The White Lotus (TV Program)

Subterms

    More stories

    • 113 Shares129 Views

      in Movies

      Acting Awards Without Gender Categories? Here’s Where Celebrities Stand

      by

      Nominees at the Screen Actors Guild Awards in Los Angeles on Sunday were split on combining award show categories for best actor and best actress.LOS ANGELES — On the red carpet before the Screen Actors Guild Awards at the Fairmont Century Plaza in Los Angeles on Sunday, stars answered the usual questions. Were they excited to be here? Yes. How did it feel to be recognized? Amazing. What TV show would they want to guest star in? “The White Lotus.”But one question we posed made nearly every person stop, ponder for several seconds and then deliver a thinking-aloud answer, often with a caveat or a pivot in the middle:“Should major award shows eliminate separate acting categories for men and women?” we asked.The ongoing debate over gender-neutral acting prizes, which could also mean fewer nominations for everyone, is part of the conversation again this awards season. In 2021, the Gotham Awards, which honor independent films, nixed separate acting categories for men and women. Last year, the Brit Awards, Britain’s equivalent of the Grammys, merged its categories for best male and best female artist of the year into one gender-neutral top prize. And this year, the event faced backlash for not nominating any women for the award. The Grammy Awards eliminated many gendered categories beginning with the 2012 ceremony.Nonbinary actors such as Emma Corrin, who are often forced to choose a category in which to be considered, have called for gender-neutral award categories. The trans nonbinary performer Justin David Sullivan from the Broadway musical “& Juliet” withdrew their name from consideration when the Tony Awards eligibility rulings were announced earlier this month, putting public pressure on the awards. (Both the Academy of Motion Picture Arts and Sciences, which hands out Oscars, and the Television Academy, which handles the Emmy Awards, are looking into nongendered categories, according to The Los Angeles Times. Nominees are already able to request gender-neutral wording on their awards at both events.)The immediate response of many attendees at the SAG Awards was a desire for awards to be more inclusive.“I think it’s a positive thing,” said Will Sharpe, who plays Ethan Spiller, the workaholic tech nerd married to Harper on Season 2 of “The White Lotus,” which won the top TV award for a drama series on Sunday night, noting he believed it would “level out the playing field.”Will Sharpe from Season 2 of “The White Lotus” at the SAG Awards. Aude Guerrucci/Reuters“Why not?” said Michael Imperioli, who plays the womanizing Hollywood producer Dominic Di Grasso on “The White Lotus,” on combining the acting categories. “It’s all one big acting soup.”Other nominees addressed the potential benefit for nonbinary actors.“There are people who don’t want to be defined by gender, and I want to help make awards more inclusive for them,” said Rhea Seehorn, who plays the lawyer Kim Wexler in “Better Call Saul,” which was nominated for outstanding performance by an ensemble in a drama series for its final season.But then she paused.“At the same time,” she added, until women and nonbinary performers are afforded “as much screen time as the men, it’s not very fair to compare the performances.”Top awards often go to the actors who spend the most time onscreen, and a recent study found that, in 2021, in the top 100 grossing films, male characters outnumbered female ones by almost two to one.Jamie Lee Curtis, who won the supporting-actress statuette for her role in “Everything Everywhere All at Once” over the Golden Globe winner Angela Bassett (“Black Panther: Wakanda Forever”) and the BAFTA winner Kerry Condon (“The Banshees of Inisherin”), echoed Ms. Seehorn’s indecision.Jamie Lee Curtis won a SAG Award for outstanding performance by a female actor in a supporting role for her part in “Everything Everywhere All at Once.”Frazer Harrison/Getty Images“I’m all for inclusion, which is the most important thing,” she said, “but, at the same time, I want to make sure that the most opportunities are available to people. I know a lot of people believe in same-sex education. There are a lot of young women who get very quiet when the boys get really loud.”Female nominees in particular expressed concern that the idea of a single prize would put men at a distinct advantage because of the richer and more numerous roles available to them.“There’s still a lot of male parts,” said Patricia Arquette, who plays Harmony Cobel, Mark’s domineering boss, in “Severance,” which was nominated for outstanding ensemble performance in a drama series. “I don’t know if that would be fair.”Patricia Arquette plays Harmony Cobel in “Severance,” which was nominated for outstanding performance by an ensemble in a drama series.Jordan Strauss/Invision, via Associated Press“Until there’s a 50-50 opportunity, then we still need to have our own categories,” said Olivia Williams, who plays Camilla Parker Bowles in Season 5 of “The Crown,” which was also nominated for best ensemble performance in a drama series.Sarah Polley, the writer and director of the female-focused film “Women Talking,” which examines sexual assault in a religious community, said the potential for parity in consideration had to be weighed against the realities of the film and television industries.“What none of us want to see is a general acting category where it ends up being all-male nominees,” she said, “Which I think is the fear — and that’s a genuine fear.”But, she added, there were also important considerations to weigh that extend beyond fairness to the issue of fundamental identity.“We have a nonbinary actor in our cast,” she said, referring to August Winter, who plays Melvin, a character who lives as an openly trans man in a patriarchal society. “And there would have had to be a choice made between male and female, neither of which was accurate.”Members of the cast of “Women Talking” from left, Liv McNeil, August Winter, Kate Hallett, Michelle McLeod, Sheila McCarthy, Sarah Polley, Rooney Mara, Claire Foy and Jessie Buckley.Jordan Strauss/Invision, via Associated Press“I’m not sure what the solution is,” she added, “but it certainly can’t stay the way it is, because it is excluding people from being recognized.”Mx. Winter, who uses the pronouns they and them, said they supported gender-neutral categories because they “honor the person who is making the art.”“Right now, you need to choose,” they said, referring to awards that separate categories for men and women. “And I don’t think people should be put in that position.”Other nominees noted, however, that they were concerned that combined categories would lead to fewer performances being recognized.Ms. Bassett said that collapsing the categories could lead to fewer chances for recognition. “I don’t like it,” she said. “Not enough opportunity.”Angela Bassett was nominated for a SAG award for outstanding performance by an actress in a supporting role for “Black Panther: Wakanda Forever.”Jordan Strauss/Invision, via Associated PressJon Gries, who plays Greg Hunt, the scheming husband of Jennifer Coolidge’s character, Tanya, in “The White Lotus,” echoed that concern. “When you have best actor, best actress, you have more awards,” he said. (“We like more awards,” said Sabrina Impacciatore, who plays the series’s uptight hotel manager, as she strolled up and put a hand on his shoulder.)Sally Field, who received a lifetime achievement award for her nearly six-decade TV and film career on Sunday night, expressed a general frustration with the competitive nature of awards. “It’s hard to compare actors, whether they be male or female, because the roles are so different,” she said. So the idea of a rule change that would recognize even fewer performances was befuddling to her.“Why would you do that?” she said, looking as though someone had just suggested she go roll through the mud in her ball gown. “I mean, you already can’t even compare Cate Blanchett and Viola Davis. They’re both beyond belief.”Quick Question is a collection of dispatches from red carpets, gala dinners and other events that coax celebrities out of hiding. More

