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    President Trump’s Prime-Time Pandemic

    “I’ve gotten to like this room,” President Trump said March 23 in the White House briefing room.If the walls had ears, they’d have been surprised to hear it. Until recently, the Trump administration had all but done away with formal press briefings, and the president preferred to talk to reporters amid the helpful din of a helicopter or in a Fox News studio.But the briefing room has one amenity that Donald Trump, suddenly without rallies and travel appearances amid a pandemic, cannot resist: a camera.Mr. Trump became a prime-time star through TV, a political figure through TV and a president through TV. But he has not, as president, had what he had with NBC’s “The Apprentice”: a regular TV show in which he plays an executive in control.Now, the coronavirus briefings have given him a new, live and unfiltered daily platform before a captive national audience. True to his résumé, he has conducted them as a kind of reality TV, or rather, create-your-own-reality TV.In this reality — often subject to later fact-checking by the press or to backpedaling by staff — help and needed equipment are always just around the corner. Accurate reports of his conflicts with governors over federal support are “fake news.” And no one could have anticipated a pandemic like this, despite warnings, playbooks and public-health infrastructure intended to do exactly that.The daily coronavirus briefings, increasingly timed to run live on cable and broadcast right around the evening news, are a journey. The president begins them by soberly reading statements. (On Thursday, he gave the roll call of the G20 leadership.) He can be expansive — even, astonishingly, praising the media — and he can be peevish. (“I want them to be appreciative,” he said Friday of American governors.)In its short life, for all its dead-serious subject matter, the program has developed the structure, rhythm and characters of a weekly reality show.There’s drama and intrigue, such as the reports that the president might be at odds with staffers like Dr. Anthony S. Fauci, the director of the National Institute of Allergy and Infectious Diseases. There’s the appearance of the protagonist, Mr. Trump, flanked by lieutenants, to announce the day’s topics and story lines.And there’s the concluding “Apprentice” boardroom-style conflict in the Q. and A. session, in which friendly journalists are praised, and those who ask questions he doesn’t want to answer are “terrible.” After which Mr. Trump leaves the set and his public-health officials climb into the producer’s chair to edit his comments and their own often diverging guidance into a cohesive narrative. More

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    What’s on TV Monday: ‘The Good Doctor’ and ‘The Schouwendam 12’

    What’s on TVTHE GOOD DOCTOR 10 p.m. on ABC. In the second part of the season finale, the doctors at San Jose St. Bonaventure Hospital continue to respond to the major earthquake that rocked their city. The crisis is testing their ingenuity and pushing their personal issues to the surface. Dr. Shaun Murphy (Freddie Highmore), the protagonist of the series, is still reeling from his latest rejection by Lea (Paige Spara), who cited Shaun’s autism as a reason not to pursue a romantic relationship with him. Undeterred, he revealed in the last episode that he hadn’t lost hope. Lea, who was trapped after the earthquake hit and eventually rescued, overheard Shaun’s comments and responded emotionally. But before they could address them, an aftershock left Shaun stranded with a patient in the flooding basement of a collapsed building.What’s StreamingTHE SCHOUWENDAM 12 Stream on Acorn TV. The second installment of Lex Passchier and Martin van Steijn’s “The 12” anthology series focuses on a Dutch village haunted by the unsolved disappearance of two teenagers in 1995. This mystery is reignited when a man in his 40s who bears a striking resemblance to Olaf, one of the missing teens, shows up in Schouwendam. The new arrival claims to not know his own identity. Prodded by the suspicions of the villagers, he starts to look into his connection to the lost Olaf in a bid to recover his memory. This follow-up to “The Oldenheim 12” is linked to its predecessor by its shared focus on dark underbelly of small-town life.TIP TOP (2014) Stream on Mubi. Rent on Google Play, iTunes, Vudu and YouTube. This film by Serge Bozon is two parts deadpan farce, one part conceptual mystery. Adapted from a novel of the same name by Bill James, it blends features of screwball comedy and film noir to reflect on the legacy of French colonialism and contemporary sexual mores. Isabelle Huppert and Sandrine Kiberlain star as Internal Affairs investigators charged with determining whether or not the police were involved in the murder of an Algerian informant. Both sleuths have secrets of their own. Sally (Kiberlain) is a compulsive voyeur who was demoted because of her proclivities, and Esther (Huppert) has a penchant for sadomasochism. THE UMBRELLAS OF CHERBOURG (1964) Stream on the Criterion Channel. Rent on Amazon, Google Play, iTunes and YouTube. In this movie, Jacques Demy manages to synthesize the emotional earnestness of the American musical with the adventurous cinematic spirit that was circulating among younger French filmmakers during the 1950s and ’60s. Bursting with color, sung throughout and driven by Michel Legrand’s music, it tells the tragic love story of a young couple torn apart by the Algerian War. Before he’s drafted to fight, Guy (Nino Castelnuovo) and Geneviève (Catherine Deneuve) make plans to marry. When their wartime correspondence lags, a pregnant Geneviève accepts a marriage proposal from a kind and wealthy suitor at the urging of her mother. After returning to civilian life and learning of Geneviève’s decision, Guy also tries to move on. More

