Television

Subterms

    More stories

    • 138 Shares99 Views

      in Movies

      Dean Stockwell, Child Actor Turned ‘Quantum Leap’ Star, Dies at 85

      by

      He appeared alongside Frank Sinatra and Gene Kelly when he was not yet 10. He later had signature roles in movies like “Married to the Mob” and “Blue Velvet.”Dean Stockwell, who began his seven-decade acting career as a child in the 1940s and later had key roles in films including “A Long Day’s Journey Into Night” in 1962 and “Blue Velvet” in 1986, while also making his mark in television, most notably as the cigar-smoking Al Calavicci on the hit science fiction series “Quantum Leap,” died on Sunday. He was 85.His death was confirmed by Jay Schwartz, a family spokesman, who did not say where Mr. Stockwell died or specify a cause.Mr. Stockwell had a hot-and-cold relationship with acting that caused him to leave show business for years at a time. But he nonetheless amassed more than 200 film and television acting credits from 1945 to 2015, as well as occasional stage roles.As a child he appeared alongside some of the biggest stars of the day, including Gene Kelly and Frank Sinatra in “Anchors Aweigh” in 1945, when he was not yet 10. But while many child stars don’t make the transition to adult careers, Mr. Stockwell was blessed with angular, rugged good looks as a young man and a distinguished maturity later, attributes that made him suitable for all sorts of roles.Several times Mr. Stockwell lost interest in the profession that he had been all but born into, escaping to work on railroads and in real estate and, in the 1960s, to immerse himself in the counterculture. He also enjoyed several career revivals, notably in the 1980s, when he was cast in career-defining roles in movies like Wim Wenders’s “Paris, Texas,” David Lynch’s “Dune” and “Blue Velvet” (as the menacing and eccentric henchman of a drug dealer played by Dennis Hopper), and Jonathan Demme’s “Married to the Mob,” in which his performance as a mob boss earned him an Academy Award nomination for best supporting actor.Mr. Stockwell as an eccentric criminal in David Lynch’s film “Blue Velvet,” from 1986.De Laurentiis Entertainment GroupAs the son of actors — his father, Harry Stockwell, and his mother, Elizabeth Veronica, appeared onstage and in films together, and Harry Stockwell provided the voice of Prince Charming in Walt Disney’s “Snow White and the Seven Dwarfs” — Mr. Stockwell had little semblance of a typical childhood before he began acting.He first appeared on Broadway in 1943, at age 7, in “The Innocent Voyage.” (His older brother, the actor Guy Stockwell, who died in 2002, was also in the cast.) He was recruited by a Hollywood talent scout, and his movie career began in 1945, when he appeared in “The Valley of Decision,” with Gregory Peck and Greer Garson, and in “Anchors Aweigh.”Mr. Stockwell was immediately praised for his skill, winning a special award at the Golden Globes for “Gentleman’s Agreement” in 1947. Reviewing the movie “Kim” in 1950, Bosley Crowther of The New York Times praised his performance as “delightfully sturdy and sound,” adding, “Little Dean shows a real tenderness.” Other Times reviews of his performances as a child called his work “touching,” “commendable” and “cozy.”Robert Dean Stockwell was born on March 5, 1936, in Los Angeles. His parents divorced when he was 6, and he spent most of his childhood with his mother and brother. He would later say that he looked up to directors and leading actors on the set as father figures.He would appear in 19 films before he turned 16, at which point he quit acting for the first time. Withdrawn as a child, he took little pleasure in acting, seeing it as an obligation foisted upon him by others, he said in an interview with Turner Classic Movies in 1995.“If it had been up to me, I would have been out of it by the time I was 10,” he said.After graduating from high school at 16 — as a child actor, he received three hours of schooling while working — Mr. Stockwell realized he had little training to do anything else. He flitted from one odd job to the next before reluctantly returning to acting in 1956, when he was 20.Mr. Stockwell, left, with Scott Bakula on the set of “Quantum Leap” in 1989.Ron Tom/NBCU Photo Bank, via Getty ImagesOne of his biggest roles in his 20s was alongside Jason Robards, Katharine Hepburn and Ralph Richardson in the 1962 film version of Eugene O’Neill’s “Long Day’s Journey Into Night,” in which he played the younger son, Edmund Tyrone. He, Mr. Robards and Mr. Richardson shared an acting award at the Cannes Film Festival.Other notable roles in that period included “Compulsion” (1959), a fictionalized version of a well-known murder case, in which he and Bradford Dillman played the killers of a young boy; and “Sons and Lovers” (1960), based on the novel by D.H. Lawrence.Later in the 1960s, Mr. Stockwell found comfort in the counterculture movement and the hippie ethos.“My career was doing well, but I wasn’t getting anything out of it personally,” he told The Times in 1988. “What I was looking for I was finding in another place, which was in that revolution. The ’60s allowed me to live my childhood as an adult. That kind of freedom, imagination and creativity that arose all around was like a childhood to me.”After a few years off, he returned to acting, only to learn that his time away had led Hollywood casting agents to forget him. For about a dozen frustrating years, he struggled to land roles, appearing in fringe films and performing in dinner theater.“I even heard about a casting meeting where the producer said, ‘We need a Dean Stockwell type,’” he told The Times in 1988. “Meanwhile, I couldn’t even get arrested.”He quit acting again in the early 1980s, moving to New Mexico to sell real estate. His next comeback would be his most successful, beginning a decade of his most critically acclaimed work.In 1988, he was acclaimed, and Oscar-nominated, for his performance in “Married to the Mob.” The next year, he was cast in “Quantum Leap.”That show, seen on NBC from 1989 to 1993, starred Scott Bakula as Sam Beckett, a scientist who, because of a botched time-travel experiment, spends his days and nights being thrown back in time to assume other people’s identities. Mr. Stockwell portrayed Adm. Al Calavicci, described by John J. O’Connor of The Times in a 1989 review as “Sam’s wiseguy colleague, who hangs around the edges of each episode, setting the scene and commenting on the action.” Mr. Stockwell, Mr. O’Connor wrote, was “Mr. Bakula’s indispensable co-star.”Mr. Stockwell was nominated four times for an Emmy Award for best supporting actor in a drama series for his work on “Quantum Leap.” He never won an Emmy, but he did win a Golden Globe in 1990.He is survived by his wife, Joy Stockwell, and two children, Austin and Sophie Stockwell.In a 1987 interview with The Times, Mr. Stockwell said that his approach as an actor hadn’t changed since he was a child.“I haven’t changed in the least,” he said. “My way of working is still the same as it was in the beginning: totally intuitive and instinctive.“But as you live your life,” he added, “you compile so many millions of experiences and bits of information that you become a richer vessel as a person. You draw on more experience.”Neil Genzlinger contributed reporting. More

