click a link about the Albuquerque Balloon Festival, I don’t want to watch a video where Van Jones sits down with undecided voters after watching the same Humira ad twice!” — STEPHEN COLBERT“And it is, to say the least, not good that what amounts to a global public utility is controlled by one massive, secretive international conglomerate. It’s like finding out that all the drinking water in the world is controlled by some company called ‘Aqua Buds’ and it’s run by one weird little dude who created the company out of revenge because none of the cute girls at this college would give him a glass of water: ‘Oh, I’ll show them. I’ll show them all! Who’s thirsty now, Courtney?’” — SETH MEYERSThe Punchiest Punchlines (Anyone Else Edition)“Well, get this — apparently New York City Mayor Bill de Blasio has been telling people that he’s going to run for governor of New York next year. New Yorkers heard and were like, ‘Please, anyone else.’” — JIMMY FALLON“Then Rudy Giuliani was like, ‘What about me?’ and New York was like, ‘OK, maybe not anyone else.’” — JIMMY FALLON“Here’s the deal: de Blasio is reportedly possibly running for New York governor. There’s still a lot of unknowns: what his platform is, what his announcement date is, and what he’s smoking.” — STEPHEN COLBERT“Apparently, de Blasio has been sounding out trusted former aides about their interest in working on a potential campaign. His only hope is that they don’t remember his presidential campaign, when he finished 47th behind Michael Bennet and a Roomba with googly eyes.” — STEPHEN COLBERTThe Bits Worth WatchingTrevor Noah spoke to Monica Lewinsky about her new documentary, “15 Minutes of Shame,” on Wednesday’s “Daily Show.”What We’re Excited About on Thursday NightMadonna will pop by Thursday’s “Tonight Show.”Also, Check This OutJeremy Strong, left, with Nicholas Braun, in the HBO comedy-drama “Succession.” David M. Russell/HBO“There’s a trying to Greg that’s really endearing and fun for me to play,” said Nicholas Braun, a star of “Succession,” which returns with Season 3 on Oct. 17. More

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      Adrian Lester Finally Arrives on Broadway, via Wall Street

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      A few years ago, Adrian Lester saw “The Lehman Trilogy” in London. Not only did he love it, but he was also impressed on a purely technical level. He knew how demanding it was for just three actors to portray several different characters and to carry the intricately devised epic, which follows the rise of the Lehman brothers in the 19th century, then the fall of their company in the 2008 financial crisis.“I was happy to watch it, be amazed, and walk away and go ‘phew,’” the British actor said in a recent conversation. “I thought to myself, ‘How are you doing that?’”Now he really knows, because he’s currently testing his endurance on Broadway as one of those three actors.The National Theater’s production of Stefano Massini’s play, adapted by Ben Power and directed by Sam Mendes, premiered in 2018, and had a short run at New York’s Park Avenue Armory the next year. The cast — Simon Russell Beale, Adam Godley and Ben Miles — reunited once again for a Broadway transfer in March 2020, but the pandemic put an end to it after a handful of previews.Undeterred, “The Lehman Trilogy” is back at the Nederlander Theater, with Lester stepping in for Miles (who left to play Thomas Cromwell in a stage version of Hilary Mantel’s “The Mirror and the Light”). Opening night is scheduled for Oct. 14.Small adjustments have been made to the script, Mendes said, to address the criticism that it had glossed over the Lehmans profiting from slave labor. “We wanted to acknowledge the family’s history in dealing with the slave owners of Alabama, when the three founding brothers first arrived from Germany,” Mendes said in an email.Lester with Adam Godley in “The Lehman Trilogy” at the Nederlander Theater, where it is scheduled to open Oct. 14.Sara Krulwich/The New York TimesThere is no editorializing, however. “We don’t cross that line of going, ‘Hey audience, this is horrible,’” Lester, 53, said. “We simply present it and allow them to make their judgment. I suppose my casting makes that process easier.”He added, “We’ve been very aware of what’s being said in the text, what we may have missed, what things need to be pulled out or put in.”With all due respect to Miles, the casting switcheroo is a special treat for New Yorkers, who have not