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      See Golden Globes Winners Celebrate Their Big Moment

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      What Winning a Golden Globe Looks LikeLily Gladstone, Paul Giamatti, Billie Eilish and stars from “Succession,” “Beef” and “The Bear” are captured in their moments of glory.The Los Angeles-based photographer Erik Carter was backstage at the Beverly Hilton Hotel on Sunday, where he photographed Golden Globes winners for The Times.Best Performance by an Actress in a Supporting Role in any Motion PictureDa’Vine Joy Randolph, ‘The Holdovers’“I hope I’ve helped you all find your inner Mary. Because there’s a little bit of her in all of us.” — Da’Vine Joy Randolph, in her acceptance speech. She played Mary, the mourning mother, in Alexander Payne’s “The Holdovers.”Best Television Series, Musical or Comedy‘The Bear’From left: Abby Elliott, Jeremy Allen White, Lionel Boyce, Ayo Edebiri, Liza Colón-Zayas (foreground), Ebon Moss-Bachrach, Matty Matheson and Edwin Lee Gibson.“There are so many people I probably forgot to thank. Oh, my God, all of my agents’ and managers’ assistants! To the people who answer my emails. Y’all are real ones. Thank you for answering my crazy, crazy emails.” — Ayo Edebiri, in her acceptance speech for best actress in a TV comedy.Best Original Song, Motion PictureBillie Eilish and Finneas, ‘What Was I Made For?,’ from ‘Barbie’“It was exactly a year ago, almost, that we were shown the movie and I was very, very miserable and depressed at the time. Writing that song kind of saved me a little bit. A year later and here we are, and it’s really surreal. I feel incredibly, incredibly lucky and grateful.” — Billie Eilish, in her acceptance speech.Best Performance by an Actress in a Motion Picture, DramaLily Gladstone, ‘Killers of the Flower Moon’“This is for every little rez kid, every little urban kid, every little Native kid who has a dream, who is seeing themselves represented.” — Lily Gladstone, in her acceptance speech.Best Performance by an Actor in a Limited Series, Anthology Series or Motion Picture Made for TelevisionSteven Yeun, ‘Beef’Best Motion Picture, Musical or Comedy‘Poor Things’From left, the director Yorgos Lanthimos, Emma Stone, Willem Dafoe, Ramy Youssef and Mark Ruffalo.Best Performance by an Actor in a Motion Picture, Musical or ComedyPaul Giamatti, ‘The Holdovers’Best Performance by an Actress in a Limited Series, Anthology Series or Motion Picture Made for TelevisionAli Wong, ‘Beef’“I really need to thank the father of my children and my best friend, Justin, for all of your love and support. It’s because of you that I’m able to be a working mother.” — Ali Wong, in her acceptance speech.Best Performance by an Actress in a Television Supporting RoleElizabeth Debicki, ‘The Crown’Best Performance by an Actor in a Television Series, DramaKieran Culkin, ‘Succession’“Thanks to ‘Succession,’ I’ve been in here a couple of times. It’s nice, but I sort of accepted I’m never going to be onstage, so this is a nice moment.” — Kieran Culkin, in his acceptance speech. More

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      Best and Worst Moments From the 2024 Golden Globes

