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      What’s on TV This Week: ‘What We Do in the Shadows’ and ‘Yannick’

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      “What We Do in the Shadows” returns for a third season on FX. And PBS airs a documentary about the orchestra conductor Yannick Nézet-Séguin.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, Aug. 30-Sept. 5. Details and times are subject to change.Monday8:46 FILMS (2021) 8 p.m. on BET. This program — named for the amount of time that the former Minneapolis police officer, and now convicted murderer, Derek Chauvin was originally reported to have knelt on the neck of George Floyd — collects four short films that explore Black love and joy. The films, directed by Camrus Johnson, Marshall Tyler, Zoey Martinson and Gibrey Allen, include a comedy about three children who play matchmaker for their school bus driver and an animated piece about an older woman who escapes to a dream world. The running time of each film is 8 minutes and 46 seconds.TuesdayFUTURE OF WORK 10 p.m. on PBS (check local listings). This new documentary series looks at the ways American jobs are changing as a result of cultural and technological shifts (including the increasing prevalence of artificial intelligence and digital nomads), as well as how the pandemic has accelerated such workplace trends. The three episodes are built around case studies of several individuals whose careers have been affected by these larger shifts, and include interviews with experts who talk about them.WednesdayWHAT WE DO IN THE SHADOWS 10 p.m. on FX. “Humans are so [expletive] stupid and boring and lazy,” the filmmaker Taika Waititi told The New York Times in 2019, “that given the gift of immortality, you’d never get around to doing anything.” He was talking about the logic that drives this proudly silly TV series, which was born of his and Jemaine Clement’s 2015 mockumentary movie of the same name. The show’s plot centers on a group of vampire roommates living on modern-day Staten Island. Its third season, which debuts Wednesday night, picks up where the second season left off: with members of the group facing the realization that one of their own is actually a vampire hunter.ThursdayCMA SUMMER JAM 8 p.m. on ABC. Over two nights in July, several country music stars — including Miranda Lambert, Luke Bryan and Blake Shelton — performed at a large outdoor theater in Nashville. This special combines footage of those large-scale performances with recordings of more intimate ones shot at other Nashville locales, including a nightclub and a pedestrian bridge.FridayYannick Nézet-Séguin, the subject of “Great Performances: Yannick – An Artist’s Journey,” conducting the Metropolitan Opera.Metropolitan OperaGREAT PERFORMANCES: YANNICK — AN ARTIST’S JOURNEY 9 p.m. on PBS (check local listings). Audiences in the Northeast are expected to have many chances to see the star orchestra conductor Yannick Nézet-Séguin in person this fall, in performances with the Metropolitan Opera and the Philadelphia Orchestra; he is the music director of both organizations. So now is a good time for PBS to air this documentary about him, which charts his background and rise through interviews, home movies and behind-the-scenes moments, like Nézet-Séguin coaching younger artists including the soprano Gabriella Reyes. Given Nézet-Séguin’s astounding number of commitments (he’s also the artistic director and principal conductor of the Orchestre Métropolitain in Montreal), there should be no shortage of backstage footage. “I am very busy and high energy, but I am not hyperactive,” Nézet-Séguin told The Times in 2019. “The loneliness of studying a score is one of the things that attracted me to becoming a conductor.”SaturdayTahar Rahim and Jodie Foster in “The Mauritanian.”Graham Bartholomew/STXfilmsTHE MAURITANIAN (2021) 8 p.m. on Showtime. In his 2015 memoir, “Guantánamo Diary,” Mohamedou Ould Slahi wrote about American national security operatives ripping him from his life as an electrical engineer and telecommunications specialist in Nouakchott, Mauritania, torturing him and eventually imprisoning him at Guantánamo Bay, where he remained for over a dozen years — even as the charges against him fell away. (He’d come under suspicion for having connections to Al Qaeda.) This adaptation of the memoir casts Tahar Rahim as Slahi. It focuses on a period in which a defense attorney (Jodie Foster) is working to get a hearing for Slahi.HARRY POTTER AND THE PRISONER OF AZKABAN (2004) 10:30 p.m. on E!. Twenty years ago this summer, Alfonso Cuarón released “Y Tu Mamá También,” his film about a love triangle that forms between two teenage boys and a somewhat older woman during a road trip in Mexico. It was a landmark film for Cuarón and his stars, Gael García Bernal, Diego Luna and Maribel Verdú — and a box-office smash with a sexual openness that generated both controversy and praise. Cuarón’s next move was surprising: The boundary-pushing director helmed this third installment of the “Harry Potter” series. It was a departure, though it could be argued that the dynamic between the emotionally mature woman and two comparatively juvenile young men in “Y Tu Mamá También” also applies to Harry Potter, Ron Weasley and Hermione Granger, whose complicated friendship is as much a focus of this movie as the fight against evil wizards.Tom Hanks and Helena Zengel in a scene from “News of the World.”Bruce W. Talamon/Universal PicturesNEWS OF THE WORLD (2020) 8 p.m. on HBO. With their 2013 action movie, “Captain Phillips,” Tom Hanks and the director Paul Greengrass pulled thrills out of an actual 21st-century event: the famous 2009 hijacking of a cargo ship in the Indian Ocean. Seven years later, Hanks and Greengrass turned to a historical setting — and a fictional story — with this spare western. Based on a novel of the same name by Paulette Jiles, “News of the World” casts Hanks as a former Confederate captain who, five years after the end of the Civil War, takes it upon himself to escort a young, orphaned girl (Helena Zengel) to a faraway aunt and uncle. It’s a treacherous trip and a classic western setup. Greengrass, A.O. Scott wrote in his review for The Times, “honors the genre tradition rather than trying to reinvent it.”SundaySINGIN’ IN THE RAIN (1952) 6 p.m. on TCM. When this MGM musical about late-1920s Hollywood debuted in New York in March of 1952, the Times critic Bosley Crowther praised the “music, dance, color, spectacle and a riotous abundance,” which have since helped make it a classic. “All elements in this rainbow program,” Crowther wrote, “are carefully contrived and guaranteed to lift the dolors of winter and put you in a buttercup mood.” It’s still summer right now — but many of us could probably use something to put us in a “buttercup mood,” so in that sense, the timing of this broadcast is quite good. More

