CBS Corporation

Subterms

    More stories

    • 150 Shares199 Views

      in Television

      David Birney, Who Starred in TV’s ‘Bridget Loves Bernie,’ Dies at 83

      by

      The sitcom, about an interfaith marriage, drew criticism from Jewish groups and was canceled after one season. He fared better onstage than in television.David Birney, a classically trained theater actor who found success on the stage, including on Broadway, but who was best known for his role in “Bridget Loves Bernie” — a short-lived sitcom about an interfaith marriage in which he starred opposite his future wife, Meredith Baxter — died on Friday at his home in Santa Monica, Calif. He was 83.The cause was Alzheimer’s disease, said Michele Roberge, who said she was his life partner.Mr. Birney had been in a handful of television series and movies when he was cast in 1972 as Bernie Steinberg, a Jewish taxicab driver and struggling writer. Ms. Baxter played Bridget Fitzgerald, a schoolteacher from a wealthy Roman Catholic family.“This is not a message show,” Mr. Birney, who was Irish American, said during an interview with The Kansas City Star before the series’s debut. “It’s not even an idea show.”CBS gave it a plum time slot between “All in the Family” and “The Mary Tyler Moore Show” on Saturday night; it consistently finished among the top 10 programs in prime time and was the highest rated new series of the 1972-73 season.But it attracted criticism from a broad spectrum of Jewish groups, which objected chiefly to its treatment of intermarriage between Jews and Christians as a positive outcome and complained that it used Jewish stereotypes. CBS publicly played down the criticism but, without an explanation, canceled “Bridget Loves Bernie” after 24 episodes.“One segment of the protesters is truly concerned about the dilution of their faith,” Mr. Birney told The Daily News several months after the cancellation. “But intermarriage is on the rise, nevertheless. The threat doesn’t come from a harmless show such as ours, but from within.”Mr. Birney and Ms. Baxter married in 1974.In 1976, Mr. Birney received acclaim for playing John Quincy Adams in the public television production of “The Adams Chronicles.” Later that year, he was hired to play Frank Serpico, the corruption-fighting New York City detective, in an NBC series adapted from the Sidney Lumet movie “Serpico” (1973), which had earned Al Pacino an Oscar nomination for best actor.Mr. Birney was cast in the role on the strength of his work playing an officer in two episodes of “Police Story,” another NBC series. But “Serpico” was canceled after less than a full season. Mr. Birney and Meredith Baxter in an episode of “Bridget Loves Bernie,” a short-lived CBS sitcom about an interfaith marriage. Jewish groups were critical of it. CBS via Getty ImagesDavid Edwin Birney was born on April 23, 1939, in Washington, D.C., and grew up in Cleveland. His father, Edwin, was an F.B.I. agent, and his mother, Jeanne (McGee) Birney, was a homemaker and later a real estate agent.After earning a bachelor’s degree in English from Dartmouth College in 1961, Mr. Birney turned down a scholarship from Stanford Law School and instead chose to study theater arts at the University of California, Los Angeles. He received a master’s degree a year later. In the Army, he was part of a program called the Showmobile, which entertained at military bases in the United States.Mr. Birney’s theater career began in earnest in 1965, when he won the Barter Theater Award, enabling him to spend a season acting in shows at the prestigious Barter Theater in Abingdon, Va. He moved on to the Hartford Stage Company in Connecticut, and in 1967 he played Antipholus of Syracuse in a New York Shakespeare Festival production of “A Comedy of Errors.”Mr. Birney made his Broadway debut two years later in Molière’s “The Miser.” And in 1971 he starred in a Broadway production of J.M. Synge’s “The Playboy of the Western World” at the Vivian Beaumont Theater at Lincoln Center. Mr. Birney played Christy Mahon, who enters an Irish pub in the early 1900s telling a story about killing his father.“Mr. Birney had a cock sparrow arrogance,” Clive Barnes wrote in his review in The New York Times, “that mixture of both confidence and certainty that seemed perfectly right.”At the opening of “Playboy,” the Clancy Boys, a popular Irish singing group that Mr. Birney had befriended at a Manhattan bar, sat in the front row.“They had their Irish sweaters on,” Ms. Roberge said in a phone interview, “and their arms crossed as if to say, Come on, show us what you’ve got.”Over the rest of his theatrical career, Mr. Birney played a wide variety of roles, including Antonio Salieri, as a replacement, in Peter Shaffer’s “Amadeus” on Broadway; Benedick in “Much Ado About Nothing” at the McCarter Theater in Princeton, N.J.; Hamlet at the PCPA Theaterfest in Santa Maria, Calif.; and James Tyrone Jr. in Eugene O’Neill’s “A Moon for the Misbegotten” at the Miniature Theater of Chester, Mass.He also adapted some of Mark Twain’s short stories into a play, “The Diaries of Adam and Eve,” which he often performed and directed. In 1989, he starred in one of the productions, with Ms. Baxter, for American Playhouse on PBS.The couple divorced that year. In 2011, she wrote in her book, “Untied: A Memoir of Family, Fame and Floundering,” that Mr. Birney had been abusive during their marriage. He denied her accusation, calling it an “appalling abuse of the truth.”One of Mr. Birney’s biggest successes on television was a starring role as a doctor in the first season of the medical dramedy “St. Elsewhere.” But as the second season approached, he left the series because of his commitment on Broadway to “Amadeus.”He continued to work in television through 2007, when he was a guest on the police procedural “Without a Trace.”In addition to Ms. Roberge, Mr. Birney is survived by his children with Ms. Baxter, his daughters Kate and Mollie Birney and a son, Peter Baxter; a stepdaughter, Eva Bush, and a stepson, Ted Bush, Ms. Baxter’s children from a previous marriage; two grandchildren; and his brothers, Glenn and Gregory. Another marriage, to Mary Concannon, also ended in divorce. More

