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    Was James Earl Jones an EGOT Winner? It’s Complicated.

    The actor won just about every award he could — but his Oscar was an honorary one. Is that enough for an EGOT?When James Earl Jones died on Monday, some headlines called the prolific actor — known for his deep, mellifluous voice — an EGOT winner. But whether he’s really in the elite club isn’t so clear.Jones performed in scores of plays, some 120 movies and on nearly 90 television shows. And he was rewarded with Emmys, Tonys, a Grammy, an Obie (for Off Broadway productions), a National Medal of Arts, Kennedy Center honors and an honorary Academy Award.James Earl Jones with the Tony Award he won in 1969 for Best Dramatic Actor in “The Great White Hope,” with Lauren Bacall, who presented it to him.Bettmann Archive, via Getty ImagesBut the honorary Oscar might not be enough for the exclusive EGOT club — the playful acronym for winning an Emmy, a Grammy, an Oscar and a Tony. There has long been a debate over whether honorary or noncompetitive awards count toward EGOT status.Back in 2011, Jones won the honorary Oscar, a lifetime achievement award that comes with the famous Oscar trophy and has been given to the likes of Mel Brooks, Sophia Loren, Spike Lee and other Hollywood luminaries. Not enough, The Los Angeles Times proclaimed.“While Jones already has an Emmy, a Grammy and a Tony, to complete the EGOT cycle, winners have to actually win each award, and honorary awards do not count,” according to the newspaper.James Earl Jones holds up the two Emmy Awards he won in 1991.ReutersAccording to Billboard, “most EGOT experts don’t count noncompetitive awards” because “the whole point is to have won the awards in competition.”The New York Times has noted in its reporting on EGOT recipients that “there are hazy areas of eligibility, such as lifetime achievement awards.”Only 21 people have won a competitive EGOT. The list includes Rita Moreno, Audrey Hepburn, Mel Brooks, Whoopi Goldberg, Andrew Lloyd Webber, Viola Davis and Elton John.Even if an honorary win doesn’t quite count, Jones still finds himself in good company. Other honorary EGOT winners include Barbra Streisand, Harry Belafonte, Quincy Jones and Liza Minnelli. More

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    HBO Falls to Third at the Emmys for the First Time Since 1996

    The last time HBO ranked in third place among television outlets in total Emmy nominations, Bill Clinton and Bob Dole were gearing up for a presidential election and the “Macarena” was sweeping the nation.On Wednesday, HBO, as well as its accompanying streaming service Max, earned 91 Emmy nominations, down from its massive haul last year (127), and trailing both Netflix (107) and FX (93) this year.For the first time since 1996, before “The Sopranos” or “Sex and the City” even premiered, HBO finds itself neither in first nor second place.For the better part of the last year, the network has encountered an unusual fallow period.Ever since “Succession” wrapped up in May 2023, HBO released several series that failed to connect with critics or a broad audience. That includes the expensive music drama flop, “The Idol”; the Kate Winslet limited series, “The Regime”; and the now canceled “Winning Time.”For some time, HBO executives have been telegraphing that if the network had a down year at the Emmys, production delays caused by last year’s double strikes would be to blame. An Emmy voter favorite like “The White Lotus,” for instance, might have premiered already if not for last year’s walkouts. Still, every outlet was severely affected by the strikes, not just HBO.Emmy recognition has long been of outsize significance to HBO executives, providing key evidence that it remains the pre-eminent home for quality television. In 1997, HBO became the first cable network to lead all networks in nominations. And for the better part of the last two decades, HBO has been the heavyweight. It previously ranked first every year in total Emmy nominations since 2001, except in 2018 and 2020. (HBO finished in second place each of those two years, behind Netflix.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘The Bear’ Breaks the Record for Emmy Nominations for a Comedy

