How TV Went From David Brent to Ted Lasso
The New York Times
Two decades ago, TV’s most distinctive stories were defined by a tone of ironic detachment. Today, they’re more often sincere and direct. How did we get here?
Could David Brent get hired today? Ricky Gervais, who awkwardly danced onto TV as Brent in the groundbreaking comedy “The Office” in 2001, was recently interviewed about his and Stephen Merchant’s creation. “Now it would be canceled,” he said, meaning a cultural rather than commercial verdict. “I’m looking forward to when they pick out one thing and try to cancel it.” Gervais later wrote on Twitter that his remarks were a “clearly a joke.” I believe the “joke” part. The “clearly” is debatable, given Gervais’s long history of posturing that his humor is too real for the thought police. Either way, it was an odd claim to make right as his widely praised series was being celebrated for its two-decade anniversary.
Since breaking out in “Atlanta,” the actor has become a dependable Hollywood side man. In “Dope Thief,” a new crime drama, he will finally take the lead.
The best-selling bard of female anxiety rakes over some middle school memories while visiting the city where she grew up.
From a low-slung building in Montana, employees process sex abuse complaints against the music mogul that have been drawn to them through advertising and a viral hotline.
A production partly aimed at students that highlights Tampa’s history in the civil rights movement lands at a time when the state is changing what schools teach about race and history.
Minnesota’s high school hockey tournament is a fashion show of mullets, perms and bleach. With his “All Hockey Hair Team,” John King chronicles the lettuce and flow.
Enter the era of the power curve with Alaïa, Schiaparelli and Chloé.
For all the repellent narcissism of its members, the family of HBO’s “The Righteous Gemstones” has been a deeply humanizing example of evangelical Christian faith.
The latest Tom Ford collection makes a strong case for them.
Anne Imhof’s three-hour spectacle of moody youth at the Armory is sweet sorrow, full of moping and muttering. Still, almost despite itself, it points to true art.
In Bong Joon Ho’s latest dystopian romp, Robert Pattinson plays a hapless underdog whose work aboard a spaceship requires him to die, over and over.
But is this really a “Barbie” moment?
Chad Kassem is on a mission — saving listeners “from bad sound” — at the rural factory where he pores over LPs from some of music’s most important artists.
Charisma, positivity and warmth are traits that fans attribute to the color, which has been on the ascent.