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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

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      Two Miss Austens, Asterix & Obelix and Robot Chambermaids

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      New international series include a drama about Jane Austen and her sister, a Netflix reboot of a French institution and a whimsical sci-fi anime.In this roundup of recent series from other shores, we go tripping through time and space: from Roman Empire high jinks to Regency England melodrama, and from contemporary British mystery to a postapocalyptic Japanese hotel.‘Apocalypse Hotel’This whimsical, oddball science-fiction anime has not ranked highly in surveys of this spring’s season of Japanese animated series, perhaps because it doesn’t fit precisely into a standard category. (It also has the disadvantage of being a rare original series, with no ties to an already popular manga or light-novel franchise.) In a Tokyo slowly being reclaimed by nature, on an Earth abandoned by humans because of an environmental catastrophe, an intrepid band of robots keep the lights on at a luxury hotel, prepping every day for nonexistent guests. The staff members’ intelligence may be artificial, but their commitment to service is touchingly genuine.When guests do appear — sometimes decades or even centuries apart — they are not humans but wandering aliens whose habits and needs test the robots’ resourcefulness. A family of shape-shifting interstellar tanuki (raccoon dogs) decorate their rooms with towers of dung; a superpowered kangaroo with boxing gloves for paws is intent on destroying the planet’s civilization, not realizing the job is already done. As the travelers and the staff adjust to one another, the robots enact their own version of exquisite Japanese tact and hospitality, with results that are both melancholy and raucously comic. (Streaming at Crunchyroll.)‘Asterix & Obelix: The Big Fight’The tremendous success of the Asterix comics and their offshoots across more than 60 years — hundreds of millions of books sold, a panoply of movies, a popular theme park outside Paris — has never translated particularly well to the United States. The heroes of the stories, a village of 1st-century-B.C. Gauls with egregiously punny names, may hold out against Roman occupation because of the magic strength potion brewed by their druid priest. But their true power, in literary terms, is a projection of insular French wit and wordplay and rough-and-ready Gallic sang-froid. For Americans, the humor can seem both beneath our standards and over our heads.“Asterix & Obelix: The Big Fight” is based on the long-running Asterix comics.2025 Les éditions Albert René/Goscinny-Uderzo/NetflixNow that Netflix is involved, however, it is a sure bet that the intention is to cross over into as many markets as possible, not least the United States. This five-episode adaptation of an early (1966) Asterix book accomplishes that goal with sufficient style, primarily through its brightly colorful 3-D animation. The images are vivid and pleasing, and they hold your interest even when the action kicks in and the storytelling loses some of its French particularity, sliding into a Pixar-derived international-blockbuster groove. (Streaming at Netflix.)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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      Jon Stewart on CNN’s Biden book: ‘Selling you a book about news they should have told you’