    • 150 Shares119 Views

      in Movies

      The ‘Rust’ Shooting Spurs a Debate Over Using Guns on Film Sets

      by

      Alec Baldwin, who fatally shot a cinematographer with a gun he had been told was safe, has called for productions to hire police officers to monitor gun safety.Ever since the actor Alec Baldwin fatally shot the cinematographer of the film “Rust” last month with a gun he had been told, incorrectly, contained no live ammunition, the debate on the use of firearms on sets has been growing.Dwayne Johnson — the action star whose production company has made gun-filled films like the “Fast & Furious” spinoff “Hobbs & Shaw” — told Variety last week that the company would no longer use real guns on set. Dozens of cinematographers have signed a commitment not to work on projects using functional firearms. And a state lawmaker in California is drafting legislation that would ban operational firearms from sets.Mr. Baldwin, who was a producer of “Rust” as well as its star, weighed in this week with his own suggestion: that productions should hire police officers to monitor safety. Mr. Baldwin posted Monday on his Twitter and Instagram accounts: “Every film/TV set that uses guns, fake or otherwise, should have a police officer on set, hired by the production, to specifically monitor weapons safety.”But many in the film industry see the tragedy more as a problem of failing to adhere to existing firearms safety protocols than of requiring new, stricter protocols, and it is unclear if any of the proposed changes will have the momentum to come to fruition.The “Rust” shooting happened on Oct. 21, after an old-fashioned revolver was placed in Mr. Baldwin’s hands and proclaimed “cold,” meaning that it should not have contained any live ammunition. But it did: As Mr. Baldwin practiced drawing the gun for a scene, it fired a real bullet, law-enforcement officials said, killing the film’s cinematographer, Halyna Hutchins, and wounding its director, Joel Souza. There should not have been any live ammunition on the set at all, according to court papers, and law-enforcement officials are investigating how the gun came to be loaded with a lethal bullet.The backlash to Mr. Baldwin’s proposal to have police officers monitor on-set gun safety included comments from industry veterans like David Simon, the creator of “The Wire,” who tweeted that “the average cop is no more a totem of gun safety than a trained film armorer.”Then there are those calling to ban the use of functional guns — which are supposed to be loaded only with dummies or blanks — on sets. They say that technology has advanced to the point where special effects can be used to create the illusion of convincing gunfire. After the shooting in New Mexico, Craig Zobel, the director of the HBO whodunit “Mare of Easttown,” noted that all of the gunshots on that show were digital. But some studio executives say that there are times when visual effects are not sufficient, and that some actors struggle to make fake weapons that cannot even fire blanks appear convincing.The calls for systematic change are complicated by the fact that it is still unclear exactly why the tragedy occurred.Some crew members voiced concerns about the experience level of the film’s armorer, Hannah Gutierrez-Reed, whose lawyers have defended her training and commitment to safety and faulted the production. And the film’s first assistant director, Dave Halls, told a detective investigating the case that he should have checked the gun more thoroughly before Mr. Baldwin handled it, according to an affidavit. (His lawyer later said in a television interview that checking the gun was not his job.) But the central question, of how a live round got into the revolver in the first place, remains a mystery.Despite the remaining questions, the fatal shooting has spurred calls for change inside and outside of the film and television industry..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-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;}The governor of New Mexico, Michelle Lujan Grisham, said days after the shooting that “if the industry doesn’t come forward with very specific accountable safeguards, they should expect that we will.”Stephen Lighthill, the president of the American Society of Cinematographers and one of the prominent signatories of the statement — first reported by Variety — pledging to avoid operational firearms on sets, said that there had not been a wide-scale conversation around what the industry standard should be before the “Rust” shooting. Cinematographers including Bill Pope of “The Matrix” and Mandy Walker of “Mulan” have signed on to the pledge. The statement was posted with a hashtag:#BanBlanks, calling for an end to the use of blank cartridges, which contain gunpowder and paper wadding or wax.Another signatory, Reed Morano, a cinematographer who directed episodes of “The Handmaid’s Tale,” wrote in an Instagram post that she had once been hit by a blank at close range while operating a camera and wished she had thought more about large-scale change then.“How many more deaths do we need to mourn to prove that this must change?” Ms. Morano wrote.In California, a Democratic state senator who represents Silicon Valley, Dave Cortese, has been drafting legislation that would ban operational firearms from sets, which he said would effectively also ban blanks. Mr. Cortese said in an interview that the current system for safety protocols around handling guns on sets — guidelines outlined by unions and production companies — were not sufficient to ensure enforcement and accountability.“Right now what’s missing is the consequences,” he said. “Life and death is not an OK consequence of an error or omission.”Another legislative approach that is being considered, Mr. Cortese said, is a restriction on certain kinds of blanks. But his preference is for an outright ban on operational firearms and blanks, which he thinks can be replaced with special effects.“Some people say, ‘Why get rid of them?’” Mr. Cortese said. “Why have them? What’s the point in this day and age?”He said he has scheduled a meeting this week with members of the union local that represents armorers, and a bill would likely be considered in February.Those in the film industry who warn against making such rapid and wholesale changes to the industry say safety protocols are usually clear, and usually closely followed.Michael Sabo, who was propmaster on “The Wire” and oversaw the use of operational guns on the set, said he thinks nonfunctional guns would appear fake to viewers. Instead of a ban, he favors tighter restrictions on who can handle them.“You can have some of the best actors in the world, but if they pull a trigger and nothing happens, it’s not real,” he said. “That’s my biggest problem when they say we should ban guns on sets.”Brooks Barnes contributed reporting. More

