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      Anne Burrell Memorial Service Attended by Food Network Stars

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      The Food Network chef, who died Tuesday at 55, was remembered in a star-studded service that sent her off with a singalong.As friends, relatives and colleagues filed into a memorial service for the Food Network host Anne Burrell in Manhattan on Friday afternoon, they noticed that somebody had placed on each chair a sheet of Billy Joel’s lyrics to “Only the Good Die Young.”At the end of the event, they learned why. Ms. Burrell’s husband, Stuart Claxton, urged them to “give her a big send-off” in a karaoke-style singalong joined by Food Network executives and hosts including Scott Conant, Amanda Freitag, Marc Forgione and Geoffrey Zakarian.“We’ve got one shot at this, so let’s make it count,” Mr. Claxton said as the opening lines flashed on two large screens on either side of the closed coffin in the Frank E. Campbell Funeral Chapel on the Upper East Side.The city’s medical examiner has not yet determined a cause of death for Ms. Burrell, who was found unresponsive in the shower at her Brooklyn home on Tuesday morning. According to an internal document viewed by The New York Times, Ms. Burrell, who was 55, was “surrounded by approximately (100) assorted pills.” Emergency medical workers who responded to a 911 call pronounced her dead at the scene.But any clouds of mystery were determinedly kept at bay during the service, which was a celebration of a woman who, by all accounts, rarely passed up an occasion to celebrate. She had spent the night before she died performing at an improv club in Brooklyn.Her manager, Scott Feldman, recalled that Ms. Burrell invariably introduced him as “my dad” when he went out with her in the evenings.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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      Anne Burrell’s Death Is Under Investigation as a Possible Drug Overdose

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      The city’s medical examiner has not determined a cause, but an internal police document says the TV chef was found surrounded by pills.The New York City Police Department is investigating the death of Anne Burrell, the popular Food Network star who was found dead in her Brooklyn home on Tuesday morning, as a possible drug overdose, according to an internal document viewed by The New York Times.The document said Ms. Burrell, who was 55, had been “discovered in the shower unconscious and unresponsive surrounded by approximately (100) assorted pills.” Emergency medical workers who responded to a 911 call pronounced her dead at the scene.A spokeswoman for the city medical examiner’s office said Friday that an autopsy had been completed, but that any findings on the cause and manner of Ms. Burrell’s death were still pending.Ms. Burrell was an accomplished Italian chef who began her television career as a sous-chef to the celebrity chef Mario Batali on the Food Network show “Iron Chef America.” She was best known for hosting “Worst Cooks in America,” which has run for 28 seasons.With her plume of platinum-blond hair, signature mismatched socks and a way of teaching that included a big helping of unvarnished truth, she became a mainstay for the network, appearing as a guest or judge on several other shows and even once riding on the network’s float in the Macy’s Thanksgiving Day Parade.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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      Terry Louise Fisher, a Creator of ‘L.A. Law,’ Dies at 79

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      She channeled her experiences — and frustrations — as a Los Angeles prosecutor into an award-winning career as a television writer and producer.Terry Louise Fisher, who channeled her experience as a Los Angeles prosecutor into an Emmy Award-winning television career as a writer and producer for “Cagney & Lacey,” the groundbreaking female-oriented police procedural, and a creator, with Steven Bochco, of the sleek drama “L.A. Law,” died on June 10 in Laguna Hills, Calif. She was 79.Her death was confirmed in a social media post by Mark Zev Hochberg, a family member. He did not cite a cause.Ms. Fisher was best known for her work on shows about cops and lawyers, and she certainly knew the terrain. Before turning her attention to the small screen, she worked as a deputy district attorney in Los Angeles for two and a half years.She quickly grew disillusioned with a revolving-door criminal justice system that seemed to her to boil down to a jousting match between opposing lawyers, with little regard for guilt or innocence.In a 1986 interview with The San Francisco Examiner, she recalled being handed an almost certain victory in an otherwise weak case involving a knife killing because of an oversight by the defense: “I felt really challenged, and my adrenaline was pumping. I realized I could win this case. And I slept on it. I went, ‘My God, has winning become more important than justice?’”Her unflinching view of the system informed her tenure in television. In 1983, she began writing for “Cagney & Lacey,” bringing depth and realism to a CBS series that shook up the traditional knuckles-and-nightsticks cop-show genre by focusing on two female New York City police detectives, Christine Cagney (Sharon Gless) and Mary Beth Lacey (Tyne Daly).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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      Jimmy Kimmel Isn’t Shocked by Trump’s Silence on Juneteenth

