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      ‘Squid Game’: Wondering if You Would Survive? Here’s What to Read

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      “Squid Game” just took over the world (and social media). Here are some of the best takes and trivia.Yet another unheralded Netflix series has become a surprise hit. Seemingly out of nowhere (although it’s actually out of South Korea), the brutal nine-part survival drama “Squid Game” has struck a pop-culture nerve with its dark twist on cheery childhood games like tug of war and Red Light, Green Light — which, in the show, are played to the death for huge cash prizes.Think “Battle Royale,” “The Hunger Games” and “Saw” rolled together with “Parasite”: an exercise in class warfare in which the losers (i.e., the poor people desperate enough to compete) are summarily executed.Noting that “Squid Game,” which debuted on Sept. 17, was the No. 1 Netflix show in the world, Ted Sarandos, the Netflix co-chief executive, said on Monday that there was “a very good chance it’s going to be our biggest show ever.”Wondering whether to dive in? Already tried the show’s Dalgona cookie challenge? Either way, we’ve gathered what’s worth reading from the oceans of ink about the show. Excerpts and links, below:‘How Netflix’s Brutal “Squid Game” Is Already Wreaking Havoc Around the World’ [New York Post]“More than 14 billion videos with the hashtag #SquidGame have appeared on TikTok since the show premiered Sept. 17 on Netflix. Now it’s being hyped as the platform’s top streaming series in the US and dozens of other countries — quickly becoming a time-sucking trending topic on Twitter and Instagram, too.”‘“Squid Game”: How a Hyper-Violent Korean Series became Netflix’s Biggest Hit’ [The Age]“Dr Sung-Ae Lee, an expert in Korean film and television from Macquarie University, says the show’s focus on the ever-increasing gap between rich and poor has perhaps proved timely for audiences. ‘It’s about Homo economicus, rather than Homo sapiens — these are people who only think about money,’ she says of the show’s characters. ‘We’re living in an era where people follow neoliberal ideology without even knowing, so I think the audience identifies themselves in the story.’”‘Who Is Gong Yoo?’ [Marie Claire]“Yoo is a familiar face to fans of Korean content. The 41-year-old actor has starred in some of the biggest k-dramas and films of the past 20 years, all while maintaining a private life off of social media. If this is your first time seeing Yoo, here’s what we know about him and which of his projects to watch next.”‘This “Squid Game” TikTok Uncovers A Major Clue Hidden Behind the Beds in Episode 1’ [Bustle]“A shrewd TikTok user noticed that hints to survive the deadly games were inside the bunker ever since they woke up in it in Episode 1. “THE CLUES WAS IN FRONT OF THEM ALL ALONG,” TikTok user @lucy.what1 wrote on her short clip. The video zooms in on the empty bunker, from a scene later in the series when the number of players had dwindled, clearly showing wall paintings that depict all six games played throughout the season.”‘“Squid Game” Knockoffs Are The Latest Sensation to Take Over Roblox’ [Polygon]“These knockoffs are able to proliferate across the Roblox platform because it’s hard to issue a claim against a children’s game, and also, knockoffs and parody games often go unnoticed. In fact, it’s common for on-platform developers to copy original IP, using nonlicensed characters from shows like ‘Dragon Ball Z’ and ‘Demon Slayer.’ Whether these developers get caught depends on how aggressively the I.P. owners protect their content.”‘I Tried the Dalgona Candy Challenge to See If I Would Survive “Squid Game”’ [Delish]“I was curious about how difficult this might be, so I decided to try it out myself. I followed this recipe from Korean Bapsang, but improvised with a few tools. I heated 6 tablespoons of sugar over low heat in a pot I held on its side. Once it all melted, I turned off the heat and added ¼ teaspoon of baking soda. What then ensued was the most chaotic two minutes of my life.”‘Why Are ‘Squid Game’’s English-Language Actors So Bad?’ [Den of Geek]“Given the V.I.P.s’ role in the narrative, the stilted performances of the English-language actors kind of work. The V.I.P.s are a group of disgusting wealthy men so out of touch with humanity that they bet on human life for fun. This is reflected in the manner of their speech. […] To call them monsters would be letting them off the hook for their lack of humanity, which is a choice they make everyday, but to have that separation between the contestants and the V.I.P.s marked not only by a language barrier, but by a style of performance, is an interesting narrative decision, if it was one.”‘The Chekhov’s Gun in “Squid Game” That Has Fans Theorizing About Season 2’ [Looper]“Redditor u/Atlantic789 gets credit for noticing the Chekhov’s gun moment, which happens about 31 minutes into the fifth episode of Season 1, “A Fair World.” The undercover police officer Hwang Joon-ho has infiltrated the island’s unit of red-suited guards, and he’s climbing down a ladder inside a secret passage […]”‘The Ending to “Squid Game” Depicts a Moral Battle Between Egoism and Altruism’ [Men’s Health]“The moral beliefs of the extremely wealthy, ‘Squid Game’ leads us to believe, are essentially egoistic. They also believe that everyone shares this ethic, making it acceptable to prey on others.” More

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      ‘The Many Saints of Newark’ Review: The Best Really Is Over

