Television

Subterms

    More stories

    • 138 Shares179 Views

      in Movies

      A Specialist in Short and Lethal Movie Thrillers Jumps to TV

      by

      The French director Julien Leclercq’s action movies are known for their ruthless economy. His new Netflix thriller, “Ganglands,” tests his approach across six episodes.Mehdi, the cool, collected thief at the heart of the French Netflix series “Ganglands,” is haunted by his brother’s death. Guilt drives Mehdi’s decisions as he becomes embroiled in a violent dispute among rival drug traffickers.And yet we know nothing about that lost sibling. The show doesn’t dwell on how he died. There are no convenient explanations or evocative flashbacks.“We did write those scenes, but we thought we shouldn’t underestimate viewers,” said Julien Leclercq, the series’s director and co-creator, speaking in French on a recent video call from Paris. “It’s not a bad thing to leave a back story to the imagination, to not always explain.”And this is why his movies have one of the lowest B.M.I.s in the action business: He cuts the flab. Since his debut, the 2007 sci-fi thriller “Chrysalis” (running time: 1 hour 34 minutes), he has built a reputation as a director of efficient, no-nonsense rides. Even when he lands international names, like Jean-Claude Van Damme in the 2019 film “The Bouncer” (also 1:34) or Olga Kurylenko in the 2021 Netflix film “Sentinelle” (good to go at 1:20), Leclercq resists the temptation to give them more dialogue, more exposition or more fights.The question was, could Leclercq’s formula work across the four and a half hours of “Ganglands,” which premiered on Netflix last week?Sami Bouajila, whose turn as Mehdi in the series was his fourth outing with the director, didn’t need convincing.Sami Bouajila, who has worked with Leclerqc several times before, plays a cool, collected thief in “Ganglands.” Sofie Gheysens/Netflix “It was love at first sight — we were on the same wavelength, we had the same approach,” said Bouajila, a popular big-screen leading man in France whose performance in the film “A Son” earned him the 2021 César Award for best actor.“We both love these silent, upstanding characters, a little rough around the edges, and I love his aesthetics,” he added. “Julien’s trademark is his artistic direction — there’s a rhythm, there’s a sound, and there’s silence. There are moods and feelings but the characters have a hard time expressing them, so they act upon them.”This “show, don’t tell” approach may be one reason Leclercq’s austere style, somewhere between Jean-Pierre Melville and Clint Eastwood, needs little translation: There are few subtitles to discourage those allergic to them. His films have performed so well internationally for Netflix that the company, which had historically only licensed Leclercq’s movies for streaming, signed on as the primary distributor for his 2020 feature, “Earth and Blood” (1:20).Leclercq’s work can feel like a single locomotive speeding ahead on straight rails — the entire plot of “Earth and Blood” boils down to an extended showdown between a sawmill owner and dealers looking for a stolen stash. With its expanded parameters, however, the “Ganglands” engine can pull a few more cars.As usual, the core of the story is simple: Shaïnez (Sofia Lesaffre) is abducted after she and her girlfriend, Liana (Tracy Gotoas), impulsively steal drugs from the wrong guy, and only Shaïnez’s uncle, Mehdi, can help set her free. But now there is room for the human foibles and interpersonal dynamics — and even hints at back stories — that Leclercq usually dispenses with.Tracy Gotoas, left, and Sofia Lesaffre play lovers who get into deep trouble after stealing drugs from the wrong guy. Caroline Dubois/Netflix “We quickly latched on the idea of a family tragedy, very much in a Greek tragedy mold, which is what links all the characters,” said Hamid Hlioua the show’s co-creator and co-writer, adding that adding this angle was also a way to avoid simply diluting a movie. “We wanted to focus on tension, action and family.”“Ganglands” certainly operates on a larger scale than is typical for Leclercq. But Netflix trusted that he could be just as efficient over six episodes instead of tightly coiled in an hour and a half, and approached him with the idea. The director was interested in the challenge.“I think all filmmakers today have fantasies of tackling a series,” said Leclercq, 42, a burly, loquacious man sporting tattooed knuckles. “For viewers, they are really exciting. I’ve watched ‘True Detective’ five times, ‘Breaking Bad’ three times.”Still, Leclercq and Hlioua were conscious that bloat would be a constant threat. “Very often when there are eight episodes you feel that you could get rid of one or two,” Hlioua said. “So we wanted to grab the viewer from the start and not let go until the last episode.”In French, the series has the same title, “Braqueurs,” as a Leclercq movie from 2015, known in the United States as “The Crew” (1:21). In both, Bouajila, 55, plays the stone-faced, charismatic leader of a thieving ring, but they are not the same characters and the story lines are unrelated.“We tried to amplify every aspect,” Leclercq said. “‘The Crew’ was set in a Parisian suburb and involved kilos of coke. Now we’re in Brussels and in the port of Antwerp, which is a hub for drugs coming from South America, and we’re not dealing with kilos anymore, but with tons. The bad guys are more powerful.”“It’s not a bad thing to leave a back story to the imagination, to not always explain,” Leclercq said.Elliott Verdier for The New York TimesIn his feature work, keeping the productions lean has been a key to maintaining the crispness of his pacing and aesthetic. He recalled shuddering when Van Damme turned up with a whole team in tow for “The Bouncer.”“I said to myself — and he knows that, I told him — that he was going to be a pain in the butt, his world was going to be a pain in the butt, his entourage was going to be a pain in the butt, and I could mess up the movie if he doesn’t listen to me,” Leclercq said.He took Van Damme aside and asked him to let go of all those showbiz accouterments; it worked.“In the middle of the shoot he told me, ‘I’ve learned to love making movies again — I was a star, now I want to be an actor,’ ” Leclercq said. “That was the greatest compliment he could have given me.” (Van Damme is, indeed, extraordinary.)Leclercq’s attitude toward celebrity entourages hasn’t changed. But the fact that there was room for some occasional chitchat in the script allowed for some humor — absent from Leclercq’s features, perhaps because it eats up precious seconds. This is particularly obvious in the scenes between Mehdi and Liana, a rookie criminal who is three decades his junior and as chatty as he is taciturn.“I’m a big fan of the Luc Besson movie ‘Léon: The Professional,’ so we dreamed about a duo like that, with a generational clash, a culture clash,” Leclercq said.It helped that the real-life relationship between Bouajila and Gotoas reflected a similar dynamic, minus bullets.“I’m at the start of my career, he’s been around for 30 years or something,” Gotoas said. “Liana is learning, and I was, too: I’d be checking out how he’d position himself with respect to the camera, how he modulated his performance.”For his next project, Leclercq is stretching once more by leaving behind the shootouts that have served him so well. He is in preproduction on a biopic of the French Formula 1 champion Alain Prost, with a focus on his rivalry with Ayrton Senna in the 1980s and early ’90s.Cars are one of Leclercq’s great passions, he explained. If “Ganglands” is renewed, perhaps he can make room for a few chases. More

