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      ‘Wrestlers’ Is Greg Whiteley’s Latest Underdog Tale

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      When Greg Whiteley was 19 he ventured from his hometown, Bellevue, Wash., to spread the word of the Mormon Church on Navajo reservations in the Southwest. At first he would come in hot, as the kids say, eager to knock on doors and proselytize.“Frequently the thing I’d ask was, ‘Do you have time to hear a message about Jesus Christ today?’” he recalled during a video interview earlier this month from his Southern California home. “And the answer 99 times out of 100 was, ‘No, I do not have time for that.’ I think I spent the first months of my mission talking at people, and it was a very discouraging experience.”Gradually, however, he learned to shut up and listen. “I was amazed at how quickly people would disclose the most vulnerable things at a doorstep within 90 seconds of meeting them,” Whiteley said. He didn’t realize it at the time, but he was preparing himself for a successful career as a documentary filmmaker.Today, Whiteley, 53, is best known for creating, producing and directing immersive, off-the-beaten-path underdog sports docu-series for Netflix, including “Last Chance U,” “Cheer” and his latest, “Wrestlers,” which premieres Wednesday. All are notable for what they are not: manipulative, sensationalist, opportunistic.“Wrestlers,” premiering Wednesday on Netflix, explores Ohio Valley Wrestling, a scrappy company that has nurtured several famous wrestlers.NetflixWhiteley finds subjects that offer maximum access and editorial control. “It’s really hard to get that from the New England Patriots,” he said. In other words, this isn’t “Hard Knocks,” the HBO series that purports to offer revealing behind-the-scenes stories from N.F.L. training camps. For “Last Chance U,” which premiered in 2016, Whiteley focuses on individual community college football and basketball teams. In “Cheer,” the subject is a Texas community college cheerleading squad that happens to be a national dynasty. And for “Wrestlers,” Whiteley and his 20-person crew descended upon Ohio Valley Wrestling, a scrappy, underfunded professional wrestling company, with a passionate, blue-collar fan base, based in Louisville, Ky. Famous O.V.W. alumni include John Cena and Paul Wight (who wrestled as Big Show), but the company has maintained an authentic little-guy personality.“Wrestlers” is vintage Whiteley. He identified a few dynamic lead characters, including Al Snow, the fiercely dedicated, disarmingly thoughtful former W.W.F. and W.W.E. wrestler and current minority owner and day-to-day manager of O.V.W., who sees wrestling as a means of telling great stories preferably for television; Matt Jones, the aggressively opinionated O.V.W. co-owner and sports radio personality, focused on touring and keeping the company afloat financially; and HollyHood Haley J, a rebellious (and often irresponsible) young wrestler who is one of O.V.W.’s most popular performers and drives Snow mad with her propensity to smoke weed on the gym premises.Whiteley and his crew settled in and familiarized themselves with the rhythms of the operation. Perhaps most important, he quickly established that he wasn’t trying to burn anyone or manufacture the gotcha moments that fuel reality TV, which those on both sides of the camera are adamant that “Wrestlers” is not.HollyHood Haley J, a brash young performer, emerges as one of the stars of “Wrestlers.”Netflix“There was a great deal of trust,” Snow said in a video interview from his home office. “Professional wrestling as a whole has always been a very closed, very secular business, never open, especially not to the general public and especially not in this manner. It was a tough decision for me to let this happen and be involved in it. But meeting Greg I really got the idea and the impression that he was going to treat it with respect and he was going to be honest.”The trust is largely a byproduct of Whiteley’s patience. He doesn’t push things, preferring instead to burrow in and hang out and get to know his subjects; “Wrestlers” was shot over a period of three and a half months. His ideal is to disappear, or at least create the illusion that he has. He wants his three camera teams constantly rolling film — unless his subjects tell them to stop, in which case they generally do. This, in turn, reinforces the trust level. He tells stories by spending countless hours with his characters, not by asking hot-take questions about drug abuse and romantic problems (both of which are present in “Wrestlers”).Al Snow, a former W.W.F. wrestler, oversees Ohio Valley Wrestling.NetflixSnow, who in the series likens himself to Kermit the Frog presiding over “The Muppet Show,” emerges as a sort of tormented showbiz impresario. He’s like a Broadway director in an old Hollywood musical, agonizing until the final curtain goes down, at which point he starts agonizing anew. The primary tension in “Wrestlers” simmers between Snow, the professional wrestling purist, and Jones, the entrepreneur focused on the bottom line. It doesn’t seem like the most obvious angle, but Whiteley has a gift for finding gold in the unobvious, in this case a conflict outside the ring that turns into a battle for the soul of O.V.W.“Credit to Greg, he sniffed that out,” said Adam Leibowitz, a producer who has been working with Whiteley since “Mitt” (2014), Whiteley’s documentary portrait of Mitt Romney’s unsuccessful bids for president in 2008 and 2012.“When you’re presented with a project like this, you think it’s going to be about funny wrestlers and their crazy costumes and their personalities,” Leibowitz continued. “Yes that’s great, and that’s a part of it. But for all of us, it was the tension between Al and Matt that really made this show super interesting, to have this almost Shakespearean battle between these two completely different personalities over this little gym.”Whiteley traces his patient approach not just to his missionary work, but also to a lesson absorbed from an old-school master of cinéma vérité. He first encountered the work of Frederick Wiseman as a film student at Brigham Young University. Then, when Whiteley was making “New York Doll,” his 2005 documentary about the New York Dolls bassist Arthur (Killer) Kane, he saw Wiseman’s “Public Housing,” an epic look at a Chicago housing project. He was struck by how Wiseman would wait a few beats after a question was answered, a process that often yielded some of the film’s most unguarded moments. Whiteley tried the approach with Kane, at one point asking if he was nervous about an upcoming reunion concert. No, Kane insisted, of course not. Then he stared straight ahead saying nothing, looking very nervous.Whiteley’s approach is to spend countless hours with his subjects and try to disappear into the background.Julien James for The New York Times“I’ve never quite had Wiseman’s courage to let situations breathe for as long as they’ll breathe,” Whiteley said. “But I do know I let them breathe longer than I would have had I not seen ‘Public Housing.’ And some of my favorite moments that we have ever filmed have occurred because we’re not cutting yet. Just stay on this moment.”He also likes to zoom in on characters who don’t seem to be trying out for the camera. For instance, he was fascinated by the swagger and authenticity of HollyHood Haley J, whose real name is Haley Marie James and who wrestles with and against her mother, Amazing Maria (Tina Marie Evans James). Haley, for her part, didn’t seem to care much about the project, even blowing off scheduled interviews.“I had an attitude at times, and Greg handled me very well,” Haley said in a video interview from her home in Louisville. “It was all new to me, especially them following me around. I’d try to run and hide and get away from everyone. And then here comes Greg with the camera.”Whiteley is always after what is real, which in this case sets up a rich irony: a painstakingly authentic look at an endeavor often derided for being fake. But for all of their veracity, Whiteley’s projects also make for fine drama, generating high real-life stakes, off the field as much as on, that go well beyond famous athletes winning big games and matches. None of the wrestlers in “Wrestlers“ are getting rich. The kids in the various iterations of “Last Chance U” are just hoping to catch on with a four-year college, or merely graduate and get a decent job. These are very human stories about people just trying to get by.Whitely wouldn’t have it any other way.“We really only have one gear as a company,” he said. “Let’s just tell the true story.” More