    “Yes, Chef” is now part of Emmy history.“The Bear” notched a record-breaking 23 Emmy nominations on Wednesday, setting a new high for the most nominations in a single year for a comedy series. The record previously belonged to “30 Rock,” which earned 22 nominations 15 years ago.“The Bear,” which was honored on Wednesday for its second season, which premiered in June 2023, scored significantly more nominations compared with its first season, when it had 13. Its principal actors — Jeremy Allen White, Ayo Edebiri and Ebon Moss-Bachrach — all landed nominations. It also got nods in technical categories like sound mixing and picture editing.“The Bear,” which already won best comedy at the strike-delayed Emmys in January, will be the heavy favorite going in.The record-setting status of “The Bear,” however, will surely draw a renewed round of scrutiny of how shows get slotted into different categories at the Emmys. Going back to last year, some industry insiders gnashed their teeth at the Emmy success of “The Bear.” Should it be honored? Absolutely. But, seriously, in the comedy categories?Alan Sepinwall, a TV critic for Rolling Stone, raised the point recently, asking whether “this story of toxic workplaces, addiction and mental illness, and ruinous personal relationships was a barrel of laughs.” Given that “The Bear” beat out “30 Rock” — a beloved series that would never be mistaken for anything other than a straight-up comedy — to break the record, it could set off howls of outrage from comedy nerds.Emmy categorization controversy is nothing new, of course. The Peak TV era unleashed a torrent of dramatic comedies (try “Atlanta”), and comedic dramas (how about “Succession”?). Netflix’s “Orange Is The New Black” was nominated as a comedy one year, and as a drama the next. Long gone are the days when shows like “Cheers” and “The West Wing” had a crystal clear Emmy lane.There is one more obstacle for “The Bear.” Though Emmy voters will be weighing the series’ much-celebrated second season, they’ll start casting votes in August, on the heels of the recently released third season. The third season has a considerably lower audience score on Rotten Tomatoes compared to the first two seasons. The Daily Beast even asked earlier this month, “Why Is Everyone Saying ‘The Bear’ Is a Bad Show?”It remains an open question whether any backlash to the current season, along with is-it-actually-a-comedy industry debates, will affect its chances to win big in September.Other comedies have come close to the “30 Rock” record in recent years. “Ted Lasso” recently earned 21 nominations, one shy of tying the record. And “Saturday Night Live,” technically a sketch variety series and not a recurring comedy series as defined by Emmy rules, earned 22 nominations in 2017. More

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    What to Expect From Wednesday’s Emmy Nominations

    The top nominees are announced at 11:30 a.m. ET. “Shogun” and “The Bear” are poised to have a big day.Just six months after a strike-delayed ceremony, the Emmys are back.Nominations for television’s most prestigious award show will be unveiled on Wednesday morning. “Shogun,” the lush period drama, and “The Bear,” the anxiety-inducing comedy, are poised to have a big day. Netflix’s “Baby Reindeer” is expected to stand out among limited series.There is a considerable cloud hanging over Emmy nomination day this year. Last year’s double strikes, along with several years of cost cutting, have put the industry in the throes of a contraction. The Peak TV era is now firmly in the rearview mirror. To wit, the number of shows submitted for Emmy consideration this year plummeted.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    As Mikaela Shiffrin Considers How to Top Herself, She Studies Taylor Swift