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      Ed Asner, Emmy-Winning Star of ‘Lou Grant’ and ‘Up,’ Dies at 91

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      Best known as the gruff newsman he first played on “The Mary Tyler Moore Show,” he was also a busy character actor and a political activist.Ed Asner, the burly character actor who won seven Emmy Awards — five of them for playing the same character, the gruff but lovable newsman Lou Grant, introduced on “The Mary Tyler Moore Show” — and later starred in film hits like “Up” and “Elf” — died on Sunday at his home in Tarzana, Calif. He was 91.His death was confirmed by his family via Twitter. No cause was specified.Mr. Asner also served as president of the Screen Actors Guild from 1981 to 1985 and was active in political causes both within and beyond the entertainment industry. The issues he supported over the years included unionism (in particular the air traffic controllers’ strike of 1981) and animal rights; those he protested against included the American military presence in El Salvador.Mr. Asner was 40 when he was approached for the role of Lou Grant, the irascible but idealistic head of the fictional WJM television newsroom in Minneapolis and the boss of Ms. Moore’s Mary Richards. His place in television comedy history was secured when, during the first episode, he told Ms. Moore, an eager young job seeker, “You’ve got spunk,” then paused and added, “I hate spunk.”“The Mary Tyler Moore Show” ran on CBS from 1970 to 1977, and Mr. Asner was nominated for the Emmy for best supporting actor in a comedy series every year. He won in 1971, 1972 and 1975. He went on to win twice for best lead actor, in 1978 and 1980, for the spinoff “Lou Grant,” making him the first performer to have received Emmys for playing the same character in both a comedy and a drama series.“Lou Grant” (1977-82) itself was an unusual case, a drama series developed around a sitcom character. In the show, Mr. Grant returned to his first love, editing a big-city newspaper, and the scripts tackled serious issues that included, in the first season alone, domestic abuse, gang rivalries, neo-Nazi groups, nursing-home scandals and cults.In between playing Lou Grant, Mr. Asner also won Emmys for his appearances in the 1976 mini-series “Rich Man, Poor Man,” as Nick Nolte’s bitter immigrant father, and the groundbreaking, lavishly lauded 1977 mini-series “Roots,” in which he played a slave-ship captain with scruples. He also won five Golden Globes, one for “Rich Man, Poor Man” and two each for the two series in which he played Lou Grant.In more recent years he had been seen in guest roles on television series like “The Good Wife,” “The Middle,” “Grace and Frankie,” “Hot in Cleveland” and “Cobra Kai,” and as recurring characters on “The Practice” and “ER.” In television movies, he played the billionaire Warren Buffett (in “Too Big to Fail,” 2011) and Pope John XXIII (in a 2002 movie by that name).Edward David Asner was born on Nov. 15, 1929, in Kansas City, Mo., and grew up in Kansas City, Kan. He was the youngest of five children of Orthodox Jewish immigrants, Morris David Asner, a junkyard owner from Poland, and Lizzie (Seliger) Asner, from Russia.As a boy, Mr. Asner became interested in dramatics and worked on a school radio program. After high school he was accepted at the University of Chicago, but dropped out after a year and a half to work at odd jobs — taxi driver, encyclopedia salesman, metal finisher at an auto plant — while he tried to build an acting career..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-w739ur{margin:0 auto 5px;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-w739ur{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-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-9s9ecg{margin-bottom:15px;}.css-wxi1cx{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;-webkit-align-self:flex-end;-ms-flex-item-align:end;align-self:flex-end;}.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;}.css-1gp0zvr{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;margin-bottom:25px;}In 1951 he was drafted into the Army and sent to France. Mustered out in 1953, he returned to Chicago to work with the Playwrights Theater Club and the Compass Players, a precursor of the Second City comedy troupe. But he soon moved to New York, where he found work onstage (a small part in “The Threepenny Opera” at the Theater de Lys in Greenwich Village and a short-lived Broadway play, “Face of a Hero,” starring Jack Lemmon) and in a handful of television shows.Moving to California in 1961, he found the acting jobs more lucrative, and was cast in a short-lived CBS political drama, “Slattery’s People,” starring Richard Crenna. He made a point of largely avoiding comedy — out of fear, he said in a 2002 appearance at Vanderbilt University, and because “in those days you got discovered by doing the drama shows as a guest star.” But he agreed to audition for “The Mary Tyler Moore Show” because, as he said in an Archive of American Television interview, Lou Grant “was the best character I’d ever been asked to do” in either television or film.Mr. Asner as Lou Grant with Mary Tyler Moore in a scene from “The Mary Tyler Moore Show.” He won three Emmys for his portrayal on the show, and two more when the character moved to his own dramatic series.CBSLou was a hard-drinking, straight-shooting, short-tempered journalist who had tender emotions but did not plan to show them; a strong aura of professional and personal integrity; a fear that he had outlived his era; and “a great common core of honor,” as Mr. Asner told Robert S. Alley and Irby B. Brown, the authors of “Love Is All Around: The Making of ‘The Mary Tyler Moore Show.’”In the post-Lou Grant era, Mr. Asner worked on both screen and stage. He returned to Broadway in 1989 to play the pugnacious Harry Brock opposite Madeline Kahn in a revival of “Born Yesterday.” His last Broadway play was “Grace” (2012), a tale of gospel-themed motels and murder, in which he played an exterminator.He provided the voice of the lead character in the Oscar-winning animated movie “Up” (2009), about an elderly widower who flies to South America by attaching roughly a zillion colorful balloons to his house. Manohla Dargis’s review in The New York Times, which praised Mr. Asner and the supporting characters — including a portly stowaway scout and several talking dogs — called it “filmmaking at its purest.”Mr. Asner also played a levelheaded Santa Claus in the Will Ferrell comedy “Elf” (2003), about a tall human raised by North Pole elves, which has become a Christmas-season classic. (It was Santa’s fault, really; the human baby crawled into his giant bag of gifts one busy Christmas Eve.) The Chicago Sun-Times critic Roger Ebert called the film “one of those rare Christmas comedies that has a heart, a brain and a wicked sense of humor.”He was a former F.B.I. man in Oliver Stone’s 1991 film “JFK,” he did voice work for several animated series and he starred briefly in several more prime-time series. They included “Off the Rack” (1984), as Eileen Brennan’s business partner; “The Trials of Rosie O’Neill” (1991), with Sharon Gless; “Thunder Alley” (1994), a sitcom in which he played a retired stock car racer; and “Center of the Universe” (2004), as John Goodman’s intrusive father.Mr. Asner continued working late in life, appearing on “The Good Wife” in 2015 with Julianna Margulies.Jeff Neumann/CBS One of his last film appearances was as a New York psychologist in “The Garden Left Behind” (2019), a drama about a young Mexican transgender woman that won a SXSW Film Festival audience award. That year he also appeared on several television series, including five episodes of “Dead to Me,” a Netflix drama about grief.Mr. Asner married Nancy Sykes in 1959, and they had three children. They divorced in 1988. Ten years later he married Cindy Gilmore, a producer; they separated in 2007 but did not divorce until 2015. He is survived by two daughters, Liza and Katie Asner; two sons, Charles and Matthew, and 10 grandchildren.In a 1999 interview, Mr. Asner looked back fondly on his long-running series. “To me, the best performances come from those milieus where you create the family,” he said. “Of bolstering each other, of love for each other’s work, of trying to help each other, of trying to get the best out of each other. And I believe it pays off.”Jack Kadden contributed reporting. More

