Aurelia Butler

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    In ‘The Friend,’ A Great Dane and His Co-Star, Naomi Watts, Learn New Tricks

    Typically on movie sets, only big stars get those fancy, oversized trailers for dressing rooms. But on “The Friend” an unknown was a really big star. Even bigger than his fellow actor Naomi Watts.Quite literally: The newcomer, Bing, is the Harlequin Great Dane at the center of “The Friend,” the new film based on Sigrid Nunez’s National Book Award-winning novel. At around 150 pounds, he needed the substantial accommodations between scenes so he could rest and move his pony-like frame without overstimulation. His trailer request was approved.“The Friend” tells the story of a writer named Iris (Watts) who is grieving the death by suicide of her mentor, Walter (Bill Murray). The difficult process of mourning is compounded when she learns that Walter has asked that she look after his dog, the huge Apollo (Bing), who is mired in sorrow himself. Apollo initially is resistant to Iris’s affections, longing for his dead master and taking over her small New York City apartment. Eventually they heal together.When Watts got the script, she was skeptical that the movie would even work.Bing and his co-star, Naomi Watts, in a scene in “The Friend.”Bleecker Street Media“In the film industry we know the old adages: More time, more money if you add animals and children, and this was a small budget in New York City,” she said in a video interview. “What was being presented on the page, it just seemed like, ‘How will we be able to achieve this?’”But the film’s directors, Scott McGehee and David Siegel, were undeterred and set about finding the perfect pup for the part. For that, they went to the veteran animal trainer William Berloni, who also had his doubts. He thought it would be impossible to find a dog that fit the requirements of the role: A black-and-white spotted Dane with his testicles still intact who had a movie-star quality.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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    A Pack of April Fools

    A survey of the many fools who have been immortalized in song, featuring Aretha Franklin, Bow Wow Wow, the Stone Roses and more.Aretha Franklin, who was not known to suffer fools.Richard Perry/The New York TimesDear listeners,Happy April Fools’ Day, when you can’t believe anything you read on the internet! Trust that this playlist is a prank-free space, though: We’re just gathering up some of the many fools who have been immortalized in song over the years, by soul singers (Aretha Franklin), blues legends (Bobby “Blue” Bland) and new wavers (Bow Wow Wow). Country and classic rock are in the mix, too — there’s a little something for everyone who’s ever fooled around and fell in love. So hit play, give those dubious corporate social media posts a miss and we’ll try to ride this out together.Everybody plays the fool sometime,DaveListen along while you read.1. Aretha Franklin: “April Fools”Dionne Warwick sang this Burt Bacharach-Hal David theme song for a 1969 romantic comedy starring Jack Lemmon and Catherine Deneuve before Aretha Franklin covered it on her “Young, Gifted and Black” LP three years later. The intro to the Queen of Soul’s arrangement is giving “Jingle Bells,” but it quickly settles into a soulful boogie with a soaring chorus where new love is trailed by doubt: “Are we just April fools / who can’t see all the danger around?”▶ Listen on Spotify, Apple Music or YouTube2. The Doobie Brothers: “What a Fool Believes”What a chorus on this one: Michael McDonald’s blue-eyed soul swoops upward into a falsetto that’s almost Bee Gees-level. Does it matter that absolutely no one can tell what they’re singing on the high part? It does not. (For the record, it’s “No wise man has the power to reason away.”)▶ Listen on Spotify, Apple Music or YouTube3. Led Zeppelin: “Fool in the Rain”My interest in Led Zeppelin has waxed and waned; I needed an extended post-high school detox after years of hearing the St. Louis classic rock station “get the Led out” every afternoon at quitting time. But listening with fresh ears — and digging deeper than what you’d find in a Cadillac commercial — it’s undeniable that Led Zep has dozens of slappers, like this cut from “In Through the Out Door” (1979). Maybe I need to catch that “Becoming Led Zeppelin” movie after all.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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    Beatles Movies Cast Revealed, Including Paul Mescal and Barry Keoghan

