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      Meg Ryan on Her New Rom-Com, ‘What Happens Later’

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      Meg Ryan was hurting.Not metaphorically. The actress and one-time rom-com queen was actively sore, having spent the morning, one of many, unpacking and moving herself into a home she’d long been renovating in Montecito, Calif. Persevering through the painful twinge, making order out of the past — really, finding comfort in the present — are the sneaky subcurrents of Ryan’s new movie, “What Happens Later,” a wily rom-com that she co-wrote, stars in and directed. A two-hander opposite David Duchovny, it distills moviedom conventions and plays with a different emotional palette; Ryan grappling with her own cinematic brand. It is only her second foray behind the camera and the first time she has appeared onscreen in seven years.She hasn’t missed the spotlight. “I feel like I had the ride, the Hollywood ride,” she said over a restorative soup lunch on a foggy day. “I kind of went to the moon already. So I don’t have giant ambitions to be back in that.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.We are confirming your access to this article, this will take just a moment. However, if you are using Reader mode please log in, subscribe, or exit Reader mode since we are unable to verify access in that state.Confirming article access.If you are a subscriber, please More

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      in Television

      ‘Annika’ Star Nicola Walker on the Book She’d Save From a Burning Home

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      When it comes to the actress’s favorite things, give her the American version of “Alone” and a true-crime podcast from Australia.No one broods quite like Nicola Walker, whose eyes have transfixed viewers in television shows like “Unforgotten,” “Last Tango in Halifax” and “The Split.”In “Annika,” the British crime drama now in its second season on PBS, she holds that gaze as a marine homicide detective, her speedboat slicing through the waters near Glasgow.But in a video interview while just outside London, where she lives with her husband, the actor Barnaby Kay, and their teenage son, Harry, Walker was radiant and witty. When she agreed to talk about her cultural essentials — true-crime podcasts, the theater director Ivo van Hove, the harrowing reality series “Alone” — she recalled her agent asking if she was going to be truthful.“I said, ‘Is it bad if I tell them that really one of my cultural highlights this week has been sitting in my underwear, eating a bag of Spanish Lays crisps with a can of Coke, watching the ‘Beckham’ documentary?’”“Now I’m in love with both of them,” Walker added. “David and Victoria.”These are edited excerpts from the conversation.1Touching the ArtWhen I was a young girl, we moved to rural Essex, and the nearest town was Harlow — one of the new towns built post-World War II. Frederick Gibberd, the architect, thought that ordinary people should brush up against art in their everyday lives. On the way to the shopping center, I’d walk past sculptures by Henry Moore, Barbara Hepworth, Rodin. I used to climb all over Hepworth’s “Contrapuntal Forms,” and no one ever stopped you. Hepworth said statues must be touched — that’s how they begin.2Stewart LeeI’ve always loved stand-up because I could never do it, and Stewart is, for me, the best stand-up working for years now. I recommend “Content Provider.” It’s like he smashes up the rules of comedy, glues them back together and then throws them at you.3Ivo van HoveWatching Ivo or being directed by Ivo is like having an injection of energy and hope, because he makes theater in a way that you realize you’ve always wanted theater to be made.4Toni MorrisonI lost my mother a very long time ago. Too young. She bought me a copy of “Beloved” when I went up to university, and she wrote in it, “To My Beloved.” That thing they say about what you would save from your burning house, apart from pets? That book. I was 19, and it opened up the whole world.5The U.S. Version of ‘Alone’The U.K. one was like a family camping trip gone wrong: They’ve got lost in the dark and they’re scared of the foxes and the owls hooting. Then we happened to see “Alone USA.” Crikey. Ten people. Bears, wolverines. I watched a man win a series because he shanked a musk ox to death.6‘Closing Time’When I was pregnant, I played “Closing Time” on a loop, and Harry used to sort of wriggle. I don’t know whether I’ve made that up, but all I know is he loves Tom Waits. When Harry was about 3, I went for a fitting at a famous costumier, and Tom Waits walked in. I was too scared to say, “My 3-year-old knows all the words to ‘Closing Time.’” I really regret it, and my son has never forgiven me.7Sylvia PlathWhen I was 16, I really identified with her. All that introspection of youth. You’re allowed to be that doom-laden because you’re so young. As a 53-year-old, I don’t see myself. I see Sylvia Plath, and I want to literally jump in the book and save her.8Reciting PoetryI love reading poetry out loud. This might be due to studying English at Cambridge. One of my favorite poems is Billy Collins’s “Introduction to Poetry” — the idea that you have to tie the poem down to a chair and beat it into submission to give up its meaning. I felt that’s what I did as a student, and it took me ages to find my way back to poetry because, for me, it was work. But now I think it’s flesh and bones when you say those words.9Playlists for RolesThey give me the confidence to step out of the caravan and walk on set. Annika’s playlist was fabulously eclectic: Benjamin Clementine’s “Nemesis,” David Bowie’s “Fill Your Heart,” The Darkness’s “I Believe in a Thing Called Love.”10Murder ShowsI have a guilty obsession that a lot of women have (as “S.N.L.” pointed out in a very good musical skit): true crime. There’s this Australian podcast, “Casefile,” and the guy always starts with this warning, “This podcast contains stories of a sexual nature, injury to women,” or whatever. And my husband’s shouting, “Are you listening to that bloody man talking about killing women again?” Yeah, I am. Why am I? It’s the same reason we like crime dramas. Because the comfort of watching something that terrifies you and seeing it resolved makes you feel a little bit safer. More