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      Aubrey Plaza Has Found Her Scene Partner

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      “Oh, put it down. Down the hatch,” Aubrey Plaza said while eating pizza for breakfast, in a downtown Los Angeles restaurant that was otherwise deserted on a late-August Friday morning.Her colleague, Christopher Abbott, was assessing the spread of carbs, dairy, prosciutto and espresso on the table, declaring it a “nightmare for the gut.”“You have your fiber pills in the car. Why don’t you go get them?” Plaza said, teasingly, unleashing objections from Abbott before she hastily backpedaled. “They’re mine, they’re mine. I take them.”Four years after meeting on the set of the comedic thriller “Black Bear,” the actors are working together again, this time on an Off Broadway revival of John Patrick Shanley’s play “Danny and the Deep Blue Sea,” in which they will portray strangers who become lovers after meeting at a dive bar in the Bronx.Plaza is making her theatrical debut in the two-person play, which begins performances on Oct. 30 at the Lucille Lortel Theater in the West Village, and the only person she could see herself sharing it with was Abbott, an experienced stage actor with whom she shares both an artistic symmetry and a knowing, playful rapport.After years spent proving that she could be much more than versions of April Ludgate, the comically unaffected, scowl-prone intern in “Parks and Recreation,” Plaza, 39, has become one of the most sought-after actresses in Hollywood. Her performance as a jaded lawyer in Season 2 of the HBO series “The White Lotus” was an audience favorite, and her role as a budding scammer in the big-screen thriller “Emily the Criminal” was praised by critics for its ferocity and nuance.“I like to just throw things out the window also and laugh and mess around and not take it so seriously,” Plaza said. Chantal Anderson for The New York TimesAt the same time, she has reached a level of celebrity where, to some, she has become less known for her association with any particular character than for just being herself: an internet darling known for impassively delivering outlandish, sometimes sinister commentary that can leave late-night hosts unsure if she is joking.In Abbott, 37, who played a lovelorn boyfriend with a dark turn in the HBO comedy “Girls,” Plaza has found a co-star who seems to know exactly when she’s joking, gamely joining in on the weirdness with which she has become associated.While mulling the menu, Abbott responded with an exaggerated Italian accent when Plaza assumed one, later testing aloud his gruff Bronx brogue for the play. (“Do you wanna hee-yuh what I’m wuh-kin on?” Abbott blurted. “I’m going for an Andrew Dice Clay kind of thing.”)“He cares but he also doesn’t care; it’s the best recipe for me for a scene partner,” Plaza said, resembling a mid-20th-century movie star with her shoulder-length hair loosely curled and dark-rimmed sunglasses propped atop her head. “It’s fun and it’s also good and it’s also safe. I like to just throw things out the window also and laugh and mess around and not take it so seriously. It’s a hard combo to come by.”The feeling is mutual. “We’re both unafraid to be ugly and weird and strange,” said Abbott, who started his professional acting career 15 years ago in an Off Broadway production of Roberto Aguirre-Sacasa’s “Good Boys and True,” about a scandal at a prep school.Plaza’s first play as a professional actress is not a tame one. Her character, Roberta, is a lonely divorcée who is both desperate for love and confident that all she deserves is punishment; Abbott’s character, Danny, is a lonely brute who will start a fight over the most minor of slights. Together, they fall into a cycle of screaming, crying, slapping, choking and expletive-laced bickering. There is also kissing, cuddling, tender touching and musings on fairy-tale love.PLANS FOR THE PLAY were solidified well before Hollywood writers and actors went on strike, resulting in the industrywide shutdown. Over a year ago, Jeff Ward, an actor (“Agents of S.H.I.E.L.D.”) who is directing “Danny and the Deep Blue Sea,” pitched the idea to Abbott, a friend and former roommate. Abbott immediately agreed, and in reading the short description of Roberta in Shanley’s script, he thought of Aubrey.“I don’t want to paraphrase it,” Abbott began, “but it was something like — —”“Sexy…,” Plaza suggested. “Beautiful … broken?” (In fact, it was Roberta’s “nervous bright eyes” that made him think of Plaza for the role.)If not for the strike, Plaza would have spent much of the summer filming a movie, “Animal Friends,” alongside Ryan Reynolds and Jason Momoa. Abbott would have been traveling to the Venice Film Festival for the premiere of the surreal comedy “Poor Things” (where it would go on to win the Golden Lion) and Ward would have been in Japan promoting the live-action manga series “One Piece.” It just so happened that amid the strike, the actors and their director had time to simply talk about the play and what they might do with it.