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    Sean Combs’s defense pokes at witness testimony about kidnappings and arson.

    Sean Combs’s lawyer made a final appeal to the jury at his racketeering and sex trafficking trial in New York on Friday, arguing in often sarcastic tones that the government’s evidence contradicted its case against the hip-hop mogul.The lawyer, Marc Agnifilo, portrayed his client as a deeply flawed man who led a swinger’s lifestyle, had a drug problem and sometimes physically assaulted his girlfriends. But he argued government’s accusation that Mr. Combs was a sex trafficker or the ringleader of a racketeering organization was “badly exaggerated.”“He did what he did,” Mr. Agnifilo said. “But he’s going to fight to the death to defend himself from what he didn’t do.”Here are some takeaways from the defense’s closing argument.The defense focused on consent, credibility and overreach.Friday’s summation was the most substantive argument made to date by the defense, which called no witnesses during the trial and declined to put Mr. Combs on the stand.Mr. Agnifilo devoted long stretches of his four-hour closing argument to highlighting testimony, texts and video evidence, that he said demonstrated that Casandra Ventura and “Jane,” who testified under a pseudonym, consensually participated in the marathon sex parties that are central to the government’s claim that the women were sex trafficked.“You want to call it swingers, you want to call it threesomes,” he said, “whatever you want to call it, that is what it is — that’s what the evidence shows.”Mr. Agnifilo cast doubt on the credibility of some of the government’s witnesses, taking particular aim at Capricorn Clark, a former assistant to Mr. Combs who testified that she had been kidnapped twice at his direction. In one of those instances, she said, Mr. Combs was in possession of a gun, a statement that the defense said was not supported by other witnesses.At one point, Mr. Agnifilo suggested that the racketeering charge was an overreach and that Mr. Combs had been targeted by the government because the case began with a lawsuit, not anyone making a report to law enforcement. “He’s indicted by himself,” Mr. Agnifilo said, noting that no witnesses testified to being part of such an enterprise.The prosecution later objected, arguing that Mr. Agnifilo’s suggestion that Mr. Combs had been targeted was improperly made in front of the jury. Judge Arun Subramanian agreed and told jurors that the decision-making of the government or a grand jury on whether to charge a defendant was “none of your concern.”The defense offered an alternative view of the infamous video of a hotel assault.Mr. Agnifilo presented an alternative narrative for a critical piece of evidence in the case: a security-camera video that showed Mr. Combs beating Ms. Ventura in a hallway of a Los Angeles hotel in 2016.The jury has seen this footage numerous times during the seven-week trial, and witnesses described it from multiple angles, as well as what happened before and after the attack. The video also shaped public opinion of the case after CNN aired a version of it last year, prompting Mr. Combs to apologize, calling his behavior “inexcusable.”The government contends the video shows Mr. Combs beating Ms. Ventura when she tried to leave a marathon sex session with a male prostitute. That would be evidence he had physically compelled her to participate, a key element in proving sex trafficking.One of the sexual encounters took place at the InterContinental Century City hotel in Los Angeles. Video of Mr. Combs dragging Ms. Ventura down a hallway has been cited as part of the abusive conduct.Hunter Kerhart for The New York TimesBut Mr. Agnifilo characterized