    • 175 Shares179 Views

      in Television

      SAG Awards 2023: Complete List of Winners, Led by ‘Everything Everywhere All at Once’

      by

      The film took the top prize, as well as lead actress and two supporting trophies. “Abbott Elementary” and “The White Lotus” were named the top TV shows.The Screen Actors Guild handed its top award for outstanding cast on Sunday night to “Everything Everywhere All at Once,” the hit sci-fi comedy that recently dominated the Directors and Producers Guild Awards and now appears to be a strong best picture front-runner at the Oscars. Three of the four individual acting trophies went to “Everything Everywhere” cast members, too.But will they also prevail with Oscar?The safest bet to repeat is “Everything Everywhere” comeback kid Ke Huy Quan, who won the supporting-actor trophy from SAG and has been collecting statuettes in that category all season. During Sunday’s show, which aired live on YouTube and will stream exclusively on Netflix next year, the 51-year-old Quan delivered his most touching speech yet.After rising to fame as a child actor in popular films like “The Goonies” and “Indiana Jones and the Temple of Doom,” Quan found few roles available for Asian actors and moved behind the camera, working in stunt choreography. Still, he paid his SAG dues every year, hoping and biding his time for the resurgence he’s finally experiencing.“To all those at home who are watching, who are struggling and waiting to be seen,” Quan said, “please keep on going because the spotlight will one day find you.”In an upset victory, Quan’s co-star Jamie Lee Curtis won the supporting-actress statuette over Golden Globe winner Angela Bassett (“Black Panther: Wakanda Forever”) and BAFTA winner Kerry Condon (“The Banshees of Inisherin”), suggesting that this may be the season’s most fluid acting race.“I know you look at me and think nepo baby, and I totally get it,” said a thrilled Curtis. “But the truth of the matter is I’m 64 years old and this is just amazing!”Later in the night, “Everything Everywhere” leading lady Michelle Yeoh won a crucial best-actress prize over “Tár” star Cate Blanchett, whom she acknowledged as a titan from the stage.“Thank you for giving me a seat at the table because so many of us need this,” Yeoh told the crowd. “We want to be seen and we want to be heard, and tonight you have shown us that it is possible.”Though the SAGs have honored Asian performers from TV shows, Yeoh was the first Asian woman to win best actress in a movie category, and Quan was the first Asian male actor to win for movies as well.The only film actor to win who didn’t hail from “Everything Everywhere” was Brendan Fraser, who mounted a best-actor comeback with his transformational performance in “The Whale.” Though “Elvis” star Austin Butler earned best-actor prizes at BAFTA and the Golden Globes, Fraser wasn’t expected to win at the latter show, since he had publicly accused the former Globes head Philip Berk of groping him in 2003 and had said he wouldn’t attend the ceremony. (Berk denied the accusation.)Like many of the night’s winners, Fraser spoke about the ups and downs of a Hollywood career: “I’ve rode that wave lately, and it’s been powerful and good,” he said, “and I’ve also had that wave smash me right down to the ocean floor.”SAG’s track record with the Oscars is suggestive but spotty. Last year, all four SAG winners triumphed at the Oscars and Jessica Chastain’s SAG win for “The Eyes of Tammy Faye” helped her vault to the front of a wide-open best-actress category. But the year before that, only two of the four SAG winners repeated at the Oscars.But the strongest takeaway from this year’s SAG ceremony is that “Everything Everywhere,” which cost only $14.3 million and took in more than $100 million worldwide, is almost certainly headed for a best-picture victory: Of the films that earned top honors at the DGAs, the PGAs and the SAGs — that is, all three major guilds — only Ron Howard’s “Apollo 13” (1995) failed to go the distance with Oscar.When the season began, the “Everything Everywhere” directors Daniel Scheinert and Daniel Kwan were surprised that their quirky film was generating awards chatter. But with two weeks left until Hollywood’s biggest night, the real surprise would be if anything but “Everything Everywhere” becomes the Oscars’ ultimate victor.Here’s the complete list of SAG winners:FilmOutstanding Cast“Everything Everywhere All at Once”Actor in a Leading RoleBrendan Fraser, “The Whale”Actress in a Leading RoleMichelle Yeoh, “Everything Everywhere All at Once”Actor in a Supporting RoleKe Huy Quan, “Everything Everywhere All at Once”Actress in a Supporting RoleJamie Lee Curtis, “Everything Everywhere All at Once”Stunt Ensemble in a Movie“Top Gun: Maverick”TelevisionEnsemble in a Comedy Series“Abbott Elementary”Ensemble in a Drama Series“The White Lotus”Actor in a Comedy SeriesJeremy Allen White, “The Bear”Actress in a Comedy SeriesJean Smart, “Hacks”Actor in a Drama SeriesJason Bateman, “Ozark”Actress in a Drama SeriesJennifer Coolidge, “The White Lotus”Actor in a TV Movie or Limited SeriesSam Elliott, “1883”Actress in a TV Movie or Limited SeriesJessica Chastain, “George & Tammy”Stunt Ensemble in a TV Series“Stranger Things”SAG Life Achievement AwardSally Field More

