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    ‘Yellowjackets’ Season 2, Episode 8 Recap: The Wilderness Gets Choosy

    The Yellowjackets are outsourcing a lot of their decisions to “the wilderness” lately. Too bad for its latest victim.Season 2, Episode 8: ‘It Chooses’Earlier this season on “Yellowjackets,” young Natalie recruited her teammates to help her try to fish a moose out of the frozen lake. The moose proved too heavy to dislodge, and it disappeared into the icy water, leaving the teens defeated and hungry.Now, in the second to last episode of the season, Natalie is in a similar situation watching a body sink beneath the ice. Except this time she lets it sink in order to save herself and provide food for her fellow survivors. And it’s not an already unconscious animal. It’s Javi, the little brother of her sometimes lover Travis.The moment also calls back to another situation Natalie encountered. In hopes of easing Travis’s suffering, she previously lied and told him that Javi, who ran away during the group’s drug-induced frenzy last season, had died. Here, she is partly responsible for Javi’s actual death, all while Javi was trying only to lead her to safety.When Javi is declared dead, Van solemnly says, “the wilderness chose.” But did the wilderness really choose? Or did the girls?As this season draws to its conclusion, the desperation of the Yellowjackets in the wilderness hits a new high — or rather low — point. Lottie is bruised, internally and externally, from Shauna’s beating. Akilah realizes that her little mouse friend has been dead all along, it’s cute, fuzzy body just a desiccated corpse. And everyone is starving. Really starving. And extreme hunger means rational thought has gone out the window.Lottie tells Misty that, if she dies, the others should not let her body go to waste. But Lottie holds such sway over the group that they cannot fathom losing her guidance. So instead of allowing Lottie to perish, they invent a new ritual. Standing in a circle around their makeshift altar, they all pick cards. Whoever gets the Queen of Hearts will be sacrificed. In this inaugural drawing, Natalie draws the losing card.Whatever discussions were had about how the ritual would unfold were left offscreen, so it all seems eerily practiced. We never hear any talk of the rules of this deadly game that might demystify it, so the ease with which it is played is uncomfortably natural. There’s no debate over how it is going to work. It just does, and everyone accepts that with the powerlessness of those who haven’t eaten in too long.Shauna puts Jackie’s necklace on Natalie before drawing a blade to her throat from behind. Natalie accepts her fate, but with a condition: Shauna must face her when she slices. Shauna hesitates, and Travis rushes to the rescue, tackling Shauna and urging Natalie to run. The girls, bloodthirsty, pursue Nat through the wintry landscape while Javi comes to her aid, offering to take her to his hiding spot.While Lottie’s followers claim to know something about what the “wilderness” wants, Javi has actually learned its secrets. The only other person who has a sense of what he discovered is Ben, who uses Javi’s drawings to discover a cavern filled with tiny animal bones under a tree, where the young boy resided in apparent solitude.And then Javi dies. The ice cracks open and he falls in as the weapon-wielding chasers catch up. “If you save him, the others will get you,” Misty tells Natalie as she draws her away from the hole. Natalie, realizing that Misty is right, stops fighting. Javi will become the next meal, we assume.The legacy of these cannibalistic traditions bleeds into the present day action.The contemporary scenes feature mostly a lot of exposition that we as an audience already know but the rest of the characters do not. After Shauna explains that Adam’s remains have been found, Van, not clued into the whole cover-up situation, throws away Shauna’s keys so she can’t drive home to Jeff. Lottie brings the group all into the “sharing shack,” which proves true to its name.Shauna shares that Adam wasn’t actually blackmailing her before she murdered him, it was Jeff and Randy — and that she may also have shared too much with the police. (Speaking of sharing …) Tai shares that she was the one who hired Jessica Roberts (Rekha Sharma) to do research on her teammates to protect her political campaign. Misty shares that she kidnapped Jessica and then “took care of it.” And, of course, they all share how they helped Shauna cover up Adam’s killing. (We see the gruesome fruits of their labors in the images the cops show to Jeff in hopes of getting him to talk.)After all these confessions, Lottie emerges with an idea and some beverages. One of the cups is spiked with phenobarbital. Lottie’s plan is another sacrifice. “We give it what it always wants,” she explains. “One of us.” Her rationale is that it — whatever it is — will help them survive the various travails they are enduring if they offer it another sacrifice.She leaves who should die up to chance. That’s what the wilderness would want, she says. “We don’t get to decide,” she explains. “It chooses.”But these women still seem to be doing a lot of projecting about what the “wilderness” is requesting — and, in turn, absolving themselves of any guilt related to their own actions. Natalie could have continued trying to save Javi, but she didn’t. That’s not the wilderness, that’s a choice. It’s Lottie who is presenting her friends with potential death. Not the wilderness.The series has yet to convince me that there’s anything truly supernatural going on. Instead, we’re seeing a lot of desperate and frightened humans doing cruel things to save themselves while letting others suffer. It reminds me of Jackie’s death at the end of Season 1, which was the result of plain teen meanness rather than any sort of ghoulish presence.The surviving Yellowjackets can blame the wilderness for only so much. At some point, they have to take responsibility for all the pain they’ve caused. Still, maybe the guilt would be worse than just drinking Lottie’s death potion.More to chew onI’m a general fan of the “Yellowjackets” music cues, but a couple in this episode felt a little too on the nose for me. Walter is listening to “Not While I’m Around” from “Sweeney Todd,” a musical about cannibalism. As Natalie tries to evade capture, we hear Smashing Pumpkins’ “Bullet With Butterfly Wings,” in which Billy Corgan sings, “Despite all my rage, I am still just a rat in a cage.” Also maybe a little too apt.That said: Nice house, Walter.It’s nice that we finally know what was likely going on in the pilot’s opening sequence, even if we don’t know who was being chased. (I’m not sure that last detail is going to end up mattering.)Callie’s Shawn Mendes poster in her bedroom is a very funny production design choice.Melissa is reading a copy of “Sassy.” Long live “Sassy.”I’m glad Misty finally called Mari out. Someone had to. More

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    Damon Lindelhof and Soo Hugh on Encouraging ‘Creative Short Circuits’