the attack as flowing from a quarrel over a phone, not punishment for leaving the “freak-off.” Early in the video, Ms. Ventura is seen walking down a hallway with a phone in her right hand, heading toward an elevator bank. Later, after Mr. Combs attacks her, he appears to retrieve the phone from her and walks back to the room with it.A gap in the time code on the video, Mr. Agnifilo said, suggests that Ms. Ventura went back in their hotel room for three minutes and 42 seconds before a security guard arrived. “The point is,” Mr. Agnifilo said, “the room is not a scary place.”Mr. Combs’s family was a focal point.Mr. Agnifilo pointed out that six of the music mogul’s seven children were in the courtroom to offer support — “the seventh being an infant.” Mr. Combs’s mother, Janice, a frequent presence at the trial, was also in the gallery.“You should know that,” ​M​r. Agnifilo told the jury. “You should know who he is,” he added, “the man takes care of people — that’s what’s in the evidence.”Wrapping his closing statement, Mr. Agnifilo returned to Mr. Combs’s family ties to add stakes to his potential acquittal. “He sits there innocent,” he said of his client. “Return him to his family who have been waiting for him.”Mr. Combs’s sons, Christian​ Combs and Justin​ Combs, arriving at court in Manhattan on Friday.John Lamparski/Getty ImagesOn Friday morning, one of Mr. Combs’s sons, Christian​ Combs, released new music under the name King Combs. The seven-song EP includes a track with Ye, formerly known as Kanye West, called “Diddy Free.”On it, King Combs, 27, raps about those who “try to play the victim” and states “[expletive] the world, critics and the witness.” Later, he says: “this Bible might come in handy / this rifle might come in handy” and repeats a chorus on which he promises not to sleep “’til we see Diddy free.”​A​nother of Mr. Combs’s sons, Justin​ Combs, arrived at court wearing a shirt that read “Free Sean Combs” ​on Friday, but a court officer quickly tapped him on the shoulder — those kinds of visible messages of support are not allowed. He left the courtroom and the message was not visible when he returned.Mr. Agnifilo’s closing was marked by animated, often sarcastic, statements.Mr. Agnifilo, who opened his closing argument with a warning to the jurors that he likes to pace while he talks, used an energetic delivery to hammer home the defense’s skepticism of the government’s case. Speaking forcefully, gesticulating and pacing, he reacted to the idea that Mr. Combs was in charge of a racketeering enterprise: “Are you kidding me?”His demeanor loosened as he continued, and at one point Mr. Agnifilo made a reference to the 50th anniversary of “Jaws” and its quotable line “We’re going to need a bigger boat,” while poking fun at the investigators in the case: “We need a bigger roll of crime-scene tape!” Regarding the lubricant found in the raids of Mr. Combs’s homes, Mr. Agnifilo also gave a passionate “Whoo!” reminiscent of Al Pacino onscreen.In the first 30 minutes of his summation, Mr. Agnifilo appealed to the jury’s emotions, throwing in personal asides, laugh lines and detailed characterizations of the witnesses in colloquial terms, working to keep them engaged while broadly brushing away the legitimacy of the charges.At other times, his mockery was more direct. In referring to Ms. Ventura’s brief relationship with the rapper Kid Cudi, the defense lawyer became especially animated: “Cassie’s keeping it gangster!” he said, arguing that she was brazenly lying to both men, with no apparent fear of Mr. Combs.“I’m getting myself a burner phone,” Mr. Agnifilo said, imagining Ms. Ventura’s mind-set at the time. “Whooooaaaa — a burner phone!” the lawyer added. “Someone’s got a burner phone!” More

