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      Murray Hill’s Showbiz Dream

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      The almost famous drag king comedian Murray Hill struts through Melvyn’s Restaurant & Lounge, an old school steakhouse in Palm Springs, Calif.Melvyn’s is Mr. Hill’s kind of place. It has steak Diane on the menu, black-and-white head shots of celebrities on the walls and the aroma of crêpes suzette flambéing in the air. And Palm Springs is Mr. Hill’s kind of town — faded midcentury Hollywood glamour, with a modern dash of queer culture.Moving past diners wearing pastel polo shirts and golf shorts, Mr. Hill cuts a distinctive figure in his three-piece baby blue seersucker suit and white loafers. His pencil-thin mustache, tinted glasses and shiny rings complete a look that brings to mind a 1970s Las Vegas lounge singer crossed with a 1950s Borscht Belt comedian.He is a somebody, clearly. But who?He sits down, studies the menu. His glance falls on the section for steak toppings, which are listed under the heading “Enhancements.”“‘Enhancements’?” he cries, loudly enough for almost everyone in the place to hear. “I already got them. They’re back at the house. They’re on the drying rack!”Mr. Hill, 52, speaks with the hint of a Brooklyn wiseguy accent and punctuates anything remotely to do with the entertainment industry — the rungs of which he has been tirelessly climbing for some 30 years — with a cry of “Showbiz!”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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      ‘House of the Dragon’ Season 2 Premiere: Killing in the Name Of

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      The second season of HBO’s “Game of Thrones” prequel opens with an illicit affair and a misguided act of revenge.Season 2, Episode 1: ‘A Son for a Son’King Viserys is dead. Princess Rhaenyra (Emma D’Arcy) is deposed. Aegon Targaryen (Tom Glynn-Carney), the Second of His Name, sits the Iron Throne. Well, not so much sits as slouches — drunkenly, at that.With his frat-bro buddies lounging around him, equally in their cups, the newly crowned King of Westeros brags about his baby brother’s loyalty and complains about the flowery nickname bestowed upon him by the heralds, Aegon the Magnanimous. “No one knows what ‘magnanimous’ means,” he complains. A buddy suggests “Aegon the Generous” as an alternative, to general acclaim.But all around the wastrel king and his inebriated mates, the still-sharp swords of the sprawling Iron Throne bristle with danger. And the men are too busy making merry to notice the pair of child killers skulking across the throne room at that very moment, hiding in plain sight.This blend of comedy and cruelty, human foibles and inhuman violence, sums up the “House of the Dragon” project pretty neatly.This season, the very popular prequel to HBO’s world-bestriding fantasy colossus “Game of Thrones” — both shows are based on books set within the imagined world of Westeros by the author and co-creator George R.R. Martin — is shepherded by the sole showrunner, Ryan Condal, who also writes the premiere. (Condal’s former co-showrunner, the director Miguel Sapochnik, departed the show after its first season; Alan Taylor, who like Sapochnik is a “Thrones” alumnus, is behind the camera for this episode.)The improvements begin right away, with new opening titles that whisk us through the history of the ruling House Targaryen via the sewing of a grand tapestry. This replaces last season’s frankly impenetrable attempt to evoke “Thrones”’s clockwork credits with a stone-and-metal sluice of blood that not even I, a person with a quote from Martin’s novels tattooed on his right forearm, could follow.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 Business of Being Lorne Michaels

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      For 50 years, Michaels has managed both the weekly circus of producing “Saturday Night Live” and the broader task of keeping it relevant. How does he do it?It’s 1:01 a.m. on a Sunday morning in May, and Lorne Michaels, the creator and producer of “Saturday Night Live,” has just finished the final episode of the 49th season. He spent those 90 minutes pacing backstage, hands in pockets, surveying the actors, allowing himself only an occasional chuckle of satisfaction.As members of the cast flood onstage to celebrate another year in the books, they enthusiastically hug one another and the evening’s host, the actor Jake Gyllenhaal, and musical guest, the pop phenom Sabrina Carpenter.But on the floor, Michaels, 79, has just concluded his 20th show of the year with resignation: “I only see the mistakes,” he says. Some jokes could have landed better, and he is second-guessing his choice to shorten certain skits. He is likely to spend the weekend perseverating about every detail, he says. By Monday, he’ll find some degree of contentment — until he has to do it all over again.Michaels, through “S.N.L.,” has built an entertainment empire that has survived for half a century despite the dismantling of traditional television.He is loath to call himself a chief executive, but underneath his Canadian humility he has become something of a management guru: He spends his days recruiting supertalents, managing egos, meeting almost impossible weekly deadlines, wading into controversy — in most cases deftly — and navigating a media landscape that has put many of his peers out of business.All the while, unlike most chief executives who have become the face of their brand, he has studiously avoided the spotlight.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Doctor Who’ Episode 7 Recap: God of All Gods