seen Lester nearly enough over the course of his three-decade career on the stage and screen. It feels incredible that he is just now making his Broadway debut, though he has popped up on smaller local stages: as Rosalind in Cheek by Jowl’s “As You Like It” back in 1991 and 1994, as that moody Scandi prince in a Peter Brook production of “Hamlet” that transferred from London in 2001, or as the real-life 19th-century actor Ira Aldridge in “Red Velvet” (written by Lolita Chakrabarti, Lester’s wife).No matter how good those productions were, they did not turn him into a New York marquee name. Lester good-naturedly pointed out that when he is recognized here, it’s usually because of a pair of screen performances that go back 20 or so years: as a movie star dating Tracee Ellis Ross’s character in the TV series “Girlfriends” and as a presidential-campaign operative in the Mike Nichols film “Primary Colors.”It’s another story back home, where the Birmingham-born commander of the Order of the British Empire has had lauded turns as Henry V and Othello, and received an Olivier Award in 1996 for his performance as Bobby in “Company,” also directed by Mendes — because, yes, Lester can sing and dance, too.He has also done the requisite television work, spending, for example, seven seasons on the comic caper “Hustle” as Mickey Rocks, the charming leader of a merry band of con artists.That show’s creator, Tony Jordan, was looking for someone along the lines of George Clooney in “Ocean’s Eleven” to play Mickey. Those are tough designer shoes to fill, but Lester’s ability to embody nonchalant, beguiling poise turned out to a perfect fit for a smooth criminal.“Before creating the show I’d read 20 books on confidence tricks,” Jordan wrote in an email. “I should be the hardest person to con, but I know that if Adrian’s Mickey had tried to sell me shares in a recently discovered gold mine in Arizona, I’d have invested heavily.”For Lester, the part was catnip because it actually was many parts. “The reason why I stayed with this character is that every episode, he pretends to be someone else,” he said. “You knew who he was inside, but you watched him become something else in front of you. And that,” he said, snapping his fingers for emphasis, “was just gold dust for me. I loved it.”But beyond Mickey’s parade of disguises and tricks, Lester also grounded him.“Adrian brought a truth to the role,” Jordan said. “You believed him totally, and more importantly, he made you feel that he wasn’t on the screen, that he was sitting beside you. That he was your best friend.”Sitting in an impersonal conference room in between “Lehman” rehearsals, Lester was thoughtful and soft-spoken — he was barely audible above the HVAC system’s white noise. The immediate result was I leaned forward and focused. This magnetic pull translates to the stage as a mysterious kind of spell: Nicholas Hytner, who directed Lester in “Othello” and “Henry V,” wrote in an email that the actor “always seems to be nursing a secret. It’s what draws you in.”“In this industry, you’re not going to get promoted by just waiting for someone to promote you,” Lester said, “you have to promote yourself.”Kendall Bessent for The New York TimesPartly, it’s that Lester, who trained at London’s Royal Academy of Dramatic Arts, has impeccable chops. But he also knows not to overuse them, which would transfer the attention from the character to the actor. “When I was in rehearsal in drama school, I would speak things in meter and then never do it again,” he said. “If you’re in front of an audience and your voice, your mannerism, your pattern of speech, your intellectual approach to the performance tells the audience that you’re acting, they will switch off. And so I’ve never wanted to do that in anything.”​​For Hytner, this translates into a great classical actor. “He is in total command of the way Shakespeare’s people think and speak,” Hytner said, “in long, perfectly weighted paragraphs that emerge as if spontaneous.”Onstage, Lester has an uncanny way to establish a connection with both his scene partners and the audience by expressing a lot with seemingly little. His Othello, for example, exuded a sense of natural authority without resorting to the usual manly signifiers of military toughness. This made the times when he upped the ante all the more impactful — the scene in which he kills Desdemona was even harder to watch than usual. (The production can be streamed on the National Theater’s website.)Lester’s creative ambitions are naturally leading him to try to wrest more autonomy in his career. He has been dabbling with directing — an episode of “Hustle” here, a couple of episodes of “Riviera” there — and he’s now preparing to step behind the camera for his first feature, with possibly a second one in the works as well.