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      ‘House of the Dragon’ Season 2, Episode 7 Recap: Soothing the Savage Beasts

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      Not everyone gets to have a dragon. But maybe more people get to have dragons than everyone thought?Season 2, Episode 7: ‘The Red Sowing’Sometimes, in politics, a bold gamble in unprecedented times pays off. This is as true for the world of Westeros as it is for our own. The woman who wants to rule the realm staked it all on a long-odds play, and her odds came in.For several episodes, Queen Rhaenyra has been down one dragon. The formidable beast Meleys and her equally impressive rider, Princess Rhaenys, are dead. Prince Daemon’s war-hardened “Blood Wyrm,” Caraxes, is mired in his master’s endless quest to subdue the Riverlands. None of the mounts available to Team Black can possibly match Prince-Regent Aemond and his colossal creature, Vhagar, in battle, even when combined.On the advice of her counselor (with benefits?) Mysaria, Rhaenyra expands her search for potential dragon riders to the unrecognized descendants of her sprawling royal family — those born as commoners, outside of marriage. In a face-to-face meeting with the young shipwright Addam of Hull, revealed to be the new rider of the dragon Seasmoke, Rhaenyra has already learned that even those not of fully noble birth can ride a dragon. She doesn’t know that Addam is the son of Lord Corlys Velaryon, whose house has frequently intermarried with the Targaryens — and neither Addam nor Corlys tells her so — but since the young man’s mother was a commoner regardless, the point stands.When word of the search gets to King’s Landing through the usual back channels, Ulf and Hugh, two of the commoners we’ve been following all season, take the fateful trip to Dragonstone to test their mettle against monsters widely considered more god than animal. There, they learn the hard way that gambling is easier when you’re betting with someone else’s money.True, Rhaenyra talks about needing dragon riders to avoid bloodshed, not cause it. And she pushes back against her son Prince Jacaerys’s furious tirade against elevating lowborn part-Targaryen “mongrels” to the level of dragon rider. (In fairness to Jace, his shame about his own parentage, and his fear of becoming just another Targaryen-blooded bastard with a dragon and thus no more a claim to the throne than any other, play as much of a role as snobbery does here.)What Rhaenyra does not do is ask her potential dragon riders to proceed onto the barbecue grill — I’m sorry, the viewing platform — beneath Dragonstone to approach the mighty dragon Vermithor one at time. So what if the dragon keepers have gone on strike in protest of this “blasphemous” move? Surely the Black Queen is aware of best practices when it comes to large groups and hungry fire-breathing dinosaurs by this point in her life. I would call this a flaw in the writing, but the reckless disregard of even “good” Targaryens like Rhaenyra and Rhaenys for civilians caught in the crossfire of their boldness has been a through line of the series.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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      Opening Ceremony Misses the Boat

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      The Paris Games began with a new look and sparkled with Celine Dion. But the show suffered from bloat similar to TV’s other spectacles.About six hours before Celine Dion gutted out the final number of the Paris Olympics opening ceremony, the streaming service Peacock emailed a promo for its coverage with the headline, “We’ll all be crying by the end of this.” So maybe they knew more than they were letting on.The homestretch of the marathon four-hour broadcast, when the celebrating athletes and dance extravaganzas and speeches were out of the way, had some starkly lovely images and moving moments: the speedboat carrying former champions up the Seine in the dark (like a real-life echo of Leos Carax’s great water-skiing scene in “Les Amants du Pont-Neuf”). The grand scale and dramatic lighting of the Louvre as the torch was carried, like a firefly’s flame, through its courtyards. The torch coming to the hand of a 100-year-old French cyclist, steady in his wheelchair, and Dion defying her illness to belt out “Hymne à l’Amour” on the Eiffel Tower.Celine Dion’s performance of “Hymne à l’Amour” provided a triumphant finale.Chang W. Lee/The New York TimesBut it took endurance to get there — for the athletes, performers and spectators drenched by the summer rain, and for the viewers at home watching the ceremony as it was conceived by the French organizers and packaged by NBC and Peacock.The decision to abandon the event’s traditional format — the long, formal parade of athletes marching into a stadium — for a waterborne procession along the Seine intercut with performances had a twofold effect. It turned the ceremony into something bigger, more various and more intermittently entertaining. But it also turned it into something more ordinary — just another bloated made-for-TV spectacle, like a halftime show or awards show or holiday parade that exists to promote and perpetuate itself.Those spectacles can be fun, of course, and the traditional Olympics opening ceremony could feel dull and interminable. But it was not quite like anything else, and it played a key part in making the Games feel special.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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      Scandal Hits U.K.’s ‘Strictly Come Dancing,’ the Original ‘Dancing With the Stars’

