More stories

  • in

    Fashioning ‘The First Lady’

    The new Showtime series on Michelle Obama, Betty Ford and Eleanor Roosevelt makes the connection between substance and style.It is a coincidence, but a telling one, that the day after “The First Lady,” the series that is a revisionist take on presidential wives as seen through the intertwined stories of Michelle Obama, Betty Ford and Eleanor Roosevelt, premiered on Showtime, Dr. Jill Biden hosted the White House Easter egg roll. Or rather, the Easter “Eggucation” roll.There she stood, the current first lady and the only one out of more than 50 (official and acting) to keep her pre-administration day job, like a bouquet of hyacinths in a pink dress festooned with a veritable garden of florals, a coordinating purple coat and fuchsia gloves, flanked by her besuited husband and two life-size bunnies. She exuded warmth and family values, embodying the platonic ideal of a political spouse, while also promoting her signature cause (education).Dr. Jill Biden at the annual White House Easter egg roll at the White House this week.Doug Mills/The New York TimesIf ever there was a real-life illustration of the balancing act between role-playing and real issues that is part of performing one of the strangest non-job jobs that exists, this was it.After all, what is the first lady? Unelected, but part of the package; beholden to the West Wing, but in an office, if not an Office, of her own; emblematic, somehow, of American womanhood writ large. The human face of an administration.Which is to say, said Sean Wilentz, the George Henry Davis 1886 professor of American history at Princeton, she is supposed to be “the ideal wife as helpmeet: swearing (or affirming), to the best of her ability, to preserve (cook, care), protect (as in protecting time) and defend (no matter what) the president.”Exactly how strange that position is, forms the heart of “The First Lady,” a bit of historical didacticism dressed up as pop culture entertainment that makes the case for the presidential wife as the progressive social conscience of an administration, thus aiming to change the narrative from one largely focused on image-making (clothes! holiday events! state dinners!) to one focused on substance.Gillian Anderson as Eleanor Roosevelt.Boris Martin/ShowtimeYet what the series, which flips between moments in each first lady’s life that are connected thematically, rather than chronologically, may do best is illustrate just how intertwined the roles actually are — onscreen as in life. The first reaction of viewers (at least on social media) was not to the premise of the show, which gives its first ladies credit for, among other things, championing women’s rights and desegregation (Eleanor Roosevelt, as played by Gillian Anderson); changing the conversation around breast cancer, mammograms and addiction (Betty Ford, played by Michelle Pfeiffer); and fighting for gay marriage and exposing racism (Michelle Obama, by Viola Davis). Rather, it was to the facial tics, especially the lip pursing, of Ms. Davis as Mrs. Obama.By how they look, we think we know them. “The two things are intrinsically connected,” said Cathy Schulman, the showrunner and executive producer of “The First Lady.” When it comes to first ladies, how they present in the world becomes shorthand for who they are and what they do. It’s the bridge of “relatability” (in the words of the show’s Barack Obama) from the White House to every house. Onscreen as, perhaps, on the political stage.Viola Davis as Michelle Obama.Jackson Lee Davis/ShowtimeIt’s why, even as the characters themselves chafe against the strictures of their new position — as Laura Bush warns Mrs. Obama, people are going to judge everything she does, including what she wears; as Mrs. Obama rolls her eyes at attempts to make her a “Black Martha Stewart”; as Mrs. Ford announces her belief that you can be “ladylike” and yourself at the same time — Ms. Schulman and Signe Sejlund, the costume designer for the series, were focused on getting the clothes as accurate as possible.It was, Ms. Schulman said, “crucial.” Starting in late 2020, teams of researchers began collecting historical documentation and images from the periods represented, many of which had been preserved for posterity, the better to build wardrobes that could consist of about 75 changes for each woman. These included such major public sartorial statements as their wedding dresses, inauguration outfits and the gowns they wore for their official White House portraits.Jason Wu, who designed both of Mrs. Obama’s inaugural gowns, agreed to recreate the first one — the silver-white dress that seemed to proclaim a new dawn — for Ms. Davis. (In part because the original had been donated to the Smithsonian, and he wanted one for his archive.) Ms. Sejlund scoured the RealReal for a copy of the Milly dress Mrs. Obama wore in her portrait, and found it, albeit in the wrong size, so she acquired more fabric from the designer to reinvent it.Michelle Pfeiffer as Betty Ford.Murray Close/ShowtimeSome are clones of the originals, including Mrs. Ford’s shirtdresses, often paired with the silk scarves she favored, her many polka dots and her quilted bathrobes — especially the yellow robe she wore when she left the hospital after her mastectomy, when, Ms. Schulman said, “she knew the place would be crawling with journalists.” It was a canny choice that reflected her desire to be as transparent as possible about connecting her own situation to that of other women. (How many first ladies before her had been publicly photographed in their dressing gowns?)And some are conceptually the same, like the wide belts that, along with the pearls, cardigans and sleeveless sheaths, became a signature of Mrs. Obama, but which were shrunk down to be in proportion with Ms. Davis’s smaller frame. Then there was the giant floral necklace Eleanor Roosevelt wore to her husband’s first inauguration, which, while very au fait in the early 1930s, “looked almost ridiculous when you see it with a modern eye,” Ms. Sejlund said.From left, Gillian Anderson as Eleanor Roosevelt and Lily Rabe as Lorena ‘Hick’ Hickock.Boris Martin/ShowtimeThe necklace was ultimately left in the closet, unlike the collection of jaunty hats that were a Roosevelt trademark and that played a starring role in Mrs. Roosevelt’s 1941 visit to Tuskegee Army Air Field, where she demonstrated her support for Black airmen with a flight that was so smooth, she announced to the world, she “never lost” her hat.All such accessories are on some level recognizable because they serve as wormholes to the events portrayed. We may not remember them exactly, but we’ve probably seen the picture. It exists in our shared memory book, just as the photo of Mrs. Biden in her stylized florals with the rabbits will. Acknowledging that likelihood doesn’t take away from her achievements or the connection she made between holiday décor and learning. It supports it.They are, after all, effectively costumes for real life characters playing a very specific role in a show everyone can watch. More

  • in

    Late Night Approves of Ketanji Brown Jackson’s High Ratings

    A poll found strong support for the judge’s Supreme Court nomination, but “speechmaking and hissy-fitting” continued in the Senate, said Jimmy Kimmel.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.Upon ApprovalWednesday was the final day of questions for the Supreme Court nominee Ketanji Brown Jackson, or, as Jimmy Kimmel referred to it, “another day of grandstanding, speechmaking and hissy-fitting in the Senate.”A newly released poll, conducted before the hearings began, found that 58 percent of Americans supported Judge Jackson’s appointment to the court.“It is the most support a Jackson has had since ‘Thriller’ came out.” — JIMMY KIMMEL“Right now, Biden’s like, ‘Hey, I nominated you — it’s only fair that we split that approval rating, come on.” — JIMMY FALLON“Yep, the only way it could have been higher is if she ended today with a water bottle flip.” — JIMMY FALLON“She said the fact that she was even nominated shows how far we’ve come as a country, and so some of the Republican senators on the committee have been hard at work to show how far we haven’t.” — JIMMY KIMMEL“This is how low the United States government has fallen. We’ve gone from ‘Let’s put a man on the moon within the decade’ to ‘Maybe someday we can get at least one Republican to vote for a qualified woman.’” — JAMES CORDENThe Punchiest Punchlines (Uninvited Edition)“In other news, despite the current state of affairs, Vladimir Putin is still planning to attend the G20 summit with other world leaders in Bali this fall — which explains this year’s theme: ‘Awkward.’” — JIMMY FALLON“Seriously, what is he doing? It’s like getting kicked out of high school and then showing up for the reunion.” — JIMMY FALLON“Yeah, it’ll backfire on Putin when he realizes it’s not a G20 summit; it’s an intervention.” — JIMMY FALLONThe Bits Worth Watching“The Late Late Show” celebrated Reggie Watts’s 50th birthday by giving him a racecar bed.What We’re Excited About on Thursday NightGwen Stefani will pop by Thursday’s “Jimmy Kimmel Live.”Also, Check This OutThe artists Mónica Arreola, left, and Andrew Roberts, selected for the Whitney Museum of American Art’s 2022 Biennial, titled “Quiet as It’s Kept,” at the graffitied border wall in Tijuana.Alejandro Cossio for The New York TimesThe curators of this year’s Whitney Biennial expanded their reach to include Mexican perspectives on the border. More