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      Lily Gladstone made history, Jo Koy did not. And dressing on a theme proved a hit. These were just some of the highs and lows.The Golden Globes had a lot to prove Sunday night. It was the award show’s return to a primo broadcast time slot after a series of scandals over finances and lack of diversity upended what used to be known as the biggest party of the year in Hollywood. Now privately owned with a greatly expanded pool of voters, the Globes were making a bid for relevance. Did that bid succeed? Well, it helped that this was the first major televised ceremony since the writers’ and actors’ strike brought Hollywood to a halt, and stars and studios looking to goose their Oscar chances turned out after some skipped last year’s event. Then again, this wasn’t the liveliest show. Here are the highs and lows as we saw them.Most Historic Win: Lily GladstoneIn a momentous triumph, Lily Gladstone became the first Indigenous person to win a Golden Globe for best actress, for her turn in “Killers of the Flower Moon” as an Osage woman whose family members are killed in a plot to take their fortune. Gladstone, whose background is Blackfeet and Nez Perce, was only the second Native actress to receive recognition from the Globes: Irene Bedard was nominated in 1995 for “Lakota Woman: Siege at Wounded Knee,” a television movie.After receiving a standing ovation, an overcome Gladstone spoke a few lines in the Blackfeet language, “the beautiful community nation that raised me, that encouraged me to keep going, keep doing this,” she explained in English.“I’m so grateful that I can speak even a little bit of my language,” she added later, “because in this business, Native actors used to speak their lines in English, and then the sound mixers would run them backwards to accomplish Native languages on camera.” She dedicated the award to “every little rez kid” who had a dream. — Esther ZuckermanLeast Suspenseful Rivalry: ‘Oppenheimer’ vs. ‘Barbie’The presenter Oprah Winfrey, far right, watches as the “Oppenheimer” team accepts best drama. From left, Robert Downey Jr., Matt Damon, Emma Thomas, Ludwig Goransson, Florence Pugh, Christopher Nolan and Cillian Murphy. Sonja Flemming/CBSIn the end, the great “Barbenheimer” face-off was a complete fizzle. “Oppenheimer,” with eight nominations, won five trophies — best drama, director, actor, supporting actor and score. After sitting on the sidelines for most of the night, “Barbie,” the ceremony’s most-nominated film, with nine nods, finally got in the game with a win in the rather meaningless category of best blockbuster (“cinematic and box office achievement”). “Barbie” got a second prize in the form of best song, which was kind of a no-brainer because the film’s tunes filled three of the category’s six slots. Time to rev up that Oscar campaign, Babs! — Brooks BarnesBest Looks: Stars Dressing on a ThemeFrom left, Oprah Winfrey, Margot Robbie and Taylor Swift.Getty ImagesJust in case anyone forgot about the “Barbie” effect of last year, which turned entire crowds pink, Margot Robbie managed to out-“Barbie” her own red carpets past in a sequined slither of hot pink Armani paired with a bristling pink tulle boa, all of it inspired by the 1977 Superstar Barbie.As it turned out, however, that was just the beginning of the on-theme dressing. Oprah Winfrey wore Louis Vuitton in the color purple, in honor of — you guessed it — “The Color Purple,” for which she served as a producer. And Taylor Swift wore glimmering Gucci in the sort of bright leafy shade that evoked nothing so much as the color of money and made it impossible to forget just how much green her Eras Tour has generated.Together they made for a more interesting trend than the traditional strapless frocks that also proliferated. (The best of those being Elle Fanning’s vintage Balmain and Rosamund Pike’s not-quite-vintage 2019 Dior: if you’re going to go with the classics, might as all go back to the source). And the theme dressing added a new dimension to the brand-marketing machine that the red carpet has become. — Vanessa FriedmanFlattest Monologue: Jo KoyThe host, Jo Koy, onstage at the Beverly Hilton ceremony.Sonja Flemming/CBSI had high hopes for Jo Koy, the 52-year-old Filipino American comedian who is only the second Asian American to host the Golden Globes. (Sandra Oh was the first, in 2019.) But Koy’s opening monologue felt like a highlight reel of mortifying moments. From a weird joke about being attracted to a plastic Barbie to one about the “Killers of the Flower Moon” filmmakers stealing the plot, Koy’s jokes met an icy reception from the audience. To be fair, he had barely any time to prepare. “I got the gig 10 days ago!” he said from the stage. “You want a perfect monologue?” It’s a shame, but Koy’s jokes will probably end up being best remembered for the memes they inspire on social media. — Christopher KuoFlattest Joke: Koy Riffing on Taylor SwiftWhy you gotta be so mean? The host’s jokes did not really improve as the night went on.“We came on after a football doubleheader,” Koy said as the ceremony returned from its first commercial break. “The big difference between the Golden Globes and the N.F.L.? On the Golden Globes, we have fewer camera shots of Taylor Swift.”Koy seemed to swallow the word “camera” as he said it. And when the actual camera, on cue, panned to Swift, she appeared deeply unamused, her lips pursed, her eyes stern as she sipped a drink.It is true that Swift has been shown many, many times on N.F.L. telecasts since she began showing up at Kansas City Chiefs games to cheer on the team’s tight end, Travis Kelce.But Koy’s joke, at the expense of perhaps the most famous person in a room full of famous people, fell flat again. So flat, that he muttered, “Sorry about that.” — Matt StevensMost Historic Double Win: Steven Yeun and Ali Wong of ‘Beef’Steve Yeun and Ali Wong with their trophies for “Beef.”Robyn Beck/Agence France-Presse — Getty ImagesThey may have gone head-to-head in a bitter feud that crossed 10 episodes of “Beef,” the Netflix road rage comedy that gained a huge online fandom last year, but Ali Wong and Steven Yeun both left the Globes on Sunday with statuettes in hand, as the first actors of Asian descent to win honors for a limited series or TV movie. First, Wong won best actress in the category and delivered an emotional acceptance speech, thanking her ex-husband and children for making it possible for her to be a working mother in Hollywood. A few minutes later, Steven Yeun won best actor in the same category. How do we order up a sophomore outing for Amy and Danny? — Sarah BahrBest Speech With a Twist: YeunThe most entertaining speeches take us on a ride. That’s what Yeun did when he won for actor in a limited series. He started out with a serious and vulnerable tone, saying, “The story I usually tell of myself to myself is one of isolation and, like, separateness.” But then he threw in a twist, saying