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      William G. Clotworthy, ‘Saturday Night Live’ Censor, Dies at 95

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      A self-described “professional square,” he fell in love with the show, and worked with its writers to tweak questionable material. Cast members called him “Dr. No.”William G. Clotworthy, who as the in-house censor for “Saturday Night Live” from 1979 to 1990 decided whether Eddie Murphy could say “bastard,” whether Joe Piscopo could make fart jokes and whether inebriated Romans could vomit on network television, died on Aug. 19 in Salt Lake City. He was 95.His son Robert confirmed his death, at a hospice facility.Mr. Clotworthy, who described himself as “a professional square,” had never seen an episode of “Saturday Night Live” when he arrived in 1979, coming off a career of nearly 30 years in advertising and looking for a midlife career change.His predecessors had struggled with the late-night sketch show’s limits-pushing humor and had often rejected entire skits. Mr. Clotworthy was different. A trained actor, he fell in love with the show and its brand of satire, and he worked with its writers to tweak questionable material.“A writer once asked me what was the first thing I did when I read a script, and I said, ‘I laugh,’” he wrote in his memoir, “Saturday Night Live: Equal Opportunity Offender” (2001). “After I laugh, then I go to work with the scissors and blue pencil, screaming or begging.”Mr. Clotworthy, by then in his mid-50s, was liked and respected by the show’s anti-authoritarian young cast and writing staff. He chuckled along when they called him “Dr. No” and guffawed when one cast member, Tim Kazurinsky, took to interrupting skits as the prudish censor “Worthington Clotman.”“He was an ally,” said the former United States senator Al Franken, who as a longtime “Saturday Night Live” writer and performer often clashed with Mr. Clotworthy — but who also considered him a friend. “Sometimes I’d lose, sometimes I’d win, but he was always sophisticated in his understanding of what we were doing.”Another writer, Kevin Kelton, recalled one of his earliest skits, in which Mr. Murphy, playing his recurring character Mister Robinson — a riff on Mister Rogers — finds a baby outside his apartment door. Like Mister Rogers, Mister Robinson often had a “word of the day” written on a board for his purported juvenile audience. The word for that episode was “bastard.”Mr. Clotworthy said no, they could not say “bastard” on network TV. But instead of shutting down the skit, he and Mr. Kelton negotiated. Eventually they came up with a compromise: The word would appear on the board, but Mr. Murphy would be pulled away by a visitor before he could say it.“He had as tough a job as anyone had there, but he was very friendly,” Mr. Kelton said in an interview. “Even though he was the censor, he understood his job wasn’t to impede the show.”By his own admission, Mr. Clotworthy wasn’t perfect. He regretted killing a sketch in which several fraternity brothers, in the middle of lighting their farts, are interrupted by a parody of Smokey Bear, played by Mr. Piscopo, and he equally regretted giving approval to “Vomitorium,” in which Roman men drink and eat too much and then throw up.“I wish I had the script so I could recall why the heck we ever let that one in,” he wrote in his memoir.“A writer once asked me what was the first thing I did when I read a script, and I said, ‘I laugh,’” Mr. Clotworthy wrote in a memoir published in 2001. “After I laugh, then I go to work with the scissors and blue pencil, screaming or begging.”
      William Griffith Clotworthy was born on Jan. 13, 1926, in Westfield, N.J. His father, William Rice Clotworthy, worked for AT&T, and his mother, Annabelle (Griffith) Clotworthy, was a homemaker. He traced his family line to 11th-century England and his American roots to Jamestown, the first English settlement in North America.His first two marriages ended with his wives’ deaths. Along with his son Robert, he is survived by his third wife, Jo Ann Clotworthy; another son, Donald; his daughters, Lynne and Amy Clotworthy; his stepsons, Peter Bailey and Bradford Jenkins; and a grandson..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-w739ur{margin:0 auto 5px;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-w739ur{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-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-9s9ecg{margin-bottom:15px;}.css-wxi1cx{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;-webkit-align-self:flex-end;-ms-flex-item-align:end;align-self:flex-end;}.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;}.css-1gp0zvr{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;margin-bottom:25px;}Mr. Clotworthy entered the Navy after graduating from high school and later attended Yale and Wesleyan before enrolling at Syracuse University, where he studied theater, graduating in 1948.He headed to New York City intent on an acting career and arrived at the dawn of the television era, something he got to watch firsthand after being hired as an NBC page. The premier program at the time was “Texaco Star Theater,” hosted by Milton Berle, and among Mr. Clotworthy’s tasks was escorting Mr. Berle’s mother up to Studio 8H before every performance.He left NBC after eight months and, after a brief, unsuccessful stab at acting, took a job with the advertising agency B.B.D.O.William Clotworthy, right, in the mid 1950’s during a recording session with Efrem Zimbalist Jr.via Clotworthy FamilyFirst in New York and later in Los Angeles, he worked as an agency representative. In the early days of television, many shows were owned by corporations, some of them B.B.D.O. clients, and it was Mr. Clotworthy’s task to see that their interests were protected. On “General Electric Theater,” for example, he made sure that there were no gas ranges on kitchen sets.He became especially close friends with the host of “General Electric Theater,” Ronald Reagan, and was among those encouraging him to move into politics in the 1950s. When Mr. Clotworthy told Reagan he should run for mayor of Los Angeles, he recalled, Reagan replied, “Nah, it’s president or nothin’!”Mr. Clotworthy returned to New York in 1974, and five years later he went back to NBC, this time as the head of standards and practices for the East Coast.The job had him overseeing several programs, including soap operas, movies and, later, “Late Night With David Letterman,” where he would visit comics in their dressing rooms and ask them to run through their acts just minutes before going on air.“He was not a jovial, yuck-a-minute guy,” said Carol Leifer, a former writer for “Saturday Night Live” who often appeared as a stand-up comic on “Letterman.” “I would always be more relaxed when I went on because I knew my routine couldn’t go over as badly as it did with Bill.”But the bulk of his time was spent on “Saturday Night Live.” He would sit in on the first script read-through, on Wednesday, raising flags and suggesting edits. He would remain in and around the studio up through the broadcast, watching nervously from the control room to make sure no one let slip an obscenity.Mr. Clotworthy, center, with his son Donald and Ronald Reagan in 1994. He was friends with Reagan and was among those who encouraged him to move from acting into politics.via Clotworthy FamilyThat’s just what happened in February 1981, when one of the show’s cast members, Charlie Rocket, uttered a forbidden four-letter word toward the end of a skit.“The control room went absolutely silent, then, as on swivels, every head turned to look at me,” Mr. Clotworthy wrote in his memoir. “I saw this through my fingers, mind you, as my hands were covering my face, just before I beat my head against the console.”The word was deleted from the tape before it aired on the West Coast. With the show’s ratings already sinking, Mr. Rocket was let go a month later, along with two other cast members, four writers and the producer.Mr. Clotworthy retired in 1990, after which he became an amateur historian and wrote several books, including one in which he recounted visiting every site that claimed “George Washington slept here.”Mr. Clotworthy rarely socialized with the cast or writing staff, and he kept his personal and political opinions to himself, especially when the show poked fun at his old friend President Reagan. It was, he later wrote, all about the delicate balance between enforcement and negotiation, between taking a hard line and letting things slide.“The hardest part of the job,” he wrote, “is to say ‘No’ and make them like it.” More

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      Lloyd Dobyns, Co-Anchor of an Innovative TV Newscast, Dies at 85