    • 125 Shares99 Views

      in Television

      James Corden Says He’ll Leave His CBS Show Next Year

      by

      The British-born host, who was a successful actor and comedian before joining the network’s late-night lineup, has been signaling for some time that he was considering leaving.James Corden, the British theater actor and comedian turned late-night TV host in the United States, said on Thursday that he would leave his 12:30 a.m. nightly show on CBS next year. Mr. Corden made the announcement during a taping of his talk show in Los Angeles.Mr. Corden, the host of “The Late Late Show” since 2015, has been signaling for some time that he was strongly considering leaving the show.Five months ago, Mr. Corden told Variety that he never saw his late-night perch as “a final destination.” In a previous interview with The Sun, Mr. Corden said he and his family were “homesick.”Mr. Corden’s contract was set to expire in August, but he signed an extension that will keep him on CBS through next spring.“We wish he could stay longer, but we are very proud he made CBS his American home and that this partnership will extend one more season on ‘The Late Late Show,’” George Cheeks, the president of CBS, said in a statement.James Corden’s Run on ‘The Late Late Show’The British actor and comedian turned late-night TV host, announced he would leave his CBS show in 2023.His Debut: James Corden was “amiable and cheerfully self-assured, but not particularly special,” our critic wrote of the comedian’s first night as host in 2015.A Bit of Controversy: In a recurring gag on the show, Corden portrayed foods from cultures around the world as disgusting. The segment drew the ires of some viewers. On Stage: Corden started out as an aspiring stage performer. Here is what he said about his long love affair with theater.Mr. Corden’s impending departure is one of the most significant changes for the late-night comedy lineup since 2014 and 2015, when veteran hosts like David Letterman, Jay Leno and Jon Stewart left their shows, and a new generation of stars, including Mr. Corden, Comedy Central’s Trevor Noah and HBO’s John Oliver, went on the air.There is a feeling of uncertainty in late night beyond Mr. Corden’s departure. Jimmy Kimmel, the longtime ABC host, has a contract that will end soon and has said publicly that he was unsure if he would renew. Stephen Colbert, whose show precedes Mr. Corden’s on CBS, also has a contract that expires next year. Chris Licht, the longtime executive producer of “The Late Show With Stephen Colbert,” left last month to become the chairman of CNN. And Jimmy Fallon’s “Tonight Show” recently went through yet another showrunner change, the fourth in four years.There are questions throughout the entertainment industry over the longtime viability of the late-night talk show genre. Over the last few years, as viewing habits have rapidly changed, ratings for the shows have nose-dived. Five years ago, roughly 2.8 million people were tuning into Mr. Corden’s show as well as NBC’s 12:30 a.m. show, “Late Night With Seth Meyers.” By 2022, that figure had dropped to about 1.9 million, according to Nielsen’s delayed viewing data.Talk shows — which depend on topical relevance and audiences who make it a daily habit to tune in — have also not fared well on streaming services like Netflix and Hulu.Mr. Corden entered the late-night fray in a big way when his show debuted in 2015. Mr. Corden, who had a successful theater career but was still relatively unknown in the United States, became an overnight star. “Carpool Karaoke,” a signature of his show, featured him singing along with stars like Lady Gaga, Michelle Obama and Adele, and clips routinely went viral.“Seven years ago, James Corden came to the U.S. and took television by storm, with huge creative and comedic swings that resonated in a big way with viewers on-air and online,” Mr. Cheeks said.But Mr. Corden’s brand of comedy — focused on games and musical sketches — soon found itself out of step with the zeitgeist.The landscape changed considerably after Donald J. Trump entered the White House. Late-night audiences began devouring biting political humor. Within weeks of Mr. Trump’s inauguration, Mr. Fallon’s fun-and-games approach at “The Tonight Show” fell steeply in the ratings, and Mr. Colbert became the No. 1 late-night host, thanks to his more topical approach. He has held that lead for more than five years. Like Mr. Fallon, Mr. Corden favored a lighter show.Mr. Corden parlayed his late-night perch into other high-profile ventures, including hosting the Tony Awards and Grammy Awards. He has also appeared in several movies, including the critically gnawed-on “Cinderella” and “Cats.”Seated behind his “Late Late Show” desk, Mr. Corden called his decision to leave the hardest “he ever had to make.”“I never want this show to overstay its welcome in any way,” he said. “I always want to love making it. And I really think in a year from now that will be a good time to move on and see what else might be out there.” More