    • 113 Shares99 Views

      in Music

      How a 55-Year-Old California Teacher Became a Bollywood Actor

      by

      Richard Klein left behind his life as a Hebrew day school teacher in California and became an actor in Mumbai, often playing a “mean British officer.”It’s Never Too Late” is a series that tells the stories of people who decide to pursue their dreams on their own terms.By most accounts, Richard Klein had a pretty good life: a solid job as a teacher at a Hebrew day school in Oakland, Calif.; friends that were like family, and a passion for singing and dancing that ruled his nights and weekends. But one morning, at the age of 45, he woke up and realized that he had yet to embrace his full potential. He wanted to break into Bollywood.“I’ve always loved performing, and I was listening to Indian classical and devotional music a lot,” at the time, Mr. Klein said. The 2001 Bollywood epic “Lagaan” inspired him to try and make his passion his profession. “Things have come full circle,” he said, adding that he appears in the 2022 film “Lal Singh Chaddha” with Aamir Khan, who starred in “Lagaan.”Six months after that fateful morning, Mr. Klein, who is divorced and has no children, moved to Mumbai. At first, he lived in the coastal metropolis part time. He alternated between a gig editing subtitles for English-language television shows in Mumbai and tutoring back in California, where he would make enough money to underwrite another six months of trying to make it in the performing arts world in India.Eventually it paid off. Mr. Klein, now 55, has appeared in dozens of Indian films, television shows and commercials, playing such varied roles as a scientist, doctor, chef, spy, and, owing to his ability to nail a British accent, quite often, a “mean British officer.”Making the change was not without strife. Still, he said he would do it all over again. “I’m in India, you know, the land of reincarnation,” Mr. Klein said, “but as far as I’m concerned, I have this one life that I’m dealing with. I want to make the most of it.” (The following interview has been edited and condensed.)“Being here gives me the opportunity to be the best version of myself. I wasn’t feeling that opportunity in the U.S.”Prarthna Singh for The New York TimesWhat was your life like before you made this change?I had been living in the San Francisco Bay Area for about 20 years. Mostly, I was a teacher: math, science, computer lab. My nights and weekends were spent doing some kind of performing arts. I’ve always had an affinity toward music. I remember being a little kid, walking through the park, singing. A stranger walked by, and I sort of got quiet. My mom said: “Don’t be shy. You sing out loud and don’t worry about anybody else.”What was the watershed moment?I was working as a teacher at a Hebrew day school, and one morning I woke up and thought, “If I don’t do something, I could be here for the next 20 years.” That wouldn’t be a terrible outcome, but it wasn’t the one I wanted.I studied India in graduate school, when I was pursuing a degree in religion. Learning about India inspired me to adopt the nickname Bhakti, which I’ve used since 1991, though I never changed my name legally. In a broad sense, Bhakti means devotion and love. The word is a reminder to lead with my heart instead of my head, so every time I hear my name, I think of that.My first trip to India was in 1995 as a backpacker. I absolutely loved it. I went back a few times after that. So I thought: what if I go there, stay, and see what happens? On one of my first nights in Mumbai, I went out to a jazz club. All the performers were foreigners. We got to talking afterward, and I ended up joining their group as a singer, which was my first foray into the performing arts world here.Richard Klein acts out a role from a potential script in his Bandra apartment.Prarthna Singh for The New York TimesPrarthna Singh for The New York TimesWhat was the biggest challenge that you had to navigate?When I first arrived, I was staying in fairly cheap places. A lot of times, there was no hot water in the shower. A lot of times there wasn’t even a shower — most of my time in India, I’ve taken a bucket bath, which is actually great.Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

