7 Steps to Build Mental Toughness

Building a Resilient Mindset: Techniques for Mental Toughness

Life isn’t about waiting for the storm to pass—it’s about learning to dance in the rain. In fitness, just like in life, challenges are par for the course. However, developing mental resilience isn’t just for the world-class athletes—it’s a toolkit for every one of us looking to thrive amidst adversity. Let’s gear up and dive into these time-tested techniques that will turn you into a mental powerhouse.

Embrace the Suck

Growth happens at the edge of your comfort zone. When the going gets tough, view discomfort not as an obstacle, but as a runway for takeoff. Embrace the suck, and use these moments to sharpen your mental blade, transforming pain into progress.

Visualization and Rehearsal

Before the body moves, the mind must pave the path. Picture yourself climbing that mountain before you even step on the track. Visualization primes your mind for success, creating a roadmap where every challenge is just a bump on your preordained victory lap.

Set Micro-Goals

A giant leap begins with a series of steps. Smash your towering aspirations into bite-sized, actionable goals that keep you on track. Celebrate each tiny conquest—they’re the fuel for your journey to greatness.

Cultivate Grit

Too often, we underestimate our capacities. Want to stand out? Push past limits you didn’t even know you had. Cultivate grit by regularly testing the borders of your endurance, saying yes to that extra rep, that extra mile—each time, you’re building mental fortitude.

Navigate the Negative

Negative self-talk is a common nuisance on the road to resilience. Flip the narrative with positive affirmations that reinforce strength and determination. Train your mind like you train your muscles—by replacing negativity with power-packed positivity, you’ll forge a new mental pathway.

Adaptability Training

Keep your mind as flexible as your body. Change your fitness routine regularly to keep both mind and body on their toes. Adaptability is key—when you can dance to a new tune, no storm can interrupt your rhythm.

Community Support

Alone, we can do so little; together, we can do so much. Surround yourself with a tribe of warriors who motivate, challenge, and support you. Community provides the camaraderie and accountability essential for mental resilience.

Mental toughness isn’t about being unbreakable; it’s about building a mind that knows how to bend without shattering. These strategies will help you cultivate a mindset as strong as steel and as flexible as a blade of grass—ready to meet what’s next head-on.

Avian Flu Alert: Why Communication is Crucial

In times of crisis, communication isn’t just a strategy—it’s a lifeline. Remember back when a global virus caught us all off guard? The same playbook holds true today as the avian flu ruffles feathers and rattles economies. When updates are muffled and lines of communication jam, the consequences ripple far beyond bureaucratic desks to real-life poultry pens, kitchen tables, and community health centers.

Picture this: A bustling town, where local farmers rely on timely alerts to protect their flocks and their livelihood. Yet, with the communication pipeline clogged, uncertainty breeds. Without the crucial intel from health agencies, small-time poultry producers, and their customers—yes, that’s you and me—are left pecking in the dark.

Clear messaging is the bedrock of any effective response to a public health threat. It’s those swift and decisive updates that empower communities, embolden researchers, and educate the public. Imagine standing at the heart of a storm, waiting to turn the page while the silence grows louder. That’s where robust communication steps in—a beacon in the chaos, a guidepost to action.

Consider the egg, a breakfast staple now turned pricey commodity thanks to the bird flu surge. For families balancing bills and budgets, each egg matters. This crisis underscores a timeless truth: Transparent communication fuels proactive measures. When officials take the reins on clear, consistent updates, they carve a path of confidence and cooperation. It’s not just about hearing what’s happening—it’s about knowing how to respond.

Let’s turn the spotlight on collaboration. Facing down a health crisis requires more than a lone hero—it calls for a coalition of voices. When health officials, governments, and communities link arms in open dialogue, they’re not just reacting; they’re strategizing for a shared future. It’s a powerful reminder that clear communication isn’t a luxury—it’s the heart of resiliency and preparedness.

As we navigate these turbulent times, we must ask: How can we sharpen our communication toolkit? The answer lies in embracing transparency, fostering partnerships, and ensuring every voice is heard. After all, in the world of public health, silence isn’t golden—it’s a risk we can’t afford to take.

Create Gourmet Dishes with Budget-Friendly Staples

Transforming Humble Ingredients into Delicious Meals

When life hands you lemons—or, more accurately, budget-friendly staples like beans and lentils—turn them into gourmet greatness. In today’s economic climate, where supermarket prices seem to soar higher than a kite on a windy day, it’s time we took a moment to appreciate the power of humble ingredients. Not only do these unsung heroes pack a nutritional punch, but they’re versatile enough to be the stars in your kitchen symphony.

Let’s dive right into the depths of the pantry to find these culinary gems. Take the unassuming can of beans, for example. They might not win any beauty contests, but they’re protein powerhouses that can elevate even the simplest of dishes. Beans are the embodiment of multitaskers—they enhance salads with their satisfying texture while also contributing to heart-warming stews. Transform them into a nutritious homemade version of baked beans by adding them to a savory base of onions and garlic with a splash of balsamic vinegar for that tangy twist.

