More stories

  • in

    What’s on TV This Week: Kennedy Center Honors and Remembering the Tulsa Massacre

    The Kennedy Center recognizes Dick Van Dyke, Debbie Allen, Joan Baez, Garth Brooks and Midori. And several networks air programs recognizing the centennial of the 1921 Tulsa massacre.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, May 31-June 6. Details and times are subject to change. More

  • in

    Gavin MacLeod, ‘Mary Tyler Moore’ and ‘Love Boat’ Actor, Dies at 90

    After years as a journeyman with a long list of credits but little name recognition, he found stardom on two of the biggest television hits of the 1970s and ’80s.Gavin MacLeod, who tasted stardom after years as a journeyman actor when he landed roles on two of the most successful television series of the 1970s and ’80s — as the news writer Murray Slaughter on “The Mary Tyler Moore Show” and Capt. Merrill Stubing on “The Love Boat” — died on Saturday at his home in Palm Desert, Calif. He was 90. His nephew Mark See confirmed the death. He said that the cause was unknown, but that Mr. MacLeod had recently had health issues.When Mr. MacLeod was invited to audition for the pilot of “The Mary Tyler Moore Show” in 1970, he was almost 40, a recovering alcoholic and still looking for a breakthrough role after more than a dozen years as a working actor with a string of modest stage, film and television credits — notably on the sitcom “McHale’s Navy” — but little name recognition.The audition was for the role of Lou Grant, the gruff newsroom boss of Ms. Moore’s character, Mary Richards, a sweet-natured associate news producer at a fictional Minneapolis television station. But Mr. MacLeod asked instead if he could read for the more understated role of Murray, saying he felt more comfortable playing Mary’s co-worker than her superior. (The role of Lou Grant went to Ed Asner.)“The Mary Tyler Moore Show” ran from 1970 to 1977 and became one of the most acclaimed comedies in television history, winning Emmys and a devoted audience, not least because it centered on a young, single professional woman — still an adventurous premise at the time — and offered quick-witted comedy with generous doses of the real world, addressing serious topics like drug use, homosexuality, women’s rights and premarital sex.As Murray, the balding, humble head writer and Mary’s office best friend, Mr. MacLeod was given to firing zingers at the show’s other regulars, especially the pompously vain anchorman, Ted Baxter (Ted Knight, a longtime friend of Mr. MacLeod’s). He saw Murray as an Everyman character.Mr. MacLeod, right, played a humble TV news writer and Ed Asner played his gruff boss on “The Mary Tyler Moore Show.”Photofest“Murray represented all the brown-baggers — not just in newsrooms, but in all sorts of professions,” he wrote in his autobiography “This Is Your Captain Speaking: My Fantastic Voyage Through Hollywood, Faith and Life” (2013). “People felt they knew me.”Just weeks after “The Mary Tyler Moore Show” finished filming its final episode, Mr. MacLeod was offered the lead role of Captain Stubing on “The Love Boat.” That show was a hit as well, running from 1977 to 1986.Mr. MacLeod and other cast members from “The Love Boat” received a star on the Hollywood Walk of Fame in 2018. From left: Fred Grandy, Ted Lange, Jill Whelan, Mr. MacLeod, Cynthia Lauren Tewes and Bernie Kopell.Mike Nelson/EPA, via Shutterstock“The Love Boat,” which revolved around Mr. MacLeod’s affable white-suited captain and a crew of regulars, ventured into new television territory by offering simultaneous plot lines in each episode, all having to do with the humorous, and amorous, adventures of the cruise ship’s passengers, played by guest stars. (Mr. MacLeod later became a pitchman for Princess Cruises.) But unlike “The Mary Tyler Moore Show,” which was acclaimed for its writing and its willingness to defy the sanitized conventions of situation comedy, “The Love Boat,” produced by Aaron Spelling, was vilified by critics as just another example of safe, formulaic TV comedy. Mr. MacLeod defended