  • in

    Late Night Sees Through Republican Questions for Ketanji Brown Jackson

    “It’s funny listening to the same people who let the president get away with trying to overthrow the government call anyone ‘soft on crime,’ but that’s how it goes,” Jimmy Kimmel 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.Soft SpotsJudge Ketanji Brown Jackson’s Supreme Court confirmation hearings continued on Tuesday, and late-night hosts couldn’t help but notice how Republicans made their biases clear.“I think your dog whistle’s busted, guys. Everyone can hear it now!” Jimmy Kimmel said.“Today was the first of two days where senators can ask the nominee direct questions, so Democrats asked things like ‘Why are you so great?’ and Republicans asked things like ‘Why aren’t you Donald Trump?’” — JAMES CORDEN“But despite the gratuitous attacks, Judge Jackson has been very cool under pressure. They don’t have anything real to criticize, so they’ve been trying to portray her as being soft on crime, which is interesting because she’s been endorsed by both the International Association of Police Chiefs and the Fraternal Order of Police — and the band The Police. Even Sting is in her corner.” — JIMMY KIMMEL“How soft are Republicans talking here, do we think? Like, ‘not handing out maximum sentences’ levels of soft or, you know, ‘deciding to look the other way after Jan. 6’ levels of soft?” — JAMES CORDEN“It’s funny listening to the same people who let the president get away with trying to overthrow the government call anyone ‘soft on crime,’ but that’s how it goes.” — JIMMY KIMMELThe Punchiest Punchlines (More K.B.J. Edition)“Judge Ketanji Brown Jackson made an opening statement yesterday, got praise from both sides of the aisle. Republican Senator Chuck Grassley said he liked it and his wife liked it, too. Judge Jackson got the coveted Barbara Grassley seal of approval.” — JIMMY KIMMEL“But not every Republican was impressed. Senators Marsha Blackburn and Josh Hawley were like, ‘You lost us at Ketanji.’” — JIMMY KIMMEL“Yep, these hearings are never really fun, but then again there’s always a paper crinkle to really liven things up.” — JIMMY FALLONThe Bits Worth WatchingSavannah Guthrie and Hoda Kotb surprised Jimmy Fallon with a performance of “Take Me Home, Country Roads” on Tuesday’s “Tonight Show.”What We’re Excited About on Wednesday NightSandra Bullock and Channing Tatum, “The Lost City” co-stars, will appear on Wednesday’s “Late Late Show.”Also, Check This OutPerformers at the “Bridgerton” ball, which will travel to Washington, Chicago and Montreal after its Los Angeles run.Maggie Shannon for The New York Times“Bridgerton” fans can enjoy a royal ball straight out of their favorite Netflix series. More

  • in

    Julianne Hough and Vanessa Williams to Star in Broadway Farce 'POTUS'

    “POTUS,” by Selina Fillinger, will star Julianne Hough, Vanessa Williams, Rachel Dratch, Lea DeLaria, Lilli Cooper, Suzy Nakamura and Julie White.Julianne Hough, Vanessa Williams and Rachel Dratch are among the stars of “POTUS” on Broadway.Rodin Eckenroth/Getty Images, Caitlin Ochs/Reuters, Michael Loccisano/Getty Images Add one more curveball to this unusual Broadway spring: a political comedy by a 28-year-old writer whose previous New York production took place in a 62-seat basement theater.The new play has a mouthful of a title — “POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive” — and is a farce about a group of women doing damage control for a problematic president.Selina Fillinger, the playwright, is working with the Broadway veteran Susan Stroman, who will direct. The cast will include Julianne Hough, Vanessa Williams, Rachel Dratch, Lea DeLaria, Lilli Cooper, Suzy Nakamura and Julie White.Previews are scheduled to begin April 14 and the opening date is set for May 9, which will most likely make it part of the next Broadway season, not the current one, if the Tony Awards stick to an expected late April opening deadline for eligibility for this season’s awards. The “POTUS” run, at the Shubert Theater, is limited, and scheduled to end Aug. 14.Fillinger, an Oregon native who has been working in Los Angeles as a writer on “The Morning Show,” said she started “POTUS” six years ago. (POTUS is an acronym for president of the United States.)“For years we’ve had this endless cycle of headlines about powerful men abusing their power, and each time I was fascinated by the women orbiting the men and enabling them,” she said in an interview. “The more I started to think about these women, the farce started to write itself.”And is the show about a particular president, such as, say, the last one?“It is an amalgamation of many men in power,” she said. “I set it in the White House because that’s the highest office in the land, but you could set it in any company and any institution and many homes.”Fillinger’s previous work, “Something Clean,” was staged by Roundabout Underground in 2019 and was praised by the New York Times critic Ben Brantley as “a beautifully observed, richly compassionate new drama.”Fillinger said there is some thematic overlap between “POTUS” and “Something Clean,” which was about a mother grappling with her son’s conviction for sexual assault. Her first play, “Faceless,” was about an American jihadist.“I think I am interested in complicity,” she said. “POTUS” and “Something Clean,” she noted, “are both centered on somebody who is never seen onstage, and that is because I am interested in who we give airtime to, and who we don’t give airtime to, and flipping the switch on that.”Stroman, who over the last 30 years has won five Tony Awards for choreography and direction, including both categories for “The Producers,” is best known for musicals. This will be her first time helming a play on Broadway; Off Broadway she directed a Colman Domingo drama, “Dot,” in 2016.In an interview, Stroman said an agent sent her the “POTUS” script, and she was immediately interested. “It’s very funny, and it has an important message within the comedy. At some point there’s a reckoning about what it’s like to keep these people in power who are not worthy.”The play’s lead producers are four companies: Seaview, led by Greg Nobile; 51 Entertainment, founded by Lynette Howell Taylor; Glass Half Full Productions, managed by Gareth Lake; and Level Forward, co-founded by Abigail Disney. The production is permitted to raise up to $6.75 million, according to a filing with the Securities and Exchange Commission, but a spokeswoman said the play’s actual capitalization would be $5.9 million. More