    • 125 Shares119 Views

      in Television

      Onstage, ‘Designing Women’ Sheds the Shoulder Pads, Not Its Politics

      by

      The hit sitcom, which ended in 1993, is back as play, premiering in Arkansas. But how do its laughs land in our more pointed political landscape?FAYETTEVILLE, Ark. — Linda Bloodworth-Thomason, the Emmy-nominated writer and producer, started hearing voices earlier this year, voices she hadn’t heard in nearly 30 years. Those voices wouldn’t shut up.“I told my husband, I’m going to have to get a gun and shoot them,” Bloodworth-Thomason said during a recent phone conversation.She didn’t know how else to make them stop.The voices were those of Julia Sugarbaker, Suzanne Sugarbaker, Mary Jo Shively and Charlene Frazier, the characters from “Designing Women,” the half-hour sitcom that premiered on CBS in 1986. Nominated for a slew of Emmys, it won only one, for outstanding achievement in hairstyling. Set in Atlanta, and centered on a quartet of mouthy women who orbit an interior design firm, it combined feminist politics with click-clack comedy rhythms, celebrating the New South with wit and pluck and shoulder pads.The show earned her, Bloodworth-Thomason said, citations from both Mitch McConnell, who had praised an antipornography episode, and the A.C.L.U. The A.C.L.U. one she framed.The show wrapped in 1993. Prime time and popular culture moved on. But friends and fans would often ask Bloodworth-Thomason what Julia, the outspoken founder of the design firm, played by Dixie Carter, might say about same-sex marriage or the #MeToo movement or the election of Donald J. Trump to the presidency.More recently, Bloodworth-Thomason began to think about answers.Those answers coalesced into a two-act comedy, “Designing Women.” Directed by Bloodworth-Thomason’s husband, Harry Thomason, the play had its premiere recently at TheaterSquared, in Fayetteville, Ark. (Thomason grew up in Hampton, Ark.; Bloodworth-Thomason in Poplar Bluff, Mo., just over the border.) The play runs through the end of October. It will also be available to stream, starting Oct. 15.The cast of the original “Designing Women” included, clockwise from bottom left: Jean Smart, Alice Ghostley, Delta Burke, Dixie Carter, Annie Potts and Meshach Taylor.Fotos International, via Getty ImagesA sleek, glass-walled building, a paper airplane’s flight from the University of Arkansas campus, TheaterSquared occupies a busy-ish corner. It has two theaters: the West, where “Designing Women” plays, which seats 275, and the Spring, which seats 120. The building hosts rehearsal spaces, administrative offices, scene and wardrobe shops, a flexible lobby performance space and a welcoming cafe where pastry always seems to be baking.Its programming favors lively dramas and musicals from contemporary playwrights of diverse backgrounds. This season includes Katori Hall’s “The Mountaintop,” Mike Lew’s “Tiger Style!” and Kristoffer Diaz’s “The Elaborate Entrance of Chad Deity.” Fayetteville, where more than 77 percent of residents identify as white, is not itself especially diverse.“If you’re a theater company that sets as its mission creating a more equitable community, then you want to bring people along,” Martin Miller, the theater’s executive told me. He had found me on the cafe’s patio, in early September, demolishing some local goat cheese. I’d come to northwest Arkansas for a few days of table work and rehearsal because I had wanted to see if an ’80s sensation, a sensation I had loved as a kid, still had anything to say to a 2020s audience. And, if I’m honest, I wanted to know just what this sensation was doing in Fayetteville.In “Designing Women” — the theatrical version — the diversity centers on the class backgrounds of its characters, their religious beliefs, their voting patterns, as the TV one had. Set in the very recent past, the script eavesdrops on the women and a few new characters as they contend with the pandemic, the possible financial collapse of their firm and the 2020 presidential election. It is no spoiler to say that the women ultimately triumph, bridging their differences stylishly. The creators and producers hope that it will encourage audiences across the political spectrum to build some bridges, too.“We just need to look at each other with more grace and more love, that’s what I’m gathering from this play,” Carmen Cusack, the Tony-nominated actress who plays Julia in the theatrical version, said. “At the end of the day, what’s most important is just appreciating that we’re all in this together.”The original “Designing Women” wore the skirt suits and heels of a workplace comedy. But the workplace occupied Julia’s living room, so it was a domestic comedy, too. Part of a late ’80s boom in women-centered shows that included “Roseanne” and “Murphy Brown,” it wrestled — sometimes explicitly, sometimes obliquely, often in heels — with the feminist discourse of the day.Joan Williams, the director of the Center for WorkLife Law at the University of California Hastings College of the Law, described the series as a helpful fiction suggesting that women could have both careers and families without apparent conflict. “It opened a fantasy, a conceptual space, an idealized image that it was going to be possible for women to be very successful professionals and very successful mothers,” Williams said.The fantasy largely favored an empowerment agenda, implying that if a woman just tugged on her big-girl panties and stood up tall in them, she could bend the world to her will. But episodes also exposed systemic problems — sexual harassment, violent pornography — without offering easy answers.