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      Richard Moll, Towering Bailiff on ‘Night Court,’ Dies at 80

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      In a career that spanned more than four decades, the actor was best known for playing the imposing but lovable Bull Shannon on the NBC sitcom.Richard Moll, the 6-foot-8 actor who delighted television audiences with a childlike charm in his role as the hulking bailiff on the NBC sitcom “Night Court,” died on Thursday at his home in Big Bear Lake, Calif. He was 80.His death was confirmed on Friday by his publicist, Jeff Sanderson. No cause was given by the family.In a career of more than four decades, Mr. Moll played a variety of roles on television shows and in films. But he was best known for portraying the baldheaded, wide-eyed Aristotle Nostradamus (Bull) Shannon on all nine seasons of “Night Court,” which ran from 1984 to 1992 and competed with other hit television sitcoms like “The Cosby Show” and “The Golden Girls.”Mr. Moll worked as an actor and voice-over artist as late as 2018.Kathy Hutchins/Hutchins Photo Agency, via Associated PressBull Shannon’s dimwitted persona offered an air of lighthearted innocence on the series, which was set inside a fictional municipal night court in Manhattan and starred Harry Anderson, who played Judge Harry Stone and died in 2018, and John Larroquette as the prosecutor, Dan Fielding.Mr. Moll was “larger than life and taller too,” Mr. Larroquette, said Friday in a post on X.Richard Charles Moll was born on Jan. 13, 1943, in Pasadena, Calif. to Harry and Violet Moll. He graduated from the University of California, Berkeley, in 1964, with a degree in history and passed over his father’s wishes that he pursue a law career, to take up acting.He started with theater work, performing in Shakespeare plays in California. His first television and film roles came in the late 1970s, and included a part in the 1977 movie “Brigham” and an appearance in an episode of the television series “Welcome Back, Kotter” in 1978.“Probably auditioning for ‘Night Court’ would be my first big break,” Mr. Moll said in a 2010 interview with MaximoTV. He noted that he had been asked if he was willing to shave his head for the part.“I said ‘Are you kidding?’ ” he recalled. “‘I’ll shave my legs for the part. I’ll shave my armpits. I don’t care.’”After “Night Court” ended in 1992, Mr. Moll went on to do voice-over work on various cartoons, including roles as Two-Face, a disturbed villain with a disfigured mug on the “Adventures of Batman & Robin” on Fox, and as Scorpion, one of the many adversaries on “Spider-Man: The Animated Series,” on the same network.Richard Moll, far right, with the cast of Night Court in 1988.Gary Null/NBC, via Getty ImagesThough largely known for his comedic work, including in movies such as “Scary Movie 2” and “But I’m a Cheerleader,” Mr. Moll was also featured in horror and science-fiction films. His first major movie roles included the 1985 horror feature “House” and the 1986 indie fantasy “The Dungeonmaster.”Mr. Moll worked as an actor and voice-over artist as late as 2018, according to IMDb. His final notable appearance was in the 2010 live-action film “Scooby-Doo: Curse of the Lake Monster,” in which he played the mysterious lighthouse keeper Elmer Uggins.Mr. Moll retired to Big Bear Lake in the Southern Californian mountains, where, according to his family, he reveled in the idyllic scenery and exercised his love of bird-watching.He is survived by a daughter, Chloe Moll; a son, Mason Moll; his ex-wife, Susan Moll; and two stepchildren, Cassandra Card and Morgan Ostling. More