“If you want to be a part of creating these stories onstage, on television, on the film screen, it’s always a struggle,” he said. “If you want to have more of a say on how the story goes, you have to step behind the camera. In this industry, you’re not going to get promoted by just waiting for someone to promote you,” he continued, “you have to promote yourself. And the only way you do that is by saying no to the things you would have said yes to beforehand, and wait for the next thing to come. The only power you have as an actor is to say no.”In his case, it has also been to say yes to roles where his mere casting defied antiquated expectations of who can play what.“Every time I’ve played a role — every time — I’ve been hit by the same response of ‘Oh goodness, that’s interesting,’” he said, pointedly making exceptions for “Six Degrees of Separation” and “Red Velvet,” in which he portrayed Black men. “Every time I’ve played a character, a classical one especially, it’s been somewhat a departure from how people perceive that role to have been.”He paused, smiled. “I have to politely leave those people to their own thoughts.” More

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      ‘Sex Education’ Gets More Inclusive in Its Intimacy

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      With its new nonbinary characters and its scenes depicting chest binding and disabled intimacy, the British teen comedy-drama continues to widen its lens.Layla (Robyn Holdaway) slides a bin in front of the bedroom door, takes a small wicker box from its hiding place in a drawer full of clothes and opens it to reveal a roll of Ace bandages and a tin of safety pins.The scene that ensues, from Season 3 of “Sex Education,” depicts a routine that is all too familiar for many nonbinary and transgender youth. Layla — who, like Holdaway, uses they/them pronouns — proceeds to wrap the bandages tightly around their chest, which is already bruised and bloodied from unsafe chest binding.Later in the episode, Cal — another new and nonbinary character this season, played by the Sudanese American actor Dua Saleh — shows Layla a safer alternative: a chest binder, which is a compression undergarment often made of spandex and nylon.“I did it for a while with Ace bandages,” Cal tells Layla, who tries on a borrowed chest binder. “Until I nearly broke a rib.”Layla looks into the mirror, laughs incredulously and says with joy, “It feels so much better.”Laurie Nunn, the creator of this British dramedy, said that presenting such interactions, matter-of-factly with plenty of detail, is part of the show’s effort “to progress these conversations forward.”“It felt important to me that we see two nonbinary characters communicating with each other onscreen,” she said in a recent video interview. “It’s not just representation; it’s having as much of it as possible within the scope of the show.”Over two seasons, “Sex Education” has been widely praised for its frank but sensitive depictions of teen sexuality. In Season 3, now out on Netflix, the series has widened its lens to include more stories about queer relationships, gender presentation, intimacy with a disability and other experiences that rarely are explored on mainstream television.To do so in an authentic but respectful fashion, the producers use intimacy coordinators and a healthy dose of communication. “The show goes to great lengths to make sure that our actors are as protected as possible,” Nunn saidAt the same time, stars like George Robinson, who, like his character Isaac, uses a wheelchair, found themselves serving as both performers and de facto consultants, ensuring that the details and dynamics of their scenes were accurate. “Obviously, he’s playing a character, but it’s making sure that it feels authentic and true to his experience as a disabled actor,” Nunn said.George Robinson’s love scene was a rarity for a disabled actor, but everyone involved “stayed away from thinking too much about the significance of that scene,” he wrote in an email.Sam Taylor/NetflixOne such scene unfolds in Episode 4, when a dinner date between Isaac and Maeve (Emma Mackey) turns toward the intimate. Isaac is paralyzed from the chest down, like Robinson. Maeve starts kissing him, then pulls away. “Can …” she whispers, trailing off.