“It feels like the secret ingredient to this whole thing might be time,” Ward said. “A little extra time.”Abbott “cares but he also doesn’t care,” Plaza said. “It’s the best recipe for me for a scene partner.”Chantal Anderson for The New York TimesPart of what they are working through is an idea that Ward said came to him years ago, when he and Abbott were living in Bushwick. They met about 14 years ago at an audition for a play: Abbott got the job, while Ward was hired as his understudy. At parties, Ward, an experimental dance enthusiast, noticed that Abbott was a good dancer, and thought they might one day collaborate on something involving movement.Then last year, while thinking about ways to incorporate choreography into a production of “Danny,” Ward picked up a copy of the script with the work’s full title: “Danny and the Deep Blue Sea: An Apache Dance.”The subtitle is a reference to a French dance style, developed into a popular cabaret act in the early 1900s, that mixes a seductive kind of tango with a violent domestic battle in which the dancers fling each other around in between loving détentes.It was a common pop cultural reference in the 1950s and ’60s, when Shanley was growing up in the east Bronx. The dance appears in old movies like “Can-Can,” with Shirley MacLaine; cartoons like “Louvre Come Back to Me!,” featuring Pepé Le Pew; and sitcoms like “I Love Lucy.” In that show’s first season, Ethel Mertz describes it as the dance “where the tough Frenchman grabs the girl by the hair and throws her over his shoulder and slams her down on the floor and steps on her.”A reader of the script will quickly see what Shanley meant with the subtitle. After Danny and Roberta meet, their encounter swings between desperate affection and uncontrollable, instinctual aggression. (Shanley based Danny’s proclivity for fistfights on his own teenage tendencies.)“I put that in there to give some guidance as to how the play might be done,” Shanley said of the subtitle in a phone interview. “It’s really about the interior life of these two people and how they meet and explode by touching each other.”Shanley, who has won an Oscar (for “Moonstruck”) and a Tony (for “Doubt: A Parable,” which is receiving its own starry revival on Broadway in February), gave Ward, a first-time director, his blessing to revive “Danny.” It premiered in 1984 at the Humana Festival in Louisville, Ky., with John Turturro and June Stein, before transferring to New York. (In his New York Times review, Mel Gussow wrote that the play “is the equivalent of sitting at ringside watching a prize fight that concludes in a loving embrace.”) Shanley is also allowing Ward to develop movement beyond the script’s stage direction, though he said he would make his feelings known if he disliked the additions.Those additions will be choreographed by Bobbi Jene Smith and Or Schraiber, whose gestural, sometimes pedestrian movements have depicted the inner lives of a couple, with an intimacy that almost makes observers feel as if they’re witnessing something they shouldn’t.For Abbott and Plaza, whose dance background consists of Irish step dancing as a child, a sense of voyeurism is exactly what they want the audience to feel as Danny and Roberta fall into mad, improbable love.“We’re doing this play every night for an audience, but I think you also have to do it for each other,” said Abbott, who looked character-appropriate in a white T-shirt and chain necklace, a fishing hook tattoo visible on his forearm. “We want to entertain the audience, but I personally want to entertain Aubrey.”“I guess I like to entertain him as well,” Plaza said, adopting a voice like a hostage reading from a script before breaking into a smile.“We’re doing this play every night for an audience, but I think you also have to do it for each other,” Abbott said.Chantal Anderson for The New York TimesPLAZA AND ABBOTT both grew up far outside the Hollywood machine: she in Delaware, he in Connecticut. Both developed their love for movies working in video stores, and after deciding that she wanted to become an actor as a child, Plaza started out in entertainment as a “Saturday Night Live” set design intern and an NBC page. Abbott discovered acting later, in a drama class at a local community college, which led him to drop out and move to New York to study it more seriously.More than 15 years later, both actors have become recognizable faces onscreen and have gradually broken free from the association of the roles that made them famous.Since “Girls,” Abbott has taken on complex, often tortured parts in films like “James White,” about an unemployed man facing the weight of his mother’s terminal illness, and “Sanctuary,” about a hotel scion determined to break up with his longtime dominatrix. In one of his most prominent roles, he starred as the spiraling Air Force bombardier John Yossarian in the 2019 television adaptation of the novel “Catch-22.”