Television

Subterms

    More stories

    • 138 Shares119 Views

      in Music

      Remember Emmet Otter and His Jug Band? They’re Back, and Onstage.

      by

      The Jim Henson TV special was a hit in 1978. Now its furry creatures return in a new theatrical production in Manhattan, just in time for the holiday season.Paul Williams — yes, that Paul Williams, the rare singer-songwriter to have collaborated with Barbra Streisand, Brian De Palma and Daft Punk — only had a few tips during a rehearsal back in November, but when he spoke, everybody listened. The squirrels, who had been quite rambunctious seconds earlier, focused. George and Melissa Rabbit were all ears.After all, when the guy who wrote the score gives out notes, even woodland animals pay attention.Williams, spry and impish at 81, had dropped by the New Victory Theater in Manhattan to check on the early stages of “Jim Henson’s Emmet Otter’s Jug-Band Christmas,” which boasts an onstage menagerie of puppets from Jim Henson’s Creature Shop.Paul Williams composed the score of the original TV special from 1977, with echoes of Randy Newman, Alice Cooper and the Carpenters.Vincent Tullo for The New York TimesWilliams and Henson went way back, of course: In 1976, the musician was a guest on the eighth episode of “The Muppet Show,” and a few years later he wrote or co-wrote the songs for “The Muppet Movie,” including the Academy Award-nominated “Rainbow Connection.”In between these two projects, Henson asked him to come up with the score for “Emmet Otter’s Jug-Band Christmas,” an hourlong TV special that aired in America on HBO in 1978.“I was just thrilled to work with Jim,” Williams said. “He sent me the script and the book, and I just sat there and wrote. I think I was kind of being auditioned for ‘The Muppet Movie,’ which was a huge risk for them at the time.”A scene from the 1977 TV special, which employed the kind of madcap wit that had made “The Muppets” so popular.The Jim Henson CompanyBased on an illustrated children’s book by Lillian and Russell Hoban, “Emmet Otter’s Jug-Band Christmas” starts off with the title character and his mother barely making ends meet by doing small jobs by the river in Frogtown Hollow. So when they hear of a talent show with a $50 cash prize, they separately decide to enter. Emmet plays the washtub bass in a group with his furry friends, and Ma sings, but they face stiff competition, especially from the naughty Riverbottom Nightmare Band, whose members include a stoat, a snake and a weasel. The 75-minute musical production runs Dec. 11-Jan. 2 at the New Victory, with streaming available Dec. 17-Jan. 2.Ma and Emmet Otter from the new production. In the story, they hear of a talent show with a $50 cash prize, and they separately decide to enter.Vincent Tullo for The New York TimesThe puppeteer Jordan Brownlee with Doc Bullfrog.Vincent Tullo for The New York TimesYancy Woodchuck with the puppeteer Matt Furtado.Vincent Tullo for The New York Times“What I love about the show, and really appreciate more now that I’m older, is that it has so much heart,” said Christopher Gattelli, who is directing and wrote the book with Timothy Allen McDonald. “At the same time it has that great Muppet madcap wit, those zingers and those really fast takes, and those 30-second acts that are just hilarious. It’s like a ‘Muppet Show’ with a story.”Gattelli and McDonald worked on a first adaptation for Connecticut’s Goodspeed Musicals in 2008, but they went back to the drawing board for this one, which features four puppeteers and eight actors. “There’s more puppet business going on, and that’s music to my ear,” said Cheryl Henson, Jim’s daughter and an investor in the new show. (John Tartaglia, a Tony nominee for “Avenue Q,” is credited for puppet direction.)While Goodspeed used some original figures from the special, they are now in museums and had to be rebuilt for the New Victory..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-m80ywj header{margin-bottom:5px;}.css-m80ywj header h4{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:500;font-size:1.25rem;line-height:1.5625rem;margin-bottom:0;}@media (min-width:740px){.css-m80ywj header h4{font-size:1.5625rem;line-height:1.875rem;}}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}“But of course they don’t make the same fur anymore,” said Rollie Krewson, who built Wendell Porcupine and Charlie Beaver for the TV show; she is now a master puppet designer and builder at the Creature Shop. “I had to find furs that mimic more what the Emmet actor is wearing. They also wanted a new Ma, and we built a Pa Otter — there had never been one.”Williams at a rehearsal in Long Island City in November. “There are all these little touches in the script, amazing little clues to who the characters are,” he said.Vincent Tullo for The New York TimesVincent Tullo for The New York TimesVincent Tullo for The New York TimesDuring that rehearsal in Long Island City, the felt cast often behaved as if it had a life of its own in between scenes. “I consider it a good run if I forget they’re puppets,” Colin Trudell, who plays Emmet, said of his co-stars. “The puppeteers are also improv masters — the things that come out of their mouths in rehearsal really bring the characters alive.”Trudell, who graduated from Texas State University in May, had not seen the TV show when he auditioned for the stage version, and he watched it for the first time before his callback. You can’t blame him for missing out: “Emmet Otter” stayed under the radar for a long time (it is now available for streaming on Amazon and other platforms); and a proper soundtrack did not come out until 2018, so it does not have the following of more famous Henson properties.Its fans, however, are dedicated and loyal, often passing on the “Emmet Otter” tradition from one generation to the next, as happened in Gattelli’s family.A big reason for the show’s cult following is its rare humor and warmth. Without getting preachy, it’s an ode to friendship and family bonds, as well as the idea of community. Sure, you won’t be able to get the song’s riff from your head after hearing the Riverbottom Nightmare Band snarl, “We take what we want/We do anything that we wish/We got no respect/For animal, birdy or fish.”But it’s Ma Otter’s words you’ll remember: “Some say our world is getting too small,” she sings, “I say, with kindness,/There’s room for us all.”Wendell PorcupineVincent Tullo for The New York TimesLady PossumVincent Tullo for The New York TimesWilliams’s numbers for the original show offer an uncanny mélange of 1970s styles, with echoes of Randy Newman, Alice Cooper and the Carpenters. Except when the rollicking Nightmare Band pipes up, the music is filtered through a rootsy Americana vibe that transcends the decades, and was beautifully captured by My Morning Jacket in an aching cover of “Brothers in Our World” on the tribute “Muppets: The Green Album.”“To me, the music is the heart and the soul of this piece,” Henson said. “What works so well is that it’s delivered by these characters that are creatures — it’s a living storybook.”For Williams, those creatures made the assignment feel effortless: He just got the show’s furry (or scaly, as the case may be) subjects.“There are all these little touches in the script, amazing little clues to who the characters are,” he said. “My wife and I use the line all the time when the Riverbottom Nightmare Band has just been totally rude to all the guys in the tree house, and Charlie says, ‘They seem nice.’ It’s that human element that speaks to me,” he continued, “and it speaks to me at a level where it’s the easiest writing I ever get to do.”One thing that did not fit, though, is a conventional, “Jingle Bells”-type number. Though the story takes place around Christmas, there’s no song specifically about the holiday. Williams just did not see a need for it in “Emmet Otter.”“There are two tasks in writing songs for a film or a stage play or whatever,” he said. “One is to illustrate the inner life of the character, and the other one is to advance the story. When you’re done, you go, ‘What’s missing?’ And it never felt like anything was missing.” More