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      in Theater

      Good Times and Bum Times Made These Theater Veterans Even Stronger

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      It’s challenging enough for an actor to portray someone who is alive and well. But can you imagine the extra scrutiny that comes when your model is sitting in the director’s chair?In the new musical “The Gardens of Anuncia,” Priscilla Lopez plays the title role, which is largely based on the childhood of the show’s director and co-choreographer, Graciela Daniele. Or at least, Daniele pointed out in a recent conversation, it’s “a version of me. A better version.”When the two stage veterans sat together last week, a day after performances began at Lincoln Center Theater, they laughed continuously, and threw themselves into the conversation with the full-bodied gusto of born performers. They mimed pranks they once pulled on castmates, hummed tunes from long-forgotten shows, and punctuated their stories with enough sound effects to make a Foley artist jealous.There might also have been a little bit of tearing up as they reminisced about their decades in the Broadway trenches — Lopez is 75, Daniele is almost a decade older — and reflected on the new project, a memory musical based on Daniele’s childhood in post-World War II Buenos Aires.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.We are confirming your access to this article, this will take just a moment. However, if you are using Reader mode please log in, subscribe, or exit Reader mode since we are unable to verify access in that state.Confirming article access.If you are a subscriber, please  More

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      West End Theatergoers Grumble as Prices for the Best Seats Surge