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      Kimmel imagined the Trump base’s reaction had the president acknowledged the holiday: “We’re the ones who stopped enslaving — they should have a holiday for us!”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Another Day at the OfficeOn Thursday, the United States celebrated Juneteenth, four years after it became a federal holiday honoring the end of slavery. But President Trump didn’t acknowledge it, except by complaining on Truth Social that there were too many “non-working holidays.”Jimmy Kimmel joked that while it might be “hard to believe, from a president who has done more for Blacks than Abraham Lincoln, Trump is not a fan” of Juneteenth.“I don’t know, to me, it seems like a holiday that celebrates the end of slavery is one we should all be for.” — JIMMY KIMMEL“If Trump were to acknowledge Juneteenth, he would risk upsetting his not-at-all-racist-and-how-dare-you-say-we-are base. They’re like, ‘We’re the ones who stopped enslaving — they should have a holiday for us!’” — JIMMY KIMMEL“But then, a miracle happened. Trump did post about Juneteenth. He wrote, ‘Too many non-working holidays in America. Soon, we’ll end up having a holiday for every once working day of the year.’ Says the guy who just had a birthday parade for himself. Says the guy who has been in office for 150 days and has golfed 37 times that we know of.” — JIMMY KIMMELThe Punchiest Punchlines (Two Weeks Edition)“I saw that today the White House said Trump will make a decision on the U.S. involvement in Iran within the next two weeks. All good. No rush. Just take your time.” — JIMMY FALLON“It’s always two weeks. For a guy whose catchphrase was ‘You’re fired,’ no one has ever given more two weeks’ notice than Donald J. Trump.” — JIMMY KIMMEL“If Trump thinks about this decision for two weeks, it’ll beat his previous thinking record by two weeks.” — JIMMY FALLON“Trump understands that starting a war in the Middle East is a lot like quitting your sales job at Best Buy. It’s just polite.” — STEPHEN COLBERTThe Bits Worth WatchingThe comedian and actor Mike Birbiglia talked about an intriguing offer he’d gotten for a film role on “Late Night with Seth Meyers.”Also, Check This OutUnraveling family mysteries for her documentary left Mariska Hargitay at peace: “It’s like a miracle to me to feel this way. I never thought I could.”Kobe Wagstaff for The New York TimesThe “Law & Order: SVU” star Mariska Hargitay’s documentary “My Mom Jayne” offers a candid portrayal of her family history and the mother she hardly knew, Jayne Mansfield. More

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      ‘And Just Like That …’ Season 3, Episode 4 Recap: Guilty

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      Aidan says he invited Carrie to stay with him longer in Virginia because he felt guilty. But is that really true?Season 3, Episode 4: ‘Apples to Apples’Is it time for all of us to face the very real possibility that Aidan is a narcissist?For the second time in their yearslong love affair, Aidan has lured Carrie to the countryside. In “Sex and the City” Season 4, Aidan finds a backwoods cabin in the unfortunately named Suffern, N.Y., and all but forces Carrie to spend weekends up there with him and a domestic terrorist squirrel.This time, though, Carrie is in Virginia with Aidan, not so much against her will. In last week’s episode, Carrie eagerly showed up down south to deliver Aidan a key to “their” (insert eye-roll emoji) Gramercy palace, and then Aidan asked her to stay.Why, exactly, does he do that? Carrie asks Aidan that very question toward the end of this episode. There is only one correct answer, and it goes something like: “Because you’re the love of my life. I miss you, and I wish we could be together all the time, and I just wanted to feel that for at least a few days.”But Aidan tells Carrie nothing of the sort. He says simply, “I felt guilty because you came all the way down here, and if I couldn’t ask you to stay, what does that say about us?”Here is what I think: I think that response solidifies for viewers that Aidan is a deeply selfish, stubborn, manipulative jerk who is dead-set on making everyone close to him bend to his will.For starters, Aidan has successfully maneuvered his way into getting what he wants out of Carrie in this most recent iteration of their relationship. In “And Just Like That …” Season 2, he refused to set foot in Carrie’s house — a melodramatic boundary rooted in old cheating wounds Carrie had apologized for time and again. But then Carrie went and sold it and bought the Gramercy townhouse that he all but refuses, essentially, to set foot in today.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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      ‘America’s Sweethearts’ Is a Compelling Sports Series

