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      In ‘Matlock,’ Kathy Bates Takes One Last Case

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      Kathy Bates was ready to quit. A movie shoot had soured (no, she won’t specify the movie) and she found herself alone, on her sofa in Los Angeles, sobbing. Bates, who won an Oscar for “Misery” and Emmys for “American Horror Story” and “Two and a Half Men,” has always taken her work to heart in an all-consuming way.“It becomes my life,” she said. “Sometimes I get jealous of having this talent. Because I can’t hold it back, and I just want my life.” She had given herself over to this part, and the gift had been ignored. The next day, she called her agents and told them she wanted to retire.A few weeks later, in January of this year, her agents sent her a script. It was for a procedural, which she hadn’t been looking for, and it was a reboot of a series that hadn’t especially moved her the first time: “Matlock,” a drama about a folksy attorney with a virtuosic legal mind and a wardrobe of seersucker suits. It endures in the cultural memory mostly as a punchline about shows old people like to watch.Still she began to read the script. And she kept reading. The protagonist, a woman who feels that age had rendered her invisible, was brilliant, canny, out for justice, and Bates has always had a strong sense of fairness. She feels the injustices of her career and her early life acutely, and the idea of playing a woman out to right wrongs called to her.So she paused her retirement. And “Matlock,” which debuts on CBS on Sept. 22 and will stream on Paramount+, became the unlikely vessel into which Bates, 76, can pour her talent, her vigor and surprisingly, given the shallowness of a typical procedural, all of her pain.“Everything I’ve prayed for, worked for, clawed my way up for, I am suddenly able to be asked to use all of it,” she said. “And it’s exhausting.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Athletes Go Super Saiyan for Anime

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      Young professional athletes are increasingly broadcasting their obsession with anime like “Pokémon” and “Naruto,” upending preconceptions about kinds of fandom.Instead of talking about football after he joined the New Orleans Saints, Jamaal Williams introduced himself to reporters last year with a dialogue on “Pokémon,” prompted by the foxlike character Eevee perched on his head.In homage to “Avatar: The Last Airbender,” the mixed-martial artist Israel Adesanya has boldly nicknamed himself the Last Stylebender.And the sprinter Noah Lyles, to celebrate his Olympic gold medal in the 100-meter dash this summer, cupped his hands forward as if generating the “Kamehameha,” an energy-blast attack from “Dragon Ball Z.”High-profile athletes are increasingly broadcasting their fascination with anime, creating a fraternity inside locker rooms as they lovingly dissect favorite animated Japanese shows and films. In the process, they are upending preconceptions about different kinds of fandom and outdated labels that seek to define and divide jocks and geeks.“There’s more nerds out here that can ball out and like anime,” said Williams, 29, who has worn an anime helmet visor and gently corrected a reporter who mispronounced “Pokèmon.” “You don’t have to be the stereotype where all we do is rap or play ball.”The N.F.L. player Jamaal Williams, wearing an Eevee hat, is happy to talk about Pokémon with reporters.New Orleans SaintsWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Fifteen-Love’ Is a Tense Tennis Drama

