Aurelia Butler

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    Michael B. Jordan, Ryan Coogler and a Dozen Years of Collaborations

    Of all the storied bonds between visionary directors and their movie star alter egos — Martin Scorsese and Robert De Niro, Pedro Almodóvar and Antonio Banderas, Kelly Reichardt and Michelle Williams — few have been as seamless as the one between Ryan Coogler and Michael B. Jordan.Since their first meeting, during casting for “Fruitvale Station” (2013), Jordan has starred or appeared in all five features Coogler has directed, including two “Black Panther” movies and “Creed.” Their latest film, “Sinners,” in theaters April 18, raises the ante by assigning Jordan not one part but two — he plays the twin brothers Smoke and Stack, enterprising gangsters who encounter supernatural resistance to the juke joint of their dreams in Jim Crow-era Mississippi.Coogler, a former college football athlete, said he learned the value of a consistent partnership from playing wide receiver.“I knew he was going to be great in the movie,” Coogler said of Jordan in their first collaboration, “Fruitvale Station.”Dana Scruggs for The New York Times“Sometimes I’d have four or five different quarterbacks in a season, and that was always tough,” he said. “It gave me a real appreciation for how important chemistry is when you can find it.”In a joint interview earlier this month, at a cocktail lounge in New York City, Coogler and Jordan broke down their career-long working relationship, film by film. The conversation took an emotional turn during the discussion of “Black Panther: Wakanda Forever,” which was made after the death of Chadwick Boseman, star of the original “Black Panther.”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 Voyeurs,’ ‘Cyrano’ and More Streaming Gems

    Exciting new riffs on 1990s genre movies are among the highlights of this month’s recommendations on your subscription streaming services.‘Cyrano’ (2022)Stream it on Amazon Prime Video.Edmond Rostand’s late-19th-century play “Cyrano de Bergerac” has proved to be quite a durable text, which shouldn’t come as much of a surprise; few things translate as well, no matter the period or genre, than the feeling that the person you love could never feel the same. This adaptation by the director Joe Wright (“Pride & Prejudice”), first presented onstage by the New Group in 2019, changes the source of the title character’s low self-image: Instead of an oversize nose, he is of undersize height. Peter Dinklage is marvelous in the starring role, finding the cockiness and bluster that Cyrano uses to compensate, while showing the beating heart just under that hard surface. He also provides a pleasant baritone for the songs by members of the National, which are the film’s other key deviation from Rostand’s original. They’re a masterstroke, beautifully conveying the longing and regret of this tragic tale.‘The Last Stop in Yuma County’ (2024)Stream it on Paramount+.Three cheers for this A+ premise: The pumps are empty at the last gas station for 100 miles and the truck with the refill is running late, so stranded motorists are killing time at the diner next door — among them, two crooks who made off with a trunkful of bank loot. The writer and director Francis Galluppi works from his own Swiss watch of a script, equally influenced by “The Desperate Hours” and the dusty neo-noirs of the 1990s, where the turns are unpredictable yet organic and precise, and there are chances for every one if its character actors to shine. Snappily paced, delightfully stylish and refreshingly bleak, this movie is an assurance that we’re going to hear much, much more from this gifted first-time filmmaker.‘The Voyeurs’ (2021)Stream it on Hulu and Amazon Prime Video.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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    Joan Chen: Exacting Artist, Cool Mom

    When Joan Chen was in her early 20s she met with the director Ang Lee about starring in his 1993 film “The Wedding Banquet,” a New York-set rom-com about a Taiwanese American in a relationship with another man who marries a woman in need of a green card. Chen was a star in China but had recently moved to Los Angeles, and was intrigued.“Getting married for a green card was something we all kind of thought about,” she said during a recent video interview from her home in San Francisco. “I had such a wedding myself. So it’s a great story.” (She has since remarried.)But it took years to get the funding and Chen never ended up playing the role of the bride. The actress, who turns 64 this month, plays the bride’s mother in the remake directed by Andrew Ahn, in theaters April 18.“I feel like it’s some sort of a karma, it’s some sort of a closure,” she said, her voice growing almost wistful. “It’s also interesting, time passing yet we’re all still here. So fortunate. What a wonderful thing.”Joan Chen in San Francisco. “I’m, in a way, becoming a character actor,” she said.Amy Harrity for The New York TimesThe details of her character, May Chen, are a sign of the changing times: Rather than denying the sexuality of her daughter Angela (Kelly Marie Tran), May is a vocal L.G.B.T.Q. ally who gets down with lion dancers and a drag queen. Angela agrees to marry the boyfriend (Han Gi-chan) of her best friend (Bowen Yang) when the groom agrees to pay for in vitro fertilization treatments for the bride’s girlfriend (Lily Gladstone), in exchange for a chance to stay in the United States.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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    What’s So Funny About These Albums?