Enter the leguminous lentils—cheap as chips yet bursting with potential. Winter is the perfect time to let lentils shine. Cooking up a hearty lentil stroganoff with sautéed mushrooms and a dollop of sour cream offers a cozy culinary embrace on a chilly night. Lentils not only provide a rich source of plant-based protein but also infuse your meal with B vitamins and iron, essential for energy and vitality.

Then there are oats, often the unsung heroes of breakfast. A bowl of oats is like a warm hug on a cold morning—a fiber-packed antidote to those sugary cereals that leave you crashing by mid-morning. Let’s jazz them up into overnight oats with nuts, seeds, and a sprinkle of cinnamon. Let your taste buds dance to this delightful melody while you get your daily dose of energizing B vitamins.

Finally, let’s not forget the mighty egg—a breakfast staple that turns into a Mediterranean masterpiece with just a slather of pesto and a bed of spinach on sourdough toast. This sunny-side savior offers a robust protein punch that fuels your morning with zeal.

The secret to culinary success lies not in expensive, exotic ingredients but rather in the mastery of these humble heroes. With a sprinkle of creativity and a dash of enthusiasm, transform the ordinary into extraordinary. So next time you’re strolling through the aisles, give the humble ingredients the spotlight they deserve—your taste buds (and wallet) will thank you.

Invictus Games: Valor, Recovery, and Renewal

The Role of Competitive Sports in Mental and Physical Rehabilitation

Competitive sports—once just a platform for showcasing prowess and gaining accolades—have evolved into powerful tools for mental and physical rehabilitation. Like a masterfully orchestrated symphony, they harmonize the body’s physical exertion with the mind’s desire for challenge, often leading to stunning personal transformations.

At the core of this transformation is the ability of sports to foster resilience. Imagine a veteran returning from service, grappling with the shadows of past traumas. Enter the arena of competitive sports, where focused training and camaraderie with fellow athletes forge a new path of healing. Suddenly, the daunting weight of experience becomes a badge of strength—each sprint, jump, and throw acting as a purge of mental shackles.

Consider the Invictus Games, founded by Prince Harry. This event is not merely a gathering of athletes; it’s a beacon of hope and recovery. With every round of applause echoing through the stands, these competitors are reminded that their past does not define them—it’s their resolve in the present that shapes their future. For many, it’s not just a competition; it’s a rebirth.

The ripple effects extend beyond the field or court. Participants often report enhanced mental clarity and improved emotional health. The discipline demanded by training gears up the mind—fortifying it against anxiety and depression. The sense of achievement upon crossing a finish line transcends the race itself, infusing daily life with newfound confidence and drive.

But it’s not just the competitors who benefit. Spectators—family, friends, and even strangers—find inspiration in these stories of triumph over adversity. It’s a reminder that strength is not merely found in muscles, but in the heart’s capacity to endure and persevere.

So, whether you’re battling your own personal demons or simply seeking a motivational spark, consider taking the first step into the world of competitive sports. Because in this arena, everyone has the opportunity to win—not just medals, but a renewed sense of purpose and well-being.

Has “Yellowjackets” lost its way?

Anisa Harris as Teen Robin, Vanessa Prasad as Teen Gen, Jenna Burgess as Teen Melissa, Sophie Nélisse as Teen Shauna, Jasmin Savoy Brown as Teen Taissa, Liv Hewson as Teen Van, Courtney Eaton as Teen Lottie, Nia Sondaya as Teen Akilah, Samantha Hanratty as Teen Misty, Kevin Alves as Teen Travis and Silvana Estifanos as Teen Britt in “Yellowjackets” (Kailey Schwerman/Paramount+/SHOWTIME)

The only way we’ll make it through this disaster is…jokes? Community? Carbs? Compassion? Take your pick. Grab it all. We are officially in a “smoke ’em if you’ve got ’em” situation.

Here’s another suggestion: how about lowering our expectations? Like, “bucket clanking on the bottom of a dry well” low? This is also a valid coping mechanism. What’s true of all this (gestures indiscriminately) also works for “Yellowjackets.”

Since you’re reading this, presumably you’re invested in knowing whether the third season pulls out the second’s nosedive. I may be the wrong person to answer that question. Think of me as the dad who stands up from the table in the middle of Tuesday night dinner, mumbles something about going to the corner store for beer and walks out the door, never to return.

My feelings about “Yellowjackets” are about the same as that guy would have if he were ever asked about the teenagers he hasn’t seen or thought of since they were toddlers. Conceptually I miss what was, I guess. But I can’t honestly say I care what’s going on with those kooky kids. Have they figured themselves out yet? Are they still biting people?

Yet I also understand why people stick with moribund marriages after the initial thrill has faded. You’ve made it this far with the show, maybe sustained by the consistently solid performances and the soundtrack. Might as well see it through.

Besides, other series have retained their fandoms on a lot less. “Yellowjackets” still holds a few cards we’d like to read, mainly the ones that can tell us what’s really going on.