    • 138 Shares109 Views

      in Television

      Late Night Goes After Ted Cruz for Going After Big Bird

      by

      Jimmy Kimmel said conservatives like Ted Cruz have some bizarre beliefs: “The elections are rigged, the deep state runs the world, and Big Bird is working for Merck now.”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.Birds of a FeatherLate night couldn’t get enough of Ted Cruz claiming Big Bird was spreading “government propaganda for your 5-year-old” over the weekend. Cruz angrily shared his response in a retweet of Big Bird’s announcement about receiving a Covid vaccine.Jimmy Kimmel said conservatives like Cruz truly believe sentiments like the one he shared: “The elections are rigged, the deep state runs the world, and Big Bird is working for Merck now.”“All right, first of all, Ted Cruz, you need to calm down. Five-year-olds aren’t even seeing Big Bird’s tweet. Five-year-olds aren’t even on Twitter — they’re on TikTok.” — TREVOR NOAH“This is the craziest anti-vax Muppet outrage since they claimed Pfizer gave the Swedish Chef giant meatballs.” — STEPHEN COLBERT“And it’s interesting because not only is Ted Cruz vaccinated himself, Ted Cruz was born with an immunity that protects him from contracting any friends.” — JIMMY KIMMEL“I’m surprised Cruz is at odds with Big Bird here. They have so much in common: When it gets cold, they both fly south.” — STEPHEN COLBERT“Ted Cruz has it in for ‘Sesame Street’ because he’s constantly getting mistaken for the Count.” — JAMES CORDEN“I have to admit it’s a tough one. I mean, who are you siding with, the beloved and iconic children’s character widely celebrated over a half a century by people of all ages and backgrounds from all parts of the world, or a widely disliked wannabe werewolf with the charm of a serial killer and the voice of a dying barn owl who was once called ‘Lucifer in the flesh’ by one of his fellow Republicans after another fellow Republican joked he was so unpopular you could murder him and get away with it.” — SETH MEYERS“It’s a big day, actually, for Big Bird because immediately after getting vaccinated, he was signed by the Green Bay Packers.” — JIMMY FALLONThe Punchiest Punchlines (Spotty Defense Edition)“The pope of Green Bay is quarterback Aaron Rodgers. He’s been playing some very spotty defense this weekend.” — JIMMY KIMMEL“He said he tested negative over 300 times before testing positive, which is the same kind of logic your 95-year-old grandmother uses to justify keeping her driver’s license.” — JIMMY KIMMEL“So Rodgers basically says that he’s an independent thinker who doesn’t want to be told what to do with his body. And I don’t know, you ever notice how all the independent thinkers are doing the exact same thing? Right? It’s not like they’re all coming up with different ideas, like, ‘I’m an independent thinker, what are my thoughts, Joe Rogan? Tell me about my independent thoughts!” — TREVOR NOAH“But you can tell how politics has just infected the entire vaccine debate, right, because you’ll never see Aaron Rodgers doing this to anything else. He’s never applying independent thinking to the rest of his body. Like just once I’d love to see him out there on the field, like, ‘Forget pads and helmets, I’ve decided to cover myself in manuka honey.’” — TREVOR NOAH“How does someone who almost hosted ‘Jeopardy’ come up with 40 incorrect responses in a row?” — JIMMY KIMMEL“A lot of people are also comparing Aaron Rodgers to Kyrie Irving, and that’s not fair. Kyrie Irving is wrong, but at least he’s honest. I mean, Aaron Rodgers let everyone around him think he was vaccinated when he wasn’t. He’s not Kyrie Irving, he’s Bernie Madoff.” — JIMMY KIMMEL“But there are real victims here. And yes, I’m talking about those of us who play fantasy sports. Because it used to be when you drafted players you only had to take into account their injury history or their team’s off-season moves. Now — now you’ve got to be like, ‘OK, what are the chances that this player gets his news from Facebook?’” — TREVOR NOAHThe Bits Worth WatchingTrevor Noah talked with the “Daily Show” guest Spike Lee about his new career-spanning book, “SPIKE.”What We’re Excited About on Tuesday NightSarah Silverman will catch up with Seth Meyers on Tuesday’s “Late Night.”Also, Check This OutViolah Beauvais, left, and Kiawentiio in a scene from Tracey Deer’s film “Beans.”Sebastien Raymond/FilmriseTracey Deer’s film “Beans” is based on her experiences during the 1990 Oka crisis, a confrontation between the Mohawk people and the government. More

