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      ‘The Bear’ Season 3 Is a Clanging, Wailing Beast

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      The hit FX series about an upstart Chicago restaurant loves the pressures of tight quarters and close shouting. The new season serves up plenty more.Jeremy Allen White stars in “The Bear.”FXSeason 3 of “The Bear,” available now on Hulu, is a volcano of self-loathing. Appropriately for a show set in Chicago, “The Bear” tends to move in a loop, revisiting the past and bringing old wounds into the present day aboard a clanging, wailing beast. This go-round makes all the local stops: enchanting food porn, bitter screaming matches, elegant monologues, small moments where the audience can learn culinary techniques, a character’s back story that boils down to “they were poor and needed a job.” Doors open on the right at repressed rage.When we last saw our Bear pals, the friends-and-family preview night for their revamped restaurant had collapsed because Carmy (Jeremy Allen White) locked himself in the walk-in fridge — but really because of the fragility and volatility of the clique at large, and the fact that the characters mostly hate their friends and families. Everyone yelled even more than usual, with Carmy and Richie (Ebon Moss-Bachrach) whipping themselves into hysteria through the fridge door, and Carmy and Claire (Molly Gordon) breaking up. Sydney (Ayo Edebiri) was left with all of the responsibility but none of the authority. The action of this season begins moments later, a blue cloud of dejection hanging over everyone.I used to think of “The Bear” as claustrophobic, but now I think it’s claustrophilic: This show loves tight spaces, the pressures of close quarters. Its hugs are all rib-cracking, suffocating, too much. Even dermatologists don’t require such detailed examinations of every mole and pore on people’s cheeks.The show often name-drops actual restaurants, and many real chefs appear as themselves. (This season, they appear a bit too much: Save it for the endless mutual appreciation societies on “Top Chef.”) The omnipresent jargon, the if-you-know-you-know details and the fly-on-the-wall style give everything a rush of legitimacy — it may not be not true, but it’s real. Or wait: maybe not real, but true.That veracity is tempered by the show’s appetite for contrivance. Barnburner monologues give way to dialogue so repetitive it might as well be a Meisner exercise. Comic relief becomes sitcom buffoonery from a dumber planet. The show’s high-profile cameos can yank you out of the action and make you think “ooo, Jamie Lee Curtis” and not just “ooo, dysfunctional Christmas.”Characters on “The Bear” struggle to express themselves and struggle to be understood, so they repeat everything, over and over, louder and louder. What grates is when the show itself does this, too, always adding another line for good measure — just to make extra sure you definitely, 100 percent got what it was going for. In one scene at the end of this season, Carmy and Luca (Will Poulter), Carmy’s old chef pal, reminisce about how many peas they shucked for a certain dish while working together. Sydney says it sounds like “a trauma dish.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Bill Cobbs, ‘Bodyguard’ and ‘Night at the Museum’ Actor, Dies at 90

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      Mr. Cobbs was not a household Hollywood name, but his face was one anyone who watched TV or movies over the past several decades could recognize.Bill Cobbs, a prolific character actor whose half-century career bloomed while he was middle-aged and ranged from “Sesame Street” to “The Sopranos” to “Night at the Museum,” died on Tuesday at his home in the Inland Empire region of California. He was 90.His death was announced on social media by his brother, Thomas G. Cobbs, and confirmed by his agent, Carmela Evangelista. No cause was given.Mr. Cobbs was not a Hollywood star, but his face was one anyone who watched TV or movies over the past several decades could recognize. He appeared in more than 200 films and television shows and was also a prominent theater actor.Born Wilbert Francisco Cobbs in Cleveland, Mr. Cobbs spent eight years working as a radar technician in the Air Force, where he started doing standup comedy, he said in a 2012 interview with the podcast “Movie Geeks United.” He also worked at I.B.M. and as a car salesman.His experience in the Ossie Davis play “Purlie Victorious,” a comedy about a Black preacher’s efforts to reclaim his hometown church, had an especially profound effect on his career.“That play taught me that there were a lot of things I could say in theater, on the stage and in movies and in television, that were very important, that were meaningful things, that in addition to being a means of entertaining people and touching them in different ways, there were things you could say related to the human condition,” he said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Keith Robinson on Having 2 Strokes and Making a Netflix Special