the show. “I don’t care if it reflects life or not,” he said. “I love happy endings. Life’s so heavy these days that people want to escape.”Gavin MacLeod, the older of two children, was born Allan George See on Feb. 28, 1931, in Mount Kisco, N.Y. His family later moved to nearby Pleasantville. His father, George, was an electrician who died of cancer in 1945; his mother, Margaret (Shea) See, had worked for Reader’s Digest.Allan graduated from Pleasantville High School in 1947 and received a scholarship to Ithaca College, in upstate New York, graduating in 1952 with a degree in drama.After a stint in the Air Force, he moved to New York City to look for acting jobs, working at first as an usher and an elevator operator at Radio City Music Hall, where he met Joan Rootvik, a Rockette. They married and went on to have four children before divorcing in 1972.In the early 1950s he adopted his stage name in remembrance of Beatrice MacLeod, his drama teacher at Ithaca. He chose the first name Gavin after a character in an episode of the anthology television series “Climax.”After finding some stage work, Mr. MacLeod made his television debut as a guest star on “The Walter Winchell Files,” a crime drama. His first credited movie role was a small part as a police lieutenant in “I Want to Live!,” a 1958 drama with Susan Hayward as a woman facing the death penalty. In 1959 he appeared in the Korean War film “Pork Chop Hill” and Blake Edwards’s naval comedy “Operation Petticoat.”By the 1960s Mr. MacLeod was appearing regularly on television series, with guest-starring roles on “Perry Mason,” “Combat!,” “Death Valley Days,” “Dr. Kildare,” “The Untouchables” and other shows. His part on “McHale’s Navy,” which starred Ernest Borgnine, was his first job as a series regular. His character, Seaman Joseph Haines, one of a crew of misfits aboard a World War II PT boat, was known as Happy. But Mr. MacLeod, feeling underused, was anything but.“I had, like, two lines a week,” Mr. MacLeod said in a videotaped interview for the Archive of American Television. “I started feeling sorry for myself; I started drinking. I felt that as an actor I was just going down the tubes.”As he told the story, one night he was driving, while drunk, on Mulholland Drive in the hills above Los Angeles when he impulsively decided to kill himself by driving off the road. But he stopped himself, jamming on the brakes at the last moment. Shaken, he recalled, he made his way to the nearby house of a friend, the actor Robert Blake, who persuaded him to see a psychiatrist.He quit “McHale’s Navy” in 1964, after two seasons, and began finding more satisfying parts, including a supporting one in the 1966 film “The Sand Pebbles” with Steve McQueen.After his divorce, Mr. MacLeod married Patti Kendig, a dancer, in 1974. They also divorced, in early 1982, but remarried each other in 1985, by which time they had both become born-again Christians. Mr. MacLeod documented their story, as well as his decades-long struggle with alcoholism, in a 1987 book, “Back on Course: The Remarkable Story of a Divorce That Ended in Remarriage.”In addition to his wife, Mr. MacLeod is survived by two sons, Keith and David; two daughters, Meaghan MacLeod Launier and Julie MacLeod Ruffino; 10 grandchildren; one great-grandchild; and a brother, Ron See.Mr. MacLeod became active in religious-oriented entertainment, hosting programs on the Trinity Broadcasting Network and starring in Christian-themed films like “Time Changer” (2002) and “The Secrets of Jonathan Sperry” (2008).His later television work also included guest-starring roles on “The King of Queens,” “Jag,” “Touched by an Angel” and “Oz,” the HBO prison drama. In 2010, according to his autobiography, Mr. MacLeod quit television in the middle of an audition for an episode of “Cold Case” and returned to what he said was his greatest professional love: theater. He did do some television work after that, but most of his work for the rest of his life was in stage productions in the Los Angeles area.William McDonald and Jesus Jimenez contributed reporting. More