“‘Designing Women’ really did try to speak to the particular political moment, even as it attempted to negotiate it within the politics of television,” said Alfred Martin, a media and cultural studies scholar at the University of Iowa.The show’s director, Harry Thomason, far left, with Jason Lynch, the production lighting designer, and Austin Bomkamp, the programmer, at a tech run.Rana Young for The New York TimesThe show wasn’t entirely progressive. Its sole character of color, Anthony Bouvier (Meshach Taylor), had a subordinate role in the firm, and queer characters were rare. But it gave its characters divergent attitudes, insisting that the experience of women wasn’t uniform. In a logline, the characters might have come across as stereotypes — hardass, bimbo, pragmatist, naïf — yet as played by Carter, Delta Burke, Annie Potts and Jean Smart, they had smart minds and big hearts. Even as they fought, they supported one another.That’s what makes this theatrical version of “Designing Women” more than an attempt to capitalize on familiar intellectual property. As a television show, it straddled the political divide, allowing both progressive and conservative women to see themselves represented, glamorously. Those divides are wider now. But if these characters can still talk to one another onstage, maybe audience members can continue those conversations offstage, with or without repartee.Though TheaterSquared announced the show in early 2020, Bloodworth-Thomason didn’t start writing it until this year, ultimately amassing some 7,000 pages. (Those voices really wouldn’t shut up.) The September draft flaunted her practiced style, a rapier wit with a bedazzled handle, and included a few callbacks for dedicated fans, like a riff on Julia’s “the lights went out in Georgia” speech.The feminism still isn’t especially intersectional, even as the firm now includes a co-owner who is Black and queer, Anthony’s cousin Cleo (Carla Renata). But the script has updated its politics. The first line has Julia instructing Hayley (Kim Matula), the new receptionist, in temperature checks for clients. “If they refuse, kick ’em out,” Julia says. “If they’re wearing a MAGA hat, don’t let ’em in.” In the background a voice mail message plays, calling Julia a “lying socialist slut.”Bloodworth-Thomason dreams of a tour of the South for the play and an eventual berth on Broadway. But it’s dialogue like this that explains why she and Thomason chose TheaterSquared for the tryout. Washington County, which encompasses Fayetteville, went for Trump in 2020, though by a somewhat narrow margin — 50.39 percent to Trump, and 46.49 percent to Joseph R. Biden’s ticket — and the theater attracts spectators who don’t all vote the same way.“I know that not everybody who walks in the door would automatically agree with me in a conversation over a beer,” Miller told me. But the theater deliberately programs plays that prompt those conversations. And the cafe has 16 local beers on tap.On a Tuesday, about two weeks before previews began, the theater thrummed with activity — set painting, costume stitching, wig combing. The scenery was half assembled, and a variety of faux topiary dotted the back of the auditorium. The theater had recently announced new Covid protocols, which require that audience members offer proof of vaccination or a recent negative test, and Miller had to devote several hours to handling angry responses, like an email describing the protocols as “an imperialist act against our democracy” — only a step or two removed from “lying socialist slut.”A rehearsal in early September. Thomason said he wanted the play’s cast members to capture some of the aura of the original actresses, without quite impersonating them.Rana Young for The New York TimesUpstairs, in the rehearsal space, the masked actors arrayed themselves around several folding tables, with cookies and water bottles in reach. Bloodworth-Thomason had hoped to join them, but an illness had kept her at home in Los Angeles. (A glitchy Zoom connection made table work possible.) Though the characters ought to be in their 70s by now, the actresses, and a few male love interests, were mostly in their 50s, suggesting either a suspension of disbelief or some superb plastic surgeons. The mood was friendly, while also faintly tense, a reflection of the work ahead.Playing beloved characters — characters associated with even more beloved actresses — applies deep-tissue pressure. Most of the actors had seen the show during its original run. (Cusack, who grew up in an evangelical Christian household, is an exception.) They spoke, feelingly, about what it had meant to see smart women, funny women, Southern women, beamed into their living rooms. Several of them voiced an obligation to honor those performances.“I do feel a responsibility, particularly to the fans,” Elaine Hendrix, who plays Charlene, said.In an interview the next day, just before rehearsal, Thomason said he hoped that this cast would capture some of the aura of the original actresses, without quite impersonating them. “That’s all one can hope for,” he added. “Because if you try to just duplicate them, then the audience will not forgive you.”During the rehearsal, as coffee bubbled in a percolator, everyone tried to inhabit the characters, old and new, even when the characters voiced opinions that diverged from the actors’ own.“It’s the challenge, right?” said Matthew Floyd Miller, who plays Suzanne’s latest ex-husband, a Trump supporter. “How do you sympathize and humanize somebody who has diametrically opposed views than you do?”But what will audiences forgive? What will get them in the door? There’s already a glut of reboots, reimaginings and screen-to-stage variations. And not everyone wants to see “Designing Women,” which was overtly political to begin with, revived for our era. Thomason had heard from friends about some people’s plans to protest the show, even before they knew a lick of its plot or a line of the script.That didn’t faze his wife. “I would love to see a big crowd outside with a lot of signs,” she said.It did, however, give some of the actors pause. “I’m a little nervous because I say some stuff that is blunt and is hard-core and is extremely politicized, and I’m a Black person in Arkansas,” Renata said.When Cusack told her mother about the show, her mother told her she planned to be among the protesters. Cusack didn’t try to dissuade her. “I said, ‘Mom, I’ll buy your plane ticket,’” Cusack recalled. “‘Come. Bring it. Let’s have the discussion.’” More