    For the Taking the Lead series, we asked leaders in various fields to share insights on what they’ve learned and what lies ahead.Years ago, the television writer Soo Hugh had a meeting with Damon Lindelof, one of the creators of the groundbreaking ABC drama “Lost.” Lindelof was looking for writers to work on his next series, “The Leftovers,” for HBO, and Hugh was an admirer. She didn’t get the job.The next time the two met, in March 2022, it was at the premiere party for “Pachinko,” Hugh’s own critically acclaimed series, on Apple TV+, based on the National Book Award finalist of the same name. Lindelof took his place among a long line of well-wishers.“Clearly I made a mistake,” he said, in a recent conversation with Hugh via video.It’s easy to imagine a parallel universe in which Lindelof, 50, and Hugh, 45, were collaborators. Both writers are known for sweeping, large-cast, character-driven narratives that center on questions of fate and the search for meaning. On “Lost,” the castaways of the island are haunted by the unfinished business of their previous lives. On “Pachinko,” multiple generations of a Korean family are buffeted by the forces of war and globalization.As a showrunner in the mid 2000s, Lindelof ran a writers’ room that looked and functioned much differently than is common today. On “Lost,” he said, he mostly hired other “white Jewish guys who wore glasses and loved ‘Star Wars’” to generate the 24-episodes in a season of network television. His latest show, “Mrs. Davis,” an eight-episode limited series for the streaming service Peacock, was made in partnership with its co-creator Tara Hernandez, a former writer and producer on “The Big Bang Theory,” and a team of writers from a variety of religious and ethnic backgrounds.Hugh who previously wrote for network and cable television, now sits at the helm of a show that would have been nearly impossible to imagine 15 years ago: a fully international production — with an all-Asian lead cast and dialogue in subtitled Korean and Japanese — financed and distributed by an American tech company that now also functions as a studio.But some things in Hollywood never change. At the time of this conversation, members of the Writers’ Guild of America — Hugh and Lindelof among them — were one week into a labor strike, in which they are demanding changes to pay and employment practices that they say are exploitative, including issues involving compensation for streaming shows. Lindelof was preparing to join other members in a picket line — just as he had when the last writers strike, in 2007, disrupted production of the fourth season of “Lost.”Lindelof, in Los Angeles, and Hugh, in New York, discussed the challenges of working as a television writer today, learning from their staffs and remaining true to their creative vision in a collaborative medium. This conversation has been condensed and edited.Adriana BelletDAMON LINDELOF Soo, I’m just curious — you guys are in production right now, right? You’re shooting?SOO HUGH We are. We have a month left. We just finished in Toronto as the strike was being called. The Korea portion starts next week and will go for five weeks.LINDELOF Are you going?HUGH I am going, but I felt conflicted. [Many studios have warned writers who are also producers to continue producing or risk losing their contracts.] I have done all of my writing services. I would say “Pachinko” is a producer’s show in some ways just because of the gargantuan production. It’s a headache. I don’t know how long I will stay. It makes me very uncomfortable figuring out those boundaries — they’re so gray. It’s very strange times.LINDELOF Yeah, it’s supposed to be uncomfortable, I guess. I think that everybody is looking for the right thing to do. I don’t have a show that’s in production right now. With “Mrs. Davis,” we finished everything — post, final sound mix, final visual effects — before the strike. So it’s a much cleaner line. I wake up, I picket and then I go to bed. So I’ll just say, I’m with you in spirit.What do you think your career would be like if you were starting today?HUGH I don’t know if you feel this way, Damon, but I feel like there’s so little room for failure now. My first show was a failure [Hugh’s “The Whispers” ran for a single season on ABC in 2015] and it was by learning what I never wanted to do again that I was able to go on to something I’m more proud of. Nowadays, the system feels so do or die.LINDELOF I agree a thousand percent. In the mid-90s, when I first came out to Los Angeles and was trying to figure out how to become a professional writer, broadcast television was still where most of the work was. There was this institution where it was like, this is what you do, this is how you get a job, this is how you work your way up. Now, all of those things have changed. The goal used to be, Can I be on this show for three, four, five seasons? Now you have to put it all on the field on your very first opportunity because that show will probably only exist for a season, if at all. The pressures are just immense. I don’t think that I could have been successful in this environment.HUGH It’s interesting that you came from broadcast. I think we all pooh-pooh broadcast these days, but I am the showrunner I am because of broadcast, without a doubt. And I think the fact that broadcast has died is really killing showrunners. You don’t learn how to produce anymore. When we were coming up, you only had $4 million an episode and seven-day shoots [The most expensive episodes of television today can cost more than $20 million and shoot for more than 20 days]; it taught you a level of discipline that I think really carries you later on.How did you learn to communicate your vision effectively?LINDELOF Clumsily. I think that you watch how it’s done. I had the institutional experience of working primarily in broadcast procedurals. When you’re making as many episodes as we were, it’s a bit of speed chess. To Soo’s point, you have X number of dollars and X number of days to produce these episodes and everything kind of backfills into that. So it requires a lot of delegation and trust inside of the writers’ room. Ultimately the room becomes a machine that is trying to channel the vision of the showrunner. That’s how I learned how to do the job.On my last few shows, the goal has been different. It’s giving strong guidance and a decisive sense of, Yes, that feels good or That feels bad, but ultimately wanting every writer in the room to feel some fundamental sense of authorship. It became, Let’s build some kind of collective vision that we call “The Leftovers” or “Watchmen” [Lindelof’s limited series adaptation of the graphic novel, which aired on HBO in 2019, was nominated for 26 Emmys and won 11] that you all see yourselves in, and I’ll do my best to steer that thing. By the time I got to “Mrs. Davis,” I wasn’t showrunning at all anymore; Tara was. And that feels even better. She could either call upon my experience or completely and totally ignore it. It created both a tremendous amount of relief for me and also, I feel, a much better product.HUGH I really do believe in frequencies aligning. I feel like my job in putting a room together is creating a creative short circuit by finding the right personalities. I’m more interested in the way people think than how they write, because at the end of the day, I usually rewrite everything anyway. I just need that right brain power because that’s what we’re fueling the room with.LINDELOF I love that idea of frequencies aligning. I’m curious — do you start out like, The frequency is 89.9, and I am teaching it to all of you so you can get on it? Or are you like, I have some sense of what the range of frequency is, but I’m looking for these people in the room to help me find it?HUGH Both. We always start the day with an hour of non sequiturs. You’re not allowed to talk about the show. You’re not allowed to talk about your characters. You can only talk about what you saw on your walk over, or what did you watch on TV last night? Then, after an hour, we all turn together to a different tune.Adriana BelletWhat makes you excited when you’re reading a spec script?HUGH When it doesn’t start with a flash-forward.LINDELOF [Laughs] Anything that’s not like, Three days ago … It’s intangible, but it’s the same thing that you feel when you meet someone and you recognize, Oh, OK, I want to spend more time with this person. Within five or six pages you’re like, Who wrote this? Why did they write this? It feels so fresh and interesting. Then you meet them and, as in life, sometimes they’re even more interesting than you thought, and sometimes it doesn’t feel like a connection. You also want to have a well-balanced team. I’m not interested in having seven shortstops. You want some talkers, some listeners, some who are stronger on the page, some who are stronger in the room, some utility players.HUGH I’m so desperate for someone to say no to me. When you hire writers, you’re surrounded by people pleasers, and I get it. But what we’re looking for are people to help us build the best show. And sometimes that means telling us, You know what? I personally don’t think that’s going to work, and this is why.LINDELOF The worst thing that you can say to me in an interview is, I’m a huge fan of your work. Because either it triggers some degree of discomfort or self-loathing, or it’s very flattering and it’s really nice, but it kind of runs afoul of what you’re talking about. Is this person going to be unable to tell me that I’m an idiot? The fact of the matter is that most of the time, I am an idiot.Are there times when your writers have opened your eyes to a way of thinking that you hadn’t thought of before?HUGH All the time.LINDELOF All the time.HUGH I think the higher up you go, you lose all sense of proportion. You don’t worry about money anymore. You’re less hungry. You get exposed to fewer different people. Age just bubbles you in a way that for better or worse is limiting in terms of the human experience. So what I love about the writers’ room, and I think why it’s probably my favorite part of the process, is all of a sudden my sense of the world expands. Now I’m seeing it through seven or eight people’s eyes.LINDELOF Look, in the rooms that I started in, the reality was it was basically white guys. And so I was like, Oh, what you do is you just copy yourself. That way, there’s all these different versions of you, and you don’t have to waste time explaining things. That led to a culture of tokenism, which I take full responsibility for. On “Lost,” we had characters who spoke Korean, and Harold Perrineau as a Black father, so it was like, We should probably have a Black writer and a Korean writer for their episodes. But, of course, those writers are whole people who have perspectives on all the other characters, as well.The idea that came later — of curating a room that looks nothing like you and has wildly different life experience than you and that you may occasionally come into more conflict with — I think that resulted in better and more interesting work.As writers who became producers, how did you learn to get a big crew rowing in the same direction?HUGH I’ve found that my job as a showrunner is mostly to say, It’s not good enough but to say it with a smile. What can we do? How do we push it forward?LINDELOF I think when you are producing something, as opposed to writing, it is the act of making. If you’re a novelist, for example, sure you’re making a novel. But then you say, Now, Jonathan Franzen, manifest “The Corrections” into a television series, and it becomes an entirely different skill set. It requires daily and constant sacrifice and compromise from people who are not necessarily used to that. Every single day, every email that we get is some version of, I know you wanted to do this, but how about this instead? If you always say yes, then what are you even there for? Where’s the place where you dig in your heels? It will seem arbitrary to someone outside of our bodies, but we have to take the arbitrary thing and make it seem essential. More