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      A British import on Sundance Now, the series balances sports sudsiness with prickly, fraught drama about sex, maturity, consent and power.Ella Lily Hyland and Aidan Turner in a scene from “Fifteen-Love.”Rob Youngson/Sundance NowJustine (Ella Lily Hyland) was a promising tennis player in her teens, and the French Open seemed like it would be her breakthrough tournament. But a gnarly wrist injury and an total emotional breakdown derailed her. Now she’s in her early 20s, working as a physical therapist at her old tennis academy, stewing in self-loathing and coming to terms with the fact that her coach, Glenn (Aidan Turner), assaulted and manipulated her. Part of her wants to leave that in the past, but when Glenn re-emerges at the club, coaching other teen girls, she can’t.“Fifteen-Love,” a British import on Sundance Now, balances sports sudsiness with prickly, fraught drama about sex, maturity, consent and power. Justine has great instincts but terrible impulses; she knows Glenn preyed on her, but there’s no real mechanism for justice or restitution. Some people in her life believe her; some don’t. But worst of all are the ones, like her mother, who mostly believe her but think what happened is no big deal — always a victim, they say. In Justine’s eyes, though, she never got to be a victim at all.Hyland’s performance here is mesmerizing but grounded, showing us how in some ways Justine grew up too fast, and in others she hasn’t grown up at all. She is angry and can be self-destructive, and the show shines in its argument scenes. Tennis players know how to volley. “You used to be on my side,” Justine spits at her best friend and fellow player. “No,” says the friend. “I was in your shadow.”Over its six episodes, “Fifteen-Love” loses steam, especially when it kicks into thriller mode toward the end. More characters does not always mean more story, and the show is most interesting when it is narrowly focused, probing the dynamic between Justine and Glenn. It’s not as pat as just victim and abuser — where do the other feelings go?Even as the plot sags, the specifics still land. In one scene, Justine and a comrade comb through years of possibly incriminating emails, looking for leads on other victims. What should they search for? “Sexual?” the friend suggests. “Inappropriate?” Justine instead types in “emotional.”So far four episodes are available, with new installments arriving Thursdays. More

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      From Winona Ryder to Jenna Ortega, a Goth Girl Timeline

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      From “Beetlejuice” to its sequel, these are the actresses and roles that made us embrace the darkness.Is it just fashion? No, it’s an attitude, a lifestyle. And a beloved character type. The goth girl is the lovable-yet-scary outcast whose grim and ghastly exterior belies wit, smarts and a dry sense of humor that never fails to cast an honest light on the disappointing world around her. As “Beetlejuice Beetlejuice” brings together two generations of legendary goth girls — Winona Ryder and Jenna Ortega — we look at some of the actresses and roles that have defined the archetype since the original “Beetlejuice” in 1988.1988Winona Ryder Sets the Standard“My whole life is a dark room. One big dark room.”Winona Ryder in “Beetlejuice.”Warner Bros.When Lydia Deetz appears in her family’s new Connecticut home early in “Beetlejuice,” she glances around curiously, her eyes wandering beneath her short, spiky black bangs, stopping at the sight of a spider in a web along the stairwell. Unlike her shallow, distracted parents, Lydia is clued in to the supernatural happenings of her new surroundings and has no trouble befriending the undead residents of the house.The role was one of Winona Ryder’s earliest in a career largely defined by goth girls and dark-attired outsiders. In the black comedy “Heathers,” Ryder played Veronica Sawyer, the reluctant friend to the popular girls, who prance around in bright matching outfits. Veronica, however, dresses in blacks and grays and gets drawn into a string of homicides that leaves multiple teenagers dead.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      27 TV Shows to Watch This Fall