    The director Sam Mendes announced the stars of his four-film series, each told from the perspective of a different Beatle, set to be released in 2028. There has been no shortage of movies about the Beatles. But the director Sam Mendes is embarking on a project that stands apart for its ambition — four films, each from a different band member’s perspective — and now we know who will be playing the Fab Four.The films will star Paul Mescal as Paul McCartney, Harris Dickinson as John Lennon, Joseph Quinn as George Harrison and Barry Keoghan as Ringo Starr, according to Mr. Mendes’s production company.The four films, which will tell the story of one of the world’s most influential and adored bands, will be released together in April 2028, “creating the first bingeable theatrical experience,” the company wrote. In announcing the films last year, Mr. Mendes, the British director best known for films like “American Beauty” (1999) and “Revolutionary Road” (2008), said he was “honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies.”He announced the cast at the CinemaCon convention in Las Vegas on Monday, according to The Hollywood Reporter. While the Beatles have been big-screen subjects before — including in Danny Boyle’s “Yesterday” (2019) and Sam Taylor-Johnson’s “Nowhere Boy” (2009) — this is the first time that the members of the band and their estates have granted full life story and music rights for a scripted film, according to Sony Pictures.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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    Best Movies and Shows Streaming in April: ‘Étoile,’ ‘Hacks,’ ‘The Last of Us’ and More

    “Étoile,” “Government Cheese” and an Oklahoma City bombing documentary arrive, and “Hacks” and “The Handmaid’s Tale” return.Every month, streaming services add movies and TV shows to their libraries. Here are our picks for some of April’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)New to Amazon Prime Video‘The Bondsman’ Season 1Starts streaming: April 3Kevin Bacon plays the hard-boiled Georgia bounty hunter Hub Halloran in this action-comedy, which has a supernatural twist. Hub dies in the opening scene of the first episode, then gets reincarnated thanks to some satanic intervention. He is then given a new job, hunting demons who have escaped from Hell. Created by Grainger David and produced and written by Erik Oleson for the horror-friendly Blumhouse Television, “The Bondsman” features all the gory splatter one might expect from a show about a heavily armed monster-killer. But the series also explores its undead antihero’s complicated personal life, which involves a an ex-wife, Maryanne (Jennifer Nettles), whose budding country music career is being handled by a highly suspicious creep named Lucky (Damon Herriman).‘Étoile’ Season 1Starts streaming: April 24The writer-producer husband-wife team of Amy Sherman-Palladino and Daniel Palladino — best-known for “Gilmore Girls” and “The Marvelous Mrs. Maisel” — are back with a new series, set in the world of dance, just like their short-lived gem “Bunheads.” Luke Kirby plays the leader of a venerable New York ballet company. Charlotte Gainsbourg plays the leader of a venerable Paris ballet company. When their organizations struggle, they decide to generate some public interest by swapping their top stars. “Étoile” generates comedy and drama from the very different theatrical cultures in Europe and America. The supporting cast is filled with professional dancers, so the ballet sequences should be realistic and dynamic — and not just something to fill the space between the creators’ usual fast-paced, witty banter.Also arriving:April 1“America’s Test Kitchen: The Next Generation” Season 2April 8“Spy High”April 10“G20”April 17“#1 Happy Family USA” Season 1“Leverage Redemption” Season 3Jon Hamm in “Your Friends & Neighbors,” Season 1.Jessica Kourkounis/Apple TV+New to Apple TV+‘Your Friends and Neighbors’ Season 1Starts streaming: April 11In this offbeat crime drama, Jon Hamm plays Andrew Cooper, a.k.a. Coop, a swaggering New York money manager who loses everything — including his wife and job — and compensates by becoming a gentleman thief, stealing from his wealthy pals. The show emphasizes the ironic fragility of Coop’s situation, as someone who has lived and socialized with some of the richest people in the United States, yet is suddenly on the verge of going broke. Created by Jonathan Tropper (“Banshee,” “Warrior”), “Your Friends and Neighbors” is about the high-end homes that only some people can access, and about how someone who is trusted enough to be let inside can treat these personal spaces like an A.T.M.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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    Martha Argerich, the Elusive, Enigmatic ‘Goddess’ of the Piano