  • in

    ‘An Environmentalist With a Gun’: Inside Steven Rinella’s Hunting Empire

    Listen to This ArticleAudio Recording by AudmTo hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.There’s an episode of ‘‘MeatEater,’’ the hunting reality show on Netflix, in which the New York Mets first baseman Pete Alonso shoots a mule deer. After he watches it stumble, then fall dead on the ground — this is in the San Juan Mountains of Southern Colorado — he puts his head in his hand. “I think my grandpa is really proud,” he says, his voice shaky with adrenaline and emotion; his grandfather, who died a few years earlier, took him hunting and fishing as a boy. Then he turns to Steven Rinella, the lanky 47-year-old star of the show. “Thank you, Steve,” he says.“It’s very emotional stuff, man,” Rinella replies.While butchering the deer, Rinella carves out chunks of white fat from behind the animal’s eyeballs. “Put a little smidge of that in your mouth,” Rinella says. Alonso, looking a little nervous, does. “You getting it?” Rinella asks. “Raw dough?” The final third of the 30-minute show, like most episodes, is devoted to preparing and eating meat. Rinella changes out of his camouflage and takes on the role of wild-game chef. “Venison makes such a refreshing, invigorating meal,” he says in voice-over narration as he and Alonso grind up the deer’s right front shoulder before they grill burgers that they devour on camera.Rinella is arguably the country’s most famous hunter. The final episodes of his show’s 10th season will become available on Netflix in early February. (The first six seasons ran on the Sportsman Channel, a fishing-and-hunting cable channel.) He’s the founder of a rapidly growing lifestyle brand, also called MeatEater, whose tagline is “your link to the food chain”; in addition to its ever-expanding roster of hunting, fishing and culinary podcasts and YouTube shows, his company sells clothing and equipment and serves as a clearinghouse for all manner of advice, tutorials, videos and posts, ranging from a recipe for olive-stuffed venison roast to stories with titles like “Mother Punches Mountain Lion to Save Son” and “The Best Hunting Boots for Every Season” and “Should Hunters Be Concerned About Deer With Covid-19?” Rinella is the author of six books and has a contract with Penguin Random House to write five more, including a parenting book forthcoming in May. In three years, MeatEater has grown to 120 employees from 10, and its revenue has more than tripled. Blue-winged teals. The recreational pursuit of a small fraction of species sustains the conservation of many others.Natalie Ivis for The New York TimesTo be a hunting celebrity in America in 2022 is to sit at the center of a particularly messy tangle, where any number of controversies are constantly snarled together: over guns, meat, animal rights and trophy-hunting; over the urban-rural divide, the use of public lands, the very way we think about wild animals and wild places in this country. For years, Rinella has talked, written about and modeled hunting in ways that connect with all kinds of people — and not just hunters, who make up about 4 percent of Americans and tend to be more politically conservative. You won’t see him grinning over dead elephants. He eats what he kills, which makes the whole enterprise more, well, palatable to a lot more people, especially those among the 95 percent of the population who eat meat. In surveys, more than 70 percent of Americans say they approve of regulated hunting; the percentage is even higher when getting food is the explicit goal. “One of the best things that Steve and MeatEater have done is to introduce people to hunting through food,” Land Tawney, the president and chief executive of a national nonprofit called Backcountry Hunters & Anglers, told me. “It’s not just about killing things and high-fiving.”The focus on cooking has allowed Rinella to build something of an apolitical island, a place where a Republican duck hunter might share interests with a liberal Chez Panisse-trained chef in Berkeley (I know one who watches the show with her kids). But as his profile has risen, so, too, has the intensity of the pervasive culture-war polemics that make such a refuge increasingly rare, and possibly untenable. After the Chernin Group, an investment firm named after its founder Peter Chernin, a Hollywood producer and the former president of News Corporation, first invested in MeatEater in 2018, the conservative website The Federalist published an article titled “Anti-Gun Democrat’s Purchase of ‘MeatEater’ Could Pose Big Problems for Hunter-Focused Company.” (The Chernin Group now owns a majority stake in the company.) More recently, Donald Trump Jr. and several of his hunting buddies started a publishing platform and podcasting business called Field Ethos, whose website and Instagram account have taken aim at MeatEater. One post, for example, lumps MeatEater among hunting and conservation organizations that are “OK with shotguns for hunting and bolt-action rifles as long as they don’t hold too many rounds, but they aren’t cool with anything that goes against the D.N.C.’s official position.” For Field Ethos, food is explicitly not hunting’s main goal. Its chief operating officer is quoted on a website called HuntingLife.com as saying, “At our core we are about embracing toxic masculinity and rejecting the woke, P.C. culture.”Such antagonisms aside, though, it’s a fortuitous time to be selling the hunter lifestyle. Until very recently, the percentage of the population that hunts has been in a decades-long free fall, prompting headlines like this one from the BBC in 2019: “Are U.S. Hunters Becoming an Endangered Species?” Then the pandemic hit, communal indoor activities shut down and Americans poured into the outdoors — crowding national parks, reserving campsites, hitting the road in R.V.s and camper vans. People bought and borrowed guns, bows and fishing poles and set out, while socially distanced, into waters and wilderness. Sales of fishing licenses spiked. Nationally, the number of people getting hunting licenses started climbing, too, particularly for new hunters. California had 43,000 first-time hunters in 2020. When I called the Michigan Department of Natural Resources to ask about hunting participation in 2020, the guy I talked to whistled and said, “What a whirlwind.” Data suggest that the demographic of these new hunters and anglers is younger, more urban, more female and possibly less white — a notable shift, considering that 97 percent of hunters in the U.S. are white, and 90 percent are men. Rinella’s efforts to speak to the broad spectrum of outdoors people can at times seem acrobatic; guests on his podcast have included the Fox News host Tucker Carlson as well as the founder of Patagonia, Yvon Chouinard, and Rue Mapp, the chief executive of Outdoor Afro, a nonprofit that connects the Black community with nature and conservation. Maybe we are all on Rinella’s island, fishing and hunting and cooking over the campfire together. Maybe, even as we disagree about so much, we can find some shred of mutuality out in the wild.Steven Rinella (left) and companions after an early-morning hunt in Louisiana on the marsh south of Bayou Dularge.Natalie Ivis for The New York TimesMy family might be considered a part of this wave of newcomers. When the shutdowns first began, my husband and I started fishing with our two sons, then 3 and 6. Things got serious fast. We found a motorboat to rent and, whenever we could, ditched our cramped urban home for the open waters of San Francisco Bay and the Pacific Ocean beyond. Instead of children’s shows, the boys started asking to watch “catch and cook” videos — a phrase that brings up some 130,000 results on YouTube. The narrative arc of these videos is timeless, the stuff of cave paintings, really: Protagonists go out seeking fish, they catch fish, they eat fish.The Great ReadMore fascinating tales you can’t help but read all the way to the end.He was in witness protection, but his old life in Harlem kept calling. Going home eventually got him killed.His world was radically altered by “Jackass.” But now, Jason Acuña — better known as Wee Man — has harnessed his fame to live the life of his dreams.Quitting is contagious. When one employee leaves, the departure signals to others that it might be time to take stock of their options.We stumbled into a few episodes of “MeatEater,” too, and watched, without the kids, surprised to see hunting programming with Anthony Bourdainian qualities. (It turns out the show’s first producer and cinematographer also shot and produced Bourdain’s shows.) If Rinella didn’t create the hunt-kill-eat video genre, “MeatEater” has certainly had a very big hand in popularizing it. On YouTube, the boys and I navigated past the weirder stuff — videos of bikini-clad women suggestively reeling in grouper in Florida, say — and found a few content creators we all liked, including Kimi Werner, who features footage of her free-dive spearfishing off the coast of Hawaii, after which she prepares delicious-looking fish dishes with her toddler. (Werner has since signed up with MeatEater to contribute videos and posts to its website and social media platforms.) At bedtime, the boys would cuddle up in their pajamas to listen to readings about fish behavior from a bulky guidebook called “Certainly More Than You Want to Know About the Fishes of the Pacific Coast: A Postmodern Experience,” written by Milton S. Love, an impressively quirky marine biologist at the University of California, Santa Barbara.We caught and ate some sea creatures, including massive, pancake-like slabs of halibut pulled up from the bottom of the bay; a few grouchy Dungeness crabs; some bulgy-eyed rockfish; and one exquisitely teal-colored lingcod. But most of the time we caught nothing — and just reveled in the trying. We chatted up old men in bait shops for tips. We contemplated how we might lure in these elusive, scaly beings. It all felt something like having a crush. Anthropologists who study hunters and anglers write about this experience as a kind of interspecies empathy, in which the hunter takes on the “double perspective” of both predator and prey. I could see this in my older son, Oscar; there was little doubt he wanted to catch fish, but it’s possible, especially in those early months of the pandemic, that what he wanted more was to be a fish. Inside a houseboat where Rinella and the chef Jean-Paul Bourgeois prepared ducks for an episode of “MeatEater.”Natalie Ivis for The New York TimesWhen I showed up at MeatEater’s headquarters in Bozeman, Mont., in late October, I wasn’t sure whether my family’s recent forays as active predators — rather than, say, grocery-store meat procurers — conferred upon me a sort of insider status. But fishing felt like one thing, and hunting with guns felt like quite another. At first, the offices looked like those of any