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    An Unearthed Joni Mitchell Jazz Demo, and 11 More New Songs

    Hear tracks by Sarah McLachlan, Camilo, Us3 and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Joni Mitchell, ‘Be Cool’The first preview of “Joni’s Jazz,” an archival collection of Joni Mitchell’s collaborations with jazz musicians, is this 1980 demo of “Be Cool,” a song that featured Wayne Shorter on saxophone when it was released in 1982 on “Wild Things Run Fast.” This version — two guitars, drums and a click track — doesn’t have all its lyrics yet. It doesn’t need them. Instead, Mitchell flaunts some bold, sure-footed scat-singing. The groove and the attitude — “50-50 fire and ice” — were already fully formed.Sarah McLachlan, ‘Better Broken’Sarah McLachlan ponders giving a second chance to a fraught, long-ago relationship in “Better Broken,” her first new song since 2016 and the title track of a coming album. It’s in vintage McLachlan style: a stately piano ballad with a melody that climbs gradually and holds some aching notes. She knows the possible rationalizations, envisioning “a jagged edge worn smooth by time”; she also, it seems, knows better.Caroline Polachek, ‘On the Beach’It was probably inevitable that Caroline Polachek — whose pop pushes toward the posthuman without losing physical connection — would fulfill a videogame commission. With the hyperpop producer Danny L Harle, she created “On the Beach” for Hideo Kojima’s game Death Stranding 2: On the Beach. She sings about Sanzu — the Japanese analog of the river Styx, dividing life and death — in a slow march with a melody that leaps to superhuman, computer-tuned peaks and valleys. She still sounds awe-struck.Us3, ‘Resist the Rat Race’In the 1990s and early 2000s, the British group Us3, led by Geoff Wilkinson, backed rappers with jazz grooves, mixing samples — primarily vintage Blue Note jazz tracks — with performances. Now Us3 has returned as Wilkinson’s instrumental band, still merging loops, beats and live musicians — now with arrangements for 18 brasses and reeds. A low-slung piano vamp and programmed trap drums run throughout “Resist the Rat Race,” topped by tootling synthesizer melodies and dense horn-section outbursts worthy of Gil Evans and Henry Mancini. It’s a swaggering alliance of human and machine.Camilo, ‘Maldito ChatGPT’Artificial intelligence matchmaking fails completely in Camilo’s “Maldito ChatGPT” (“Damned ChatGPT”). When he tells ChatGPT the attributes of his ideal partner, the system insists he’s chosen the wrong person, sabotaging his confidence. “I make a list of everything I’ve always dreamed of / And it looks nothing like the person next to me,” he sings. The track feels transparent, with a steady, subdued beat and skeletal piano chords. But as with an A.I. interface, there’s a lot going on under the surface: percussion, vocals, pizzicato strings, echoes. True to chatbot conventions, the A.I. ends its response with a question; Camilo can barely sputter an incredulous reply.

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    Sean Combs’s lawyer, in an animated closing argument, calls it ‘a tale of two trials.’