    • 113 Shares149 Views

      in Music

      Kanye West’s Stormy Relationship With the Grammys Erupts Again

      by

      The musician, nominated for five awards, was told he will not be able to perform at the ceremony on April 3. The decision came after weeks of erratic and troubling public behavior.When the latest Grammy nominations were announced in November, Kanye West picked up five nods, including album of the year, teeing up a potential reconciliation between one of pop music’s most mercurial stars and the institution he has spent much of the last two decades criticizing, challenging and sometimes outright insulting — even as West has yearned for its affirmation.But last Friday, a little more than two weeks before the 64th annual Grammy Awards ceremony, set for April 3 in Las Vegas — and weeks into negotiations over a planned performance at the show — organizers told West’s team that he would not be allowed to perform, according to a representative of the rapper and producer.The organizers cited West’s erratic and troubling public behavior in recent weeks, according to a person with knowledge of the decision, who was granted anonymity to discuss an internal matter.That behavior included the release of an animated music video that portrayed the kidnapping and burial of a figure who looked a lot like Pete Davidson — the comedian who has been dating Kim Kardashian, West’s former wife — and an Instagram post taunting Trevor Noah of “The Daily Show,” who is hosting this year’s Grammys, with a racial slur that resulted in West being banned from Instagram for 24 hours. (Noah said on Twitter that he had not called for West to be cut. “I said counsel Kanye not cancel Kanye,” he wrote.)For West, music’s perennial chaos agent, the episode may have been just the latest blur of sensational headlines. But for the Grammys, it is also a setback in a campaign to lure West back to the fold. He is perhaps the most vocal of a circle of high-profile Black creators — also including Jay-Z, Drake, the Weeknd and Frank Ocean — who have condemned the Grammys for often failing to recognize the work of creators of color, particularly in hip-hop, in its most high-profile categories.A Guide to the 2022 Grammy AwardsThe ceremony, originally scheduled for Jan. 31, was postponed for a second year in a row due to Covid and is now scheduled for April 3.Jon Batiste Leads the Way: The jazz pianist earned the most nominations with 11, including album and record of the year. Here’s his reaction.The Full List: Pop stars like Justin Bieber, Doja Cat and Billie Eilish were recognized in several categories. See all the nominees.Snubs and Surprises: From a big shock to smaller slights, The Times music team breaks it all down.Performers: Olivia Rodrigo, Billie Eilish, BTS and Lil Nas X are among the first performers announced for the April 3 show, which will be available on CBS and Paramount+.A Major Change: The awards will be the first since the Recording Academy ended its heavily criticized anonymous nominating committees.The Recording Academy, which presents the awards, has made extraordinary efforts to accommodate West, who has won 22 Grammys in his career. For the latest show, a last-minute rule change resulted in West being added to the ballot for album of the year.In an interview with Billboard, Harvey Mason Jr., the academy’s chief executive, said that when the initial slate of nominees was prepared with eight contenders in the major competitions, he noticed a dearth of rap in the top categories. Within days, a proposal to expand the ballot to 10 slots in those categories was approved by the academy’s board, bringing “Donda,” along with Taylor Swift’s “Evermore,” into consideration for best album.Since becoming the academy’s chief last year, Mason has made personal appeals to dissenting artists, including West. That outreach, and the album of the year nomination, stirred frustration and anger among some members of the academy, who have been appalled by West’s past antics, such as posting a video on social media in 2020 that shows a Grammy trophy apparently being defiled in a toilet bowl.“How vile and disrespectful,” Diane Warren, the Grammy-winning songwriter of hits like “Nothing’s Gonna Stop Us Now,” said at the time.West’s recent behavior on social media has made mending fences even riskier for the Recording Academy. Always an oversharer, West has lately used his Instagram account to air grievances over custody and child care issues amid his divorce from Kardashian. That dispute has coincided with West’s attacks on Davidson, as well as figures like Noah who have criticized the musician’s posts as verging on threats and harassment.Still, for the Recording Academy, reconciling with West could have symbolic power, suggesting that the institution’s efforts to revamp its voting membership and adapt to a faster-moving music business with a younger, more diverse listenership were working.West’s complaints about the Grammys go back at least 17 years. In 2005, even before that year’s nominations were announced, West was telling Grammy voters that if he did not win album of the year for “Late Registration,” his second LP, he would attribute the loss to a judgment on his personal behavior rather than his artistry.“I don’t care if I jumped up and down right now on the couch like Tom Cruise,” he told MTV News at the time. “I don’t care how much I stunt — you can never take away from the amount of work I put into it.” (He lost to U2’s “How to Dismantle an Atomic Bomb.”)Since then, West’s criticisms of the Grammys have been sporadic but unrelenting. In 2015, for example, after Beck won album of the year for “Morning Phase,” West demanded that the alt-rock musician give the award to Beyoncé instead, in an echo of his infamous moment with Swift at the 2009 MTV Video Music Awards. He warned that such choices by Grammy voters would alienate “real artists.”“Because what happens is,” West said, “when you keep on diminishing art and not respecting the craft and smacking people in the face after they deliver monumental feats of music — it’s disrespectful to inspiration.”While West will not perform at this year’s Grammys, he is still invited to attend as a nominee — which presents a tricky problem for the academy if West wins a major award like album of the year. Would he use the opportunity of a speech on live television to make more inflammatory comments, either about his personal life or about the Grammys itself?As a safeguard for producers of the show, and for CBS, the Grammys’ longtime broadcast network, standard editing delays are built into the show. In 2017, for example, the Grammy audience heard Adele blurt out a frustrated profanity after she flubbed the opening of a George Michael tribute; people watching at home just heard bleeps.Joe Coscarelli contributed reporting. More