Season 3 meets the young surviving members of Wiskayok High’s soccer team in happier, warmer days. They’ve survived a bleak winter and are as close to their version of “at peace” as they can be, considering Coach Ben (Steven Krueger), the sole adult in their midst, deserted them like our figurative dad. When you’ve seen a pack of feral children eat two of their own, you may rightly wager they’ll rationalize devouring the longest pig at the first opportunity.

From the team’s point of view, though, Coach’s disappearance makes him the prime suspect in the case of the burned-down cabin.

Other disturbances are a more present concern. Shauna (Sophie Nélisse), hurtled from a stillbirth to hunting her friend Nat (Sophie Thatcher) to butchering the corpse of the boy who died “in her place,” Javi (Luciano Leroux), resents the rest of the group for transforming their crisis into some quasi-religious celebration.

With Lottie (Courtney Eaton) as their shaman, the Yellowjackets mythicize their cannibalistic rituals to paint themselves as legends and heroes instead of the bloody monsters Shauna believes them to be.

But she also resents Natalie for accepting the mantle of leadership Lottie passed to her while she’s doing all the nasty work. Meanwhile, Travis (Kevin Alves), Javi’s older brother and the lone boy left in the group, is psychologically and emotionally marooned.

Steven Krueger as Ben Scott in “Yellowjackets” (Kailey Schwerman/Paramount+/SHOWTIME)

In the present, Shauna (Melanie Lynskey), Taissa (Tawny Cypress), Van (Lauren Ambrose), Lottie (Simone Kessell), and Misty (Christina Ricci), are wrestling with demons personal and, possibly, actual.

The remaining five are recovering from the unexpected death of adult Natalie (Juliette Lewis), a finale gut punch whose aftermath leaves one wanting – probably because the audience feels more for Natalie than her old friends do.

Or is that a matter of missing Lewis? In some shows, threatening that anyone can die becomes the carrot dangling a few inches out of reach, pulling us from one episode to the next regardless of the writing’s sharpness. The “Yellowjackets” cast tautens the narrative slack with muscular performances and some of the actors’ native likability.

Thatcher, thankfully, continues to exert her commanding presence in the four episodes provided to critics. But to some of us closer in age to the adults than teendom, losing Lewis feels like breaking up the actor equivalent of a ’90s supergroup. (It also smacks of a business decision forcing the story in a certain direction since Hilary Swank is set to show up at some point soon, although that is purely a guess.)

Within that dissatisfaction are winding currents of black humor that keep the show watchable. Natalie’s memorial is a fine exhibit of what that means – it’s simultaneously bleak and hilarious, brutish and short as Thomas Hobbes told us it would be. Then comes her wake, which is intimate and not at all about her.

Scenes like these nudge us to mourn the paucity of emotional depth these women swim in. Conversely, the rarer notes of soft honesty poking through here and there approximate the feeling the show stirred in us in the first place.

“Yellowjackets” was fiercest when it brought into relief the wildness we abandon or push down in middle age. Some of that is still present in Lynskey’s Shauna bravely trying to prop up her marriage to the wet rag that is Jeff (Warren Kole), who is now a regretful blackmailer.

With her daughter Callie (Sarah Desjardins) now involved in her trauma revival — the poor girl knows mommy murdered someone and fired a pistol at her mother’s friends as they chased her with knives and watched one of them die — maintaining a dignified front is an ever-increasing burden for Shauna. That grants Lynskey plenty of runway to exercise her comedic side when, say, her weak tea spouse behaves erratically.

I’m more curious about the subtextual invitations to inquiry, like how extensively Callie’s witnessing of her mother’s dark side will mold the daughter into the mother.

The ’90s timeline of the show retains its clarity better than the present, which is understandable. Our past selves have straighter sides, creating the corners and borders that come to hold the full picture of our lives, pretty or not. They’re the easiest to fit together even if the whole image doesn’t make sense yet.

Melanie Lynskey as Shauna and Warren Kole as Jeff Sadecki in “Yellowjackets” (Kailey Schwerman/Paramount+/SHOWTIME)

That era also showcases the wild, unpredictability that’s stiffened in their 40-something versions. Having responsibility pressed on some doesn’t make them tougher or more mature. Their girl selves grow pettier and crueler, a shadow their middle-aged selves have learned to channel and surreptitiously enjoy.

The match between Samantha Hanratty’s performance as Misty and Ricci’s remains most consistent, with each lending shards of riveting volatility to their versions of a loopy role. Hanratty’s Misty is capable but not quite level, eager to be needed but also (and for good reason) petrified of losing everyone’s esteem.

And Ricci coupled with fellow citizen detective and genteel psycho Elijah Wood’s Walter could carry a bumbling physical comedy about a perfectly odd couple by themselves. In a way, that’s exactly what they’re doing, precisely evoking this drama’s shortcomings.

Without moving that train very far down the track we begin to wonder what purpose some characters serve.

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When we met adult Lottie (played by Simone Kessell) in Season 2, she was precisely what you’d expect her to be: a “healer” leading an “intentional community” drawing wayward souls to her, just as she did in the woods. Once that all fell apart, she was shuffled off to a facility for the “differently sane,” as Van put it, and maybe that’s all that needs to be written.

