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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

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    When Nobu Masuhisa Changed Sushi in America Forever

    “I am so glad I didn’t give up on my life and kept going,” says the chef, who’s the subject of a new documentary about his remarkable career.Nobu sits along the Pacific Coast Highway in Malibu, with ocean waves lapping under its outdoor deck. It is an interlude of tranquillity along a road that is a maze of construction crews, police cars, fire trucks and the charred frames of beachfront homes — evidence of the wildfires that raced through here earlier this year.But at 11:45 a.m. on a recent Saturday, the crowd stretched 200-feet deep waiting for Nobu to open for lunch. By 12:30, every table was filled. It was a testament to the endurance and appeal of a restaurant that encapsulates — in food, celebrity and style — a global phenomenon that began 38 years ago, and 20 miles away, when the chef Nobu Matsuhisa opened a modest sushi restaurant in Beverly Hills.At 76, Matsuhisa today sits atop a restaurant and hotel empire that stretches almost entirely around the globe. He is the chef who, as much as anyone, transformed the sushi scene in New York and, to a lesser extent, Los Angeles. He was one of the first chefs, along with Wolfgang Puck, to have soared beyond the boundaries of his first restaurant to become a celebrity in his own right. And he is now the subject of a new documentary, “Nobu,” tracing the arc of his life, from growing up in a small town outside Tokyo to becoming a magnate with homes in Japan and Bel-Air.“I am step by step,” Matsuhisa told me. “When I opened my first restaurant in 1987, I never thought about growing. Always I had the passions — always my base was cooking. And now I have so many, we have so many restaurants around the world.”“There are a handful of people who have changed the way the world eats,” the critic Ruth Reichl says in the documentary. “Nobu is certainly there in that pantheon.”AGC InternationalAs Matt Tyrnauer, the filmmaker who spent two years making the documentary, said over plates of sushi at the Nobu in Malibu: “He’s gone from one modest restaurant on La Cienega to becoming a global luxury brand centered on food and hospitality. There are not a lot of people that have pulled that off.”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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    Amie Donald Has the Moves as the Killer Robot in ‘M3gan 2.0’

    The sunny 15-year-old dancer-turned-actress is about as far as you can get from the role she’s best known for: a deadly A.I. doll.Onscreen, Amie Donald is best known for her role as the killer robot M3gan in the sci-fi horror franchise.But, in real life, Donald, 15, spends a majority of her days in the idyllic, sun-soaked setting of lushly forested New Zealand, where kiwi roam and she’s apt to take a bush walk outside her parents’ home in Papakura, a suburb in South Auckland.“I really enjoy all the nature here,” she said on a video call from the house on a recent morning. Her long red hair fell in beachy waves as sunlight danced on her white sweater. Framed photos of her and her parents and older brother filled the walls behind her.Donald is about the furthest you could get from the cutthroat killer robot returning in the new sequel, “M3gan 2.0.” For one thing, she smiles far too much. Other people, she said, would describe her as “very caring.” She wasn’t a fan of horror films until landing “M3gan” — though she’s since started watching them with her father, and now counts “It” and “The Purge” among her favorites. “I love them so much,” she said.M3gan, the robot that becomes frighteningly protective of a young girl named Cady, was Donald’s first role in a film, following her TV debut as Maya Monkey, an acrobatic girl with simian features, in Netflix’s postapocalyptic series “Sweet Tooth.”Amie Donald embodies the killer doll in the original and “M3gan 2.0,” although a synthetic mask covers her face.Geoffrey Short/Universal PicturesWe 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