    The pianist Martha Argerich had just delivered an electrifying performance on a snowy night in northern Switzerland. Fans were lining up backstage for autographs, and friends were bringing roses and chrysanthemums to her dressing room.But Argerich, who at 83 is still one of the world’s most astonishing pianists, with enough finger strength to shatter chestnuts or make a Steinway quiver, was nowhere to be seen. She had slipped out a door to smoke a Gauloises cigarette.“I want to hide,” she said outside the Stadtcasino concert hall in Basel, Switzerland, shrinking beneath her billowy gray hair. “For a moment, I don’t want to be a pianist. Now, I am someone else.”As she smoked, Argerich, one of classical music’s most elusive and enigmatic artists, obsessed about how she had played the opening flourish of Schumann’s piano concerto that evening with the Orchestra della Svizzera Italiana. (Her verdict: “not so good.”) And she became transfixed by the memory of performing the concerto for the first time, as an 11-year-old in Buenos Aires, her hometown.There, at the Teatro Colón in 1952, a conductor whose name was seared into her memory — Washington Castro — had offered a warning. Never forget, he said: Strange things happen to pianists who play the Schumann concerto.At 83, Argerich is busier than ever. “They look old now,” she said of her hands, “but they still work.”Mischa Christen for The New York Times More

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    A Concept Album About Dennis Hopper? The Waterboys Made One.

    The latest addition to Mike Scott’s eclectic catalog features Fiona Apple, Bruce Springsteen, Steve Earle and more exploring the life of the actor and director.In 1977, several years before Mike Scott founded the Waterboys, the band he still leads today, he started Jungleland. At the time, he was an 18-year-old obsessed with music and literature, living in Ayr, a seaside town on the west coast of Scotland. Jungleland wasn’t a band — it was a fanzine named after a Bruce Springsteen song in which Scott wrote about the artists that enthralled him, including the Clash, Richard Hell and the Sex Pistols.Scott, 66, has always worn his enthusiasms on his sleeve, and as the singer, songwriter, guitarist and only consistent member of the Waterboys, he has used his songs to broadcast his passions. The band’s first single from 1983, “A Girl Called Johnny,” is a breathless, saxophone-drenched ode to Patti Smith. The Waterboys’ biggest hit, “The Whole of the Moon,” is an exuberant celebration of the power of inspiration itself.“I like to be absorbed in the things that fascinate me,” Scott said during a video call from his home in Dublin. “Then I go all the way.”This is certainly the case with the Waterboys’ new album, “Life, Death and Dennis Hopper,” due Friday. The record follows the arc of Hopper’s life, from growing up in Kansas through the peaks and valleys of his career in Hollywood to his death in 2010. “It’s not a tribute record,” Scott said. “It’s an exploration. It’s not just Dennis’s story. It’s a story of the times.”It’s also the kind of unconventional turn that has become a hallmark of Scott’s career. In the mid-1980s, “The Whole of the Moon” and the album that spawned it, “This Is the Sea,” showcased the Waterboys’ ability to synthesize Scott’s punk-rock influences and literary aspirations on an arena-sized scale, drawing comparisons with bands like U2 and Simple Minds, and kicking off a mini-movement named after a Waterboys song: big music. But rather than build on this success, Scott reinvented the band, decamping to Ireland, immersing himself in Celtic folk music and making an equally compelling but completely different follow-up album, “Fisherman’s Blues,” in 1988.“It’s just my character,” Scott said. “I want to keep finding new things I can do that I couldn’t do last year. That’s my No. 1 aim. I’m like Sherlock Holmes. If he doesn’t have a case to solve, he gets depressed.”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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    Why Morgan Wallen’s Abrupt ‘S.N.L.’ Exit Is Being Dissected