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      In the movie prequel to “The Sopranos,” Tony returns as a child who learns to navigate his families on a difficult road to mob power.Tony Soprano, the mob boss in “The Sopranos,” was many things: husband, father, animal lover, lady-killer, sociopathic capitalist, pop-culture sensation. Americans like their villains on the soft side, and Tony famously suffered from inner turmoil, manifested in panic attacks, to go with the blood on his hands. A mobster in therapy — with a sexy female shrink, no less — generated bountiful narrative tension, as did his overlapping gangland and extended families. All told, Tony was a perfect distillation of two great American passions: self-improvement and getting away with murder.Created by David Chase, “The Sopranos” faded to enigmatic black in 2007, though it endures, including on HBO, its original home for six seasons. As a rule, we use the present tense when writing about fiction: Characters exist in the eternal now, or that’s the idea. But the death of James Gandolfini, who played Tony, complicates this because he and the show were interchangeable. With his lucid, quicksilver expressivity and a hulking, powerfully threatening physicality, Gandolfini made flesh Tony’s internal struggle, filling a potential cartoon with soul and, by extension, giving greater depth to the show. His absence is why I think of his signature character in the past tense.It’s also a reason the movie spinoff “The Many Saints of Newark,” a busy, unnecessary, disappointingly ordinary origin story, doesn’t work. The movie certainly has pedigree. It was written by Chase with Lawrence Konner, who wrote a few episodes of “The Sopranos,” and directed by Alan Taylor, another series veteran. Jumping between time periods, it tracks the sentimental education (moral and emotional) of the young Tony, who in 1967 is an 11-year-old pipsqueak played by William Ludwig. After a lot of introductions and plot developments, the story jumps to Tony at 16, now played by Gandolfini’s son, Michael, who bears a striking resemblance to his father.The movie means to show how and why the child became the man we never see but who casts a deep shadow. Following along with this evolutionary journey will be easier for those who watched “The Sopranos,” week after week, for 86 episodes of detailed, intimate, explanatory character development. Whatever your familiarity with the series, you may soon find yourself wondering why the filmmakers decided the way to fill in Tony’s past was to delve into his early relationship with a dreary, clichéd surrogate father rather than, say, his monstrous mother, Livia (immortalized in the show by Nancy Marchand and played here by Vera Farmiga with a prodigious prosthetic nose).Tony’s symbolic dad in “Saints” is Dickie Moltisanti (Alessandro Nivola, who can’t hold the center), a midlevel mob guy and father to the adult Tony’s mentee, Christopher, the drug-addled distant cousin and screw-up played by Michael Imperioli. Dickie never appeared onscreen in “The Sopranos,” but in the movie he takes on crucial twinned roles as Tony’s champion and as a progenitor of the violent, emotionally addled mobster Tony later becomes. It’s never clear why Dickie has a soft spot for the kid, other than it gives Tony a narratively convenient, relatively benign replacement for his more floridly violent, often absent dad. Mostly Dickie is a new toy that the filmmakers can play with.Too bad he’s right off the shelf. An amalgam of wiseguy clichés wrapped in a period-appropriate package, Dickie enters a crowded field of movie mob guys who are rarely as interesting as their makers believe. He has all the prerequisites, from the slick car to the sleek suits, and comes burdened with the usual work and women problems. Some of these headaches produce tension and promising interest, most notably Dickie’s relationship with a restless Black employee, Harold McBrayer (a nuanced, bristling Leslie Odom Jr.), whose discontent is mirrored, or is meant to be, by unrest that is based on what happened in Newark in 1967 after the arrest of a Black man.Both Harold’s prominence and the relatively few racist slurs dropped here are an index of the different cultural climates in which the movie and the show opened. Mobsters are going to mobster (bada-bing), but the language they use and the barbarisms they commit have been attenuated. And while the movie tries to engage race, its efforts are wan, cautious. By contrast, the women remain pretty much the same nagging wives, dutiful daughters and hot girlfriends, a.k.a. goomahs (bada-boom). The most important of these is a beauty, Giuseppina (Michela De Rossi), who’s brought from Italy by Dickie’s father (Ray Liotta) to be his wife; mostly, she’s around to flash booty and stir up Oedipal trouble.Movie spinoffs can be tough to pull off. Nothing felt at stake when I watched, oh, the first “Brady Bunch” movie, but its source material wasn’t a critical fetish, something that inspired excited discussions on masculinity, the latest golden age of television and the effect on the industry. “The Sopranos,” though, was too good, too memorable, and its hold on the popular imagination remains unshakable. It still casts a spell, and the movie knows it, which is why it sticks to the tired template of a boy’s own story rather than taking a radical turn, like revisiting Tony’s world from Giuseppina’s or Livia’s or Harold’s points of view. In the end, the best thing about “The Many Saints of Newark” is that it makes you think about “The Sopranos,” but that’s also the worst thing about it.The Many Saints of NewarkRated R for Mafia violence. Running time: 2 hours. In theaters and on HBO Max. More

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      Onstage, ‘Designing Women’ Sheds the Shoulder Pads, Not Its Politics

