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    Anna Sawai and Hiroyuki Sanada on How “Shogun” Recreates History

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    Anna Sawai and Hiroyuki Sanada, two stars of the hit series “Shogun,” discuss history, acting and what they’d bring to the present from feudal Japan.This personal reflection is part of a series called The Big Ideas, in which writers respond to a single question: What is history? You can read more by visiting The Big Ideas series page.The 2024 television series “Shogun,” a historical drama set in feudal Japan, was a worldwide hit. The show and its actors won a record 18 Emmy Awards, as well as four Golden Globes. Critics and viewers praised it not only for its writing, acting and production, but also for its devotion to accurately portraying Japan and Japanese culture in the early 1600s.The historical drama, which has been renewed for a second season, is based on a novel of the same name by James Clavell, published in 1975 and adapted into a mini-series in 1980. The story focuses on the relationship between Lord Yoshii Toranaga, a warlord struggling to fend off his political rivals, and John Blackthorne, a marooned English navigator who becomes an adviser to Toranaga. The 2024 series gives a more prominent and complex role to Toda Mariko, Blackthorne’s interpreter.The characters’ historical counterparts are Tokugawa Ieyasu (Toranaga), the “shogun,” or military ruler who helped to unite Japan; William Adams (Blackthorne), the first Englishman ever to reach Japan; and Hosokawa Gracia (Mariko), a Japanese noblewoman and converted Catholic.The novel and two series show varying degrees of faithfulness to the events they’re based on. The newest “Shogun,” however, is built around its Japanese characters and culture in ways that the 1980 series was not, foregrounding those characters’ points of view and their presence as drivers of the plot. And the accuracy the show embraces in details as small as gestures and fabric colors makes it a striking recreation of some parts of historical Japanese culture.It does include changes — some modernized language, for example, or stylistic omissions — to make it understandable to modern viewers around the world. But its commitment to authenticity makes “Shogun” a compelling lens through which to examine television’s role in interpreting and portraying history, as well as how actors inherit and embody history and culture in their performances.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Why TV Meteorologist John Morales’s Hurricane Plea Went Viral

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      A TV forecaster said he was not confident he could predict the paths of storms this year, touching a nerve amid concerns about how federal cuts could affect hurricane season.A meteorologist who has spent his career warning South Florida about hurricanes had a new warning for viewers last week: He’s not sure he can do it this year.John Morales of WTVJ in Miami said the Trump administration’s recent cuts to the National Weather Service could leave television forecasters like him “flying blind” this hurricane season. “We may not exactly know how strong a hurricane is before it reaches the coastline,” he warned.Clips of Mr. Morales’s comments have spread widely: one posted on MSNBC’s TikTok account has nearly 4,500 comments, and news outlets around the world have written articles about what he said. (This isn’t the first time Mr. Morales has been the subject of viral attention: In the fall, his emotional reaction to Hurricane Milton’s rapid intensification also hit a nerve.)Here’s what Mr. Morales had to say and more about what is going on with the Weather Service.He warned of less accurate forecasts.Mr. Morales’s presentation on Monday began with a clip of himself following the Category 5 Hurricane Dorian in 2019 as it moved over the Bahamas. He reassured his Florida viewers that the powerful storm would turn north before it reached their coastline. And it did, exactly when Mr. Morales assured anxious viewers it would.The clip cuts to him in present day, slightly older and now wearing glasses. He recalled the confidence he used to have in delivering an accurate forecast to his viewers.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Trump Turned the Oval Office Into “Watch What Happens Live”