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      He teamed with Linda Ellerbee on “NBC News Overnight” in 1982 to set an unusual tone for network news in an equally unusual time slot.Lloyd Dobyns, an award-winning NBC News correspondent who in the early 1980s was the co-anchor of the innovative television newscast “NBC News Overnight,” died on Sunday in Mebane, N.C., northwest of Raleigh. He was 85.His son Kenneth said the cause was complications of a series of strokes.Mr. Dobyns worked for NBC News in Europe, the Middle East and Asia, and won more than two dozen awards for reporting, writing and anchoring. He was probably best known for working with Linda Ellerbee on “NBC News Overnight,” the first of several late-night news programs begun by the broadcast networks in an attempt to compete with the 24-hour news coverage introduced in 1980 by CNN.Lloyd Allen Dobyns Jr. was born on March 12, 1936, in Newport News, Va. After serving in the Army, he began his broadcasting career in 1957 as a reporter for WDBJ-TV in Roanoke, Va. Three years later, he became a news anchor at WAVY-TV, the NBC affiliate in Virginia’s Tidewater area. He later became the station’s news director.In 1969 he moved to New York, where he worked first as managing editor for news at WNEW-TV, then as part of the NBC News team. He was a foreign correspondent before returning to New York to anchor the TV newsmagazine “Weekend,” for which he won a Peabody Award in 1975.Mr. Dobyns set the style for “Weekend” with a wry and witty style as both a writer and a reporter that was later complemented by the equally droll and irreverent Ms. Ellerbee. The two were teamed again in July 1982 for “NBC News Overnight,” which was seen from 1:30 to 2:30 a.m. weekdays and 2 to 3 a.m. Saturdays.Reviewing “NBC News Overnight” for The New York Times in 1982, John J. O’Connor called it “one of the classier new acts in television news” and noted, “Both Mr. Dobyns and Miss Ellerbee take some pride in their writing abilities and, more than anything else, their collaborations in this area lend the program its appealing personality.”But the program’s ratings were poor, and NBC canceled it in November 1983. “It was our finest hour of news and remains the model for an hour news product,” Reuven Frank, the president of NBC News, said at the time. “But merely being best is not enough when the cost is so much greater than the income.” (Mr. Dobyns had left by then to anchor the NBC newsmagazine “Monitor,” which also had a short life because of low ratings.)In a statement, Ms. Ellerbee called Mr. Dobyns “a friend, teacher, troublemaker, and a world-class journalist.”Mr. Dobyns retired from NBC in 1986 and later taught journalism at Jacksonville State University in Jacksonville, Ala.In addition to his son Kenneth, he is survived by his wife, Patti; two daughters, Denise and Alison; and eight grandchildren. Another son, Brian, and a brother, Norman, died before him.The New York Times contributed reporting. More

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      JoJo Siwa to Have First Same-Sex ‘Dancing With the Stars’ Partner

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      The “Dance Moms” alum and TikTok personality will join the ABC show as the first contestant to compete in a same-sex pairing.On Thursday, “Dancing With the Stars” history was made with the announcement that the dancer and social media personality JoJo Siwa would be the first contestant on the ABC program to compete with a same-sex partner.The executive producer Andrew Llinares shared the milestone during a “Dancing With the Stars” Television Critics Association panel.IM SO EXCITED https://t.co/EN1ygC5Jj3— JoJo Siwa!🌈❤️🎀 (@itsjojosiwa) August 26, 2021
      (The show also announced that the gymnast and Olympic gold medalist Suni Lee would be featured in its 30th season, and that other celebrity competitors would be revealed on Sept. 8 on “Good Morning America.” The season begins Sept. 20.)“I have a girlfriend who is the love of my life and who is everything to me,” Siwa told USA Today in an article published Thursday. “My journey of coming out and having a girlfriend has inspired so many people around the world.”“I thought that if I chose to dance with a girl on this show, it would break the stereotypical thing,” she said, adding that it would be “new, different” and a “change for the better.”Siwa came out as part of the L.G.B.T.Q. community earlier this year, when she posted a photo of herself wearing a T-shirt that read “Best Gay Cousin Ever” on Instagram. In April, she told People that “technically I would say that I am pansexual.”At the critics’ association panel, the model and TV personality Tyra Banks — who hosts and executive produces “Dancing With the Stars” — said that she supported the move.“You’re making history, JoJo,” she said. “This is life-changing for so many people. Particularly because you are so young doing this. For you to say this is who you are and it’s beautiful, I’m so proud of you.”Siwa, known for her sparkling hair accessories and bubbly personality, met her girlfriend, Kylie Prew, on a cruise. They began dating in January, and in June, the L.G.B.T.Q. advocacy organization Glaad had named her in their 20 Under 20 List.Glaad’s head of talent, Anthony Allen Ramos, lauded the show’s move in a statement on Thursday. “At 18, JoJo Siwa is once again using her platform to inspire and uplift the L.G.B.T.Q. community,” he said. “As one of today’s most watched and celebrated programs on television, ‘Dancing With the Stars’ and Tyra Banks are making the right decision to feature JoJo Siwa competing alongside a female professional dancer.”“The show has such a wide, far-reaching audience,” he said, “and there is a real opportunity here for people to celebrate the same-sex pairing and root for JoJo and all L.G.B.T.Q. young people.” More

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      Emma Corrin Is Fine With Not Playing Diana to the Bitter End