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      A “WandaVision” spinoff, Colin Farrell in “The Penguin” and Alfonso Cuarón’s “Disclaimer” are among the season’s tantalizing offerings.The fall television season is short on blockbuster titles — a “Star Wars” extension, “Skeleton Crew,” from Disney+, and perhaps HBO’s as-yet-unscheduled “Dune: Prophecy.” But there is plenty that’s of interest, including Alfonso Cuarón’s return to television with “Disclaimer” on Apple TV+, Colin Farrell’s incarnation of the Penguin for HBO and Kathryn Hahn’s reboot of her “WandaVision” character in “Agatha All Along” for Disney+. There will also be new seasons of offbeat but proven comedies like “Bad Sisters” on Apple TV+, “Somebody Somewhere” on HBO and “What We Do in the Shadows,” which, unlike its vampire heroes, will perish after its sixth season on FX. Here are 25 shows to keep an eye out for this fall, in chronological order; all dates are subject to change.September‘THE OLD MAN’ In Season 2 of this melancholy spy thriller, Jeff Bridges and John Lithgow return as former C.I.A. colleagues and improbable action buddies — the two actors’ average age is 76, and Lithgow’s character once hired a hit man to kill Bridges’s. (With 76-year-old Kathy Bates starring in CBS’s “Matlock” reboot, it’s a good season for septuagenarians.) (FX, Sept. 12)‘HOW TO DIE ALONE’ The actress and writer Natasha Rothwell (“Insecure,” “White Lotus”) created and stars in this wistful comedy about a lonely airport worker whose life changes after a near-death experience involving an armoire and crab Rangoon. (Hulu, Sept. 13)Natasha Rothwell plays a lonely airport worker in the comedy “How to Die Alone,” which premieres on Hulu in September.Lindsay Sarazin/Disney‘AGATHA ALL ALONG’ Kathryn Hahn returns to her “WandaVision” character in this Marvel spinoff series. The witch Agatha Harkness, stripped of her powers, hits the road and forms a new coven; the cast includes Joe Locke of “Heartstopper,” Sasheer Zamata, Debra Jo Rupp and Aubrey Plaza. (Disney+, Sept. 18)‘THE PENGUIN’ Colin Farrell covers himself in silicone once again to play the waddling gangster Oswald Cobblepot, a.k.a. the Penguin, a role he first essayed in Matt Reeves’s 2022 film “The Batman.” Reeves is an executive producer of this mini-series, and Lauren LeFranc (“Impulse,” “Chuck”) is writer and showrunner. (HBO, Sept. 19)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Seth Meyers: Trump and Vance ‘Can’t Beat the Weird Charges’

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      The “Late Night” host said that Republican efforts to turn the accusations back on Democrats are “only making things worse.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Weird FlexFormer President Donald Trump participated in a Fox News town hall on Wednesday night, where he rejected claims that he and his running mate, JD Vance, are “weird” and said that they are both “solid.”“First of all, the opposite of weird isn’t solid — it’s normal,” Seth Meyers said on Thursday. “Republicans can’t beat the weird charges, so now they’re trying to turn them back around on Democrats, but in doing so, they’re only making things worse.”“He hates this so much that he can’t stop bringing it up, and now when it comes to Tim Walz, his defense is, ‘I’m not weird — you’re weird!’” — JIMMY KIMMEL“Right, right — I’m just a regular guy who lives in a gold house and has an orange face.” — JIMMY KIMMEL“I love how unprompted he immediately just throws Vance under the bus. [imitating town hall host] ‘Mr. President, how would you solve inflation?’ [imitating Trump] ‘Well, you know, everyone’s saying JD is a very weird man, you know. He’s obsessed with childless women, and he can’t even order doughnuts without creeping everybody out, but you know, I don’t think he’s weird.’” — SETH MEYERSThe Punchiest Punchlines (Dunkin’ Edition)“I had such secondhand embarrassment watching that that I had to peer through my hands like it was a ‘Saw’ movie.” — SETH MEYERS, on Vance’s strained interaction with the employees at a doughnut shop“This dude orders doughnuts like his kidnapper is watching him from the car.” — SETH MEYERS“[imitating Vance] How long have I been in this doughnut shop? Forever? OK, good.” — STEPHEN COLBERT“Let me ask you a question: Is JD Vance a doughnut? Because Walz is dunkin’ him.” — STEPHEN COLBERTThe Bits Worth WatchingParis Hilton gifted Jimmy Fallon an honorary degree from her “BBA” on Thursday’s Tonight Show.Also, Check This OutWinona Ryder and Michael Keaton, who both starred in the original “Beetlejuice” movie, return for “Beetlejuice Beetlejuice.”Warner Bros.Thirty-five years after the debut of “Beetlejuice,” Michael Keaton has reprised the iconic titular role in a long-awaited sequel. More

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      ‘The Rings of Power’ Season 2, Episode 4 Recap: The Trees Have Thoughts