that once he climbed onto the stage he realized that — wait, that inner monologue “feels a lot like the plot to ‘Frozen.’” It was unexpected yet heartfelt, a joke for his daughter. — Brooks BarnesBest Speeches With a Dose of Honesty: Kieran Culkin and Robert Downey Jr.Kieran Culkin accepting his “Succession” trophy.Sonja Flemming/CBSRobert Downey Jr. accepting his best supporting actor award.Sonja Flemming/CBSAwards show speeches tend to be mash-ups of gushing adjectives meant to communicate maximum gratitude — “amazings” and “incredibles” aplenty — but a couple of actors were refreshingly measured in their delight. This isn’t the Oscars, after all. Winning for his role as Roman Roy in “Succession,” Kieran Culkin told the audience, simply, “This is a nice moment for me.” And when Robert Downey Jr. stepped up to the microphone, he deflected applause for his supporting performance in “Oppenheimer” by addressing the prescription medication powering his nonchalance onstage: “Yeah, yeah, I took a beta blocker,” he said, “so this is going to be a breeze.” — Julia JacobsBiggest Upset: Best Screenplay for ‘Anatomy of a Fall’The previous group of Golden Globe voters could always be counted on to give us a few unpredictable wins, and though they weren’t always welcome swerves, they at least lent the night a charge of anything-could-happen frisson. That feeling was hard to come by this year, thanks to a series of respectable, safe choices, though the unexpected triumph of “Anatomy of a Fall” in the screenplay category certainly woke up the ballroom: In years past, Globe voters almost certainly would have chosen a starrier pick like “Barbie” or “Oppenheimer,” and it was fun to get a worthy upset. — Kyle BuchananWorst Award: The Cinematic and Box Office Achievement GlobeGreta Gerwig, left, and Margot Robbie enjoy their “Barbie” win.Sonja Flemming/CBSThe Globes added a new box-office trophy this year, with nominees required to have earned at least $150 million (or, as the guidelines put it, “commensurate digital streaming viewership”). The whole thing is a little silly, especially in a year in which two huge hits — “Barbie” and “Oppenheimer” — were also popular with critics and nominated for many awards. Is it an effort to revive the academy’s widely derided attempt to add a best popular film category to the Oscars? Or just to get more A-listers in the room (including, yes, Taylor Swift)?Entertainment plaudits are basically made up of vibes and campaigning, meant to create heated discussions. But if there’s anything in movies that’s impossible to argue with, it’s box office receipts and clicks. So what was the undisputed biggest box office achievement in 2023? “Barbie.” Who won this new Globe? “Barbie.” Who else could it have been? — Alissa WilkinsonBest Writers’ Revenge: A Script ‘Written’ by Studio ExecutivesDaniel Kaluuya, left, Hailee Steinfeld and Shameik Moore at the Globes.Sonja Flemming/CBSPerhaps as an ode to the recently settled Hollywood writers’ strike, the presenters Daniel Kaluuya, Hailee Steinfeld and Shameik Moore announced they would introduce the best screenplay nominees with words written by studio executives — although given the dry, stilted language, the script may well have been generated by ChatGPT.“I am relatable,” Steinfeld intoned. “I am enjoy the Golden Globes.”“I do agree,” Moore said.“As do I,” Kaluuya agreed.At least the “executives” generated a few laughs.— Jonathan AbramsLeast Satisfying Reunion: ‘Suits’What is a “Suits” reunion without Meghan Markle? The law-firm drama that has found unprecedented success on Netflix more than a decade after its debut deserved a moment in the sun just for the sheer number of viewers it accrued in recent months. And I’m sure actors Gabriel Macht, Patrick J. Adams, Gina Torres and Sarah Rafferty were thrilled to present the award for best drama series. But where was Meghan, Duchess of Sussex, who was a star of the show and played a key character? She doesn’t live very far from the Beverly Hilton, where the ceremony was held. “Suits” fans had to be thrilled that their beloved cast was alive and well, but without Meghan, can you really call it a reunion? — Nicole SperlingMost Improved Angle: Shots of the Audience Behind the PresentersAmerica Ferrera and Kevin Costner were among the presenters shot from different angles.Sonja Flemming/CBSKeeping things interesting visually during an awards show can be a challenging task. Talking heads. Nominees. Award. Speech. Rinse. Repeat. But on Sunday night, the producers mixed it up by pulling a simple reversal and shooting some of the presenters with the audience in the background. It changed the feel while allowing us at home to peek behind some of the presenters during the more boring banter to check out the celebrities behind them. Who’s paying attention? Who can’t be bothered? One drawback was that the lighting didn’t always favor the presenters at these varying angles. But overall, it felt fun and gave a little jolt to the proceedings. — Mekado MurphyMost Surprising (Apparent) Spoiler: ‘Anatomy of a Fall’“Anatomy of a Fall” took home two Globes for its taut dissection of the frictions in a marriage, exposed when a wife is put on trial and accused of pushing her husband to his death at their home in the French Alps. Under the scrutiny of a court and the couple’s preteen son, Sandra (Sandra Hüller), defends herself as viewers are left to plumb the evidence for signs of whether her husband’s death resulted from an assault, an accidental fall or his own leaping.But as she accepted the award for best screenplay for the film, written with her husband, Arthur Harari, Justine Triet maybe revealed what her script did not. Describing their thinking when they completed the script, she said: “OK we are having a lot of fun but it’s radical and dark, nobody’s going to see this movie. It’s too long, they talk all the time, there’s no score — a couple fighting, suicide, a dog vomiting. I mean, come on.” The (accidental?) disclosure of the manner of death seemed out of step for one of the creators of a film so meticulously built to leave audiences guessing. — Elena BergeronBest and Worst Reinvention: The Globes ThemselvesWith the Globes trying to claw their way to semi-legitimacy, this was a perfectly reasonable attempt, but it all felt perfunctory.High: Intro segments tend toward the cringey at every awards show, and there were plenty of awkward moments here, too, but there were some bright spots: Keri Russell and Ray Romano’s fun repartee, Andra Day and Jon Batiste’s giggly banter and especially Kristen Wiig and Will Ferrell’s goofy dance bit. Ferrell’s signature outburst — “The Golden Globes have not changed!” — was probably the biggest laugh of the night.Low: Kind of everything? The whole ceremony had sort of a blah energy. The speeches were all fine, but none was especially wild. The biggest shock came when the broadcast included what sounded like glasses clattering to the floor. — Margaret Lyons More