    Comedians have always wanted to be pop and rock stars — or at least, enough of them have gotten comfortable with a guitar and a drum track to make it seem so. It’s a long and eclectic tradition, including Steve Martin, Weird Al, Bo Burnham, Rachel Bloom, Donald Glover, Randy Rainbow and John Early.Now there’s a new crop of albums from entertainers across the comic spectrum. Some of them regularly use music as part of their act, like Cat Cohen, whose repertoire is all cabaret style. And some are left-field turns, like the profane opus from the writer and actor Jordan Firstman, or the thoughtful, genuine emo tunes of Mae Martin. Then there’s Kyle Mooney, whose record is either all gags — or none. In comedy, like music, it’s all in how you hit the beat.Jordan FirstmanJordan Firstman’s “Secrets” is a concept album built out of confessions strangers sent to him over social media.Ariel Fisher for The New York TimesThe social media favorite Jordan Firstman didn’t expect to release a record, let alone a concept album based on the private confessions of strangers on the internet. But on “Secrets,” out this month, he lets it rip, in ways that are almost entirely unprintable here. Its party anthem single describes a dude quest to bond over anatomy. (The video, directed by the boundary-pusher Cody Critcheloe, has more than a quarter-million views.)“Secrets” began as a pandemic-era riff, when Firstman, 33, publicly responded to his Instagram DMs. He accumulated tens of thousands of private missives — he requested the most “depraved” but also “Beautiful. Lyrical. And Random” stuff; endless inspiration.A few years later, with a friend — the musician and producer Brad Oberhofer — he began song-ifying them. “I’m like, such a lyric queen,” he said, and the secrets were ready-made titles, misspellings and all, like “I’m I Lesbian,” the album’s Lilith Fair-flavored closer. Capitol Records bought his pitch before he even left its parking lot, he said in a video interview.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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    Betsy Arakawa, Gene Hackman’s Wife, Asked About Flulike Symptoms Before Deaths

    Videos, photographs and police reports released by the Santa Fe County Sheriff’s Office in New Mexico offered a look into the days before Betsy Arakawa and Mr. Hackman died.Days before she and her husband, the actor Gene Hackman, died at their home, Betsy Arakawa repeatedly searched online about flu- and Covid-like symptoms, according to records released on Tuesday by New Mexico authorities.The records — including witness interviews, photographs of the scene and police body camera footage — provided some new insights into the final days of the couple at their home near Santa Fe in February.After his wife’s death, Mr. Hackman, 95, lived alone in the home for nearly a week before dying of heart disease, with Alzheimer’s disease as a contributing factor.Ms. Arakawa, 65, died from hantavirus, which is contracted through the exposure to excrement from rodents and can cause flulike symptoms before progressing to shortness of breath, as well as cardiac and lung failure.Police records released in the case on Tuesday included Ms. Arakawa’s Google searches a couple of days before her death, including “can Covid cause dizziness?” and “Flu and nosebleeds” on Feb. 10.The next day, she emailed her massage therapist to cancel an appointment, writing that her husband woke up that morning with “flu/cold-like symptoms” but had tested negative for Covid. That day, she ordered oxygen canisters from Amazon for “respiratory support.”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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    Marvin Levy, Oscar-Winning Publicist to Spielberg, Dies at 96

    For 42 years, Mr. Levy strategized behind the scenes to promote Steven Spielberg’s movies and ensure that the director was seen as Hollywood’s de facto head of state.Reporters trying to get interviews with Steven Spielberg would sometimes grouse that his publicist’s job amounted to speaking a single word: “No.”But Marvin Levy, who served as Mr. Spielberg’s publicist for 42 years, was responsible for much more than body blocking the fifth estate (which he usually did with a gentlemanly grace). Mr. Spielberg did not become Mr. Spielberg because of his filmmaking alone: For 42 years, Mr. Levy was behind the scenes — promoting, polishing, spinning, safeguarding, strategizing — to ensure that his boss was viewed worldwide as Hollywood’s de facto head of state.In addition to representing him personally, Mr. Levy helped devise and lead publicity campaigns for 32 movies that Mr. Spielberg directed, including several with sensitive subject matter, like “The Color Purple” (1985), “Schindler’s List” (1993) and “Munich” (2005).Mr. Levy died on April 7 at his home in the Studio City neighborhood of Los Angeles. He was 96. His death was announced by Mr. Spielberg’s production company Amblin Entertainment.Mr. Levy with his wife, Carol, and Steven Spielberg in 2014.Jeff Kravitz/FilmMagic, via Amblin EntertainmentOver Mr. Levy’s 73-year entertainment career — an eternity in fickle and ageist Hollywood — he worked on more than 150 movies and TV shows. He helped turn “Ben-Hur” (1959), “Taxi Driver” (1976) and “Kramer vs. Kramer” (1979) into hits.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 Tax Day Jam Session