  • in

    ‘Cruella’ | Anatomy of a Scene

    Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More

  • in

    Natalie Morales Makes Her Directing Debut. Twice.

    With “Plan B” and “Language Lessons,” the actress is finally getting to start a career behind the camera, a goal one talent agency couldn’t understand.If the pandemic had a silver lining for Natalie Morales, it’s that she got to spend part of a summer lockdown in Los Angeles directing “Language Lessons,” a low-budget, character-driven movie that she co-wrote and starred in with Mark Duplass, one of her filmmaking heroes. More

  • in

    Watch Emma Stone Become ‘Cruella’

    The director Craig Gillespie discusses the formation of the title character in a scene from his film, which also features Emma Thompson.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.Fashion and intrigue and giant rats all make an appearance in this scene from “Cruella.”The sequence has the title character (Emma Stone) making a surprising entrance at an event thrown by the Baroness (Emma Thompson), a fashion mogul with a mean streak. Stone’s character has arrived with two of her cohorts, Horace and Jasper (Paul Walter Hauser and Joel Fry), in disguise to pull off a heist.Spinning several plates in the scene, the director Craig Gillespie shows the formulation of the persona Cruella, tracks Horace and Jasper’s improvisational plan to cause a distraction, and makes use of dogs and rats (and dogs posing as rats) in creative ways.In this video, Gillespie explains how he worked with Stone to capture a performance that had to include a level of “bad” acting for the character, and discusses the negotiations he had with Disney about how many rats would be too many for the scene.Read the “Cruella” review.Read an interview with Emma Stone.Watch “Cruella” in theaters or on Disney+Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

  • in

    Film or Real Life?

    THE TAKEFilm or Real Life?Jake Michaels for The New York TimesSometimes a place is more than just a place; it can be a scene. Even the blankest backdrops, like a parking lot or a sun-baked freeway, can shimmer with cinematic potential. Four photographers showed us the movie moments that they found all over.Jolie Ruben and Jake MichaelsWhen Jake Michaels began shooting around Los Angeles, he noticed how the backdrop and spontaneous action within the frame combine to tell a story, and how those moments dissolve quickly. “That’s why I think it’s interesting to go back to a place several times,” Michaels said. “You can see life kind of cycling. You see from a static point of view how much life exists in that frame.”Jake Michaels for The New York TimesJake Michaels for The New York TimesJake Michaels for The New York TimesJake Michaels for The New York TimesJake Michaels for The New York TimesJake Michaels for The New York TimesJake Michaels for The New York TimesJake Michaels for The New York TimesAn Rong XuAn Rong Xu, who made these photographs around Taiwan, is often influenced by the movies of 1990s Hong Kong and the Taiwanese cinematographer Mark Lee Ping-bing, who created images from “slow gestures that gather into something larger,” Xu said. In other words: Viewers sense a bigger story in the photo and are drawn in by that mystery.An Rong Xu for The New York TimesAn Rong Xu for The New York TimesAn Rong Xu for The New York TimesAn Rong Xu for The New York TimesAn Rong Xu for The New York TimesAn Rong Xu for The New York TimesAn Rong Xu for The New York TimesAn Rong Xu for The New York TimesSarah Van RijSarah van Rij made these pictures around Amsterdam and The Hague. Van Rij declared that filmmakers strongly influence her work — “maybe more than other photographers,” she said. Van Rij, who takes most of her shots outside on the streets, searches for a feeling before snapping the shutter, sometimes inventing her own private back story for a scene.Sarah van Rij for The New York TimesSarah van Rij for The New York TimesSarah van Rij for The New York TimesSarah van Rij for The New York TimesSarah van Rij for The New York TimesSarah van Rij for The New York TimesSarah van Rij for The New York TimesSarah van Rij for The New York TimesSarah van Rij for The New York TimesSarah van Rij for The New York TimesSeptember Dawn BottomsFor September Dawn Bottoms, who shot in and around Tulsa, Okla., the answer to what makes a photo cinematic flows from her personal point of view. “I photograph my own life all of the time,” she said. “Every photo is about me and what I’m seeing, I’m just never in it.”September Dawn Bottoms for The New York TimesSeptember Dawn Bottoms for The New York TimesSeptember Dawn Bottoms for The New York TimesSeptember Dawn Bottoms for The New York TimesSeptember Dawn Bottoms for The New York TimesSeptember Dawn Bottoms for The New York TimesSeptember Dawn Bottoms for The New York TimesSeptember Dawn Bottoms for The New York Times More

  • in

    For ‘F9,’ Making Stunts That Stick

    The concept of electromagnets factor heavily into the new film, creating the impression of cars stuck together and leaving stacks of wreckage in a way only the “Fast and the Furious” films know how.They’ve launched cars into the sky from the backs of planes. They’ve jumped cars through buildings in Abu Dhabi, they’ve raced cars on sheets of ice and pitted them against submarines. What’s next for the filmmakers of the “Fast and Furious” series, a franchise that, for 20 years, has been a magnet for audiences? More