Aurelia Butler

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    A24 Promotes ‘Materialists’ by Rating New York’s Single Men on Stock Exchange

    To promote its new film “Materialists,” A24 worked with the New York Stock Exchange to sort participants by attributes like income, height and homeownership.Last week, for roughly 30 minutes, something unusual flicked across the tickers at the New York Stock Exchange. It wasn’t the rally of a newly public company or a market in turmoil. It was the rising and falling value of single men in the city.Or at least it was the purported value of single men, as determined by the movie studio A24. To promote its buzzy film “Materialists,” which is being released this weekend, the studio created a website that invited single men to input their physical and personal attributes, like height, income, age, whether they owned or rented, whether they had hair on their heads, their turn-ons and their icks.All that data was fed into an algorithm to create each user’s “romantic value” and then streamed in real time onto the ticker, rating the men in the middle of the mecca of finance. Over the course of this week, the ticker will also be displayed on a mobile billboard that is being parked around the city, making stops at the Wall Street bull, in Central Park, close to the Washington Square Park arch and near Rockefeller Center.How genuine the entries are — or how inflated the income and height — is unclear, with one user listed as “Donald G.” having a reported income of $50 million. And unfortunately for anyone interested in the listed men, there isn’t a way to get in touch; their names — or pseudonyms — flash onto the screen in green or red for a second before disappearing.In perhaps the greatest reflection of the current economy, very few of the men on the ticker report owning their living quarters. A24 did not share how many men had signed up to be listed, but the ticker seemed to display hundreds.In “Materalists,” Dakota Johnson plays Lucy, a relationship expert who is struggling to decide if her boyfriend, Harry, played by Pedro Pascal, is the right fit for her.A24We 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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    Sean ‘Diddy’ Combs’s Defense to Analyze ‘Hotel Night’ Texts With ‘Jane’

    The music mogul’s lawyers have started walking his former girlfriend — now a government witness — through a voluminous history of text and audio messages.Sean Combs’s former girlfriend, who has said she was subjected to a pattern of degrading sex marathons with male escorts, will take the stand for her fifth day of testimony on Wednesday at the music mogul’s federal trial, as his lawyers seek to portray her as a willing participant in the encounters.On Tuesday, the defense’s cross-examination of the woman — who is testifying under the pseudonym Jane — delved into lengthy, emoji-filled text exchanges surrounding the encounters, which the couple referred to as “debauchery” or “hotel nights.”Prosecutors say Mr. Combs coerced Jane into these nights, and she has testified that they left her feeling disgusted, used and sometimes physically sick, saying that Mr. Combs tended to be dismissive when she voiced her aversion to them.While questioning Jane, the defense highlighted messages from Mr. Combs in which he appeared to be solicitous about what she wanted to do sexually; once, in 2021, he asked her about her own sexual fantasies, writing, “we don’t have to be debaucherous lol.” Jane testified that she often read “undertones” of expectation in her boyfriend’s messages, leading her to be agreeable or try to cater to the kind of voyeuristic sex that he often requested.“I know my partner and what he likes and what he wants,” she testified.The trial is scheduled to have a delayed start on Wednesday, but when testimony starts in the afternoon the defense is expected to parse more messages that help chronicle the couple’s volatile relationship, which lasted from 2021 to Mr. Combs’s arrest in 2024.Mr. Combs is facing charges of sex trafficking Jane and another former girlfriend, Casandra Ventura, who testified at the start of the trial. He is also facing a charge of racketeering conspiracy, which includes allegations that he ran a criminal enterprise that helped facilitate sex trafficking, among other crimes.Mr. Combs has pleaded not guilty to the charges. His lawyers have denied that the mogul coerced the two women into sex, and they have asserted that members of Mr. Combs’s staff, including security guards and high-ranking employees, were members of lawful businesses — not a criminal conspiracy.Under questioning from the prosecution, Jane described the drug-fueled nights of sex as “performances” and said she continued to participate to please Mr. Combs and to secure time alone with the man she loved. But in 2023, the dynamic shifted when he began paying her $10,000-a-month rent in Los Angeles. She testified that Mr. Combs started to use the house as “leverage” for her to continue participating in sex with escorts.And she described a violent brawl with Mr. Combs in 2024, when he was under criminal investigation. She testified that afterward, when she had welts and a black eye from his blows, he demanded she perform oral sex on an escort despite her protests. She said she took the Ecstasy pill he gave her and complied.Olivia Bensimon More