“He has an explosive side to him,” Shanley said of Abbott. “There’s always a feeling of instability and danger.”Since “Parks and Recreation,” Plaza has hosted “S.N.L.,” received her first Emmy nomination for her performance in “White Lotus,” and taken on producing roles to gain more control over scripts she feels particularly drawn to, including “Emily the Criminal” and “Ingrid Goes West,” in which she plays an Instagram-obsessed stalker. She has stepped away from the comfort of dark indie comedy to take on a glamorous, gun-wielding action film role in this year’s “Operation Fortune: Ruse de Guerre,” and she recently fulfilled a dream of working with Francis Ford Coppola on his long-awaited epic “Megalopolis.”“Black Bear,” a movie within a movie set in the Adirondack Mountains, was one of those scripts that Plaza leaped at, becoming both a producer and lead actress opposite Abbott.“Unfortunately we can’t really talk about that movie,” Plaza said, citing the continuing strike by SAG-AFTRA, the actors’ union, that prohibits actors from promoting films and TV shows that have already been completed. (Plaza picketed last month alongside a miniature horse named Li’l Sebastian, a local celebrity in the Indiana town where “Parks and Recreation” is set.)But contained in that psychological thriller are hints of what could take place onstage in “Danny,” including Abbott’s wrestling, sometimes messily, with his character’s masculinity, Plaza’s talent for portraying the unhinged, and moments of crackling intimacy between them.Their characters’ relationship in “Black Bear” is shape-shifting: At first, Abbott, a soon-to-be father, can’t suppress his attraction to a houseguest (Plaza) despite the presence of his pregnant girlfriend. In the movie’s second half, the women’s roles are flipped, and Plaza is a wife tortured by jealousy, eventually descending into a drunken fit of rage and hopelessness.“From ‘Black Bear,’ it was clear that it was going to be electric. There was no ‘getting to know you’ section,” Ward said. “There’s just something about the way they match up.”“There are all different kinds of love stories, and this is just one of them,” Plaza said.Chantal Anderson for The New York TimesTHE TWO ACTORS encountered “Danny and the Deep Blue Sea” in acting school — not uncommon since the play, with a surplus of opportunities to emote, is a favorite of theater classes and auditions. The actor Sam Rockwell, one of the revival’s producers, recalled doing snippets in auditions for “Last Exit to Brooklyn” (he got the part) and “The Godfather Part III” (he didn’t).Abbott approached Plaza about the role unsure if she would be open to it. Although she had acted in community theater as a child — “Miracle on 34th Street” and “Cinderella,” in which she played a stepsister — and trained in improv at the Upright Citizens Brigade, this would be something new altogether.But after Plaza read “Danny,” she knew they had to do it.“I cried. I laughed. I loved it,” she said.Despite its ubiquity, the play has had only one other Off Broadway production since its premiere — in 2004, starring Adam Rothenberg and Rosemarie DeWitt — and there has never been a Broadway production.In a phone interview, Rockwell said he suggested the production keep it that way, at least for now, even though Abbott and Plaza’s name recognition could potentially rake in ticket sales on Broadway. “I think a lot of plays have failed on Broadway because they were really meant to be Off Broadway,” said Rockwell, who is working on the show with his producing partner Mark Berger. “They had that funky quality.”After all, “Danny” is not the kind of inspirational, affirming fare that is likely to prompt theatergoers to buy T-shirts or bring their children. It’s about two damaged, shame-ridden people trying to find a way out of their own misery.“There are all different kinds of love stories, and this is just one of them,” Plaza said. “And I don’t like the idea that every piece of art that’s out there has to have some kind of social commentary or political message. It’s a play. They’re characters.”Over the remaining slice of pizza, Abbott agreed — “the ‘why now’ question is always like, ‘why not?’” — and explained that like Plaza, he had learned over the years to care about the work without caring how that work was going to benefit his career.“I don’t know — I just want to do it,” Abbott said. “I’ve let go of the question of what is it going to do for me.”Plaza squinted down at the crumb-covered pizza peel. It had hearts and the phrase “Happy Galentine’s Day” carved into it, a reference to a bit from “Parks and Recreation” that has caught on to the point of becoming a full-fledged holiday.“Is this a joke?” she asked, turning around to see if anyone might have been behind this. “It’s like I can’t escape. I’m trying to do a play. Can’t I just do a play without somebody reminding me that I was on network television?” More