    Sean Combs’s lawyer made a final appeal to the jury at his racketeering and sex trafficking trial in New York on Friday, arguing in often sarcastic tones that the government’s evidence contradicted its case against the hip-hop mogul.The lawyer, Marc Agnifilo, portrayed his client as a deeply flawed man who led a swinger’s lifestyle, had a drug problem and sometimes physically assaulted his girlfriends. But he argued government’s accusation that Mr. Combs was a sex trafficker or the ringleader of a racketeering organization was “badly exaggerated.”“He did what he did,” Mr. Agnifilo said. “But he’s going to fight to the death to defend himself from what he didn’t do.”Here are some takeaways from the defense’s closing argument.The defense focused on consent, credibility and overreach.Friday’s summation was the most substantive argument made to date by the defense, which called no witnesses during the trial and declined to put Mr. Combs on the stand.Mr. Agnifilo devoted long stretches of his four-hour closing argument to highlighting testimony, texts and video evidence, that he said demonstrated that Casandra Ventura and “Jane,” who testified under a pseudonym, consensually participated in the marathon sex parties that are central to the government’s claim that the women were sex trafficked.“You want to call it swingers, you want to call it threesomes,” he said, “whatever you want to call it, that is what it is — that’s what the evidence shows.”Mr. Agnifilo cast doubt on the credibility of some of the government’s witnesses, taking particular aim at Capricorn Clark, a former assistant to Mr. Combs who testified that she had been kidnapped twice at his direction. In one of those instances, she said, Mr. Combs was in possession of a gun, a statement that the defense said was not supported by other witnesses.At one point, Mr. Agnifilo suggested that the racketeering charge was an overreach and that Mr. Combs had been targeted by the government because the case began with a lawsuit, not anyone making a report to law enforcement. “He’s indicted by himself,” Mr. Agnifilo said, noting that no witnesses testified to being part of such an enterprise.The prosecution later objected, arguing that Mr. Agnifilo’s suggestion that Mr. Combs had been targeted was improperly made in front of the jury. Judge Arun Subramanian agreed and told jurors that the decision-making of the government or a grand jury on whether to charge a defendant was “none of your concern.”The defense offered an alternative view of the infamous video of a hotel assault.Mr. Agnifilo presented an alternative narrative for a critical piece of evidence in the case: a security-camera video that showed Mr. Combs beating Ms. Ventura in a hallway of a Los Angeles hotel in 2016.The jury has seen this footage numerous times during the seven-week trial, and witnesses described it from multiple angles, as well as what happened before and after the attack. The video also shaped public opinion of the case after CNN aired a version of it last year, prompting Mr. Combs to apologize, calling his behavior “inexcusable.”The government contends the video shows Mr. Combs beating Ms. Ventura when she tried to leave a marathon sex session with a male prostitute. That would be evidence he had physically compelled her to participate, a key element in proving sex trafficking.One of the sexual encounters took place at the InterContinental Century City hotel in Los Angeles. Video of Mr. Combs dragging Ms. Ventura down a hallway has been cited as part of the abusive conduct.Hunter Kerhart for The New York TimesBut Mr. Agnifilo characterized the attack as flowing from a quarrel over a phone, not punishment for leaving the “freak-off.” Early in the video, Ms. Ventura is seen walking down a hallway with a phone in her right hand, heading toward an elevator bank. Later, after Mr. Combs attacks her, he appears to retrieve the phone from her and walks back to the room with it.A gap in the time code on the video, Mr. Agnifilo said, suggests that Ms. Ventura went back in their hotel room for three minutes and 42 seconds before a security guard arrived. “The point is,” Mr. Agnifilo said, “the room is not a scary place.”Mr. Combs’s family was a focal point.Mr. Agnifilo pointed out that six of the music mogul’s seven children were in the courtroom to offer support — “the seventh being an infant.” Mr. Combs’s mother, Janice, a frequent presence at the trial, was also in the gallery.“You should know that,” ​M​r. Agnifilo told the jury. “You should know who he is,” he added, “the man takes care of people — that’s what’s in the evidence.”Wrapping his closing statement, Mr. Agnifilo returned to Mr. Combs’s family ties to add stakes to his potential acquittal. “He sits there innocent,” he said of his client. “Return him to his family who have been waiting for him.”Mr. Combs’s sons, Christian​ Combs and Justin​ Combs, arriving at court in Manhattan on Friday.John Lamparski/Getty ImagesOn Friday morning, one of Mr. Combs’s sons, Christian​ Combs, released new music under the name King Combs. The seven-song EP includes a track with Ye, formerly known as Kanye West, called “Diddy Free.”On it, King Combs, 27, raps about those who “try to play the victim” and states “[expletive] the world, critics and the witness.” Later, he says: “this Bible might come in handy / this rifle might come in handy” and repeats a chorus on which he promises not to sleep “’til we see Diddy free.”​A​nother of Mr. Combs’s sons, Justin​ Combs, arrived at court wearing a shirt that read “Free Sean Combs” ​on Friday, but a court officer quickly tapped him on the shoulder — those kinds of visible messages of support are not allowed. He left the courtroom and the message was not visible when he returned.Mr. Agnifilo’s closing was marked by animated, often sarcastic, statements.Mr. Agnifilo, who opened his closing argument with a warning to the jurors that he likes to pace while he talks, used an energetic delivery to hammer home the defense’s skepticism of the government’s case. Speaking forcefully, gesticulating and pacing, he reacted to the idea that Mr. Combs was in charge of a racketeering enterprise: “Are you kidding me?”His demeanor loosened as he continued, and at one point Mr. Agnifilo made a reference to the 50th anniversary of “Jaws” and its quotable line “We’re going to need a bigger boat,” while poking fun at the investigators in the case: “We need a bigger roll of crime-scene tape!” Regarding the lubricant found in the raids of Mr. Combs’s homes, Mr. Agnifilo also gave a passionate “Whoo!” reminiscent of Al Pacino onscreen.In the first 30 minutes of his summation, Mr. Agnifilo appealed to the jury’s emotions, throwing in personal asides, laugh lines and detailed characterizations of the witnesses in colloquial terms, working to keep them engaged while broadly brushing away the legitimacy of the charges.At other times, his mockery was more direct. In referring to Ms. Ventura’s brief relationship with the rapper Kid Cudi, the defense lawyer became especially animated: “Cassie’s keeping it gangster!” he said, arguing that she was brazenly lying to both men, with no apparent fear of Mr. Combs.“I’m getting myself a burner phone,” Mr. Agnifilo said, imagining Ms. Ventura’s mind-set at the time. “Whooooaaaa — a burner phone!” the lawyer added. “Someone’s got a burner phone!” More