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    'American Idol' Recap: Top 40 Hit the Stage for Final Judgement

    ABC

    Makayla Brownlee, who had a seizure last week, with a performance of Ingrid Andress’s ‘More Hearts Than Mine’ but it’s unfortunately not enough to convince the judges.
    Mar 30, 2020
    AceShowbiz – “American Idol” returned on Sunday, March 29 with performances from the first half of the Top 40 in Hawaii. That night, some of them were sent home as the results of the judge’s final judgement.
    Nick Merico was the first contestant to take the stage, singing Bruno Mars’ “When I Was Your Man”. He impressed the judges, Katy Perry, Luke Bryan and Lionel Richie, with their performance which eventually earned him a spot in Top 20.
    Next Up was Makayla Brownlee, who had a seizure last week, with a performance of Ingrid Andress’s “More Hearts Than Mine” but it was unfortunately not enough to convince the judges as she was eliminated. Dewayne Crocker Jr. sang “Old Town Road” but put his own reggae twist on it. He joined Nick in Top 20.
    Camryn Leigh-Smith sang “Break Every Chain” but was then sent home. Following it up was Devon Aleander, who opted to sing Demi Lovato’s “Tell Me Love You”. He was also eliminated alongside Jordan Jones and Geena. Later, the judges faced a hard moment to decide if they wanted to keep Louis Knight in the competition. They later decided to give him one more chance.
    Singing “Falling” by Harry Styles was Francisco Martin. It was epic and the judges unsurprisingly sent him to the next round. Also impressing the judges was Jovin Webb. Faith Bechnel, who belted out “Ain’t Nobody”, joined him in Top 20.
    Amber Fielder failed to move on after performing “Good Kisser”, while Just Sam went to next round with a performance of “Como La Flor” by Selena. Joining her was Johnny West after he played piano while singing The Fray’s “You Found Me”.
    Concluding the night was Dillon James. He hit the stage belting out “The Times They Are A-Changin’ ” by Bob Dillon. The judges looked pleased but viewers will only find out Dillon’s fate in next week’s episode.

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    Kristen Bell to Host Nickelodeon Coronavirus Special to Answer Kids' Questions and Concerns

    WENN

    To also air on TeenNick and Nicktoons on March 30, ‘#KidsTogether: The Nickelodeon Town Hall’ will offer performance from Alicia Keys and include tips and insights from medical experts.
    Mar 30, 2020
    AceShowbiz – Kristen Bell will help educate kids on the coronavirus pandemic as she hosts the “#KidsTogether: The Nickelodeon Town Hall” TV special.
    The hour-long show, directly addressing kids’ questions and concerns about COVID-19, will also include tips and insights from medical experts, reports Entertainment Weekly.
    “It’s so important to remember that we are all in this together, and our kids and loved ones need outlets to help them process and understand what’s going on and, most importantly, to still feel connected,” adds the “Frozen II” actress.
    “I hope kids and families come away from this special feeling a little more comfortable and that they enjoy some much-needed moments of humour during this difficult time.”