    Shiffrin, the champion American ski racer, is an unabashed Swiftie, and has long seen the pop culture force as a textbook guide for navigating fame, adversity and unprecedented success.As Mikaela Shiffrin plans the next phase of her record-setting career as a skier, she is looking, as she always has, to the example of another female megastar who has experienced kindred highs and lows and highs in her career: Taylor Swift.The American skier Shiffrin is the most successful, and precocious, Alpine racer in history, having smashed the mark for World Cup victories, by women and men, while still in her prime skiing years. The American singer-songwriter Swift is the world’s biggest pop star, smashing music industry records one after another.When Shiffrin made her debut on the World Cup circuit, she was just shy of turning 16, the same age Swift was when she began recording her debut album five years earlier. They have both been teenage sensations lavished with praise and profit. While Swift, named Time magazine’s person of the year for 2023, might right now be the most famous human on the planet, Shiffrin, celebrated at home, has bona fide rock star status in Europe, where ski racing is the national sport of several countries. They are both at the top of their respective mountains.They have been innovators, history-makers and leading figures in their high-wire professions. But like many caught in the pop culture maelstrom, they’ve experienced intense, barbed criticism after any failure, real or perceived. Each has openly dealt with a parent’s death or serious illness and each has taken lengthy breaks from performing.A Swiftie since she was 13, Shiffrin, like legions of other girls and women, sees herself in Swift and has come to recognize elemental parallels in their careers and lives. For perspective, Shiffrin, 28, turns to her idol.Shiffrin at Taylor Swift’s Eras Tour concert in Denver in July.Mike DawsonSwift onstage at Empower Field at Mile High, where Shiffrin watched from a luxury box and sang along.Tom Cooper/TAS23, via Getty ImagesIn July, Shiffrin rented a suite for Swift’s Eras Tour concert in Denver, an event Shiffrin described as “three hours of jumping up and down while singing every song at the top of my lungs.” Within that experience, Shiffrin pondered if there was a lesson that would help shape the next “era” of her own luminous career.Had Swift, the teen prodigy who is now 34, helped point the way from one stage to another?“Absolutely, because I’ve spent 15 years studying Taylor Swift and she has been guiding me a little bit every step of the way,” Shiffrin said in a recent interview in Vermont, where she claimed the 90th of her 93 career World Cup victories. “It’s why most Swifties become Swifties. It feels like her music is speaking directly to you. Her experiences resonate; I’ve always tried to learn from them.”Shiffrin’s mother, Eileen, a former ski racer who is also one of her coaches, insisted that Swift had provided guidance that is more multifaceted and sophisticated than it might seem.“Miki’s sport and career thrives on creativity,” Eileen wrote in an email last month, using Mikaela’s family nickname. She added that “every new Taylor Swift song, concert and video,” is an inspiration and motivation to her daughter.Eileen Shiffrin, right, celebrates with her daughter on the podium after Mikaela’s victory in a World Cup Slalom race in Semmering, Austria, in 2018.Christian Bruna/EPA, via ShutterstockEileen Shiffrin, who praised Swift’s “street smarts” and business acumen, continued: “She keeps Miki ticking like she does the whole world. And she stands her ground, as she should, and that’s a great role model.”As Mikaela Shiffrin, who has never met Swift, recalled various chapters of her public journey — stunning racing successes, ill-timed flops, the perils of fame, the accidental death of her father in 2020 — Shiffrin readily identified ways Swift had influenced her responses to each situation.That long-distance tutelage began when the preternaturally gifted Shiffrin, nurtured in the Colorado mountains and at a venerable Vermont ski academy, won three World Cup races and a world championship gold medal as a high school senior. A year later, in 2014, she became the youngest slalom champion in Olympic history, at 18, and was thrust into an international sporting spotlight that has only seemed to magnify with each season.But since her days as a 13-year-old listening to Swift’s 2008 album “Fearless” on repeat, she said, she has looked for clues on how to live as a celebrity.“Granted, Taylor is a big fish in a big pond and I’m more of a big fish in a small pond,” Shiffrin said. “But you can see how she’s handled the attention, because she was a teenager too. She was able to hold up and work on her music. And while she’s very comfortable sharing a lot of her life, she builds a layer of protection when she needs it. She can disappear. That does seem to give her energy.