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      MTV Video Music Awards Recap: Taylor Swift, Doja Cat and More

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      Nicki Minaj hosted and helped close out a nearly four-hour show heavy on performances and reaction shots of Taylor Swift in the audience.The MTV Video Music Awards returned to the Prudential Center in Newark on Tuesday night, as Nicki Minaj hosted a nearly four-hour show that included the members of ’N Sync coming together to present a Moon Person trophy to Taylor Swift (who gushed directly to the boy band, “I had your dolls”) and Sean Combs receiving a global icon honor (and telling the crowd his career had humble beginnings, as a paperboy). The Brazilian pop star Anitta delivered one of the event’s most solid one-liners — “I want to thank myself because I worked so hard,” she said in an acceptance speech — which she also proved onstage, performing both a solo medley and a collaboration with the K-pop group Tomorrow X Together. At the end of the night, the following five moments stood out.Most Memorable Performance: Doja CatOne of pop-rap’s most unpredictable voices turned out the night’s most polished and high-concept performance, capturing the anxiety of return to office in a look perhaps best described as “business sexual” while surrounded by dancers doused in ghoulish red paint. The audience looked confused and a little terrified as Doja Cat glided around the stage nailing her marks, the calm in an increasingly hectic storm.Most Memorable Fake-Out: Olivia RodrigoOlivia Rodrigo’s “Vampire” video dramatizes an awards show performance gone wrong, and though it has 54 million YouTube views, none of those evidently came from V.M.A.s audience members like Selena Gomez, who looked stricken when Rodrigo partly recreated the clip Tuesday night. After the song’s first section, lights seemingly burst onstage and a curtain fell as a “stagehand” ushered the singer away — only to return seconds later grinning and performing another song from her new album, “Guts,” the bouncy “Get Him Back!”Most Memorable Return That (Likely) Didn’t Attract F.C.C. Attention: Cardi B and Megan Thee StallionCardi B and Megan Thee Stallion’s first televised performance of their hit “WAP” came at the 2021 Grammys, and their salacious choreography caught the attention of over 1,000 viewers who complained to the Federal Communications Commission, Rolling Stone reported. The duo reunited last week with a fresh collaboration called “Bongos,” and played it relatively safer on the V.M.A.s stage. The censors caught most of the profanities and the audience camera caught one of the night’s many shots of Swift dancing along.Most Memorable 10-Minute Performance Involving Knives: ShakiraPerforming a mega medley to celebrate receiving the video vanguard award, the Colombian pop star didn’t appear to be doing much live singing, but her lengthy number included plenty of choreography, hair flipping, microphone stand tossing, guitar playing, a quick wardrobe adjustment, crowd surfing and a lift bringing her high above the crowd. But a truly eye-grabbing moment came halfway through, when she wielded two knives, dramatically running one across her torso before tossing them aside.Most Memorable Flashback to MTV’s Past: Hip-Hop Anniversary MedleyThe Grammys went big with a tribute to 50 years of hip-hop earlier this year, but MTV’s celebration of rap’s anniversary had some highlights, too: After Grandmaster Flash and the Furious Five, Slick Rick and Doug E. Fresh gave the crowd a lesson on the genre’s beginnings, Minaj emerged with “Itty Bitty Piggy,” one of her beloved early mixtape tracks, then reunited with her mentor Lil Wayne for “A Milli.” LL Cool J commanded the stage for two of his own songs, then went (shell) toe to toe with Run-DMC’s Darryl McDaniels on “Walk This Way.” (The performance mostly elided the 1990s, but Diddy’s eight-minute performance earlier in the night covered that era.) It was a reminder that MTV was once the home of “Yo! MTV Raps,” and used to spend a lot more time on music. More

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      Drew Barrymore Dropped as National Book Awards Host After Strike Backlash

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      The actor and TV host’s decision to return her talk show to the air, bypassing striking writers, made her a magnet for criticism, online and off.Drew Barrymore has been dropped as the host of the National Book Awards, the foundation that presents the prizes said Tuesday, after the actress received a barrage of criticism for deciding to bring back her daytime talk show despite the strike by television writers.The National Book Foundation, which presents the awards each year, said in a statement that its decision was meant to “ensure that the focus of the awards remains on celebrating writers and books.”“The National Book Awards is an evening dedicated to celebrating the power of literature, and the incomparable contributions of writers to our culture,” the statement said. “In light of the announcement that ‘The Drew Barrymore Show’ will resume production, the National Book Foundation has rescinded Ms. Barrymore’s invitation to host the 74th National Book Awards Ceremony.”On Monday, unionized writers from the Writers Guild of America, as well as striking actors, picketed outside the CBS studios in New York City where “The Drew Barrymore Show” was resuming filming for the first time since April — without the show’s three unionized writers.The network said that the show would be returning on Sept. 18 without written material that is “covered by the W.G.A. strike,” a similar approach to that taken by “The View,” which began airing episodes from its new season this month, circumventing union writers.Barrymore, who had stepped down as the host of the MTV Movie and TV Awards in May in solidarity with the striking Hollywood writers, was greeted by a wave of critical backlash online after the decision to go back on air. She defended the show’s return on Instagram, saying in a post, “I want to be there to provide what writers do so well, which is a way to bring us together or help us make sense of the human experience.”Barrymore’s critics included many high-profile writers, and Colson Whitehead, an author who won the National Book Award in 2016, gestured to the potential problem the foundation faced in having the actress as host after her decision.Representatives for Barrymore and her show did not immediately respond to requests for comment.The foundation’s statement concluded: “We are grateful to Ms. Barrymore and her team for their understanding in this situation.”The National Book Awards, one of the most prestigious literary awards in the United States, has often brought in prominent cultural figures and celebrities to host, in an effort to broaden its profile and to highlight the wide ranging cultural impact of books. Recent hosts include the author and TV host Padma Lakshmi, the author and comedian Phoebe Robinson, and actors like LeVar Burton, Nick Offerman and Cynthia Nixon.When the National Book Foundation announced this summer that Barrymore would host the awards, they praised her commitment to “the enduring belief that books have the power to change readers’ lives.” In her 2015 memoir, “Wildflower,” Barrymore credited books with restoring her sense of self after her tumultuous childhood and coming of age in the spotlight, and described how she tore through works by Jane Austen, Tolstoy and Joan Didion.This year’s ceremony is scheduled to take place at Cipriani Wall Street in Manhattan on Nov. 15, which creates a tight timeline that is likely to leave the foundation scrambling to find another high-profile host. More

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      Sam Heughan’s 5 Favorite Places in Glasgow