    • 125 Shares189 Views

      in Television

      Ken Jennings and Mayim Bialik to Share ‘Jeopardy!’ Hosting Duties

      by

      The long-running quiz show decided to keep the hosts into its 38th season in 2022, putting an end, at least for now, to speculation and drama around the job.The quiz show “Jeopardy!” announced on Wednesday that Ken Jennings and Mayim Bialik would continue to share hosting duties into 2022, putting an end, at least for now, to months of speculation and drama around who would permanently succeed Alex Trebek, the host of more than 36 years.For months after Trebek’s death last year, producers of the game show struggled to decide who would replace him. For weeks, they cycled through a series of guest hosts, including Jennings, a former champion of the show who won a record 74 consecutive games, and Bialik, an actor known for her roles in the sitcoms “The Big Bang Theory” and “Blossom.”Other guest hosts included well-known television personalities such as Anderson Cooper, Katie Couric and LeVar Burton.On Aug. 11, Sony announced that it had named Mike Richards, an executive producer on the show, as the permanent host of “Jeopardy!” At the time, Bialik was also named as the host of primetime specials and spinoff series.But on Aug. 20, Richards abruptly quit the hosting job, after a report by The Ringer revealed offensive and sexist comments he had made on a podcast several years ago, the latest in a series of scandals that affected his brief tenure.In his place, Bialik and then Jennings became guest hosts of the regular program, splitting duties through the end of 2021.Both Jennings and Bialik have faced criticism for past remarks. Jennings apologized last year over insensitive tweets he made, including about people who use wheelchairs. Bialik has drawn controversy over several issues, including a “brain health supplement” she endorsed for a company that faced a lawsuit accusing it of false advertising, and for writing in a 2012 book about making an “informed decision not to vaccinate our children.”She clarified last year that her children would be vaccinated against the coronavirus.In its announcement on Wednesday, “Jeopardy!” said the executive producer Michael Davies would remain in that role. Davies, a veteran game-show producer who developed the original American version of “Who Wants to Be a Millionaire,” had replaced Richards as an executive producer at “Jeopardy!” and “Wheel of Fortune.”Despite the controversies around who would host “Jeopardy!,” the show, which first aired in 1964, has continued to be a TV institution, drawing a weekly audience of more than 20 million. More