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    Help Us Rank the Best 21st-Century Rom-Coms, Superhero Movies, Horror Films and More

    <!–> [–><!–>Making a list of the Top 10 movies of the 21st century is hard, for those who work in movies and those who love watching them. It requires pitting very different films against each other — comedies against dramas, period pieces against fantasy films — in ways that don’t always seem fair.–><!–> –><!–> [–><!–> […] More

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    Who is Cassie, and what did she say on the stand?

    The term first came to public awareness in November 2023, when the singer Cassie filed a lawsuit accusing Sean Combs, her onetime boyfriend and record label boss, of years of sexual and physical abuse: “freak-off.”According to the suit by Cassie, who was born Casandra Ventura, a freak-off was what Mr. Combs called the highly choreographed sexual encounters that he directed “to engage in a fantasy of his called ‘voyeurism.’” They involved costumes, like masks and lingerie. “Copious amounts of drugs,” including Ecstasy and ketamine. The hiring of male prostitutes. Mr. Combs watched and recorded the events on a phone while he masturbated.Freak-offs have become a central part of the government’s case, which charges Mr. Combs with sex trafficking, racketeering conspiracy and transportation to engage in prostitution. (Other witnesses have referred to the events as “hotel nights,” “debauchery” or “wild king nights.”) Mr. Combs pleaded not guilty, and his lawyers have strongly denied that any of his sexual encounters with women were not consensual.In testimony last month, Ms. Ventura described the freak-offs in sometimes excruciating detail. The first one happened when she was 22, she said, when Mr. Combs hired a male stripper from Las Vegas to come to a home that Mr. Combs was renting in Los Angeles. Ms. Ventura said she wore a masquerade-style mask and provocative clothing from a “sex store” She and the man took Ecstasy and drank alcohol before they had sex while Mr. Combs watched, she said.Freak-offs soon became nearly weekly occurrences, Ms. Ventura testified. They took place in homes and hotels across the United States and in international locales like the Spanish island of Ibiza. Mr. Combs had his employees make travel arrangements for the men to come to him and Ms. Ventura — a key point in the government’s case for sex trafficking. The events also became more elaborately staged, with candles and studio-style lighting, and Ms. Ventura said she would sometimes take an entire day to prepare herself for them. Mr. Combs controlled that process too, she said, down to the color of her nails.She testified that she took part in the sex partly because she wanted to make Mr. Combs happy. “When you’re in love with someone you don’t want to disappoint them,” she said.But she also said she feared he would beat her if she refused and recounted episodes of him assaulting her. When Mr. Combs became angry, she said, his eyes would “go black” and “the version of him that I was in love with was no longer there.”The sexual marathons drained her, she said, and it sometimes took days to recover: “The freak-offs became a job where there was no space to do anything else but to recover and just try to feel normal again.”The videos Mr. Combs made, she said, became “blackmail materials” that were used to pressure her to agree to continue participating, she testified. She feared the videos might be released on the internet.Fueled by drugs, the freak-offs could last from 36 hours to four days, Ms. Ventura testified. They also became more “humiliating,” she said: Mr. Combs would direct her and the men on sexual positions, and he would order them to continually apply baby oil to keep themselves “glistening.” Blood was sometimes left on bedding because Ms. Ventura was compelled to perform while menstruating, she said. There was also urine, as Mr. Combs sometimes ordered the men to urinate into her mouth while she lay on the floor.In her testimony, Ms. Ventura said that a freak-off was underway in March 2016 at the InterContinental Century City hotel in Los Angeles, where a hallway security camera captured her trying to take the elevator before Mr. Combs assaulted her and dragged her away.The freak-offs, she said, continued until she finally left Mr. Combs in 2018.When Jane, another former girlfriend who dated Mr. Combs from 2021 until his arrest last year, took the stand, she described similar events and said her love affair with the music mogul turned into a pattern of unwanted sex with male prostitutes that she struggled to end: “It was a door that I was unable to shut for the remainder of the relationship.”Describing herself as a single mother who made her living as a social media influencer, Jane said she became financially dependent on Mr. Combs after he began sending her thousands of dollars and paying her rent.She described one night when she had sex with two men, then retreated to a bathroom and vomited. Mr. Combs said the vomiting would make her feel better, Jane testified, and then he told her a third prostitute was ready for her. “Let’s go,” he said. She complied and had sex with the third man.Jane also read aloud a private note from her phone that she wrote about Mr. Combs in 2022: “I don’t want to do drugs for days and days and have you use me to fulfill your freaky, wild desires in hotel rooms.” She said she suffered from urinary tract and yeast infections as a result of frequent sex with other men.After news about Ms. Ventura’s lawsuit broke, Jane said she recognized that Ms. Ventura’s account mirrored her own “sexual trauma.”“I almost fainted,” Jane testified. “In fact I think I did.”“There was a whole other woman feeling the same thing,” she added. More