    • 88 Shares119 Views

      in Television

      Late Night Hits Trump With Colonoscopy Jokes

      by

      A new book by a former White House press secretary said that the former president feared late night hosts would poke fun at him if he went under for the medical procedure.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.‘They Had to Film It in Imax’A new book by the former White House press secretary Stephanie Grisham, “I’ll Take Your Questions Now,” revealed some fun facts about Donald J. Trump on Tuesday. One of the biggest bombshells was about the former president’s mysterious visit to Walter Reed National Military Medical Center in 2019, which Grisham said was for a colonoscopy that Trump stayed conscious for, in part to keep late night television hosts from finding out and making fun of him.“I have to say, it gives me a lot of satisfaction, as a late night talk show host, to know that he opted to stay awake while they augered his innards with a sewer snake specifically because he didn’t want us making fun of him,” Jimmy Kimmel said.Kimmel said he felt cheated, finding out such vital information so late in the game: “Because when a president, especially this president, gets a colonoscopy, it is my duty — that’s right, duty — to make jokes about it.”“The president’s doctor decided to schedule this procedure after the White House toilet killed itself.” — JIMMY KIMMEL“It took a while because the doctor kept accidentally sticking the camera in his mouth.” — JIMMY KIMMEL“As soon as they switched the camera on, Trump turned around and said ‘Hey doc, how are the ratings?’” — JIMMY KIMMEL“Afterward, the whole medical team kept saying, ‘Wow, what an unbelievable [expletive].” — JIMMY KIMMEL“The doctors said the hardest thing about giving Trump a colonoscopy was getting the camera around Mike Pence’s nose.” — JIMMY KIMMEL“Yeah, colonoscopy was no big deal — they only found three polyps and Rudy Giuliani.” — JIMMY FALLON“Well, sure, with this president, they had to film it in Imax.” — STEPHEN COLBERT“Oh, my God, that had to be terrible — for the doctor who had to give a colonoscopy while the guy on the table kept screaming about how he won Michigan.” — STEPHEN COLBERTThe Punchiest Punchlines (The ‘Music Man’ Edition)“The book also says a White House official known as the ‘Music Man’ would play Trump his favorite show tunes like ‘Memory’ from ‘Cats’ to pull him from the brink of rage. It makes sense because Trump’s presidency is exactly like ‘Cats’ — awkward, bizarre and no one had any idea what the hell was going on.” — JIMMY FALLON“And if they wanted to drive him to the brink of rage, they’d show him the movie ‘Cats.’” — STEPHEN COLBERT“Yep, Trump listened to ‘Cats’ to cheer himself up while the rest of his staff remained ‘Les Misérables.’” — JIMMY FALLON“One thing I know for sure: Some day, when Ryan Murphy eventually makes an ‘American Crime Story’ about the Trump White House, I am definitely playing the ‘Music Man.’” — JAMES CORDENThe Bits Worth WatchingOn Tuesday’s “Jokes Seth Can’t Tell,” the “Late Night” writers Amber Ruffin and Jenny Hagel poke fun at white neighborhoods and gay dating apps.What We’re Excited About on Wednesday NightStephen Colbert will welcome Anita Hill to Wednesday’s “Late Show.”Also, Check This OutJocelyn Nicole Johnson, a public school art teacher for 20 years, is the author of “My Monticello.” Matt Eich for The New York TimesAt 50, Jocelyn Nicole Johnson saw her debut collection, “My Monticello,” publish to great acclaim, and she also scored a Netflix deal. More

    • 100 Shares149 Views

      in Television

      Stephen Colbert Projects Joe Biden Is Still President

      by

      The “Late Show” host celebrated the results of an Arizona audit that confirmed Trump’s 2020 loss.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.The Biggest LoserStephen Colbert was happy on Monday night to project that Joseph R. Biden Jr. is still president 11 months after the election, following a Republican-led audit in Arizona’s largest county that confirmed that President Biden not only beat Donald J. Trump, but by a larger margin than previously counted.“He really did get tired of winning!” Colbert said of Trump.“So Trump and the Arizona G.O.P. were humiliated after they spent millions to hire a group of right-wing tech weirdos called the Cyber Ninjas, which sounds like an off-brand action figure your grandma would buy you at the Dollar Store.” — SETH MEYERS“And turns out, not only did the Ninjas find ‘no substantial differences’ between their tally and the official count, they actually found 99 more votes for Biden and 261 fewer for Donald Trump. I would have loved to have been there when they broke that news to him.” — JIMMY KIMMEL“Maybe Trump and the G.O.P. will just have to keep bringing in crazier right-wing groups with dumber and dumber names until they finally get the results they want, like the Robo Rockets or the Digi Pirates or the Crypto Cowboys.” — SETH MEYERS“So they hired MAGA fans and even they couldn’t say that No. 45 won. That’s like hiring your mom to judge the handsomest boy contest and still losing to a 78-year-old guy from Delaware.” — STEPHEN COLBERTThe Punchiest Punchlines (Bearing Arms Edition)“Well, guys, this afternoon President Biden received his Covid booster shot on camera, in front of reporters. When they offered Biden the booster, he said, ‘I’ll take one in my arm and another for my approval rating.’” — JIMMY FALLON“This comes just a few days after both the F.D.A. and C.D.C. approved it. How did Biden get to the front of that line? I reckon he knows someone.” — JAMES CORDEN“The actual shot only took a second, and then Joe Biden spent 10 minutes haggling over which flavor lollipop he could have.” — JAMES CORDEN“The good news is, it should give President Biden the all-clear to join the Brooklyn Nets for the start of the N.B.A. season, so you’ve got that to look forward to.” — JAMES CORDENThe Bits Worth WatchingOn “The Daily Show,” Roy Wood Jr. portrayed Francis Scott Key while breaking down Key’s iconic banger, “The Star-Spangled Banner.”What We’re Excited About on Tuesday NightGabrielle Union will appear on Tuesday’s “Jimmy Kimmel Live.”Also, Check This OutBeck Bennett, a veteran “Saturday Night Live” cast member, is not returning to the show. Its 47th season begins Saturday.Dana Edelson/NBCBeck Bennett, known for his impersonations of Wolf Blitzer and Mike Pence on “Saturday Night Live,” will exit the show after eight years. More