But…she’s still there. Like adult Taissa, freshly exiled from politics and her family, and a terminal Van, navigating what time she has left. Every ensemble show writes stronger parts for some actors than others, but there’s a sense the writers are less focused on delving into the substance of what draws these two to each other than using them as a focal point of . . . well. Some things need to be left unsaid for the sake of discovery.

Returning to those overarching questions – who is the Antler Queen, and will we find out which girl fell in the pit in that first episode? Who is the tall man with black pits where his eyes should be? Who’s getting eaten next? Can this show keep people invested in this runaround for two more seasons?

“Yellowjackets” isn’t quite one show but several of inconsistent quality joined by the flimsy glue of lingering questions that don’t seem all that complicated. What is “it” — “it” being the supposed wilderness terror – and what does “it” want decades after the teens left it? You, the loyal fans, can sit tight and ponder all that for as long as it appeals to you. And me? Um, I gotta go . . . do something. No, no, don’t wait up.

‘The White Lotus’ Season 3 review: More murder, mystery and maybe enlightenment

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And so we turn to chapter three in Mike White’s semi-anthological omnibus luxury travel mystery series, “The White Lotus,” premiering Sunday on HBO. As before, the season begins with an unidentified corpse, then steps back in time to set the stage for murder — or whatever it turns out to be — as guests arrive by sea at their fancy resort hotel.

The current series was filmed in Thailand (the Four Seasons Koh Samui standing in for the eponymous resort), following the Maui-set first and the Sicily-set second. This iteration of the White Lotus is a posh wellness retreat, tending to the mind and body, with electronic devices locked away, for those willing — though, of course, not everyone is willing. (To be sure, there are also bars and restaurants and splashy entertainment.) Creator-writer-director White — I have only just realized his name is in the title — digs into spiritual matters here, as he did into sexual last time around. That isn’t to say there are no sexual matters, though they reflect in different ways on the spiritual, and vice versa. In a way, it’s a sequel to “Enlightened,” the 2011 HBO series created by White and its star, Laura Dern, about a businesswoman who, after a nervous breakdown, comes back changed after a tropical spa experience.

It’s a more sophisticated, more personal take on a kind of star-stuffed, multithread melodrama exemplified by MGM’s 1932 “Grand Hotel” (the movie in which Greta Garbo says, “I want to be alone”) and midcentury adaptations of Arthur Hailey novels such as “Airport” and “Hotel”; the latter became “Arthur Hailey’s Hotel” for five television seasons in the 1980s.

Most of the main cast is helpfully introduced as the guests debark upon the shore of the resort and meet the relevant staff, including the hotel’s manager, Fabian (Christian Friedel), and co-owner Sritala Hollinger (Lek Patravadi), a former singing and film star and a “pioneer in the wellness space.” Despite the expense, not all the visitors are happy to be there.

From North Carolina comes the Ratliff family: father Timothy (Jason Isaacs), who does something in finance; mother Victoria (Parker Posey); and children Saxon (Patrick Schwarzenegger), a preening bro who works for his dad; college senior Piper (Sarah Catherine Hook), avowedly here to interview a Buddhist monk for her thesis, who dismisses the hotel as “a Disneyland for rich bohemians from Malibu in their Lululemon yoga pants”; and Lochlan (Sam Nivola), a late-blooming high school senior. Their “house mentor” — each group gets one — is Pam (Morgana O’Reilly).

Reuniting on a girls’ trip are old friends Kate (Leslie Bibb), who is a TV star (Sritala is a fan); Jaclyn (Michelle Monaghan), a rich housewife living in Austin, Texas; and Laurie (Carrie Coon), a divorced corporate something or other who has just not been made partner. One might say they attest too much to their mutual love. Their mentor: Valentin (Arnas Fedaravicius), a buff, tattooed Russian, introduced shirtless.

Then there are Rick (Walton Goggins), whose character is suggested by cigarettes, a half-buttoned floral shirt and a sweaty demeanor, and Chelsea (Aimee Lee Wood), his cheerful, much younger girlfriend, who declares she’s going “to help you get your joy back — even if it kills me.” Their assigned mentor is Mook, played by Thai pop star Lalisa Manoban, aka Lisa from the South Korean pop group Blackpink, good in her first acting role. Mook runs wellness sessions, entertains at night and is the object of a crush by Gaitok (Tayme Thapthimthong), a sweet, hapless low-level security guard.

As has usually been the case in this series, the guests are rich white people, the better (or worse) to contrast with (much of) the staff. Neither guest nor staff, exactly, and not at all rich, is Belinda (Natasha Rothwell), the Maui White Lotus spa manager, back from Season 1, connecting with her opposite number, Pornchai (Dom Hetrakul), on a sort of professional exchange program. (She thinks she recognizes someone from that season, as you might well.)