    • 125 Shares189 Views

      in Music

      “The White Lotus” Dance Remix is the Hottest Club Song

      by

      Variations of the spine-tingling intro music have played at rave parties, Australian music festivals and Sundance.On a recent club night in Chicago, a high-pitched woman’s voice that sounded like a gobbling turkey — dropping acid — brought everyone to the dance floor. Some people swayed, twisting their hips and twirling their hair in a hypnotic lock step. Others pumped their fists and jumped up and down. One woman let out a high-pitched scream, as though she’d just spotted Chris Hemsworth at the grocery store.The tune was the EDM dance remix of “Renaissance (Main Title Theme),” the wordless title music that plays over the opening credits of Season 2 of “The White Lotus,” the hit HBO Max series about a group of wealthy people who vacation at the luxury resort — and the people who serve them.Since the second season, set in Sicily, began in late October, remixes of the oscillating harp notes, written by the Chilean Canadian composer Cristobal Tapia de Veer, have spread across TikTok, SoundCloud and in the EDM community. Remixes are now playing in clubs and at music festivals. Last weekend, at the Sundance Film Festival in Utah, Diplo unveiled his own mix at 1:30 a.m. “Renaissance” is a variation on the series’s Season 1 theme, “Aloha! — Main Title Theme,” also by Mr. Tapia de Veer,  which features drums and bird songs (that season was set in Maui) and won an Emmy for best original main title theme music. “Aloha” had the same choppy melody, though it did not take off on TikTok or spawn a club following like “Renaissance.”What’s different about Mr. Tapia de Veer’s new beat? Here’s how the song became a crowd-pleasing anthem.Wait, doesn’t everyone nowadays just skip past a show’s theme song?Aah, the “skip intro” button debate. When it’s the intro song to “The Big Bang Theory?” Yes. When the composer has won an Emmy? Your loss.When did the song take off on TikTok?After the first episode of the new season dropped Oct. 30, someone realized: The high-pitched yodeling was danceable. And unlike the Season 1 variation, “Renaissance” climaxes to a throbbing EDM beat near the one-minute mark (the entire song runs 1 minute and 38 seconds long).Over the next few months, thousands of videos flooded the platform, with users setting the ethereal earworm to their own kooky dance moves, frying eggs and lawn manicuring.Why can’t I get it out of my head?Edward Venn, a professor of music at Leeds University in England, broke it down for British GQ in the fall: “It’s the way that the initial minor chord moves to the major — offering a sense of hope, of respite — only for it to slide back, continually and unstoppably, to the threatening implications of that minor chord,” he said.So how did it get into clubs?For weeks, Twitter, TikTok and Instagram users have been sharing videos of partygoers dancing ecstatically as the twisted operatic notes soar through basement bars and packed clubs.The rapper and “Euphoria” star Dominic Fike closed a set at the Terminal 5 music venue in Manhattan with the eerie melody in December, the latest instance of a tune from TV becoming a party staple (we see you, Wednesday Addams and your jerky, infectious “Goo Goo Muck” dance).Where else has it shown up?It turns out that the operatic discothèque sound bath — punctuated by human screeches — works just as well on a large scale as a small one. The Killers opened several stadium shows in December with the song.Days before the show’s finale, a music festival in Australia played the song, to which many in the crowd of thousands of bucket-hatted and fanny-packed revelers tried to vocalize — erm, sing? — along.A heart-pounding remix of the ululating anthem even made an appearance at the end of a “Saturday Night Live” skit last weekend, played by another pop culture phenom: the killer robot doll M3gan, the newly minted camp horror icon with some dance moves of her own.What are some of the best remixes?One popular mash-up features Jennifer Coolidge and her meme-ready rant: “Please, these gays. They’re trying to murder me.”  Another, unveiled by the Dutch DJ Tiësto at a Miami Beach club on New Year’s Eve, makes you want to bang your head until you can’t feel your face. And there is a luscious tech house beat by Westend that will have your stereo shaking.“It captured the feral nature that’s inside all of us and that especially comes out on the dance floor,” said Tyler Morris, a New York-based DJ and music producer who spins under the name Westend. “Every time I play it in my DJ sets, it’s a showstopper.”How do you dance to it?Fist pumps, waving arms and synchronized — or not — flailing limbs, seem to be popular. The robot — or even a fast-moving zombie imitation à la “The Last of Us” — might work well here.Any word on the theme music for Season 3?While the show has been renewed for a third season, there’s no word yet on the next resort destination. The only thing that might be more popular than the EDM “Renaissance”? A K-pop version. More

