Aurelia Butler

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    ‘Deadpool & Wolverine’ Director Shawn Levy on Those Surprise Cameos

    Shawn Levy explains the thinking behind specific cameos, what was saved from discarded scripts and how they made that end-credits tribute to Fox.Though the director Shawn Levy has spent the last several months promoting his new blockbuster, “Deadpool & Wolverine,” there was so much he couldn’t say until now.“This conversation will be tantamount to therapy for me,” Levy joked last week as he signed on to a video call to discuss cameos and plot elements that had to be kept hidden until after the film’s juggernaut opening weekend. (Major spoilers follow.)Though trailers sold the movie as a team-up between Ryan Reynolds’s meta mercenary, Deadpool, and Hugh Jackman’s surly mutant, Wolverine, the starry supporting cast includes some big surprises, including Jennifer Garner as the assassin Elektra, Wesley Snipes as the vampire hunter Blade and Channing Tatum as the card-tossing mutant Gambit. The film’s multiverse-spanning shenanigans also allow the return of Chris Evans, who retired his Captain America character in “Avengers: Endgame” but here reprises Johnny Storm, the “Fantastic Four” character he played back when 20th Century Fox owned key pieces of the Marvel portfolio.Levy said nearly all of those surprise cameos were hatched in Reynolds’s apartment, where much of the movie was conceived amid pie-in-the-sky brainstorming. “It was the two of us acting scenes out, passing a laptop back and forth and saying, ‘Hey, what if this?’” Levy recalled. “It invariably led to one of us texting that actor and just asking.”Here are edited excerpts from our conversation.Ryan has said that you both had trouble cracking the story before Hugh agreed to come on board. Was there anything from those early, Wolverine-less versions that you kept?A few disparate elements made it all the way through, and one of the bigger ones includes this notion of Wade going through a midlife malaise and selling used cars: This was a guy who had given up on his better self and was living a life of compromise. That survived through the Wolverine iteration of this movie, as did the imperative of having Wade’s chosen family factor in. And I remember [Paul] Wernick and [Rhett] Reese, who co-wrote the first “Deadpool” movies, pitching this idea of a Chris Evans misdirect very, very early: What if we could get Chris Evans and the audience thinks it’s Cap, but he’s actually coming back as Johnny Storm? It was such an A-plus idea that it survived every iteration of the story line.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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    An 18th-Century Phenom Arrives at Lincoln Center

    The Festival Orchestra of Lincoln Center will play Marianna Martines’s Symphony in C, a milestone for a composer whose music mostly fell silent after her death.The composer Marianna Martines grew up in Vienna when the city was teeming with towering figures in classical music. Haydn was her neighbor and teacher. Mozart sought her out as a duet partner.Born in 1744, Martines began her remarkable career at just 16. At 38, she became the first female composer programmed by the Society of Musicians, whose elite concert series also gave Beethoven his Viennese performance debut. But after her death, in 1812, Martines’s music mostly fell silent, a fate shared by so many female composers of her era.This week, though, the Summer for the City festival at Lincoln Center will perform Martines’s Symphony in C major (1770), a work composed decades before it was common for women to write orchestral music. The performances are a significant step in the reclamation of her music.“It was an easy decision to present this fantastic piece,” said Jonathon Heyward, the music director of the Festival Orchestra of Lincoln Center. “The whole piece is filled with wonderful interplay within the strings and the wind parts.” The first movement, he added, “is light and spirited.”The pianist Sandra Mogensen found similar qualities in Martines’s piano music, calling it “sparkly, wonderful and vibrant.” She and her colleague Erica Sipes have played through all of Martines’s available keyboard works as part of Piano Music She Wrote, an online project they founded in 2020 to encourage performances of public domain piano music by women. Martines’s Piano Sonata in A major (1765) was one of the first pieces Sipes recorded. “It pulled me in,” she said. “Every movement has something different to say.”This past spring, Elizabeth Schauer, director of choral activities at the University of Arizona, led what was likely the first performance since Martines’s death of her Mass No. 3 (1761). When she wrote it, “she was only 17,” Schauer said. “My students and I found it astonishing and beautiful.” Schauer used a new score reconstructed by her student James Higgs from manuscripts. For Higgs, Martines’s style reflects her teachers and supporters in Vienna, who were Italian.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 Did Flavor Flav Become a Hype Man for the U.S. Women’s Water Polo Team?