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    Watch Brad Pitt Burn Rubber in ‘F1’

    The director Joseph Kosinski narrates a sequence in which Pitt’s character hatches a plan different from his team during a race.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.While the racing is as swift as the camerawork in “F1,” this particular scene is built on a pause. That moment of stasis takes place during the Hungarian Grand Prix in 2023. Sonny Hayes (Brad Pitt), a veteran driver, has been recruited by the owner of a floundering Formula One team. And Sonny’s style is at odds with that of his team principal, Kaspar Smolinski, (Kim Bodnia). Here, Sonny loses a tire and needs to go into the pit.“So much of the strategy is built around tire compounds,” the film’s director, Joseph Kosinski, said during an interview in New York. “And at this particular race in Hungary, which tends to be a very hot race, you want a harder tire compound that’s going to last more laps.”“But Sonny has a different plan in mind,” Kosinski continued, “which is to try to create a safety car situation. And in order to have as much control and grip as possible, he’s asking for a soft tire because he knows he’s going to only need it for a lap or two anyway.”Sonny asks for the soft tires as he pulls into the pit, but Kaspar insists on hard ones. When the soft tires are put on, Sonny won’t move, creating the scene’s most tense moment of conflict.“You get to see the two forces coming together: the team principal, who wants to stick with the plan they all discussed, and Sonny Hayes coming in with a plan of his own that he hasn’t shared with anyone, and it makes for this great scene between Brad Pitt and Kim Bodnia.”Read the “F1” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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    Telemann’s Comic Opera Was a Delight. Why Is It Ignored?