Silicon Valley start-up: the familiar open floor plans, clusters of standing desks, ergonomic office chairs, lots of fleece-wearing young white men with facial hair. Then I noticed the animals: a black bear skin draped over the railing on the central stairway with head and claws intact; an imposingly shaggy buffalo pelt nearby; a taxidermied jack-rabbit head (with some tacked-on antlers, to make a “jackalope”) mounted to the wall. Everywhere I looked there were vaguely intimidating skulls and other bones that I couldn’t begin to recognize.The recording studio on the ground floor was packed with a cross-talking assemblage of guests, a producer and a sound engineer; they were getting ready to record an episode of the “MeatEater” podcast, a weekly chat show that typically runs two-plus hours and receives 2.5 million downloads a month, mostly from major metropolitan centers like New York, Los Angeles, Chicago, Denver and Minneapolis. Rinella was describing a recent experience on the road. “We ended up in a tiki bar in Nashville talking to the waitress about opossums,” he said. This waitress had apparently found a baby opossum, fed and raised it and was now posting photos of it on social media. Someone asked Rinella about his own pet raccoons — growing up, he and his brothers had three, all rescued from chimneys or attics. “It’s actually illegal to keep a raccoon,” Rinella claimed before the group. (The rules on this are complicated and vary by state.) “It’s the property of the state; it’s wildlife.” One of the on-air guests, a photographer, jumped in: “I had a pet crow that acted like a dog.”The podcast producer interrupted to remind everyone to silence their cellphones, and the engineer pressed a button to begin recording. Rinella started by introducing his guests. “You can go watch Tracy on Netflix hunting turkeys,” he said, waving at Tracy Crane, the company’s chief marketing officer, who spent most of her career as a marketing executive at J. Crew in New York City and, later, at Beautycounter in Los Angeles. “And crying,” she added. In my hotel room the night before, I watched the “MeatEater” episode from Season 8 in which Rinella takes Crane hunting for the first time. She has never shot a gun before; he shows her how. When she finally kills a turkey on camera, she weeps. Now, three years later, nearly all the meat she eats is wild game, mostly killed by her and her husband. Rinella can have this proselytizing effect on people; among his other notable hunting converts are the comedian and podcaster Joe Rogan, who also learned to shoot and hunt on a “MeatEater” episode.The podcast conversation pinballed wildly. They discussed that time Rinella ate parasite-infected bear meat and got toxoplasmosis; whether animals can get PTSD; hearing loss from gunshots; the music of Gordon Lightfoot; boat-ramp etiquette; a man who swallowed a live, spiky fish to impress his children. “All right, Clay, this is my favorite news article to come out in six months,” Rinella said, turning to Clay Newcomb, one of the company’s recent breakout stars, who dove into a story about how ancient footprints found in New Mexico led scientists to conclude that humans were present in the area earlier than previously thought, dating back some 23,000 years to the Ice Age. Archaeology fascinates Rinella: For him, these ancient people with their arrows and clubs and leather shoes prove that hunting is integral to who we are as a species. “That Ötzi dude they found in the Italian Alps had some sweet boots made out of three different kinds of hides,” Rinella said. Newcomb had flown to Bozeman from Arkansas to talk about archaeology on the podcast because he was making a three-part series on the topic for his own MeatEater podcast, “Bear Grease.” When Newcomb was hired in 2020, he was the owner, editor and publisher of Bear Hunting magazine, a glossy print publication with about 6,000 subscribers. The first episode of “Bear Grease” debuted in April. The podcast now gets more than 600,000 downloads per month. It turns out a lot of people want to hear stories from a guy who cooks his meals in rendered bear fat, calls himself a hillbilly and can rattle off a recipe for bear-grease beard oil.It’s hard to know where all the pent-up desire for man-versus-nature tales comes from, but this particular narrative impulse is clearly wedged deep in our national psyche. The American literary canon is full of men with weapons and creatures pursued — Herman Melville’s whale, William Faulkner’s bear. Even now, when so few hunt, we watch television shows like the Discovery Channel’s “Naked and Afraid,” featuring nude hungry people desperately trying to snare animals and catch fish with their hands. Our politicians, Democrats and Republicans alike, go out to be photographed in camouflage, rifle in hand, snatching at a bit of that all-American hunter mythology.We’ve been at this story so long, it’s hard to tell what is authentic and what is pageantry. In 1831, when the French aristocrat Alexis de Tocqueville set out on his nine-month tour of the United States that would produce the seminal study of American political life “Democracy in America,” he wrote in a surprised tone in his journal about the rise of the hunter and storyteller Davy Crockett, who served Tennessee as a member of Congress: “Two years ago the inhabitants of the district of which Memphis is the capital sent to the House of Representatives an individual who has had no education, can read with difficulty, has no property, no fixed residence, but passes his life hunting, selling his game to live, and dwelling continuously in the woods.”The interest in these Hunter Man stories can seem like posturing, like frontier nostalgia or prepper fantasies — and there’s some of that — but it is also true that the ability to hunt and trap and forage for food is a profound part of the identity of this place and its people. During her confirmation hearing, Deb Haaland, the first Indigenous Secretary of the Interior, who is also a hunter, was questioned repeatedly about hunting opportunities on public lands. “I’m a Pueblo woman,” she answered. “We’ve been hunting wild game for centuries.”Theodore Roosevelt designated 230 million acres as public land, creating 150 national forests, 51 bird sanctuaries and five national parks, in no small part because of his love of hunting.Natalie Ivis for The New York TimesHunting and fishing stories are Rinella’s way of sending out a kind of plea. “I want my work to inspire people to think about the things that they love, to learn about the things that they love and to find it in them to advocate on behalf of the things that they love,” he told me. For Rinella, that thing is the outdoors; he describes himself as “an environmentalist with a gun.” In practical terms, this mostly means raising money for organizations working to protect habitats for fish and game species and urging his followers to get involved in conservation efforts, as he did in a recent Instagram post encouraging people to contact the U.S. Forest Service and tell it to reinstate the so-called roadless rule that restricts road-building and industrial activity in Tongass National Forest in southeast Alaska, which was exempted from the rule by the Trump administration in 2020. He sits on the board of the Theodore Roosevelt Conservation Partnership, a nonprofit that lobbies policymakers to put more money toward restoring wetlands, defending the Clean Water Act and halting the sale of public land. The opportunity for an angler to catch a trout, or a hunter to shoot an elk, is predicated on preserving the ecosystems that sustain those creatures. It took European settlers in this country hundreds of years to figure that out; it took Rinella a while, too. In the early 1990s at Rinella’s high school in rural western Michigan, he and his friends started a club they called HATE, an acronym for Hunters Against Teenage Environmentalists. They made T-shirts with HATE emblazoned across the chest and threw a raucous wild-game-and-beer party they called a “HATE Bash.” In Rinella’s teenage mind, anyone who wanted to save the environment was anti-hunting, and he, in turn, was vehemently anti-them. His love for his family and friends was inseparable from his love of hunting, whether he was reeling in bluegill from the nearby pond with his two older brothers, trapping muskrats and beavers in icy lakes with friends or shooting squirrels out of oak trees with his dad. “I still have that HATE shirt in my closet to remind me,” Rinella told me. We were sitting in his backyard at the home he shares with his wife, Katie, and their three young children in an upscale neighborhood in Bozeman. The leaves on the aspen tree out front had gone riotously golden, and the branches were festooned with dozens of antlers and animal bones strung up like Christmas-tree ornaments. Rinella is away from home a lot, following the hunting seasons like some kind of migratory superpredator, often with cinematographers in tow. In November, he hunted black-tailed deer and caught shrimp in Alaska and then white-tailed deer in Nebraska; in December, he shot ducks in Louisiana. January means hunting Coues deer in Mexico; February, the piglike javelina in Arizona; March, Osceola turkeys and cobia fishing in Florida; April, wild turkeys in Mexico, Wisconsin and Michigan; May, black bears back in Montana. Summer means bowfishing and spearfishing in Florida and Louisiana; fall means moose in Alaska and elk in Colorado. His fans are constantly stopping him in airports.After graduating from high school, Rinella was set on becoming a commercial fur trapper, selling muskrat, beaver, mink, fox and raccoon pelts to be made into fur coats and hats. But things didn’t go as planned. Fur prices were falling. He supplemented his meager earnings by cutting and selling firewood and picking up graveyard shifts at a nearby green-bean-processing plant. Later, he’d get an M.F.A. in creative-nonfiction writing at the University of Montana and realize that his experiences as a scrappy, working-class kid who wanted nothing more than to be outside gave him a unique voice as a storyteller, on the page and eventually on the screen. But in those years after high school, he was still a fledgling fur trapper going into debt. One day one of his older brothers — both of them lifelong hunters who were by then studying wildlife biology in college — gave him a dog-eared paperback copy of Aldo Leopold’s “A Sand County Almanac.” “That was the beginning of my conservation awakening,” Rinella told me.Most people read Leopold as belonging to the pantheon of American environmental writers, with the likes of Henry David Thoreau, Rachel Carson and John Muir. Rinella reads Leopold as a fellow hunter. Leopold, his wife and his children all hunted, often with bows, and he derived many insights about the natural world and humans’ place in it from hunting. “A Sand County Almanac” was published in 