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      On Thursday, right around the time of the online breakout of a feud between Elon Musk and Donald Trump that resembled a “Real Housewives” reunion show, we were treated to another episode of what has become the president’s favorite reality TV reboot. Call it “The Apprentice: World Leaders,” and in this latest installment, the German chancellor, Friedrich Merz, appeared alongside Mr. Trump, displaying a sophisticated instinct to hold his ground and emerge unscathed during his visit to the gilded zoo of the Oval Office.We’re becoming all too used to watching this new kind of presidential meet-and-greet. What traditionally had been a low-stakes and highly choreographed government function has this year been reinvented by Mr. Trump as “Watch What Happens Live” set in the Oval Office (with JD Vance on hand to play the supporting role of the bartender).For many of us, watching these affairs offers the same queasy experience as the most car-crash-reminiscent reality shows, but with geopolitical consequences. We brace ourselves for the inevitable moments of skirmish and bluster, of braying rudeness and the possible surprise reveal straight out of “Punk’d” or “Jerry Springer.” We grimace in preparation for the next big cringe moment before the show goes to commercial. We watch — often through eyes shielded in dismay — as the president falls just short of resorting to his favorite catchphrase: “You’re fired!”It’s natural to conflate these moments with the worst — and most addictive — elements of reality TV. Maybe it’s a remnant of my early career writing public-television program guide listings, or perhaps my childhood spent within reach of the Bronx Zoo, but I have come to understand, or at least to tolerate, these diplomacy-shattering displays of ginned-up drama as more like episodes of classic nature programs.For me, they often recall “The Living Planet,” that grand adventure in BBC travel-budget largess, narrated by David Attenborough, from the 1980s — right around the time a self-styled real estate developer from Queens was buying up New Jersey casinos that would go bankrupt.Admittedly, I might be overly influenced by the news that the Kingdom of Saudi Arabia, a recent most-favored autocracy, will be sending two rare Arabian leopards to the Smithsonian’s National Zoo in Washington. Brandie Smith, the director of the zoo, said that Mr. Trump was most interested in learning about the leopards’ “personality.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Secret Lives of Mormon Wives’ Keeps Pushing Back TV’s Fourth Wall

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      Reality TV had long advised casts to pretend the cameras (and producers) weren’t there. But for the Mormon influencers of MomTok, the business of being on camera is central to the plot.The women of MomTok, the 20- and 30-something Mormon influencers who make up the cast of Hulu’s “The Secret Lives of Mormon Wives,” built their livelihood on upsetting codes of conduct.The series’s first season was birthed in the wake of a “soft swinging” scandal involving some of its couples. A few of the cast members drink alcohol. Some abstain in keeping with the Church’s doctrine, but interpret its teachings on ketamine use more loosely.In the show’s second season, which finished airing this month, the group routinely flouted what, in eras past, had been a cardinal rule of reality TV: Don’t break the fourth wall.“It’s not a shock that I was a fan favorite,” Demi Engemann pointedly told her MomTok peers in Episode 6. The group had just learned she tried to persuade producers to kick off her co-star Jessi Ngatikaura to secure a higher contract for this season. “I feel like I’m an asset, I should fight for more.”That prompted Taylor Frankie Paul, the unofficial founder of MomTok, to push back about her own negotiations over the very show on which they were appearing.“I’m the that one that’s actually struggling because I’m open to the [expletive] world,” she said. “If anyone deserves to be paid more it’s me and I’ve never even asked for that.”

      @secretlivesonhulu The girls are fightinggg 🫣 #TheSecretLivesOfMormonWives ♬ original sound – secretlivesonhulu We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘And Just Like That …’ Season 3, Episode 2 Recap: Textual Relations

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      Carrie’s long-distance “situationship” with Aidan becomes frustrating in ways she didn’t anticipate.Season 3, Episode 2: ‘The Rat Race’Here in the real world, it’s a common refrain from single people that dating apps are as tired as the tiramisu Seema’s date orders for her without asking. Everyone is sick of the swiping, the ghosting and the serial situationships. The virtual-first connections that seem essential to dating in 2025 have never played a major role in the “Sex and the City” franchise, mostly because the majority of this decades-spanning story has predated all that.But Carrie’s former neighbor Lisette (Katerina Tannenbaum) shows up at the beginning of Episode 2 to reflect that cultural shift, lamenting to Carrie that, as a single woman of today, she is mostly in a relationship with her phone. Turns out, throwing it across a room may be a more effective way of it helping you meet someone.Some of the characters, though, regardless of age, are no better than Lisette when it comes to phone addiction.Starting with our star, Carrie is in something of a love-hate relationship with texting Aidan. Now that Aidan has cracked the communication door ajar, Carrie feels slightly more empowered to reach out to her “boyfriend.” (I insist on putting that in quotes because while Carrie may use that word to refer to Aidan, at this point, I simply refuse.)First, Carrie drafts a long, meandering voice text to Aidan about a newly-discovered rat infestation in her garden, but she deletes it before sending. Considering Aidan’s request for no contact (or at least very limited contact), she determines it is best to leave him alone.But without any such regard for the rules he set himself, Aidan lights his no-contact contract on fire with a surprise appearance at Carrie’s Gramercy townhouse, to her delight.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Valerie Mahaffey, Actress in “Northern Exposure” and “Desperate Housewives,” Dies at 71