    • 125 Shares119 Views

      in Movies

      Jennifer Coolidge Wins First Golden Globe for ‘The White Lotus’

      by

      Jennifer Coolidge, who returned to her role as a needy heiress in the second season of “The White Lotus,” won her first Golden Globe, thanking the people who hired her for years of smaller acting roles that led up to this moment in the spotlight. Directing her attention toward one of those people — the show’s creator, Mike White — Coolidge gave an alternately goofy and heartfelt speech that reduced White to tears, turning it into one of the most memorable moments of the night.“I had such big dreams and expectations as a younger person but what happened was they get sort of fizzled by life,” Coolidge said, having placed her trophy on the ground for safekeeping. “Mike White, you have given me hope for — just, you’ve given me a new beginning.”The award, for best supporting actress in a limited series, comes after Coolidge won her first Emmy last year for her performance in the HBO dramedy’s debut season, which was set at a five-star hotel in Hawaii.Since then, Coolidge’s character, Tanya, a fan favorite for her comic cluelessness and overwrought energy, appeared in Season 2, this time vacationing at a sister property in Sicily with her new husband, Greg. (They were the only returning characters from the first season.)In Season 2, Coolidge was given more space to flex her dramatic acting muscles when, in the finale, she ends up on a yacht full of “high-end gays” whose intentions she begins to question. As one of those companions puts it, Tanya — and by extension, Coolidge — has become the heroine in her own Italian opera.After nearly three decades in film and television (highlights include “American Pie,” “Best in Show” and “Legally Blonde”), Coolidge has received the most critical praise of her career for “The White Lotus,” which also won best limited series on Tuesday.In the speech, Coolidge said White had changed her life in a “million different ways,” noting in an aside that her neighbors actually spoke to her now. (“I was never invited to one party on my hill and now everyone’s inviting me!”)“He’s worried about the world, he’s worried about people, he’s worried about friends of his that aren’t doing well,” Coolidge said of White, adding, “You make people want to live longer — and I didn’t.” More

    • 150 Shares199 Views

      in Television

      Simona Tabasco, ‘White Lotus’ Fan Favorite, on the Best Parts of Italy

      by

      The actress shares some of the places she loves the most, and the art that both inspires and disturbs her.The day Simona Tabasco got a callback for “The White Lotus” with the show’s creator, Mike White, she tested positive for Covid-19. So she auditioned over FaceTime and landed the part.A month later, she was on set in Sicily playing Lucia, one of the two local prostitutes — the other played by her real-life friend, Beatrice Grannò — who spend the television show’s second season charming and swindling Americans on vacation. By the time the season ended in December, the duo had become fan favorites, inspiring memes, think pieces, conspiracy theories and style tips.“I’ve never been part of a project of this magnitude, something that was so big and involves so many artists — people that, yes, are famous, but also such amazing artists,” Tabasco, 28, said in a video interview from Rome, where she plays an undercover police officer in the Italian TV series “I Bastardi di Pizzofalcone.”Speaking through a translator, the Neapolitan actress talked about why the city where “The White Lotus” was shot is so meaningful to her — as well as some of the other places she loves in Italy — and the horror movie she couldn’t stop thinking about even though it annoyed her. These are edited excerpts from the conversation.1. Taormina It’s where we filmed “The White Lotus,” and it’s where I received an award for best young actor after my first film, “Perez,” at the film award ceremony Nastro d’Argento. One of the local cafes, Bam Bar, is known for its granita. My favorite flavor is almond. It became a tradition for Beatrice and me to have breakfast there together on days we didn’t have to wake up too early. Every time we went, we saw someone from the “White Lotus” cast or crew.Inside the World of ‘The White Lotus’The second season of “The White Lotus,” Mike White’s incisive satire of privilege set in a luxury resort, is available to stream on HBO.End of a Journey: The actress Jennifer Coolidge discussed the ending of the second season and where the series, already renewed for a third season, might go from here.Dressing Gen Z: The costume designer for “The White Lotus” sees your mean tweets about how the younger characters dress. She told us how she created the chaotic and divisive looks.Michael Imperioli: The “Sopranos” star is enjoying a professional renaissance after years of procedurals and indies. In the new season of “The White Lotus,” he tries his hand at comedy.F. Murray Abraham: The buzzy series is one of several featuring the actor, who at 83 is finding some of the most satisfying work of his career.2. Nuovo Cinema Olimpia This theater in central Rome is special for me. It has only two rooms, and it’s not like the other cinemas in the city. There are usually very few people, and it’s where I like to have movie marathons. I’ve spent hours in there watching films. Sometimes I just need to binge on movies, and for me, this is the perfect place to do it. Right after, I like to drink a beer and talk about what I’ve just seen with friends. It can sound a little boring, but I have so much fun during these kinds of days.3. Monti I used to live in this neighborhood with classmates way back when I was in acting school. Known as the artists’ quarters, it’s a beautiful area. It’s small, and it kind of gives you the feel of being in a little village, which is rare for such a big city like Rome. It’s also filled with vintage clothing stores, which I started going to because of auditions. My favorite vintage shop is called King Size.4. “Titane” I love this movie, which is a horror/sci-fi mix, because it disturbs me. It’s a film that annoys me. I went to see it and then I had to go see it again. I thought about it for days. And I think that’s how art should be — I love when art is that way. It’s something that you encounter by chance, or not, and then it changes your day or your life.5. Tate Modern Five years ago, I was staying in London for a month to enjoy the city and practice English, and I think I went every day for seven days. The first time I went in, I had this sense of shock because it looked like such a big empty space. I would go and listen to this tower of radios, Cildo Meireles’s “Babel,” and I was totally blown away. I’m not sure what the artist wanted to say, but that’s also the beauty of art. Maybe the artist had one idea and whoever witnesses an installation like that then has a different reaction.6. Kintsugi My favorite thing about visiting Japan in 2017 was seeing the art of kintsugi, which is their practice of putting back together broken things with gold and varnish. They turn something that seems like it no longer has purpose into something extremely beautiful through the act of repairing it. It’s a very powerful symbol of resilience.7. “Lo Potevo Fare Anch’io” by Francesco Bonami The title of the book translates to “I could have done it too,” which the author wrote because he wanted to bring people closer to and push people farther away from contemporary art, which I think is very provocative. One of the artists mentioned in the book is Robert Ryman, who creates these paintings and sculptures using only white paint, which is something that gives you the impression of being incredibly simple when you first think about it, but then you realize that it’s impossible to replicate. It tells you that art can be — and most of the time is — simple.8. Sziget Festival I went when I was 24. I wanted to see Budapest, because I think it’s a great European city to visit and to live in. During the day, I would explore local neighborhoods and in the evening, I would go to the festival. The setting is so crazy; it’s this island off Budapest with 60 different stages. It becomes difficult to see everything that you want to but attending is one of my favorite memories. I love music. One of my dreams is to go to Burning Man; it’s on my list.9. Naples I probably have a better relationship with Rome because it’s where I’ve built a life, but the thing I love about Naples is the state of mind that it puts me in. It reminds me of my family, of my childhood. Most of what I am and how I grew up — my mannerisms, the way I talk, the way I move — most of it comes from there. It’s something that I try to bring with me whenever I’m on set because it’s such a big part of who I am.10. “Je So’ Pazzo” You could classify Pino Daniele’s music as blues, but what we say in Naples is just that it’s “Pino’s music,” because it’s its own thing. He was so incredible because of his technical talent but also because of the way he used his music to express a moment in time in Italy, specifically in Naples. This song talks about Masaniello, a kind of spokesman of the Neapolitan people. It literally translates to “I’m crazy.” More