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      What’s on TV This Week: ‘The Curse’ and the Critics’ Choice Awards

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      The season ends for this Showtime series with Nathan Fielder and Emma Stone, while awards season begins.With 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, Jan. 8-14. Details and times are subject to change.MondayANTIQUES ROADSHOW 8 p.m. on PBS (check local listings). If you are nosy like me, this show has it all — a look into people’s homes, their family histories and the value of their old things. And you get a history lesson along the way. This quintessential PBS show is back for its 28th season, with the first few episodes taking place at the Alaska Native Heritage Center in Anchorage before traveling to Old Sturbridge Village in Massachusetts. Who knows what treasures (or trash) will be uncovered.TuesdayREAL HOUSEWIVES OF SALT LAKE CITY REUNION 8 p.m. on Bravo. There is a lot to unpack after the fourth season of R.H.O.S.L.C., so this is only the first of a three-part reunion. Andy Cohen is back in his usual hot seat to moderate (or, rather, stir the pot). And from the trailer, we see that along with lots of yelling and tears there will be a recreation of the “Mean Girls” Burn Book and a homage to Will Smith’s outburst at the 2022 Academy Awards.HARD KNOCKS 9 p.m. on HBO. This annual N.F.L. documentary series is wrapping up after following the Miami Dolphins this season. A few key moments have included Alec Ingold’s nomination for Walter Payton Man of the Year award, Braxton Berrios’s relationship with the TikTok star Alix Earle and lots of family time for the players and coaches around the holidays.WednesdayFrom left: Emma Watson, Florence Pugh, Saoirse Ronan and Eliza Scanlen in “Little Women.”Wilson Webb/Columbia PicturesLITTLE WOMEN (2019) 9 p.m. on Starz. This movie, directed by Greta Gerwig and based on the 1868 novel by Louisa May Alcott of the same name, stars Emma Watson, Florence Pugh, Saoirse Ronan and Eliza Scanlen as the little women. The supporting cast is also pretty stellar with Timothée Chalamet, Laura Dern, Bob Odenkirk and Meryl Streep. The film is “faithful enough to satisfy the book’s passionate devotees, who will recognize the work of a kindred spirit, while standing on its own as an independent and inventive piece of contemporary popular culture,” A.O. Scott wrote in his review for The New York Times. At least one scene, if not several, will make you weep.ThursdayCHILDREN RUIN EVERYTHING 9:30 p.m. on The CW. The third season of this Canadian sitcom is coming to U.S. screens this week. This show comes from Kurt Smeaton, a producer of “Schitt’s Creek,” another Canadian show, which took the United States by storm. Starring Meaghan Rath and Aaron Abrams, the show follows couple as they navigate their lives outside of being parents to their three young children.FridayFrom left: Donald O’Connor and Gene Kelly in “Singin’ in the Rain.”PhotofestSINGIN’ IN THE RAIN (1952) 10 p.m. on TCM. This is a classic of a category I can’t get enough of: movies about making movies, à la “A Star is Born” (any version you want) or “Once Upon a Time in Hollywood.” This musical focuses on a moment in Hollywood when actors, directors and producers were shifting away from silent movies to “talkies.” Gene Kelly, Debbie Reynolds and Donald O’Connor star.Saturday75TH ANNUAL CREATIVE ARTS EMMY AWARDS 8 p.m. on FXX. You can think of this award show as a pregame to the main Emmy Awards on Jan. 15. This broadcast, edited from two previous events, honors the more technical and behind-the-scenes work that goes into the nominated shows rather than the acting, directing and writing.SundayRyan Gosling and Margot Robbie in “Barbie,” which is nominated for 18 Critics’ Choice Awards.Warner Bros. Pictures, via Associated Press29TH ANNUAL CRITICS CHOICE AWARDS 7 p.m. on The CW. Every winter I think of a scene from “Schitt’s Creek”: Alexis asks Moira what her favorite season is, and she matter-of-factly responds, “awards.” Around 600 film and TV critics and reporters make up the voting body for this show, which kicks off the run-up to the Oscars. It’s likely “Barbie” will leave with an award or two since it has 18 nods. Chelsea Handler will host.THE CURSE 9 p.m. on Showtime. This show, starring Emma Stone and Nathan Fielder as a couple at the center of a home renovation reality series, has had us cringing all season, but we still can’t look away. As James Poniewozik wrote in his Times review of the show, “it’s a dark satire of performative philanthropy and exploitation. It’s a psychological horror drama about marriage. It’s a reflection on the power of TV to create illusions.” The show’s 10th episode wraps up the season. More