    • 113 Shares99 Views

      in Television

      Av Westin, Newsman Behind ABC’s ‘20/20,’ Dies at 92

      by

      After nearly 20 years at CBS News, he went to a rival network and helped turn its answer to “60 Minutes” into a frequent Emmy Award winner.Av Westin, an influential television producer who rose from copy boy at CBS News for Edward R. Murrow in the 1940s to help make ABC’s “20/20” newsmagazine a perennial winner of Emmy Awards, died on March 12 at a hospital in Manhattan. He was 92.His wife, Ellen Rossen, said the cause was cardiac arrest.Mr. Westin had spent a year as the executive producer of ABC’s “World News Tonight” when he took over at “20/20” in 1979. Over the next seven years, the program won more than 30 news and documentary Emmy Awards, including 11 in 1981.Looking to differentiate “20/20” from the entertainment shows it competed with in prime-time, as well as from CBS’s “60 Minutes,” Mr. Westin mixed ambitious investigative reports with celebrity profiles, lifestyle features and “process pieces” about artistic endeavors like the making of a new album of standards by Linda Ronstadt.A documentarian at heart, Mr. Westin also ordered a series of features called “Moment of Crisis,” which looked back at news events like the disastrous explosion of the Challenger space shuttle and the efforts to save President Ronald Reagan’s life after he was wounded in an assassination attempt.“20/20,” which was hosted by Barbara Walters and Hugh Downs in the 1980s, had an A-list group of correspondents that included Sylvia Chase, Lynn Sherr, Geraldo Rivera, Tom Jarriel, Bob Brown and Sander Vanocur.Mr. Brown recalled that Mr. Westin gave correspondents and producers considerable leeway to cover a story as they chose.“But when the piece was screened, Av took over and was at his best,” Mr. Brown said in a phone interview. “He could break apart a story and make you see everything you’d done wrong and let you know what you had to do to fix it. He had a genius for going straight to a problem.”Mr. Westin’s time at “20/20” came to an end in February 1987, when he circulated an 18-page memo within ABC News and to its top executives at its parent company, Capital Cities/ABC, criticizing news-gathering procedures and calling the division inefficient and in need of a new focus.He said that he had been quietly asked by a Capital Cities executive to critique ABC News, whose president was Roone Arledge.“Cap Cities had essentially decided that Roone was not their guy anymore,” Mr. Westin said in an interview with the Television Academy in 2011. The executive told him that “Roone’s tenure was going to end, and I was likely to be the preferred candidate of management.”“What I wrote was accurate,” Mr. Westin added, “but obviously it was inflammatory.”The memo led Mr. Arledge to suspend him and take him off “20/20.” But the suspension did not last long, and Mr. Westin went on to work on projects like “The Blessings of Liberty,” about the U.S. Constitution at its centennial, until he left the network in 1989.It was not the first time the two men clashed. In 1985, Mr. Arledge killed a “20/20” segment about the death of Marilyn Monroe and her ties to the Kennedys, calling it “gossip-column stuff.” Mr. Westin objected, and Mr. Rivera angrily told the gossip columnist Liz Smith that he and others at “20/20” were appalled that Mr. Arledge “would overturn a respected, honorable, great newsman like Av.”Mr. Westin with the “20/20” host Hugh Downs in 1981. He recruited an A-list group of correspondents for the program.Disney General Entertainment Content via Getty ImagesAvram Robert Westin was born on July 29, 1929, in Manhattan. His father, Elliot, was a vice president of a commercial baking company. His mother, Harriet (Radin) Westin, was a homemaker. Av Westin graduated from New York University in 1949. He had begun his studies as a pre-med student, but an experience during a summer job as a copy boy at CBS in 1947 altered his direction, to English and history.