    • 113 Shares149 Views

      in Movies

      Joe Pera and the Surprising Pleasures of Gentle Humor

      by

      Don’t expect twists in these bits. The standup, who will be at the New York Comedy Festival, has devised a calming aesthetic with rewards of its own.To bore an audience is one of the worst things a performer can do. It’s among the trustiest truisms of show business. But what if our anxious culture has become so crowded with fast-talking agitators, hyperventilators and disrupters that something soothing and subdued becomes refreshing? Is it possible that the most exciting move is to embrace dullness?The stand-up comic Joe Pera tests this theory. With a rigid back hunching at the neck, he has the appearance of a large turtle, only slower. His fashion is basic suburban dad — Asics, glasses, comfortable khakis — and his dry, gently absurdist material focuses on cold-button subjects like what to have for breakfast. Of the hundreds of performers in the New York Comedy Festival this week, Pera is surely the only one who will say that he doesn’t mind if you fall asleep listening to him.After a year off because of the pandemic, the festival returns with a talent-rich lineup of seasoned veterans (Bill Maher, Colin Quinn, Brian Regan and Marc Maron); midcareer stars (Vir Das, Ronny Chieng, Michelle Buteau and Michelle Wolf); and rising newcomers (Megan Stalter). Since New York has a festival’s worth of comedy every week, the shows I most look forward to are those by Los Angeles comics we don’t see here as often (Nick Kroll) or stand-ups in their prime taking on a bigger stage (Gary Gulman playing Carnegie Hall). But there is also a wealth of small, quirky evenings like “Dan and Joe DVD Show” at the Bell House on Tuesday, standup from Pera and his more animated partner, Dan Licata.Over the past decade, Pera, a Buffalo native, carved out a niche in the New York scene by playing at his own pace, interjecting a soft-spoken, flamboyantly clean presence in the middle of shows full of quick wits and profane punch lines. This month, he has a new book out before the holidays, “A Bathroom Book for People Not Pooping or Peeing But Using the Bathroom as an Escape,” and premieres the third season of his television series whose title, “Joe Pera Talks With You,” is factual and straightforward, like his comedy.Pera plays a choir teacher from small-town Michigan who makes Ted Lasso look like Dexter. The 11 minute-or-so episodes are patiently, gracefully shot without a single swirling camera, goofy font or burst of color. It stands out on the Adult Swim schedule the way a sex tape would on Disney+. There are bits of plot, including a budding romance with a survivalist (played by Jo Firestone, whose consistent likability makes her the Tom Hanks of comedy) or the death of a grandmother, but much of this show hinges on creating a very peculiar tranquil mood.Pera with Jo Firestone in his Adult Swim show “Joe Pera Talks With You.”Adult SwimAt various points, Pera recites facts about lighthouses or beans, before sharing maxims like: “Waiting for someone is just a nice thing to do.” The first episode this season lingers on the pleasure of sitting. It finds Joe helping his friend Gene pick out a chair in a furniture store.Occasionally a political issue will come up, but only briefly, almost as a counterpoint to emphasize that this is not what the show is about. And while the subject of grief became prominent in the second season, the series doesn’t investigate sadness so much as offer tools to ward it off for a few minutes. How about a shot of some amazing fireworks? Or the comforting distraction of a musical put on by kids? Maybe Joe in some funny wigs?Early on this season, Joe Pera looked directly at the camera and asked viewers if they were sitting right now, before assuring us that he was not about to give bad news. Then he asked, if we were sitting on a chair, what kind was it? Not since Mr. Rogers has someone with as much conviction asked the television camera a question and then paused as if he might hear an answer. It’s not the only time Pera evokes that legend of children’s television.He displays the earnest manner and sense of wonder that most people lose by their teenage years. It’s tempting to conclude that his persona is a stunt, a piece of performance art in the Andy Kaufman tradition. Some fans probably enjoy his work as a kind of ironic prank on comedy itself. And he surely understands this, which might be why he often doubles down on the incongruous 1950s wholesomeness, singing the praises of a warm apple pie in the fall or apologizing for swearing. But watch him long enough and what becomes clear is that Joe Pera isn’t after glib laughs. Wait for the wink or the twist, and it never comes.His goal is not to take audiences out of the action by laughing at it, but to envelop them in a muted version of reality, to invite them to surrender to the small pleasures of calm.For years, I refused. I don’t tend to go to art for that, and when I do, I find it in unlikely places, like slasher films or Stephen A. Smith (yes, he makes N.B.A. punditry into an art). But those are my eccentric tastes. And while his aesthetic seems like ingratiating wholesome Americana, there’s an avant-garde obscureness underneath it. You have to work a bit to get it. Adventurous types should try.By slowing down and reducing everything to simple comforts, Pera can tap into a child’s view of the world, back when we dealt with boredom most creatively by creating races between rain drops on windshields or finding shapes in clouds.Many of his shows linger so reverentially on everyday things — the supermarket, a song by the Who — that they seem almost spiritual. Other times he appears to push the concept of banal normal life so far as to find the comic weirdness within. At one point in the first episode, an old stranger drives by him, stops and asks for Pera’s phone. The man takes a photo of himself and hands the phone back to Pera. It’s an odd moment that in a different show could make for cringe comedy, but here, this random gesture comes off as vaguely generous and inexplicable. I chuckled. You might not. But it’s best not to think about it too much.Early in the pandemic, Pera released a special called “Relaxing Old Footage With Joe Pera,” which featured stock video of waterfalls and coffee pots along with comments like this statement about watching trees: “I can’t be the only one who wants to watch Old Chico, a 9,000-year-old spruce, after reading the news.” More