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    ‘Ted Lasso,’ Season 3, Episode 10 Recap: The Rich Are Different

    How quickly can a story line end? Very quickly.Season 3, Episode 10: ‘International Break’Do you remember when you were young and — at least if you were like me — you frequently misjudged how much space you had on a line to write what you intended, resulting in smaller and smaller, tightly squeezed letters as you approached the edge of the page? I feel as though that is where we find ourselves now in “Ted Lasso,” with just two episodes left in what is still theoretically the show’s last season.This week’s episode answered two of the show’s principal remaining questions — regarding Nate’s fate with West Ham and the future of Roy and Keeley — but so abruptly you could almost imagine you’d missed a scene or two along the way. This level of concision may have been necessary in part because the episode spent much of its hour-plus running time on two new and completely unnecessary story lines, two redemption arcs for tertiary characters, a fair amount of moping and a genuinely bizarre conception of how rich business owners make decisions. Even as we near the page’s edge, to put it another way, we’re still adding more words. The remaining ones will almost certainly have to be scrawled very small.First off, the story lines that did not move forward meaningfully: After focusing on Ted’s relationship with his son, Henry, and ex-wife, Michelle, two episodes ago, we have a second consecutive episode that has no interest in that subplot. Likewise, no news on Rebecca’s presumably upcoming familial developments — at least, unless a plastic Army man is saying more than I hope he is. But more on that later. Let’s start with the least important developments and work our way up.International break and Edwin Akufo’s proposalBoth of this week’s new subplots felt less like continuations of the season’s arc than like clogs that we needed to work through before getting to the real story.International breaks, as the name suggests, are weekends when national soccer leagues skip their matches in order for their top players to participate in FIFA-sponsored, nation versus nation competition. There have presumably been several of these in the three seasons of AFC Richmond play we have watched, although I can’t remember any mention of them before this episode.But now it is, for an episode at least, a Big Deal. Who will be selected to represent their native countries? Jamie for England, Van Damme (formerly Zoreaux) for Canada, Dani for Mexico, Bumbercatch for Switzerland and Colin for Wales. But no Sam for Nigeria? Not even after an episode-opening commentary singling him out as crucial to the team’s current 10-game winning streak?There appear to be two purposes to this subplot. The first is to set up the idea that joyous, loving Dani Rojas becomes a cruel competitor the moment he is on an opposing team. This entails some of the broad humor that has never been the show’s forte. (Remember Led Tasso? This is basically the same gag, with Dani substituted for Ted.) And it’s another idea that comes out of nowhere: I can’t recall Dani rejoicing in his efforts to injure the goalies for, say, West Ham, Manchester United, or any of his other Premier League opponents.The second purpose of the international break subplot is to help set up the Edwin Akufo subplot: The reason Sam wasn’t chosen to play is that Akufo, the unpleasant billionaire introduced back in Episode 11 of Season 2, bribed the Nigerian government $20 million not to select him. But that’s not all! He also plans to open another Nigerian-cuisine restaurant 20 meters away from Sam’s! And to deny Sam customers by personally calling and making reservations he doesn’t intend to keep using a variety of silly accents! I feel confident in saying this is not how billionaires — not even thin-skinned ones — spend their time.Toheeb Jimoh, left, and Phil Dunster in “Ted Lasso.”Apple TV+I’d like to stop there, but alas there’s more. Akufo is also planning to create a “super league” of exceptional teams that will compete only against each other and thus can charge more for tickets than typical matches. The details are unimportant, apart from the fact that this would theoretically make the team owners vastly more money while pricing average fans out of attendance. Color me cynical, but I’m confident that if it were this easy for rich team owners to make themselves richer it would already have happened.It’s a complicated setup to enable Rebecca, at a meeting of team owners, to stand up for everyday fans. Which is a setup for her to remind Rupert why he loved her and cause him to try to kiss her. Which is a setup for her to get over her longstanding obsession with beating Rupert on the pitch. Have I wasted your time with this lengthy explanation? Apologies, but that’s pretty much how I felt by the time this subplot was over.NateDepending on whom you ask, Nate has either been fired from managing Rupert’s West Ham squad or has quit. Either way, you’ll notice the past tense. We don’t actually see Nate quitting or getting fired, which would have been, I suspect, a very interesting scene had they bothered to film it. Instead, we go from the beginning (Nate belatedly realizing that Rupert is a bad man at the club last week) to the end (Nate being mopily unemployed) without any of the actual drama of a confrontation. It won’t be the only time this episode that “Ted Lasso” skips from start to finish without bothering with the messy “how did this happen?” part.Instead, we get Nate moping in his own bed, and then moping in his childhood bed at his parent’s place and then playing a violin (has this been mentioned before?) so that his dad can hear him and have a scene in which he shows that he’s not quite as crummy a father as he had appeared to be. We don’t even have any nice scenes with Jade this week, because she’s headed off to Poland to help her family screw in light bulbs, a joke that sadly may be the high point of this dreary story line. I’d like to say more, but I’m not sure what else there is to say.KJPRMy prediction last episode that Keeley’s breakup with her girlfriend/financier Jack would be forgotten without consequences proved incorrect. In fact, Jack has abruptly pulled all of the funding for Keeley’s firm, KJPR, and Keeley needs to be out of the office within 48 hours.For those keeping track, this is the third apparent instance in this episode in which a fabulously rich person has made a business decision based entirely on personal pique: Akufo spending a fortune to keep Sam off the Nigerian team (and opening a competing restaurant!); Rupert firing (or at least quickly accepting his resignation of) Nate, his by all accounts exceptionally talented and successful manager; and now Jack pulling the plug on KJPR. It’s a peculiar imagining of the way rich people typically make business decisions.But at least the show takes pains to show that rich people also make dubious business decisions based on sheer generosity. Following the owners’ meeting in which Rebecca decides against profit based on an appreciation of the fans — and persuades the other owners to do the same! — she decides to save Keeley’s firm by financing it herself.A couple of quick thoughts: First, if Keeley is in fact the P.R. whiz we keep hearing her to be — without ever seeing any evidence of this — couldn’t she, you know, find financing from someone who wasn’t a friend taking pity on her? Or has the fact that she takes many vacations, hires completely unqualified friends and never seems to do any work finally caught up with her? And second, has Keeley learned anything about mixing business and intimacy from her experience with Jack? If there is a Season 4 of the show, I half-expect Rebecca to pull her funding the next time Keeley fails to answer her texts.But at least we get to see Barbara redeemed after Keeley buys her a snow globe.Keeley and RoyWell, that was easy. Roy runs into Phoebe’s teacher — yay, Phoebe, genuinely and always — and she says he seemed “stuck” the last time they spoke, which evidently serves to immediately unstick him. Really? This wisp of a scene rather than, say, the powerful and spot-on lecture that Rebecca offered last week?But evidently that five-letter word is all it takes to make Roy want to get back together with Keeley, and his subsequent letter is all it takes to make Keeley want to get back together with Roy. There’s no conversation or negotiation, no working through what went wrong last time.Actually, I’m being unfair. There may have been such interactions. “Ted Lasso” just made the borderline unconscionable decision not to show them. We go from the two of them awkwardly standing in the doorway to a semi-clad Roy comfortably re-ensconced at Keeley’s.It’s precisely the same jump from the beginning to the end that we saw with Nate and Rupert, without any of that tricky middle part where people actually speak to one another. For that matter it’s the same nonchalance with which we moved from early signs of trouble between Roy and Keeley at the end of last season to the two of them already split up this season. If the show didn’t bother to show us the actual breakup, why should it show us the actual reconciliation? As someone who was rooting as hard for Keeley and Roy as anyone, I was astonished at how little emotional weight their reunion had.I know I’m quite down on this episode, and I know that many readers will like it more than I did — as was the case the last time I was substantially disappointed. Which is fine! The world don’t move to the beat of just one drum. But to be clear, especially for new readers: My disappointment is not because I dislike the show or any such nonsense. It’s because I like it enough to hold it to a high standard.Juno Temple in “Ted Lasso.”Apple TV+Here’s hoping that there are better things to come in the final two episodes, no matter how small the handwriting needs to be.Odd and endsI have always been in the camp that presumes Rebecca and her Dutch fella will get together by season’s end. (Why else show us the little girl’s room on the houseboat?) I now fear that, given the whole rush-to-the-end quality of this episode, their next meeting will also be abrupt — him showing up in London or her showing up at the houseboat with “happy ending” all but written on the screen. I for one was hoping to see them spend some time together again. But we’ll always have Amsterdam.Unless, of course, those predicting a Rebecca-Ted romance are right, which I dearly hope they are not. But Rebecca playing with the green matchbook and the green Army man together has me appropriately worried.Don’t even get me started on the odd and awkward hallway meeting between Rebecca and Sam.Wait, Rupert has already split up with Ms. Kakes before Rebecca got a chance to expose his affair? Boo! And did I hear correctly that her replacement is a Ms. Bread? I guess this makes Rupert a reverse Marie Antoinette.It’s a bizarre idea that Akufo, no matter how rich, could throw food on a variety of other very-rich folks without facing their rage, lawsuits and possible assault charges.I love Higgins’s delightfully dark take on Willy Wonka.Jamie’s evolution into the best guy ever continues. He’s the first to commiserate with Sam when the latter isn’t chosen for Nigeria and then he wears Sam’s number on the pitch. And his Uncle’s Day gift to newly minted best friend Roy — thank you, Phoebe! — is perfect.Speaking of: Roy wearing Phoebe’s tie-dye shirt to work was fine. But it would have been funnier if he’d worn the shirt Jamie gave him, even if it entailed a meeting with H.R.Sixty quid for a snow globe? That’s $75! Keeley may be the worst bargain-shopper ever. More