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      ‘The Bear’ Wins Best Comedy at the Golden Globes

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      Globe voters said “Yes, chef,” to “The Bear,” which beat out “Ted Lasso” and “Abbott Elementary” to win best comedy.One quibble: Is “The Bear” even a comedy? Any episode of the restaurant-set FX series has more agita and fewer jokes than most dramas. Some scenes and some entire episodes, like the most recent season’s standout, “Fishes,” can only be watched through fingers. But “The Bear,” created by Christopher Storer, also has a softish heart — among other organ meats — and a half-hour running time, enough to land it in this category.The first season, which saw Jeremy Allen White’s troubled chef, Carmy, inherit the restaurant from his dead brother, was a surprise hit despite its grubby milieu and absence of bankable stars. (Apologies, Oliver Platt.) It made an immediate internet pinup of White and a darling of his co-star, Ayo Edebiri, who plays a driven upstart chef. The second season saw the eatery morph from an Italian beef joint to a Michelin-courting sensation. It focused more on the camaraderie among the staff even as it broke a few characters away for special episodes, and it was praised for its realistic depictions of work, grief, Chicago, high-end food and friendship.A nominee last year for best comedy, “The Bear” yielded a surprise best lead actor win for White as the aggrieved Carmy. Repeating his win in the same category this year was less of a surprise.“I can’t believe I’m in this room with all these people I’ve loved so much, admired so much for so long. It’s unreal. I love this show,” he said.White’s co-star, Edebiri, won her first Golden Globe for best actress in a TV comedy.“Everybody at ‘The Bear,’ that’s my family,” Edebiri said in her breathless acceptance speech. “I love you guys so much. It’s an honor to work with you and grow alongside you.”“All of my agents, managers, assistants, the people who answer my emails, y’all are real ones,” she added. “Thank you for answering my crazy, crazy emails.”Lionel Bryce, who plays Marcus, spoke on behalf of the show’s cast and crew accepting the award. “Most importantly, thank you to the entire restaurant community,” he said. “We played these characters for a couple of hours a day for a couple of months out of the year, but this is your reality, the highs and the lows. So thank you for embracing us.” More

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      Golden Globes: Ali Wong Makes History With Best Actress Win for ‘Beef’

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      Ali Wong’s character in the Netflix comedy “Beef” faced plenty of challenges and frustrations, but the actress herself was nothing less than triumphant on Sunday night. Wong made history by becoming the first actress of Asian descent to win a Golden Globe for best actress in the limited series or TV movie category.The comedian stars alongside Steven Yeun in the 10-episode tragicomedy about a bitter feud that develops between two strangers after a traffic incident. The series debuted in April and received plenty of praise online, with audiences celebrating its complexity, unpredictability and relatability. (Well, hopefully it wasn’t too relatable.) Critics were also fans of “Beef,” which James Poniewozik, chief television critic for The New York Times, called “one of the most invigorating, surprising and insightful debuts of the past year.”While “Beef” is in the limited series category at the Globes and at the Emmys, which will be awarded next week, the show’s creator, Lee Sung Jin, has said he is open to exploring different directions for another season, including the possibility of a new ensemble cast.Wong expressed her appreciation for Lee and the show’s director, Jake Schreier, in her acceptance speech. “I really need to thank Sonny so much for creating such a beautiful show and inviting me to be a part of it. And the friendship that I made with Steven and Jake and the rest of the cast and crew will always be the best thing that came out of ‘Beef,’” she said. More