1949 and has since sold more than two million copies and been translated into 14 languages. In one of the book’s essays, “Thinking Like a Mountain,” Leopold describes shooting a wolf and her pups in Arizona’s Apache National Forest when he was a 22-year-old forest ranger, a standard practice at a time when the government was busy trying to eradicate wolves and other predators. Leopold watched the wolf’s eyes go dead. “I was young then and full of trigger-itch,” he writes. “I thought that because fewer wolves meant more deer, that no wolves would mean hunters’ paradise. But after seeing the green fire die, I sensed that neither the wolf, nor the mountain agreed with such a view.” Watching the wolf die certainly didn’t stop Leopold from hunting. And reading about it didn’t stop Rinella from hunting, either, but it did force him to grapple with America’s ignoble past when it came to the slaughter of its wild animals. “I had no idea that we’d killed all the deer, and the turkeys and the ducks and then brought them back,” he told me. “Without knowing all that, I never thought to apply any kind of reverence toward wildlife; it was just there.”When European settlers arrived in the New World, they quickly set about killing animals with a similarly prodigal mind-set. They hunted for food, fur, hides and, in the case of buffalo, as part of a genocidal strategy to starve Indigenous inhabitants and claim the land. Before white people landed, some 50 million bison roamed North America; by 1889, there were just 1,000 left.The precolonial population of white-tailed deer crashed from an estimated 62 million animals to as few as 300,000. The Canada goose disappeared almost entirely. Wealthy hunters noticed the decline in species they were keen to hunt and, in the interest of maintaining free-roaming prey, set about trying to protect these animals and their landscapes. In 1887, more than a decade before Theodore Roosevelt became president, he founded the Boone & Crockett Club, America’s first conservation organization. Membership was restricted to 100 men who had each shot at least three different megafaunas from a list that included bear, bison, caribou, cougar and moose. These elite sportsmen were instrumental in passing the nation’s first wildlife-protection laws, starting with the Lacey Act of 1900, which made the interstate trafficking of illegally harvested wildlife a federal crime.As president, Roosevelt went on to designate 230 million acres as public land, creating 150 national forests, 51 bird sanctuaries and five national parks, in no small part because of his love of hunting. In 1937, Franklin D. Roosevelt, influenced by the earlier conservation work of his cousin, whom he admired, signed the Federal Aid in Wildlife Restoration Act, also known as the Pittman-Robertson Act, a federal tax on guns and ammunition. A similar federal tax was later placed on fishing equipment. For more than 80 years, that money has made up the bulk of states’ conservation budgets, supplemented by sales of hunting and fishing licenses. Spend any amount of time among hunters, or even state wildlife biologists, and you’ll inevitably hear the claim that “hunting is conservation.”Tony Wasley, president of the Association of Fish & Wildlife Agencies and director of the Nevada Department of Wildlife, explained to me what that actually means. “We have to take care of 895 commonly occurring species in Nevada based on funding that comes from people’s desire to recreationally pursue 8 percent of those species,” he said. His email signature: “Support Nevada’s Wildlife … Buy a Hunting and Fishing License.”The pandemic has been a boon to conservation funding. Over the past two years, Americans have gone on an unprecedented gun-and-ammunition buying spree, spurred by some combination of a global pandemic, months of Black Lives Matter protests, a contested presidential election and a mob-led assault on the U.S. Capitol. The federal government is on track later this month to send state fish-and-wildlife agencies the largest distribution of gun-and-ammunition excise taxes ever. (The states divvied up $1 billion last year in taxes collected from the sale of firearms and archery and fishing equipment.)But a system that requires more people to buy more guns and ammunition to save monarch butterflies or tricolor blackbirds isn’t a system designed to address 21st-century problems. The conservation model paid for by hunters and anglers and gun buyers has successfully brought back once-scarce game species like white-tailed deer and wild turkeys, but it is woefully inadequate to protect the birds, mammals, fish, reptiles, amphibians and insects facing the twin threats of habitat loss and climate change. Congress is currently considering a bill called the Recovering America’s Wildlife Act that would drastically change conservation funding by sending an additional $1.4 billion a year to state and tribal wildlife-habitat conservation programs to shore up the 12,000 mostly nongame species that states have already identified as being at risk. First introduced in 2017 by Representative Debbie Dingell, a Michigan Democrat, and Representative Jeff Fortenberry, a Nebraska Republican, the bill appears to have broad, bipartisan support.Rinella doesn’t shy away from America’s ignoble past when it came to the slaughter of its wild animals. “I had no idea that we’d killed all the deer, and the turkeys and the ducks and then brought them back,” he says.Natalie Ivis for The New York Times“If it looks like I’m getting ready to shoot, put your fingers in your ears,” Rinella told me in the middle of a cattle pasture in northwest Nebraska. It was mid-November, and I had come to watch the taping of a future “MeatEater” episode at the peak of the white-tailed deer rut. Rinella, Newcomb the bear hunter, two hunting guides, three cameramen and two producers would be filming more than eight hours a day for six days. The afternoon I arrived, the group split in two: Newcomb went one way, and Rinella went another, carrying the only visible gun, a .30-caliber rifle slung over one shoulder, barrel pointed toward the sky. When he’s talking, Rinella talks a lot. When he’s hunting, he’s remarkably quiet, wordlessly loping over the terrain. Keeping pace beside him that day was a 28-year-old hunting guide named Jordan Budd, her blond hair pulled back into a ponytail. She leads hunting trips on this 7,500-acre stretch of tallgrass prairie where her family raises black Angus cattle. These two, the onscreen talent, wore lavalier microphones hidden under their camouflage. Close behind them trailed two videographers with cameras recording.The deer-stalking started in the dark every day and went until late morning; after a midday break, the hunters would head out again until after dark. One evening was spent walking quietly on a hill above a creek, periodically hunkering down, trying to disappear into the grass, while staring through binoculars and spotting scopes. Hunters call this technique spot-and-stalk, the goal being to see an animal before it sees you. “How much more legal light?” Rinella whispered. State regulations allow deer hunters to go 30 minutes past sunset but no further, and the sun was already a red smear on the horizon. Rinella took two plastic, knobby disks from his backpack and started clacking them together to simulate the sound of two bucks locking antlers (male deer can be lured in by the promise of a fight). Budd pulled her iPhone from her pocket, screen aglow with a text from Newcomb’s group, which had set up about a mile south of us: “Got one,” it read.By the time Rinella’s group reached the dead deer, the sky had gone dark enough to see the first stars. An inner circle of hunters flanked by cameramen stood around the buck, which was lying on its side in the back of a pickup truck. “He’s thin, man,” Rinella said, running his hand down the buck’s rib cage the way you’d pet a sleeping dog. Illuminated by the headlights of two pickup trucks, the hunters pulled the deer’s body down into the dirt and deftly slit open its underbelly from anus to sternum. After slicing through the muscle, Newcomb tugged the innards out, extracting the heart, a fistful of maroon-colored flesh ragged on one side where the bullet went through.“You want to keep the heart, Steve?” Newcomb asked.“Yeah,” Rinella said, as if the answer should be obvious; he would eat it.A producer tucked the heart into a Ziploc bag. They heaved the carcass back into the truck bed, and everyone piled into the cab and drove away, leaving behind a gleaming gut pile for the coyotes.The next day, Newcomb, Budd and the team’s “wilderness production assistant” drove the buck into Rushville, Neb., the nearest town, where it was checked in by a state employee at an ad hoc office at the Pump & Pantry, a gas station crowded with men in camouflage, some in baseball caps stitched with “Save the Habitat, Save the Hunt.” Back at the ranch, cameras on, the hunters strung the deer up in an ash tree by its hind legs and set about cutting off slabs of meat and vacuum-sealing them in plastic bags to be frozen and carried home on the plane in insulated carry-on bags. Later, the crew would take out the audio equipment and record a “MeatEater” podcast episode from the hunting cabin in which they discussed the hunt, layering one type of storytelling on top of another. Newcomb felt bad that he had shot the deer and Rinella hadn’t; Rinella is the star, the central focus, and the crew is deferential to him in that way people are to celebrities. “I call the buck Steve’s buck,” Newcomb says on the podcast.“That’s a good name for it,” Rinella replies.After three days of predawn mornings trailing the camo-clad, distracted by the monochromatic beauty of the unfamiliar prairie landscape, hoping to see an antlered deer and also relieved when we didn’t, I drove north toward the nearest airport in Rapid City, S.D., thinking about that bloody heart. I don’t want to be a hunter. I’m trying to eat less meat, not more. But for many people, hunting and fishing are a means to that visceral appreciation — let’s call it love — of the natural world that makes a person want to act to protect it. That feeling is big, an expansive common ground that needs to be filled with as many people as can be mustered, whether they get there armed with shotguns or birding binoculars or bright pink, Barbie-branded children’s fishing poles. After all, we, too, are animals reliant on imperiled ecosystems. Save the habitat, save ourselves.Malia Wollan is a contributing writer and the Tip columnist for the magazine. She is based in Oakland, Calif., and directs several reporting fellowships at the U.C. Berkeley Graduate School of Journalism. Natalie Ivis is a photographer who focuses on personal narratives as well as human intervention and interaction with nature. She currently lives in New Haven, Conn., where she attends the Yale photography M.F.A. program. More