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      “The part of ‘Outlander’ that I love the most is the history: the clan culture, the folklore and back stories (and consequences) of the Jacobite Rising,” said Sam Heughan, 42, who has played the heartthrob Highland warrior Jamie Fraser in the time-travel series since 2014.The Scottish actor Sam Heughan has portrayed Jamie Fraser in the time-travel series “Outlander” since 2014. Charlie GrayThis love of history feeds his passion for the ancient city of Glasgow. A typical day for Mr. Heughan involves meandering past medieval cathedrals, Victorian cobbled lanes, Georgian architecture constructed when the city was a major tobacco and sugar hub, and 19th-century tenements built during the Industrial Revolution, when steel and ships were mass-produced here. “Glasgow has got beautiful parts and grit. The combination, plus incredibly good-natured people, are the city’s charm,” he said.Beyond the long-running series, Mr. Heughan just completed shooting a television show called “The Couple Next Door” for Starz and Britain’s Channel 4, and is launching a “wild Scottish” gin under the Sassenach label, a whisky-focused spirits brand that he founded in 2020. (The name means “a foreigner” in Gaelic, and is also Jamie Fraser’s term of endearment for Claire, his wife, played by Caitríona Mary Balfe.)When he does have free time, Mr. Heughan is out and about. “I love walking and running along the River Clyde to Glasgow Green with a possible stop at the microbrewery Drygate for a beer,” he said. Hiking is another pastime (Mr. Heughan’s recent memoir, “Waypoints: My Scottish Journey,” chronicles his experience tackling the 96-mile West Highland Way hike). “A wee walk, or stravaigin in old Scots speak, is good for mental health,” he said.He is also a fan of Citizens Theatre in the working-class Gorbals area, which puts on avant-garde productions and is involved in community engagement. “I came here as a child, performed here as a student and did my first professional show here called ‘Outlying Islands.’ It holds a lot of memories,” he said. (The theater is currently closed for refurbishment. )On the topic of the kilt, yes, Mr. Heughan does sport one in real life. “Kilts are about a feeling. They make you stand taller, and walk stronger. Scots wear them for any excuse. If you go to a pub in one, you’ll be getting a free drink at some point in the evening.”Here are five of his favorite places in Glasgow.1. The Ben Nevis BarThe Ben Nevis bar is a Glasgow institution, the actor Sam Heughan said he has visited for years. Robert Ormerod for The New York TimesA tiny whisky bar tucked into the Finnieston area, a hipster pocket of the West End, is deemed “a Glasgow institution” by Mr. Heughan. “I went there as a student” — he studied drama at the Royal Conservatoire of Scotland — “and I go there now. People speak Gaelic, and there is live traditional Scottish music, sometimes planned, sometimes impromptu. It’s a special place.”A whisky tasting in the Ben Nevis bar, which also offers live music.Robert Ormerod for The New York TimesA bartender reaches for one of the many bottles behind the bar at Ben Nevis, which is named for the highest mountain in Scotland.Robert Ormerod for The New York Times2. Kelvingrove ParkKelvingrove Bridge is part of the 85-acre Kelvingrove Park in Glasgow’s West End. Robert Ormerod for The New York TimesIn the West End, bisected by the River Kelvin, this 85-acre park dappled with Victorian fountains, grand stairwells and an arched stone bridge with carved balustrades is where locals come to hang out during the warmer months.“You can have a picnic, walk under the bridges and visit both Kelvingrove Art Gallery and Museum, as well as the University of Glasgow, which is just up the hill,” Mr. Heughan said. For a craft ale pick-me-up nearby, he recommends a “secret” bar called Inn Deep just under the Kelvingrove Bridge.Glaswegians come to the park to picnic and enjoy drinks in the sun.Robert Ormerod for The New York TimesInn Deep is a “secret” bar under the Kelvingrove Bridge.Robert Ormerod for The New York Times3. The Dakota HotelThe Dakota Grill specializes in grass-fed Scotch beef. Robert Ormerod for The New York TimesHe may not stay overnight, but Mr. Heughan dines at the restaurant inside this modernist, Scottish-founded hotel in the city center close to the West End. The Dakota Grill specializes in grass-fed Scotch beef simply grilled over coals, and is also known for ethically sourced seafood and contemporary takes on venison and lamb. “The interior is dark and sexy, and I like their cocktail menu (whisky sour, naturally) and simply grilled Scottish steak.”The bar at the Dakota Hotel, where Mr. Heughan likes the cocktail menu. Robert Ormerod for The New York Times4. I.J. MellisI.J. Mellis is an old-world-style cheese shop on Great Western Road.Robert Ormerod for The New York TimesThis old-world style shop on Great Western Road is Mr. Heughan’s go-to for locally sourced cheeses and accompaniments (quince paste, cornichons, olives, chutneys, oatcakes). “I’m not a dessert guy, but at the end of a meal, I can damage a cheese board, especially one with Orkney and Isle of Mull Cheddars,” he said. The shop also offers tastings led by cheese mongers on Thursday evenings.I.J. Mellis is Sam Heughan’s shop for cheeses and the accompaniments needed for a cheese board. Robert Ormerod for The New York Times5. Crabshakk FinniestonThe seafood platter at the Crabshakk Finnieston, is packed with langoustines, mussels, scallops and more. Robert Ormerod for The New York TimesSince 2009, this hot spot in Finnieston been serving up stellar seafood in a buzzy atmosphere. Mr. Heughan sits at the counter facing the open kitchen and orders the seafood platter with langoustines and scallops and some champagne. “The food tastes like a celebration of Scotland, which has the best seafood in the world,” he said.Follow New York Times Travel on Instagram and sign up for our weekly Travel Dispatch newsletter to get expert tips on traveling smarter and inspiration for your next vacation. Dreaming up a future getaway or just armchair traveling? Check out our 52 Places to Go in 2023. More

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      Drew Barrymore’s Show Is Picketed as It Resumes Amid Writers’ Strike