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      Concern is growing that a night at the theater in London is becoming unaffordable, especially when a production has starry names, like Kenneth Branagh’s “King Lear.”When hundreds of playgoers lined up outside Wyndham’s Theater in London this week, the mood was excited. They had come to see Kenneth Branagh, the revered Shakespearean actor, directing and playing the title role in “King Lear.”But some were still thinking about the price they’d paid to be there.Alan Hooper, 75, a retired teacher, said that, at the box office that morning, he was offered a seat in the first balcony for 200 pounds, around $240, or a standing place for a fraction of the cost. He chose to stand for the show’s two-hour run time. West End prices, Hooper said, were “out of control.”Another audience member, George Butler, 28, said that he was overjoyed to have secured two tickets for 20 pounds, or about $24, each, even if they were in the nosebleeds. “Theater is becoming very elitist,” Butler said. “The minute there’s a well known person in a play, it’s unaffordable.”London’s theater world is increasingly simmering with complaints over soaring ticket prices, and a perception that they are creeping closer to Broadway levels. Even as producers insist that a fraction of tickets must be sold at steep prices to offset cheap seats for low earners, concern is growing that a night at the theater is becoming an unaffordable luxury.The West End’s own stars are fueling the fuss. In April, Derek Jacobi, the veteran actor, told The Guardian newspaper that potential theatergoers were now having to think “more than twice” about attending shows. A few months later, David Tennant stirred debate when he told a Radio Times podcast that rising prices were “strangling the next generation of an audience coming through.”Leicester Square in London’s West End. British actors have spoken out about soaring ticket costs, noting that the prohibitive expense was limiting theater’s reach.Jane Stockdale for The New York TimesThis fall, theater message boards and social media erupted in indignation when tickets for a production of “Plaza Suite,” starring Sarah Jessica Parker and Matthew Broderick, went on sale with a top price of £395, around $477 — a level rarely heard of in London.Yet it was unclear whether these few high-profile cases reflected a wider problem. Alistair Smith, the editor of The Stage, a British theater newspaper, said it was difficult to analyze whether ticket prices were increasing across the board, because producers release so little sales data.To fill the gap, his newspaper annually surveys the cheapest and most expensive tickets across the West End. This year’s results, Smith said, showed that the average price for tickets in the most expensive price group was £141, or about $170 (a decade ago, the figure was a much lower £81). This year’s average was still “a long, long way behind Broadway,” he said, adding that the cost of the priciest tickets had barely changed since 2022, despite soaring household costs.However, Smith added, the average price of the least expensive tickets had risen by more than inflation to £25, or $30. “It would be a concern if that trend continues,” he said.For many West End producers, the perception of a price hike is a source of growing frustration. Patrick Gracey, a producer who sits on the board of the Society of London Theater, said that the news media published articles about high ticket prices because it “gets clicks.” Those stories were “misleading audiences about the availability of affordable tickets,” he said.Last year, Gracey said, theatergoers paid an average £54, or about $66, to see a West End show. (The average price on Broadway last week was double that at $125, according to data from The Broadway League.)Producers were facing soaring costs, Gracey added. After Russia’s full-scale invasion of Ukraine, some theaters saw their energy costs spike as much as 500 percent, and there were similar jumps in set-building material prices. Last year, West End actors and technical staff secured a pay deal that saw their wages rise, too.The average West End theater ticket price in 2022 was about $66: high, but considerably less expensive than Broadway tickets.Jane Stockdale for The New York TimesEven with those pressures, Gracey said producers were working to keep theater accessible and were offering cheap tickets for those who couldn’t splurge. “It’s only possible to offer those tickets because some people are paying top price,” he said.The producers of “King Lear” said in an emailed statement that they were offering 150 tickets per performance at £20 — equivalent to 19 percent of the house. Those included 17 in the front row, with the rest in the back rows of the theater’s three tiers.The problem was with audience perception, said Nick Hytner, a co-founder of the Bridge Theater. Producers needed to develop “a compelling counternarrative” that theater was affordable or else young people would decide that the art form wasn’t for them. Discounting the worst seats at the back of cramped Victorian theaters didn’t cut it, he said, adding that theaters need to develop more innovative approaches to pricing.Some theatergoers have justified the price of tickets for a once in a lifetime experience of seeing actors like Branagh onstage.Jane Stockdale for The New York TimesOne West End show that is trying something new is “Operation Mincemeat,” a musical set in World War II. At every performance, all the seats in the house cost the same price, but that amount rises gradually throughout the week, from £39.50 on Mondays to £89.50 on weekends. Jon Thoday, the managing director of Avalon, the show’s producer, said that the production lost money on Mondays, but added that the pricing strategy was good for the musical’s long term future because it brought in a younger audience.“There will always be a fuss about ticket prices, unless others change,” Thoday said.At “King Lear” earlier this week, theatergoers weren’t complaining about Branagh’s show, at least. Marshall Shaffer, 31, a movie journalist visiting from New York, said he had paid $403 for two tickets. “I did not think that was necessarily a bargain,” he said, “but Branagh’s probably the premiere Shakespeare interpreter of his time, and I think it’s worthwhile.”Another audience member, Penny Smith, joked that she’d had to “sell a child” to buy her ticket, but said she was happy to pay to see Branagh. Plus, she said with a laugh, the tickets were “a darn sight cheaper than New York. Have you seen the prices there?” More

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      Jonathan Majors’s Accuser Is Arrested but Won’t Face Prosecution