    File your 1040 to tunes by Destiny’s Child, Dr. John, Big Tymers and more.Destiny’s Child onstage in 2005, giving a withering look to those bills in question.Rahav SegevDear listeners,Lindsay is still out, which means you’ve got me (an editor who focuses on pop culture) on a day where you may need a bit of good fortune: Tax Day.I don’t know what kind of anxiety April 15 provokes in you, but I’ve collected a playlist inspired by a bit of family lore. As the story goes, my newly married dad once griped to my grandfather about how quickly bills ate up a paycheck, down to the last dollar. Gramps’s response: “Be glad you had that dollar.”So in the spirit of celebrating having just enough, I’m sharing my Tax Day jams. Savvy reader, you do not need me to point out all the root-of-all-evil bangers, scrapin’ and scrappin’ classics or TV ad earworms that mention money, money, money. I am also not here to question the tax code. Instead, I’ve assembled a set of songs that bop in the face of financial constraints, because getting down is, for now, still free.I fly in any weather,ElenaListen along while you read.1. Ray Charles: “Busted”Harlan Howard’s lyrics are about as low as low gets (“my bills are all due and the baby needs shoes but I’m busted”) and suit the songwriter’s “three chords and the truth” approach to country classics. But under Ray Charles’s guidance, and with a blaring horn section, this 1963 single gains a “but who cares?” lilt that earned Charles the Grammy for best R&B recording.▶ Listen on Spotify, Apple Music or YouTubeWe 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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    Lincoln Center Summer Festival to Bring Back Some Classical Music

    Summer for the City will feature a dozen productions by the American Modern Opera Company, a Sanskrit epic, a celebration of Brazil and more.Lincoln Center’s summer festival will highlight the city’s diverse cultural traditions, the center announced on Tuesday, including performances by an experimental collective; a celebration of Brazilian culture; and the staging of a Sanskrit epic.The collective, American Modern Opera Company, which is made up of musicians and dancers, will present a dozen productions, making its Lincoln Center debut. The festival, Summer for the City, will run June 11 through Aug. 9, and it will also include a six-performance engagement by the string quartet Brooklyn Rider to celebrate the group’s 20th anniversary.Since the festival began, in 2022, it has scaled back the classical music and opera programming that used to define summer events like the Lincoln Center Festival and the Mostly Mozart Festival. This edition is a restoration of some of those types of offerings.“This is a constantly evolving city and artist community and audience, and it’s our job to be in that conversation,” Shanta Thake, Lincoln Center’s chief artistic officer, said in an interview. “You will never see a summer that looks like the summer before.”Summer for the City is part of the center’s efforts to appeal to new audiences by promoting an array of genres, including classical music, comedy, pop and social dance. Last year, the festival attracted 442,000 people, up from 380,000 in 2023, the center said.In June, members of the American Modern Opera Company will perform the New York premiere of “The Comet/Poppea,” which pairs George Lewis’s adaptation of W.E.B. Du Bois’s story “The Comet” and Monteverdi’s “L’Incoronazione di Poppea.” Additional programming by the collective includes a staging of Messiaen’s song cycle “Harawi,” sung by the soprano Julia Bullock, and the staged premiere of Matthew Aucoin’s “Music for New Bodies,” directed by Peter Sellars. The lineup also features “Rome Is Falling,” written by the bass player Doug Balliett, and described as a “zany lesson on the absurdity of what can happen when influential people lose power.”Lincoln Center said it hoped this year’s festival would help shine a light on the city’s vibrant cultural communities. The lineup includes “Mahabharata,” a large-scale retelling of a Sanskrit epic by Why Not Theater, a Canadian group, and a weeklong celebration of Brazilian culture featuring the singer-songwriter Lenine and the rock band Os Mutantes.The Festival Orchestra of Lincoln Center, under the baton of its music and artistic director Jonathon Heyward, will perform a mix of new and old. Each of its programs will feature at least one living composer. But the ensemble will also perform Robert Schumann’s Fourth Symphony, Clara Schumann’s Konzertsatz in F minor, Beethoven’s Seventh Symphony and other classic works.The giant disco ball that has become a staple of the festival will once again hang over a dance floor built on Lincoln Center’s main plaza. Clint Ramos, the Broadway costume and set designer, will return to decorate the center’s outdoor spaces, this year based on the theme of birds. More