“You want to know what I can feel?” Isaac asks.“Yeah,” Maeve replies.“Well, I can’t feel anything below my level of injury,” Isaac says. “If you put your hand on my chest, I’ll show you.”Isaac was originally conceived as an amputee, but the show’s producers decided to rewrite the role around the disability of whoever landed the part. Isaac is a painter, a brother, a lover and crucially, in Season 2, a jealous deleter of voice mail messages. His sense of humor is laced with cynicism, like Maeve’s.When asked how it felt to film the dinner date scene, Robinson responded in an email, “The easy and instinctive answer would be to think that in the moment, it felt like a real privilege to be a part of a ‘cultural moment’ type scene like that.“However, I have realized that in actual fact we (myself, Emma and the creative team) purposefully stayed away from thinking too much about the significance of that scene within the landscape of TV, film and media. We came to the conclusion that in order to make the scene successful, we had to make sure that it worked within the story and for the characters at that time in their relationship.”Kelly Gordon, a trainer at Enhance the UK, a charity run by disabled people, and Chris Yeates, an outreach and support coordinator at Back Up Trust, a charity that supports people affected by spinal cord injury, consulted on Isaac’s story line. The scene works because it’s not about the fact that Isaac uses a wheelchair. It’s a story about two awkward teenagers, an expression of affection and a burned lasagna.David Thackeray, an intimacy coordinator, worked on all eight episodes of Season 3, including this scene with Isaac and Maeve. Thackeray choreographs each take as if it were a dance sequence or a fight scene, mapping out physical boundaries with each actor beforehand.“We’re all sitting together, discussing the scene; we mark out where we’re happy to be touched,” Thackeray said. “Even to sit on George’s lap was like, ‘Are you happy with that?’ You keep that communication going.”Coordinators and consultants checked in constantly on the cast’s comfort levels. Jodie Mitchell, a consultant who advises productions about how to depict nonbinary characters and themes (and who also uses they/them pronouns), was initially brought on only to work on the script with the writers. Then one of the show’s directors, Runyararo Mapfumo, called, wanting to double check the details of scenes featuring nonbinary characters.“And then she really wanted me to come on set, which I think is indicative of how much this program really wants to get things right,” Mitchell said in an interview. “It’s not just about posturing for them or ticking the box of like, ‘Oh, we’ve checked it’s OK with someone.’ They really want to follow through to the highest level they can.”Mitchell worked on set for three days, focusing on nonbinary story lines, mostly consulting on those chest binding scenes involving Layla and Cal. Holdaway, who plays Layla, had the option of having an intimacy coordinator present for every scene.“But for a few of the scenes around bindings specifically, they were like, ‘Oh, actually, I just want someone who is trans and has lived experience with being trans in the room with me,’” Mitchell said. “So I was there.”Saleh, who plays Cal and also uses they/them pronouns, was a poet and musician before moving more seriously into acting (their third EP comes out Oct. 22). While Saleh has performed in some transgender- and queer-centric plays (“WAAFRIKA 1-2-3”) and theater groups (20% Theatre Company in Minneapolis), “Sex Education” was their TV debut.In a past theater production, “we had a lot of intimacy scenes, but we didn’t have a coordinator there,” Saleh said in a video interview last month. “So coming to ‘Sex Ed,’ it felt surprising how thoughtful and careful they were about our bodies, and about the ways that they helped us set boundaries with each other, and say what we weren’t and what we were comfortable with.”Like others on “Sex Education,” Saleh is a fan of the show as well as a star, and occasionally got caught up in resonant moments this season. Saleh was particularly moved by scenes portraying Eric Effiong (Ncuti Gatwa), a gay Ghanaian-Nigerian character who attends a family wedding in Nigeria. Eric sneaks out of the reception to go instead to an underground club pulsing with color, queerness and gender nonconformity.“When I was a teenager, if I had seen this show, I wouldn’t have held onto all of the gross feelings about myself, just in me being me,” Saleh said. “I wouldn’t have been as shameful about just existing.” More