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      Grace Jabbari, who accused the actor of assaulting her in a car, was herself arrested on a countercomplaint.A woman who has accused the actor Jonathan Majors of assaulting her in a car in Manhattan in March was arrested late Wednesday on a countercomplaint he filed against her, claiming to be the true victim in the altercation, the police said.The woman, Grace Jabbari, was charged with misdemeanor counts of assault and criminal mischief and released with a desk appearance ticket that requires her to appear in court at a later date, the police said.The arrest occurred even though the Manhattan district attorney’s office said in a court filing this month that it had told lawyers for Ms. Jabbari and Mr. Majors in September that the office “would decline to prosecute” her “if she were arrested.” The filing did not explain what was behind the decision not to prosecute.A lawyer for Ms. Jabbari did not immediately respond to a request for comment.Mr. Majors has pleaded not guilty to misdemeanor assault and harassment charges arising from the March episode. Ms. Jabbari’s surrender came the same day a Manhattan judge set a Nov. 29 trial date after rejecting the actor’s bid to dismiss the charges.Mr. Majors, a 34-year-old Yale graduate, was a rising Hollywood star when the altercation with Ms. Jabbari, his former girlfriend, occurred. Performances in vehicles like the HBO series “Lovecraft Country,” the film “Creed III” and the gritty drama “Magazine Dreams” had marked him as a potential Oscar contender, and his character Kang, from “Ant-Man and the Wasp: Quantumania,” was emerging as a linchpin of Disney’s Marvel franchise.The fallout from his arrest was swift. The U.S. Army pulled two recruiting commercials featuring him, with a spokeswoman explaining that “prudence dictates that we pause our ads until the investigation into these allegations is complete.”His movie career is effectively on hold. In part because of the continuing actors’ strike, Disney does not need to make a decision about his future involvement in the Marvel films until next year. “Magazine Dreams,” which stars Mr. Majors as a troubled bodybuilder and which generated buzz at the Sundance Film Festival, remains on Disney’s theatrical calendar for December, with the company’s art-house division, Searchlight Pictures, as the distributor.In light of Mr. Majors’s legal problems, theater owners expect Disney to push the film into next year, with an announcement coming as soon as this week. A Searchlight spokeswoman did not respond to a request for comment on Wednesday.In their filing this month, prosecutors said the episode at issue, on March 25, began when Mr. Majors and Ms. Jabbari, 30, were using a car service to go from Brooklyn to their Manhattan home.During the ride, the filing says, Ms. Jabbari saw a message on Mr. Majors’s phone that said, “Wish I was kissing you right now.” She grabbed the phone to see who had sent the message, the filing says.Mr. Majors, the filing says, began to grab the right side of Ms. Jabbari’s body and to pry her middle finger off the phone. He then grabbed her arm and hand, twisted her forearm and struck her right ear, cutting it, the filing says. Grabbing his phone, he left the car, the filing says.When Ms. Jabbari tried to get out, according to the filing, Mr. Majors picked her up and threw her back inside. In addition to the cut on her ear, the filing says, Ms. Jabbari sustained a broken finger, bruises on her body and a bump on her head.In April, after Mr. Majors had been charged, his lawyer, Priya Chaudhry, wrote to a judge that Ms. Jabbari’s version of events was a “complete lie” and that Ms. Jabbari had been the aggressor, hitting and scratching Mr. Majors.Ms. Jabbari, Ms. Chaudhry wrote, had then gone out clubbing, had passed out in a closet at home and had woken up to find the injuries to her finger and ear. Two months later, Mr. Majors filed the countercomplaint against Ms. Jabbari accusing her of assault, The police subsequently developed sufficient evidence to support the charges on which she was arrested. He faces up to a year in jail if convicted.Among the other notable details in the prosecutors’ filing was the mention of a “police report prepared by the London Metropolitan Police” as a piece of potential evidence in the case, as well as the prosecutors’ efforts to obtain “medical records from London related to an incident that occurred in September 2022.” The filing does not indicate who was involved in the incident.The filing also questions the veracity of a witness statement provided by the defense. In the purportedly firsthand statement, the filing says, the witness said that he saw Ms. Jabbari slap and “tussle with” Mr. Majors and that Mr. Majors had “gently” placed Ms. Jabbari in the car.When prosecutors presented the statement to the witness, the filing says, he said that he had not written or approved it, that he had not previously known it existed and that the statements attributed to him were false.Ms. Chaudhry did not respond to a request for comment on Wednesday.Brooks Barnes More

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      Richard Roundtree, Star of ‘Shaft,’ Dies at 81