    • 125 Shares189 Views

      in Television

      For a Broadway Torn by a Pandemic, a Split-Personalities Tonys

      by

      The streaming part of the ceremony actually did a better job conveying the electricity of being in a theater than the CBS special billed as “Broadway’s Back!”It’s no surprise that the Tony Awards ceremony on Sunday night took much more time and bandwidth than usual, swallowing up more than four hours that were split between two platforms. After all, it had a big agenda: to honor the shortened 2019-2020 season and everything that came after, including the ongoing pandemic and a cultural reckoning in the theater, as in the world. Also, of course, with special urgency now, the event wanted to encourage possibly wary theatergoers to buy tickets to shows by highlighting Broadway’s performers as they return to the stage.With so much on its to do list, how did the Tonys do? Jesse Green, The New York Times’s chief theater critic, discussed the presentation — or, rather, the presentations: one on Paramount+ and one on CBS — with James Poniewozik, The Times’s chief television critic, and the contributor Elisabeth Vincentelli.JESSE GREEN The Tony Awards ceremony was deliberately broken into two halves: the first more like a private industry dinner, on Paramount+, to give out most of the awards efficiently; the second more like a desperate advertisement, on broadcast television, to lure tourists back to Broadway. (The second was even called, somewhat ambitiously, “Broadway’s Back!”) But did either of you feel, as I did intensely, that the two shows were almost psychotically different, even if they were written and directed by the same team? One half gave us the art form that wants to speak in serious terms of the human soul and cultural change. The other gave us weak comedy bits and bad timing.ELISABETH VINCENTELLI It felt like one of those horror films where a lab-made creature’s parts suddenly take on a life of their own: What used to be an awkward — but often very entertaining, in its own way — whole suddenly became split into separate bits and pieces. Mind you, those bits and pieces meant that even with four hours of airtime, the show still ran long!JAMES PONIEWOZIK The two shows were undeniably different. I’m not sure I mind that, though, at least in theory — we can get to my issues with the execution. Broadway was hit by the pandemic uniquely among art forms, but the Tonys really have the same challenge that all televised awards shows have now: Who is this production for? Is it for the die-hards or the casuals? Is it for the artists or the audience? Is it meant to honor the creative work of the past year(s) or sell tickets for the next? The Tonys answer was essentially, “Why not both?” There was definitely whiplash for those of us who managed to find Paramount+ and watch both halves. But I’m not sure how big that audience was compared with the CBS-only crowd.VINCENTELLI Splitting the awards from the musical numbers is what, I suspect, CBS had wanted to do for ages: shove the awards to the side because nobody (in the network’s view) cares, and focus on the fun stuff. I wouldn’t be surprised if they continued with that format in the future.PONIEWOZIK That split, by the way, is what the Grammys have done on CBS for years — shunt most of the awards off prime time and put on a big show for the general audience. That worked pretty well for them this year.GREEN The difference, and what makes the split feel more neurotic to me, is that the theater, abetted by pretentious theater critics like myself, often tries to imagine it is upholding a more noble tradition. Certainly it’s an older tradition. In any case, given the choice to divide the awards, it’s surprising how the first half managed to provide everything the second half was supposed to — warmth, dignity in a difficult time, Jennifer Holliday live! — and the second half largely failed to, except in the recorded segments from the nominated musicals.VINCENTELLI The combination of Sheryl Lee Ralph’s introduction and Jennifer Holliday’s performance of “And I Am Telling You I’m Not Going” is bound to become a YouTube classic. CBS might be trying to turn the Tonys into the Kennedy Center Honors, which they also broadcast — they’re well placed to know that in 2019, the Honors scored more viewers than the Tonys. So that’s the model: celebrity presenters of big numbers. Having the awards themselves on Paramount+ also testifies to the siloing of audiences.Danny Burstein in a performance by the “Moulin Rouge! The Musical” cast. The critics agreed that the number worked well on TV.Sara Krulwich/The New York TimesPONIEWOZIK I would question whether the theater is more inherently “noble” than TV or any other art form. But another argument, another day. More to the point, if the theater wants to celebrate its hard work and creative spirit, you can rent a nice hall for that and do it privately. If you expect a broadcast TV audience, your obligations are different — no one is entitled to the attention of millions of people. But I agree that (to my surprise) the first, industry-awards part actually did a better job of conveying the excitement and electricity of being in a theater!GREEN The “concert” half, not a bad idea in theory, was in fact so poorly routined and timed that it erased all the gains of the “awards” half. The final 30 minutes, which felt like an entire additional day, was a train wreck of bad calls: ballads, duets, redundant improv from “Freestyle Love Supreme” — when what you really wanted in that spot was the “Moulin Rouge!” kickline and confetti cannons.VINCENTELLI I don’t think I ever need “Moulin Rouge!” anything. That said, that number worked on TV and may well have done its job, which is to sell tickets.GREEN I’m not a huge fan of “Moulin Rouge!” myself, but I thought it looked fantastic on the screen, using the cool medium to tone down its manic red hotness. Even if it hadn’t won 10 awards, the most of any show, it would have done itself a lot of good with that performance.PONIEWOZIK The flow of the CBS portion was just weird. The “concert” wasn’t an awards show, but there were three major awards, and the last one was given out a half-hour before the end, sabotaging the momentum. I also question whether the song choices — between the general nostalgia of the production and Broadway’s reliance on jukebox musicals — did much to sell an audience on experiencing new theater. (Disclosure: I already have tickets for “Caroline, or Change.”) You’re telling me to feel excited (and safe) going back to a theater in 2021, and giving me a selection of songs I could have heard on one night of “American Idol” in 2005.VINCENTELLI And as on “American Idol,” there was no mention of plays, which the Tonys still don’t know what to do about. Unless I blinked and missed it, there was no attempt to even describe them, let alone feature excerpts.PONIEWOZIK Yes, Elisabeth! Four hours (plus overtime!!!), and you can’t even give us a taste of the plays you want us to come back to Broadway for?GREEN Generally you can’t come back for the plays; they’ve closed. But the world of Broadway is changing, even when the awards don’t. “The Inheritance” swept the big play categories, winning four major awards, and “Slave Play,” its main competition, got skunked — but it was “Slave Play” that has announced a return Broadway engagement, starting in November. I’m shocked “Slave Play” didn’t win, but there’s no point in litigating the voters’ choices; they are always unintelligible and, as far as television is concerned, beside the point. Unintelligibility may even be a plus. Drama!Daniel J. Watts, right, and Jared Grimes during their performance. The spoken word piece, featuring tap, addressed the racial equity concerns of the Broadway Advocacy Coalition, which received a special Tony.Sara Krulwich/The New York TimesVINCENTELLI In terms of the overall tone, I was very happy to be spared the usual self-conscious posture of theater, which thinks of itself as a beleaguered band of misfits toiling for an underappreciated art form/industry and reacts with a bizarre mix of self-importance and defensiveness. Theater folks feel like the Marvel and “Star Wars” nerds of yore, before they became the de facto rulers of popular culture. Sunday night had a much more interesting, and overall healthier, balance of positivity, eagerness and joy. Of course at times there was frustration and anger, too, expressed most starkly in Daniel J. Watts’s spoken-word number, but that’s another way to let passion speak.PONIEWOZIK To me, the job of the whole shebang was to convey through TV the excitement of seeing theater live, in a room. What did that well? Jennifer Holliday’s performance, of course — not just because she’s a legend, but because it was a theatrical performance. She was in character. (Whereas too many of the duets, however beautifully sung, simply felt like watching two celebrities I like enjoy being back together.) I thought the recorded performances from other theaters might kill the live vibe, but it helped that they had audiences. And the buzz of the first awards portion — you could just feel how pumped everyone was to be in the room — in a way recreated the live experience better than some of the performances.GREEN Yes: What was good was whatever felt like live theater, not like an “I Love New York” commercial. Still, it’s very strange to me that the main thing all these Broadway creatives couldn’t pull off was a Broadway entertainment spectacular. (Who puts all the socko material at the beginning, leaving none for the end?) I think it’s time to give other writers and directors a chance.VINCENTELLI The second half of the show felt a little rote because something changed over the past 18 months in terms of access. The Tonys used to be the only place we could catch Broadway stars do a number on a screen. But in 2020, we streamed them a lot, and the newness of watching, say, Kelli O’Hara or Audra McDonald slay a number was dulled — because we watched Kelli O’Hara and Audra McDonald slay a lot of numbers online last year.PONIEWOZIK It would not be awful for the Tonys (and other awards) to learn a little from streaming. The most entertaining work of theater I saw during the pandemic may have been Annaleigh Ashford doing an insane version of “Mr. Mistoffelees” from “Cats” while cooped up at home for Miscast21.VINCENTELLI Yes! The Tonys need a good dose of that freewheeling social-media spirit.GREEN And maybe, hear me out, it should keep to a TikTok length. More