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      This week’s episode, which included several Tolkien fan-favorite characters and creatures, is the best of the season thus far.Season 2, Episode 4: ‘Eldest’“Rings of Power” Season 2 debuted last week with three plot-heavy episodes, which was probably necessary given that the show had been on hiatus for nearly two years — and given that it took all three to get each of Season 1’s story lines back into play. Unfortunately, Episode 3 was easily the dreariest of the first batch, ending last week’s three-part premiere on a sour note. Light on action and heavy on earnest proclamations, the episode represented “Rings of Power” at its stiffest.Episode 4, though? It’s the best of the season thus far. It’s thrilling and strange, and populated with J.R.R. Tolkien fan-favorite characters and creatures. Even the opening scene has an uncommon flair, transpiring across a single shot that begins on an idyllic image of the waters outside Lindon before tracking a contentious conversation between Galadriel and Elrond, then rising into the sky. It sets the tone for a lively hour.Here are five takeaways and observations from Episode 4:Enter the entsIn Episode 3, Theo encountered some wild men out in the wilderness, and with them he was menaced by some unseen creature — and apparently a very tall one, given the high camera angle on Theo’s face before the scene ended. This week, Isildur enlists Arondir and Estrid in a search for Theo; and the three of them have a wild adventure, which includes Isildur and Arondir getting pulled under quicksand by a huge, writhing mud-beast (which the trio then slays and eats).The massive worm-thing isn’t even the party’s most bizarre encounter. Not long after Arondir warns his companions about the ever-present possibility of “nameless things in the deep places,” they discover that Theo and the wild men are being held captive by sapient trees. These are the forest-guarding entities known in Tolkien lore as ents — seen in “The Lord of the Rings” movies in the form of Treebeard, a brave and helpful ent who nonetheless laments the damage done to the trees during centuries of war in Middle-earth.The ents in this episode are more angry than wistful, because Adar’s orc army has recently marched through, “maiming” the forest. It takes some diplomacy from Arondir to calm the ents’ leader, Snaggleroot (voiced by Jim Broadbent), and to convince them to release Theo.In terms of this season’s plot, the scenes in and around the ancient town of Pelargir serve a few purposes. Arondir’s rescue of Theo helps to soften the kid’s resentment toward the elf. In this section we also see Isildur helping the Southlanders understand the Numenorean technology of their new home, and we hear Estrid confess to having been branded by Adar.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      That’s a Great Reality TV Set. Let’s Use It Again.

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      “The Circle” is one of many current shows using the same state-of-the-art production hub to shoot a variety of international versions.In “The Circle,” a reality competition show on Netflix, a group of strangers are sequestered for days inside a multistory apartment complex, angling to survive rounds of eliminations to win a cash prize, much like “Big Brother.” The twist is that the players can’t see or hear one another, and must communicate via text — people might not be what they seem, and anyone, at any time, could be catfishing.As it turns out, “The Circle” has been doing some impersonation of its own, with one sleek setting standing in for a local building across several international versions of the show.The neon-lit compound — which was initially a housing block in Salford, England, before moving, in 2023, to a complex in Atlanta, Georgia — has not only been the set for the series’ flagship American edition, which returns to Netflix for a seventh season on Sept. 11. It has also been used for “The Circle Brazil,” France’s “The Circle Game,” the British version of “The Circle” and its 2020 spinoff “The Celebrity Circle.” With minimal adjustments, the show can look like it’s located virtually anywhere in the world.“We need a building with 10 rooms, without noise bleed, that looks great, is in a cool location, and that can house a team of 200 people in the basement,” Jack Burgess, an executive producer on “The Circle,” said in a recent interview. “That’s a hard thing to find, so of course you want to make the most of it.”“The Circle” is one of many current reality programs taking advance of international production hubs: state-of-the-art bases where multiple production companies can pool resources to make versions of a show tailored to a variety of global markets.The “Circle” building for the upcoming seventh season of the U.S. show. via NetflixWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More