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    Bill Saluga, a Memorable Comedic Wiseguy, Is Dead at 85

    He played many characters in his career, but he was best known by far for the one who said, “You doesn’t have to call me Johnson.”Raymond J. Johnson Jr. was a wiseguy, dressed in a zoot suit and a wide-brimmed fedora and waving a cigar in his right hand.When someone mentioned his name, the shtick took off.“Ohhhh, you doesn’t have to call me Johnson,” he would say. “My name is Raymond J. Johnson Jr. Now, you can call me Ray, or you can call me Jay, or you can call me Johnny, or you can call me Sonny, or you can call me Junie, or you can call me Ray Jay, or you can call me R.J. Or you can call me R.J.J. Or you can call me R.J.J. Jr.“But you doesn’t have to call me Johnson.”And you can call his creator Bill Saluga, a diminutive comedian with a thick mustache who came up with Johnson while a member of the Ace Trucking Company, an improvisational sketch troupe whose most famous alumnus is Fred Willard. Mr. Saluga also played Johnson on various television series; on a disco record (“Dancin’ Johnson”); and, most memorably, in commercials for Anheuser-Busch’s Natural Light beer.In 1979, at the peak of Mr. Saluga’s fame as a comedic one-hit wonder, Tom Shales of The Washington Post wrote that “now everybody and his brother are doing Saluga impressions throughout this very impressionable land of ours. He’s right up there with Steve Martin’s wild and crazy guy and Robin Williams’s madcap Mork.”Bob Dylan played off Mr. Saluga’s Johnsonian wordplay, and his own name change, in his 1979 song “Gotta Serve Somebody.” He sang, in part:You may call me Terry, you may call me TimmyYou may call me Bobby, you may call me ZimmyYou may call me R.J., you may call me RayYou may call me anything but no matter what you sayYou’re gonna have to serve somebodyMr. Saluga died of cardiopulmonary arrest on March 28 in a hospice in Los Angeles, his nephew, Scott Saluga, said. He was 85 and had been living in Burbank.The Tribune Chronicle, a newspaper in Warren, Ohio, near Youngstown, where Mr. Saluga was born, first reported his death on April 8. But it did not become widely known until Hollywood trade publications published obituaries this month.William Saluga was born on Sept. 16, 1937. When Billy, as his friends called him, was 10, his father, Joseph, was killed in an accident while working at the Republic Steel mill, and his mother, Helen (Yavorsky) Saluga, started working as a bookkeeper.Billy was a class clown and a cheerleader in high school. After two years in the Navy, he became a performer. In the early and mid-1960s he was seen on a local TV station, with a sketch comedy group called the Thimble Theater and at the Youngstown Playhouse, where, for seven years, he played roles in numerous productions, including “Inherit the Wind” and “Guys and Dolls.”In 1968, he became the talent coordinator for the comedian Steve Allen’s interview and entertainment show. “If you have a special or unusual talent,” a newspaper ad for the show read, “television needs you. Call Bill Saluga. 469-9011.”In 1969, after replacing a member of the Ace Trucking Company, he created the Johnson character during a man-on-the-street sketch with Mr. Willard at the Bitter End in Greenwich Village, It became part of the troupe’s repertoire until he left in 1976. By then, the group had made numerous appearances on “The Tonight Show Starring Johnny Carson.”Mr. Saluga appeared from 1976 to 1977 on the comedian Redd Foxx’s variety show and a comedy and variety series hosted by the comedian David Steinberg, on both of which he played Raymond J. Johnson. For the Steinberg show, he also portrayed a New York street guy named Vinnie de Milo.“Billy was always doing Ray J.,” Mr. Steinberg, said by email. “He was relentless with it. I would say, ‘Mr. Johnson,’ and Billy would be off.” He added: “He did it everywhere. At parties. His timing and delivery were so funny every time.”The character, with a delivery based in part on the con man Kingfish from the sitcom “Amos ‘n Andy,” appealed to Anheuser-Busch, which hoped to use him to distinguish Natural Light from a rival beer, Miller Lite. In 1978, the company teamed Mr. Saluga with Norm Crosby, the malaprop comedian, for a commercial set in a bar.When a customer asks for an Anheuser-Busch Natural Light, Mr. Crosby counsels him to say, “Just say ‘Natural,’” which propels Mr. Saluga to say: “See, you doesn’t have to call it Anheuser-Busch Natural Light. And you doesn’t have to call it Anheuser Natural. And you doesn’t have to call it Busch Natural. Just say ‘Natural.’” And when Mr. Crosby says, “Johnson’s right,” Mr. Saluga says, “Ohhhh, you can call me Ray or you can call me Jay. … ”The pair would go on to do a second spot. Eric Brenner, a friend of Mr. Saluga’s, said in a phone interview that Mr. Saluga had earned significant money in residuals from the two commercials, probably the most he made in his career.For the next 40 years, he took regular acting jobs — including a hostile ticket taker at an opera house in a 1992 episode of “Seinfeld” and Louis Lewis, the comedian Richard Lewis’s fictional cousin, in three episodes of “Curb Your Enthusiasm” in 2005 — as well as reprising Raymond J. Johnson on the animated TV series “The Simpsons” (2002) and “King of the Hill” (2010). “He played outrageous characters onstage, but offstage he was very reserved,” said Bill Minkin, a friend and fellow comedian. “It was that Midwest down-home thing.”No immediate family members survive.Mr. Saluga did not mind being known primarily as Raymond J. Johnson. In fact, he said, it gave him an agreeable anonymity when he stepped out of character.“I would sit in restaurants and hear the people behind me in the booth talking about me, and I was right there,” he said on “Gilbert Gottfried’s Amazing Colossal Podcast” in 2017. “They didn’t know who I was, which was great.” More