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      After two strokes, the stand-up has recovered enough to make a new special. If anything, his health crises have sharpened his humor.When the stand-up comic Keith Robinson was 10 years old growing up in Philadelphia, his father was stabbed to death in a bar. Sitting in the restaurant above the Comedy Cellar in New York on a recent weekday afternoon, Robinson explained what happened dispassionately, adding that the killer died soon after.“He got shot accidentally on purpose,” he told me, flashing a mischievous grin and saying nothing more.This is the kind of story that Robinson, 60, likes to tell, one with prickly uncomfortable humor and some tough-guy swagger. But Robinson is currently at the center of a different kind of dramatic narrative, less HBO, more Lifetime channel: He had two strokes in four years, robbing him temporarily of speech and mobility; then, against the odds, he recovered enough to return to the stage.Robinson has been a fixture at the Cellar for three decades, as much a part of the fabled club as the microphone and the hummus. A comedy Zelig, he did stand-up on “Star Search” in the 1980s; was a regular on the Comedy Central show “Tough Crowd,” inspired by the table at the Cellar where Robinson, Colin Quinn and others hung out and bickered; and even wrote on the aborted third season of “Chappelle’s Show.” He has been a mentor to many comics, especially stand-ups from Philadelphia, most famously Kevin Hart who produced Robinson’s last special a decade ago.When Amy Schumer heard Robinson’s difficulty speaking after his second stroke, in 2020, “I thought he was completely done,” she told me by phone. Now she is the executive producer of his new special, “Different Strokes” (Netflix), a jarringly unsentimental take on his health crisis that tells what could be a feel-good story with cranky irreverence.Onstage, Robinson says that facing death taught him this lesson: “If there’s someone you wanted to punch, punch them now.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Meme-ification of Anthony Bourdain

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      The beloved chef’s admirers have given him a distinctly modern kind of digital afterlife — at the center of fondly parodic jokes.After Anthony Boudain took his own life in June 2018, the internet was flooded with content memorializing him: obituaries, remembrances, bereft tweets by celebrities and regular citizens alike. But one post in particular foretold the chef’s afterlife on social media. Kyrell Grant, who tweeted as @imbobswaget, suggested that Bourdain had the charismatic aura of someone you might expect to be well endowed — except she said that using a pithy new catchphrase that would quickly enter the popular lexicon, garnering its own entry on Dictionary.com.That message on Twitter (now X) may have marked a transition in how people memorialized Bourdain. He was remembered, chiefly, as someone lovable and accessible: straight-talking, salt-of-the-earth, as thoughtful as he was devil-may-care. A real grief surrounded his loss, and he inspired the same types of posthumous adoration so many figures do, complete with words-of-wisdom quotes pasted over nature photos. But it soon became just as common to see posts playing on his drinking habits or salty comebacks; people began to use images of him in the same ways we use images of pop-culture characters like SpongeBob SquarePants or Homer Simpson. Anthony Bourdain became, in short, a meme.Anthony Bourdain in Hanoi, Vietnam, in 2016.William MebaneLast month a new Bourdain meme made the rounds. The chef had offered several oft-quoted bits of advice urging people to explore and enjoy the world: “If you’re 22, physically fit, hungry to learn and be better, I urge you to travel,” or, “Open your mind, get up off the couch, move.” But this new meme paired a pensive portrait of Bourdain with ever more parodic versions of that sentiment. “Go to a [expletive] restaurant. I don’t care what. Go to a [expletive] restaurant and order a [expletive] beer.” A less profane version prodded the reader to take a chance on a Hinge date: “Show her a picture of your cats. Show her two. Give her a tissue while she cries over her ex. Jump over a fence to impress her. Break your ankle. Never hear from her again.” Another tribute hits like whiskey left at a virtual grave: booty shorts emblazoned with the words I MISS ANTHONY BOURDAIN.If you too miss Anthony Bourdain, and you want to engage in serious communion with his oeuvre, there’s a vast trove of media to satiate your craving: 11 books, various essays and graphic novels, hours and hours of television. He participated in countless interviews, appeared on podcasts, played characters based on himself in TV guest appearances. You might dip into the subreddit r/Anthony Bourdain, which, with its 61,000 members, is in the top 2 percent of Reddit communities by size; that forum, far more earnest than X, is often engaged in forlorn discussion.But even in that hallowed space, memes cannot help infiltrating. Yet another variation on fake Bourdain advice recently emerged there, imploring the viewer to eat at Chili’s and get an appetizer combo. Some commenters expected moderators to delete the parody; after all, it didn’t “honor” the group’s subject. Others argued that they shouldn’t. Bourdain was a prodigious Twitter user and a funny one; his afterimage, in most minds, is as someone who could laugh at himself. Surely, people felt, he would have appreciated the lightness of a good Bourdain meme.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jay Johnston of ‘Bob’s Burgers’ to Plead Guilty in Jan. 6 Case