    The pop-country superstar followed his departure from the stage with a social media post about needing to get “to God’s country.”At the end of every “Saturday Night Live” episode, the host, the musical guest and cast members assemble onstage to say goodbye to the audience and viewers at home. While the music plays and the credits roll, they make small talk, shake hands and say their farewells.There’s not much to think about.Usually.Social media has been abuzz since Morgan Wallen, the pop-country superstar who was the musical guest on Saturday, walked offstage while the end credits rolled, leaving behind the host, Mikey Madison, and the rest of the “S.N.L.” cast. It is not clear whether his sudden exit was an intentional message.Here is what we do know.What happened?After Madison made her closing remarks, she turned to Wallen and hugged him. They shared a few words off mic before he walked offstage into the audience past the camera. Shortly after the show ended, Wallen posted a picture to his Instagram stories of a jet with the caption, “Get me to God’s country.”It was unclear what Wallen, who in recent years was rebuked by music industry’s gatekeepers after a video surfaced of him using a racial slur, meant by the statement or why he left the stage.Representatives for Wallen, who performed two songs from his upcoming album “I’m the Problem,” and “S.N.L.” did not immediately return requests for comment on Monday. (Variety cited anonymous sources to say that the exit was an “oops” moment and that it was the route Wallen had used all week.)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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    Review: A Kronos Quartet Glow Up: New Players, Newly Lustrous Sound

    The venerable quartet returned to Zankel Hall with a typically eclectic program and a newfound emotional intensity.The Kronos Quartet was at Zankel Hall on Friday with a typically eclectic program that included new works drawing on jazz, psychedelic rock and Nordic folk music. The vibrant performance was not only the ensemble’s return to a space it reliably fills with devoted fans; with the quartet’s ranks refreshed by three brilliant new players, it also felt like a comeback.In recent years, the aging ensemble — founded in 1973 by David Harrington, who continues to lead it as first violin — sometimes seemed to have had slid into an identity crisis. The Kronos brand was still strong: Ambitious commissions kept pushing the boundaries of quartet music, resulting in more than 1,000 new works and arrangements drawing on every imaginable style. In the run-up to its golden jubilee, the ensemble initiated a commissioning project, 50 for the Future, and made the sheet music to all 50 pieces available free online.But the quality of the playing had become inconsistent. And the spoken introductions the players offered at concerts felt perfunctory and tired. When the violinist John Sherba and the violist Hank Dutt, who had been in the lineup since 1978, retired last year, the quartet might have disbanded. Instead, Harrington brought in fresh talent and — judging by the music-making on Friday — strong personalities. The quartet’s middle voices now belong to the violinist Gabriela Díaz and the violist Ayane Kozasa, who join the composer and cellist Paul Wiancko, who came onboard in 2022.During the kaleidoscopic first half of the concert the two women asserted themselves as the quartet’s engines of emotional intensity and a newly lustrous, rich sound. This came through most powerfully in Aleksandra Vrebalov’s incantatory “Gold Came From Space,” which gradually grows in sonic density and expressive intent from tremulous whispers. Time and again, Kozasa’s viola stole the spotlight with its absorbing mixture of lyricism and throaty candor. She channeled Nina Simone’s tough-nosed tenderness in Jacob Garchik’s arrangement of “For All We Know” (composed by J. Fred Coots) and set the tone for Wiancko’s arrangement of Neil Young’s protest song “Ohio.”Two songs by Sun Ra, “Outer Spaceways Incorporated” (wittily arranged by Garchik) and “Kiss Yo’ Ass Goodbye,” in a psychedelic arrangement by Terry Riley and Sara Miyamoto, sparkled with experimental glee. That exploratory zest had always been a hallmark of Kronos. But the heart-on-sleeve directness the group brought to Viet Cuong’s stirring “Next Week’s Trees,” in which the quartet sometimes sounds like a giant harp, felt new.The second half was taken up by a single work, “Elja,” by Benedicte Maurseth and Kristine Tjogersen. Maurseth, who joined the Kronos players for the performance, is a master on the Norwegian hardanger fiddle, a violin-like instrument with four extra resonating strings and a curved neck and carved scroll that evokes the bow of an ancient ship. For the 45-minute piece, which also featured recorded nature sounds, the Kronos players switched to hardanger versions of their own instruments. (The viola and cello fiddles were specially built for Kronos by the Norwegian luthier Ottar Kasa.)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