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      Richard Roundtree, the actor who redefined African American masculinity in the movies when he played the title role in “Shaft,” one of the first Black action heroes, died on Tuesday at his home in Los Angeles. He was 81.His manager, Patrick McMinn, said the cause was pancreatic cancer, which had been diagnosed two months ago.“Shaft,” which was released in 1971, was among the first of the so-called blaxploitation movies, and it made Mr. Roundtree a movie star at 29.The character John Shaft is his own man, a private detective who jaywalks confidently through moving Times Square traffic in a handsome brown leather coat with the collar turned up; sports a robust, dark mustache somewhere between walrus-style and a downturned handlebar; and keeps a pearl-handled revolver in the fridge in his Greenwich Village duplex apartment. As Mr. Roundtree observed in a 1972 article in The New York Times, he is “a Black man who is for once a winner.”In addition to catapulting Mr. Roundtree to fame, the movie drew attention to its theme song, written and performed by Isaac Hayes, which won the 1972 Academy Award for best original song. It described Shaft as “a sex machine to all the chicks,” “a bad mother” and “the cat who won’t cop out when there’s danger all about.” Can you dig it? The director Gordon Parks’s gritty urban cinematography served as punctuation.A fictional product of his unenlightened pre-feminist era, Shaft was living the Playboy magazine reader’s dream, with beautiful women available to him as willing, downright grateful, sex partners. And he did not always treat them with respect. Some called him, for better or worse, the Black James Bond.He played the role again in “Shaft’s Big Score!” (1972), which bumped up the chase scenes to include speedboats and helicopters and the sexy women to include exotic dancers and other men’s mistresses. In that movie, Shaft investigated the murder of a numbers runner, using bigger guns and ignoring one crook’s friendly advice to “keep the hell out of Queens.”In “Shaft in Africa” (1973), filmed largely in Ethiopia, the character posed as an Indigenous man to expose a crime ring that exploited immigrants being smuggled into Europe. The second sequel lost money and led to a CBS series that lasted only seven weeks.But the films had made their impact. As the film critic Maurice Peterson observed in Essence magazine, “Shaft” was “the first picture to show a Black man who leads a life free from racial torment.”Mr. Roundtree in a scene from the 1972 movie “Shaft’s Big Score,” the first of two sequels.Stanley Bielecki Movie Collection/Getty ImageRichard Arnold Roundtree was born on July 9, 1942 (some sources say 1937), in New Rochelle, N.Y., the son of John and Kathryn (Watkins) Roundtree, who were identified in the 1940 census as a butler and a cook in the same household.Richard played on New Rochelle High School’s undefeated football team and, after graduating in 1961, attended Southern Illinois University on a football scholarship. But he dropped out of college in 1963 after he spent a summer as a model with the Ebony Fashion Fair, a traveling presentation sponsored by a leading news and culture magazine for Black readers.He moved back to New York, worked a number of jobs and soon began his theater career, joining the Negro Ensemble Company. His first role was in a 1967 production of “The Great White Hope,” starring as a fictionalized version of Jack Johnson, the