“A bulletin moved that a ship was sinking off Newfoundland,” he told the Television Academy, and he promptly carried the teletype copy to an editor. “I was the only person at CBS News headquarters who knew that information,” he said. “I was the ultimate insider. That’s the epiphany.”Mr. Westin was a writer, director, reporter and producer for 18 years at CBS, during which he earned a master’s degree in Russian and East European studies at Columbia University in 1958. He won an Emmy in 1960 as a writer for the documentary “The Population Explosion,” and in 1963 created and produced “CBS Morning News” with Mike Wallace.He left CBS in 1967, spent two years as executive director of the noncommercial Public Broadcasting Laboratory and joined ABC News in 1969 as the executive producer of its evening newscast, then anchored by Frank Reynolds. It was an era when “ABC Evening News” trailed CBS and NBC’s nightly news operations in prestige, ratings and financial resources.“My target is ‘H and B,’” Mr. Westin told The Indianapolis News in 1969, referring to NBC’s co-anchors Chet Huntley and David Brinkley. “I think people are getting tired of them, and if they’re shopping around, I want them to look at us before they automatically turn to Walter” Cronkite.The broadcast journalist Ted Koppel, who was a correspondent on the evening news program, said of Mr. Westin in a phone interview, “He probably elevated the ‘ABC Evening News’ as much as anyone until Roone Arledge,” adding, “Av was a very ambitious man, who thought he should have been ABC News president.”While at ABC News, Mr. Westin ran its “Close-Up” documentary unit, for which he won a Peabody Award in 1973. He won another Peabody the next year, for producing and directing the documentary “Sadat: Action Biography,” about the Egyptian leader Anwar Sadat.He left ABC News in 1976 in a dispute with Bill Sheehan, the president of the division, but returned two years later at Mr. Arledge’s request “to get rid of” the incompatible, feuding “Evening News” anchor team of Ms. Walters and Harry Reasoner.“The day I arrived back at ABC, one of the producers who was in the Reasoner camp came up to me and said, ‘You know, she owes us 5 minutes and 25 seconds,’” Mr. Westin told the Television Academy, referring to how much more Ms. Walters had been on the air than Mr. Reasoner over the past year.After returning as the executive producer of “Evening News,” Mr. Westin collaborated with Mr. Arledge on an overhaul in 1978 that transformed the show into the faster-paced, graphics-oriented “World News Tonight,” with three anchors: Mr. Reynolds in Washington, Max Robinson in Chicago and Peter Jennings in London.A year later, Mr. Arledge moved Mr. Westin to “20/20.”After leaving ABC News, Mr. Westin was an executive at King World Productions, Time Warner and the National Academy of Television Arts & Sciences’s foundation.In addition to his wife, he is survived by a son, Mark. His previous marriages to Sandra Glick and Kathleen Lingo ended in divorce. He lived in Manhattan.To Mr. Westin, evening news programs, which cannot provide much depth in 22 minutes of airtime, have a clear mandate.“I believe the audience at dinner time wants to know the answers to three very important questions,” he said, explaining a rule he had at ABC News. “Is the world safe? Is my hometown and my home safe? If my wife and children are safe, what has happened in the past 24 hours to make them better off or to amuse them?” More