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      She had memorable roles on TV shows like “Desperate Housewives” and “Northern Exposure,” and in the dark comedy film “French Exit.”Valerie Mahaffey, a character actress with a knack for playing eccentric women who sometimes revealed themselves to be sinister on television shows like “Desperate Housewives,” “Northern Exposure” and “Devious Maids,” died on Friday in Los Angeles. She was 71.The cause was cancer, her husband, the actor Joseph Kell, said in a statement.Ms. Mahaffey had worked steadily over the past five decades, starting out on the NBC daytime soap opera, “The Doctors,” for which she received a Daytime Emmy nomination for best supporting actress in 1980. Most recently, she appeared in the movie “The 8th Day,” a crime thriller released in March. She was also known for her guest-starring roles on well-known TV series such as “Seinfeld” and “Grey’s Anatomy.”She won an Emmy for best supporting actress in 1992 for her work as Eve, a hypochondriac, on the 1990s CBS series “Northern Exposure,” a drama set in Alaska. She was best known for playing seemingly friendly women who become villainous characters in dramas such as “Desperate Housewives,” where she appeared in nine episodes.In her “Housewives” role as Alma Hodge, she was a woman trapped in a loveless marriage who faked her own death to get back at her husband, hoping he would be blamed for her disappearance.She most recently won acclaim for her work in the 2020 dark comedy, “French Exit,” which saw her nominated for an Independent Spirit Award for her portrayal of Madame Reynard, a scene-stealing eccentric widow.In an interview in 2021 with the Gold Derby, Ms. Mahaffey discussed the role, saying: “I know how to be funny. I’ve done sitcoms. I know ba-dum-bum humor.”“Maybe it’s this point in my life,” she added, “I don’t want any artifice. And I wanted to play the truth of every moment.”She also said then that she often ended up playing characters who were “a little askew,” which she said was aligned with how people are in reality.Ms. Mahaffey was born on June 16, 1953, in Sumatra, Indonesia. Her mother, Jean, was Canadian, and her father, Lewis, was an American who worked in the oil business. Her family later moved to Nigeria before eventually settling in Austin, Texas, where she attended high school and went on to earn a bachelor of fine arts degree in 1975, from the University of Texas.The frequent moves made her family very close, she told The New York Times in a 1983 interview.“We had to leave friends behind all the time, and so we turned toward one another,” she said.In addition to her husband, Ms. Mahaffey is survived by their daughter, Alice Richards. More

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      What Does Ultra Wealth Look Like?

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      In HBO’s “Mountainhead,” the “Succession” creator Jesse Armstrong uses subtle status symbols — and a secluded $65 million ski chalet — to convey hierarchy among the 0.001 percent.When Paul Eskenazi, the location manager for “Mountainhead,” a new film from the “Succession” showrunner Jesse Armstrong, set out to find a house to serve as the primary setting for this satire about a group of ultrarich tech bros, he needed a very specific kind of extravagance. In the same way that “Succession,” which Eskenazi also worked on, reveled in “quiet luxury,” “Mountainhead” needed its moneyed protagonists to be living large but without flamboyance. Its characters are too wealthy for mere McMansions, and not any private residence would do.Portraying how the ultrawealthy really live — with all their subtle signals and status cues — has become something of a specialty for Armstrong and Eskenazi. It’s about not just private jets and sprawling homes, but the quiet hierarchies within the top 1 percent. There’s a pecking order between the 0.01 percent and the 0.001 percent, the kind of distinction that insiders equate to owning a Gulfstream G450 versus a Gulfstream G700.From left, Cory Michael Smith, Steve Carell, Jason Schwartzman and Ramy Youssef in “Mountainhead.”Courtesy of HBOWhen Eskenazi found a lavish, 21,000-square-foot ski chalet built into a hill of Deer Valley in Utah, he knew it was the right fit — not because it was so large and impressive, though it’s certainly both, but because its extravagance had a subtlety that made it almost understated.“There’s a kind of quiet wealthy embedded in that location that doesn’t necessarily scream at you. It reveals itself slowly,” Eskenazi said, pointing out that it has a private gondola with direct access to a nearby ski resort. “It’s not flashy, but it’s deeply exclusive — the kind of feature that signals a level of access and control money affords without ever needing to show off.”“Mountainhead” is a tightly wound satirical chamber drama about four rich friends in tech who gather for a weekend of carousing while the world is plunged into chaos. There’s Venis (Cory Michael Smith), the founder of a Twitter-like app whose new A.I. creator tools have triggered a tidal wave of online disinformation; Jeff (Ramy Youssef), whose content-moderation software holds the key to resolving global strife; Randall (Steve Carrell), an elder plutocrat with a philosophical bent; and Hugo (Jason Schwartzman), whose meager $500 million net worth has earned him the nickname “Soups,” for “soup kitchen.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘And Just Like That …’ Season 3 Premiere Recap: Outlook Good