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      The hit sitcom, which ended in 1993, is back as play, premiering in Arkansas. But how do its laughs land in our more pointed political landscape?FAYETTEVILLE, Ark. — Linda Bloodworth-Thomason, the Emmy-nominated writer and producer, started hearing voices earlier this year, voices she hadn’t heard in nearly 30 years. Those voices wouldn’t shut up.“I told my husband, I’m going to have to get a gun and shoot them,” Bloodworth-Thomason said during a recent phone conversation.She didn’t know how else to make them stop.The voices were those of Julia Sugarbaker, Suzanne Sugarbaker, Mary Jo Shively and Charlene Frazier, the characters from “Designing Women,” the half-hour sitcom that premiered on CBS in 1986. Nominated for a slew of Emmys, it won only one, for outstanding achievement in hairstyling. Set in Atlanta, and centered on a quartet of mouthy women who orbit an interior design firm, it combined feminist politics with click-clack comedy rhythms, celebrating the New South with wit and pluck and shoulder pads.The show earned her, Bloodworth-Thomason said, citations from both Mitch McConnell, who had praised an antipornography episode, and the A.C.L.U. The A.C.L.U. one she framed.The show wrapped in 1993. Prime time and popular culture moved on. But friends and fans would often ask Bloodworth-Thomason what Julia, the outspoken founder of the design firm, played by Dixie Carter, might say about same-sex marriage or the #MeToo movement or the election of Donald J. Trump to the presidency.More recently, Bloodworth-Thomason began to think about answers.Those answers coalesced into a two-act comedy, “Designing Women.” Directed by Bloodworth-Thomason’s husband, Harry Thomason, the play had its premiere recently at TheaterSquared, in Fayetteville, Ark. (Thomason grew up in Hampton, Ark.; Bloodworth-Thomason in Poplar Bluff, Mo., just over the border.) The play runs through the end of October. It will also be available to stream, starting Oct. 15.The cast of the original “Designing Women” included, clockwise from bottom left: Jean Smart, Alice Ghostley, Delta Burke, Dixie Carter, Annie Potts and Meshach Taylor.Fotos International, via Getty ImagesA sleek, glass-walled building, a paper airplane’s flight from the University of Arkansas campus, TheaterSquared occupies a busy-ish corner. It has two theaters: the West, where “Designing Women” plays, which seats 275, and the Spring, which seats 120. The building hosts rehearsal spaces, administrative offices, scene and wardrobe shops, a flexible lobby performance space and a welcoming cafe where pastry always seems to be baking.Its programming favors lively dramas and musicals from contemporary playwrights of diverse backgrounds. This season includes Katori Hall’s “The Mountaintop,” Mike Lew’s “Tiger Style!” and Kristoffer Diaz’s “The Elaborate Entrance of Chad Deity.” Fayetteville, where more than 77 percent of residents identify as white, is not itself especially diverse.“If you’re a theater company that sets as its mission creating a more equitable community, then you want to bring people along,” Martin Miller, the theater’s executive told me. He had found me on the cafe’s patio, in early September, demolishing some local goat cheese. I’d come to northwest Arkansas for a few days of table work and rehearsal because I had wanted to see if an ’80s sensation, a sensation I had loved as a kid, still had anything to say to a 2020s audience. And, if I’m honest, I wanted to know just what this sensation was doing in Fayetteville.In “Designing Women” — the theatrical version — the diversity centers on the class backgrounds of its characters, their religious beliefs, their voting patterns, as the TV one had. Set in the very recent past, the script eavesdrops on the women and a few new characters as they contend with the pandemic, the possible financial collapse of their firm and the 2020 presidential election. It is no spoiler to say that the women ultimately triumph, bridging their differences stylishly. The creators and producers hope that it will encourage audiences across the political spectrum to build some bridges, too.“We just need to look at each other with more grace and more love, that’s what I’m gathering from this play,” Carmen Cusack, the Tony-nominated actress who plays Julia in the theatrical version, said. “At the end of the day, what’s most important is just appreciating that we’re all in this together.”The original “Designing Women” wore the skirt suits and heels of a workplace comedy. But the workplace occupied Julia’s living room, so it was a domestic comedy, too. Part of a late ’80s boom in women-centered shows that included “Roseanne” and “Murphy Brown,” it wrestled — sometimes explicitly, sometimes obliquely, often in heels — with the feminist discourse of the day.Joan Williams, the director of the Center for WorkLife Law at the University of California Hastings College of the Law, described the series as a helpful fiction suggesting that women could have both careers and families without apparent conflict. “It opened a fantasy, a conceptual space, an idealized image that it was going to be possible for women to be very successful professionals and very successful mothers,” Williams said.The fantasy largely favored an empowerment agenda, implying that if a woman just tugged on her big-girl panties and stood up tall in them, she could bend the world to her will. But episodes also exposed systemic problems — sexual harassment, violent pornography — without offering easy answers.