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      'Squid Game,' the Netflix Hit, Taps South Korean Fears

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      The dystopian Netflix hit taps South Korea’s worries about costly housing and scarce jobs, concerns familiar to its U.S. and international viewers.In “Squid Game,” the hit dystopian television show on Netflix, 456 people facing severe debt and financial despair play a series of deadly children’s games to win a $38 million cash prize in South Korea.Koo Yong-hyun, a 35-year-old office worker in Seoul, has never had to face down masked homicidal guards or competitors out to slit his throat, like the characters in the show do. But Mr. Koo, who binge-watched “Squid Game” in a single night, said he empathized with the characters and their struggle to survive in the country’s deeply unequal society.Mr. Koo, who got by on freelance gigs and government unemployment checks after he lost his steady job, said it is “almost impossible to live comfortably with a regular employee’s salary” in a city with runaway housing prices. Like many young people in South Korea and elsewhere, Mr. Koo sees a growing competition to grab a slice of a shrinking pie, just like the contestants in “Squid Game.”Those similarities have helped turn the nine-episode drama into an unlikely international sensation. “Squid Game” is now the top-ranked show in the United States on Netflix and is on its way to becoming one of the most-watched shows in the streaming service’s history. “There’s a very good chance it will be our biggest show ever,” Ted Sarandos, a co-chief executive at Netflix, said during a recent business conference.Culturally, the show has sparked an online embrace of its distinct visuals, especially the black masks decorated with simple squares and triangles worn by the anonymous guards, and a global curiosity for the Korean children’s games that underpin the deadly competitions. Recipes for dalgona, the sugary Korean treat at the center of one especially tense showdown, have gone viral.A shop in Seoul selling “Squid Game”-themed dalgona.Heo Ran/ReutersLike “The Hunger Games” books and movies, “Squid Game” holds its audience with its violent tone, cynical plot and — spoiler alert! — a willingness to kill off fan-favorite characters. But it has also tapped a sense familiar to people in the United States, Western Europe and other places, that prosperity in nominally rich countries has become increasingly difficult to achieve, as wealth disparities widen and home prices rise past affordable levels.“The stories and the problems of the characters are extremely personalized but also reflect the problems and realities of Korean society,” Hwang Dong-hyuk, the show’s creator, said in an email. He wrote the script in 2008 as a film, when many of these trends had become evident, but overhauled it to reflect new worries, including the impact of the coronavirus. (Minyoung Kim, the head of content for the Asia-Pacific region at Netflix, said the company was in talks with Mr. Hwang about producing a second season.)“Squid Game” is only the latest South Korean cultural export to win a global audience by tapping into the country’s deep feelings of inequality and ebbing opportunities. “Parasite,” the 2019 film that won best picture at the Oscars, paired a desperate family of grifters with the oblivious members of a rich Seoul household. “Burning,” a 2018 art-house hit, built tension by pitting a young deliveryman against a well-to-do rival for a woman’s attention.The masked guards in “Squid Game” mete out violence during the competitions.NetflixSouth Korea boomed in the postwar era, making it one of the richest countries in Asia and leading some economists to call its rise the “miracle on the Han River.” But wealth disparity has worsened as the economy has matured.