    • 175 Shares109 Views

      in Television

      ‘Saturday Night Live’ Cast: Who is Leaving and Who is Staying for Season 47

      by

      Other “S.N.L.” veterans including Pete Davidson, Cecily Strong and Kate McKinnon will return to the show, which is adding three new featured players.“Saturday Night Live” isn’t necessarily a series known for its season-ending cliffhangers, but when this long-running NBC sketch show reached its finale last May, there were question marks hanging over many of its veteran cast members.Pete Davidson concluded a monologue by telling viewers, “It’s been an honor to grow up in front of you guys, so thanks.” Cecily Strong finished what felt like a valedictory performance as Jeanine Pirro by dunking herself in a glass tank that said “Boxed Wine.” Other long-tenured players, including Aidy Bryant and Kate McKinnon, were simply seen looking especially tearful, fueling speculation about their future at the show.But on Monday, NBC announced that nearly all of the “S.N.L.” cast members from last season will be returning to the show: That includes Davidson, Strong, Bryant and McKinnon, as well as the Weekend Update anchors Colin Jost and Michael Che, players like Chris Redd, Heidi Gardner and Ego Nwodim, as well as Kenan Thompson, who has appeared on the show since 2003.However, Beck Bennett, who joined “S.N.L.” in 2013 and portrayed characters like Wolf Blitzer, Mike Pence, Vladimir Putin and Vin Diesel, is not returning to the program. In a post on his Instagram account, Bennett did not give a reason for his departure but wrote, “Thank you for 8 years of remarkable people and incredible experiences that completely changed my life.”Lauren Holt, who appeared on “S.N.L.” as a featured player last season is also not returning to the show.Bowen Yang and Chloe Fineman, who had both been appearing as featured players have been promoted to full cast members, NBC said.“S.N.L.” is also adding three new featured players for the coming season: Aristotle Athari, a member of the sketch group Goatface; James Austin Johnson, who has acted in shows like “Tuca & Bertie” and in the film “Hail, Caesar!”, and has a viral series of Donald Trump impressions; and Sarah Sherman, who has worked on “The Eric Andre Show.”“Saturday Night Live” will begin its 47th season this Saturday with an episode hosted by Owen Wilson and featuring the musical guest Kacey Musgraves. More