  • in

    ‘Maybe I Do Have a Story to Tell’: Kal Penn on His Memoir

    Starring in the buddy stoner comedy “Harold & Kumar Go to White Castle” is good material for a memoir. One might think that serving as a staffer in Barack Obama’s White House is good material for another memoir, by a different person. But the actor Kal Penn writes about both experiences in “You Can’t Be Serious,” which Gallery Books will publish on Tuesday.The book has attracted early attention for its most personal detail: Penn is gay, and engaged to Josh, his partner of 11 years. Their relationship is conveyed in one chapter that is mostly about their earliest dates, during which they seemed comically mismatched.Penn also writes about growing up in suburban New Jersey and fully catching the acting bug while performing in a middle-school staging of “The Wiz.” He is candid about his fight against the entertainment industry’s tendency to cast actors of color in stereotypical roles. And he recounts the “sabbatical” he took after establishing a Hollywood career to campaign for Obama and then serve in the public engagement arm of his administration.Below, Penn talks about finding the story he wanted to tell, the self-loathing he first felt while writing it and the filmmaker who inspired his career.When did you first get the idea to write this book?The first idea, which I rejected, came the day I left the White House. My manager called me. I describe him in the book as like every character from the TV show “Entourage” in one person. Heart of gold but also a lion..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{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-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.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;}And he said, “You need to write a book. I’ll set you up with meetings.” I said, “Dan, what am I going to write a book about?” He said, “There aren’t many actors who have been in politics.” I said, “The governor is literally Arnold Schwarzenegger.” And the reason I took the sabbatical was not to write a book. I don’t like the optics of that and, more importantly, I don’t have a story to tell.Later I thought, maybe I do have a story to tell: I’d love to write a book for the 20-year-old version of me. There was never a book that said, “This is how you navigate the entertainment industry as a young man of color.” And I’ve met a lot of people who were told they’re crazy for having multiple passions. We’re in a society that just doesn’t encourage that kind of thing. So I thought maybe my experiences might make somebody smile or feel a little more connected, and I had a chance to put it together and write it during the pandemic.What’s the most surprising thing you learned while writing it?There was a point three months into writing it when I felt the kind of self-loathing that I haven’t felt since middle school. I texted a bunch of my writer friends, and they all either said, “Yeah, buddy, welcome to being an author,” or “Why do you think so many of us drink so much Scotch?” Just a sea of those types of responses.Up until that point, I’d written fiction, essentially scripts and characters. It’s very different when you’re creating a character or a plotline: That’s not you, you can take a break from it. With this process, it’s “Oh my God, there’s no escaping my own brain.” I was not prepared for it.In what way is the book you wrote different from the book you set out to write?I was sure that I wanted to share two stories: one about my parents and their upbringing; and the story of how Josh and I met. He showed up with an 18-pack of Coors and turned my TV from “SpongeBob” to NASCAR. I thought, “This guy’s leaving here in 40 minutes with 16 beers.” So the fact that we’re together 11 years later is funny because so many people have stories of dates that went awry but now they’re married and have kids.In the book’s outline, there was no ending. I always struggled with that. I thought there was going to have to be some kind of a positive wrap-up, a story of triumph after years of typecasting and racism. And then “Sunnyside” happened. I sold this show after I had already started writing the book. There’s a chapter I write about how it’s truly my dream show: a big network [NBC], a diverse, patriotic comedy that would hopefully bring people together and make them laugh.And then it slowly unraveled. With everything else in the book, I have the perspective of time. This was still raw. I ended up putting it as the last real chapter because it’s a perfect example of how much has changed and how much has yet to change.We often think of goals as: Everything has now been fixed, so end of story. In reality, everything is a constant mess of back and forth.What creative person who isn’t a writer has influenced you and your work?I always say Mira Nair, and I would have said this years ago, before this book was ever on the table. Her second film, “Mississippi Masala,” came out when I was in eighth grade. It was the first time I’d seen South Asian characters onscreen that weren’t stereotypes or cartoon characters.They were deeply flawed, deeply interesting humans. They make love, they have financial problems. And that happened around the time “The Wiz” happened, so she was one of the people who inspired me to pursue a career in the arts.So when I got a chance to work with her on “The Namesake,” it meant a lot to me. And “The Namesake,” the novel — Jhumpa Lahiri’s writing was introduced to me by John Cho, from “Harold & Kumar.” All of those influences intersecting are very meaningful to me.Persuade someone to read “You Can’t Be Serious” in 50 words or fewer.If you want to feel like you’re having a beer with somebody who smoked weed with a fake president and served a real one, whose grandparents marched with Gandhi and whose parents certainly didn’t move to America for him to slide off a naked woman’s back in his first film. More