“South Koreans used to have a collective community spirit,” says Yun Suk-jin, a drama critic and professor of modern literature at Chungnam National University. But the Asian financial crisis in the late 1990s undermined the nation’s positive growth story and “made everyone fight for themselves.”The country now ranks No. 11 using the Gini coefficient, one measure of income inequality, among the members of the Organization for Economic Cooperation and Development, the research group for the world’s richest nations. (The United States is ranked No. 6.)As South Korean families have tried to keep up, household debt has mounted, prompting some economists to warn that the debt could hold back the economy. Home prices have surged to the point where housing affordability has become a hot-button political topic. Prices in Seoul have soared by over 50 percent during the tenure of the country’s president, Moon Jae-in, and led to a political scandal.“Squid Game” lays bare the irony between the social pressure to succeed in South Korea and the difficulty of doing just that, said Shin Yeeun, who graduated from college in January 2020, just before the pandemic hit. Now 27, she said she had spent over a year looking for steady work.“It’s really difficult for people in their 20s to find a full-time job these days,” she said.South Korea has also suffered a sharp drop in births, generated partly by a sense among young people that raising children is too expensive.“In South Korea, all parents want to send their kids to the best schools,” Ms. Shin said. “To do that you have to live in the best neighborhoods.” That would require saving enough money to buy a house, a goal so unrealistic “that I’ve never even bothered calculating how long it will take me,” Ms. Shin said.Characters in the show receive invitations to participate in the Squid Game.Netflix“Squid Game” revolves around Seong Gi-hun, a gambling addict in his 40s who doesn’t have the means to buy his daughter a proper birthday present or pay for his aging mother’s medical expenses. One day he is offered a chance to participate in the Squid Game, a private event run for the entertainment of wealthy individuals. To claim the $38 million prize, contestants must pass through six rounds of traditional Korean children’s games. Failure means death.The 456 contestants speak directly to many of the country’s anxieties. One is a graduate from Seoul National University, the nation’s top university, who is wanted for mishandling his clients’ funds. Another is a North Korean defector who needs to take care of her brother and help her mother escape from the North. Another character is an immigrant laborer whose boss refuses to pay his wages.The characters have resonated with South Korean youth who don’t see a chance to advance in society. Known locally as the “dirt spoon” generation, many are obsessed with ways to get rich quickly, like with cryptocurrencies and the lottery. South Korea has one of the largest markets for virtual currency in the world.Like the prize money in the show, cryptocurrencies give “people the chance to change their lives in a second,” said Mr. Koo, the office worker. Mr. Koo, whose previous employer went out of business during the pandemic, said the difficulty of earning money is one reason South Koreans are so obsessed with making a quick buck.“I wonder how many people would participate if ‘Squid Game’ was held in real life,” he said.Seong Gi-hun, the show’s protagonist, entering an arena for one of the games.Netflix More

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      Stephen Colbert Spoils Stephanie Grisham’s Tell-All Tidbits

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      Colbert joked that the former White House press secretary had titled her Trump tell-all “I Just Recently Grew a Spine.”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.Too Little Too LateStephen Colbert lamented having to drudge up Donald Trump again on Tuesday night.“No matter how hard I try not to, sometimes the news forces me to talk about our former president, Scrooge McSchmuck,” Colbert said.This week, the topic was Stephanie Grisham’s new tell-all about her time working in the Trump White House, and Colbert said he wanted to spoil all the juicy bits so as not to give her a sales boost.“Stephanie Grisham worked in the White House for four years, and as press secretary, she famously never gave a single press conference. But now she’s spilling all the tea in her new book, ‘I Just Recently Grew a Spine.’” — STEPHEN COLBERT“In the book, Grisham uses a lot of colorful language to describe the administration, calling it ‘a clown car on fire running at full speed into a warehouse full of fireworks.’ Or as Fox News would put it, ‘a brave band of flaming harlequins rushing patriotically into the explosive jaws of danger.’” — STEPHEN COLBERT“Yeah, just a reminder: She knew all about the fiery clown car and she still called shotgun for four years.” — STEPHEN COLBERT“Grisham goes on to write, ‘I can give you endless metaphors: living in a house that was always on fire, or in an insane asylum where you couldn’t tell the difference between the patients and the attendants, or on a roller coaster that never stopped.’ Ooh, ooh, let me try: Being in his administration is like sliding blindfolded down a 50-foot razor blade into a tub of gin. It’s like walking through a minefield led by a baby trying to change his own diaper. Driving a manure truck over a cliff into a pit of other manure trucks. Deep-sea diving surrounded by sharks who won’t shut up about winning Wisconsin.” — STEPHEN COLBERTThe Punchiest Punchlines (Facebook Fallout Edition)“Ladies and gentlemen, I come to you tonight from a room full of warriors. Heroes. Survivors. Forget World War II, this is the greatest generation, because yesterday, every single person in this room had to dig down deep within themselves and find the strength to make it through Facebook’s six-hour worldwide outage.” — STEPHEN COLBERT“Facebook went offline yesterday for over six hours. Wow, they finally found something they couldn’t fix with horse paste.” — SETH MEYERS“Everyone’s parents came this close to joining TikTok.” — JIMMY FALLON“Besides Zuckerberg, it was also a rough time for conspiracy theorists because for conspiracy theorists, Facebook is basically their WebMD.” — JIMMY FALLON“Well, in a statement, Facebook said the cause of the problem was, quote, ‘configuration changes on the backbone routers.’ Then they continued, ‘which caused the frontbone flexbox to dislodge the tungle switch and toggle the pixel dock florpcord, which then jolted the compshank’s codedox’s popknob causing a triple spanx zip-donk.’” — JIMMY FALLON“Facebook said that no user data was compromised during the blackout. It was not a hack, all your information is safe with them: your age, your height, weight, eye color, blood type, your birth date, your hopes, your dreams, your kidneys — all totally secure in the Facebook vaults.” — JIMMY KIMMEL“The blackout was followed by a devastating congressional panel investigation this morning. Democrats and Republicans in the Senate finally found something they can agree on: They both hate Facebook.” — JIMMY KIMMEL“That’s right, today, a Facebook whistle-blower testified for more than three hours in front of Congress and said some pretty damaging things. That’s right, the whistle-blower said Facebook has repeatedly misled the public and that is not OK. We already have an app for misleading the public — it’s called Tinder.” — JIMMY FALLONThe Bits Worth WatchingJames Corden and his staff debated who among them would win in a fight.What We’re Excited About on Wednesday NightThe cast of the Netflix dystopian hit “Squid Game” will appear on Wednesday’s “Tonight Show.”Also, Check This OutWith “In These Silent Days,” Brandi Carlile reaffirms her ambitions and polishes them, too.Ricardo Nagaoka for The New York TimesBrandi Carlile’s seventh album, “In These Silent Days,” braves the extremes of her songwriting. More

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      Netflix’s ‘Squid Game’ Reinvigorates Dalgona Candy

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      Interest in the South Korean treat has spiked since the debut of the Netflix drama “Squid Game.”One of Maddy Park’s earliest memories of street food was when vendors set up a portable stove outside her elementary school in Seoul, South Korea, to sell a candy for about a dime. It was part sweet treat, part game.Candy makers melted sugar and frothed it up with a pinch of baking soda to make this dalgona candy, Ms. Park recalled. They then pressed the mixture flat and pushed shapes like a circle, triangle, square, star or umbrella into the center. Ms. Park’s classmates determinedly tried to pick out the stamped shape using a needle without breaking it — a game called ppopgi. If the children successfully removed the shape from the brittle candy, they won another treat for free.“Dalgona was one of the cheapest, unhealthiest, yet the most addictive gamble for 7-year-old me,” said Ms. Park, now 28 and living in Downtown Brooklyn, N.Y.Ms. Park is one of many Koreans whose memories of dalgona candy, also called ppopgi, have surfaced thanks to the release last month of “Squid Game” on Netflix. The fictional series follows a group of cash-strapped people willing to die playing childhood games for a chance to win a jackpot. Episode 3 is all about ppopgi.Read more about “Squid Game” on Netflix.