    • 163 Shares179 Views

      in Television

      Late Night Has Some Ideas on Who Set the Fox Christmas Tree Ablaze

      by

      “The fire is believed to have started after Fox News’ pants caught on fire,” Jimmy Kimmel said.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.We Didn’t Start the FireA 50-foot tree in front of Fox News’s New York City headquarters was set on fire early Wednesday.“The fire is believed to have started after Fox News’ pants caught on fire,” Jimmy Kimmel joked.“The fire is believed to have started because Judge Jeanine Pirro ate one too many rum balls and breathed on a cigarette.” — JIMMY KIMMEL“I’ve seen trees — this is not one of them. That is a hollow structure that sort of resembles a tree, in the same way Tucker Carlson is a hollow structure that sort of resembles a human.” — JIMMY KIMMEL“And Fox News tried to warn us this was coming. Every time a store clerk says, ‘Happy holidays,’ a Christmas tree bursts into flames.” — STEPHEN COLBERT“Authorities arrested a suspect last night, and police say that they believe he is homeless and mental illness may have played a factor. Homeless and mentally ill? Oh, my God — the fire was set by Bill O’Reilly!” — STEPHEN COLBERT“[To the tune of ‘It’s Beginning to Look a Lot Like Christmas’] It’s beginning to look a lot like arson, everywhere you go. Take a look at the tree and then, the flames are roaring once again. Doocy, stop, drop, roll.” — STEPHEN COLBERTThe Punchiest Punchlines (Fired Up Edition)“Even though lighting trees on fire is very much in line with Fox’s position on climate change, the hosts of their morning show were very upset today.” — JIMMY KIMMEL“And it is not clear how this happened. It could be an accident. It could be arson. It could be Santifa.” — TREVOR NOAH“Now, I know what you’re thinking, but the ghost of Hugo Chavez has an alibi.” — STEPHEN COLBERT“Of course, this never would have happened if the tree had a gun.” — STEPHEN COLBERTThe Bits Worth WatchingSamantha Bee got a tattoo to commemorate her 200th episode of “Full Frontal.”What We’re Excited About on Thursday NightMichael B. Jordan will sit down with Stephen Colbert on Thursday’s “Late Night.”Also, Check This OutAlexa VisciusThe “Hacks” star Meg Stalter loves Dolly Parton, Instagram Live and private karaoke. More