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      David Soul, a Star of the Hit Cop Show ‘Starsky & Hutch,’ Dies at 80

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      An actor and singer, he rose to fame in the 1970s as one half of the popular television crime-fighting duo. He also notched a No. 1 hit single in the U.S.David Soul, the doleful-eyed blond actor and singer who rose to fame portraying half of a cagey crime-fighting duo on the hit 1970s television show “Starsky & Hutch,” and who also scored a No. 1 hit single in 1977 with “Don’t Give Up on Us,” died on Thursday. He was 80.His death was confirmed in a statement by his wife, Helen Snell, who did not specify a cause or say where he died. He had been living in Britain since 1995 and became a British citizen in 2004.A Chicago-born son of a Lutheran minister, Mr. Soul had spent nearly a decade appearing on television shows like “Star Trek” and “I Dream of Jeannie”; he also had a regular role on the ABC western comedy series “Here Come the Brides,” before he won his career-defining role of Detective Ken Hutchinson, known as Hutch, also on ABC. The part would make him a regular presence in American living rooms, as well as a recognized heartthrob, from 1975 to 1979.As Hutch, Mr. Soul played the coolheaded Midwestern sidekick to Detective Dave Starsky (Paul Michael Glaser), a savvy Brooklynite given to wearing chunky cardigan sweaters. The two tooled around the fictional Southern California burgh of Bay City in a red Ford Gran Torino emblazoned with a giant Nike-esque swoosh running down each side as they cracked open cases with the help of their streetwise informant, Huggy Bear (Antonio Fargas).Mr. Soul had first caught the eye of the show’s creators with an icy performance as a vigilante motorcycle cop in “Magnum Force” (1973), the first of several sequels to the hit 1971 Clint Eastwood film “Dirty Harry.” But he initially had misgivings about the Hutch character, seeing him as nothing more than “bland white-bread,” as he said in the 2004 television documentary “He’s Starsky, I’m Hutch.”“I didn’t like him,” he said. “I wanted to play Starsky.”Even as old-school tough guys with badges, the characters stood out on the 1970s cop-show landscape by sharing an onscreen emotional intimacy that was striking for its day.While being interviewed by the talk show host Merv Griffin, who pointed out that TV Guide had singled out “Starsky & Hutch” as television’s most violent show, Mr. Soul responded: “My opinion of the show is that it’s a love story. It’s a love story between two men who happen to be cops.”In an interview for The New York Post’s Page Six feature in 2021, Mr. Glaser said that he and Mr. Soul had kidded about the show’s homoerotic undertones “all the time.”With his place in the pop-culture firmament cemented, Mr. Soul was able to make good on his long-simmering ambitions to be a pop star.In 1977, the year after releasing his debut album, he shot to the top of the Billboard Hot 100 with the lachrymose ballad “Don’t Give Up on Us.” Many years later, Owen Wilson, as Hutch, parodied the song in none-too-loving fashion in a 2004 feature-film comedy version of the show, which also starred Ben Stiller as Starsky and Snoop Dogg as Huggy Bear.Mr. Soul, who often said that music was his priority over acting, released five albums in his career and notched four Top 10 hits in Britain in the 1970s, including “Don’t Give Up on Us,” which climbed to No. 1; “Silver Lady,” which also went to No. 1 although it reached only No. 52 in the United States; and “Going In With My Eyes Open” — No. 2 in Britain and No. 54 on the American chart.He became enough of a singing sensation that, in reviewing a 1977 concert of his at Radio City Music Hall, Robert Palmer of The New York Times described “camera-wielding teenage girls charging the stage, the flicker of hundreds of exploding flash cubes and a continual squealing.”Mr. Soul was born David Richard Solberg on Aug. 28, 1943, to Richard Solberg, a professor of political science and history as well as a theologian, and June (Nelson) Solberg, a teacher.In David’s youth, the family lived in Cold War-era Berlin as well as in South Dakota. He aspired to be a diplomat or a minister before turning his sights on a show business career. In his late teens, he learned that his girlfriend, Mim, was pregnant; under parental pressure, they married.Later, when he was 22, he found his wife another man, a friend of his, and left her and their young son, Christopher, to chase his dreams of stardom in New York.Once there, he whittled his surname down to Soul and, looking for a gimmick to boost his singing career, bought a $1 ski mask and rebranded himself as a mystery-shrouded pop crooner who never showed his face. After appearances on Merv Griffin’s show, he secured a deal with MGM Records and released a single, “The Covered Man,” in 1966.Once he tried to make it without the mask, however, his career faltered. Broke, Mr. Soul started selling himself sexually. “I was green,” he said in the documentary. “I was a kind of ‘Midnight Cowboy,’” a reference to the Oscar-winning 1969 film starring Jon Voight as a Texas dreamer turned Times Square hustler.Discouraged by the fizzling of his music career, Mr. Soul shifted to acting, breaking into Hollywood with an appearance on “Flipper,” the series centered on a pet dolphin.Once he made it big with “Starsky & Hutch,” he said, he spiraled into alcoholism before rediscovering religion in the 1980s. He met Ms. Snell, a public relations executive, in 2002, and they married in 2010.It was his fifth marriage. He had five sons and a daughter. Complete information on survivors was not immediately available.After leaving the United States, Mr. Soul appeared in theater productions in London’s West End. In the mid-2000s, he landed the lead role of the outrage-courting talk show host in “Jerry Springer: The Opera.”Although he missed out on a financial windfall by selling his stake in “Starsky & Hutch” years ago for $100,000, according to a 2019 interview with The Sunday Times of London, he expressed few regrets.“I’ve had it all,” he said. “I’ve been a No 1 [star] in the world for a while — not now. I’ve had No 1 records around the world — not now. I have six wonderful children. I’m married to a wonderful woman. I’m happy. I’ve explored, I’ve seen, I’ve done.” More