“‘Designing Women’ really did try to speak to the particular political moment, even as it attempted to negotiate it within the politics of television,” said Alfred Martin, a media and cultural studies scholar at the University of Iowa.The show’s director, Harry Thomason, far left, with Jason Lynch, the production lighting designer, and Austin Bomkamp, the programmer, at a tech run.Rana Young for The New York TimesThe show wasn’t entirely progressive. Its sole character of color, Anthony Bouvier (Meshach Taylor), had a subordinate role in the firm, and queer characters were rare. But it gave its characters divergent attitudes, insisting that the experience of women wasn’t uniform. In a logline, the characters might have come across as stereotypes — hardass, bimbo, pragmatist, naïf — yet as played by Carter, Delta Burke, Annie Potts and Jean Smart, they had smart minds and big hearts. Even as they fought, they supported one another.That’s what makes this theatrical version of “Designing Women” more than an attempt to capitalize on familiar intellectual property. As a television show, it straddled the political divide, allowing both progressive and conservative women to see themselves represented, glamorously. Those divides are wider now. But if these characters can still talk to one another onstage, maybe audience members can continue those conversations offstage, with or without repartee.Though TheaterSquared announced the show in early 2020, Bloodworth-Thomason didn’t start writing it until this year, ultimately amassing some 7,000 pages. (Those voices really wouldn’t shut up.) The September draft flaunted her practiced style, a rapier wit with a bedazzled handle, and included a few callbacks for dedicated fans, like a riff on Julia’s “the lights went out in Georgia” speech.The feminism still isn’t especially intersectional, even as the firm now includes a co-owner who is Black and queer, Anthony’s cousin Cleo (Carla Renata). But the script has updated its politics. The first line has Julia instructing Hayley (Kim Matula), the new receptionist, in temperature checks for clients. “If they refuse, kick ’em out,” Julia says. “If they’re wearing a MAGA hat, don’t let ’em in.” In the background a voice mail message plays, calling Julia a “lying socialist slut.”Bloodworth-Thomason dreams of a tour of the South for the play and an eventual berth on Broadway. But it’s dialogue like this that explains why she and Thomason chose TheaterSquared for the tryout. Washington County, which encompasses Fayetteville, went for Trump in 2020, though by a somewhat narrow margin — 50.39 percent to Trump, and 46.49 percent to Joseph R. Biden’s ticket — and the theater attracts spectators who don’t all vote the same way.“I know that not everybody who walks in the door would automatically agree with me in a conversation over a beer,” Miller told me. But the theater deliberately programs plays that prompt those conversations. And the cafe has 16 local beers on tap.On a Tuesday, about two weeks before previews began, the theater thrummed with activity — set painting, costume stitching, wig combing. The scenery was half assembled, and a variety of faux topiary dotted the back of the auditorium. The theater had recently announced new Covid protocols, which require that audience members offer proof of vaccination or a recent negative test, and Miller had to devote several hours to handling angry responses, like an email describing the protocols as “an imperialist act against our democracy” — only a step or two removed from “lying socialist slut.”A rehearsal in early September. Thomason said he wanted the play’s cast members to capture some of the aura of the original actresses, without quite impersonating them.Rana Young for The New York TimesUpstairs, in the rehearsal space, the masked actors arrayed themselves around several folding tables, with cookies and water bottles in reach. Bloodworth-Thomason had hoped to join them, but an illness had kept her at home in Los Angeles. (A glitchy Zoom connection made table work possible.) Though the characters ought to be in their 70s by now, the actresses, and a few male love interests, were mostly in their 50s, suggesting either a suspension of disbelief or some superb plastic surgeons. The mood was friendly, while also faintly tense, a reflection of the work ahead.Playing beloved characters — characters associated with even more beloved actresses — applies deep-tissue pressure. Most of the actors had seen the show during its original run. (Cusack, who grew up in an evangelical Christian household, is an exception.) They spoke, feelingly, about what it had meant to see smart women, funny women, Southern women, beamed into their living rooms. Several of them voiced an obligation to honor those performances.“I do feel a responsibility, particularly to the fans,” Elaine Hendrix, who plays Charlene, said.In an interview the next day, just before rehearsal, Thomason said he hoped that this cast would capture some of the aura of the original actresses, without quite impersonating them. “That’s all one can hope for,” he added. “Because if you try to just duplicate them, then the audience will not forgive you.”During the rehearsal, as coffee bubbled in a percolator, everyone tried to inhabit the characters, old and new, even when the characters voiced opinions that diverged from the actors’ own.“It’s the challenge, right?” said Matthew Floyd Miller, who plays Suzanne’s latest ex-husband, a Trump supporter. “How do you sympathize and humanize somebody who has diametrically opposed views than you do?”But what will audiences forgive? What will get them in the door? There’s already a glut of reboots, reimaginings and screen-to-stage variations. And not everyone wants to see “Designing Women,” which was overtly political to begin with, revived for our era. Thomason had heard from friends about some people’s plans to protest the show, even before they knew a lick of its plot or a line of the script.That didn’t faze his wife. “I would love to see a big crowd outside with a lot of signs,” she said.It did, however, give some of the actors pause. “I’m a little nervous because I say some stuff that is blunt and is hard-core and is extremely politicized, and I’m a Black person in Arkansas,” Renata said.When Cusack told her mother about the show, her mother told her she planned to be among the protesters. Cusack didn’t try to dissuade her. “I said, ‘Mom, I’ll buy your plane ticket,’” Cusack recalled. “‘Come. Bring it. Let’s have the discussion.’” More