    The star will connect via video chat with California surgeon general Dr. Nadine Burke Harris and former U.S. surgeon general Dr. Vivek H. Murthy, as well as stars including Charli D’Amelio, Josh Gad, Kel Mitchell, Kenan Thompson, and Ciara and her NFL star husband Russell Wilson.
    Alicia Keys will also perform during the special.
    “#KidsTogether: The Nickelodeon Town Hall” will air on Nickelodeon, TeenNick, and Nicktoons on March 30, and will be available on various on-demand platforms, including Nickelodeon’s official YouTube page.

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    Jan Howard Remembered by Grand Ole Opry After Her Passing at 91

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    ‘Westworld’ Season 3, Episode 3 Recap: Predators and Prey

    Season 3, Episode 3: ‘The Absence of Field’Much of the first two seasons of “Westworld” was about the hosts wresting control of their destinies and exercising the same freedoms enjoyed by their human tormentors, who had cast them as attractions in a sadistic Disneyland for the global elite. But now that the action has shifted to the human world, the premise has been turned on its head: How much control do humans have over their destinies? It turns out to be far less than they might imagine.The theme has been a long time coming, planted most prominently in the revelation that Delos was most interested in Westworld as an opportunity to harvest data from its guests, which was then kept in a massive server called the Forge. And it manifested last week, too, in Maeve’s peculiar adventures in Warworld and beyond, which she eventually discovered was a large-scale simulation devised by Engerraund Serac to gain intel on the robot uprising. When Maeve demonstrated flaws in the program by freezing a moment of action, it recalled the “bullet-time” effects of “The Matrix,” a film about a future where humans experience their lives as a simulation while machines tap them as an energy source.Tonight’s gripping episode firms up the connection by having Dolores “red pill” Caleb, the war veteran turned cyber mercenary who came to her aid after the shootout that ended the Season 3 premiere. Before it was co-opted as a political meme, the red pill referred to a scene in “The Matrix” in which Keanu Reeves’s hero learned the ugly truth about the world as it really was, rather than the pacifying illusion used to oppress humanity. Here, Dolores tells Caleb about a nefarious company called Incite that has been collecting data for years on individuals and storing it on “Rehoboam,” a massive system designed to predict and control human behavior in much the same way the hosts were managed in the park.For Caleb, this cursed revelation is a reward of sorts for breaking out of his own loop and surprising Dolores in the process. Dolores had good reason to believe humans would not be inclined to act nobly on her behalf, but his choice to stay with her in an ambulance and fight off crime-app mercenaries has genuinely touched her. She hasn’t encountered anyone like him before: All the guests in the park have both the privilege to pay admission and the impulse to include rape and murder on their vacation itinerary, so underclass nobility is foreign to her.Science-fiction robots tend to stick to a simple “kill all humans” plan, but Dolores can’t miss the parallels between Caleb’s predicament and her own. They’ve both been shackled to a predetermined life — her by programming, him by algorithm.There’s no missing the message here about how Silicon Valley companies mine user information — some that we give away voluntarily — and how vulnerable the right to privacy has become in the digital age. When Dolores sits Caleb down at the diner booth where his schizophrenic mother abandoned him as a child, she is armed not only with knowledge of that painfully intimate memory but also with a full shooting script. Later, she takes him to the pier that the algorithm predicts will be a likely spot for his future suicide, which it predicts with enough confidence to ensure that the powers that be will prevent him from advancing beyond his current status as a part-time construction worker and petty criminal.It’s an extremely “Westworld” twist for Dolores to start liberating humans like Caleb after vowing to take revenge on them, but she’s learning that we have our redeeming moments. Even Charlotte Hale, the most hiss-able villain in the Delos empire, shows a little vulnerability and heart when the chips are down. The pre-credits scene of Charlotte taping a message to her son in the middle of the park rebellion is an early sign of where the episode — and the season — appears to be headed. If there’s a shred of decency in her, then perhaps a more nuanced approach to torching the human world may be required.One of the big questions heading into the season was addressed tonight: Whose “pearl” is controlling Charlotte-bot? The show strongly hints that it is Teddy, despite the fact that we saw her beam Teddy into the Valley Beyond at the end of Season 2. Dolores says she can trust this person. They share a tender moment in a hotel room. She seems to make reference to his suicide.And yet she never actually says his name, which means that “Westworld” is shelving the big revelation for another time. Keeping the audience in the dark over Charlotte’s identity is an immensely frustrating narrative strategy, the sort of misdirection-for-its-own-sake that invites speculation without substance.Whoever the host actually is, he or she has become profoundly uncomfortable in Charlotte’s skin. For one, Charlotte cares about her son, revealing a softer side than Dolores might have assumed or that we’ve actually seen on the show. But it also appears that the essence of Charlotte is asserting herself, despite the fact that Charlotte-bot is a replicant body with a host brain.To quote Jeff Goldblum in “Jurassic Park,” “Life finds a way.”Paranoid Androids:The Delos riot control robots look exactly like the ED-209 in “RoboCop,” so they’re certain to work perfectly.Why would Charlotte need to go through all that security rigmarole if Serac was only a hologram? The heavily fortified location offers privacy, perhaps, but the tech seemed a bit superfluous.Secac is a trillionaire? We don’t yet know how he got all the money. But we can safely guess he isn’t asked to pay income tax on it.“I remember what it’s like to be me. You’re not the only predator here.” In rescuing Charlotte’s son from a pedophile in the park, the line between the host and the actual Charlotte gets hazy. More