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      The BBC said it would add chaperones to rehearsals after allegations of abusive behavior at a hugely popular dance show that inspired international versions.For almost two decades, viewers in Britain have watched celebrities jive, waltz and cha-cha-cha on “Strictly Come Dancing,” a BBC reality television show that inspired the international “Dancing With the Stars” franchise.The format, which has been licensed to 61 other territories including the U.S., pairs professional ballroom dancers with people who are famous in other fields, from athletics and acting to politics and journalism. The amateur dancers then train intensively with their professional partners and compete in weekly live performances.Introduced in 2004, the show quickly became one of the BBC’s most popular programs, widely loved as a glitzy, family-friendly watch on weekends.But in recent months it has grabbed headlines because of a growing scandal: allegations that two professional male dancers exhibited bullying or abusive behavior toward their female dance partners during rehearsals.One former contestant, the actor Amanda Abbington, has alleged in interviews with the British media that her dance partner, Giovanni Pernice, displayed “bullying” and “aggressive behavior” and was “abusive, cruel and mean.” She declined to give further details of the behavior in interviews, saying the ongoing nature of a BBC investigation into the allegations prevented her from doing so.Ms. Abbington, who appeared in the British series “Sherlock,” cited “personal reasons” last year for leaving the dance competition during filming, but said this week that she had flagged the behavior to producers before filing an official complaint with the BBC. She said she believed that there were 50 hours of rehearsal video that could bolster her case, though they have not been made public.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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      Saying Goodbye to the Messy, Murderous World of ‘Elite’

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      A diverse cast of characters and a murder to solve each school year have helped make this teen drama one of Netflix’s longest-running original shows.Shooting the eighth and final season of Netflix’s teen crime drama “Elite” last November, crew members yelled “silencio” so often it could have been mistaken for a chant.Dozens of young actors, dressed in black tie, talked and laughed as they milled around a set on the outskirts of Madrid that depicted a nightclub. The Brazilian actor André Lamoglia seemed used to the chaos as he waited, perching on the bar in a black suit with white trim, to lead another of the show’s rowdy party scenes.After the cameras finally started rolling, and with the extras making much less noise, Lamoglia’s character, Iván, took a seemingly casual selfie with his half sister Chloe (Mirela Balic) that was actually part of a scheme to discover who murdered his friend.Unruly teenagers, expensive clothes and mysterious dead bodies are all typical for the Spanish-language show which, since its premiere in 2018, has become one of Netflix’s most popular original titles, and one of the longest-running. (The final season is being released Friday.)In its first season, “Elite” used a setup familiar from other successful teen shows, including “Gossip Girl” and “Beverly Hills, 90210”: inserting beautiful outsiders into an exclusive social setting. In this case, three scholarship students join Las Encinas, an expensive private high school. But at Las Encinas, every year (and season) there is also a murder for students and the police to investigate.This blending of soapy teen drama and tense murder mystery has helped the show run for eight seasons, and by its fourth, “Elite” was ranking in Netflix’s weekly Top 10 chart in more than 70 countries, according to data from the streamer.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 Demands Equal Airtime in Light of Biden’s Planned Address

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      President Biden is set to address the nation on Wednesday night from the Oval Office to discuss the end of his re-election bid.Ahead of President Biden’s planned prime-time address from the Oval Office on Wednesday night, former President Donald J. Trump and his campaign sent a letter to ABC, NBC and CBS on Tuesday demanding that Mr. Trump be given equal airtime.Mr. Biden is expected to address his decision to end his re-election campaign and outline his plans for the rest of his time in office. In a social media post, he wrote that he would discuss “what lies ahead, and how I will finish the job for the American people.”But in the letter, which was obtained by The New York Times, the Trump campaign’s general counsel, David Warrington, asserted in advance of Mr. Biden’s speech that it would most likely address Mr. Biden’s endorsement of Vice President Kamala Harris as his successor.Based on that assumption, Mr. Warrington wrote, “it appears that President Biden’s speech will not be a bona fide news event, but rather, a prime-time campaign commercial.” Citing the Federal Communications Commission’s “equal time” rule, Mr. Warrington insisted that Mr. Trump be given similar time on air, arguing that Mr. Biden’s address was a “campaign speech,” even as Mr. Biden is no longer technically a candidate for the presidency.None of the broadcast networks responded to a request for comment on Tuesday night. A Trump campaign spokesman did not immediately respond to request for comment.The Trump campaign’s letter was a throwback to an earlier, pre-cable era in television, when the broadcast networks were held to strict “public interest” standards to ensure that their local stations aired all sides of the issues and gave candidates equal access to the airwaves.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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      ‘Veep’ Comparisons Dominate Social Media as Biden Endorses Kamala Harris