early 20th century’s first Black heavyweight boxing champion. A Broadway production starring James Earl Jones opened the next year and won three major Tony Awards and the Pulitzer Prize for drama.After “Shaft,” Mr. Roundtree made varied choices in movie roles. He was in the all-star ensemble cast, which also included Charlton Heston and Ava Gardner, of the 1974 disaster movie “Earthquake.” He played the title role in “Man Friday” (1975), a vibrant, generous, ultimately more civilized partner to Peter O’Toole’s 17th-century explorer Robinson Crusoe.In “Inchon” (1981), which Vincent Canby of The Times described as looking like “the most expensive B movie ever made,” he was an Army officer on the staff of Gen. Douglas MacArthur (Laurence Olivier) in Korea. He starred with Clint Eastwood and Burt Reynolds in “City Heat” (1984) and with a giant flying lizard in “Q” (1982).On the small screen he played Sam Bennett, the raffish carriage driver who courted Kizzie (Leslie Uggams), in the acclaimed mini-series “Roots” (1977). That show was transformational, Mr. Roundtree said in an ABC special celebrating its 25th anniversary: “You got a sense of white Americans saying, ‘Damn, that really happened.’”Richard Roundtree in 2019. He remained busy as an actor for more than four decades after his first big role.Celeste Sloman for The New York TimesMr. Roundtree’s name remained associated with the 1970s, but he was just as busy during the next four decades.He was an amoral private detective in a five-episode story arc of “Desperate Housewives” (2004); appeared in 60 episodes of the soap opera “Generations” (1990); and played Booker T. Washington in the 1999 television movie “Having Our Say: The Delany Sisters’ First 100 Years.” He was a big-city district attorney in the film “Seven” (1995) and a strong-willed Mississippi iceman in “Once Upon a Time … When We Were Colored” (1996).After the year 2000, when he was pushing 60, he made appearances in more than 25 small-screen series (he was a cast member of or had recurring roles in nine of them — including “Heroes,” “Being Mary Jane” and “Family Reunion”) and was seen in half a dozen television movies and more than 20 feature films.In 2020, he starred as a fishing boat’s gray-bearded captain in “Haunting of the Mary Celeste,” a supernatural maritime movie mystery. In 2022, he acted in an episode of “Cherish the Day,” Ava DuVernay’s romantic drama series.Mr. Roundtree married Mary Jane Grant in 1963. They had two children before divorcing in 1973. In 1980, he married Karen M. Cierna. They had three children and divorced in 1998.Mr. Roundtree is survived by four daughters, Kelli, Nicole, Taylor and Morgan; a son, John; and at least one grandchild.The Shaft character, created by Ernest Tidyman in a series of 1970s novels, endured — with Hollywood alterations. Samuel L. Jackson starred as a character with the same name, supposedly the first John Shaft’s nephew, in a 2000 sequel titled “Shaft.”In 2019, another “Shaft” was released, also starring Mr. Jackson (now said to be the original character’s son) and Jessie T. Usher as his son, J.J. Shaft, an M.I.T.-educated cybersecurity expert. The film felt something like a buddy-cops comedy, but the smartest thing it did, Owen Gleiberman of Variety noted in a review, was to take Mr. Roundtree, “bald, with a snowy-white beard,” and “turn him into a character who’s hotter, and cooler, than anyone around him” and whose “spirit is spry, and tougher than leather.”Orlando Mayorquin More