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      The star, who dropped out of an MTV awards show in May to demonstrate solidarity with striking writers, plans to bring her daytime talk show back without its unionized writers.When Drew Barrymore announced in May that she was stepping down as host of the MTV Movie & TV Awards to show solidarity with striking Hollywood writers, she received an outpouring of praise from fans and viewers who supported her stance.But the news that she would be bringing her daytime talk show back without its unionized writers was met with a very different response: A group of picketers demonstrated on Monday outside the CBS studios in Manhattan, where the show was taping the first episode of its fourth season, which is scheduled to be broadcast next week. One man held a sign that said, “Drew the right thing.”The network said “The Drew Barrymore Show,” a sunny, interview-oriented program that debuted in 2020, was returning without written material that is “covered by the W.G.A. strike” — similar to the approach taken by some other talk shows during the dual strikes by writers and actors that have shut down much of Hollywood. “The View,” the daytime juggernaut, began airing episodes from its new season this month.On Monday afternoon, as “The Drew Barrymore Show” prepared to tape its first episode since April, a couple of dozen picketers from both the Writers Guild of America and the union that represents actors, SAG-AFTRA, marched outside CBS Broadcast Center on West 57th Street, as audience members lined up along the sidewalk for the day’s taping.Barrymore, the actress turned host, defended the show’s decision to return in an Instagram post on Sunday, saying that the show, which begins airing new episodes on Sept. 18, would be “in compliance with not discussing or promoting film and television that is struck of any kind.”“I own this choice,” she said in the post, adding: “We launched live in a global pandemic. Our show was built for sensitive times and has only functioned through what the real world is going through in real time. I want to be there to provide what writers do so well, which is a way to bring us together or help us make sense of the human experience. I hope for a resolve for everyone as soon as possible.”The Writers Guild of America wrote on X, the social media platform formerly known as Twitter, that the show was covered by its union and that “any writing on ‘The Drew Barrymore Show’ is in violation of WGA strike rules.”Other daytime television programs, including ABC’s “Tamron Hall” and “Live With Kelly and Mark” have aired new programming during the writers’ strike, which has lasted more than four months.Cristina Kinon, a co-head writer of “The Drew Barrymore Show” who carried a sign at the picket that said “Drew’s WGA crew,” said she was one of three striking union writers at the show, and that they learned the show would be returning when production put out a call for audience members.“I’m disappointed,” said Kinon, who has been with the show since its pilot. “I wish that everyone in the industry could stand in solidarity with the unions. But everyone has to make their own personal decision.”After two people wrote in social media posts that they had been removed from the audience at Monday’s taping for wearing Writers Guild pins that they had been given outside the studio, the show said in a statement that they had been not permitted to attend because of “heightened security concerns.” The show said it would offer them new tickets. Late-night shows, which are more reliant on writers, are still dark. During the last strike, which started in 2007, the hosts came back gradually after about two months while their writers continued to strike. None have opted to do so yet.Instead, five of the hosts — including Stephen Colbert, Jimmy Fallon, Jimmy Kimmel, Seth Meyers and John Oliver — recently started a podcast, called “Strike Force Five,” with the proceeds going toward support for their shows’ staffs.Part of the backlash centers on Barrymore’s decision early on in the strike to bow out as host of the MTV Movie & TV Awards. At the time, Kinon said, the talk show had already gone on its summer hiatus, but she had been involved with writing Barrymore’s material for the awards show until the host decided to drop out.In her Instagram post, Barrymore said she had made the decision to step down from MTV hosting duties because the show “had a direct conflict with what the strike was dealing with which was studios, streamers, film, and television.”“I did what I thought was the appropriate thing at the time to stand in solidarity with the writers,” Barrymore said in the post. She added, “However, I am also making the choice to come back for the first time in this strike for our show, that may have my name on it but this is bigger than just me.” More

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      Do You Know These Film and Television Versions of Popular Y.A. Novels?

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      Welcome to Great Adaptations, the Book Review’s monthly quiz about books that have been made into television shows, movies, theatrical productions and more. This month’s challenge is about Y.A. novels that were adapted into films or streaming television shows within the past 10 years. Tap or click your answers to the five questions below.New literary quizzes appear on the Book Review page every week and you can find previous installments in the Book Review Quiz Bowl archive online. More

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      In ‘The Other Black Girl,’ the Call Is Coming From Inside the Cubicle