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    ‘Succession’ Season 4, Episode 8 Recap: The Will of Some People

    It’s election night in America. Stay away from the bodega sushi.Season 4, Episode 8: ‘America Decides’The day before Logan Roy died, he delivered a fiery call to arms to his ATN staff, letting them know what he expected from the network going forward. The speech was an angrier variation of the populist spiel he had given many times before, in which he insisted that the news should always be frank and unpretentious. He wanted his anchors to tell their viewers “truthful” things they had never heard anyone say before on television. He wanted ATN to be, in a word, “spicy.”Throughout this week’s action-packed, nerve-shredding episode of “Succession,” Logan’s kids argue a lot about what the old man would want them to do, as the presidential race between the Republican Jeryd Mencken (Justin Kirk) and the Democrat Daniel Jimenez (Elliot Villar) comes down to a couple of battleground states. The big sticking point is Milwaukee, where a fire at a vote-counting facility has destroyed enough ballots to tilt Wisconsin from blue to red.How would Logan have handled this? Would he have maintained the policy of “no brass on the battlefield” and left all of ATN’s messaging to the Decision Desk data-nerds? Or would he have seized the opportunity offered by Mencken to Roman, to shape the narrative such that the Mencken camp (and by extension the Roys) are the night’s big winners?To ask what Logan would do, though, is to miss the real crux of the issue. It was clear from Logan’s defenses of ATN that he didn’t care whether his network broadcast the facts. He preferred “the truth” — which has a more flexible definition, depending on who is doing the telling.On this election night, up in ATN’s executive offices, there are two competing truths, represented by the Jimenez supporter Shiv and the Mencken backer Roman. Every time Shiv tries to turn the conversation to things like Menckenite obstructionists in “victory vans,” Roman shouts, “False flag!” and rebrands the ominous vehicles as “fun buses.” The Roys are at an impasse.Roman has a decided advantage, given that ATN already has what Tom calls a “unique perspective” on the news. While the other networks are suggesting that Mencken goons may have burned the Milwaukee votes, ATN floats theories like “electrical failure.” (Roman would prefer to go with “Antifa fire bombing.”) At one point, ATN’s Tucker Carlson-like anchor Mark Ravenhead (Zack Robidas) delivers a rant during the network’s purportedly neutral coverage, attacking leftists for trying to turn the fire to their political advantage.Roman also has Kendall and Tom on his side, to a degree. Kendall is hesitant because he is no Mencken fan. When he mentions to Roman that he fears what a Mencken administration might mean for his adopted daughter, Sophie, his brother mocks him for caring about the ideals of American pluralism. Roman compares their whole argument to when they were kids, when Kendall would play the sober-minded big brother in order to get chicken for dinner, while the whinier Roman wanted steak.Kendall asks, “Because we had so much chicken when you were a kid, we have to elect a fascist?” And although he is being facetious, those kinds of lingering slights are what guides the decision-making this night.As for Tom, he is under pressure to quiet his critics by delivering big ratings for ATN’s election coverage. To get there, he endures glitchy touch-screens and a steady stream of Roys entering the newsroom’s forbidden areas. Tom remains inclined to side with Roman, perhaps because that puts him at odds with Shiv, whom he has not forgiven for their vicious argument at the tailgate party. Even when she tries to win him back by finally telling him that she is pregnant with his child, he stings her by asking if she is lying, as another “tactic.”Shiv has a rough time overall on election night. As the evening nightmarishly shifts Mencken’s way, she has a heart-to-heart with Kendall — in a reflection of the touching Season 2 scene in which he confided to her that he would never be Logan’s choice to run the company. Here, he listens to Shiv’s argument that ATN could slow the Mencken momentum. Their Decision Desk guru, Darwin (Adam Godley), knows from historical data and exit polling where the Milwaukee votes would have gone. They could put Darwin on camera and let him explain why ATN won’t project a winner in Wisconsin.But two things get in the way. The first is that Kendall really wants the next president to kill the GoJo deal, which Roman insists Mencken will do. So Kendall asks Shiv to take one more shot at persuading her ex-lover Nate to get Jimenez to make that same promise. Instead, she merely pretends to make the call and then lies to Kendall, saying that the Jimenez people are open to considering his proposal. This sets up the second impediment: when Kendall calls Nate to iterate more clearly what Shiv claims to have said.There is some phenomenal staging in this episode, a lot of which involves people passing phones back and forth — and at one point even holding one phone up to another so that the people on the lines can speak to each other. But the best phone sequence is Kendall’s call to Nate, which plays out mostly unheard on the other side of one of ATN’s enormous office windows, as Shiv looks on with dread. After Kendall gets the word from Nate that Shiv never called him, he walks over to talk to Greg, who Shiv knows is aware of her consultations with Matsson.Kendall, feeling betrayed by the sibling he trusts most, spits some icy words in Shiv’s direction and then tells Tom to make the call for Mencken. ATN really is about to help elevate an authoritarian to America’s most powerful public office because one spoiled brother is in a snit.Although this episode is incredibly entertaining, it does cut uncomfortably closer to real-world politics than is typical for “Succession.” This show always features characters and ideas inspired by real political figures, but the creator Jesse Armstrong uses these mainly as the backdrop to the Roys’ family drama — and as a way of satirizing generally the blinded arrogance of the powerful. Here though, the way the election plays out is so much like the specific circumstances of 2016 and 2020 that it might stir up bad memories for anyone who sweated and fretted through those nights.That’s ‌OK, though because while Roman may “ironically” make racist comments in the newsroom and may assure Shiv that “nothing happens” when terrible people take power, Armstrong is showing here that the pettiness of the Roys and their ilk does have repercussions. Everything for this family is about banking a win in the moment, regardless of whether it might later turn into a loss. That’s what their father taught them: Take what you can, when you can, and let someone else clean up after.So as the evening ends — with ATN having called Wisconsin and the presidency for Mencken, without having let Darwin explain that this is all just “pending” — Roman sums up what happened in terms Logan Roy would have understood.“We just made a night of good TV.”Due diligenceTom has a bad election night, too, ending with Greg handing him his phone and saying, “A lot of very important people want to scream at you.” This is a great episode though for fans of the sicko Tom-Greg dynamic. Not willing to entrust the “Gregging” he needs to anyone other than Greg, Tom keeps his lanky lackey close at hand, relying on him for everything from a quick bump of cocaine (Tom: “This is not a thing. It’s not going in a book.”) to double-shot coffees. Tom lays out a doomsday scenario in which Greg fails to keep him from getting drowsy, Tom miscalls the results in Colorado, China invades Taiwan, the world blows up and “We’re back to amoeba.”One of Tom’s non-Greg assistants makes the mistake of bringing bodega sushi into the office, which Tom nixes (“Tonight my digestive system is basically part of the Constitution!”) but Greg sloppily eats, ultimately leading to a stray smear of Wasabi ending up in Darwin’s eyes. Greg makes matters worse by pouring lemon La Croix onto the affected area. (“It’s not that lemony!” he insists.) True to Tom’s dire warnings, it is while Darwin is briefly incapacitated by foodstuffs that the Roys start making the decision to call the election for Mencken.Once Connor learns he lost Kentucky (“Alas Kentucky, Willa … alas vanity”), he scrambles to appease Mencken, offering to “concede in his direction.” So we get the wonderful spectacle of Connor delivering a peppery kiss-off speech in front of a sign bearing his campaign slogan: “Enough Already!”Just because ATN declared Mencken the winner doesn’t mean the election is over. The mess in Milwaukee needs to be resolved; and it could all end with Wisconsin flipping to Jimenez. In other words: Once again on “Succession,” a big deal remains unclosed. More