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      Late Night Hits Trump With Colonoscopy Jokes

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      A new book by a former White House press secretary said that the former president feared late night hosts would poke fun at him if he went under for the medical procedure.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.‘They Had to Film It in Imax’A new book by the former White House press secretary Stephanie Grisham, “I’ll Take Your Questions Now,” revealed some fun facts about Donald J. Trump on Tuesday. One of the biggest bombshells was about the former president’s mysterious visit to Walter Reed National Military Medical Center in 2019, which Grisham said was for a colonoscopy that Trump stayed conscious for, in part to keep late night television hosts from finding out and making fun of him.“I have to say, it gives me a lot of satisfaction, as a late night talk show host, to know that he opted to stay awake while they augered his innards with a sewer snake specifically because he didn’t want us making fun of him,” Jimmy Kimmel said.Kimmel said he felt cheated, finding out such vital information so late in the game: “Because when a president, especially this president, gets a colonoscopy, it is my duty — that’s right, duty — to make jokes about it.”“The president’s doctor decided to schedule this procedure after the White House toilet killed itself.” — JIMMY KIMMEL“It took a while because the doctor kept accidentally sticking the camera in his mouth.” — JIMMY KIMMEL“As soon as they switched the camera on, Trump turned around and said ‘Hey doc, how are the ratings?’” — JIMMY KIMMEL“Afterward, the whole medical team kept saying, ‘Wow, what an unbelievable [expletive].” — JIMMY KIMMEL“The doctors said the hardest thing about giving Trump a colonoscopy was getting the camera around Mike Pence’s nose.” — JIMMY KIMMEL“Yeah, colonoscopy was no big deal — they only found three polyps and Rudy Giuliani.” — JIMMY FALLON“Well, sure, with this president, they had to film it in Imax.” — STEPHEN COLBERT“Oh, my God, that had to be terrible — for the doctor who had to give a colonoscopy while the guy on the table kept screaming about how he won Michigan.” — STEPHEN COLBERTThe Punchiest Punchlines (The ‘Music Man’ Edition)“The book also says a White House official known as the ‘Music Man’ would play Trump his favorite show tunes like ‘Memory’ from ‘Cats’ to pull him from the brink of rage. It makes sense because Trump’s presidency is exactly like ‘Cats’ — awkward, bizarre and no one had any idea what the hell was going on.” — JIMMY FALLON“And if they wanted to drive him to the brink of rage, they’d show him the movie ‘Cats.’” — STEPHEN COLBERT“Yep, Trump listened to ‘Cats’ to cheer himself up while the rest of his staff remained ‘Les Misérables.’” — JIMMY FALLON“One thing I know for sure: Some day, when Ryan Murphy eventually makes an ‘American Crime Story’ about the Trump White House, I am definitely playing the ‘Music Man.’” — JAMES CORDENThe Bits Worth WatchingOn Tuesday’s “Jokes Seth Can’t Tell,” the “Late Night” writers Amber Ruffin and Jenny Hagel poke fun at white neighborhoods and gay dating apps.What We’re Excited About on Wednesday NightStephen Colbert will welcome Anita Hill to Wednesday’s “Late Show.”Also, Check This OutJocelyn Nicole Johnson, a public school art teacher for 20 years, is the author of “My Monticello.” Matt Eich for The New York TimesAt 50, Jocelyn Nicole Johnson saw her debut collection, “My Monticello,” publish to great acclaim, and she also scored a Netflix deal. More

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      Ego Nwodim Used to Be Obsessed With Jay-Z. Now She Is Again

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      The ‘S.N.L.’ comedian talked about navigating life with ‘The Four Agreements’ and why “The Town” will always be her favorite movie.The new season of “Saturday Night Live” was less than a month away. But Ego Nwodim’s brain was telling her she had plenty of time to do more.An avowed workaholic, Nwodim intended to pack her schedule to overflowing before returning to 30 Rock with her Dionne Warwick impression. Earlier this summer, she had traveled to Italy for a single day of shooting on the comedy “Spin Me Round,” opposite Alison Brie, and then flitted from Venice to Milan to Positano to Florence, with stops in between, “in that sort of nonsensical way,” she said.More recently she’d wrapped “Players,” a Netflix rom-com with Gina Rodriguez and Damon Wayans Jr. And just the day before she’d done a little audio tweaking for the second season of “Love Life” with Anna Kendrick, which begins Oct. 28 on HBO Max.“Today I counted how many jobs I did on my hiatus,” she said. “And I was like, ‘You actually did a lot.’ Because there was a point this summer where I go, ‘You haven’t done anything or enough.’ My brain told me that.”Nwodim rather famously majored in biology at the University of Southern California, a deal she made with her family so that she could move from Maryland to Los Angeles, where she honed her comedy chops at the Upright Citizens Brigade Theater. “I didn’t enjoy the bio major — it’s not my passion clearly,” she said. “But I have an aversion to quitting.”“I don’t encourage people to be like me,” she added with a laugh. “It’s sometimes good to quit.”In a video call from her light-filled Brooklyn apartment, Nwodim elaborated on a few of her cultural essentials, including “The Four Agreements” guide to living, the gold jewelry that makes even sweats look intentional and the cool quotient of Jay-Z.These are edited excerpts from the conversation.1. “The Four Agreements” by Don Miguel Ruiz It is such a simple guide as far as how to approach so much of life and so many of the stressors that I encounter. I always start with, Don’t take anything personally. That’s not the No. 1 agreement, but that’s the one I find myself constantly going back to. Everything people do and say is a reflection of them and where they are in their life, even positive stuff. That is a fascinating one because it feels easy to apply to criticism. But I’m also not going to take praise personally? That’s tough.2. Jay-Z In college, I was obsessed with him. I used to get in arguments with people about how cool he was. Then I took many years off, calmed down and I was like, “That’s not a way to live.” And now, I’m back. I’m such a huge fan of his journey as a person, from drug dealer to corporate businessman and father, husband, son to Gloria Carter. I really admire his work ethic and the way he moves about the world. Look at me [smiling and laughing]! But this isn’t a crush. I just have the utmost respect for this person. I think he’s so freaking cool. And every time I go, “OK, enough about how cool Jay-Z is,” he just gets cooler.3. Ben Affleck’s “The Town” I know it’s not some art house film. But I like heist movies, and I saw that movie in theaters maybe six times. No joke. I still talk about this movie. I still quote this movie. Everyone sort of rolls their eyes at it. People have been like, “It’s just the white man version of ‘Set It Off,’” which probably sounds about right. Key moment: When Ben Affleck goes to Jeremy Renner, “We got to go do something. Can’t ask me what it is. Don’t ask me later.” And Jeremy goes, “Whose car are we driving?” That is best friendship.4. Gold Jewelry Before I had “S.N.L.,” I had a lot of gold rings that were not real gold because I was broke. I’m still not rich, by the way. I ran into my friend Khoby [Rowe] at a Comedy Central Emmys party, and I go, “I think I’m going to treat myself to a real gold ring — one that I can wash my hands and put lotion on and not have it turn.” And she was like, “Hell yeah. This ring on my hand, I treated myself, too.” And when I got “S.N.L.,” her text to me was like, “I think you’re allowed to get yourself a ring.”5. Yerba Mate I would watch friends develop coffee addictions. It became such a part of the routine, like, “I literally can’t get my day started without this.” And I basically want a life where I don’t need anything to function besides water and food — you know, Maslow’s hierarchy. So I don’t like to drink coffee, and if I do it’s because I’m really in a pinch. I prefer yerba mate. I feel like I get energized, and it’s natural, so they say. It could very well be a placebo effect, but I’m OK with that.6. “Death, Sex & Money” Podcast It’s about the human experience. “Death, Sex and Money” does a great job of reminding us that we’re connected. And so much of our experiences are shared regardless of race, gender, religion. Think of all the ways we are divided as a people. So, I love that podcast. Big fan. The tagline is “things we think about a lot and need to talk about more.” And it’s true.7. Prayer and Meditation I am a person of faith, is how I’d like to describe myself. And praying is just a conversation with God. I was listening to a podcast, and a guest, who I believe is sober, said that every thought, action and word is an offering to God. Kind of like everything’s a prayer. And if you can remember that in the moment, that’s really beautiful.8. Offerings in Los Angeles I lived in L.A. for 12 years, and I get disappointed any time a friend is in a different city and I need to send them flowers. Can’t find them elsewhere. Just the most beautiful floral arrangements. I’m so excited to hear people’s reactions to receiving those flowers, because they always have something to say. I sent them to Melissa Villaseñor once, and she goes, “I feel like a queen.”9. Solange’s “A Seat at the Table” What a beautiful body of work, top to bottom. I remember when I first heard it, I was sitting on the floor in my bedroom in Santa Monica, and I was thinking, “Great, this’ll be background noise while I get ready.” But I felt stopped in my own tracks. I was like, “Whoa, what am I listening to?” I got to see her on tour for that album at the Hollywood Bowl, and I wondered, “How is she going to be able to fill this space?” Because I think of neo-soul as such an intimate experience and the Hollywood Bowl is huge. And she did — someone’s essence and artistry can do that — and I was brought to tears.10. My Niece Sophia was born on July 25, and a picture came to my phone, and I was instantly in love. Then I go home to Maryland, and I get to hold her, and my heart just grows a hundred sizes in a way I did not know it could until maybe I had my own children. I would sit there and just stare at her sleeping. It’s cool to find out where your heart can take you. I’ve never felt that kind of love, and I think that love opened me up to other love. More