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      The British actor, who received an Emmy nomination for playing Diana in “The Crown,” is happy to be handing off the role as it takes a darker turn. “I feel very protective over her,” she said.Voting is underway for the 73rd Primetime Emmys, and this week we’re talking to several first-time Emmy nominees. The awards will be presented Sept. 19 on CBS.Fans of Netflix’s “The Crown” awaited Season 4 with particular interest — it would be the Diana Season. Emma Corrin won the key role and soon found herself, not long out of Cambridge University, starring in one of TV’s most popular shows as modern history’s most beloved royal, portraying Diana Spencer as she evolved from a precocious and playful 16-year-old into the Princess of Wales.Corrin’s was an arc not unlike Diana’s — a mostly unknown young woman thrust suddenly into a global spotlight. Fans and critics were generally taken with Corrin’s turn, which displayed a charming, grounded accessibility and grace that mirrored Diana’s public image and offered a sympathetic portrayal of her often chaotic personal life.Corrin, 25, has since followed the accolade-laden path of an earlier “Crown” breakout star, Claire Foy, whose performance as a young Queen Elizabeth II nabbed her two Screen Actors Guild awards, a Golden Globe and an Emmy before she was replaced by Olivia Colman as an older Elizabeth. Corrin won the Golden Globe in February, thanking her cast and crewmates in her video acceptance speech, and now has an Emmy nomination for lead actress in a drama. And like Foy, Corrin will exit “The Crown” as the show ages up — Elizabeth Debicki plays Diana next season, in production now, and Corrin wishes her nothing but the best. (Dominic West takes over Charles from Josh O’Connor, another Emmy nominee.)Playing a bona fide icon has afforded Corrin plenty of attention, but perhaps not as much as she might have received had there been no pandemic. She has several high-profile films lined up, including a just-wrapped “My Policeman!” adaptation opposite Harry Styles, as well as female lead in a new version of “Lady Chatterley’s Lover,” directed by Laure de Clermont-Tonnerre. But because production on Corrin’s season of “The Crown” ended early because of Covid and then debuted during the shut-in fall of 2020, its impact hasn’t quite felt tangible, she said in a recent interview.That changed recently, while on holiday in Spain, when she was tickled to be recognized by a boat full of Italian men.“It was so weird; we’re in the middle of the sea, and there are guys floating toward me calling out, ‘Oh Lady Di!’” Corrin said with a laugh. “Those moments still feel very strange. So maybe it will never really sink in. And that’s maybe quite a good thing because it could be very overwhelming.”Corrin tried to funnel the emotions she felt from becoming famous into her performance as Diana.Des Willie/NetflixIn a video interview, Corrin discussed saying goodbye to Diana and the significance of having a nonbinary queer person play such an internationally beloved figure. These are edited excerpts from the conversation.Your season of “The Crown” was generally well liked and received 24 Emmy nominations, the most of any series this year (tied with “The Mandalorian”). How has its reception felt to you? Is it different from your expectations?It’s a weird thing, expectation. I don’t know what I expected. I was sort of waiting in trepidation to see what it would be like, and then with the pandemic, I think that things were just so different. Because we didn’t get to have a wrap party together to actually celebrate the end of filming, and then when the series came out, we’ve all been in isolation for a year, and then obviously we haven’t been able to go to award shows together. So it’s very strange. I think in normal circumstances, it would have been very hard to comprehend everything, and the pandemic made it even weirder. So it doesn’t feel real, especially awards stuff.I remember in the midst of everything, when the series was coming out and the whole cast was feeling sad that we weren’t together, and it was strange I wasn’t experiencing anything in real time. My friend who I live with said, “The most important thing is the work that you’ve done — that at that moment, everyone’s at home watching the series, and it means that everyone’s 100 percent focused on your work and not what you’re wearing at different press interviews, or where you’re going.”Diana’s relationship to the press and the tabloids is explored in “The Crown.” What is it like to become a known person? Does that make you identify more with Diana?It’s a very weird thing to get your head around. It’s a very invasive, intrusive sort of thing to happen. And I remember when I got the part, Benjamin Caron, the producer, said: “Life’s going to change a lot when this comes out. And even when the role is announced, if there’s moments that you feel overwhelmed by it or scared by it, or if you get followed or if your picture ends up in a newspaper or anything, use it, because that’s exactly how she would have been feeling. Use all the emotions around it, use the excitement, use the curiosity, use the fear.” So it was very helpful.I remember there was this one scene we were filming outside her flat when she’s leaving for the last time, saying goodbye to her flat mates. We had loads of supporting actors being the press, and then beyond the cameras are film cameras as well — actual paparazzi. And it was such a weird double world. I was like, no acting required.We’ve seen the new photos of the new Diana and Charles. What was your initial reaction? Is there any sadness about not having the opportunity to continue playing the role?I feel so happy to have done the arc of her life that I did, but for me it feels like a very closed chapter. I went into it knowing I wouldn’t continue. I saw the picture of Elizabeth [Debicki], and I just think she looks absolutely brilliant. And then there were our photos side by side, and I felt really special — almost like a sort of sister feeling that there’s this continued likeness. She came to see the play that I just did in London because she’s friends with the director. We hadn’t met before, and it was wonderful. It was a bit of that thing where we felt like we knew each other so well, even though we didn’t.Is this the type of relationship where you would share information or tips?We haven’t actually. We haven’t done that, and we didn’t speak about it when we met. It would have to come from her because she wants to do that, and I’m assuming that she wants to do her own thing, which is good. She knows I’m here.Diana’s story presumably takes a darker turn next season. “I’m grateful that I don’t have to do that because I know how attached I feel to the person I played,” Corrin said.Des Willie/NetflixHow you feel about not having to go through the end with Diana, which is to say her death?I hadn’t thought about it, to be honest, but I don’t know — it feels like someone else’s thing. I’m grateful that I don’t have to do that because I know how attached I feel to the person I played. I feel very protective over her.You recently came out as queer and nonbinary. What do you think is the significance of a queer nonbinary person playing someone that’s so prominent, a princess so beloved the world over?I think it’s such a joy. My journey with that is still evolving and quite recent. It’s wonderful to know that I’ve played someone who was such a help to so many people in that community and so supportive to that community. I think I’d be lying if I said it didn’t help me in my journey with everything to play someone like Diana. She was so openhearted to everything and explored so much. I feel like Diana helped me explore so many depths of myself and really do a big internal discovery of what I was feeling about everything because she was a very complex person. It feels great. I was very honored.What kinds of roles are you being sent now? Is there any sense that you’re being typecast, or are you reading only things that are completely different?Initially, we were being sent a lot of royal princess sort of things. Wonderful parts, but we decided very early that we need to be clear in like, “We’re not going to do this kind of thing.” But to be honest, for me it’s always going to be about the story, and it’s always going to be about how I feel about the work.I remember saying, “I want to do some contemporary stuff now,” but then getting the “Chatterley” scripts, which I start in a few weeks, and thinking “Oh, my God.” I wanted to work with Laure so badly, and when I saw her vision for it and what they wanted to do with it, I was just like, “I’m in!” And that’s a period piece, so I eat my words. It’s a good lesson to sort of keep an open mind, not pigeonhole yourself. More