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      in Television

      Book Review: ‘If You Would Have Told Me’ by John Stamos and ‘Being Henry’ by Henry Winkler

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      Candid memoirs by Henry Winkler and John Stamos reveal how lucky breaks — and Yale training, and a curling iron — made them into household names.IF YOU WOULD HAVE TOLD ME: A Memoir, by John Stamos with Daphne YoungBEING HENRY: The Fonz … and Beyond, by Henry Winkler with James KaplanWhen I worked for a casting director in the 1980s, the most fun part of the job was looking at the marked-up appointment sheet at the end of each day. Because film and TV auditions are intimate, often conducted over a desk, my boss had devised a code by which to secretly rate the sensitive actors sitting just inches away from her: CBNC (close but no cigar), LLIT (a little long in the tooth), and so on.Listen to This ArticleOpen this article in the New York Times Audio app on iOS.So you can imagine my surprise when, after a very chatty young actor known for playing snotty know-it-alls had auditioned one day, my boss abandoned her usual hieroglyphics and simply scrawled next to the actor’s name on the appointment sheet, in all caps, the seven-letter epithet that starts with “A” and ends with “E” and is synonymous with “backside.” Cowabunga!Neither of the smart and entertaining new memoirs by Henry Winkler and John Stamos inspires such odium — even if both TV stars have written books that traffic heavily in their authors’ lesser angels. These foibles elicited differing reactions from me — I wanted to give the adorably needy Winkler the kind of slow-burn hug that would both congratulate and pacify him; I wanted to abandon the businesslike and unidealistic Stamos in a black box theater with Stella Adler until he starts babbling about “making choices” and his “instrument.”Winkler’s essential m.o. in life, we learn, is to try to make everyone love him because his Holocaust survivor parents didn’t. After graduating from Yale Drama School, he got his breakout role as the too-cool-for-school Fonzie on “Happy Days” just six weeks after moving to Los Angeles.Playing the Fonz has been a meal ticket that has yielded Winkler interesting reactions from unlikely sources. “You do not have to tell me who you are,” Marcello Mastroianni made clear. “Finally, we meet,” Orson Welles uttered.On the flip side, Winkler has spent much of his post-Fonzie career trying not to be typecast — an obstacle not made easier by the fact that he didn’t learn he was severely dyslexic until he was 34. Winkler has made up for lost time by branching out into other pursuits — directing, producing, writing children’s books .But Winkler’s bigger obstacle, it seems, has been emotional immaturity: Until he started therapy seven years ago, he had intimacy problems, including not being able to tell his partner, Stacey, that he loved her. (Wonderfully, Stacey, now his wife, writes responses throughout the book, such as “There were times when I thought … ‘Now I have another child?’”)Winkler’s affective shortcomings throw his social anxiety and bouts of verbal diarrhea into high relief. After meeting Paul McCartney, Winkler, hoping to hang out with the former Beatle, called him 10 times without getting an answer; after chattering incessantly at Neil Simon’s house over dinner one night, he spent months summoning the courage to ask Simon over, only to be told twice that the playwright was “busy.” It’s this kind of candor — coming from someone who once duct-taped deli turkey to his shoes so his dog would play with him — that makes Winkler so lovable on the page. Under the juddering neediness lies a mensch: After Winkler had shot his role in “Scream,” he was told his name couldn’t be on the movie poster because the Fonzie connection would create the wrong expectations for a horror film. But, Hollywood being Hollywood, when the film came out Winkler was asked to do press. Which he agreed to. Winkler’s story is also aided by the fact that his deepest work as an actor — on the terrific recent HBO series “Barry” — came directly after the therapy sessions that helped Winkler with his intimacy issues. As my former boss might have written, VTEBNLPBI (very tidy ending, but no less powerful because of it).John Stamos, he of “Full House” and “E.R.” and Broadway, takes longer to warm to on the page. Stamos is blessed with some of Winkler’s candor — he admits to having had two nose jobs and having gone to Alcoholics Anonymous. However, it’s hard to rouse a head of steam for a thespian whose raison d’être is to “get famous” and who cops to “trying to achieve sex symbol status.” WIJJ (where is the joy, John)?Such dampening pragmatism seems to spill over even to Stamos’s love life. After saying of one actress more famous than he was that “it wouldn’t hurt to get to know her,” he dated her for almost a year. Later in the book, Stamos confesses that he used to want to partner up with “someone who has a bigger, more exciting life than mine to elevate me” so they’d be “a power couple always in the press,” but, once he started seeing his now-wife, Caitlyn, he realized that what he’d always needed was someone who’s cozy-making — someone who would tell him when he has “too much product in my hair.” Some Stamos fans may enjoy this kind of Malibu verismo, but I found myself repeatedly looking floorward in search of a dog to pet. That said, a few things save Stamos from hanging himself. For one, he’s great with period detail. When Stamos auditioned in the early ’80s to play the thief and urchin Blackie Parrish on “General Hospital,” he had his mother feather his hair with a curling iron — hair that was already streaked with Sun In. He rejected his father’s Members Only jacket in favor of his mother’s long leather jacket, and tied a yellow bandanna around his leg in homage to Chachi on “Happy Days.” Then he drove to the audition in an El Camino he calls “the El Co.” You can almost smell the Travolta.Second, we can chalk some of Stamos’s apparent lack of passion about acting up to the fact that music — specifically, drumming — seems to be his true love. After befriending at Disneyland a Beach Boys cover band called Papa Doo Run Run early in his career, Stamos proceeded to charm his way into the inner circle of the actual Beach Boys and then to play drums hundreds of times with the legacy pop group during the 1980s and ’90s. These sections of the book are some of its most exciting.Lastly, Stamos is a highly social creature. I enjoyed reading about his mentors, Garry Marshall and Jack Klugman; the charity work he has done with abused and neglected kids; and the strings-pulling that he did on behalf of both his first wife, the actress Rebecca Romijn, and his pal Don Rickles. Similarly, the chapter about his friend and “Full House” colleague Bob Saget, who died last year, is lovely.Speaking of tidy endings: Winkler, it turns out, was an early influence for Stamos. After meeting the affable fellow actor, Stamos decided, “I’m going to treat people the way he treats me.”ALAFWARHC: At last, a friend for Winkler who’ll always return his calls.Audio produced by More