    • 163 Shares159 Views

      in Television

      What’s on TV This Week: Documentaries on Kevin Garnett and Jake Burton Carpenter

      by

      A pair of new documentaries, one on HBO and one on Showtime, look at two very different sports figures.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Nov. 8-14. Details and times are subject to change.MondayINDEPENDENT LENS: FERGUSON RISES (2021) 10 p.m. on PBS (check local listings). This documentary about the aftermath of the killing of Michael Brown Jr., who was shot by a police officer in Ferguson, Mo., in 2014, is built around interviews with Brown’s father, Michael Brown Sr. It looks at how the movement that grew in response to Brown’s killing helped pushed forward conversations about policing around the country, and at the elder Brown’s activism in the years since. The documentary, directed by Mobolaji Olambiwonnu, won an audience award at this year’s Tribeca Film Festival.TuesdayDEAR RIDER (2021) 9 p.m. on HBO. The life and legacy of the snowboarding entrepreneur Jake Burton Carpenter is the subject of this new documentary. Carpenter, who died in 2019, helped popularize and legitimize snowboarding as a sport through his company, Burton Snowboards, which he started in the late 1970s. The documentary looks at that work and at the later years of Carpenter’s life, which were interrupted by health issues including testicular cancer and a rare nerve disease that temporarily paralyzed him — but didn’t take his lust for life. “Life is not about having a pulse,” Carpenter said in a 2015 interview with The New York Times. “It’s about having friends and experiences and living.”WednesdayA scene from “Attica.”Firelight FilmsATTICA (2021) 7:25 p.m. on Showtime. The filmmaker Stanley Nelson revisits the 1971 prison uprising at Attica Correctional Facility, near Buffalo, N.Y., in this documentary, which debuted last week. Taking advantage of five decades’ worth of hindsight, Nelson speaks to people who took part in or were affected by the events firsthand, including reporters, formerly incarcerated people and family members of law enforcement. The revolt, which lasted several days and ended in a brutal retaking of the prison by authorities, was driven by demands for better living conditions — demands that Nelson emphasizes as he explores the event and its violent conclusion. “It’s law and order carried to its extreme, and I think it’s the start of a whole different turn in American history,” Nelson said in a recent interview with The Times. “You can’t see the film without thinking about where we are today.”THE 55TH ANNUAL CMA AWARDS 8 p.m. on ABC. The singer-songwriter Luke Bryan will host this year’s edition of the Country Music Association Awards from Nashville. The nominees for the entertainer of the year award, perhaps the biggest of the night, are Eric Church, Luke Combs, Miranda Lambert, Chris Stapleton and Carrie Underwood. All five are scheduled to perform or present during the ceremony. Other performers on the bill include Jennifer Hudson, Keith Urban, Zac Brown Band and Brothers Osborne.ThursdayPATHS OF GLORY (1957) 6:15 p.m. on TCM. Typical war movies find drama in deadly missions taken on by extraordinary soldiers. Stanley Kubrick’s “Paths of Glory” finds drama in what a group of soldiers can’t — or won’t — do. Kirk Douglas stars as a French army colonel in World War I whose men are sent on an impossible mission. When the mission doesn’t pan out, he’s forced to defend his soldiers against accusations of cowardice from military leadership. The result is a film that “has the impact of hard reality, mainly because its frank avowal of agonizing, uncompensated injustice is pursued to the bitter, tragic end,” Bosley Crowther wrote in his review for The New York Times in 1957. “Kubrick’s sullen camera,” Crowther added, “bores directly into the minds of scheming men and into the hearts of patient, frightened soldiers who have to accept orders to die.”FridayKEVIN GARNETT: ANYTHING IS POSSIBLE 8 p.m. on Showtime. The subtitle of this sports documentary is a reference to words yelled by its subject, the basketball star Kevin Garnett, in an on-court interview in 2008 as confetti rained down. It was a moment of triumph: The Boston Celtics had just won a championship game against the Los Angeles Lakers. (One might worry, rewatching the moment, that he’s going to swallow some of that confetti.) The documentary looks at how Garnett got to that moment, and where he’s gone since, through interviews with basketball figures including Paul Pierce, Doc Rivers and Allen Iverson, and through reams of archival footage.SaturdayCHARLIE AND THE CHOCOLATE FACTORY (2005) 5:30 p.m. on TNT. Timothée Chalamet devotees ate up pictures of him dressed as a young Willy Wonka last month. The images came from the set of “Wonka,” an upcoming prequel movie that promises to give Roald Dahl’s weird chocolatier a back story. It won’t be the first film to try that: This 2005 take on “Charlie and the Chocolate Factory,” which was directed by the filmic confectioner Tim Burton and starred Johnny Depp, gave its Wonka a back story through flashbacks to a childhood spent under the thumb of a mean, sugar-averse dentist father (Christopher Lee). In his review for The Times, A.O. Scott called Burton’s adaptation “wondrous and flawed.” While the film’s attempt to give Wonka an illuminating past flounders, Scott wrote, the movie “succeeds in doing what far too few films aimed primarily at children even know how to attempt anymore, which is to feed — even to glut — the youthful appetite for aesthetic surprise.”Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