    • 138 Shares169 Views

      in Television

      What’s on TV This Week: ‘Citizen Hearst’ and ‘Saturday Night Live’

      by

      A two-part documentary about William Randolph Hearst debuts on PBS. And “SNL” returns to NBC for its 47th season.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, Sept. 27-Oct. 3. Details and times are subject to change.MondayAMERICAN EXPERIENCE: CITIZEN HEARST 9 p.m. on PBS (check local listings). Any onscreen exploration of the life of the 20th-century media mogul William Randolph Hearst has to contend with an inconvenient fact: Orson Welles’s “Citizen Kane” (1941) basically did that, to historically great effect. This two-part documentary on Hearst leans into that inconvenient truth, both nodding at Welles with its title and including a discussion of “Citizen Kane” itself. The focus, though, is on Hearst and his life — from his days at Harvard, where, the film notes, he was known for keeping a pet alligator, to his death in 1951 in Beverly Hills. (If you’d prefer to watch Welles’s take, you can see that on Monday night, too: “Citizen Kane” airs at 8 p.m. on TCM.)TuesdayLA BREA 9 p.m. on NBC. The first episode of this new sci-fi drama begins with a mother and her two children navigating a distinctly terrestrial horror: Los Angeles traffic. But the situation becomes otherworldly quickly when a sinkhole opens up, transporting those that fall into it to a prehistoric world. The family gets broken up; the series follows them as they work to reunite.WednesdayThe filmmaker Alice Guy-Blaché, as seen in “Be Natural: The Untold Story of Alice Guy-Blaché.”Zeitgeist Films and Kino LorberBE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ (2019) 9:45 on TCM. The director Pamela B. Green revisits the life and work of the foundational early filmmaker Alice Guy-Blaché in this documentary. Guy-Blaché was born in 1873 in France, and became one of the first people to innovate with the narrative possibilities that film allows — both as a director and producer, and eventually as the head of her own movie company, Solax Studios. Green’s documentary makes a case for Guy-Blaché’s importance while exploring the ways in which she has traditionally been written out of film history. The documentary also includes a fair amount of archival detective work, following Green’s efforts to research Guy-Blaché — the difficulty of which is telling in itself. It’s a “lively and informative” documentary, A.O. Scott wrote in his review for The New York Times. “By the end of ‘Be Natural,’” Scott wrote, “you won’t only have a clear idea of who this remarkable woman was; you may well have acquired a new taste in old movies.”ThursdayCAKE 10 p.m. on FXX. Despite its title, this comedy showcase series is really more a box of semisweet comedy truffles than it is a cake. Each season mixes bite-sized animated and live-action comedy pieces from an array of creators. The fifth season, which debuts on Thursday night, includes TV versions of two cult comic series: Reza Farazmand’s “Poorly Drawn Lines” and Branson Reese’s “Swan Boy.”FridayJeté Laurence in “Pet Sematary.”Kerry Hayes/Paramount PicturesPET SEMATARY (2019) 7 p.m. and 9:30 p.m. on Paramount Network. Stephen King’s 1983 novel of undead, sometimes four-legged, horrors is reincarnated in this modern movie adaptation. Following in the paw prints of both King’s novel and the 1989 film, this version stars Jason Clarke and Amy Seimetz as a husband and wife who move their family to a small town in Maine. In the woods behind their new house, they discover a cemetery with supernatural traits that turn from horrific to alluring and back again. The directors Kevin Kölsch and Dennis Widmyer “overload the movie with arbitrary jump scares,” Glenn Kenny wrote in his review for The Times. But, Kenny added, “when they settle into a groove that aligns with the novel’s, the movie delivers great unsettling jolts that approximate the power of King’s vision.” John Lithgow co-stars as the family’s new neighbor.THE KENNEDY CENTER AT 50 9 p.m. on PBS (check local listings). Audra McDonald hosts this tribute to the Kennedy Center in Washington, D.C. Filmed earlier this month, the special includes performances from a formidable group of artists including the singer-songwriter Ben Folds, the soprano Renée Fleming, the jazz bass player Christian McBride and the folk quintet the Punch Brothers. Caroline Kennedy is a special guest.SaturdaySATURDAY NIGHT LIVE 11:30 p.m. on NBC. The continued cultural might of “Saturday Night Live” was on display earlier this month at the 73rd Emmy Awards, and not just because “S.N.L.” won the Emmy for best variety sketch series. The show’s reverberations were felt elsewhere during the ceremony. The “S.N.L.” alum Jason Sudeikis’s Apple TV+ show, “Ted Lasso,” was one of the night’s biggest winners. And the “S.N.L.” alum Norm Macdonald, who died on Sept. 14, was the subject of several tributes. Kenan Thompson was nominated in acting categories for both his work on the series and on his own sitcom, “Kenan” — a show that has surely gotten a boost from Thompson’s “S.N.L.” fame. And Bowen Yang’s silver boots were a red carpet show stealer. “S.N.L.” will return for its 47th season this Saturday, hosted by Owen Wilson. Kacey Musgraves is the musical guest.SundayA scene from “Nuclear Family.”HBONUCLEAR FAMILY 10:10 p.m. on HBO. The filmmaker Ry Russo-Young, known for indie movies including “Nobody Walks” (2012) and teen dramas like “The Sun is Also a Star” (2019), takes an autobiographical turn in this three-part documentary series. In “Nuclear Family,” Russo-Young revisits her childhood as the younger daughter of Sandy Russo and Robin Young. Russo-Young was part of the first generation of children raised by openly gay and lesbian parents. In 1991, her mothers were sued by the man who had donated the sperm for Russo-Young’s conception, Thomas Steel, in a case that made national news and resulted in Steel being granted legal standing as Russo-Young’s father. Russo-Young explores that history through home movies, photographs and present-day interviews. “It feels like this is my first film,” Russo-Young said in a recent interview with The Times. “Or all the films I’ve been making in my whole life have led up to this film.” The second of the three parts debuts on Sunday; the first is available now on HBO platforms including HBO Max. More