Superficially, this is a story of soul-sick Westerners in the soulful East, like “Lost Horizon” and “The Razor’s Edge” — but apart from Piper, enlightenment is not on any guest’s menu. Which isn’t to say some might not be forthcoming; philosophical therapist Amrita (Sri Lankan actress Shalini Peiris) would like to help.

Perhaps because we have been down this road before, and because the series opens, flipping the old Chekhovian dictum, with the sound of shots that will later — chronologically earlier — require the display of a gun, a sense of impending disaster haunts even the quieter scenes. (The show is both a whodunit and a “who was it done to.”) There is less — really no — explicit comedy this time out, no replacement for Jennifer Coolidge’s needy heiress from Seasons 1 and 2. (As if you could replace Jennifer Coolidge.) Yet something in the direction, something like affection for these bumbling adults and young adults, lightens the tone. This isn’t “The Night of the Iguana.” And, for a fan of the show, there’s built-in interest that comes from seeing just what White will erect on the old premises, and to what purposes a mostly fresh cast and their characters will be turned.

If the seasons share any overarching themes, they’re that money can’t buy happiness — having no money doesn’t buy it either — and that people bring their crap with them wherever they go. None of White’s characters are actually on vacation, at least not on vacation from themselves.

Yet “The White Lotus,” in all its seasons, is a comedy; if all does not end well — some characters will be disappointed, somebody will die — all that ends well ends well. Life-affirming, or at least life-accepting, decisions are made, a modicum of understanding is reached, lovers are reconciled, goodness tends to triumph. Change comes to the players if not the playing field. (“Grand Hotel,” says a character in that movie. “Always the same. People come. People go.” He also says, “Nothing ever happens,” but that part is irony.)

How to watch: 9 p.m. ET Sundays on HBO (and streaming on Max)

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Netflix Releases ‘Bridgerton’ Season 4 Sneak Peek

Benedict Bridgerton and Sophie Baek’s love story will be coming soon to Bridgerton.

Dearest gentle reader, the masquerade ball is upon us, and so is a sneak peek at the highly-anticipated fourth season of Bridgerton. While the new season won’t be here until at least 2026, that isn’t stopping Netflix from giving fans special treats here and there, and they certainly delivered for Valentine’s Day. The streamer dropped a sneak peek at the upcoming season, which will center on Luke Thompson’s Benedict Bridgerton and based on the third book in Julia Quinn’s novel series of the same name, An Offer from a Gentleman.

In the sneak peek video, Netflix takes fans behind the scenes of filming Season 4, which also gives a look at some new characters and plenty of fan-favorites of the ton. The video comes less than two months after Netflix dropped a Christmas present for fans by sharing photos from the table read and it certainly got people excited for Benedict’s season.

Per Netflix, in Season 4, “Despite his elder and younger brothers both being happily married, Benedict is loath to settle down. That is, until an enthralling woman captures Benedict’s attention at Violet Bridgerton’s (Ruth Gemmell) masquerade ball. While Benedict knows his love interest as only the Lady in Silver, she’s actually Sophie, a resourceful maid with her own secrets and dreams.”

Yerin Ha will portray Benedict’s leading lady, Sophie Baek. Also joining for the new season will be Katie Leung as Lady Araminta Gun, Michelle Mao as Rosamund Li, Araminta’s eldest daughter, and Isabella Wei as Posy Li, Rosamund’s younger sister. Season 4’s cast also includes Jonathan Bailey, Simone Ashley, Victor Alli, Adjoa Andoh, Julie Andrews, Masali Baduza, Nicola Coughlan, Hannah Dodd, Florence Hunt, Claudia Jessie, Luke Newton, Golda Rosheuvel, Will Tilston, and Polly Walker, among others.

“The scripts that [showrunner] Jess [Brownell] and her team have come up with are dynamite,” Thompson told Tudum. “They’re really, really, really exciting. The storyline is a bit of a twist on Cinderella. You remember being told those stories as a child — the magic and the romance of them. It’s really exciting to have that weaved into the world that we know of Bridgerton… It’s such a great story, but it’s also, I hope, really relatable.”

A premiere date for Bridgerton Season 4 has not been revealed, and it might still be a while. Fans may still be able to look forward to more BTS content over the next several months, but in the meantime, the first three seasons are streaming on Netflix. Now would also be the perfect time to read An Offer from a Gentleman to be all set for the fourth season.

‘Saturday Night Live’ stars name their favorite sketches and reflect on show’s legacy

NEW YORK – Legions of comedic talent have paraded through NBC’s Studio 8H, whether as cast members, writers or hosts of “Saturday Night Live.”

As the sketch show marks its 50th anniversary with a bevy of celebrations, its cast members and alumni look back on their favorite sketches and the enduring legacy of “Saturday Night Live.”

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Fred Armisen, cast member 2002-2013, one-time host

FAVORITE SKETCH: “The Wizard of Oz”

“There’s a ‘Wizard of Oz’ one that we did that actually John Mulaney wrote, where there’s like this new footage of ‘Wizard of Oz,’ of a character that got cut out of a movie, and it’s a weather vane,” said Armisen, who played Weathervane alongside Anne Hathaway’s Dorothy. “Something about it, I just I really love that sketch.”