    • 113 Shares99 Views

      in Television

      ‘Insecure’ Season 5 Episode 3: Slow Start to Fatherhood

      by

      This week, Lawrence learns that fatherhood may not look like what he imagined.Season 5 Episode 3: Pressure, Okay?!At the end of the season premiere of “Insecure,” Issa broke up with Lawrence. This week, we take a peek at what his life has been like since then.Last season, Lawrence landed his dream job. The only problem? It was in San Francisco and his life was in Los Angeles. At the same time he was finally making strides in his career, he and Issa were finally mending their relationship after their previous breakup. Issa even volunteered to move to San Francisco so they could start a new life together.But then there was Condola. We all started out liking her — she arrived in Issa’s life at a time when Molly was not prioritizing their friendship. She was kind, smart and helpful. Even when Condola had an affair with Lawrence, it wasn’t ruinous. She informed Issa — who took the news with a brave face — and stepped back, freeing Lawrence to set his sights on Issa. We watched the show’s original couple glow onscreen and fall in love again.Then came the phone call: Condola was pregnant. That is where we left her in Season 4.Now she has had a healthy baby boy named Elijah Mustafa, like her grandfather, as her sister, (played by Keke Palmer), lets Lawrence know when he arrives at the hospital. It was the first sign that Lawrence might not have as much input into his son’s upbringing as he wanted or expected. There would be others soon enough.Lawrence seems to have gained the confidence and self-assurance he was lacking professionally in the early seasons — he’s had a bit of a glow up. He’s taking charge on accounts at work and he seems in control of what he wants to do, which has not always been the case. While on a date, he finds out, via text, that his baby has been born, and he blurts out the news to the lady he’s with.“I guess my baby was just born?” he said, confused.“Can you imagine?” she says, as if he had uttered an incomprehensible joke.He drops a fistful of cash onto the table and heads for L.A. When he arrives at the hospital, Condola is holding their son in her arms with her sister and her mother, played by the tremendous Lela Rochon (“Waiting to Exhale,” “Boomerang”), beside her. It becomes clear that Condola’s family has provided most of the support during her pregnancy while Lawrence has been unattached and living his life — the tension in the hospital room reflects that inequity.Lawrence doesn’t seem to like his son’s name, but he accepts it begrudgingly. When he finally holds the baby, his face is illuminated with an emotion that initially appears to be joy but soon turns into something sadder. Is he disappointed to have missed the birth? Realizing how complicated it will be to stay involved in the boy’s life, given Condola and her family’s feelings about him? Still struggling to accept that his son is named Mustafa?One thing is clear: Lawrence wants to be there for his son. But what’s less apparent is whether he understands what that actually looks like or what he’ll have to give up in order to do it. While Condola is sleep deprived, breastfeeding and managing her newborn’s schedule, he’s living in San Francisco, working late and going on dates. Flying to Los Angeles once a week is not fatherhood, especially when you occasionally cancel the trip at the last minute and blame work.More tension arises when Condola and Lawrence go together to Tiffany and Derek’s party for their daughter. Lawrence initially seemed reluctant to go with Condola, but he obliged when she, seemingly extending an olive branch, clarified that they’ll go together with their child.The party is fly, as can be expected from Tiffany and Derek. Kelli is MCing the event in a tuxedo to match the birthday girl’s, and there’s a Pepper Pig — not Peppa, Pepper (“with the E and R”), played by Kelli’s stoner cousin in a pink pig costume. But things go sideways when Lawrence feeds Elijah what he calls “mush,” alarming Condola.“I haven’t introduced solid foods yet!” she exclaims, and Lawrence asks her to let it go. She asks him to hand over Elijah (who Lawrence just calls “Jah”) and it quickly turns into a whole scene, with Condola yelling “give me my baby” and Lawrence objecting that Elijah is his son, too.Even after Derek intervenes, Lawrence can’t seem to articulate his frustration beyond “that’s my baby, too.” He seems to have conflated making a baby with raising a baby, and feels entitled to spend time with Elijah without knowing him or doing much to care for him.Derek suggests that Lawrence not antagonize Condola or add stress to the situation. It’s solid advice that Lawrence ignores later when things finally come to a head, after Condola rescinds her agreement to let him keep Elijah overnight. Lawrence breaks and lets out all of his resentment toward her.“I’m going to be there for my baby, with or without you,” he says contemptuously.Condola asks him to leave and he does, but on the flight back to San Francisco, severe turbulence terrifies Lawrence and the rest of the passengers. It seems a near-death experience can puncture the ego — after he gets home, he calls Condola and apologizes for his behavior. They are tired, and both seem ready to move past the tension and figure out a more cohesive way forward. But what that actually looks like is anyone’s guess.This episode illustrates that for all of his professional achievements, Lawrence has remained emotionally stagnant. He doesn’t trust Condola and she doesn’t trust him, especially with their son. He also resents Condola for deciding to have a baby without him — as if she conceived on her own — and tells her so. He does not like that she named the child without consulting him and that she won’t bend to his schedule. He tells his friend Chad, a fan favorite, that he is disappointed in how fatherhood has turned out for him.“This is just not what I planned for my first kid, man,” Lawrence gripes.“Everybody got a plan until they get punched my guy,” Chad responds, a riff on the Mike Tyson quote. (“Everybody has a plan until they get punched in the mouth.”)It is sad to watch Lawrence struggle into fatherhood. But I can’t help but be happy for Issa, who made the tough call of not subscribing to this life with him. Here’s hoping that Lawrence can let go of the life that he thinks he should have and learn to embrace the journey in front of him. More