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    Blair Underwood Refused to Star on 'Sex and the City' Due to Black Stereotype

    HBO

    The ‘Quantico’ star was originally offered to make an appearance in season three of the hit TV drama as a top record executive whose sister took issue with interracial relationship.
    Mar 29, 2020
    AceShowbiz – Actor Blair Underwood originally passed up the chance to appear on hit TV drama series “Sex and the City” because he refused to be the token black character.
    The “Quantico” star played Dr. Robert Leeds, a love interest for Cynthia Nixon’s lawyer Miranda Hobbes, in season six back in 2003, but he reveals he was initially approached to make a one-off appearance in season three, opposite Kim Cattrell, who portrayed sex-mad PR guru Samantha Jones.
    However, Underwood rejected the role of a top record executive whose sister takes issue with interracial relationships, because the storyline of the “No Ifs, Ands or Butts” episode was too stereotypical for his liking.
    Discussing his time on “Sex and the City” on Netflix’s “Strong Black Lead” podcast, he explained, “I said no first, two years prior, because there was an episode… Kim Cattrell’s character wanted to be with a black man and it was all about the curiosity.”
    “‘What’s it like to be with a black man? Are the rumours true?’ And I said, ‘Thank you, but no thank you. I appreciate it and I’m honoured.’ And I mean that, I don’t take that lightly when people offer you a job. But I said, ‘I’m not interested in being the black curiosity, but thank you.'”
    Producers later reached out with another proposal for the part of Dr. Leeds, and this time, Underwood’s wife, Desiree DaCosta, urged him to take on the gig, which featured a five-episode story arc.
    “Two years later, they came back and had an offer to come join the show,” Underwood shared. “And I said, ‘Is it going to be about his race or is he going to be a human being?’ They said, ‘Naw (sic), he’s a doctor that’s in her building who she meets in the elevator and they hit it off.’ That was important.”
    “I only did five episodes and they only mentioned it (interracial relationship) once because it’s obvious,” he added. “You don’t have to talk about the black guys. It’s obvious what you are.”

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    Ariana Grande Looks Back at 'Most Special Years' of Her Life on 10th Anniversary of 'Victorious'