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    In “Life of Chuck,” Tom

    A creeping sense of dread washed over Tom Hiddleston as he read the script for “The Life of Chuck.” He knew that its director, Mike Flanagan, wanted him to play Chuck Krantz, or, as the actor put it, “a harbinger of the apocalypse.”But as he read on, there came excitement, a thrill. Chuck has a secret: He loves to dance.Hiddleston, 44, loves to dance, too, a discovery he made when he was a teenager. “It was instinctive,” he said in a recent interview via video. “But it was only for me. I didn’t train, I wasn’t in dance classes.”He went out dancing with friends. The 1990s were his time. “My love for Daft Punk,” he said of the electronic music duo, “is enduring and real.”While he is foremost an actor, Hiddleston has become something of a dance ambassador. Lean and elegant, he has the air of Fred Astaire. His limbs are long, but they don’t slow him down; his feet are fast and accurate. Known for his spontaneous eruptions of dance joy — on talk shows and the red carpet — Hiddleston is a natural with rhythmic acuity and, at times, riveting attack. His dancing, whether smooth or sharp, is instinctive and shaped by coordinated fluency.Tom Hiddleston discovered he loved to dance as a teenager: “But it was only for me. I didn’t train, I wasn’t in dance classes.”Ariel Fisher for The New York TimesWhat’s apparent is the pleasure he gets from it: Certainly, there is Hiddleston the man, but also discernible is the boy within. There is innocence and fearlessness in his love of motion. An avid runner, Hiddleston said, “I’ve always thought of running as dancing forward.”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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    As Mister Romantic, John C. Reilly Just Wants to Spread Love

    John C. Reilly has been a staple of Paul Thomas Anderson’s films, starred in serious and satirical biopics, made a legend of a man-child stepbrother, and was nominated for an Oscar in 2003 for his haunting turn as Amos — “Mister Cellophane” — in “Chicago.” But the character closest to him just might be a know-nothing who emerges, openhearted and singing, from a box.For the past three years, Reilly, 60, has performed as Mister Romantic, a retro crooner who just wants to find everlasting love. A vaudeville-esque act of his own creation with mostly American songbook numbers — “What’ll I Do,” “Dream” — and a backing band, it’s a quasi-improvised set that has him interacting with the audience in a way that’s sometimes wryly funny, sometimes tender and sad, but always sincere. Connection, of any kind, is the point.After a series of sold-out shows in Los Angeles, Reilly is taking his persona on the road, to Cafe Carlyle starting Wednesday. And he is releasing a concept album, “What’s Not to Love?,” his renditions of classics and more, on Friday.His alter ego’s origins are deep-seated. “I’ve been a romantic person my whole life,” Reilly said. “My mother would play these standards on the player piano at our house, and I would sing along.” It was “Mister Cellophane” that reawakened in him, he said, an appreciation for a bygone era of theatricality. He finished shooting the HBO series “Winning Time,” about the 1980s Los Angeles Lakers, on a Friday, “and on Monday night, I had my first Mister Romantic show,” he said. “I was like, oh, I just want to get out onstage and express myself.”John C. Reilly’s Mister Romantic project includes a cabaret show and a new album, “What’s Not to Love?”Mister Romantic at work. Reilly’s Oscar-nominated role in “Chicago” reawakened a love of theatricality.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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    From ‘The Materialists’ to ‘The Bear,’ Pop Culture Takes Up Smoking Again