    • 88 Shares129 Views

      in Television

      Jury in Jussie Smollett Trial Begins Deliberations

      by

      After closing arguments on Wednesday, the panel began considering whether the actor had staged a hate crime against himself, as the two men who attacked him have testified.The jury tasked with deciding whether Jussie Smollett falsely told the police that he had been the victim of a racist and homophobic assault began deliberations on Wednesday and started to grapple with the two differing narratives of what happened on a freezing Chicago night in 2019.Prosecutors have accused Mr. Smollett of orchestrating the attack himself by instructing two brothers, Abimbola Osundairo and Olabinjo Osundairo, to punch him just hard enough to create bruises, pour bleach on his clothing and place a rope around his neck like a noose while yelling racist and homophobic slurs.But the defense, which relied on more than seven hours of testimony by Mr. Smollett himself, has argued he was the victim of a real attack, perpetrated by the brothers, who then lied to investigators to avoid being prosecuted themselves.After six days of testimony, and a full day of closing arguments by both sides, the 12-person jury began considering the disorderly conduct charges late on Wednesday afternoon. But Judge James B. Linn agreed to suspend deliberations just after 5 p.m. because one of the jurors had reported to the court that he had made a prior commitment to attend a concert in which his child was participating.Earlier in the trial, the special prosecutor in the case, Daniel K. Webb, told the jury that Mr. Smollett had staged the attack because he was upset that the producers behind the television show on which he starred, “Empire,” had had a muted response to a death threat the actor had received in the mail.Mr. Webb argued on Wednesday that Mr. Smollett’s own account of what had occurred did not make sense. If the attack had not been planned, he said, the Osundairo brothers would not have known when and where Mr. Smollett would pass in those early morning hours when he was assaulted as he carried home a tuna sandwich from Subway.Mr. Smollett, he pointed out, initially reported that one of his attackers had been white even though Abimbola Osundairo, whom he knows well, is Black and is someone whose voice he has heard many times. Similarly, he cited Mr. Smollett’s refusal to turn over his phone and other potential evidence to the police as indications that the actor sought to impede the investigation.“Mr. Smollett didn’t want the crime solved,” Mr. Webb said in his closing. “He wanted to report it as a hate crime; he wanted media exposure; but he didn’t want the brothers apprehended.”Mr. Webb also said evidence indicated that Mr. Smollett “tampered” with the rope on his neck to make it look like it was fitted more tightly than when Olabinjo Osundairo put it over Mr. Smollett’s head. The prosecutor showed the jury an image of surveillance footage taken shortly after the attack and compared it with an image of Mr. Smollett when the police came, with the rope appearing tighter in the second image.On Monday, Mr. Smollett had denied tampering with the rope. He testified that when he returned to his apartment after the attack, he had taken the rope off, but his creative director, Frank Gatson, told him to put it back on so the police could see what had happened.“I was trying not to mess up the evidence,” Mr. Smollett said.Daniel K. Webb, center, the special prosecutor handling the Smollett case, arrives at court on Wednesday. Kamil Krzaczynski/Agence France-Presse — Getty ImagesIn the defense’s closing argument, Mr. Smollett’s lead lawyer, Nenye Uche, said that prosecutors had not established a clear motive, and that, in fact, his client had every reason not to have faked an attack.“His lack of motive is pretty obvious: Media attention, he doesn’t like it,” Mr. Uche said. What is more, he said, Mr. Smollett had a music video shoot coming up and could not afford his face getting bruised.Understand the Jussie Smollett TrialCard 1 of 5A staged hate crime? More

    • 113 Shares159 Views

      in Movies

      The Oscars Are Broken. Here’s How to Fix Them.