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      The new season opener found most of the women prioritizing their men’s needs over their own. That didn’t seem likely to last.My jaw is bruised from hitting the floor when Carrie (Sarah Jessica Parker) tells her gal pals that her boyfriend, Aidan (John Corbett), asked for “no communication” while he deals with family issues — and that she is just fine with giving it to him. No communication. For five full years. And this is supposed to be love?Let’s review how we got here. At the end of Season 2 of “And Just Like That …,” the on-again lovers Carrie and Aidan found themselves at an impasse when Aidan’s son, Wyatt, hit hard times. Wyatt needed paternal supervision — so much so, apparently, that Aidan felt compelled to devote himself to it entirely back home in Virginia. The Gramercy palace Carrie had just purchased for the two of them became a reluctant bachelorette pad, and their love was relegated to a long-distance situationship.At that point, we knew Carrie and Aidan were going to hold onto their love connection but weren’t going to visit each other — as implausible as that seemed alone. What was less apparent until the first few moments of Season 3 was that they weren’t going to speak, period. No texting, no FaceTime, not even the occasional Instagram like. The only hellos they’re exchanging are blank postcards, which they’re each sending back and forth between Virginia and New York, and for Carrie, this is apparently enough. Right.This no-contact-but-stay-together setup was never realistic — even if we suspended every possible disbelief. It is even more absurd that Carrie plays along.It doesn’t take long for Aidan to break his own rule, though. All he needed were three beers and a good, old-fashioned “ache.” He buzz-dials Carrie out of nowhere and lures her into one-sided, rather frantic phone sex. (Carrie may have been more enthusiastic if not for the beady eyes of her kitty-cat, Shoe, who was watching from the edge of the bed. But between that, Aidan’s intoxicated grunts, and a disruptive horn-blare, she just couldn’t quite get there.)Not long after, Carrie calls up Aidan for Round 2, but the time is no good for Aidan. He is back on Wyatt patrol, lying in bed beside his sleeping son. Carrie hangs up in shame.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Last of Us’ Season 2 Finale Recap: The Monster at the End

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      Dina learns the truth. Ellie learns a hard lesson about the unintended consequences of vengeance.‘The Last of Us’ Season 2, Episode 7In an interview with Collider last week, “The Last of Us” co-showrunner Craig Mazin estimated that it will take four seasons for him and the video game’s co-creator Neil Druckmann to adapt the two “Last of Us” games properly. I found this comment a bit surprising. Mazin and Druckmann covered most of the first “Last of Us” game in an action-packed Season 1. After this week’s Season 2 finale, is there enough story left in “The Last of Us Part II” for two more seasons?Having never played the game, I do not know the answer to this. But I do know that Season 2 — as good as it has generally been — has raised some questions about where this show is ultimately headed. Season 1 was something of a quest saga, about a one-of-a-kind hero traveling to the place where she was meant to sacrifice herself and save the world. Then Joel ripped up that script. In the Season 1 finale, Joel didn’t just move the narrative goal posts, he tore them down.So what’s the endpoint now? What does a “chosen one” do when she is no longer chosen?The Season 2 finale wrestles with these questions in ways both exciting and somewhat perplexing, before ending in someplace unexpected and potentially promising. If nothing else, the episode does have a strong arc for Ellie, as she realizes that missions of vengeance are messy and unsatisfying.We begin with Ellie’s return from Lakehill Hospital, where — contrary to how it appeared in last week’s episode — she did not club the infected Nora to death. As Ellie explains to Dina, she beat on Nora until she gave up clues Abby’s location. (The words “whale” and “wheel” were mumbled.) Then Ellie took off, leaving Nora to get zombified.Ellie says all this in hushed, even tones, admitting that torturing Nora was easier for her to do than she had expected. Still in a confessing mood — and in an especially vulnerable place, as Dina is washing the wounds on her bare back — Ellie finally tells Dina why Abby and her crew came after Joel in the first place. Dina’s icy reply? “We need to go home.”After this opening, much of the first half of the episode follows Ellie and Jesse as they head out to find Tommy so that the Jackson contingent can get the heck out of Seattle. This is not a happy journey. Jesse, understandably, is in no mood for Ellie’s flippant attitude; and Ellie does not have much use for Jesse’s sanctimony.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More