“There’s a gambling sort of element to it, kind of like in the ‘Squid Game’ but without life or death,” JinJoo Lee, 55, the Korean food blogger behind Kimchimari, said about ppopgi. Her recipe for dalgona candy, which she posted online in 2018, has had a 30 percent increase in traffic in the past few days. Similar candies are popular around the world, she said, but they go by different names.Dalgona candy filled a sweet void in postwar South Korea for children who had grown accustomed to the free chocolates given away by American soldiers, said Albert Park, an associate professor with expertise in Korean history at Claremont McKenna College in Claremont, Calif. Dalgona was inexpensive and accessible, he said.At first, glucose was used because raw sugar was expensive, Mr. Park said. But vendors likely began using sugar after the Korean War, when companies began to process it from its raw form, he said. The toffee-colored honeycomb candy became common in the 1960s, and was sold outside elementary schools and toy stores.Dalgona vendors started to disappear in the early 2000s as online shopping became more popular and toy stores began to close, Mr. Park said. It’s also likely that South Korea’s booming candy industry, and its proliferation of other types of inexpensive candies, put many of the mom-and-pop dalgona candy makers out of business.Contestants on the “Squid Game” pick out shapes from their dalgona candy, also known as ppopgi, in a life-or-death contest that featured challenges with childhood games.NetflixBut because of the popularity of “Squid Game,” the candy has made a comeback as a retro, nostalgic snack, Mr. Park said. “For some of these young Koreans, I don’t think they consciously think it’s Korean candy, but it’s a way to connect to their history that they don’t want to necessarily do in a history book,” he said.Social media has shepherded its leap to worldwide fame, introducing the candy to people outside South Korea.The name dalgona became more familiar to Americans in the midst of the coronavirus pandemic because of the popularity of the whipped coffee also known as dalgona. The beverage gained fame in January 2020 after the actor Jung Il-woo tried it in Macau on “Stars’ Top Recipe at Fun-Staurant,” a South Korean television show. He said it reminded him of the dalgona candy, unofficially naming the drink in the process. It then feverishly spread to South Korea’s coffee shops and eventually made its way to the United States.Some people, though, say dalgona candy’s spread through social media can divorce it from its cultural significance. “Dalgona candy is representative of fetishizing K-pop and K-dramas, and seeing one thing and saying, ‘Wow I’ve discovered Korean culture,’” said Nancy Wang Yuen, a sociologist and expert on race and racism in Hollywood, “when in fact the candy, the cinema, the television series, all of these things, have been in existence.”Fans love the candy’s blend of bitter, nutty and sweet tastes. “The flavor, for some reason, stays with you,” said Annie Yoo, 46, of Düsseldorf, Germany.Ms. Yoo’s most vivid memories of South Korea are those of foods like dalgona candy, as she was only 6 years old when she immigrated to the United States. She remembers the dirt roads she took to get to the dalgona street vendors under their tarps.“I really miss that candy,” she added. “In the midst of all the stuff we were going through, you barely get any treats. It was really magical.”In a YouTube video in which the “Squid Game” cast reacts to some of the scenes, Chae Kyung-sun, the show’s art director, reveals that dalgona candy was the trickiest prop to work with. Behind the scenes, she said, there was a professional who kept making the candy as they were filming.Those who have played the candy game approach it with different strategies. Hwang Dong-hyuk, the show’s writer and director, incorporated his own into the series: The show’s main character, Seong Gi-hun, repeatedly licks the candy to loosen the umbrella shape from the middle. It’s a trick the director said he used to win prizes when he was younger.But Ms. Park, who ate the candy outside her elementary school in Seoul, never did manage to win a free candy.Follow NYT Food on Twitter and NYT Cooking on Instagram, Facebook, YouTube and Pinterest. Get regular updates from NYT Cooking, with recipe suggestions, cooking tips and shopping advice. More