    • 163 Shares189 Views

      in Television

      What’s on TV This Week: ‘After Yang’ and the State of the Union

      by

      Colin Farrell, Jodie Turner-Smith and Justin H. Min star in a new sci-fi movie on Showtime. And President Biden delivers a State of the Union address.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Feb. 28-March 6. Details and times are subject to change.MondayTRAYVON MARTIN: 10 YEARS LATER 8 p.m. on BET. Trayvon Martin, a 17-year-old Black teenager in Florida, was shot and killed almost exactly 10 years ago by George Zimmerman, a neighborhood watch captain. Gayle King, the co-host of “CBS Mornings,” hosts this hourlong special, which commemorates Martin and looks at the activism that his death continues to help galvanize. The program includes interviews with Martin’s mother, Sybrina Fulton, and other mothers whose children have been killed by the police or by gun violence.MY BRILLIANT FRIEND 10 p.m. on HBO. The third season of the show, which centers on a friendship between two girls, Lenù and Lila, who come of age in mid-20th-century Naples, will debut on Monday night. It is adapted from the third of Elena Ferrante’s four Neopolitan books, “Those Who Leave and Those Who Stay,” and finds Lenù and Lila grappling with careers, marriage and, eventually, motherhood. This will be the final season for the actresses Margherita Mazzucco, 19, and Gaia Girace, 18: The fourth book in the series, “The Story of the Lost Child,” which would be the focus of a potential fourth season, revolves around the characters in middle age. “I have never read the final pages of the fourth book,” Mazzucco told The New York Times recently. “I don’t want to know how it ends.”TuesdayPresident Biden in February. He is scheduled to deliver his State of the Union address on Tuesday.Sarahbeth Maney/The New York TimesSTATE OF THE UNION 9 p.m. on various networks (check local listings); streaming on Facebook, Twitter, WH.gov and YouTube. President Biden is set to deliver his State of the Union speech to Congress on Tuesday night. Biden will presumably speak to the progress that his administration has made since his first address to Congress last year — including the passage of the $1 trillion bipartisan infrastructure bill and the nearly $1.9 trillion stimulus package — though he’ll have a lot more to cover. He’s likely to address Russia’s war on Ukraine, the selection of Judge Ketanji Brown Jackson as his nominee to the Supreme Court and the state of the coronavirus pandemic, as the Centers for Disease Control and Prevention loosen safety guidelines.Inside the World of Elena FerranteThe mysterious Italian writer has won international attention with her intimate representations of Neapolitan life, womanhood and friendship. Beginner’s Guide: New to Elena Ferrante’s work? Here’s a breakdown of her most important writing. Latest Novel: Following the success of her Neapolitan novels, the author returned to fiction with a suspenseful story about parents and their sins.English-Language Translator: The work of Ann Goldstein has helped catapult Ferrante to global fame. Humility is a hallmark of her approach.Onscreen: The HBO series based on Ferrante’s “My Brilliant Friend” is a testament to the elusive writer’s ability to create inscrutable characters.Lenù and Lila: The actresses playing the two protagonists in the HBO adaptation grew up with their characters. Here is what they said about it.THE LARRY DAVID STORY 9 p.m. on HBO. What’s the difference between Larry David the “Curb Your Enthusiasm” character and Larry David the successful producer and performer? Based on a trailer for “The Larry David