      by

      The ratings flop that was the last ceremony provided useful lessons in what not to do. But there are steps the academy can take for an actually enjoyable evening.His client was having a great night. He should have been thrilled. But on the last Sunday night in April, as this year’s dire Oscar ceremony continued to deflate, a top Hollywood representative texted me about the “beyond terrible” show and fretted, “The entire country has tuned out.”Later, as the ceremony entered an even worse final act that included a flop-sweat comedy bit and a bungled best-actor reveal, I got another text from him: “This could kill the Oscars. It’s that bad.”Reviews of the show proved nearly as scathing, and the ratings released the next day were grim: The Oscars had plunged more than 50 percent from the previous year, drawing just under 10 million people, the lowest number on record since those figures had been tabulated.I’ve thought about that ratings drop (and those doom-laden texts) quite a bit in the months since, as a new awards season has begun. There is a lot of excitement in Hollywood right now, as premieres and award shows can be held in person again and the movies vying for awards feel much bigger. But behind people’s unmasked smiles, I detect some anxiety, as though there’s a question that everybody is still too nervous to pose: What if all of this is leading up to an Oscars that nobody will watch?I think it helps that the show has returned to a guaranteed 10 best-picture nominees, which should ensure that a broader cross-section of movies gets nominated, just as the academy’s laudable drives to diversify its membership ought to result in a slate of nominees that feels less out of touch. But all of those efforts could seem fruitless if the show’s audience shrinks so starkly once again. After the last ceremony tanked the Oscars’ reputation and ratings, here are four things the academy should do to fix things before next year’s show.Hire a host.The last three Oscar ceremonies have gone without an M.C., which continues to feel like a missed opportunity. The right host can help drive viewers to the show and provide memorable, viral moments: Part of the reason the Golden Globes used to gain on the Oscars is that they could promote buzzy hosts like Ricky Gervais and the ace duo of Tina Fey and Amy Poehler.Hosting the Academy Awards used to be one of Hollywood’s most prestigious gigs, but the show often fumbled that privilege over the last decade: There was the James Franco-Anne Hathaway debacle (which might have worked with sharper writing and a more engaged partner for Hathaway), smarmy turns from Seth MacFarlane and Neil Patrick Harris, and two back-to-back stints from a disinterested Jimmy Kimmel. Ever since 2018, when Kevin Hart stepped down from the show after refusing to apologize for anti-gay jokes, the ceremony has decided to dispense with a host altogether.But if the Oscars are so eager to cram blockbuster content into a show that often celebrates small indie movies, why not invite some hosts from that tentpole realm? I’d rather watch Dwayne Johnson and Emily Blunt host the Oscars than star in something like “Jungle Cruise,” and it’s fun to imagine what a quick-witted Marvel duo like Paul Rudd and Simu Liu could do, too. I fear the Oscars might never restore the host position now that the show runs shorter without one. But on that note …Understand that shorter doesn’t mean better.In their never-ending quest to trim the Oscars to a manageable length, ABC and the academy would do well to remember one thing: It’s not about how much time the show takes, it’s about how well the show uses that time. Why not lean into the Oscars’ mammoth reputation and fill every nook and cranny with something exciting? It still boggles my mind that there isn’t a slate of movie trailers on par with the Super Bowl: Imagine how many people would tune in if the commercial breaks promised a first look at the “Black Panther” sequel, just for starters.When the show is pared down too ruthlessly, it leaves less room for the real human moments that we tune in for. Those moments don’t have to come solely from the acceptance speeches, either: I often think fondly of the 2009 show, hosted by Hugh Jackman, which made room for five former winners to present each of the acting categories. It was a lovely way to pay homage to Oscar history, and all the nominees were memorably moved by the tribute. That ceremony ran about 11 minutes longer than the one that aired this past April, but I’ll take those 11 minutes over nearly anything the shorter show had to offer.Restore the clips and performances.One of the reasons this year’s Oscar show felt so deadly dull is that nearly all the movie clips were excised from the broadcast. For casual viewers who tune into the Oscars without seeing most of the nominees, those clips create a rooting interest: Based on the glimpses of performances and craft, you can make your own armchair guess of who’ll win. And when I watched the show as a child, the movie clips offered a sneak preview of worlds, lives and people previously unknown to me. They’re essential.This year’s ceremony also punted the best-song performances to the preshow, which deprived the main event of several high-energy moments. (Can you imagine if that scorching “Shallow” duet from Lady Gaga and Bradley Cooper had been booted to the preshow two years ago?) With original songs in the mix this year from Beyoncé and Billie Eilish, the Oscars would be foolish not to milk those performances for everything they’re worth. And if all those clips and performances make the show run too long, just cut the shorts already!Make peace with the Oscars’ new reality.With all that said, there’s only so much the Oscars can do to halt their linear-ratings slide. People simply consume media differently these days, and many households and younger audiences have cut the cord entirely, consuming all of their TV shows on streaming services.But the essential pull of the Oscars still remains. It’s the only awards show that generates this much chatter, and the narratives that unspool because of the show — from boundary-shattering victories like the best-picture winner “Parasite” to a cultural movement like #OscarsSoWhite — continue to ripple outward through our culture. I saw it last year, when the “Minari” star Steven Yeun became the first Asian American nominated for best actor, and when the “Nomadland” director Chloé Zhao became the first woman of color to win best director: Even though their films were hardly blockbusters, their achievements went incredibly viral on social media.That sort of engagement proves that there’s still a massive audience out there, albeit one that tunes in ever more frequently via Twitter, YouTube and TikTok. If the academy wants to lure all of those eyeballs to the actual broadcast, then it should make a more compelling play for their attention. Despite recent missteps, people haven’t lost interest in the idea of the Oscars. It’s the show itself that’s in need of a tuneup. More