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    On HBO’s ‘Succession,’ if You’re Eating Food, You’re Losing

    When it comes to the high-powered Roy dynasty, food is for the weak and striving.Autumn light filters through the treetops of Central Park West, streaming into Jean-Georges, giving the gray banquettes a matte, silver gleam. The space is plain, severe in its neutrality, undeniably grand and hushed. Each table, though in clear view of the others, is luxuriously cocooned by space, almost private.It’s the ideal place, really, for the Roy children — the scions of the Waystar Royco media empire on HBO’s “Succession” — to discuss their father’s funeral arrangements.The conversation is brisk, and though they chose Jean-Georges as their meeting spot, they don’t eat the food. They leave the pastries — the dark, oversize canelés and fruit-studded buns — along with the platter of fanned, cut fruit, completely untouched. They get up from their seats without so much as unraveling a napkin or dirtying a plate. The slight, feathered mark of Shiv’s nude lipstick on a coffee cup is the only trace of their presence.It’s not unusual for the Roys to avoid eating. From Logan’s humiliating game of “Boar on the Floor” to the menacing box of doughnuts he sends his children when they try to meet in secret, the food on “Succession” has always been deliciously toxic, dissonant and loaded — a clear line into the family’s trauma and power dynamics.But in the final season, things are especially warped and grim. It’s as if the show has stepped into its Ozempic era and real power can only be found in the total absence of appetite. For those with meaningful status in “Succession,” food doesn’t exist for pleasure or nourishment — it barely exists at all. If a character does have a nibble, no matter how small, it tends to be a red flag.At a business retreat in Norway, Tom Wambsgans, right, passes on the buffet.Graeme Hunter/HBOTom Wambsgans, Siobhan Roy’s husband, didn’t come from money, but married into this super-rich family, and has carefully studied their patterns and prerogatives. He is hyper-aware of the contradictions and intricacies of America’s unspoken upper-class etiquette — and often the first to criticize a faux pas.“She’s wolfing all the canapés like a famished warthog,” Tom tells cousin Greg, clocking the inappropriate date Greg brought along to Logan’s birthday lunch. Because what could be more plebeian, what could signify her being any more out of place, than actually eating the food?Not long after, at Logan’s wake, Tom misjudges his position and nominates himself to take over as interim chief executive for the company. If it wasn’t already clear he’d made a terrible mistake, it is when Tom pops a fish taco into his mouth. As he’s powerless, chewing, Karl imagines how the board might see him: “You’re a clumsy interloper and no one trusts you. The only guy pulling for you is dead, and now you’re just married to the ex-boss’s daughter, who doesn’t even like you.”By the time the Waystar team flies to Norway to finalize the sale of the company to Lukas Mattson, the billionaire chief executive of GoJo, Tom sees hospitality as pure gastro-hostility. As Waystar’s senior executives pile their plates with food at a buffet, he’s careful not to be seen eating breakfast at all. “Ambush!” he calls out cheerfully to his colleagues. “You took the bait, fattened for the kill.”And Tom’s not wrong. A GoJo executive comments on the portion size, too: “Hey, easy buddy, leave some for us.” The Waystar team’s desire for breakfast pastries isn’t the only thing that now feels embarrassing — the Americans are overdressed for the countryside, anxious for the deal to go through, fearful of losing their jobs. Their hunger, their appetite, their keenness, it’s a squishy surplus of vulnerability.As Season 4 opens, Logan is competing with his children to buy Pierce Global Media, and escapes his own birthday party in a huff to visit Nectar, a Greek-owned coffee shop on Madison Avenue. (For Town & Country, Charlotte Druckman wrote about this excursion as its own kind of power move.)In a rare moment of vulnerability, we see Logan eating. But first, he insists to his bodyguard, Colin, who is on the clock, that Colin is his best friend, that human beings are merely economic units in the market, that he isn’t sure what happens when we die. Emotionally, he’s a mess.“Nothing tastes like it used to, does it?” Logan says wistfully. “Nothing’s the same as it was.”Connor Roy and Willa Ferreyra hosted their rehearsal dinner at the Grill, a classic Midtown power-lunching spot. It ends up predictably miserable.Macall B. Polay/HBOIn the episode that aired on Sunday, the family reaches the heights of both their incompetence and their power. Election Day in the newsroom was already tense for Tom without the Roy siblings stomping around, sliding notes directly to TV anchors, pushing their agendas on his top voting analyst, scrolling through Twitter, reframing the headlines because, well, the right-wing candidate asked them to. Tom loses his temper when Greg approves cheap sushi as his lunch.It’s not much of a power move — it is not, for example, Logan telling the staff to scrape an entire over-the-top steak and lobster dinner for the family into the trash, then order pizza instead — but it’s the only move that Tom, who has lost control of the newsroom, who never had any control over in the first place, has left. He will allow the election results to be nudged and massaged, the newsroom to be compromised and swayed. He will allow the world to burn, but look, he is above the sushi. He will not touch the sushi.Greg, on the other hand, is happy to dig into his “bodega sushi” as the siblings pressure Darwin, ATN’s election analyst, to call the election before he’s ready. It’s a devastating and hilarious sequence. “This isn’t actually a numbers thing,” says Roman. “I’m just going to say we’re good and that’s on me.” “You can’t make the call ’til I make the call,” says Darwin, angrily.But a moment later, Darwin has given up all sense of editorial integrity and is punished for it, as he accidentally smears wasabi from Greg’s sushi into his own eyes. Greg, in a bumbling, misguided effort to help, pours stinging, lemon-flavored LaCroix right into the wound.It’s as if he didn’t know there’s no making things better with food — there is only making things worse.Follow New York Times Cooking on Instagram, Facebook, YouTube, TikTok and Pinterest. Get regular updates from New York Times Cooking, with recipe suggestions, cooking tips and shopping advice. More

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    In ‘Succession,’ Democracy Goes Up in Smoke