Story,” the answer is a dusting of facial hair and a touch of introspection. David reflects on his life and career in this two-part documentary, which covers his upbringing in Brooklyn, his beginnings in comedy, his success with “Seinfeld” (which he co-created) and his more recent work on “Curb Your Enthusiasm.” The documentary was directed by the comic and filmmaker Larry Charles, a staff writer on “Seinfeld” whose well-established rapport with David comes through in their conversations.WednesdayLA STRADA (1956) 6 p.m. on TCM. When the Oscar for best international feature is handed out at the Academy Awards ceremony next month, the winner will become part of a lineage that “La Strada” helped establish: This Federico Fellini classic was the first movie to win the best foreign-language film honor when that category became a competitive award at the Oscars in 1956. The movie raised the profiles of both Fellini and his wife and collaborator, Giulietta Masina, who plays a young woman who is sold to a traveling circus strongman (Anthony Quinn). “‘La Strada’ is often sentimental and not always convincing but the ending packs a wallop,” J. Hoberman wrote about the film last year in his “Rewind” column.ThursdayTilda Swinton in “The French Dispatch.”Searchlight PicturesTHE FRENCH DISPATCH (2021) 8 p.m. on HBO Signature. Wes Anderson drew inspiration from the old-school days of The New Yorker for this ornate anthology comedy, which follows a collection of eccentric magazine writers and their subjects — played by an ensemble that includes Bill Murray, Benicio Del Toro, Léa Seydoux, Jeffrey Wright, Frances McDormand and Tilda Swinton — in a mid-20th-century French city. Typewriters clack. Cocktails disappear.FridayAFTER YANG (2022) 9 p.m. on Showtime. In his 2017 feature debut, “Columbus,” the filmmaker Kogonada used the modernist architecture of Columbus, Ind., to give a surreal, otherworldly undercurrent to a modest story about a close friendship. His new movie, “After Yang,” takes place solidly in the future: It centers on a mother (played by Jodie Turner-Smith), father (Colin Farrell) and young daughter (Malea Emma Tjandrawidjaja) whose humanoid robot, Yang (Justin H. Min), breaks down. The loss of Yang is essentially the loss of a family member, but it may be possible to repair him.SaturdayVin Diesel, left and John Cena in “F9.” Giles Keyte/Universal PicturesF9 (2021) 8 p.m. on HBO. If the “Fast and Furious” movies went all-electric, and the grunt of gasoline engines was muted, the series could still rely on Vin Diesel’s voice to fill out the low end of the sonic spectrum. The latest installment of the series introduced a new villain, played by John Cena, and brought back the familiar faces of Michelle Rodriguez, Tyrese Gibson, Ludacris, Helen Mirren and Charlize Theron. The movie also saw the return of the director Justin Lin, a veteran of the franchise who had stepped away for several years. Lin makes the movie “feel scrappy and baroque at the same time,” A.O. Scott said in his review for The Times.SundayLester Holt, left, and the former Attorney General William P. Barr in an NBC News primetime special.NBC NewsNBC NEWS PRIMETIME SPECIAL 9 p.m. on NBC. Lester Holt interviews the former Attorney General William P. Barr in this hourlong special. The two discuss Barr’s final days as Attorney General during the Trump administration, when he rebuked former President Donald J. Trump’s false claims of a stolen election by acknowledging that the Justice Department had found no evidence of widespread voter fraud in the 2020 election. The conversation also touches on policing in America, among other topics. More