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      ‘Ted Lasso’ Recap, Season 2, Episode 6: The Roy Kent Effect

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      Is Ted OK? Is Nate? And who is Rebecca’s secret admirer?Season 2, Episode 6, ‘The Signal’So, does this mean we’re back to normal?After two weeks of neatly curated “theme” episodes that cared less about plot arc than about cunning references — the first time, to “Love Actually”; the second, to romantic comedies more generally — we’ve come back to a more typical rhythm.If this week’s episode, “The Signal,” seems a bit scattered (and it does), it is in large part because it has returned to the nuts-and-bolts business of moving multiple subplots forward: Roy’s success as a new assistant coach for A.F.C. Richmond; Nate’s efforts to find a balance between external success and internal satisfaction; Rebecca’s continuing explorations of both her mysterious Bantr admirer and her not-remotely-mysterious sex buddy, Hunky Luka; Coach Beard’s latest reunion with his problematic girlfriend, Jane; and … whatever is going on with Ted.Tossed into the mix is a brief and seemingly unnecessary subplot about Rebecca’s mom, who periodically leaves her dad — only to return within a couple of days after he buys her something expensive and environmentally conscious. (This time, it’s a Tesla.) That’s a lot of exposition to get through!To jump right in: Roy’s arrival as a coach has proved to be an immediate shot of adrenaline, leading A.F.C. Richmond to a four-game winning streak, a semifinals berth in the F.A. Cup — a bizarre and fascinating midseason tournament involving hundreds of English teams — and the widespread adoption of the phrase “the Roy Kent effect.”(Side note: It’s remarkable how little time has been spent, relative to last season, on the fairly central question of A.F.C. Richmond’s success — or, put somewhat differently, on the question of whether Ted Lasso is actually a good coach. We know Richmond suffered a Sisyphean series of ties at the beginning of the season and is currently on its win streak, but neither has had any meaningful context: Is the team on track for its explicit goal of overcoming relegation and rejoining the Premier League? Who knows?)Roy’s singular flaw as a coach is his refusal to coach his on-field nemesis, Jamie Tartt. (See literally any episode from Season 1.) But after forcing Jamie to abjectly self-criticize not only his game but his hair(!), Roy relents and explains that Jamie’s problem is that Ted turned him into a good teammate, when his real superpower is to be selfish, rude and disruptive — at least, on appropriate occasions.And so we have “the signal,” a one-fingered salute from all four coaches to Jamie giving him permission to be Bad Jamie. It’s good for one goal in the semifinal against the overwhelming favorite, Tottenham Hotspur. But when Tottenham ties the game, Richmond needs another goal.Enter Nate, who makes an unusual three-player substitution and an even more unusual decision to focus on defense rather than offense. But … it works! Richmond scores and wins its biggest victory in what is clearly a very long time. Nate goes on television and, by denying he’s a “wunderkid,” makes clear that he thinks he is one.It’s hard to be sure precisely where Nate is on his disturbing seasonal trajectory. He is again pointlessly unpleasant to the players (he calls Colin a “dolt” in practice), and the success of his late-game substitution has clearly swollen his head further. Stay tuned, especially if you’re the hostess of a third-tier Greek eatery.Rebecca, meanwhile, is juggling deep, meaningful texts from her Bantr buddy and adult time with her boy toy, Luka. As in, almost literally juggling. She checks Bantr while lying in bed waiting for a naked Luka to return. And the show is at pains to show her repeatedly toggling back and forth between texts from her two paramours.Forgive me, but it seems like a tired replay of the “Sex and the City” cliché (and, no, not only “Sex and the City”) of the beautiful, accomplished woman who can’t choose between her spiritual soul mate and some other guy who is well hung. Moreover, it’s “Ted Lasso.” I think we can say with some assurance that Rebecca is not going to wind up with Luka. So why