    Georg Philipp Telemann’s overlooked intermezzo “Pimpinone” is being presented by the Boston Early Music Festival this weekend.In the standard repertoire, comic opera more or less starts with Mozart. Of course, others came before him, but his towering command of the form — the way he fully realizes characters from high and low backgrounds and gives them personal dignity, quirky foibles and exquisite arias — casts a long shadow over all of them.Still, there’s a two-hander from the first half of the 18th century, a few decades before Mozart’s birth, that anticipates the comic style to come. Pitting a wily maid against a buffoonish master — stock types that Mozart, Rossini and Donizetti would continue to mine for the next 100-plus years — it entertained audiences with its delightful music, relatable characters and reversal of the traditional power dynamics accorded by gender and social station.This is Georg Philipp Telemann’s “Pimpinone,” from 1725, which came eight years before Pergolesi’s better-known piece with the same premise, “La Serva Padrona,” but is rarely heard today. The Boston Early Music Festival, though, is presenting it in a rare staging at Mahaiwe Performing Arts Center, in Great Barrington, Mass., on Friday and Saturday, then at Caramoor in Katonah, N.Y., on Sunday.“It’s one of those quirks of history that ‘Pimpinone’ hasn’t become a repertory piece, because it really deserves to be,” said Steven Zohn, a Telemann scholar.“Pimpinone” belongs to a long-obsolete genre of classical music, the intermezzo, a short comedy intended to be broken up and performed between the acts of a dramatic or tragic opera. Its everyday characters have jobs, worry about money and fall prey to gossip, in stark contrast to the noble bearing and life-or-death stakes of the mythological and historical personages of opera seria.From left, Immler, Marie-Nathalie Lacoursière and Danielle Reutter-Harrah in “Pimpinone.”Kathy WittmanWe 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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    ‘Parasite’ and the Genre-Defying Movies of the 21st Century

    It’s mostly the internet’s fault, but in the past 25 years, the lines we drew in the 20th century got blurry. Time and space have collapsed. Now you can attend a meeting across the country, text your long-distance boyfriend halfway around the world, and watch a decades-old movie from another hemisphere on TV at home, all in one day. We’ve learned to make friends with people we’ve never met and develop obsessions with things we’d never have known about had we lived at any other point in human history. The story of the 21st century, among other things, is a tale of crumbling contexts and newly porous boundaries.Small wonder, then, that our 100 Best Movies of the 21st Century list, created by polling hundreds of directors, stars and other film professionals, shows the same trend. Every list tells a story about its maker or, in this case, makers. It’s clear, for instance, that the movies they remember were mostly not reboots, remakes or franchise fare, which have become Hollywood’s bread and butter. Star vehicles are fading. And while streaming has elbowed in and upended how we watch movies, there’s only one film on the list produced by a streamer — No. 46, Alfonso Cuarón’s “Roma,” which Netflix gave a respectable theatrical release.All interesting trends, some encouraging and some troubling. But what strikes me most about the list is this: Long-held categories in the movie business are fading, just like they are in the broader culture.When Christopher Nolan made “The Dark Knight” (No. 28), a superhero film contending for awards seemed like an outlier. But more genre films have been entering the conversation.Warner Bros./Library of CongressUntil pretty recently, for instance, common wisdom held that commercially successful genre fare and self-serious awards films didn’t overlap, and that auteurs would pick a lane and stay there. Christopher Nolan’s “The Dark Knight” (No. 28) seemed like an outlier in this respect, a Batman movie so good that when it failed to be nominated for best picture in 2009, the academy changed the number of nominee slots from five to 10. But since then, other horror, superhero and action flicks have increasingly sneaked into awards conversations, including “Get Out” (No. 8), “Mad Max: Fury Road” (No. 11), “Black Swan” (No. 81) and “Black Panther” (No. 96).That may explain the triumph of 2022’s best picture winner, “Everything Everywhere All at Once” (No. 77), a whimsical and occasionally deranged pastiche comedy blended with a sincere-hearted family story that pays obvious, sometimes ironic homage to a number of genres: martial arts, melodrama, science fiction, surrealism, even video games. In fact, some of its references also appear on the list, like Wong Kar-wai’s “In the Mood for Love” (No. 4) and Ang Lee’s “Crouching Tiger, Hidden Dragon” (No. 16).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