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      Stephen Colbert Projects Joe Biden Is Still President

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      The “Late Show” host celebrated the results of an Arizona audit that confirmed Trump’s 2020 loss.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.The Biggest LoserStephen Colbert was happy on Monday night to project that Joseph R. Biden Jr. is still president 11 months after the election, following a Republican-led audit in Arizona’s largest county that confirmed that President Biden not only beat Donald J. Trump, but by a larger margin than previously counted.“He really did get tired of winning!” Colbert said of Trump.“So Trump and the Arizona G.O.P. were humiliated after they spent millions to hire a group of right-wing tech weirdos called the Cyber Ninjas, which sounds like an off-brand action figure your grandma would buy you at the Dollar Store.” — SETH MEYERS“And turns out, not only did the Ninjas find ‘no substantial differences’ between their tally and the official count, they actually found 99 more votes for Biden and 261 fewer for Donald Trump. I would have loved to have been there when they broke that news to him.” — JIMMY KIMMEL“Maybe Trump and the G.O.P. will just have to keep bringing in crazier right-wing groups with dumber and dumber names until they finally get the results they want, like the Robo Rockets or the Digi Pirates or the Crypto Cowboys.” — SETH MEYERS“So they hired MAGA fans and even they couldn’t say that No. 45 won. That’s like hiring your mom to judge the handsomest boy contest and still losing to a 78-year-old guy from Delaware.” — STEPHEN COLBERTThe Punchiest Punchlines (Bearing Arms Edition)“Well, guys, this afternoon President Biden received his Covid booster shot on camera, in front of reporters. When they offered Biden the booster, he said, ‘I’ll take one in my arm and another for my approval rating.’” — JIMMY FALLON“This comes just a few days after both the F.D.A. and C.D.C. approved it. How did Biden get to the front of that line? I reckon he knows someone.” — JAMES CORDEN“The actual shot only took a second, and then Joe Biden spent 10 minutes haggling over which flavor lollipop he could have.” — JAMES CORDEN“The good news is, it should give President Biden the all-clear to join the Brooklyn Nets for the start of the N.B.A. season, so you’ve got that to look forward to.” — JAMES CORDENThe Bits Worth WatchingOn “The Daily Show,” Roy Wood Jr. portrayed Francis Scott Key while breaking down Key’s iconic banger, “The Star-Spangled Banner.”What We’re Excited About on Tuesday NightGabrielle Union will appear on Tuesday’s “Jimmy Kimmel Live.”Also, Check This OutBeck Bennett, a veteran “Saturday Night Live” cast member, is not returning to the show. Its 47th season begins Saturday.Dana Edelson/NBCBeck Bennett, known for his impersonations of Wolf Blitzer and Mike Pence on “Saturday Night Live,” will exit the show after eight years. More

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      For a Broadway Torn by a Pandemic, a Split-Personalities Tonys