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      ‘So You Think You Can Dance’ Judge Exits After Paula Abdul Lawsuit

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      Ms. Abdul accused Nigel Lythgoe, a longtime producer and judge on the reality show, of sexually assaulting her when they worked on “American Idol” together. He denied the accusation.Nigel Lythgoe has stepped down as a judge of “So You Think You Can Dance,” the show said on Friday, after he was sued by Paula Abdul and accused of sexual assault.Mr. Lythgoe, who has denied sexually assaulting Ms. Abdul, said in a statement that he was stepping down from the show that he had helped create “with a heavy heart but entirely voluntarily because this great program has always been about dance and dancers, and that’s where its focus needs to remain.”“In the meantime, I am dedicating myself to clearing my name and restoring my reputation,” Mr. Lythgoe, who was also a producer of the show, said in the statement.Variety was first to report Mr. Lythgoe’s exit.In the lawsuit, which was filed last month, Ms. Abdul accused Mr. Lythgoe of shoving her against the wall of a hotel elevator, grabbing her genitals and breasts and shoving his tongue down her throat in the early 2000s while she was a judge on “American Idol.” Mr. Lythgoe, who had been a producer for the show at the time, called the allegations “false” and “deeply offensive to me and to everything I stand for.”Mr. Lythgoe, 74, has been one of the faces of “So You Think You Can Dance” since he helped create the show in 2005. He had been among the producers who had made “American Idol” a phenomenon in the United States after an earlier iteration aired in Britain, and “So You Think You Can Dance” also proved to be a ratings success in its early seasons by following a similar format.Mr. Lythgoe, a commercial dance impresario, had been a judge on the show for 16 of its 17 seasons, providing on-air feedback to young contemporary, ballroom and hip-hop dancers. The show had been planning a return this spring with a new format and was going to team Mr. Lythgoe with new judges, including Maksim Chmerkovskiy, the “Dancing With the Stars” choreographer, and Allison Holker, a former contestant.The production companies behind the show, which include Dick Clark Productions and 19 Entertainment, and Fox, the network that airs it, said in a joint statement on Friday that the show would proceed without Mr. Lythgoe and would remain “committed to the contestants, who have worked incredibly hard for the opportunity to compete on our stage.” More

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      ‘The Curse’ Season 1, Episode 9 Recap: ‘All in’