    • 75 Shares129 Views

      in Music

      Concert Drowns Out A.F.C. Halftime Analysis

      by

      As the “NFL on CBS” crew broke down the first half of the game, a performance by the country music singer Walker Hayes was so loud, it made the commentary all but inaudible.At halftime of the A.F.C. championship game on Sunday, Kansas City led the Cincinnati Bengals, 21-10. For the Bengals to win, they would need to make some adjustments.But those hoping to listen to some halftime analysis on the CBS broadcast were unlikely to hear any commentary. It was nearly inaudible.As the “NFL on CBS” crew, made up of James Brown, Boomer Esiason, Phil Simms, Bill Cowher and Nate Burleson, were breaking down the plays of the first half, the country music singer Walker Hayes was performing the halftime show at Arrowhead Stadium.Mr. Hayes’s music was so loud, it all but drowned out the halftime analysis.When Mr. Burleson explained what changes the Bengals would need to make, the music was so loud that his colleague beside him, Mr. Esiason, couldn’t help but laugh.“I have no idea what you just said,” Mr. Esiason said after Mr. Burleson finished his comments. “I can’t hear a thing that anybody said.”The indiscernible commentary quickly drew attention online, with clips garnering tens of thousands of views on Twitter.Sarah Spain, a commentator on ESPN, said on Twitter that she couldn’t hear a word of the halftime broadcast.“Yikes, don’t think CBS realized how disruptive the Walker Hayes halftime show would be during *their* halftime show,” she wrote. Craig Miller, a sports radio host in Dallas, said on Twitter that the “halftime show audio disaster” was “highly entertaining.”CBS did not immediately respond to a request for comment on Sunday night.In a dramatic overtime finish, the Bengals defeated Kansas City, 27-24, with a game-winning field goal that will take them to the Super Bowl to face the Los Angeles Rams. Thankfully, for the “NFL on CBS” crew and those watching at home, there was no live musical performance to interrupt any postgame analysis. More

    • 88 Shares159 Views

      in Television

      2022 Grammy Awards Postponed Amid Covid-19 Surge

      by

      The Recording Academy has not announced a new date for its 64th annual show, originally scheduled for Jan. 31 in Los Angeles.For the second year in a row, the Grammy Awards have been pushed back by the coronavirus pandemic.The 64th annual ceremony, which had been set for Jan. 31 in Los Angeles, will be rescheduled, according to a joint statement on Wednesday from the Recording Academy and CBS, as the Omicron variant has led to a surge in cases nationwide. The new date will be announced soon, the statement said, noting, “The health and safety of those in our music community, the live audience, and the hundreds of people who work tirelessly to produce our show remains our top priority.”Last year’s show was postponed by six weeks as cases spiked, and before vaccinations were widely available. Last week, Dr. Anthony S. Fauci, President Biden’s chief medical adviser, predicted that the latest wave of the pandemic may reach its peak in the United States by the end of January.This year the composer and bandleader Jon Batiste has 11 Grammy nominations, more than any other artist, and will compete for both album and record of the year. Other top nominees include Olivia Rodrigo, Justin Bieber, Billie Eilish and Doja Cat. No performers have been announced yet.In November, in an unusual move, the Recording Academy, the organization behind the awards, made a last-minute change to the nominations procedure. Just 24 hours before the nominations were announced, the group voted to expand the ballot in the top four categories — album, record and song of the year, and best new artist — to 10 spots, from eight, a move that benefited Taylor Swift, Kanye West, Lil Nas X and others. Two weeks later, Drake, who was nominated for two Grammys but has long expressed ambivalence about the awards, withdrew from the competition.This year, the Recording Academy had also scheduled the return of its high-profile annual pre-Grammy events, which take place in the days leading up to the show and feature stars mingling with music executives.A tribute to Joni Mitchell, benefiting MusiCares, a charity associated with the Grammys that helps musicians in need, was to feature performers like James Taylor, Herbie Hancock, Brandi Carlile and Batiste. Clive Davis, the 89-year-old music executive, also had plans to hold his annual gala the night before the ceremony. The Academy’s statement didn’t specify changes in plans for these events.The main ceremony has been scheduled for the Grammys’ usual home in downtown Los Angeles, which is now called Crypto.com Arena. (It was until late last month called the Staples Center.) Last year, performances and award presentations took place nearby, at the Los Angeles Convention Center, and largely outdoors. That show was hosted by Trevor Noah, who is returning this year.Reviews of the 2021 event — in which many artists faced each other on a stage built for multiple performances — praised it as a fresh new take. But ratings fell by 53 percent to 8.8 million, according to Nielsen, a new low for the Grammys. More

    • 125 Shares189 Views

      in Television

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

      by

      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