    • 125 Shares109 Views

      in Television

      In ‘White Lotus,’ Beauty and Truth Are All Mixed Up

      by

      This season focuses on the willful delusion of the wealthy — and how easily preyed upon people who evade reality can be.Early in the second season of “The White Lotus” — Mike White’s HBO satire of the leisure class, currently set in a five-star Sicilian resort — there’s a sequence that offers an overt, shot-for-shot homage to a scene in “L’Avventura,” from 1960, the first film in Michelangelo Antonioni’s “Trilogy of Decadence.” Coolly removed and virtually plotless, Antonioni’s three films were intended as an indictment of the entropic passivity of wealth. All starred Monica Vitti, the glamorous Italian actress with whom Antonioni was romantically involved. In “L’Avventura,” she plays Claudia, a young woman whose best friend, Anna, disappears during a yacht trip off the coast of Sicily. As Claudia and Anna’s boyfriend, Sandro, search for the missing girl, they drift into an unconvincing relationship. When they arrive at the lone hotel in the town of Noto, Claudia, suddenly worried about facing her friend, tells Sandro to search inside without her.What we are looking at is the experience of being looked at.The scene “The White Lotus” recreates takes place outside, in the piazza, where Claudia is accosted by a horde of leering men. The aesthetics are disconcerting: Antonioni uses the town’s baroque architecture to pile men around and atop Claudia. She looks afraid, for a moment, but then has a sort of detachment from reality. Walking slowly through the crowd, she seems to give herself over to the experience, allowing herself to become a spectacle, subject to the men’s (and the audience’s) scrutinizing, consuming gaze.Welcoming You Back to ‘The White Lotus’The second season of “The White Lotus,” Mike White’s incisive satire of privilege set in a luxury resort, begins on HBO on Oct. 30.Michael Imperioli: The “Sopranos” star is enjoying a professional renaissance after years of procedurals and indies. In the new season of “The White Lotus” he tries his hand at comedy.Season 1: The series scrutinized the interactions between guests and staff at a resort in Hawaii. “It’s vicious and a little sudsy and then, out of nowhere, sneakily uplifting,” our critic wroteUnaware Villain: The actor Jake Lacy plays Shane, a wealthy and entitled 30-year-old on his honeymoon, in the first season. Here is what he said about bringing to life the unsavory character.Emmys: The series scooped up five Primetime Emmys on Sept. 12, including for best TV movie, limited or anthology series, and best supporting actress for Jennifer Coolidge’s breakout performance.Even before “The White Lotus” fully replicates this image, though, we see one character — a batty gazillionaire named Tanya McQuoid, played by Jennifer Coolidge — explicitly name-check Vitti. Describing her fantasy of a day in Italy to her husband, Greg, she stays resolutely on the surface: “First, I want to look just like Monica Vitti,” she says. “And then this man in a very slim-fitting suit, he comes over and he lights my cigarette. And it tastes really good. And then he takes me for a drive on his Vespa. Then, at sunset, we go down really close to the sea, to one of those really romantic spots. And then we drink lots of aperitivos and we eat big plates of pasta with giant clams. And we’re just really chic and happy. And we’re beautiful.” Greg obligingly rents a Vespa. But Tanya is not the character who will feature in the Antonioni homage.“L’Avventura” is not the only film referenced in “The White Lotus,” which is positively haunted by movies and the fantasies they engender. As Tanya casts herself in her superficial version of an Italian film, Bert Di Grasso — a grandfather whose family trip to Sicily has been upended by the women in the family’s refusing to come — is exalting the ethos of “The Godfather,” in which he sees men who are free to do as they like. After her ill-fated Vitti cosplay leaves her alone and betrayed, Tanya takes up with Quentin, part of a group of “high-end gays,” as she calls them, who recast her as a tragic heroine. Quentin tells her about his own lost love, but it sounds like the plot of “Brokeback Mountain,” and he takes her to the opera to see “Madama Butterfly,” which, in this context, can’t help but call to mind “M. Butterfly,” and a very specific form of romantic deception. As the line blurs between stories and lies, the vibe shifts closer to “The Talented Mr. Ripley.” If the first season of “The White Lotus” was about the casual destructiveness of wealth, this one seems to be about its willful delusion — and how easily preyed upon people who evade reality can be.In Antonioni’s film, Vitti’s wealth and beauty grant her character access to a world of glamour, but they also trap her in a lie, concealing a real world of rot and corruption. “L’Avventura” means “the adventure” — ironic, since nothing much happens in the movie, and its central mystery is never solved — but an “avventura” is also a term for an illicit affair, often one entered out of boredom, for kicks. This is precisely how everyone in this season of “The White Lotus” gets into trouble. For both show and film, “love” is a dance of deception and self-delusion, in which it’s hard to tell who’s the mark.The only character who still clings to purity — the only innocent left to corrupt — is Harper Spiller, played by Aubrey Plaza. And she is the one who ends up in Noto, recreating the Monica Vitti scene in the piazza. Like Claudia, Harper has drifted here by accident — by virtue, another character observes, of being pretty. The newly rich wife of a tech founder, she has come on a luxury vacation at the invitation of his college roommate. Harper is suspicious of the whole endeavor: of getting rich quickly, of old friends who materialize suddenly after you get rich, of rich people who spend their lives disengaging from the world and drifting from one fantasy locale to the next. In Noto, she finds herself alone and surrounded by men, exactly like Vitti. Just as in the film, the scene feels over the top and surreal — part paranoid fantasy, part dissociative experience, and even stranger now that it’s 2022, not 1960, and Aubrey Plaza doesn’t cut quite so otherworldly and surprising (for Noto) a figure as the statuesque blonde Vitti did.As we watch Harper drift through the crowd, what we are looking at is the experience of being looked at. Along with Tanya — who aims to imitate Vitti but is instead brutally compared, by a tactless hotel manager, to Peppa Pig — she offers a metaphor for how thoroughly we can give ourselves over to imposture.Antonioni started working during the Italian neorealism movement, when films were shot on location, making use of nonactors, telling stories about working-class people and poverty and despair. But it was “L’Avventura,” with its focus on the alienation of the moneyed, that made him internationally famous. I know this because I took an Italian-neorealism class during a junior year abroad in Paris, and — not surprisingly, I suppose, for the kind of person who takes an Italian-neorealism class during a junior year in Paris — I, too, preferred Antonioni’s trilogy about disaffected rich people to the stuff that had come before: children stealing bicycles, Anna Magnani worrying about unpaid bills, that sort of thing. Struggle is hard to watch; it is much more pleasant to have our moral judgments projected into a world of aestheticized, escapist pleasure.We carry a desire to inhabit images we’ve seen, reified symbols of love, glamour, happiness, success. The “White Lotus” scene in Noto is a perfect representation of this recursive fakery and its nightmarish endpoint. Like so many travelers in the Instagram age, the show’s characters drift through their adventures without any real purpose other than to reproduce the pretty scenes and special moments they’ve seen elsewhere, trying to locate themselves in endless reflections. Among them, it is only Harper who remains unaffected by visual culture. Her scene in Noto feels like an inflection point. It is easier than ever to mistake beauty for truth — or pretend to. Which, the show asks, will Harper choose?Source photographs: HBO; Cino del Duca/PCE, Lyre. More

    • 150 Shares99 Views

      in Television

      Why Did It Take HBO So Long to Make Shows About Women?