    On Sunday night, the Roys pondered whether to sell out democracy in exchange for their father’s kingdom. In the real world, the going rate is usually cheaper.This article includes spoilers for the most recent episode of “Succession.”In Sunday’s episode of “Succession,” a TV network sold out democracy. The most implausible part of the story was how high a price the sellers got for it.In the episode “America Decides,” the heirs to the conservative media empire Waystar Royco helped Jeryd Mencken, a Nazi-curious presidential candidate, claim a violence-tainted election by ordering their cable-news network to call it for him. The multibillion-dollar reward: Mencken would kill Waystar’s pending sale to a Swedish tech bro, handing Kendall and Roman Roy the kingdom after their father’s death.In reality, cable news favors for antidemocratic political forces come much cheaper. But let’s deal with the fake news network first.In the “Succession” episode — which probably should have carried a content warning for anyone who has followed the last couple of presidential elections — the night begins with the Democrat, Daniel Jimenez, ahead in the polls. The results end up tight enough to be decided by a highly convenient, apparently intentional fire in a Milwaukee vote counting station, which incinerates enough pro-Democratic ballots to swing Wisconsin to the Republican Mencken.After watching the previous episode, I sketched out a scenario in which the Roys’ network, ATN, has to take sides in a contested election, with the fate of the deal at stake. This doesn’t make me Nostradamus. “Succession” is predictable in the best way. It simply sets up conditions, gives characters motivations, then lets them act in their interests. It’s only as unpredictable as you fool yourself into believing it is.So there’s chaos and opportunity. There’s a fire and an election call that, while not carrying the force of law, would determine the narrative advantage in a legal (or extralegal) showdown.For America, it’s the choice between remaining a country where elections are won with ballots or becoming one where they’re won with torches. For the Roy siblings (minus Connor, conceding the end of his libertarian vanity campaign), it’s a golden jump ball, and each one of them reacts in character.Roman, who has always vibed with Mencken’s edgelord energy, sees no reason not to get on the good side of a history-smashing win. Roman knows who Mencken is, better than any of the Roys do; in Season 3, it was to him that Mencken expressed his openness to borrowing ideas from “H,” his pet name for Hitler. But what’s a little fascism between friends?This had to be a rough episode for Team Roman, the “Succession” fans who love his broken-toy impishness and “Clockwork Orange” banter. He is funny, even while electing a white nationalist, telling his sister, Shiv, “It’s only spicy because if my team wins, they’re going to shoot your team.” That’s exactly what has always made him dangerous. Does he endorse Mencken’s worldview sincerely or ironically? Does it matter? Does an ironic arson fire burn any cooler?His siblings respond with different flavors of ineffectiveness. Shiv, once a Democratic operative, is horrified at the “nightmare” of a President Mencken. But not horrified enough to sabotage her own schemes. Given the chance to ask the Jimenez campaign to promise to kill the Waystar sale — a deal she has been secretly working against her brothers to make happen — she fakes a call instead, and gets caught out. It’s a double-or-nothing bet with democracy as her stake, and she loses.Kendall, meanwhile, resists with the force of a wall of Jell-O, telling Roman, “I don’t necessarily feel good about this.” Necessarily: On “Succession,” statements of principle are always hedged.Kendall knows the stakes too. He wants to be good, or to be seen as good, and his daughter recently had an upsetting run-in on the street with an alt-right racist. But he also wants to win his company back. As often happens when he can’t reconcile his self-interest with his self-conception, he shuts down like a glitching robot, until learning of Shiv’s betrayal pushes him to push ATN to call the election.Respecting their viewership: Nicholas Braun, left, and Matthew Macfadyen in “Succession.”Macall Polay/HBOHis anger at Shiv is a reason, but it’s not the reason. As usual on “Succession,” this is about the money, and the dysfunctional family competition in which the money keeps score. As the brothers argue, Roman accuses Kendall of “big brother”-ing the election call, using seniority to get his way, just as Kendall did at dinner time when they were kids.If only little Roman had gotten steak, we might have gotten democracy.In our reality, of course, the ordinary pressures of the cable news business might have sufficed to force the call, deal or no deal, steak or chicken. As we just saw in the Dominion voting machines libel trial, Fox News — the none-too-subtle real-life analogue to ATN — indulged election theft hoaxes simply to try to hang on to its existing audience (at an eventual cost of hundreds of millions of dollars so far and potentially more).“America Decides” plays as if the writers committed the pretrial discovery file to memory. The episode follows Tom Wambsgans, Shiv’s estranged husband and ATN’s head, through an ulcer-making election night. He is sleep deprived and coked up, under pressure to deliver big ratings for the Roys and scary antifa stories for his audience, which is getting raw, uncut propaganda from ATN’s farther-right competitors.This was much the dynamic at work in the internal messages disclosed in the Dominion suit, which showed Fox stars and executives freaking out over competitors like Newsmax, who were gaining traction by embracing the election-fraud lie. (And of course, Fox’s worries stemmed from viewers’ fury over election night, particularly about the network calling Arizona for soon-to-be President Biden.)Asked why ATN isn’t reporting the evidence that the ballots were torched by Menckenite brownshirts, Tom says, “We need to respect our viewership” — phrasing almost verbatim from the Fox messages. “Respecting this audience whether we agree or not is critical,” the host Sean Hannity texted after the 2020 election.So ATN brings out its sneering alt-rightist, Mark Ravenhead, to insinuate that the fire was a false flag, while Tom suggests booking an egghead historian to tell viewers that everything is fine and normal. “Succession” has always had a feel for how the shamelessness of extremists defeats, and is enabled by, the flaccid reasonableness of centrists.Of course, ATN, like Fox, operates in a larger media environment, and the episode is less clear on how election night is playing elsewhere, especially on PGN, the in-world analog to CNN. There’s a brief clip suggesting that PGN, and presumably other mainstream news, is treating the election as undecided while the legal process plays out. (On a story level, this suggests that the election and Waystar Royco’s fate may have a few turns yet to take.)In our reality, mainstream outlets have their own pressures and owners. CNN, which is part of Warner Bros. Discovery, has a new head, Chris Licht, and a reported new corporate mandate to reposition after years of pugilistically covering President Trump.CNN spent the 2020 campaign trying to learn the lessons of 2016 by scaling back on airing live Trump rallies and assertively fact-checking him in detail. Now — knowing full well that the former president tried to overturn a democratic election — it seems determined to spend the 2024 campaign unlearning the lessons of 2020.Thus last week, CNN granted Donald J. Trump an hour of live TV to be as dishonest about the attempts to overturn the last election as you knew he would be if, at any point in the last few years, you watched CNN. While the town hall moderator, Kaitlan Collins, interjected corrections, he boisterously played his “rigged election” hits to a cheering crowd.CNN got a spectacle; the former president got a live platform for another dominance-politics performance. The morning after the town hall, Licht reportedly told the CNN staff: “Kaitlan pressed him again and again and again and made news. Made a lot of news.” And, he said, “that is our job.”Here, life echoes “Succession” once more. At the end of election night, with ballots burning and Mencken delivering a dog-whistley speech about making America “clean,” Roman insists that nothing he or ATN did that night was that bad or consequential. “We just made a night of good TV,” he says. When the smoke clears, you can always tell yourself that you didn’t start the fire. More

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    Alan Ruck Is Ready to Leave the Roy Family