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      After news broke that President Biden would endorse Vice President Kamala Harris as the Democratic nominee, the internet was rife with clips and memes from the show.“Veep,” HBO’s merciless satire of Washington politics, went out with a gleeful whimper in 2019, a casualty of the Trump presidency.“We felt we couldn’t keep up with that,” Frank Rich, an executive producer of the series, said on Monday.Maybe they could — the final months of the Biden presidency seem to have revived interest in “Veep.” When news broke on Sunday that President Biden would not seek re-election and would instead endorse Vice President Kamala Harris as the Democratic nominee, the politics-obsessed who were searching for a pop-culture allegory found an obvious one in the show. The internet was suddenly rife with “Veep” clips, GIFs and fancams. Max played along, featuring the show prominently on its homepage. On social media platforms, it dominated the discourse, with comments in Russian, Portuguese, French, Italian and Dutch.“Was the HBO show ‘Veep’ just a documentary filmed in the past about the future?” one post read. “Now we know what HBO’s ‘Veep’ writers were doing during the strike,” read another.This barbed spike in cultural relevance is owed mostly to the Season 2 finale, in which the show’s venal vice president, Selina Meyer (an exuberant, oblivious Julia Louis-Dreyfus), learned that the president would not seek re-election. “I’m not leaving — POTUS is leaving,” she tells her staff in one widely circulated clip. “I’m going to run. I’m going to run for president.”“Veep” ran on HBO from 2012 to 2019. Nominated for 68 Emmys, it won 17, including three awards for outstanding comedy series and six consecutive best-actress awards for Ms. Louis-Dreyfus. When Ms. Louis-Dreyfus accepted her award in 2016, she used her speech to apologize for the current political climate.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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      Reality Show Contestant Apologizes After Eating Protected Bird in New Zealand

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      A contestant on the reality show “Race to Survive: New Zealand” killed and ate a weka during filming. The contestant, who said he was hungry, has apologized for “disrespecting New Zealand.”Hunger was part of the challenge for contestants on the reality television show “Race to Survive: New Zealand.” As nine teams trekked, climbed and paddled their way through some of the country’s harshest terrain, they also had to forage and hunt for their own food.New Zealand officials have now issued warnings to the show’s producers, they said, after one contestant killed and ate a bird from a protected species during filming last October.The weka, a flightless bird known for its bold curiosity, is endemic to New Zealand and is considered vulnerable by the International Union for Conservation of Nature, which evaluates threatened species. They often roam around campsites and picnic areas and will sometimes steal crops, food and other small objects.The show, which began airing its second season on USA Network in May, follows nine pairs of adventurers, survivalists and athletes as they navigate around New Zealand’s South Island to compete for a $500,000 prize.The teams are allowed to bring only what they can carry, and the slowest to reach each camp is eliminated. They are not given food but can take detours to find food caches left for them on the island.Two contestants, Spencer Jones and Oliver Dev, were disqualified in the eighth episode. Producers appeared after they completed a leg and said that they broke a rule.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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      Warner Bros. Discovery Is Said to Match Amazon’s Bid for NBA Rights

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      The company, a longtime broadcaster of N.B.A. games, is trying to keep the lucrative broadcast rights as the league negotiates a new contract.Warner Bros. Discovery said on Monday that it had matched a rival offer to air N.B.A. games, a move aimed at allowing the company to keep the lucrative broadcast rights it has held for decades.The competing offer was from Amazon, which has offered to pay the league a little more than $1.9 billion per season, according to two people familiar with the discussions who spoke on condition of anonymity to discuss contract talks.“We have reviewed the offers and matched one of them,” Warner Bros. Discovery said in a statement. An N.B.A. spokesperson said, “We’ve received W.B.D.’s proposal and are in the process of reviewing it.”Warner Bros. Discovery did not identify which broadcast package it matched, but said its current contract allowed it to keep the rights if it matched competing offers. This so-called matching rights provision is “an integral part of our current agreement and the rights we have paid for under it,” the company’s statement said, adding, “We look forward to the N.B.A. executing our new contract.”The N.B.A. has negotiated new rights contracts to broadcast its games the season after next. Last week, the league’s board of governors approved deals with Disney, Comcast and Amazon which are expected to bring in about $76 billion over the next 11 years. Disney, the parent of ESPN, and Warner Bros. Discovery paid roughly $2.66 billion annually under the old deal. Warner Bros. Discovery has been broadcasting N.B.A. games since the 1980s. Its channel, TNT, is home to the beloved show “Inside the N.B.A.” in which former players Charles Barkley, Kenny Smith and Shaquille O’Neal banter about the N.B.A. with Ernie Johnson, the show’s host.If the N.B.A. declines to accept Warner Bros. Discovery’s matching efforts, the two sides will continue conversations, and Warner Bros. Discovery could pursue legal action, according to one of the people familiar with the discussions.Amazon’s package of games would include one conference finals series every other year, split with Comcast; the league’s newly renamed in-season tournament; and the play-in tournament.Amazon would stream all of its games on its Prime streaming service, which could represent a tension point in the matching discussions. Warner Bros. Discovery primarily broadcasts games on TNT, though it did simulcast all TNT games on the streaming service Max last season.The company had an exclusive negotiating window, as did Disney, which also broadcasts N.B.A. games under the current contract. But while Disney reached an agreement with the league during that time, Warner Bros. Discovery did not.“Regrettably, the league notified us of its intention to accept other offers for the games in our current rights package, leaving us to proceed under the matching rights provision,” the statement from TNT Sports read.The N.B.A. sent the rival contracts to Warner Bros. Discovery on Wednesday, giving the company five days to submit an offer to match. More