      by

      An early top executive at the network believed that “the man of the house” paid for cable TV subscriptions. That mind-set affected HBO’s programming for decades.On “House of the Dragon,” Emma D’Arcy plays a would-be queen who is weighing what to do in the face of betrayal. On “Euphoria,” Zendaya plays a high school student who starts using drugs shortly after leaving rehab. On “The White Lotus,” which returns for its second season on Sunday night, Jennifer Coolidge plays a dazed heiress trying to escape her troubles in the comforts of a Sicilian luxury hotel.These characters are the new faces of HBO, the Emmy-magnet cable network that, until recently, specialized in making programs about men for men. In fits and starts over the last two decades, the network has at last begun to move away from the leering lotharios of its early years and the tortured male antiheroes of its middle period to present shows built around complicated women who drive the action.In the 1980s, when HBO was just starting to make original programming, its top executives made a point of appealing to male viewers. It was a strategy that affected the network’s creative output for years to come.Jennifer Coolidge, center, in a scene from Season 2 of “The White Lotus.” Fabio Lovino/HBOEmma D’Arcy, right, with Olivia Cooke in HBO’s latest ratings hit, “House of the Dragon.”Ollie Upton/HBO“I’ve figured out through research, and in my own mind, that the man of the house decided whether to have HBO or not,” said Michael Fuchs, the channel’s top executive when it started to concentrate on original programming, in a 2010 interview with the Television Academy.“I made sure that there were things for men,” he continued. “If commercial television had a female slant, HBO had a male slant.”The network bet big on stand-up comedy specials featuring mostly male comics in the years when it was defining the look and feel of premium cable. Without the restrictions of broadcast TV, George Carlin, Chris Rock and Robin Williams were free to do their routines unfettered.In the 1980s, the network cemented its identity as one that appealed to men when it signed the heavyweight champion Mike Tyson to an exclusive deal. At the same time, HBO started airing the documentary series “Eros America,” which was soon renamed “Real Sex.” It kicked off a run of sex-focused documentary shows, which would include “G String Divas,” “Cathouse” and “Sex Bytes.”HBO’s early forays into scripted programming followed a similar tack. John Landis, an executive producer of “Dream On,” a comedy about a male book editor that made its debut in 1990, used the show’s gratuitous nudity as a selling point. “We have breasts in the script just for the sake of seeing breasts,” he said in a 1992 interview. “Excuse me, but what’s so bad about that?”Susie Fitzgerald, an HBO programming executive from 1984 to 1995, said “Dream On” appealed to her bosses because it was cheap to make and “it featured nudity — female nudity, of course.” She recalled HBO’s research executives preaching that men “controlled the remote.” That line of thinking became a factor in programming decisions, she added.Return to Westeros in ‘House of the Dragon’HBO’s long-awaited “Game of Thrones” prequel series is here.Playing Kingmaker: Fabien Frankel plays Ser Criston Cole, who got to place the crown on the new King of Westeros’s head. He is still not sure how he landed the role.The Princess and the Queen: Emma D’Arcy and Olivia Cooke, who portray the grown-up versions of Rhaenyra Targaryen and Alicent Hightower, talked about the forces that drive their characters apart — and pull them together.A Man’s Decline: By the eighth episode of the season, Viserys no longer looks like a proud Targaryen king. The actor Paddy Considine discussed the character’s transformation and its meaning.A Rogue Prince: Daemon Targaryen is an agent of chaos. But “he’s got a strange moral compass of his own,” Matt Smith, who portrays him, said.Ms. Fitzgerald, who helped oversee HBO comedy specials starring Ellen DeGeneres, Roseanne Barr and Whoopi Goldberg, was part of the team behind the network’s first series to win widespread acclaim, “The Larry Sanders Show,” about an insecure talk-show host and cocreated by and starring Garry Shandling. Around the time of its debut, Ms. Fitzgerald said she floated the idea that a woman should be the lead of an HBO comedy series. She faced resistance when she brought it up, she said.The beginning of the shift toward productions centered on women did not come about until 1996, with the premiere of “If These Walls Could Talk,” a movie chronicling abortion in three different decades. It was produced by Demi Moore, who also had a leading role in the film.HBO didn’t give the green light to “If These Walls Could Talk” in the hope that it would attract large numbers of viewers and subscribers. The network’s main interest was in doing business with Ms. Moore, who was then at the height of her fame.