    Nickelodeon

    Sharing a series of throwback photos from her time on the Nickelodeon show, the ‘7 Rings’ hitmaker says she ‘couldn’t have spent her teenage years with a better, more funny, talented group of human beings.’
    Mar 28, 2020
    AceShowbiz – Ariana Grande celebrated the 10th anniversary of her teen sitcom “Victorious” by remembering the experience as some of the “most special years” of her life.
    The pop superstar began her career on Broadway, but rose to fame after playing Cat Valentine on the Nickelodeon show, which ran for four seasons from 2010.
    “Victorious”, created by Dan Schneider, was set in a Hollywood performing arts school and centred on an aspiring singer, portrayed by Victoria Justice, with co-stars including Daniella Monet, Leon Thomas III, and Matt Bennett.
    On Thursday night, March 26, Ariana took to Instagram to share a series of throwback photos from her time on the show, after reading a similar post by Monet and becoming emotional.
    “ten years of ‘victorious’,” she began. “daniella’s post got me all in my feels now so i’m sorry for the mushiness but…. jus want to say how grateful i will always be for being on this show and for those years of my life. i couldn’t have spent my teenage years with a better, more funny, talented group of human beings. i really loved playing cat valentine (sic)…”
    Ariana, who also appeared in a short-lived Sam & Cat spin-off, went on to reminisce about “getting in trouble” with her friends on set and “trying not to laugh” during more dramatic scenes, and confessed she even missed “waking up with dye stained pillows”, thanks to the red hair treatment she had to undergo for her character.
    “thank u @danwarp (Schneider) and to my cast mates for some of the most special years of my life and for bringing all of us into each other’s lives (sic),” she concluded. “happy anniversary!”

    Ariana’s sweet show tribute prompted old pal Justice to comment, “Such a special time. Memories I will always cherish. Love u guys (sic)”, while Monet added, “Love you, and this, and all that we shared. Such special years”.

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    What’s on TV Saturday: ‘Captain Phillips’ and ‘Fly Away Home’

    What’s on TVCAPTAIN PHILLIPS (2013) 9 p.m. on SundanceTV. Directed by Paul Greengrass, who quickened the pace of several Bourne franchise movies, “Captain Phillips” is fraught with urgency. It’s a thriller — enhanced by its basis in true events — about an American cargo ship captain whose vessel is taken over by Somali pirates. The captain, Richard Phillips, is played by Tom Hanks, who “can convey a sense of old-fashioned American decency just by standing in the frame,” Manohla Dargis wrote in her review for The New York Times. But underneath the plot’s fast-paced action and Phillips’s all-American heroism, the movie succeeds in its humanization of the Somalis, providing “an unsettling look at global capitalism and American privilege and power,” Dargis wrote.THE KITCHEN (2019) 8 p.m. and 11:15 p.m. on HBO. Melissa McCarthy, Tiffany Haddish and Elisabeth Moss star in this twist on a mob movie where, this time, women are in charge. After their husbands are locked up, Kathy (McCarthy), Ruby (Haddish) and Claire (Moss) find themselves struggling to make ends meet. But it’s 1978 in Hell’s Kitchen, and jobs for women outside the home are scarce, so, naturally, the three become crime bosses to feed their families. Much is amiss in this feminist undertaking by the director Andrea Berloff, Dargis wrote in her review for The Times, but “the leads are appealing and Berloff gives each time to do her thing.”What’s StreamingFLY AWAY HOME (1996) Stream on Criterion; rent on Amazon, Google Play, iTunes, Vudu and YouTube. Amy Alden (Anna Paquin) is 13 when her mother dies in a car crash, uprooting her from New Zealand, where she was raised, and sending her to rural Canada, where her father lives. Her father, Thomas Alden (Jeff Daniels), is a quirky inventor trying desperately to connect with his estranged daughter. But the plot takes off when Amy finds an abandoned nest of goose eggs and — looking for a project — decides to hatch and raise them herself. “A string of enchanting, unsentimental girl-and-geese scenes are the film’s central highlight,” Janet Maslin wrote in her review for The Times, and the cinematographer Caleb Deschanel “finds miraculous new ways to show off pastoral green landscapes and back-lighted yellow fuzz.” Complications arise when the geese must fly south for the winter, and the Aldens must lead the way.GABRIELLE (2005) Stream on Mubi. Based on “The Return,” a short story by Joseph Conrad, the French film “Gabrielle” is given new life by the director Patrice Chéreau in his onscreen adaptation. Dargis wrote in her review for The Times that it’s “a film of eccentric beauty and wild feeling,” starring Pascal Greggory and Isabelle Huppert. Greggory is Jean Hervey, a well-to-do member of Paris’s pre-World War I bourgeoisie who frequently finds himself itemizing what he considers his life’s greatest possessions — including his wife, Gabrielle (Huppert). When Gabrielle leaves her husband a letter saying she is leaving him for another man, Jean’s meticulously arranged life comes crashing down. More