“I took all that in and kind of assimilated it. Although it was hard for me because I had to go from being an extreme introvert to being comfortable around a lot of cameras and microphones. It’s a bit funny having to go through life quantifying yourself as an introvert but having to live it in an extroverted way.”Shiffrin during her downhill run at the Beijing Olympics, where she did not win a medal, in 2022.Doug Mills/The New York TimesAfter winning gold and silver medals at the 2018 Pyeongchang Olympics, Shiffrin won an unprecedented 17 races in the following season. At the time, a five- or six-win Alpine season would have been considered prosperous. But at the start of the next season, Shiffrin did not match the astonishing pace she had set a year earlier.“People started to say that I’d lost my touch, that maybe I had peaked and my career was fading,” Shiffrin said with a look of exasperation as she slumped backward into a lounge chair. “I was like, ‘Oh, gosh, everybody’s saying all this stuff about me like I’m never going to be a good skier again.’ ”Shiffrin was reminded of Swift’s “Reputation” album from a few years earlier, and again saw parallels.“That album was built of basically having her reputation go incredibly downhill, or at least that’s how she perceived it with all the feuds that were going on at the time,” Shiffrin said. “But she came back in a big, big way. I related to the album because it made me feel like life is full of ebbs and flows. And that everything is probably going to be OK.”Shiffrin rallied in January 2020, with successive victories. But roughly a week after the second of those restorative triumphs, on Feb. 1, her older brother, Taylor, reached her by phone in Europe to say that their father, Jeff Shiffrin, had been seriously hurt at home in Colorado. Returning to Denver, Mikaela climbed onto Jeff’s hospital bed for several hours, a vigil that ended with his death on Feb. 2.The family has declined to reveal details of what happened; a coroner ruled the death an accident and listed the cause as a head injury.Shiffrin did not race for the next nine months.Shiffrin looks down at pictures of her late father Jeff Shiffrin in a locket on her necklace after winning a World Cup Giant Slalom race in Meribel, France, in February.Aleksandra Szmigiel/ReutersIn last month’s interview, without prompting, Shiffrin recalled that Swift’s 2020 album “Folklore” came out five months after her father’s death and that it included “Epiphany.” Swift has said the song explores the emotional distress of health care workers at the height of the Covid-19 pandemic and of soldiers at war, a correlation that pays homage to one of Swift’s grandfathers, who was a battle-hardened U.S. Marine in World War II.Shiffrin played “Epiphany” over and over.“She literally addressed the most unforeseeable and horrific experience I ever have gone through,” Shiffrin said of Swift, whose parents have each dealt with cancer. “It speaks directly to the experiences I had in the hospital with my dad.“It was hard to listen to and heart-wrenching but also uplifting at the same time, which is something I really needed at that time.”Shiffrin’s return to competition in the 2021-22 season included a string of triumphant results, as well as a shocking, demoralizing outing at the Beijing Olympics, where she did not win a medal. Since then she has won 20 races, which puts her on pace for roughly 130 career victories if she were to race five more years. The previous World Cup wins record, which stood for 34 years, was 86. She has won 14 world championship medals, one shy of the most in a career.But whatever Shiffrin’s future holds, she is sure of two things. The first is that given her level of sporting fame, Shiffrin could likely arrange to meet Taylor Swift, but she is afraid to do so.“I’d probably trip over myself and be so tongue-tied,” Shiffrin said, laughing. “And then it’d be memorable to her because it’s the first time she’s experienced, like, a goofball.”The second certainty is that she will use Swift as a model to help define the next era of her career, regardless of how many Alpine skiing records she accumulates.“Taylor Swift has reset so many records and held so many titles in the music industry that they have had to create new ways to measure her success,” Shiffrin said. “And I’ve noticed that she just keeps going.”Does that help solve Shiffrin’s central dilemma: What to do next?“Well, there’s an entire universe inside Taylor Swift’s mind that we haven’t tapped into yet — maybe we’ve tapped into 1 percent of what she can accomplish because of her music,” Shiffrin said. “And I think about my skiing in a similar way. I’m closer now to reaching my potential, but it’s not about a record or another title.“I’ve noticed Taylor just keeps going. In a way, you never finish doing that work.” More