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      The streaming part of the ceremony actually did a better job conveying the electricity of being in a theater than the CBS special billed as “Broadway’s Back!”It’s no surprise that the Tony Awards ceremony on Sunday night took much more time and bandwidth than usual, swallowing up more than four hours that were split between two platforms. After all, it had a big agenda: to honor the shortened 2019-2020 season and everything that came after, including the ongoing pandemic and a cultural reckoning in the theater, as in the world. Also, of course, with special urgency now, the event wanted to encourage possibly wary theatergoers to buy tickets to shows by highlighting Broadway’s performers as they return to the stage.With so much on its to do list, how did the Tonys do? Jesse Green, The New York Times’s chief theater critic, discussed the presentation — or, rather, the presentations: one on Paramount+ and one on CBS — with James Poniewozik, The Times’s chief television critic, and the contributor Elisabeth Vincentelli.JESSE GREEN The Tony Awards ceremony was deliberately broken into two halves: the first more like a private industry dinner, on Paramount+, to give out most of the awards efficiently; the second more like a desperate advertisement, on broadcast television, to lure tourists back to Broadway. (The second was even called, somewhat ambitiously, “Broadway’s Back!”) But did either of you feel, as I did intensely, that the two shows were almost psychotically different, even if they were written and directed by the same team? One half gave us the art form that wants to speak in serious terms of the human soul and cultural change. The other gave us weak comedy bits and bad timing.ELISABETH VINCENTELLI It felt like one of those horror films where a lab-made creature’s parts suddenly take on a life of their own: What used to be an awkward — but often very entertaining, in its own way — whole suddenly became split into separate bits and pieces. Mind you, those bits and pieces meant that even with four hours of airtime, the show still ran long!JAMES PONIEWOZIK The two shows were undeniably different. I’m not sure I mind that, though, at least in theory — we can get to my issues with the execution. Broadway was hit by the pandemic uniquely among art forms, but the Tonys really have the same challenge that all televised awards shows have now: Who is this production for? Is it for the die-hards or the casuals? Is it for the artists or the audience? Is it meant to honor the creative work of the past year(s) or sell tickets for the next? The Tonys answer was essentially, “Why not both?” There was definitely whiplash for those of us who managed to find Paramount+ and watch both halves. But I’m not sure how big that audience was compared with the CBS-only crowd.VINCENTELLI Splitting the awards from the musical numbers is what, I suspect, CBS had wanted to do for ages: shove the awards to the side because nobody (in the network’s view) cares, and focus on the fun stuff. I wouldn’t be surprised if they continued with that format in the future.PONIEWOZIK That split, by the way, is what the Grammys have done on CBS for years — shunt most of the awards off prime time and put on a big show for the general audience. That worked pretty well for them this year.GREEN The difference, and what makes the split feel more neurotic to me, is that the theater, abetted by pretentious theater critics like myself, often tries to imagine it is upholding a more noble tradition. Certainly it’s an older tradition. In any case, given the choice to divide the awards, it’s surprising how the first half managed to provide everything the second half was supposed to — warmth, dignity in a difficult time, Jennifer Holliday live! — and the second half largely failed to, except in the recorded segments from the nominated musicals.VINCENTELLI The combination of Sheryl Lee Ralph’s introduction and Jennifer Holliday’s performance of “And I Am Telling You I’m Not Going” is bound to become a YouTube classic. CBS might be trying to turn the Tonys into the Kennedy Center Honors, which they also broadcast — they’re well placed to know that in 2019, the Honors scored more viewers than the Tonys. So that’s the model: celebrity presenters of big numbers. Having the awards themselves on Paramount+ also testifies to the siloing of audiences.Danny Burstein in a performance by the “Moulin Rouge! The Musical” cast. The critics agreed that the number worked well on TV.Sara Krulwich/The New York TimesPONIEWOZIK I would question whether the theater is more inherently “noble” than TV or any other art form. But another argument, another day. More to the point, if the theater wants to celebrate its hard work and creative spirit, you can rent a nice hall for that and do it privately. If you expect a broadcast TV audience, your obligations are different — no one is entitled to the attention of millions of people. But I agree that (to my surprise) the first, industry-awards part actually did a better job of conveying the excitement and electricity of being in a theater!GREEN The “concert” half, not a bad idea in theory, was in fact so poorly routined and timed that it erased all the gains of the “awards” half. The final 30 minutes, which felt like an entire additional day, was a train wreck of bad calls: ballads, duets, redundant improv from “Freestyle Love Supreme” — when what you really wanted in that spot was the “Moulin Rouge!” kickline and confetti cannons.VINCENTELLI I don’t think I ever need “Moulin Rouge!” anything. That said, that number worked on TV and may well have done its job, which is to sell tickets.GREEN I’m not a huge fan of “Moulin Rouge!” myself, but I thought it looked fantastic on the screen, using the cool medium to tone down its manic red hotness. Even if it hadn’t won 10 awards, the most of any show, it would have done itself a lot of good with that performance.PONIEWOZIK The flow of the CBS portion was just weird. The “concert” wasn’t an awards show, but there were three major awards, and the last one was given out a half-hour before the end, sabotaging the momentum. I also question whether the song choices — between the general nostalgia of the production and Broadway’s reliance on jukebox musicals — did much to sell an audience on experiencing new theater. (Disclosure: I already have tickets for “Caroline, or Change.”) You’re telling me to feel excited (and safe) going back to a theater in 2021, and giving me a selection of songs I could have heard on one night of “American Idol” in 2005.VINCENTELLI And as on “American Idol,” there was no mention of plays, which the Tonys still don’t know what to do about. Unless I blinked and missed it, there was no attempt to even describe them, let alone feature excerpts.PONIEWOZIK Yes, Elisabeth! Four hours (plus overtime!!!), and you can’t even give us a taste of the plays you want us to come back to Broadway for?GREEN Generally you can’t come back for the plays; they’ve closed. But the world of Broadway is changing, even when the awards don’t. “The Inheritance” swept the big play categories, winning four major awards, and “Slave Play,” its main competition, got skunked — but it was “Slave Play” that has announced a return Broadway engagement, starting in November. I’m shocked “Slave Play” didn’t win, but there’s no point in litigating the voters’ choices; they are always unintelligible and, as far as television is concerned, beside the point. Unintelligibility may even be a plus. Drama!Daniel J. Watts, right, and Jared Grimes during their performance. The spoken word piece, featuring tap, addressed the racial equity concerns of the Broadway Advocacy Coalition, which received a special Tony.Sara Krulwich/The New York TimesVINCENTELLI In terms of the overall tone, I was very happy to be spared the usual self-conscious posture of theater, which thinks of itself as a beleaguered band of misfits toiling for an underappreciated art form/industry and reacts with a bizarre mix of self-importance and defensiveness. Theater folks feel like the Marvel and “Star Wars” nerds of yore, before they became the de facto rulers of popular culture. Sunday night had a much more interesting, and overall healthier, balance of positivity, eagerness and joy. Of course at times there was frustration and anger, too, expressed most starkly in Daniel J. Watts’s spoken-word number, but that’s another way to let passion speak.PONIEWOZIK To me, the job of the whole shebang was to convey through TV the excitement of seeing theater live, in a room. What did that well? Jennifer Holliday’s performance, of course — not just because she’s a legend, but because it was a theatrical performance. She was in character. (Whereas too many of the duets, however beautifully sung, simply felt like watching two celebrities I like enjoy being back together.) I thought the recorded performances from other theaters might kill the live vibe, but it helped that they had audiences. And the buzz of the first awards portion — you could just feel how pumped everyone was to be in the room — in a way recreated the live experience better than some of the performances.GREEN Yes: What was good was whatever felt like live theater, not like an “I Love New York” commercial. Still, it’s very strange to me that the main thing all these Broadway creatives couldn’t pull off was a Broadway entertainment spectacular. (Who puts all the socko material at the beginning, leaving none for the end?) I think it’s time to give other writers and directors a chance.VINCENTELLI The second half of the show felt a little rote because something changed over the past 18 months in terms of access. The Tonys used to be the only place we could catch Broadway stars do a number on a screen. But in 2020, we streamed them a lot, and the newness of watching, say, Kelli O’Hara or Audra McDonald slay a number was dulled — because we watched Kelli O’Hara and Audra McDonald slay a lot of numbers online last year.PONIEWOZIK It would not be awful for the Tonys (and other awards) to learn a little from streaming. The most entertaining work of theater I saw during the pandemic may have been Annaleigh Ashford doing an insane version of “Mr. Mistoffelees” from “Cats” while cooped up at home for Miscast21.VINCENTELLI Yes! The Tonys need a good dose of that freewheeling social-media spirit.GREEN And maybe, hear me out, it should keep to a TikTok length. More