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      In the first part of the season finale, a terrifying enemy from the Doctor’s past returns, as mysteries start to be solved.Season 1, Episode 7: ‘The Legend of Ruby Sunday’Over six decades, “Doctor Who” has introduced many villains — including big hitters like the Cybermen (first introduced in 1966) and memorable one-off monsters like the gas-mask wearing Empty Child (2005) — as the Doctor’s most fearsome enemy.But in “The Legend of Ruby Sunday,” the first episode in the season’s two-part finale, it seems his ultimate nemesis might finally have been identified — or rather, rediscovered. It turns out the mysterious villain who’s been pulling the strings this season (“the one who waits”) was first fought by Tom Baker’s Fourth Doctor back in 1975.This reveal is genuinely fear-inducing. But it’s the combination of Russell T Davies’s pacey, tricksy script and the show’s newly lavish production values that makes Episode 7 such a bone-chilling adventure — one far scarier, far more ambitious, than I expected from the show’s Disney era.As the finale opens, two mysteries, which Davies has threaded throughout the season, hang in the air. There’s the question of Ruby’s (Millie Gibson) back story, including the identity of her birth mother. And what about the mysterious woman (Susan Twist) who keeps popping up wherever the Doctor (Ncuti Gatwa) and Ruby travel?These questions are on the Doctor’s mind as the TARDIS crashes into the headquarters of the United Intelligence Taskforce, or UNIT, Britain’s supersecret extraterrestrial task force. He’s greeted by the organization’s head, Kate Lethbridge-Stewart (Jemma Redgrave), and her team, including the 13-year-old scientific prodigy Morris (Lenny Rush).Kate Lethbridge-Stewart, played by Jemma Redgrave, runs UNIT, Britain’s supersecret extraterrestrial task force.Bad Wolf/BBC StudiosWe 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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      ‘House of the Dragon’ Season 2 Review: It’s a Waiting Game

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      The second season of HBO’s very successful “Game of Thrones” prequel gets off to an earthbound start.Diplomacy versus violence. Dignity versus unbridled passion. Duty versus the selfish desire for revenge.Wait, wasn’t this supposed to be about dragons?HBO sent critics four of the eight episodes of the second season of “House of the Dragon,” its “Game of Thrones” spinoff. For three and three-quarters of those four hours, we are in one of this highly rated fantasy franchise’s less interesting regions: the land of the medieval civics lesson. Small Councils meet. Allies are recruited. Rivals for the throne strut and fret. When battles do start to break out, they take place offscreen.The two shows (based on the novels of George R.R. Martin) have traditionally used palace intrigue leavened with sex to fill the gaps between expensive scenes of mass violence and close-up dragon action. But nearly half a season is a long time to wait for the flames to fly.“Thrones,” which ended in 2019 after eight blockbuster seasons, compensated with the epic scale and sadistic frisson of its treachery and debauchery. It also had one great performance, by Peter Dinklage as the noble dwarf Tyrion Lannister, and big characters stylishly played by actors like Lena Headey, Charles Dance and Jonathan Pryce. And its dragons were truly terrifying beasts.“Dragon,” for all the money HBO has reportedly spent on it, is a more buttoned down and drab affair, a condition that carries into the second season. Besides Eve Best as the dragon-riding matriarch, Princess Rhaenys, and Ewan Mitchell as the fearsome Aemond, no one in the cast rises far enough above the show’s general level of dogged professionalism to make a significant impression. And when they do appear, its dragons look and sound more domesticated.The new season begins with the truculent alpha Targaryens, Rhaenyra (Emma D’Arcy) and Aegon (Tom Glynn-Carney), plotting in their respective castles. Rhaenyra, the rightful heir to the Iron Throne — it’s just easier to use the jargon — is in exile with her uncle-husband, Daemon (Matt Smith). Her half brother Aegon sits on the throne and governs like a petulant child, to the consternation of his mother, Alicent (Olivia Cooke), who was Rhaenyra’s best friend until she married Rhaenyra’s father, the previous king.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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      Erin Moriarty Is a Woman Among ‘The Boys’