    The article includes spoilers for the most recent episode of “Succession.”One of the most impressive tricks HBO’s “Succession” has played on viewers over the course of four seasons is generating sympathy for reprehensible people. Sunday’s episode, in which democracy is discarded, apparently because Roman Roy (Kieran Culkin) had to eat too much chicken as a child, puts most of that sympathy to rest.It also ended the ludicrous presidential campaign of Connor Roy (Alan Ruck), the eldest and most bumbling Roy son, who launched his bid to confront what he saw as America’s biggest problems: “usury and onanism.” But even in conceding, Connor insults voters and issues a veiled threat to unleash the “Conheads,” his followers, after saying that he wouldn’t stoop to petty behavior. It was perhaps the darkest moment for a character who has largely been relegated to buffoon status, but Ruck sees Connor’s ignorance as his main political tool.“He’ll believe whatever sounds good to him that day,” Ruck said in a recent video call full of vivid anecdotes and laughter. “He’ll read something online or he’ll hear something on television, then that’ll become, like, the central plank of his platform for that day. And then tomorrow could be something completely different because he’s just not a focused person.”As Connor, Ruck, 66, has spun decades of character-actor chops into some of the series’s most scene-stealing moments: the “hyperdecanting” of a bottle of wine in a Vitamix blender; the rage over butter texture while overseeing his father’s gala ceremony; the suggestion to his call-girl-turned-fiancée, Willa (Justine Lupe), that they have “razor wire and bum fights” at their wedding to gin up fanfare for his presidential campaign.“Hands down the best writing I’ve ever encountered, week after week,” he said. “But I do think that it’d be fun to move on to something else after playing basically the family [expletive], you know, for what amounted to six years.”Ruck sees the series as “a gift” in a career that has often been feast or famine, with occasional day jobs to pay the bills. In 1986, he played Cameron Frye in “Ferris Bueller’s Day Off”— a quintessential Gen X character in a quintessential Gen X teen comedy. But the role didn’t immediately translate into stardom, and Ruck found Cameron’s shadow to be quite long.Ruck was considered too old for “Ferris Bueller’s Day Off.” But once he auditioned, “everybody just thought he was perfect,” said his co-star Matthew Broderick. (With Mia Sara.)Paramount Pictures, via Getty ImagesAs the relationship between Connor and Willa turned into something more real than transactional, the actors discussed how to make that evolution work, Justine Lupe said.David M. Russell/HBO“There were a lot of spotty years where I was just, like, basically making just enough money to stay alive,” he said. “When people would come up during that period and say something about ‘Ferris Bueller’ it would kind of really irritate me because I felt, well, that was it. That was my shot.”Of “Succession,” he said, “I dreamed about a show like this for years.”Growing up in a suburb of Cleveland, Ruck found solace in acting once he reached high school. As a student at the University of Illinois, he said, he spent most of his time on a stage. The college’s performing arts complex was designed by Max Abramovitz, the architect behind David Geffen Hall, but “there was another sort of student theater that was just a small theatrical space in an armory,” Ruck said. “They’d give you a budget of 25 bucks, and you could put on any play you wanted. So it’s just a lot of experience over a short period of time.”He moved to Chicago in 1979, a time when the theater scene, anchored by companies like Steppenwolf and the Wisdom Bridge, was beginning to take off. And after the box office success of “The Blues Brothers” (1980), he said, Hollywood became more interested in the city, making it an ideal place to be a budding actor.“You could walk into any talent agency on a Wednesday, and just say, ‘Hi, I’m new,’ and they’d sit down and talk with you,” he said. “Talk about this with people who started in New York or Los Angeles, and they’re like, ‘What are you talking about? You can’t just go see somebody.’ So it was like the top of the minors.”When Broadway casting directors came to Chicago to audition actors for Neil Simon’s “Biloxi Blues,” Ruck eventually landed a role. He moved to New York and shared the stage with Matthew Broderick, his future “Ferris Bueller” co-star, who remembered Ruck as having that “aura of the ‘Chicago good actor’ thing.”Mark Mylod, a “Succession” director and executive producer, said Ruck’s understanding of Connor’s delusional worldview brought “this beautiful soul to the character.”Daniel Dorsa for The New York Times“He had the look of somebody like a James Dean,” Broderick said, laughing. “Everybody in that play, we all had, like, very different personalities. But we all really did turn into kind of a unit, and Alan was a hugely important part of that.”It was during that run of “Biloxi Blues” that casting began for “Ferris Bueller’s Day Off.” Ruck had met the director, John Hughes, in Chicago when he auditioned for an early version of “The Breakfast Club,” and his agent put his name in for the role of Cameron. But the casting directors thought Ruck, then 28, was too old.“But then he came in and read and just sort of knocked John Hughes out,” Broderick said. “Everybody just thought he was perfect.”“Ferris Bueller” was a hit and remains widely beloved nearly four decades later. But three years after starring in it, Ruck was working in the sorting room of a Sears shipping warehouse in East Los Angeles. He had moved to the city after landing a pilot with Nell Carter for NBC, but it failed, and he had a wife and young daughter to support.His co-workers had no knowledge of his acting career, he said. One day as Ruck was smoking in the break room, one co-worker pointed him out to another. “He said, ‘You ever see that movie ‘Ferret Buford’s Day Off’?” Ruck recalled, laughing. “‘That looks like the [expletive] with the dad car!’”Ruck eventually found plenty of sitcom and dramatic TV roles, most prominently in ABC’s “Spin City,” and landed bit parts in films like “Young Guns II,” “Speed” and “Twister.” It’s the type of trajectory that can be hard on an actor’s ego and paycheck but gives them space to sharpen. For Ruck, it showed him exactly what he was looking for.“I worked on a sitcom for, you know, 18 episodes, and then there was nothing for a year,” he said. “So that gets pretty discouraging, because you’re not doing what you’re supposed to do.”By the time “Succession” was casting in 2016, Ruck, who is now married to the actress Mireille Enos, had settled into more of a rhythm, taking whatever parts came to him. He was filming the Fox series “The Exorcist” in Chicago and flying home to Los Angeles on the weekends, while Enos was pulling 16-hour days filming “The Catch” and caring for their two young children. One weekend she asked him to join her and their 2-year-old son at a music class before he flew back to Chicago. Then he got a call from his agent: There was an audition for an HBO show, but he’d have to miss the class.“I turned to Mireille and I said, ‘Honey, I have an audition for an HBO show,’ and she burst into tears,” he said. So he kept his promise: “We went to music class, and we banged tambourines for like an hour.” Then he stopped by the “Succession” executive producer Adam McKay’s house on his way to the airport and auditioned in his living room.With no time to read the script in advance, he was told to improvise, which proved handy once he got the job and filming started. Mark Mylod, a “Succession” director and executive producer, said Ruck’s understanding of Connor’s delusional worldview brought “this beautiful soul to the character.” This was especially apparent during what Mylod called “freebies,” or extra takes in which the actors try alternate lines or improvise their own.“Alan is brilliant at that,” Mylod said. “You give him a freebie and basically he could run a 10-minute roll of film without ever breaking character.”Ruck sees Connor’s stupidity as his main political tool. “He’ll read something online or he’ll hear something on television, then that’ll become, like, the central plank of his platform for that day,” he said.Daniel Dorsa for The New York TimesMost of Ruck’s scenes are with Lupe, many of them excruciatingly awkward. But as their characters’ relationship grew into something more than merely transactional, Lupe said, their offscreen dynamic solidified. They texted each other regularly about how to make their scenes illustrate that evolution.“That was really helpful” she said. “We felt like we could do it together, instead of having to create a whole narrative on my own, or him having to create a whole narrative on his own.”Lupe pointed out their wedding scene from earlier this season. It amounted to only a few seconds of screen time in an episode destined to be remembered by viewers for the death of the paterfamilias, Logan Roy (Brian Cox). But what Lupe recalls is the emotional intensity of the filming of Willa and Connor’s nuptials.“We had vows that we exchanged with each other that kind of helped us get to the place where that felt like an authentic presentation,” she said. “In between takes, Alan would say these things like about how great it was to work together and about how the run had been with each other. And I was just like, ‘No, don’t! I’m gonna cry!’”Next up for Ruck are roles in two films: “The Burial,” a legal drama with Jamie Foxx, and a sequel to “Wind River.”. And while he will miss the camaraderie of the cast and crew of “Succession,” he feels he’s gotten everything he could out of Connor Roy — and some things he could do without.“It’s weird when you play a character that’s so easily dismissible,” he said, laughing. “People continually call you ‘moron.’ You know, it gets under your skin a little bit — I’ll be happy to let that go.” More