    From movies and TV shows to music, the habit is no longer taboo. It’s even being celebrated for the way it makes characters look cool or powerful.In the new romantic dramedy “Materialists,” about 21st-century dating, Dakota Johnson loves cigarettes.Playing Lucy, a New York matchmaker, she’s puffing when she gossips with a pal during a work party. Later, she holds a lighted cigarette near her face while flirting with an ex. There’s no hand-wringing over her smoking. She’s just a smoker. And she’s wildly on trend. That’s because, at least in the world of entertainment, cigarettes are once again cool.“Materialists” is just the tip of the ash. The musicians Addison Rae and Lorde both mention smoking in recent singles. The stars of “The Bear” are smokers on- and offscreen. The “Housewives” count many among their ranks. Tim Robinson and Paul Rudd smoke in the big-screen comedy “Friendship,” while the chic Seema (Sarita Choudhury) on the series “And Just Like That” does as well. In the kitschy video for her track “Manchild” Sabrina Carpenter uses a fork as a cigarette holder. Even Beyoncé has lit up onstage during her Cowboy Carter Tour. In one instance, she throws the cigarette on a piano, which artfully ignites as she performs “Ya Ya.” If Beyoncé is doing it, you know it’s reached the upper echelon of culture.And these smokers are largely celebrated. The overwhelming sentiment is: Sure, cigarettes are bad for you, but they make you look good — as evidenced by Lucy, who keeps her smokes in an elegant silver case, perhaps to emphasize how sleek the habit is, and brandishes them to show just how effortlessly hot she can look bringing one to her lips.In a still from her music video for “Aquamarine,” Addison Rae wields not one but two cigarettes.Jared Oviatt, the man behind the Instagram account @Cigfluencers, which features photos of celebrities glamorously smoking, told me he had noticed an upswing in material recently. When he started the account in 2021 he had to look harder to find content.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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    The Pint-Size Singers at the Met Opera Children’s Chorus Tryouts

    The Metropolitan Opera Children’s Chorus has long been an elite training ground for young singers. Getting in requires grit, personality and a soaring voice.The Metropolitan Opera’s stage door, a plain entrance hidden in the tunnels of Lincoln Center, routinely welcomes star singers, orchestra musicians, stagehands, costumers and ushers. But a different bunch of visitors arrived there on a recent afternoon, carrying stuffed toy rabbits and “Frozen” backpacks.They were children, ages 7 to 10, dressed in patent leather shoes, frilly socks and jackets decorated with dinosaurs. They were united in a common mission: to win a spot in the Met children’s chorus, a rigorous, elite training ground for young singers.“This might be the biggest day of my life,” said Naomi Lu, 9, who admires pop singers like Taylor Swift and Katy Perry. She was knitting a lilac friendship necklace to stay calm as she waited in the lobby. “I feel nervous and excited at the same time,” she said. “You could say I’m nerv-cited.”Anthony Piccolo, the director of the Met’s children’s choir, auditions a group of hopefuls.Alexander Zhou waits his turn.Skye Yang.Singing in the shower or in a school choir is one thing. But these students, who came from across New York City and its suburbs, were vying for the chance to perform at the Met, one of the world’s grandest stages, a temple of opera that presents nearly 200 performances each year. Chorus members have a chance at roles like the angelic boys in Mozart’s “The Magic Flute”; the Parisian kids in Puccini’s “La Bohème”; or the street urchins in Bizet’s “Carmen,” to name a few.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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    How Jon Bernthal Became Hollywood’s Most Dependable Bruiser