    The rapper has become a self-appointed hype man and benefactor to the U.S. women’s team in Paris. He plans to keep the poolside party going into 2028.As the robed members of the U.S. women’s water polo team stood single file at the pool’s edge before their match against Italy at the Paris Olympics, the rapper Flavor Flav stood directly across from them, clapping while the announcer at the Aquatics Centre in St.-Denis, France, listed the American players’ names one by one. He made a heart gesture with his hands.For the rest of the match, he rarely sat. Wearing a personalized water polo cap and jersey and a dessert-plate-size clock on a chain around his neck — all of them red, white and blue — America’s newest (and perhaps most unlikely) water polo fan leaned nervously against a glass barrier and shouted encouragement.Whenever the United States scored, he raised his wrists — both were adorned with big-faced watches — and shouted gleefully. He does not care if the players cannot hear him, he said; he prefers that they focus on their assignments anyway.“They know deep down in their hearts and they know way in the back of their mind that Flav is right there for us,” he said in an interview at a hospitality venue in Paris after the game.In an Olympics in which Snoop Dogg has seemed ubiquitous, a women’s rugby player has recruited an N.F.L. superfan and Parisian fans have lost their minds, the relationship between a team of women’s water polo players and a 65-year-old rapper from Long Island might rank as just another curious pairing. Except it’s not: When it comes to water polo, Flavor Flav is quick to remind anyone, he is all in.The United States beat Italy, 10-3, in a group match on Wednesday. The team then beat France, 17-5, to close pool play with a 3-1 record.Gabriela Bhaskar for The New York TimesWe 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 Death-Driven ‘Tristan und Isolde’ at the Bayreuth Festival

    Thorleifur Orn Arnarsson’s production of “Tristan und Isolde” at the Bayreuth Festival in Germany is an excellently conducted puzzle of grim symbols.Wagner’s “Tristan und Isolde” is not a love story. It’s a death story.It’s an opera in which the central duet is an ecstatic, philosophical declaration of love through a pledge of mutual death. Tristan, his name itself rooted in sadness, welcomes his end as a release; the greatest act of devotion, for Isolde, would be to join him in a state of love transfigured.OK, maybe “Tristan” is both a love story and a death story.Thorleifur Orn Arnarsson’s new production, at the Bayreuth Festival in Germany, emphasizes the death part more. (People in the country can stream it on BR Klassik.) He sets the opera in a purgatorial space and, instead of spiritual transformation, portrays a scarcely transcendent suicide, an act of self-destruction in service of love.It’s a bleak but still Romantic outlook, conveyed with stubborn opacity and a loose grip of the dramaturgy. A director’s vision, though, is just one reason to visit Bayreuth, the pilgrimage-like festival that Wagner founded nearly 150 years ago.This “Tristan” belongs, above all, to the conductor Semyon Bychkov. He previously led “Parsifal” at Bayreuth with shocking speed, but he did something like the opposite here: not necessarily stretching the score, but relishing key moments to guide the audience’s emotions as commandingly as Wagner intended. At times, the passion was tidal; at others, teeming with anticipation.(Bychkov is in good company. The festival has had its share of conductor missteps in recent years, but the evening before I saw “Tristan,” Simone Young led a masterly “Götterdämmerung”; elsewhere at Bayreuth, Pablo Heras-Casado is returning for “Parsifal”; Nathalie Stutzmann is picking up a “Tannhäuser” once botched by Valery Gergiev; and Oksana Lyniv continues her fiery “Der Fliegende Holländer.” With three female conductors out of five total, Bayreuth’s gender distribution is applaudably better than many in classical music and opera.)Thorleifur Orn Arnarsson’s production abstracts parts of a ruined ship that, by the third act, is broken up and scattered around the stage.Enrico Nawrath/Bayreuther FestspieleWe 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 the Runaways’ Jackie Fox Made a Rock ’n’ Roll Board Game