“If These Walls Could Talk” did have something in common with HBO’s other productions, though: It had a strong point of view — fiercely in favor of abortion — and it was not a fit for broadcast TV or basic cable, which made money by keeping skittish advertisers happy.When the ratings came in, the executives were floored: “If These Walls Could Talk” had attracted the largest audience ever for an HBO production, contradicting its “man-of-the-house” programming strategy.Shortly afterward, HBO bought the option for “Sex and the City,” a book by Candace Bushnell on the lives of single women in Manhattan. The series ran from 1998 to 2004, becoming a cultural touchstone and winning 7 Emmys (out of 54 nominations). It also spawned two feature films, a popular sequel series, “And Just Like That,” for HBO’s streaming service, HBO Max, and countless memes.Sarah Jessica Parker as Carrie Bradshaw in the long-running HBO series “Sex and the City.”HBO, via Everett CollectionBut just as “Sex and the City” was in the middle of its run, HBO went back to the old playbook, adding “The Mind of the Married Man” to its prime-time schedule. The half-hour series was centered on a married Chicago newspaperman, his married pals and their sex lives. Writing in Entertainment Weekly, the critic Ken Tucker called the show a “rancid little barf-com” and found fault with its “moronic sexism.” And soon after 10 million viewers tuned in for the “Sex and the City” finale, HBO returned to a bro-y sensibility with “Entourage,” about young men on the loose in Hollywood.When Casey Bloys, the current head of programming at HBO, joined the network in 2004, its audience was still largely male, thanks to a cluster of shows — “Oz,” “The Sopranos,” “The Wire” — that chronicled the exploits of male antiheroes and outlaws.“There was definitely a core male 25- to 54-year-old audience,” Mr. Bloys said.Some HBO series appealed to women — Alan Ball’s “True Blood” and Michael Patrick King’s and Lisa Kudrow’s “The Comeback” — but old habits were hard to shake.In 2010, Mr. Bloys and his colleagues in the programming department were impressed by a proposal from a 23-year-old writer and filmmaker, Lena Dunham, for a series about young women in New York. Other executives were against it, partly because of the age of Ms. Dunham’s central characters, who were more than a decade younger than the “Sex and the City” foursome.“The prevailing wisdom of the time was that men basically subscribed,” Mr. Bloys said. “So in conversations around ‘Girls,’ they said we had never done a show with that young a lead and a female lead that young. The idea was young adults were not deciding to subscribe to HBO because they weren’t the head of the household.”After Mr. Bloys and his associates prevailed, “Girls” became a critical hit and fodder for thousands of think pieces. “Veep,” starring Julia Louis-Dreyfus as a U.S. vice president, was right around the corner.Even so, shows about men remained HBO’s stock in trade, along with certain tropes that had devolved into cliché. In a 2011 essay, “HBO, you’re busted,” Mary McNamara, a critic for The Los Angeles Times, blasted the network for its overreliance on scenes set in strip clubs and brothels.Must every HBO drama, Ms. McNamara lamented, feature shadowy men conducting business against a backdrop of unclad women? She cited “The Sopranos,” “Game of Thrones,” “Rome,” “Deadwood” and “Boardwalk Empire” as the biggest offenders, noting that “HBO has a higher population of prostitutes per capita than Amsterdam or Charlie Sheen’s Christmas card list.”The cast of “The Mind of the Married Man,” a critical flop.Anthony Friedkin/HBOJames Gandolfini as the HBO antihero Tony Soprano.Anthony Neste/Getty ImagesBy the time Mr. Bloys took over the programming department in 2016, 57 percent of viewers of HBO’s Sunday prime-time lineup were male, according to Nielsen. As Mr. Bloys settled into his new role, the network began a reboot of the cultural shift it had attempted two decades earlier with “If These Walls Could Talk” and “Sex and the City.”“My philosophy as a programmer was, if you’ve got a male core, that’s great,” Mr. Bloys said. “You do want to make sure you’re tending to that core audience, but you also have to broaden out from that. You can do both.”As the #MeToo movement ousted men in positions of power in the media industry, the signature HBO protagonist began to change. There were still shows centered on tortured male antiheroes — “Succession,” for one — but more and more, a new character came to the fore: the tough but flawed heroine who is looking to right past wrongs.“Big Little Lies,” starring Nicole Kidman and Reese Witherspoon, chronicled a group of women in Monterey, Calif., who band together after one of their husbands, an abuser, is murdered. In “Sharp Objects,” Amy Adams played a self-harming newspaper reporter who investigates the murders of two girls in her Missouri hometown. In “Mare of Easttown,” Kate Winslet immersed herself in the role of a damaged police detective working to solve the murder of a teenage mother in blue-collar Pennsylvania. “I May Destroy You,” a coproduction with the BBC, starred Michaela Coel as a struggling writer who attempts to shed light on her own past rape.Michaela Coel was the star, writer and producer of “I May Destroy You.”HBO, via Associated PressMs. Coel was the creative force behind “I May Destroy You.” Another female writer-producer, Marti Noxon, was the creator of “Sharp Objects,” a limited series based on the novel by Gillian Flynn. But several other HBO shows with female protagonists were led by men: David E. Kelley was the showrunner of “Big Little Lies”; Brad Inglesby created “Mare of Easttown”; and Saverio Costanzo was the creator of HBO’s adaptation of “My Brilliant Friend,” a show adapted from the Neapolitan novels series by Elena Ferrante.HBO reapplied the lesson it had learned from “Girls” when it signed off on “Euphoria,” a series about the drug-fueled escapades of teenagers created by Sam Levinson, with Zendaya in a starring role. Earlier this year, that show became the most-watched HBO program since the network’s biggest hit, “Game of Thrones.”The results of the shift have been evident in the makeup of the audience for HBO, which celebrates its 50th anniversary in November, and the streaming platform that shares its name. According to Nielsen, those watching the cable channel had a 50-50 male-female split in 2021, and 52 percent of HBO Max’s viewers in September were women.“I think that any brand — this is not specific to television — has to evolve,” Mr. Bloys said. “You can’t just kind of become comfortable and think, ‘Well, we know how to do one thing and let’s keep doing it.’” More