    • 88 Shares99 Views

      in Television

      ‘Succession’ Recap, Season 3, Episode 4: Meep-Meep

      by

      After last week’s punishingly bleak episode, this week “Succession” brought some much-needed comic relief alongside the ongoing melodrama.Season 3, Episode 4: ‘Lion in the Meadow’Last week’s punishingly bleak “Succession” episode was maybe the roughest since Season 2’s “Hunting” (a.k.a.“Boar on the Floor”). But as often happens in this series, this week’s episode pulls back a bit, bringing some much-needed comic relief alongside the ongoing melodrama. In “Lion in the Meadow,” the Roys take a break from scorching the Earth and get back to more subtle power plays, using schoolyard insults and small gestures of disrespect to needle each other. It’s all so oddly delightful.The pettiness comes early and often. When Kendall has to join a Waystar conference call to strategize about the upcoming shareholders’ meeting, he uses an unprintable variation on “Little Lord Fauntleroy” as his sign-on (which is then repeated, hilariously, when he abruptly hangs up). Later, when he’s asked to talk with Logan briefly on a private airstrip tarmac, before they both meet up with a nervous Waystar investor, Kendall zooms off to get to the meeting first, leaving the message, “Tell Dad, ‘Meep-meep’ … It’s from ‘Road Runner.’” For the most part, that’s the level of the attacks and counterattacks this week.The investor in question is Josh Aaronson (Adrien Brody), who owns about 4 percent of Waystar — a holding which, he complains, has lost 10 percent of its value since Kendall started giving news conferences. If Josh is going to back the Roys over Sandy and Stewy at the shareholders’ meeting, he needs to know how far this family feud will go. Does Kendall really want his father in jail? Does Logan really think his son is a mentally ill drug addict? How does this all end? Can the Roys maybe “close up the outrage shop”?There’s another reason Josh invites Logan and Kendall to join him at his sprawling estate. He needs to know if they think of him as a smart guy who knows what to do with his money — and is thus owed some respect — or as some speculator who got lucky, and who only has value because of what he can buy. Is he really an important part of their business? Is he a part of this Waystar family?The biggest chunk of this episode features these three guys putting on a show for each other. Josh tries to tease a little honesty out of the Roys, while Logan and Kendall pretend they’re still a loving family running a viable business, and wielding acumen no outsider can match. What makes these scenes so absorbing is that it’s not too hard to imagine Kendall, and maybe even Logan, wanting to believe the fantasy they’re selling. As they sit side by side in their matching black baseball caps — with Logan saying he can still see his son in charge of Waystar someday, and Kendall lovingly calling his old man “geezer” — they almost seem to be playing roles they wish were real.It doesn’t last. The first few times Josh steps away, the Roys maintain stony silence. Later, as they walk back to the main house through some exhaustingly bumpy hills, Josh leaves the two behind and they start making threats, each insisting the other is playing with a weak hand.Then Logan gets physically ill and the game is up. Josh makes it clear he can only back the Roys if Logan is running things, and seeing the patriarch stumble spooks him — as does Kendall’s attempt to keep talking business while his father is sick. The first cue that these three weren’t on the same page came earlier in the day, when Kendall called the Beatles a “great band” and Josh and Logan both said they’re just a “good band.” The lines were drawn then. Kendall never could convince Josh to cross them.Beyond the vigorous one-upmanship on the beach, what makes this episode so lively is that much of it is spent with the two most reliably comic “Succession” characters: Greg and Tom.Greg is persuaded to meet with Logan, who offers him a drink and then exasperatedly calls in his assistant to sweeten the nervous, indecisive kid’s cocktail with Coca-Cola. (The sound of the soda can opening is like a tiny rebuke to Greg’s manly ambitions.) Logan lets his great-nephew know that he has a little leverage over Waystar right now, and that he needs to use it wisely. Greg, though, is too shaky to assert himself. He keeps getting distracted by his beverage, calling it “strong for a man” and reflecting on the hard-drinking olden days, saying, “I don’t know how you did it back in the ’60s. Different times indeed. Better times? Not for all.”As for Tom, he’s been spending his time lately trying to pick out a good prison for himself and indulging in gallows humor, laughing that his co-workers are calling him “Terminal Tom.” Finally he breaks down in front of Shiv, dropping his fake-courage and musing anxiously about his future life behind bars.“What if I forget to burp the toilet wine?” he frets. “How late can I read? When is lights-out?”There’s a good contrast between the Logan/Kendall/Josh scenes — featuring three guys comfortable with flexing — and the much sillier confrontation in this episode between Tom and Greg. When Tom tries to get his former lackey to make a clear decision on what he wants, Greg finally admits that he’d like to be moved into a leadership position in Waystar’s theme parks division. Tom then moans again about jail before trying to wrestle with Greg, snarling, “Let’s fight like chickens!”Greg refuses, shouting, “I don’t want to do it,” prompting Tom to reply, “Neither do I, Greg!” He tries to turn this into avuncular advice saying, “You’re so hard to riff with. That is a big career obstacle.”But that “neither do I” may be the most honest moment Tom has had in this show. Guys like Logan genuinely enjoy a bloody fray. Guys like Tom only like it when they’re winning.Due DiligenceThe three other Roy children all get moments in the spotlight this week, too. While Kendall and Logan are strutting by the sea, Shiv is back at the office hustling to execute some of her dad’s big plans. These include interfering with ATN’s editorial independence by suggesting the news team take a harder line on the presidential administration. For her trouble, she gets a cranky phone call from her father, who is annoyed that the other executives are complaining about her. “I don’t need another toothache,” he growls. Logan also reminds Shiv, somewhat ominously, that no position he takes is set in stone. “Nothing is a line,” he says. “Everything, everywhere, is always moving, forever.”Meanwhile, Connor is still figuring out what he can ask for in exchange for being publicly loyal to Logan. He nixes Shiv’s idea that he become a host on one of Waystar’s travel and cuisine shows, because he still has presidential ambitions and he doesn’t think that spitting out wine on cable TV is going to help his numbers in the Rust Belt. Currently his team is angling for 2024; Connor assumes the current president — who everyone calls “the Raisin” — is going to get re-elected. But who knows? Maybe if Connor resumes his campaign in earnest, he can also help with Shiv’s White House problem.As for Roman, he is initially distracted by the news that Gerri is going on a date. (“With who?” he asks, incredulously. “Montgomery Clift? The Ghost of Christmas Past?”) Once he gets past that, he suggests a particularly nasty way to take down Kendall: By locating “Tattoo Man,” a down on his luck guy his brother once paid to tattoo his initials on his forehead, while the siblings were on an “ironic” New Orleans bar crawl. The man has since had the tattoo removed, but Roman eventually persuades him to provide Waystar with an old picture, which Gerri suggests Roman keep under wraps for now. She advises him to start asking himself, with every bold move or dirty trick, “How does this advance my position?” More