    When Jon Bernthal was cast as a petty drug dealer in “The Wolf of Wall Street,” Martin Scorsese’s 2013 white-collar crime epic, the actor wasn’t even supposed to have many lines. But Bernthal went into that film intending to take his shot. So he came in for a wordless B-roll scene in which the script had him lifting weights in a backyard, asked the second-unit director to mic him and riffed for 45 minutes. Scorsese wasn’t there that day, but here’s what he saw in the footage: a shirtless Bernthal curling dumbbells, tormenting some teenage boys with a baseball bat and peacocking his virility. “Bring some of them chicks around here sometime,” he says. Then Bernthal makes a brilliant little decision about his tough guy’s whereabouts. “Hey, Ma, we got chicken or what?” he yells toward the house. “Ma!” There was no “Ma” in the script. No one even said he lived with his mother.The role introduced Bernthal as an excellent character actor. Since then, he has become the guy who shows up onscreen unexpectedly, delivers the most memorable performance in a scene or two and then vanishes. This is perhaps why he’s so often playing dead men in flashbacks. He’s the dramatic center of gravity in FX’s “The Bear,” appearing just once or twice per season as the deceased family patriarch, and the tragic romantic in the 2017 Taylor Sheridan film “Wind River.” Bernthal was so good in “The Accountant,” an improbable 2016 Ben Affleck-led movie about an autistic accountant turned gunslinger, that the filmmakers made this year’s sequel a two-hander.Bernthal has had leading roles too, most notably in “We Own This City,” the HBO miniseries about Baltimore police corruption in which the actor’s performance was criminally overlooked. But for the most part, he has carved out a career of supporting roles. So it made perfect sense when he told me that one of his favorite movies is “True Romance,” Tony Scott’s 1993 adaptation of Quentin Tarantino’s first script. Christian Slater may have been the lead, but it was the supporting characters played by Gary Oldman, Brad Pitt and Dennis Hopper who stole the film. “There are so many people who are in it for a scene or two,” Bernthal said, “but you could have made a movie about any one of those characters.”We were having breakfast in Ojai, Calif., where Bernthal lives. The previous day, he returned from New York where he was promoting “The Accountant 2.” Before that he was in Greece and Morocco, filming a role in “The Odyssey” with Christopher Nolan, which is perhaps the greatest honor that can be bestowed on a dramatic actor these days. In front of him was a pile of egg whites, spinach, fruit and gluten-free toast. “I’m like a gorilla,” he said. “I eat a lot.”Most actors, once they get lead roles, are advised to turn down anything smaller. But Bernthal is allergic to strategizing about how to become a leading man or listening to agents and managers who want to find him a “star vehicle.” The only real mistake he made in his career, he told me, happened because he let that sort of thinking get in his head. But he has switched agents since then. He knows he has become the guy who everyone calls for a favor, but then again “The Bear” was a favor. And that turned into one of the most rewarding experiences of Bernthal’s career. The intensity he brought to the role won him an Emmy, and now he has even co-written an episode in the upcoming season. “I can’t imagine deciding what you’re going to do in this super-tenuous field while being so dependent on some businessman’s strategy,” he said.Jon Bernthal, right, with Jeremy Allen White and Abby Elliott in the 2023 episode of “The Bear” that earned him an Emmy.Chuck Hodes/FX, via Everett CollectionWe 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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    Brandee Younger Has a New Secret Weapon: Alice Coltrane’s Harp

    Brandee Younger has noticed her audience changing lately. The harpist, composer and bandleader, whose elegant, groove-anchored sound has made her a standout presence in and around jazz in recent years, had grown accustomed to seeing a certain type of listener at her shows.“It’s, like, a Portland, 40s man,” she said with a smile during an interview last month at her East Harlem apartment, referencing demographic data on her fan base — not atypical for a contemporary jazz artist — furnished by her label.During recent tours, though, she started to notice an influx of “young girls that are, like, so excited.”It’s been an encouraging sight for Younger, 41, who said that growing up as “this little Black girl playing harp” and devoting herself to classical studies while also keeping close tabs on hip-hop and R&B, she struggled to find role models.“I want to grab their hands,” she said of these new converts. “I want to nurture these 20-year-old girls, because I wish I had that — something like that — when I was 20.”Younger’s latest batch of music, out Friday, feels like a nurturing, affirming message too. “Gadabout Season,” her third album for Impulse!, offers the best encapsulation yet of the tasteful, subtly radical sonic hybrid that she has been honing since she picked up the harp at age 11. It’s a persuasive argument for the vast, trans-idiomatic potential of her instrument.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