    • 163 Shares129 Views

      in Television

      ‘Is There Still Sex in the City?’ Review: Candace Bushnell Dishes Hot Details

      by

      In her one-woman Off Broadway show, the “Sex and the City” author invites audiences behind the scenes of her life with a wink and a cocktail.Like her “Sex and the City” alter ego, Carrie Bradshaw, Candace Bushnell dated a politician once — though he never asked her to pee on him. Dishy details like this are delightfully sprinkled throughout “Is There Still Sex in the City?,” a one-woman show written by and starring Bushnell that opened on Tuesday at the Daryl Roth Theater. But she offers more here than mere fodder for fans of her conflicted urban fairy tale of female sexual liberation, which grew from her mid-’90s column for The New York Observer into the enduring franchise.With her frank and unpretentious point of view, Bushnell developed an appealing and assured mode of storytelling that marries aspirational fantasy with friendly confessional. Making her stage debut at 63, the author synthesizes her own personal and professional life as if it were a surprisingly eventful night on the town, inviting audiences behind the scenes and into her cozy confidence with a wink and a cocktail. (Cosmopolitans are available for purchase at the theater entrance.)Bushnell’s onstage memoir proceeds at a quick clip. When she emerged from puberty flat-chested, her father said soberly, “I’m afraid no man is ever going to love you.” (“Thanks, Dad.”) She climbed off the bus to Manhattan in a Loehmann’s outfit picked out by her mother, hoping to write her way to a Pulitzer. She landed her first byline with a wry piece on how to behave at Studio 54. (“If someone dies, ignore them.”) She met her Mr. Big, and then he dumped her just as she published the book “Sex and the City,” in 1996, which would upend how readers, and later viewers, thought about women and sex.Under the direction of Lorin Latarro, Bushnell is conversational and accessible onstage; there’s a wonder and humility to her tone even as she settles behind the velvet ropes of high society, which makes her endearing rather than alienating to those looking on from the outside. Her prose doesn’t play for laughs, but humor stems from Bushnell’s pithy matter-of-factness. There’s an economy of detail, too, that works smartly in performance. On the set of “Sex and the City,” a crane “shining a very large light, as bright as the sun” fills her with awe. (“And it’s all because of something I wrote.”)The stage, outfitted like a living-room-size walk-in closet, drips in shades of pink, with pairs of Manolo Blahniks enshrined in glowing chambers (the set design is by Anna Louizos, and lighting by Travis McHale). Sound design by Sadah Espii Proctor cleverly calls up city scenes, from clinking brunch silverware to bustling Midtown traffic. Bushnell breezily cycles through svelte silhouettes from the costume designer Lisa Zinni, in step with the scribe’s philosophy of fashion as pleasure.Sexual agency and consumer gratification may no longer represent the very vanguard of modern feminism. (The revelation that Bushnell paid to house her own formidable footwear collection — unlike Carrie, whose closet was a gift from Mr. Big — perhaps doesn’t make her bell hooks.) But the imaginative framework that Bushnell laid out in “Sex and the City” has served as a formative foundation in popular culture — and it’s a fun playground to retread here with its romantic, sunny-voiced architect.In answer to the title question, Bushnell has decamped to the Hamptons, where she relishes planting vegetables, staying in and hula-hooping. These are the bonus years, Bushnell says, an opportunity to reinvigorate and reap the benefits of self-knowledge. Her own Charlotte, Miranda and Samantha have also moved into the neighborhood, proof of her enduring thesis that friendship is life’s greatest love story.Is There Still Sex in the City?Through Feb. 6 at the Daryl Roth Theater, Manhattan; darylroththeatre.com. Running time: 1 hour 30 minutes. More