Chloe Fineman, cast member 2019-present

FAVORITE SKETCH: “Everything is amazing,” the current cast member said, but she seemed to hope the anniversary special would see a reprise of “The Californians.”

“All of it are sort of ‘pinch me’ moments and I feel like it’ll be even bigger than the 40th,” she said of the upcoming special.

Will Forte, cast member 2002-2010, one-time host

FAVORITE SKETCHES: “More Cowbell,” with Christopher Walken fixated on adding that signature sound to Blue Öyster Cult’s “Don’t Fear the Reaper.” Forte named a few, but “Unfrozen Caveman Lawyer” was another favorite. Then, of course, there’s Adam Sandler’s classic “The Chanukah Song.”

“I hadn’t seen ‘The Chanukah Song’ in a long time. … It just happened to be on the other day,” said Forte, who was freshly reminded: “It’s so good.”

Seth Meyers, cast member 2001-2014, former head writer, one-time host

FAVORITE SKETCH: “More Cowbell,” perhaps a universal favorite.

“I think ‘Cowbell’ would work if English was your like 10th language. … I think that’s a safe pick,” he said. “It’s Will Ferrell at the height of his powers. … It’s an all-time host Christopher Walken doing a thing that only Christopher Walken could do.” (Of the last 12 months, Meyers is also partial to Nate Bargatze’s “Washington’s Dream” sketches.)

WHY “SNL” ENDURES: To Meyers, who now hosts “Late Night” in Studio 8G, “Saturday Night Live” is like sports. It’s live. No one knows what’s going to happen.

“It’s so beautifully uneven. I’ve always said the worst show has something great and the best show has something terrible,” Meyers said. “And there’s no there’s no host that can guarantee consistency. … If you laid all the Alec Baldwin-hosted episodes out there, there’s a huge gap between the best one and the worst one. And there’s no real reason to explain that, other than just everybody sort of had a bad week.”

Bobby Moynihan, cast member 2008-2017

FAVORITE SKETCHES: “Haunted Elevator,” with Tom Hanks as the spooky-yet-goofy David S. Pumpkins; “Calculator Christmas Gift,” where Fred Armisen and John Malkovich have their odd holiday wish list fulfilled; “Tennis Talk with Time-Traveling Scott Joplin,” which is somehow exactly what it sounds like.

“David Pumpkins always comes to mind as just, like, the weirdest thing we ever got on. And I love the idea of future generations trying to figure it out, as well,” said Moynihan, who added that he was drawn to “amazing, weird sketches.”

John Mulaney, writer 2008-2013, six-time host

FAVORITE SKETCHES: “Toilet Death Ejector,” an infomercial flogging an “elegant” solution to avert the indignity of dying on the commode, and “Monkey Trial,” featuring, yes, a monkey but not one on trial — one presiding over it.

“Those are two quality Simon Rich premises executed,” said Mulaney, who wrote the former with frequent collaborators Rich and Marika Sawyer and the latter with Rich. Both sketches date to Mulaney’s hosting stints.

Laraine Newman, cast member 1975-1980

FAVORITE SKETCH: “Plato’s Cave” from the Not Ready for Prime Time Players era, where Steve Martin plays a beatnik, and “The Swan,” a parody of a 2000s reality show.

“I remember seeing there was a horrible reality show called ‘The Swan’ where they did this massive plastic surgery on people. And I think they did a parody of that with Amy Poehler and a bunch of other people. And it was the first time I’d seen her and I was like, ‘My God, this girl is so good,’” Newman said. “But as far as our show, I think that this one sketch called ‘Plato’s Cave’ or the beatnik sketch, is, I think, a really good representation of our show. And it’s the whole cast.”

WHY “SNL” ENDURES: There’s a long list of people responsible, she says, but atop that list? Show creator Lorne Michaels.

“The fact that the show has remained relevant is because of the approach that Lorne has, which is that he always has new people, whether they be writers or performers with new perspectives and original ideas and characters,” Newman said. “And that’s, I think, what moves the show along in terms of tone and relevance.”

Jason Sudeikis, writer 2003-2005, cast member 2005-2013, one-time host

FAVORITE SKETCH: “What’s Up With That?” a recurring series with Kenan Thompson as a game show host.

“Part of the reason I put it in there is because I feel very proud of the group, the generation I came up on and through the show … both on camera and behind the scenes,” Sudeikis said, noting the “real wild” cameos like Robert De Niro and Robin Williams.

Kenan Thompson, cast member 2003-present

WHY “SNL” ENDURES: It has good people, and they know where the line is.

“We work with brilliant people. I think we all have a pretty solid sensibility, where we kind of know where the offense is and we work really hard trying not to tread in places that are uncomfortable or whatever without warrant,” the longtime cast member said. “But at the same time, I can’t please everybody and we’re still trying to like, like lighten the mood, if you will. So, you know, we’re doing that as long as we’re not like overly stepping — like if you step on a toe, you say, ‘I’m sorry. Excuse me.’ Then that should be OK. … We should be able to just move on and continue to explore or continue conversations that may or may not be uncomfortable. That’s kind of our job.”