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    X-Wing Model From ‘Star Wars’ Fetches $3.1 Million at Auction

    After Greg Jein, an Oscar-nominated visual effects artist, died last year, his friends discovered the prop stashed in a cardboard box in his garage.A model of an X-wing fighter, which was used to film the climactic battle scene in the 1977 “Star Wars,” sold at auction on Sunday for $3,135,000, far exceeding the opening price of $400,000 and setting a record for a prop used onscreen in a “Star Wars” movie, according to Heritage Auctions.Not bad for a model spaceship found buried in some packing peanuts in a cardboard box in a garage.Friends of Greg Jein, a Hollywood visual effects artist, discovered the X-wing stashed in his garage last year after he died at age 76.It was one of hundreds of props, scripts, costumes and other pieces of Hollywood memorabilia that Mr. Jein had collected over the decades, and had left scattered throughout two houses, two garages and two storage units in Los Angeles.Heritage Auctions said the winning bidder did not want to be publicly identified. The buyer had been bidding on the floor of the auction house in Dallas, competing with another collector who was bidding over the phone.A similar model X-wing sold last year for nearly $2.4 million.More than 500 other items from Mr. Jein’s collection also sold at the auction, for a total of $13.6 million.The two-day event was the second-highest-grossing Hollywood auction in history, after the 2011 sale of memorabilia from the actress Debbie Reynolds, which grossed $22.8 million, Heritage Auctions said.Her collection included Marilyn Monroe’s billowing “subway dress” from the 1955 movie “The Seven Year Itch,” which sold for $4.6 million.The X-wing, one of the original miniature models used for close-ups, was one of hundreds of props, scripts and other pieces of Hollywood memorabilia a visual effects artist had collected.Gene KozickiMr. Jein’s collection reflected his passion for science fiction, comic books and fantasy.It included a Stormtrooper costume from the original “Star Wars” movie, which sold for $645,000, a spacesuit from the 1968 Stanley Kubrick movie “2001: A Space Odyssey,” which sold for $447,000, and a utility belt from the 1960s “Batman” television series, starring Adam West, which sold for $36,250.Mr. Jein also collected quirkier pieces, like a lace hairpiece that had been worn by William Shatner as Captain Kirk in the original “Star Trek” television series. It sold for $13,750.But the X-wing drew by far the most attention.Heritage Auctions said the 22-inch prop was used in scenes involving X-wings flown by three pilots in the Rebel Alliance’s final assault on the Death Star. The characters’ call signs were Red Leader, Red Two and Luke Skywalker’s own Red Five.It had been built by Industrial Light & Magic, the special effects studio founded by George Lucas, with motorized wings, fiber-optic lights and other features for close-up shots.But people in the visual effects industry had not seen the model in decades, according to Gene Kozicki, a visual-effects historian and archivist who worked with Mr. Jein on “Star Trek: The Next Generation” and “Star Trek: Deep Space Nine” in the 1990s.“It was like ‘Holy cow, we found an X-wing, a real, honest-to-goodness X-wing,’” Mr. Kozicki said last month, recalling the moment he and several others pulled the X-wing out of a box in Mr. Jein’s garage. “We were carrying on like kids on Christmas.”Mr. Jein’s cousin, Jerry Chang, who attended the auction and spoke on a panel about his cousin’s life and career, said he appreciated that Heritage Auctions “made it a point to honor Greg in everything they did, not just the items up for sale.”Mr. Kozicki said the collection was a testament to Mr. Jein’s love of collecting, which started with baseball cards when he was 5 years old.As his collection spread to Hollywood memorabilia, he was drawn to props and costumes that were made by artisans and craftspeople before the advent of digital special effects, Mr. Kozicki said.Greg Jein, who died last year, in 2008. He was nominated for an Academy Award in 1978 for his work on Steven Spielberg’s “Close Encounters of the Third Kind.”Stephen Shugerman/Getty ImagesIt was an art that Mr. Jein knew well.He was nominated for an Academy Award in 1978 for his work on Steven Spielberg’s “Close Encounters of the Third Kind.” Mr. Jein led the team that built the model of the alien “mother ship” that appears in the movie. The piece is now in the collection of the National Air and Space Museum.In 1980, Mr. Jein was nominated for another Academy Award in visual effects for his work on Mr. Spielberg’s “1941,” which was filmed with model tanks, buildings and a runaway Ferris wheel.“Greg famously said ‘I have a hard time throwing anything away,’ and I think in a way he kept the collection going so the recognition of those craftspeople wouldn’t be discarded like a prop,” Mr. Kozicki said in an email on Monday. “I can only hope that the new owners keep that spirit going.” More