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      “Green Queen” gets an awkward early screening as Whitney tries to broach her feelings with Asher.Season 1, Episode 9: ‘Young Hearts’It’s amazing what a reality television edit can do. Throughout “The Curse,” we’ve been exposed to what Asher and Whitney look like acting for the cameras, but we have rarely seen what they are like when they are actually on camera, once they’ve gotten the glossy treatment that the Property Brothers and other hosts have before them.The truth is: Whitney might seem painfully fake in her daily interactions, but she performs very well. She’s a natural, and watching a cut of the newly retitled “Green Queen,” it’s easy to understand why the network is so high on her. All of that falsity fades away under the bright lights, which crave that sort of manicured behavior. She fits into her role perfectly.This week’s episode, is revelatory with regards to Whitney on multiple levels, and it’s also a tour de force for Emma Stone, an actress whose natural understanding of the camera and what it can do allows her to play all the facets of this complicated, troubled character. The episode leaves no doubt about just how wrong she and Asher are for each other. But before then, a series of smaller Whitney-related events peel back layers of her carefully constructed persona.Why did Whitney marry Asher? The question has plagued this series. Their relationship is so lacking in any affection that doesn’t feel forced, you have to rack your brain to imagine a time when they were truly in love. Here, we get clarity on some of her potential reasoning. Asher’s infatuation with Whitney provided her with an escape hatch. She could take his name to get away from her old life as a lackey for her parents. After learning that a relative of one of the show’s drivers was evicted from a building run by her parents, she Googles herself under her old name, “Whitney Rhodes.” There’s a photo of her smiling at the opening of the complex, complicit in all of their misdeeds.Asher was a way to disassociate from her parents on paper — even if she’s still using their money to fund her ventures. She’s no longer “Whitney Rhodes”; She’s “Whitney Siegel,” who wears a Star of David around her neck to further distance herself from her past — no matter how merely symbolic that piece of jewelry is.Maybe at one point the intensity of Asher’s affection was appealing to Whitney, who saw something almost exotic in his Judaism. Now, however, she can’t stand him. And what’s worse: Now they have to perform for a representative from HGTV, Martha, stopped by to check up on the show’s progress. When Dougie, parroting what he has heard from the network, explains that the story line about the dissolution of their marriage isn’t going to work, Whitney starts to cozy up to Asher again. And she yet can’t help but feel enraged by his little touches. Asher challenges her to say that she loves him. She refuses, though she will go bowling, clearly a favorite pastime of his, to make amends.During their outing, there is a moment of what appears to be genuine joy between the two of them, but the spell is quickly broken when Asher’s friend Bill from the casino approaches. Bill wants to apologize. He thought that Asher was the leaker, but says he was mistaken. Asher, thinking he is impressing Whitney, confesses to being the “whistle-blower.” Later that night, she hears him quietly speaking to himself, perhaps masturbating, proudly bragging about this achievement. But then the fantasy morphs into imagining himself watching Bill having sex with Whitney. You can see the disgust grow on her face.He approaches her while she’s furiously rowing on an erg machine about new language in the contract that suggests he might be “exposed to ridicule, humiliation or condemnation.” Then an idea seems to dawn on her: She’ll show him everything, including the confessional where she spills her feelings about their relationship. Maybe if he sees it, he’ll listen to her and understand. So she and Asher and join Dougie in his hotel room, sitting awkwardly in the bed, to view an early cut of “Green Queen.”A strange thing is that after everything we’ve been privy to, “Green Queen” is still pretty compelling television. Dougie knows what he’s doing, and you can see why HGTV would be interested in the material. Here’s a very pretty person — Whitney — vowing to do good, and, as filmed by Dougie, she seems smart and capable. Asher, meanwhile, just seems at first like a goofy nuisance, making nonsensical jokes about Arnold Palmers. It’s bizarrely charming.Dougie is willing to skip over the material that really goes for Asher’s jugular — the network doesn’t want to use it anyway — but Whitney wants Asher to see just what she has done to him. Stone’s face is solemn. All of Whitney’s eager-to-please brattiness has been sapped from it as she watches with grim anticipation. It’s brutal to behold. Onscreen, Whitney appears earnest as her minor complaints about Asher morph into genuine concerns about her relationship. The problem is his worship of her.She wonders: “Can someone love you so much that the real version of you completely ceases to exist?” It’s a funny question coming from Whitney, who doesn’t really seem to have a great sense of self to begin with.And yet it’s possible, thanks to the manufactured quality of reality TV, to empathize with Whitney, maybe for the very first time. On one level we know what we’re seeing is at times fake — for instance, the shots of her laughing at the art collector’s party, where we know she had an uncomfortable time. Still, Stone sells the oppressiveness of Asher’s love for her and how stifling that can be. So it’s almost a relief when Asher storms out of the room. He got it, you think.But then he returns, his fervor renewed. He has manic energy as he closes in on her face, telling her she was right. “I’m a terrible person,” he spits. “There’s not some curse. I’m the problem.”Whitney is shocked. Instead of repelling him, she has succeeded in making him cling to her even tighter. “I’m all in on Whitney,” he says.It sounds like a threat. She starts to cry, tears he reads as an emotional outpouring. But there is terror in her eyes.Notes From EspañolaThe episode begins with an eerie sequence from the point of view of an unknown driver who waits for Whitney to leave her home and then drives all the way to the shopping plaza. Who is that?I had to put on closed captioning during the scene where Asher is talking to himself to understand what he was saying, so if you didn’t catch that at first, that’s not on you.Whitney’s discovery that Cara is her masseuse is exquisitely awkward, but does the fact that she eventually decides to walk away from the appointment show some growth? Or does her overtipping as a way of assuaging her guilt undo all that?The way in which Stone flinches just a little bit every time Fielder touches her is brilliant.Fielder’s enthusiastic bowling is almost as unnerving as his enthusiastic rapping last week. Almost.I can’t get over the ick factor of the shot of Whitney’s father trapping a roach in the apartment where he apparently is now forced to live. Her folks might be the scummiest people on this show.We’re in the homestretch, and I truly have no idea how any of this is going to resolve. That’s a good thing, but also I’m so scared. More