    • 113 Shares99 Views

      in Television

      Jay Sandrich, Emmy-Winning Sitcom Director, Is Dead at 89

      by

      Acclaimed for his work on “The Mary Tyler Moore Show” and “The Cosby Show,” he also made a crucial casting decision about “The Golden Girls.”Jay Sandrich, a prolific sitcom director who won Emmy Awards for the two series he worked on most often, “The Mary Tyler Moore Show” and “The Cosby Show,” died on Wednesday at his home in Los Angeles. He was 89.The cause was dementia, his wife, Linda Sandrich, said.Mr. Sandrich did not think of himself as funny, but he knew how to guide a cast of comic actors through half-hour episodes. He understood the mechanics of directing (move the cameras, not the actors) and knew how to make scenes work.“Sitcom directors have a reputation as traffic cops because it’s a writers’ medium,” James Burrows, whose directing credits include “Cheers,” “Frasier” and “Will & Grace,” and who considered Mr. Sandrich a mentor, said by phone. “But Jay taught me to speak up and say what I thought so that you’re contributing to the show, not just parroting what everybody wants.”By 1970, Mr. Sandrich was a sitcom veteran, but he did not believe he had done “anything great”; his credits at that point included “He & She,” “That Girl,” “The Ghost & Mrs. Muir” and, perhaps most notably, “Get Smart.” Then, after another director dropped out, he was asked to direct the pilot episode of “The Mary Tyler Moore Show.”When the cast gathered for a run-through in front of an audience, nothing worked.“It was a disaster,” he told the Television Academy in an interview in 2001. “I don’t think we got six laughs.”Afterward, he told the cast to trust the material and keep rehearsing. By the time the episode was taped, the performances had sharpened and the laughs had been found.The cast of “The Golden Girls,” from left: Rue McClanahan, Bea Arthur, Estelle Getty and Betty White. It was Mr. Sandrich who suggested that Ms. McClanahan play the role originally intended for Ms. White, and vice versa.Walt Disney Television, via Getty ImagesReferring to a moment in the scene where Mary Richards, played by Ms. Moore, is interviewing for a television news job with Lou Grant, played by Ed Asner (who died last month), he said, “Ed, I remember, when he said, ‘You’ve got spunk — I hate spunk,’ he did it so loud” that the audience gasped. “He had found the perfect level.”Over the next seven years, Mr. Sandrich directed 118 more episodes of “The Mary Tyler Moore Show,” including the series finale, and won two Emmys for his work on the show. He also directed other series under the banner of Ms. Moore’s company, MTM Enterprises, including “Rhoda,” “The Bob Newhart Show,” “Phyllis” and “Lou Grant.”In the late 1970s, he directed 53 episodes of “Soap,” Susan Harris’s parody of soap operas. In 1980 he directed the movie “Seems Like Old Times,” written by Neil Simon and starring Goldie Hawn and Chevy Chase. It was a hit, grossing $44 million — about $139 million in today’s dollars — but he never made another feature film.Jay Henry Sandrich was born on Feb. 24, 1932, in Los Angeles. His father, Mark, was a director whose films included the Fred Astaire-Ginger Rogers musical “Top Hat.” His mother, Freda (Wirtschalter) Sandrich, was a homemaker.As a child, Jay saw snow falling for the first time — on the set of “Holiday Inn” (1942), with Astaire and Bing Crosby, which his father was directing. It was an exciting sight, even if the snow was plastic.Goldie Hawn in “Seems Like Old Times” (1980), the only feature film Mr. Sandrich directed.Columbia Pictures, via Getty ImagesAfter graduating in 1953 from U.C.L.A., where he studied theater arts and film, he joined the Army and shot training films for the Signal Corps.Following his discharge, he wrote to W. Argyle Nelson, the head of production at Desilu Productions — Lucille Ball and Desi Arnaz’s production company — and he was hired as a second assistant director, working on “I Love Lucy,” “Our Miss Brooks” and “December Bride.” He later discovered that he had gotten the job because Mr. Nelson had been an assistant to his father on a film years earlier. Mr. Sandrich went on to become an assistant director on “The Lucy-Desi Comedy Hour,” the successor to “I Love Lucy,” from 1957 to 1959.He had similar positions on “The Dick Van Dyke Show” and on “Make Room for Daddy,” starring Danny Thomas, where he started his directingcareer.“I remember waking up in the middle of the night,” fearful before directing his first episodes of “Daddy,” he told the Television Academy. “I was so scared. Nobody was going to listen to me.”People listened to him for the next 40 years.In the 1980s, he directed 100 episodes of “The Cosby Show,” for which he won two Emmys. In 1985, he directed the pilot for “The Golden Girls,” and he played a critical role in casting Betty White as Rose, the naïve character, and Rue McClanahan as the libidinous Blanche, the opposite of what had been originally planned — in part because Ms. White had already played a similar role, Sue Ann Nivens, on “The Mary Tyler Moore Show.”“Jay Sandrich, in his genius, said if Betty plays another man-hungry, they’ll think it’s Sue Ann revisited. So let’s make her Rose,” Ms. White said at a 2006 “Golden Girls” reunion in Los Angeles staged by the Paley Center. She added, gesturing to Ms. McClanahan, “They got a real neighborhood nymphomaniac to play Blanche.”Mr. Sandrich at an Academy of Television Arts and Sciences panel discussion in Los Angeles in 2013. His TV career began in the 1950s and continued into the 21st century. Frank Micelotta/Invision for Academy of Television Arts and Sciences, via Associated PressMr. Sandrich continued to work into the 21st century. His last assignment was an episode of “Two and a Half Men” in 2003.He married Linda Silverstein in 1984. In addition to her, he is survived by his daughter, Wendy Steiner; his sons, Eric and Tony; and four grandchildren. His marriage to Nina Kramer ended in divorce.Mr. Sandrich’s association with “The Mary Tyler Moore Show” ended when the series itself did, in 1977. He later recalled that as the cast rehearsed the last episode, Mr. Asner’s emotional line, “I treasure you people,” caused tears to stream from Mr. Asner’s eyes.And when Ms. Moore talked about how much her co-workers meant to her, Mr. Sandrich said, “My only direction to her was to hold off crying as long as you can.”“If you see the show,” he added, “you see the tears well up and I started crying and the audience started crying.” More