bother?Barring further updates, I would say the same about the subplot with Rebecca’s mom (played, though she is, by the great Harriet Walter). It feels halfhearted, crammed in as it is with so many other plot developments. So why bother?The Jane and Coach Beard story line similarly left me a little cold. It has its moments, but it spends a lot of time on the rather obvious message of “Don’t tell people you don’t like their significant others.” And its ultimate payoff — the hug from Beard to Higgins — is not really much of a payoff. (Or maybe the payoff was the “Oliver Twist” hat that Jane puts on Beard’s head? That’s a little better.)Which brings us to Ted. As I’ve written before, the plot arc of the first season was apparent immediately: Can Ted win over Rebecca and his various other foils and get them all on Team Lasso? (As you may recall, he did.) This season has been a little harder to get a handle on. Would it be about escaping relegation and making it back to the big league? Not really. Would it be about winning over Dr. Sharon Fieldstone? Again, not really. She was basically on Team Lasso by the end of Episode 2.But there have been hints, and they hint toward an arc in which Sharon will probably be a crucial player.The show has not made a big deal about it, but Ted has been more manic than usual, especially around Sharon. In last week’s episode, he almost seemed off his meds, replying to Sharon’s greeting, “Coach,” with a finger-pointing: “Doctor! Floor! Ceiling! Trash can!” His fragility is evident, too, in the call he takes this week from his son’s school about a forgotten lunch for a field trip.Sharon is clearly concerned, asking Ted repeatedly if he wants to talk. And he repeatedly rebuffs her. “Hey, I talk all the time, Doc,” he tells her this episode. “Just follow me around for 10 minutes. After five, you’ll want me to hush my butt.”But, as we saw at the episode’s conclusion, Ted does need to talk. Quite badly. Will this be the theme of Season 2? Ted Lasso, who healed his team emotionally last season, now needs the team to heal him in return? It’s too early to say, but the image of Ted curled up on Sharon’s sofa may be the strongest indicator yet of where this season is going.Speaking of which, I would be remiss not to mention the other Big Reveal this episode offered at the end. After much speculation that Rebecca’s Bantr partner would turn out to be Ted — c’mon folks, is there anyone whose texts would be more identifiable than Ted? — it turns out that he is instead the wonderful Sam. (It is perhaps no coincidence that he had his best and biggest scene of Season 1 with Rebecca, explaining to her that his fascination with hexes derived not from his Nigerian background but rather from his love of Harry Potter.)What should we make of this awkward potential romance? As with Ted’s (and Nate’s) deteriorating emotional state, let’s wait and see where we are next week.Odds and EndsInevitable though it may have been, it was a little sad to see Roy decline his invitation to join the “diamond dogs.” Throughout the season, he has offered the best advice on pretty much everything. A few recaps ago, I called him “Angry Yoda.” At this point, he’s basically just Yoda. (Although he remains, of course, angry.)“And that is the last time I gave a best man speech.” Just a great joke kicker from Ted.This, too, from Coach Beard. Jamie: “I don’t really know how to talk to you.” Beard: “Then it’s working.”Ted’s extremely detailed, coming-in-to-work greetings for A.F.C. Richmond staff are almost too on the nose. But the last line, the one that earned such extraordinary guffaws from Liam, made it worthwhile: “Tell your mother happy birthday for me. And whatever gift you ended up getting her, let her know it’s from both of us.”Please, Higgins. However concerned you are about Coach Beard, stop making those dyspeptic noises.After the last two weeks of pop-culture-reference overload, this was a pretty sedate episode. We got a trifecta of David Blaine, Sue Grafton and Area 51, followed by “H.R. Pufnstuf.” I’m sure I missed others, so let me know in the comments section. Last week, readers pointed out that next to the photo of Roy in the kebab shop was one of a “Cheers”-era George Wendt — the real-life uncle of Jason Sudeikis. More