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      This satirical workplace thriller tracks the plight of an assistant as she endures terrors both mysterious and banal.The loneliness, anxiety and discomfort that often comes with being the only Black person in a predominantly white space can turn any office into a mental and emotional minefield. But what if finally gaining a new Black co-worker only made matters worse?“The Other Black Girl,” a satirical workplace thriller premiering Wednesday on Hulu, poses just such a quandary. The 10-episode series, developed for the streamer by Onyx Collective, is based on Zakiya Dalila Harris’s best-selling 2021 novel of the same name and follows Nella Rogers (Sinclair Daniel), a put-upon editorial assistant, as the rat race leads her down unexpected paths.Nella spends her days wilting under an ever-critical white gaze, enduring performative wokeness and passive-aggressive supervisors at the literary publishing company where she works. Her joy at discovering that a newly hired assistant is also a Black woman is short-lived when that employee, Hazel-May McCall (Ashleigh Murray), quickly becomes her adversary.There is also a parallel plot tying Nella’s present-day woes to a mysterious incident between two Black women at the same company nearly four decades earlier, as well as increasingly sinister occurrences in the office: flickering lights, threatening notes, glitchy computers depicting unnerving scenes, shadowy figures darting down the halls.Sinclair Daniel, left, and Ashleigh Murray in “The Other Black Girl,” debuting Wednesday on Hulu.HuluThe show prompts viewers to wonder: What’s more chilling? The uncanny notion of a supernatural office-wide conspiracy? Or the very real knowledge that you can never know whom to trust because racism, either casual or systemic, could be lurking around the next cubicle corner?“We really wanted for it to be unclear what is the actual scary part,” Harris said in a late-August phone interview. “Obviously, there’s the twist that’s happening, but also, it’s being gaslit in your office!”A lifelong fan of true-crime and horror, the novelist was eager to make her first foray into TV writing (she co-wrote the pilot and wrote the penultimate episode) by channeling some of her eerie faves, including “The Twilight Zone” and “Black Mirror.” She and Rashida Jones — the pilot co-writer and an executive producer — also took cues from their mutual must-watch, “Severance.”“The way that they nailed office life — the mundane parts of it, but also the quirky parts of it — that was something that excited me,” Harris said of the Apple TV+ drama. She said she prefers creepiness that “starts off in a very everyday kind of place, but then slowly, it becomes more and more clear that there’s something off.”Harris, like her main character, hails from a mostly white Connecticut town and was the only Black woman in her department at Penguin Random House before quitting in 2019 to write full time. She said the show’s writers — most are Black women — bonded by sharing past experiences of being overstressed and undervalued as an “only.”“Having those conversations really early on allowed us as a room to start from this place of our own relationships with the material,” Harris said. She added, “I really felt like we were trust-falling, to where I got to feel comfortable giving my baby over. At that point, I was like, ‘This is so much bigger than me now.’”Nella is plagued by workplace microaggressions as well as flickering lights, threatening notes and other sinister occurrences in the office.HuluNella’s plight will feel familiar to any viewer who’s ever been blindsided by a tone-deaf “Heyyy, gurrrl!” in the office kitchen. You can practically see her ulcer forming as she fends off her wannabe ally co-worker, Sophie (Kate Owens), while contending with the canine commands — “Nella, come! Sit!” — of her boss, Vera (Bellamy Young).When she learns about the new hire, the perpetually uneasy Nella gets a visible serotonin boost from the chance to gab about natural hair care products and H.B.C.U. homecoming parties. But soon the effortlessly cool Hazel seems to have the higher-ups, particularly the company founder, Richard Wagner (Eric McCormack), eating out of one hand while she is holding Nella back with the other.Amid all the mind games and crabs-in-a-barrel machinations, the show also mocks modern “diversity matters” pageantry while suggesting with its earlier subplot that for all of the rhetoric, the 21st-century office environment isn’t too terribly different from that of the 1980s.“I felt like every Black woman I know could identify with some aspect of the book,” said Jordan Reddout, who is the series’s showrunner along with her longtime creative partner, Gus Hickey. Reddout said she “made every woman in my family read it — my dad, too.”“I am a Black woman who was a very serious classical musician for a long time and then went to Harvard and then went into sitcom writing,” she said. “So I really identified with Nella’s journey of being ‘the only one.’”(The phone interview with Reddout and Hickey was coordinated through their personal representation, not Hulu. The Writers Guild strike rules prohibit members from promoting shows at the behest of the studios and their subsidiaries.)For Nella, the arrival of Hazel is first a source of relief, then concern.HuluFrom Hickey’s perspective, there’s also a “universality to the story in terms of posing this question of: How much of yourself are you willing to sacrifice to succeed in a competitive environment?”“And for marginalized people,” he continued, “it’s in a competitive environment that is set up for people who don’t look like you to win.”The duo leaned on their sitcom background (“Mixed-ish,” “Grown-ish”) in order to inject some levity into their cultural critique. (Having written for “Will & Grace,” this is their second time working with McCormack.)“Our style has always been: The world is sad enough as it is, you have to laugh at it or you will not survive,” Hickey said. “I think with this show, as serious a subject matter as it has, it almost necessitates having a point of view that has some humor. So we were really conscious of that with Nella; we wanted her to be a funny audience surrogate who could see how ridiculous both the reality and the fantasy of this world was.”Reddout said they stayed true to the spirit of the novel and even pulled certain scenes directly from the page. “I think the places where we do stray from the book are only deepening the characters and rounding out their stories,” she said.Harris supports that approach. She admitted the Nella-Hazel dynamic could have been more nuanced in her novel. For the series, she was keen to flesh out the book’s antagonist and chip away at the “good vs. bad” dichotomy between the two women.“We really wanted for it to be unclear what is the actual scary part,” Harris said of the series.Mark Elzey for The New York Times“It’s more rounded out in the show than it was in the book, to be honest,” she said. “With Hazel, writing her in the book, I just thought of her as more of a robot that’s been conditioned by the world to be this way but not necessarily still holding onto humanity. In the show Hazel has a soul, and Ashleigh had a huge hand in shaping what that soul would look and feel like.”Another key difference between the series and the book is their divergent endings — without giving them away, each leaves you wondering what happens next, though for very different reasons. Neither the author nor the showrunners would speculate on the likelihood of a second season, though all three acknowledged that enough unexplored original material and potential new story lines exist to sustain one.In the meantime, Harris is busy writing her second book, which she says is not a sequel but is “still horror, still Black people.” She believes the genre is well-suited to telling Black stories, so much so that she used a quote from the author and horror noir expert Tananarive Due as the epigraph for “The Other Black Girl”: “Black history is Black horror.” But her attraction to the otherworldly runs deeper than just that.“I joke that I’ve always been drawn to horror because I’ve always been the kind of person who imagines all the ways things can go wrong,” she said. “For me, watching and writing horror is the perfect place to put my own personal anxieties and insecurities.” More