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      Season 2 of this docuseries about the Dallas Cowboys cheerleaders is an intense look at found families and all the healing and trouble that come with them.Season 2 of the documentary series “America’s Sweethearts: Dallas Cowboys Cheerleaders,” on Netflix, is a bit less rah-rah than Season 1 — still full of tears, high kicks and sisterhood but also more attuned to the pain of it all, the sorrow and struggle of cobbling together one’s self-worth.One of this season’s leads is Jada, a five-year veteran of the team and among its best dancers and most thoughtful leaders. She lays out the season’s theme at the beginning: “Everyone’s going to say, ‘Well, they’re just cheerleaders,’” she says. “Well, we’re really good cheerleaders.”Her grin begins to spread. “Show us that you appreciate us,” she adds.Are the members of the team appreciated? Not with money, they’re not, and part of this season’s most invigorating arc is the cheerleaders’ quest for better pay. Season 1 brought additional fame and adulation to the team, and it also drew attention to the exploitation of the enterprise. As Kylie, another team veteran, explains: “The world was kind of telling us, ‘Girls, fight for more.’ And we’re like, ‘OK!’”As the women practice the grueling signature routine, we hear the opening strains of the AC/DC song “Thunderstruck,” over and over. But the true refrain of the season is the fretting about being in one’s own head. It’s the catchall term for all distress and self-recrimination, the explanation for any lack of confidence or lapse in perfection. Yes, performers can overthink things, especially in prolonged auditions, and rumination and anxiety are enemies to the wide smiles and sexy winks the Dallas cheerleaders’ routines require. The job is to make it look easy.But there’s an interesting tension. Your head is where the good ideas are, too — ideas like: “Hey, a lot of people are making a lot of money off my work; why doesn’t any of that go to me?” Or: “Even people who I believe have my best interests at heart can disappoint and hurt me.”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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      William Cran, ‘Frontline’ Documentarian, Is Dead at 79

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      Producing or directing, he made more than 50 films over 50 years, including a series on the English language and an exploration of J. Edgar Hoover’s secret life.William Cran, an Emmy-winning master of the television documentary whose expansive body of work, primarily for the BBC and the PBS program “Frontline,” delved into complex subjects like the history of the English language and the private life of the F.B.I. director J. Edgar Hoover, died on June 4 in London. He was 79.His wife, Vicki Barker-Cran, said cause was complications of Parkinson’s disease. He died in a hospital.Mr. Cran produced more than 50 documentaries over 50 years and directed many of them.He began his career with the BBC, but he mostly worked as an independent producer, toggling between jobs on both sides of the Atlantic.He was most closely associated with “Frontline,” for which he produced 20 documentaries on a wide range of subjects — some historical, like the four-part series “From Jesus to Christ” (1998) and “The Secret Life of J. Edgar Hoover” (1993), and some focused on current events, like “Who’s Afraid of Rupert Murdoch” (1995).Some of Mr. Cran’s documentaries were historical, like the four-part series “From Jesus to Christ” (1998).PBSHe won a slew of honors, including four Emmys, four duPont-Columbia University awards, two Peabodys and an Overseas Press Club Award.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 Waterfront’ Brings More Murder to Netflix

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      Created by Kevin Williamson, this new drama set in North Carolina is a pulpy family saga of violence and secrets, land and legacy.“The Waterfront,” a Netflix drama created by Kevin Williamson, is set in North Carolina in a small coastal town. The Buckleys are local royalty — not only in the sense that they’re well known and powerful, but also in that they’re tortured by their circumstances and deeply resent one another, even as they feel a duty to protect the family.The show is one of many to follow the “Yellowstone” model, a family saga of violence and secrets, of huffy men and sly women, of distinctive names (Cane, Harlan, Diller, Hoyt). It is also about land that’s been in this family for generations, gosh darn it — land that’s our legacy if only the cruelties of debt and developers would abate.Our gruff patriarch is Harlan (Holt McCallany), a drunk and a womanizer with heart troubles and a shady past. His wife, Belle (Maria Bello), has her own valuable secrets and runs the family restaurant. Their son, Cane (Jake Weary), meddles with the fishing side of the business, and their daughter, Bree (Melissa Benoist), tenuously sober and trying to rebuild a relationship with her surly teenage son (Brady Hepner), wants more responsibility in the family’s enterprises. But Belle isn’t so sure she’s ready. Cane has gotten himself into a spot of trouble with a drug ring, and suddenly his side hustle is a bigger and bigger problem.Only three of the eight episodes of “The Waterfront” were made available for review, so I cannot speak to its stamina or big arcs. But these early chapters do a few things well.Whatever its flaws may be as it goes on, “The Waterfront” does not start slow — it knows how to escalate. The bodies start piling up quickly and surprisingly, the double-crossing starts right away and the flirtatious glances turn to naughty trysts within an episode. Mysterious strangers do not remain so mysterious or strange for too long. The show often lacks texture, but it compensates with earnest momentum.The series also has dark fun with its setting, and its moody crimes include murder by fishing net, intimidation by dunking someone as shark bait and hiding a body in a swamp in the hopes that alligators will take care of the rest.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