  • in

    For Al Franken, a Comeback Attempt Goes Through Comedy Clubs

    Onstage, the ex-senator and “S.N.L.” star doesn’t exactly address his fall from grace. But he doesn’t not address it either. Asked if he’ll run again, he is noncommittal.It was a fairly typical night at the Comedy Cellar’s Village Underground with a procession of young comics telling jokes about bickering couples, body issues and unglamorous sex. After Matteo Lane finished his set with a story about sleeping with a porn star, the curveball came: The host introduced “the only performer on the lineup who was a United States senator.”Then Al Franken, 70, bespectacled and wearing a button-down shirt, slowly walked onstage. He looked back toward Lane, took a considered pause and in mock outrage exclaimed: “He stole my act!”Franken has been opening with that joke a lot lately as he’s been refining material in basement rooms around town in preparation for a national stand-up tour. It’s his way of addressing how much he sticks out in his return to comedy, following a Senate career that ended with his resignation after multiple women accused him of sexual misconduct, including unwanted kissing. New York comics generally don’t do impressions of the Republican Senator Chuck Grassley, of Iowa, or earnestly explain the reasons they remain Democrats. And yet, the four times I have seen Franken perform over the past month, he has consistently gotten laughs or even killed. The only time he really lost a crowd was after midnight when the fury of a rant about the Republican Senator Ted Cruz, of Texas, (involving a dispute about an assault weapons ban) crowded out the punch lines. Franken’s set went long, around 50 minutes, and a couple of comics who followed needled him. “I would have killed myself if it wasn’t for his gun legislation,” Nimesh Patel joked.In Franken’s new material, he explains how as a politician, he was often implored by his staff to not be funny. It only leads to trouble. His act presents a less censored Franken, one that includes a story of him inside the Senate cloakroom telling a joke about oral sex with Willie Nelson — with Franken deftly imitating the New York Senator Chuck Schumer and former Missouri Senator Claire McCaskill, both Democrats, as they dissect the joke. Franken’s delivery is a Minnesota mosey with a bristling energy hinting at unspoken feelings and future ambition.On the street after the Cellar show, Franken and I discussed Norm Macdonald, who had died earlier that day. Franken mentioned that when he was on “Saturday Night Live,” Macdonald had beat him out for the Weekend Update anchor job, then recalled how the NBC executive Don Ohlmeyer supposedly fired Macdonald for making jokes about O.J. Simpson, Ohlmeyer’s friend. Franken quipped: “Got to give credit to Ohlmeyer for sticking by a friend.”It’s a funny joke, but as often happens with Franken these days, it can’t help but evoke his own scandal. After all, many of Franken’s colleagues did not stick by him in the wake of the accusations. After a photo of Franken pantomiming groping a conservative talk radio host on a U.S.O. tour was released, many Democratic senators called for him to step down, and he did, denying the allegations in a resignation speech. Since then, many (but not all) Democrats have seen that reaction as a rush to judgment, including nine senators who had called for him to resign now saying they regret doing so. Some politicians who stood by their calls for him to resign, like Senator Kirsten Gillibrand, Democrat of New York, have faced a backlash.Franken only recently began explicitly mentioning the fallout onstage, but glancingly, with a bit involving a masked ventriloquist’s dummy named Petey who wants to talk about how he was treated by his Democratic colleagues. Without giving away the twist, the conversation gets sidetracked.Is the comedy tour a way to rehabilitate his political career? Franken said, with a laugh, “I’m not sure this is the best way to do that.”Todd Heisler/The New York TimesAt an Upper West Side diner, Franken didn’t want to go into details, calling it a “no-win,” but said it hasn’t changed his politics. “Part of the irony of all this is I was maybe the most proactive member of the Senate on sexual harassment and sexual assault,” he said.As for his old co-workers: “I have forgiven the ones who have apologized to me,” he said, tersely.Outside the diner, a man approached and told him that he looked more handsome in person and then said in a pointed way that seemed beyond politics: “I’m in your camp.”At a few of the New York shows, there was a certain tension in the room before he got onstage, and a curiosity over how warmly he would be received. Franken said he was never anxious about it. “People like me,” he said, in a cadence that couldn’t help but evoke his character Stuart Smalley, the 12-step aficionado he portrayed on “Saturday Night Live.” After I pointed this out, Franken burst into an impression of the cheerfully cardiganed character: “I’m fun to be with.”Franken — who moves effortlessly from inside-showbiz yarns to political ones — is less deadpan offstage than on, with a slightly quicker delivery, puncturing many sentences with a booming laugh that sounds like a baritone quack.Long before he was a politician, Franken, who moved from Washington to New York in January to be near his grandchildren, was something of a comedy prodigy — performing at the Comedy Store in Los Angeles in a double act with Tom Davis while still in college, and going to work as a writer for the original cast of “Saturday Night Live.” He then pioneered a no-holds-barred style of liberal comedy with best-selling books like “Rush Limbaugh Is a Big Fat Idiot and Other Observations.” Franken still delights in skewering the right-wing media entertainment complex amid dissections of public policy, which he does regularly on a titular new podcast that welcomes a starry list of politicians, journalists and entertainers. In his show, he says, “The leading cause of death in this country is Tucker Carlson.”Franken says he is returning to comedy because it’s a “part of him,” and his conversation is filled with references to friends in the business. He said he went to the Cellar after speaking with Chris Rock and Louis C.K. But it’s hard to escape the impression that politics animate Franken more than comedy. He said he loved campaigning and being a senator, and for someone as well-known as he is, his act includes an awful lot of résumé highlights (like casting the deciding vote for the Affordable Care Act) coddled in a layer of irony that knows you can get laughs by playing the jerk. “You’re welcome” is a recurring punchline.His act presents a less-censored Franken. Todd Heisler/The New York TimesThere are moments onstage that have elements of a stump speech, and it makes you wonder if this is all a prelude to another run. When asked, Franken shifted from casual comic to preprogrammed politician: “I am keeping my options open.”What about running for senator of New York? He repeated, “I am keeping my options open.”After chuckling at this diplomatic answer, I pointed out I’m not used to interviewing politicians. Franken let out another quacking laugh and acted out a scene imagining the ridiculousness of a comic answering a question about a joke with “I am keeping my options open.”It’s worth noting that even in his telling, the first time Franken ran for senator in Minnesota, his original impulse involved a measure of payback. After Senator Paul Wellstone died in a plane crash, his successor, Norm Coleman, called himself a “99 percent improvement” over Wellstone. In his book “Al Franken, Giant of the Senate,” he describes his reaction with a flash of anger, saying he knew someone had to beat Coleman, before adding that his reasons expanded from that “petty place” to one more about helping the people of his state.In the aftermath of his scandal, which Franken described as “traumatic” for him and his family, he has been trying to work through it and rise above, he said. “I think we need more of that. It’s a struggle but I’m getting there. That’s my goal.”In a sympathetic New Yorker article from 2019, Franken said that after losing his job, he started taking medication for depression; mental health is an issue he has long worked on, he said. When I asked about this, the policy wonk, not the comedian, answered. He brought up the first legislation he passed, calling for a study of the impact on giving support dogs to veterans suffering from PTSD. The conversation moved to the gymnast Simone Biles and how she prioritized her mental health at the Olympics. Franken brought up the people who criticized her, appearing to earnestly address Biles’s situation before making a sarcastic pivot subtle enough that it took me a beat to appreciate the subtext. “So odd — people criticize other people out of ignorance,” he said, a hint of a smirk on his face. “I’d never seen that before. I was just shocked.”When asked what he would say to someone who thought this return to comedy was a way to rehabilitate his political career, Franken said: “I’m not sure this is the best way to do that.” He offered another big laugh before getting serious. “I’m doing this because I love doing this.”On Sunday, running his entire show at Union Hall in preparation for a Friday performance in Milwaukee (it’s not often you hear material in Brooklyn about the Republican Senator Ron Johnson), Franken earned a roaring response to his dummy nudging him to talk about leaving the Senate. At one point, a member of the audience yelled: “Run again!”As the crowd cheered, Franken looked momentarily flustered and flattered. He appeared to be contemplating his next move or maybe weighing a joke. But instead, he made eye contact with the man egging him on and said: “I will need your help.” More