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    Karol G’s ‘Mañana Será Bonito’ Is No. 1, Making Chart History

    The latest release by the Colombian pop star is the first Spanish-language LP by a woman to open at the top of the Billboard 200.In December 2020, Bad Bunny made history on the Billboard charts with the first No. 1 album performed entirely in Spanish (“El Último Tour del Mundo”). Now the Colombian pop star Karol G has set another record with the first Spanish-language LP by a woman to take the top spot.“Mañana Será Bonito” (“Tomorrow Will Be Beautiful”), the fourth studio album by Karol G — the 32-year-old singer born Carolina Giraldo Navarro, instantly recognizable for her bold hair colorings — displaces SZA’s “SOS” on the Billboard 200 after a nearly consecutive 10-week run at the top. “Mañana Será Bonito” opens with the equivalent of 94,000 sales in the United States, including 119 million streams and 10,000 copies sold as a complete package, according to data from the tracking service Luminate.It is the latest sign of the growing commercial power of Latin music. Last year, Bad Bunny, from Puerto Rico, had the most popular album (“Un Verano Sin Ti”) and the biggest global tour. Karol G sold $70 million in tickets to her own tour, which Billboard said made it the highest-grossing tour of the United States by any Latin female artist in history.Karol G’s arrival pushes SZA to second place in her 12th week out, while Gorillaz — the “virtual band” created by the musician Damon Albarn and the visual artist Jamie Hewlett — opens at No. 3 with “Cracker Island,” the group’s eighth studio album. Yeat, a Portland, Ore., rapper at the top of the semi-underground “rage” heap, debuts at No. 4 with “AfterLyfe,” and Taylor Swift’s “Midnights” is in fifth place.Next week’s chart will undoubtedly be dominated by the country star Morgan Wallen, whose latest album, “One Thing at a Time,” came out on Friday. Like his last release, “Dangerous: The Double Album,” it is stuffed with catchy tunes about drinking, breakups and pickup trucks — “One Thing” has 36 tracks, “Dangerous” 30 — and it is already dominating streaming services.The only real questions facing “One Thing” are how big it will open and how long it will last on the chart. “Dangerous,” which came out at the very beginning of 2021, spent 10 consecutive weeks at No. 1 and is now in sixth place, its 109th time in the Top 10. More

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    Broadway Bounces Back With ‘Best Week Since the Before Times’