Bowen Yang, writer 2018-2019, cast member 2019-present

WHY “SNL” ENDURES: At its heart, it’s a variety show.

“I think with a show like ‘SNL,’ we have the latitude to be a little variety show and give you different sensibilities and different parts of that, different perspectives. I love it,” the current cast member said. “It’s a very pluralistic place for comedy because it’s one of the last places where you can sort of have a grab bag of different kinds of stuff.”

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Pearson contributed reporting from Los Angeles. For more coverage of the 50th anniversary of “Saturday Night Live,” visit https://apnews.com/hub/saturday-night-live.

‘The White Lotus’ Season 3 review: More murder, mystery and maybe enlightenment

And so we turn to chapter three in Mike White’s semi-anthological omnibus luxury travel mystery series, “The White Lotus,” premiering Sunday on HBO. As before, the season begins with an unidentified corpse, then steps back in time to set the stage for murder — or whatever it turns out to be — as guests arrive by sea at their fancy resort hotel.

The current series was filmed in Thailand (the Four Seasons Koh Samui standing in for the eponymous resort), following the Maui-set first and the Sicily-set second. This iteration of the White Lotus is a posh wellness retreat, tending to the mind and body, with electronic devices locked away, for those willing — though, of course, not everyone is willing. (To be sure, there are also bars and restaurants and splashy entertainment.) Creator-writer-director White — I have only just realized his name is in the title — digs into spiritual matters here, as he did into sexual last time around. That isn’t to say there are no sexual matters, though they reflect in different ways on the spiritual, and vice versa. In a way, it’s a sequel to “Enlightened,” the 2011 HBO series created by White and its star, Laura Dern, about a businesswoman who, after a nervous breakdown, comes back changed after a tropical spa experience.

It’s a more sophisticated, more personal take on a kind of star-stuffed, multithread melodrama exemplified by MGM’s 1932 “Grand Hotel” (the movie in which Greta Garbo says, “I want to be alone”) and midcentury adaptations of Arthur Hailey novels such as “Airport” and “Hotel”; the latter became “Arthur Hailey’s Hotel” for five television seasons in the 1980s.

Most of the main cast is helpfully introduced as the guests debark upon the shore of the resort and meet the relevant staff, including the hotel’s manager, Fabian (Christian Friedel), and co-owner Sritala Hollinger (Lek Patravadi), a former singing and film star and a “pioneer in the wellness space.” Despite the expense, not all the visitors are happy to be there.

From North Carolina comes the Ratliff family: father Timothy (Jason Isaacs), who does something in finance; mother Victoria (Parker Posey); and children Saxon (Patrick Schwarzenegger), a preening bro who works for his dad; college senior Piper (Sarah Catherine Hook), avowedly here to interview a Buddhist monk for her thesis, who dismisses the hotel as “a Disneyland for rich bohemians from Malibu in their Lululemon yoga pants”; and Lochlan (Sam Nivola), a late-blooming high school senior. Their “house mentor” — each group gets one — is Pam (Morgana O’Reilly).

Reuniting on a girls’ trip are old friends Kate (Leslie Bibb), who is a TV star (Sritala is a fan); Jaclyn (Michelle Monaghan), a rich housewife living in Austin, Texas; and Laurie (Carrie Coon), a divorced corporate something or other who has just not been made partner. One might say they attest too much to their mutual love. Their mentor: Valentin (Arnas Fedaravicius), a buff, tattooed Russian, introduced shirtless.

Then there are Rick (Walton Goggins), whose character is suggested by cigarettes, a half-buttoned floral shirt and a sweaty demeanor, and Chelsea (Aimee Lee Wood), his cheerful, much younger girlfriend, who declares she’s going “to help you get your joy back — even if it kills me.” Their assigned mentor is Mook, played by Thai pop star Lalisa Manoban, aka Lisa from the South Korean pop group Blackpink, good in her first acting role. Mook runs wellness sessions, entertains at night and is the object of a crush by Gaitok (Tayme Thapthimthong), a sweet, hapless low-level security guard.

As has usually been the case in this series, the guests are rich white people, the better (or worse) to contrast with (much of) the staff. Neither guest nor staff, exactly, and not at all rich, is Belinda (Natasha Rothwell), the Maui White Lotus spa manager, back from Season 1, connecting with her opposite number, Pornchai (Dom Hetrakul), on a sort of professional exchange program. (She thinks she recognizes someone from that season, as you might well.)

Superficially, this is a story of soul-sick Westerners in the soulful East, like “Lost Horizon” and “The Razor’s Edge” — but apart from Piper, enlightenment is not on any guest’s menu. Which isn’t to say some might not be forthcoming; philosophical therapist Amrita (Sri Lankan actress Shalini Peiris) would like to help.