    • 138 Shares189 Views

      in Television

      Pastor Who Appeared in Drag on HBO's 'We're Here' Leaves Church

      by

      A United Methodist Church pastor in Indiana stepped down after performing in drag and speaking about inclusion on the show “We’re Here.”When Pastor Craig Duke stepped onstage in a small town in southern Indiana, wearing a cotton-candy-pink wig and a sparkly dress under his white robe, he knew his performance would rile some members of his congregation.He did not, however, expect his drag debut to bring an end to his role leading Newburgh United Methodist Church in a suburb of Evansville.Mr. Duke’s performance was part of the unscripted HBO show “We’re Here,” which documents L.G.B.T.Q. people and their allies in small towns who put together a drag show, led by three drag all-stars.The episode that featured the pastor premiered in early November and in it, he explained that he appeared on the show so he could be “empathetic, not just sympathetic” to the community’s gay members. Three weeks later, the church announced that he had been “relieved from pastoral duties.”In an interview this week, Mr. Duke said he had received enough critical feedback since the show aired to convince him he could not continue leading the church, which he said had about 400 congregants. He said that he was hurt by the negative responses but that he had also received hundreds of messages of support.“I experienced as much love and acceptance, and dare I say more, within the drag culture and the L.G.B.T.Q. community than most people would experience within the settings of the church,” Mr. Duke said. “Not one person questioned what I was doing there; it was complete acceptance.”Mr. Duke last preached on Nov. 14, a week after his episode aired. A local church leader said in a letter to the congregation dated Nov. 26 that Mr. Duke would be relieved from his duties on Dec. 1.The superintendent of the south and southwest district of the Indiana United Methodist Church, the Rev. Mitch Gieselman, wrote in the letter that he had received numerous messages both supporting and criticizing Mr. Duke’s actions.Mr. Gieselman said that the pastor had not resigned or been fired, but that his salary had been significantly reduced and he and his family would have to move out of the parsonage by Feb. 28.“While there is a diversity of opinion regarding the moral implications of Rev. Duke’s actions, he has not been found to have committed any chargeable offense or other violation of the United Methodist Book of Discipline,” Mr. Gieselman wrote.The pastor’s supporters created an online fund-raiser, which had raised more than $56,000 as of Wednesday morning. He said any money raised over the $30,000 goal set to help his family would go toward creating a new faith community in town that he hopes is more inclusive.Pastor Craig Duke, middle left, and the drag queen Eureka O’Hara, middle right, performed at an event after Mr. Duke’s drag transformation on the HBO series.Johnnie Ingram/ HBOThe public split in this congregation came during a stalemate about rights for L.G.B.T.Q. members of the United Methodist Church, which has nearly 13 million members worldwide. Roughly half of them are in the United States.Ahead of a 2020 meeting of global delegates, a group of church leaders introduced a proposal to split the church, citing “fundamental differences” over same-sex marriage. The traditionalists signed a letter declaring that “the practice of homosexuality is incompatible with Christian teaching.” But the debate on the proposal has been delayed for nearly two years because of the coronavirus pandemic.The proposal, which would create a denomination that continues to ban same-sex marriage and the ordination of gay and lesbian clergy, is scheduled to be debated at the church’s general conference in August 2022.The interim pastor at Newburgh United Methodist Church, the Rev. Mark Dicken, said the Methodist church had “regrettably” been fighting over this issue for more than 40 years.“Very regrettably, the extremely conservative wing of the United Methodist Church has crammed through rather draconian provisions in their attempt to control clergy and their ministry to L.G.B.T.Q. people,” Mr. Dicken said.Mr. Dicken worked at the church in Newburgh from 2004 to 2011 and came out of retirement to lead the congregation again.“The tribalism and polarization that’s going on in our culture, particularly in our political culture, has filtered down into the church,” he said.In the HBO show, which was nominated for an Emmy in 2020, three drag stars, Shangela, Bob the Drag Queen and Eureka O’Hara, confront these divisions while mentoring people for the show-ending drag performance. All three posted messages of support for Mr. Duke after the news about him leaving his position became public.O’Hara, who was the pastor’s drag mother or mentor, said on Twitter: “Craig is an amazing person and deserves the same love that he shares with everyone around him.”The pastor, who is straight and described himself as “heteronormative,” was nominated to be featured in the show by the Evansville Pride group. He said he had never heard of the show but decided to participate to share a message of God’s unconditional love and to support his daughter, who identifies as pansexual. He used Joan of Arc O’Hara as his drag name.He said the negative response from some members of the congregation was especially painful because of the way it hurt his daughter. But his wife and the rest of his family are “sticking together,” he said, and they have been overwhelmed by the outpouring of support.He said he was grateful for his experience in drag.“It was real, it wasn’t vaudeville, it was powerful, as the words they taught me, it was fierce, it was authentic,” Mr. Duke said. More