    Broadway shows grossed $51.9 million during the holiday week, the most since 2019, and “The Lion King” set a record for the most earned by any show in a single week.Broadway, still struggling to rebound from the lengthy pandemic shutdown, is starting the new year with a sign of hope: Last week was, by far, the best for the industry since the arrival of the coronavirus.The 33 shows running grossed $51.9 million, which is the most since the final week of 2019. And “The Lion King,” which last fall celebrated its 25th anniversary on Broadway, notched a remarkable milestone: It grossed $4.3 million, which is the most ever taken in by a show in a single week on Broadway.The boffo numbers — 21 shows grossed more than $1 million last week — come with caveats. Both Christmas and New Year’s days fell on Sundays, concentrating holiday travelers into a single week. Twenty shows added extra performances for the holiday week, giving nine instead of the usual eight. And ticket prices were high: The average Broadway seat went for $166, up from $128 just four weeks earlier.But the strong week sent a signal that under the right circumstances, Broadway can deliver. During the holiday week — the week that ended Jan. 1 — the 22 musicals and 11 plays running were, on average, 92 percent full. Overall attendance was 312,878, which is not a record (in fact, it was the 27th-best-attended week in history, according to the Broadway League), but is good (by comparison, attendance over Thanksgiving week was 259,298).The two final weeks of the year saw combined grosses of $86.7 million, which is up 115 percent over the previous year, but down 12 percent compared to those key holiday weeks in 2019.“What you see is that we’re continuing to build and maintain our audience,” said Charlotte St. Martin, the president of the Broadway League, a trade association representing producers and theater owners. “We’re not back to where we were, but we’re doing very well at a time of uncertainty.”According to the League, last week was the third-highest-grossing in history. The highest was the week ending Dec. 30, 2018, when grosses were $57.8 million and attendance was 378,910; the second-highest was the week ending Dec. 29, 2019, when grosses were $55.8 million and attendance was 350,714.“The Lion King,” with a nine-performance week, toppled the previous record for the top-grossing week by a single show, which had been held by “Hamilton,” which grossed $4 million for eight performances during the week that ended Dec. 30, 2018. (The figures are not adjusted for inflation.)“The Lion King” earned $4.3 million last week, the most a single show has ever earned in one week. It resumed performances in September 2021.Jutharat Pinyodoonyachet for The New York TimesThe holidays are traditionally strong for Broadway, but in 2021 the final weeks of the year were a bloodbath because the Omicron variant led to cancellations of multiple shows. Now, despite the “tripledemic” of circulating respiratory illnesses, Broadway has largely figured out how to keep going: During the last three weeks, 12 scheduled performances were canceled, compared to 221 cancellations during the final three weeks of 2021.Throughout the industry, shows were trumpeting breaking records last week.“Chicago” had the highest-grossing week in its 26-year history, as well as its highest single-performance gross. The once-struggling “Harry Potter and the Cursed Child,” which revived its fortunes after the shutdown by consolidating from two parts into one, was already the highest-grossing play in Broadway history, and last week set a record (nearly $2.7 million) for weekly gross by a play. And a starry revival of “The Piano Lesson” was on track to being the highest grossing play by August Wilson — the much-celebrated and oft-performed bard of 20th-century African American life — in Broadway history.Several shows set house records at the theaters where they are being performed, including the revival of “Funny Girl,” which had been floundering financially until its producers brought in Lea Michele to star. Also setting records were shows including “Beetlejuice,” which closes Jan. 8 after a bumpy ride; “Six,” the pop-concert-style reconsideration of the wives of Henry VIII; “& Juliet,” a new musical imagining an alternative history for Shakespeare’s famously star-crossed lover, and “MJ,” the Michael Jackson biomusical.“We had our best week since the before times,” said Victoria Bailey, the executive director of TDF, a nonprofit organization that runs the TKTS discount ticket booths, who said her staff is noticing increasing geographic diversity among ticket buyers.“We were seeing people from lots and lots of states and lots and lots of countries — it wasn’t the same folks making the numbers bigger, but it was folks from further away,” Bailey said. “I don’t have any reason to say we’re out of the woods, but I don’t think this was just a one-off. And if we get to a point where you periodically have good weeks, that will be helpful.”Bailey and St. Martin both noted that tourists from China have not yet returned in significant numbers as that nation battles surging coronavirus cases. But both said they were particularly heartened by returning domestic tourism.Broadway now enters a period of greater challenge: January and February have historically been weak months for the industry. There are 12 shows scheduled to close this month, which is at the high end of the normal range for January closings. But there are a raft of openings planned in March and April — it looks like the overall number of new shows this season will be within the typical range — and St. Martin said she is feeling good about the industry’s trajectory.“I am overwhelmingly optimistic about the spring,” she said. More