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      The actress in the hit superhero satire mulled her role in an age of online bullying and token feminism: “Thank God there are characters like this.”Erin Moriarty just stopped a stranger in his tracks. But it wasn’t because he recognized her as a star on one of TV’s most popular shows, or because he was taken by her charm.We were tucked into a quiet corner table on an outdoor patio in West Hollywood, where an attentive server had been mid-stride when he overheard Moriarty, a star of the hit Amazon show “The Boys,” describe her belief that feminism had become an “obligatory thing for studios to exhibit.” He tentatively performed the briefest of check-ins and scurried away.“I love how he hears the word ‘feminism’ and his approach starts to slow,” she said with a laugh. She took a sip of black iced coffee and resumed her thoughts.“I think it’s dangerous,” she said. “I feel like we’re putting a Band-Aid on systemic diseases that we’re not inoculating against.”As the highest-billed actress on “The Boys,” Moriarty, 29, has had to think a lot about performative feminism lately, and whether the show that made her famous is really part of the solution. On one level, the series, which returned for Season 4 on Thursday, is satire, centered on the exploits of a team of morally depraved superheroes known as the Seven.The show targets the steroidal conventions of the genre, along with the corporate pandering and exhibitionist feminism that often accompany it. Much of that critique is focused through Moriarty’s character, Annie January, better known as Starlight.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 Animosity Tour and Other Promotional Movie Campaigns We Love

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      For Jennifer Lopez, Sterling K. Brown, Dakota Johnson and others, the standard publicity push isn’t so standard anymore.In the 1999 rom-com “Notting Hill,” the sheepish bookseller played by Hugh Grant goes to a hotel expecting a date with the megawatt star played by Julia Roberts. He is surprised to find he has arrived at a press junket and looks adorably flustered as he’s shuffled from room to room, pretending to be a reporter from Horse & Hound to interview the stars of her space movie.The sequence is a handy introduction to this strange custom of film publicity: actors sitting in sterile suites for a parade of brief interviews. But these days that almost seems quaint. The press tour has taken on a life of its own, with stars like Dakota Johnson, Jennifer Lopez and Zendaya making news for the tour itself with quippy sound bites, inscrutable looks and fashion moments.It can be grueling for celebrities. Lupita Nyong’o recently described junkets as a “torture technique” in an interview with Glamour. But these cycles can be more entertaining than the movies themselves. Grant’s bookseller would be baffled to learn that you can categorize the tours as follows:The Animosity TourFlorence Pugh was pointedly not at the Venice Film Festival news conference for “Don’t Worry Darling” in 2022.Jacopo Raule/Getty ImagesThe promotion stops for nothing, not even cast members who appear to hate being in one another’s company. This seemed to be the case during the cycle for “Atlas,” Netflix’s new sci-fi flick starring Jennifer Lopez and Sterling K. Brown.During joint interviews, Brown seemed unable to help himself from making fun of Lopez. In one viral moment, he feigned surprise when she said she was Puerto Rican, before repeating her comfort meal of “rice and beans and like, you know, chicken” in overemphasized Spanish.In another moment, he jumped in and helped her out when her own Spanish failed her. After supplying the right word, he did a little dance. That clip prompted social-media users to wonder what J. Lo did to Brown. During these interactions Lopez looked perturbed, leaving plenty of room for observers to jump to conclusions.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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      Pat Sajak Bids Farewell to ‘Wheel of Fortune’: ‘The Time Has Come to Say Goodbye’

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      The host thanked the show’s viewers and had special words for his co-star, Vanna White, before he signed off for the final time.On Friday night, Pat Sajak said goodbye to “Wheel of Fortune,” expressing gratitude to the countless viewers who had tuned in during his more than 40 years at the helm. “Thank you for allowing me into your lives,” he said.After the final game on his watch concluded, Sajak returned from a final commercial break and addressed the camera directly. “Well, the time has come to say goodbye,” he said. “It’s been an incredible privilege to be invited into millions of homes night after night, year after year, decade after decade. I always felt that the privilege came with the responsibility to keep this daily half-hour a safe place for family fun. No social issues, no politics, nothing embarrassing I hope, just a game.”Still, Sajak, who began his run in 1981, acknowledged that “Wheel of Fortune” had evolved into more than just frivolous, fleeting fun for many. “It became,” he said, “a place where kids learned their letters, where people from other countries honed their English skills, where families came together along with friends and neighbors, and entire generations.”He praised the show’s crew and thanked his family, including his daughter Maggie, who joined “Wheel” as a social correspondent in 2021. And he of course had many kind words for his co-star of more than four decades, Vanna White, whom he called his “professional other half.” (The farewell episode was filmed in early April.)“Like me, she takes the show very seriously but not herself,” Sajak said. “I shudder to think what these 40-plus years might have been like had they brought someone in all full of themselves, playing the prima donna role. Vanna is as sweet and unassuming as she seems.” (He noted that while he’ll miss seeing her at work, they’ll see plenty of each other: They live about five miles apart.) They embraced onstage after his remarks as the episode ended like any other, with the two of them speaking to each other as the credits rolled.On Thursday night, it was White who, through tears, took a moment to address Sajak directly.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