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      Late-night hosts rip CNN for promoting a book on Joe Biden’s health and weigh in on Donald Trump attacking Taylor Swift and Bruce Springsteen.Jon StewartOn the Daily Show, Jon Stewart tore into CNN anchor Jake Tapper for promoting his book Original Sin, written with Alex Thompson, on his network. The host played several clips of Tapper teasing the book, which reports on Biden’s mental decline while still in the White House. In the final clip, Tapper says: “You will not believe what we found out.”“Don’t news people have to tell you what they know when they find it out?” Stewart wondered on Monday evening. “Isn’t that the difference between news and a secret? ‘You won’t believe what we found out’ – no, that’s why I watch breaking news.”Stewart noted real breaking news on Sunday, which was confirmation from Biden’s personal team that he was diagnosed with “aggressive” prostate cancer and was considering treatment options. “Doing the story seems almost disrespectful,” said Stewart. “Can CNN thread the needle? How do you pivot from excitedly promoting your anchor’s book to somberly and respectfully promoting your anchor’s book?”Well, as one CNN staffer put it: “This was already going to be a tough week, and this makes it much harder. And that is a reference to the fact that our colleagues, Jake Tapper and Alex Thompson have a book that’s set to be published on Tuesday.”“It’s so hard, it’s such a difficult time, so unfathomable in terms of the pain his family must be feeling,” Stewart mocked. “And yet, if you act now, you use the code ‘backslash tap that book’, it’s 20% off.”Jokes aside, Stewart acknowledged: “How fucking weird it is that the news is selling you a book about news they should have told you was news a year ago, for free.”“I understand the excitement over an insidious Democratic cover-up about Joe Biden’s mental decline,” he added. “The thing is though, it was a terrible cover-up, because we all fucking knew.”“There was no cover-up – poll after poll showed vast majorities of the public thought Biden was too old and too out of it to run again,” he continued. “Dean Phillips mounted an entire primary campaign because of it.”“He along with most of the public knew it was a bad idea for Biden to run. We knew it,” Stewart concluded. “And that’s what’s so hilarious about politicians. The cover-up doesn’t work when everyone knows you’re lying.”Stephen ColbertMeanwhile, Trump spent the weekend “settling back into the White House after his Mideast all-you-can-bribe buffet”, as Stephen Colbert put it on Monday’s Late Show.“He just loved it over there!” he continued. “He was having such a good time with the princes and the palaces and the marble and the gold, and the special souvenir he really wants to bring home: obedience to leaders on punishment of death.”Trump “spent this beautiful weekend viciously attacking anyone who dare defy him”, including Walmart, which recently said his tariffs were “too high” and would force the chain to raise prices. “Which means it’s going to cost you a lot more when you run out for milk, one Goodyear tire and a t-shirt that says ‘Shrek yourself before you wreck yourself,’” Colbert joked.Evidently, Trump did not like Walmart “accurately describing how he has personally affected your pocketbook”, so he posted on Truth Social: “Walmart should STOP trying to blame Tariffs as the reason for raising prices throughout the chain … they should as is said, ‘EAT THE TARIFFS’”Colbert broke out his Trump impression: “As is said, I make a mess, you eat it. That’s how the world works. Which reminds me – JD, there’s some hot dog stuck in my golf cleats. Get over here with your tongue and a positive attitude.”Walmart wasn’t Trump’s only target on social media this weekend. On Friday, out of nowhere, he posted: “Has anyone noticed that, since I said ‘I HATE TAYLOR SWIFT,’ she’s no longer ‘HOT?’”“First of all, sir, keep my best friend Taylor Swift’s name out of your filthy nugget hole,” said Colbert. “Second, it’s possible people are talking about her a little less these days because her 149-date Eras Tour ended six months ago.”But attacking Swift was “just a warm-up”, because he also went after Bruce Springsteen, after the musician called him “corrupt, incompetent and treasonous” at a concert in Manchester, England.In a rambling Truth Social post, Trump called Springsteen “highly overrated”, said he “never liked him, never liked his music, or his Radical Left Politics” and claimed “he is not a talented guy”.“What are you doing? Attacking Bruce is like attacking America itself!” Colbert marveled.Trump went on: “This dried out ‘prune’ of a rocker (his skin is all atrophied!) ought to KEEP HIS MOUTH SHUT until he gets back into the Country.”“Pretty bold to say someone else’s skin is atrophied when your own complexion can best be described as Tandoori Catcher’s Mitt,” Colbert quipped. More

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      The Best of ‘S.N.L.’ Season 50: Trump, Biden and Domingo

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      The just-completed 50th season of “Saturday Night Live” was dominated by anniversary hype, but the new episodes managed to create some memorable moments, too.In a season so heavily focused on celebrating the 50th anniversary of “Saturday Night Live,” it was easy to forget that there were also 21 regular episodes of the show this year.While not every sketch from this run will go down in history, this year “S.N.L.” did cover a contentious presidential election and reckon with the re-election of Donald Trump; create an unexpected online trend by ruining a couple’s impending marriage; and allow Timothée Chalamet to appear as both a host and a musical guest.Will we someday talk about these segments with the same reverence we reserve for the Coneheads or “Mister Robinson’s Neighborhood”? That will be the job of some future recapper to decide. (Hopefully.) For now, join us as we look back at the most memorable moments of the past season of “S.NL.”Political impressions of the seasonAfter abundant speculation about who would play the Democratic presidential and vice-presidential nominees, the results — with Maya Rudolph as former Vice President Harris and Jim Gaffigan as Gov. Tim Walz of Minnesota — were mostly lackluster. The performances were too amiable and not particularly satirical (much like the real-life Harris’s own appearance on the show).James Austin Johnson has remained a dependable President Trump. But we’ll give the edge this season to the “S.N.L.” alums Dana Carvey, who finally found a funny way to play President Biden, and Mike Myers, who seemed to be having the time of his life skewering Elon Musk. Two ’90s-era “S.N.L.” stalwarts remaining relevant? No way! Way.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