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      ‘Saturday Night Live’ Cast: Who is Leaving and Who is Staying for Season 47

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      Other “S.N.L.” veterans including Pete Davidson, Cecily Strong and Kate McKinnon will return to the show, which is adding three new featured players.“Saturday Night Live” isn’t necessarily a series known for its season-ending cliffhangers, but when this long-running NBC sketch show reached its finale last May, there were question marks hanging over many of its veteran cast members.Pete Davidson concluded a monologue by telling viewers, “It’s been an honor to grow up in front of you guys, so thanks.” Cecily Strong finished what felt like a valedictory performance as Jeanine Pirro by dunking herself in a glass tank that said “Boxed Wine.” Other long-tenured players, including Aidy Bryant and Kate McKinnon, were simply seen looking especially tearful, fueling speculation about their future at the show.But on Monday, NBC announced that nearly all of the “S.N.L.” cast members from last season will be returning to the show: That includes Davidson, Strong, Bryant and McKinnon, as well as the Weekend Update anchors Colin Jost and Michael Che, players like Chris Redd, Heidi Gardner and Ego Nwodim, as well as Kenan Thompson, who has appeared on the show since 2003.However, Beck Bennett, who joined “S.N.L.” in 2013 and portrayed characters like Wolf Blitzer, Mike Pence, Vladimir Putin and Vin Diesel, is not returning to the program. In a post on his Instagram account, Bennett did not give a reason for his departure but wrote, “Thank you for 8 years of remarkable people and incredible experiences that completely changed my life.”Lauren Holt, who appeared on “S.N.L.” as a featured player last season is also not returning to the show.Bowen Yang and Chloe Fineman, who had both been appearing as featured players have been promoted to full cast members, NBC said.“S.N.L.” is also adding three new featured players for the coming season: Aristotle Athari, a member of the sketch group Goatface; James Austin Johnson, who has acted in shows like “Tuca & Bertie” and in the film “Hail, Caesar!”, and has a viral series of Donald Trump impressions; and Sarah Sherman, who has worked on “The Eric Andre Show.”“Saturday Night Live” will begin its 47th season this Saturday with an episode hosted by Owen Wilson and featuring the musical guest Kacey Musgraves. More