  • in

    ‘Impeachment’ Focuses on the Women Behind Clinton’s Scandals

    Ryan Murphy’s anthology series “American Crime Story” debuted in 2016 with “The People v. O.J. Simpson.” A second installment, “The Assassination of Gianni Versace,” arrived two years later. In these initial series, which won 16 Emmy Awards between them, the crimes at issue were obvious: the murders of Nicole Brown Simpson and Ron Goldman; the killing of Versace.In “Impeachment: American Crime Story,” which premieres Sept. 7 on FX, the offenses are more ambiguous.Set in the 1990s, the 10-episode series revisits the miasma of scandal and innuendo that shrouded the Clinton White House: Paula Jones’s sexual harassment lawsuit against President Bill Clinton; Clinton’s sexual relationship with Monica Lewinsky; Lewinsky’s friendship with Linda Tripp; and the tangle of lies, half-truths and illicit recordings that were ultimately detailed in the Starr Report, the infamous and lurid document prepared by the independent counsel Kenneth Starr. The report led the House of Representatives, in 1998, to impeach President Clinton on charges of perjury and obstruction of justice. The Senate, declining to remove him from office, found him not guilty.But those high crimes and misdemeanors didn’t especially interest the creators of “Impeachment.”Tina Thorpe/FX“To me, the crime is that Monica, Linda and Paula had no control over how they were perceived,” said Sarah Burgess, an executive producer who wrote most of the episodes. Burgess, a playwright, studied the media coverage of these women: the late-night punch lines, the drive-time banter, the scathing opinion columns. “It was unbelievable, the hate,” she said.Burgess was speaking on a recent Monday afternoon from the gleaming reading room in the cellar of the Whitby Hotel in Midtown Manhattan. Murphy joined her, alongside the executive producers Brad Simpson and Alexis Martin Woodall and four of the actresses in the series: Annaleigh Ashford (Jones), Edie Falco (Hillary Clinton) Beanie Feldstein (Lewinsky) and Sarah Paulson (Tripp). Lewinsky, a producer on “Impeachment,” was not present. (No one else involved in the administration or its scandals worked on the show. Tripp died in 2020.)The series delves into the lives of Lewinsky, Tripp and Jones — and, to a lesser extent, Hillary Clinton. Its aim is not necessarily rehabilitative, but the creators and actors wanted to understand the ambitions, fears and desires that motivated these women.“We all know what happened,” Murphy said. “But we don’t know how it happened.”In a round-table interview, the cast and creatives discussed how the Clinton era’s swirl of partisan politics and fungible notions of truth resonates today, as well as why these scandals still captivate us, how the media came for these women and whether we would treat them any better now.“I just hope when people watch this, they still feel implicated,” Simpson said. “We’re not that distant from it — this is a piece of history, but we are still living it.”These are edited excerpts from the conversation.Monica Lewinsky, seen here hugging President Clinton in 1996, Beanie FeldsteinAPTV, via Associated PressWhat do you remember about living through these scandals?ANNALEIGH ASHFORD I remember this era from a late-night comedy perspective. It was really dark and really chauvinistic, terrible to the women involved, so grossly sexual and inappropriate. And it was funny. We all clapped.RYAN MURPHY Monica and Linda and Paula — I remember just feeling that their lives were taken away from them. I felt very sympathetic, because I was picked on in high school, I guess. Just seeing them attacked and constantly made fun of — it was a national sport — I felt bad for them. And I continue to feel bad for them. When I ran into Monica at a party, we had announced that we were doing this. She came up, and I said, “I want you to be a part of this.”Why does this story still fascinate us?SARAH BURGESS The Starr Report is a part of that; it’s still shocking how explicit it is. And then Monica, I can’t think of someone else who has had that seething hatred that she experienced, that delight in taking her apart.BRAD SIMPSON The Clintons haven’t left us. We all remember the moment where Donald Trump brought the women who made accusations against Bill Clinton to the debates. It still haunts the culture.ALEXIS MARTIN WOODALL But the end of the day, it’s still a conversation about the women. Even in 2021, we’re still talking about Monica and Linda and Hillary. Bill’s not really part of that conversation.“I think more people would come to Monica’s defense today,” said Ryan Murphy, bottom left, with, clockwise, Sarah Burgess, Brad Simpson and Alexis Martin Woodall.Celeste Sloman for The New York TimesIn some ways, the impeachment trial prefigured today’s partisan politics. The left argued that Bill Clinton was the victim of a vast right-wing conspiracy. The right held that they had a duty to investigate a fundamentally dishonest leader. How does the series grapple with these two opposing narratives?MURPHY We present both points of view. That’s the interesting thing about the show, it lives in a gray world.SIMPSON Both things can be true. What we’re interested in, really, is flawed individuals intersecting with these systems of power, especially these systems of male power.Recently we seem to be re-examining the ways we treated women at the center of scandals in the ’90s and ’00s — Tonya Harding, Britney Spears. Is the series participating in that reassessment?BURGESS Yes, of course. I think about that a lot. There was no constituency for Monica. There was no one on her side. There was a faint heartbeat of, like, three feminists, somewhere. To watch Beanie play her and walk in her shoes and hopefully put us in a point of view to understand how young she was, I hope that does reorient how people think about her. But do you think it would be any different now?MURPHY If you look at the Britney Spears case, I think more people would come to Monica’s defense today.SARAH PAULSON I think there would be more defenders. But there would be an equal measure coming down on her. We have so many platforms from which to do that now.MARTIN WOODALL People I know, closely, when I talk about the show, they still make jokes. And I’m like, “Hey, stop it with the jokes.”“I really care about her as a character and as a person,” Beanie Feldstein said of Monica Lewinsky.Celeste Sloman for The New York Times“I’m not trying to humanize her,” Sarah Paulson said of playing Linda Tripp.Celeste Sloman for The New York Times“How did this woman make sense of any of this?” Edie Falco said about Hillary Clinton.Celeste Sloman for The New York Times“There’s a real childlike quality,” Annaleigh Ashford said of playing Paula Jones.Celeste Sloman for The New York TimesClinton’s popularity soared. Lewinsky became a punchline. Why did we hate this woman so much?ASHFORD Some of it has to do with how uncomfortable people are with sex. People can’t handle not making a joke about it.PAULSON I wonder if it’s what we’re unwilling to look at in ourselves, in terms of this hatred toward Monica. I would have gone into that back room [Bill Clinton’s Oval Office study, where he and Lewinsky engaged in sexual activity], without question.MURPHY I would have done it, too.PAULSON It’s just the whole patriarchal story of accepting his desire, and it being celebrated and understood. And she’s really punished for giving in to her own desire. There is something about vilifying that when it comes from a woman.BEANIE FELDSTEIN To Monica’s credit, even in the Barbara Walters interview, she doesn’t shy away. She doesn’t apologize. She just states the fact. She holds her ground in saying it was mutual. Now we obviously see there was a deep imbalance of power and a very nuanced situation. But why should she be shamed for that, when he, the President of the United States, was never shamed for that? I’m getting a little emotional because I love her so much — I really care about her as a character and as a person. I think it’s just devastating. And it doesn’t get less devastating the more we talk about it. I hope that the show undoes some of the pain.We don’t see the sex that the Starr Report details. We do see the famous thong reveal —SIMPSON That thong moment [when Lewinsky lifted her jacket so that President Clinton could see the waistband of her underwear] wasn’t in the original script. Monica asked for us to put it in.BURGESS She said, “Everyone knows I did this. And I know you’re trying to protect me, but it needs to be in the show.”But why don’t you show the sex?MURPHY The behavior that led to the act was more important than the act. We spent a lot of time asking these questions, and also asking Monica, “What do you think and what do you want?”What did she want? What was her involvement in the show?MURPHY We would go through every page of a script. Sometimes she would have a lot of comments, sometimes nothing. I found the process fascinating and necessary. She never wanted the easy choice. She always wanted it more complicated, more nuanced.The Starr Report led the House of Representatives to impeach President Clinton, here in 1998 with Hillary Clinton, but the Senate found him not guilty.Win McNamee/ReutersWhat did you want to make clear about her relationship with Bill Clinton?FELDSTEIN Monica, at that moment, was a bundle of contradictions. She was naïve yet savvy, sensual yet innocent. That’s been the wonderful struggle, playing both sides. Like any 22-year-old, she thought she knew the world. She had to learn the world. This was her learning.SIMPSON The Hillary point of view is complicated, too.BURGESS It was and still is. There’s a mystery at the center of that story, which is what happens when [Bill and Hillary Clinton] are alone together in a room. There’s no Tripp tape for that.EDIE FALCO It is something that everybody I know has wondered about: What the hell was that like, when she found out? How did this woman make sense of any of this? There was nothing she could do that was right — her glasses, her last name, the way she talked.You’re playing women whom viewers think they know. How important was it to perfect their speech, gait, gestures?FELDSTEIN Her emotionality mattered to me more than her physicality or her voice. I just tried to focus on how she was feeling and what was motivating her, and really tune out everything else. But it’s one thing to play a real human being, and it’s another thing to play a real human being whom you text and call. I want her to watch it and feel validated.FALCO Hillary is a woman who has been imitated on late-night talk shows and on “Saturday Night Live” by pretty much every cast member. So that was troubling to me. I was not interested in being another interpretation. And over the years, she changed a lot — her accent, the way she walked, the way she presented herself — as she evolved as a person in public life. I thought, this whole story is about getting at who this woman is. So for me, it was more about an inner life.PAULSON I worked with a movement teacher, who was with me every day, to try to create a different physical shape than I have, in terms of my posture. It was helpful to look in the mirror and not see myself. I still consider what [Tripp] did to be beyond morally questionable. I’m not trying to humanize her; I’m just trying to be her in the situation and in the circumstances. I connect to a certain kind of internal rage that she has that I have a really easy time dipping into.FELDSTEIN I call it the Tripp dip.ASHFORD For Paula, it’s always about trying to please her husband, trying to please somebody else. It’s part of why she talks so high; it’s part of why she makes herself so small. There’s a real childlike quality. I also worked with a movement coach.MURPHY I want a movement coach.You had so much archival material to draw from — the recordings, the congressional records, the media response. The Starr Report alone runs to more than 112,000 words. How did you decide what to include?BURGESS It’s character first. In the ’90s, Linda and Monica were afterthoughts in the ways this was perceived and reported. They were these idiots who talked about Macy’s on the phone. It was the lawyers and the men who mattered.SIMPSON The way this story has traditionally been told is the story of these great powerful men facing off: Bill Clinton versus Ken Starr, Newt Gingrich versus Bill Clinton. Then off to the side are these nutty women. We decided, from the beginning, we’re going to start with these women.FELDSTEIN These characters, in different ways, have never been given full humanity. What the show does, it prioritizes the humanity over the plot. More