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      Jay Johnston, also known for his work on “Mr. Show with Bob and David,” was charged last year with participating in the riot at the Capitol. He is expected to plead guilty at a hearing on July 8.The actor Jay Johnston, who voiced Jimmy Pesto Sr. on the animated Fox sitcom “Bob’s Burgers,” has agreed to plead guilty in the federal case against him over his participation in the riot at the Capitol on Jan. 6, 2021.The authorities arrested Mr. Johnston, 55, in California last summer and charged him with four counts, including civil disorder and entering restricted grounds. Mr. Johnston agreed to plead guilty to a single count of civil disorder in exchange for the other charges being dropped, according to a person familiar with the case who spoke on condition of anonymity. A plea agreement hearing is scheduled for July 8 in the U.S. District Court for the District of Columbia.A civil disorder charge carries a maximum prison sentence of five years, or a fine or both.Mr. Johnston was a regular on the groundbreaking 1990s television comedy “Mr. Show with Bob and David” and later had recurring roles on “The Sarah Silverman Program” and “Arrested Development.” His movie credits included “Anchorman” and “Men in Black II.”He was quickly named by internet sleuths when the F.B.I. published photos of him at the Capitol on Jan. 6, 2021, in asocial media post asking for the public’s help identifying him.The authorities also identified Mr. Johnston in police body camera and security footage of him pushing against officers and helping rioters push through a tunnel entrance into the Capitol, according to an affidavit prepared by the F.B.I.He is seen taking photos of the crowd, signaling others to join the push and giving water to rioters, who used it to wash their eyes out, according to the affidavit.Additionally, three people who know Mr. Johnston identified him to investigators in the images at the Capitol. One of those people showed investigators a text message sent by Mr. Johnston in which he admitted to having been at the Capitol.“The news has presented it as an attack,” the message stated, according to court documents. “It actually wasn’t. Thought it kind of turned into that. It was a mess. Got maced and tear gassed and I found it quite untastic.”Mr. Johnston had also booked a round trip from Los Angeles to Washington D.C., with his departing flight on Jan, 4, 2021 and his return set for three days later, according to court documents.The Daily Beast, an online news site, reported in December 2021 that Mr. Johnston lost his job voicing Jimmy Pesto Sr. on “Bob’s Burgers” after allegations spread that he had been at the Capitol.Mr. Johnston is one of more than 1,500 people to be charged for actions related to the Capitol riot on Jan. 6, according to the Justice Department. He is set to join the more than 800 people who have pleaded guilty to charges.Alan Feuer More

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      ‘Babylon Berlin’ Review: Dancing While the World Begins to Burn

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      The long-awaited fourth season of the cult-favorite German thriller takes place in 1931, with the Nazis not quite in power.Far from the eyes of Emmy voters or the digital gremlins compiling streaming Top 10 lists, there is a series — a German period drama, of all things — that a small core of aficionados would argue is the world’s best television show.Some of their fondness may have to do with absence. It has been more than four years since a new season of “Babylon Berlin” became available in the United States. And the first three seasons, which resided formerly on Netflix, moved this year to MHz Choice, a boutique streamer of international series and films whose (unreported) subscription figures would probably constitute a good morning’s uptick for Netflix.So if you are part of the cult — tracking the right subreddit, commiserating with a Facebook friend group of the requisite sophistication — it is a very big deal that the 12-episode fourth season of “Babylon Berlin,” shown in Germany in 2022, is finally premiering on MHz Choice in the United States on Tuesday. (To answer the immediate questions: $7.99 a month, seven-day free trial, and the full season will be up by July 30.)Based on historical mystery novels by the German writer Volker Kutscher, the show is a sleek, louchely sexy blend of police procedural, love story, Freudian melodrama and expensively rendered costume epic. All of the elements (with the occasional exception of the heavy psychological symbolism) are juggled with finesse by the show’s creator-writer-directors, Achim von Borries, Henk Handloegten and Tom Tykwer. (Bettine von Borries and Khyana el Bitar are also credited as writers in Season 4.)The balls stay in the air with the mesmerizing rhythm of one of the cabaret acts at the show’s fictional nightclub, Moka Efti; the effect can be, to use the favorite descriptor among “Babylon Berlin” fans, addictive. The series — and the fourth season in particular, which has a story line involving the gathering of Berlin’s criminal gangs — has been compared to “M,” the great 1931 thriller by the German director Fritz Lang. But a better comparison would be to Lang silents like “Dr. Mabuse, the Gambler” and “Spies,” intricately assembled thrillers that are some of the most deluxe entertainments ever put on film.It helps, of course, that the place and time the show inhabits are Berlin in the Weimar era of the 1920s and early ’30s, a ready-made backdrop of artistic, cultural and sexual ferment in a city headed toward political and social catastrophe. The action hopscotches from police labs to the soundstages of expressionist films, from munitions factories to beer halls, from baronial manors to squalid tenements, with a studious devotion to the quality and evocativeness of costumes, sets and locations.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Babylon Berlin’ Is Back. Here’s What You Need to Know.