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      Seth Meyers Calls Out Fox News for Promoting Ivermectin

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      “Normally, when you hear the phrase ‘horse pills,’ you think it’s a euphemism, but in this case, it’s literal horse pills,” Meyers said.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Hold Your Horses On Thursday’s “Late Night,” Seth Meyers scolded Fox News for promoting the use of Ivermectin, an anti-parasitic drug commonly given to livestock, as a cure for Covid.“Normally, when you hear the phrase ‘horse pills,’ you think it’s a euphemism, but in this case, it’s literal horse pills,” Meyers said.“Any time someone tries to sell you a ‘miracle drug’ that ‘they’ don’t want you to know about, you should be suspicious.” — SETH MEYERS“I gotta say, when I first heard that Fox News was pushing Ivermectin, I knew it was gonna be bad, but I was not expecting it to be horse dewormer. It sounds like the name of a drug they give supersoldiers in a Paul Verhoeven movie to turn them into Robocops.” — SETH MEYERS“You know someone at the company that made Ivermectin once said, ‘Hey, should we put “not for people” on the horse pill labels?’ and someone else said, ‘There’s a picture of a horse on the bottle, it’s fine!’” — SETH MEYERS“First, it was hydroxychloroquine, then it was bleach, powerful lights, now it’s horse dewormer? I’m honestly terrified to imagine what’s next. One day, we’re gonna wake up and Brian Kilmeade’s gonna be telling people you can cure Covid by eating kibble and sleeping in a bed of kitty litter: [imitating Kilmeade] ‘Works for me. that’s why I blink as often as a sphinx.’” — SETH MEYERS“You know who the real victims are here? The horses who can’t get their worm pills.” — SETH MEYERSThe Punchiest Punchlines (Pocket Rocket Edition)“You know how Jeff Bezos went up into space last month with his cute little cowboy hat? Well, now they’re selling mini-replicas of his rocket. Yes, there it is — are we allowed to show that on T.V.?” — RuPaul, guest-hosting “Jimmy Kimmel Live”“Yep, there it is, anxiously waiting to probe your galaxy.” — JIMMY FALLON“It measures 10 inches from the base to the tip. Yeah, I’ve heard that before. I’ll be the judge of that.” — RuPaul“And this is the best part, I’m not making this up, the rocket is appropriately priced at 69 bucks.” — RuPaul“Seriously, I don’t even think you could show that on OnlyFans.” — JIMMY FALLONThe Bits Worth Watching“Jimmy Kimmel Live” took to the streets of Hollywood to quiz kids on “Karens.”Also, Check This OutYahya Abdul-Mateen II in Nia DaCosta’s “Candyman.”Universal PicturesNia DaCosta’s new take on “Candyman” revisits the scene of the crime with Colman Domingo in the starring role. More