Perhaps because we have been down this road before, and because the series opens, flipping the old Chekhovian dictum, with the sound of shots that will later — chronologically earlier — require the display of a gun, a sense of impending disaster haunts even the quieter scenes. (The show is both a whodunit and a “who was it done to.”) There is less — really no — explicit comedy this time out, no replacement for Jennifer Coolidge’s needy heiress from Seasons 1 and 2. (As if you could replace Jennifer Coolidge.) Yet something in the direction, something like affection for these bumbling adults and young adults, lightens the tone. This isn’t “The Night of the Iguana.” And, for a fan of the show, there’s built-in interest that comes from seeing just what White will erect on the old premises, and to what purposes a mostly fresh cast and their characters will be turned.

If the seasons share any overarching themes, they’re that money can’t buy happiness — having no money doesn’t buy it either — and that people bring their crap with them wherever they go. None of White’s characters are actually on vacation, at least not on vacation from themselves.

Yet “The White Lotus,” in all its seasons, is a comedy; if all does not end well — some characters will be disappointed, somebody will die — all that ends well ends well. Life-affirming, or at least life-accepting, decisions are made, a modicum of understanding is reached, lovers are reconciled, goodness tends to triumph. Change comes to the players if not the playing field. (“Grand Hotel,” says a character in that movie. “Always the same. People come. People go.” He also says, “Nothing ever happens,” but that part is irony.)

‘Yellowjackets’ Season Three Review: Lingering Trauma, New Drama

If you’re onboard the ‘Yellowjackets’ bandwagon it’s unlikely you’ll leave now. Season three promises some answers, but also more questions.

The second season of Yellowjackets concluded with a fire and a death, one disaster in each of the Showtime series’ two timelines. Both events sent catastrophic ripples through the storylines that linger in the new season, although creators Ashley Lyle and Bart Nickerson quickly propel the episodes forward with new drama and added mystery.

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In the tumultuous finale, the teenage survivors dined on the body of one of their own, declared Natalie (Sophie Thatcher) as their new leader and were nearly killed after someone burned their cabin to the ground. Meanwhile, in present day, chaos ensued at Lottie’s cult after the women reenact a ritual from their prior time in the forest, resulting in the surprise death of Natalie (Juliette Lewis) at the accidental hand of Misty (Christina Ricci). The third season premiere picks up shortly after the present day timeline as Shauna (Melanie Lynskey), Taissa (Tawny Cypress) and Van (Lauren Ambrose) grieve the loss of Natalie — Lewis is sadly absent from the new episodes. Misty, still shacking up with her new beau Walter (Elijah Wood), is slowly going off the rails with guilt. Shauna’s daughter Callie (Sarah Desjardins), who witnessed the ritual, is overcome with curiosity about her mother’s deranged high school pals and is looking for any opportunity to uncover more details.

In the past, time leaps forward from the desolation of winter to a more peaceful summer, when the girls and Travis (Kevin Alves) are seemingly thriving. They’ve overcome the trauma of losing the cabin and have rebuilt in the form of a Bohemian camp, with numerous teepee structures and pens containing ducks and rabbits. They’ve stopped hunting each other for food and are instead sustaining on the wilderness itself, seemingly unfazed by the fact that they were forced to consume their compatriots to survive. Coach Ben (Steven Krueger), who couldn’t stomach the cannibalism, is now in hiding, with Natalie attempting to convince everyone he’s dead so they’ll leave him alone. Shauna (Sophie Nélisse) is simmering with fury and Lottie (Courtney Eaton) keeps attempting to dose Travis with magic mushrooms so he can connect with the trees, which have been screaming (literally). The moment of calm is deceiving, particularly as the first four episodes unfurl.

After a captivating first season, Yellowjackets stumbled slightly in its follow-up. Last season, there was a lot going on in both timelines and there were a lot of characters, making it sometimes difficult to connect. Season 2 delivered the promised cannibalism, more than once, but it also was mired in mystical lore. Some of that lore, like the screaming trees, continues here, and Yellowjackets falters when it fixates on surreal dream sequences. It’s still unclear whether there’s an actual element of folk horror embedded in the story — is the wilderness actually demanding human sacrifice or are these survivors addled by trauma? With ten episodes, season three promises some answers, but also more questions. There are clever additions to the narrative, like a makeshift trial held by the survivors in the fourth episode and, of course, more death. The acting is as strong as ever, both from the elder cast and their younger counterparts, with Lynskey and Ricci again as the standouts.

Of course, if you’re onboard the Yellowjackets bandwagon it’s unlikely you’ll leave now. Enough unhinged things have happened that not much will faze viewers at this point. And that’s obviously part of the show’s allure — we want to see these girls hunt and eat each other. But Nickerson, Lyle and the writing staff understand that the series can’t survive on cannibalism alone. The storylines have to build to the wild moments, which season three does carefully (at least in the first four episodes that I’ve seen). Callie gets a larger role, a nice addition because she can act as a connector between the curious audience and the adult survivors, who are reluctant to reveal everything that’s transpired. Who’s going to get eaten next? We have no idea, but Yellowjackets certainly never lacks the desired drama.

The first two episodes of ‘Yellowjackets’ Season 3 are streaming now on Showtime.