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      Season 4 of the epic crime drama has finally come to streaming in the United States, via MHz Choice. Here’s a refresher on where we left off.Over the years, the lavish German noir detective series “Babylon Berlin” has required patience from its American viewers.First, fans had to untangle dense story lines — set across the late 1920s and early 1930s — along with an abundance of compulsively watchable characters, most of them harboring secrets. Then they had to wait years for new episodes. Netflix initially carried the first three seasons, but they were removed from the platform this year. Season 4 aired in Germany and elsewhere in Europe in 2022, but these newer episodes have only now become available to stream in the United States, arriving on MHz Choice, a platform specializing in European titles, on Tuesday.This fourth season is “more music, more crime, more sex, more politics than ever before,” said Henk Handloegten, who created “Babylon Berlin” along with Achim von Borries and Tom Tykwer. It also features more Nazis.The characters, now in 1930s Germany, will have to contend with the rise of Nazism in their country.via MHz ChoiceSeason 4 opens on New Year’s Eve 1930, and German politics is kicking into a higher, scarier gear. “Suddenly, our heroes are confronted with a completely new and profoundly disturbing and menacing energy: the rise of fascism and the far-right,” Tykwer said in a joint video interview with his two colleagues.Based on a series of books by Volker Kutscher, “Babylon Berlin” sets fictional characters against a backdrop of real events, so we know that Hitler’s rise to power will end the democratic Weimar Republic. The season’s suspense lies in discovering “how these characters we’re getting to know are reacting to the upcoming Nazi period,” von Borries said. “Will they be on the right side or the wrong side?”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Doctor Who’ Season Recap: Where Does It Go From Here?

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      Ncuti Gatwa shined as the 15th Doctor. But the long-running show feels at a crossroads as it concludes its latest season.“Doctor Who” is a show of paradoxes. At its best, it’s a show about a time-traveling, space-venturing alien who ceaselessly untangles the mysteries of the universe, and often invites his own. At its worst, it’s plagued by its contradictions — incoherent or unintelligible narrative logic, inconsistent writing, uneven tone.This isn’t particularly surprising for a show with a decades-long history spanning the classic series (1963-89) and the reboot (2005-present). But now with Disney+ onboard as a co-producer, the series is caught between past and present, between pushing its boundaries and fitting into a more generic, brand-friendly mold. This played out in the latest season, which just released its finale, “Empire of Death,” on Friday.Stacked with effervescent charms and staggering emotional range, Ncuti Gatwa, as the 15th Doctor, is the perfect representation of this new era of “Doctor Who.” He’s the show’s first Black, gay Doctor, bringing diversity to a show that has severely lacked it. In just one season Gatwa has delivered perhaps the strongest acting of the character, certainly in recent years. His performance is more tactile than those of his predecessors; the 15th Doctor fully inhabits his body, dancing, gesturing and throwing every bit of his physical presence into his line deliveries. The 15th is also more sensual and openly flirtatious than any previous incarnation; he exudes chemistry with every scene partner, including Rogue, a space bounty hunter played by Jonathan Groff in Episode 6. The kiss the two share is the first same-sex kiss of the series.The kiss was a remarkable leap for the show, especially happening in the first season under Disney, a brand that has historically been hesitant to depict queer relationships. How far the show will actually push this relationship, however, remains to be seen. The flirtation between the Doctor and Rogue builds rapidly just to be abruptly halted when Rogue is lost to another dimension, undercutting the moment.And despite the show’s fresh attention to diversity, this Doctor’s race has been barely even alluded to. The episode “Dot and Bubble” implies that one of the very rich, very white inhabitants of a planet under attack rejects the Doctor’s help because of his race, but the implications are so subtle that some may miss the racial undertones completely. And the episode “Rogue” takes place in a “Bridgerton”-inspired alternative version of 1813 as a flimsy workaround for placing a Black Doctor in the middle of Regency-era England without needing to deal with such sticky topics as slavery.The new “Doctor Who” is a lighter, brighter affair in several other respects as well. For all of the sparkling humanity Gatwa has introduced into a typically more emotionally guarded (read: alien) hero, his Doctor also lacks the ruthlessness and darkness that occasionally surfaces in the character, who has been scarred from witnessing every kind of genocide and war. There’s a risk that this tonal shift is a harbinger of a larger, more permanent change: Disney may be in the early phases of transforming the BBC show much as it has done with other I.P., like Star Wars, which grew into an ever-expanding franchise at the expense of the original product.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More