    • 88 Shares189 Views

      in Television

      ‘The White Lotus’ Wins 5 Emmy Awards

      by

      “The White Lotus,” the hit HBO anthology series that, during a season of pandemic travel restrictions, skewered the entitled behavior of wealthy vacationers, scooped up five Primetime Emmys on Monday, including the award for best TV movie, limited or anthology series.Created by Mike White, the series struck a chord with its timely and incisive satire of privilege and liberal hypocrisy at a Hawaiian resort, and it was highly favored to take home the best limited series award, after receiving 20 nominations overall. In winning, “The White Lotus” beat a field of similarly buzzy, topical series in a category that has become one of TV’s most hotly contested, including Hulu’s “Dopesick,” about the opioid crisis, and Netflix’s “Inventing Anna,” about the socialite scam artist Anna Sorokin.The series also scored wins in major acting categories. Jennifer Coolidge, who plays a grieving hotel guest desperate for love, won best supporting actress, beating four of her co-stars in the category, including Connie Britton, Alexandra Daddario, Natasha Rothwell and Sydney Sweeney. Murray Bartlett, who plays a meticulous resort manager, won best supporting actor, beating out his co-stars Jake Lacy and Steve Zahn.Mike White, who wrote and directed all six episodes of Season 1, picked up back-to-back Emmys for writing and directing. He compared his writing win to increasing his threat level on the competition show “Survivor,” on which he was once a contestant.“I just want to stay in the game,” White said. “Awards are great, I love writing, I love doing what I do. Don’t come for me. Don’t vote me off the island, please.”“White Lotus” also earned five Creative Arts Emmys, which were presented on Labor Day weekend, in categories including music composition, casting and camera editing.Season 2 of “White Lotus” is set to debut in October with a new self-contained plot, set in Sicily, and an almost entirely new cast that includes Tom Hollander, Theo James and Aubrey Plaza. Coolidge will be the only returning cast member, reprising her role as Tanya.Coolidge’s return raised questions about whether “White Lotus” should be competing in the TV movie, anthology or limited series category. The Academy of Television Arts and Sciences, which awards the Emmys, decided in March that having a single returning character did not disqualify a series from eligibility. More