    The teenage bassist of the Runaways cut her music career short in 1977. Rather than retell her story, she’s reimagined it as a board game, Rock Hard: 1977.Jackie Fox grew up with a guitar in her hand. In 1975, when she was 15 years old, she was pulled off the dance floor at a Hollywood nightclub and recruited to join an all-girl teen rock band. The Runaways became a sensation and tossed Fox and her young bandmates into a turbulent industry that was also violent and sexist. In 1977, Fox quit the band. She never played music professionally again.Now, almost 50 years later, Fox has recast her experience in the form of a board game. In Rock Hard: 1977, Fox has shrunk the chaotic ’70s club scene to the size of a card table. She has written her own rules, anointed new kinds of rock stars and assumed control. Now she can play on her own terms — and win.“As soon as I decided I was going to design a game, I knew it was going to be about becoming a rock star,” Fox, 64, said in a video interview from her Los Angeles home earlier this week. “People have been asking me to ‘tell my story,’ and there are a lot of reasons why I don’t want to sit down and write a book.” After all the years she has spent living and reliving that experience, she wanted to reimagine it — to create a situation where she could have fun.From left: Joan Jett, Fox, Cherie Currie, Sandy West and Lita Ford of the Runaways onstage in 1976 at CBGBs.Richard E. Aaron/Redferns, via Getty ImagesIn the game, you play one of 10 characters who are, much like Fox was, musicians on the verge of stardom in 1977. (They each have excellent hair.) As you roll the dice and pull cards, your rock hopeful hops around a board from day job to rehearsal studio, vying to achieve personal goals while growing your reputation and writing songs. Points are tallied on a board styled like an amp that turns up to 11.As your avatar works her way up from bar mitzvahs to arena stages, you navigate managers, journalists, D.J.s and fans. The game’s protagonists are largely not the white men who dominated the rock scene in the 1970s, but characters representing the diverse musicians who played in clubs and toiled in studios, angling for their shot. You can play as Yolanda Delacroix, an Afro-Cuban studio musician, or “Doc” Sapphire, the androgynous child of Indian immigrants, and the game play is tuned slightly to reflect their experiences.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 Interview’: Vince Vaughn Turned This Interview Into Self-Help

    The Vince Vaughn who lives in my head is one of my favorite comedic actors. He’s the swaggering, charmingly sarcastic and cheerily ingratiating star of that great run of hit comedies from the early 2000s: “Old School,” “Dodgeball,” “Wedding Crashers,” “The Break-Up.” (His cameo in “Anchorman” and recurring role as Freddy Funkhouser on “Curb Your Enthusiasm” are also prime comedic Vaughniana.) And putting my own preferences aside, I’d argue that there’s a whole microgeneration of dudes who tried to swipe the neo-Rat Pack vibes that Vaughn was able to deploy so winningly in “Swingers.”Listen to the Conversation With Vince VaughnI went in expecting a swaggering, overconfident guy. I found something much more interesting.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon Music | NYT Audio AppIn more recent years, though, after the often R-rated, kind of bro-y comedies with which Vaughn made his mark lost some of their cultural mojo, he has focused more on dramatic roles: the highly anticipated, widely maligned and then critically reconsidered second season of “True Detective,” for example, or his performances in the brutally uncompromising crime films of the director S. Craig Zahler (“Brawl in Cell Block 99,” “Dragged Across Concrete”).But as good as Vaughn can be with darker characters, I never connected those parts to the man who played them. Ahead of our interview, I made the perhaps-common journalist’s mistake of expecting to talk with someone akin to the playfully glib guy from those comedies I love. (That’s in no small part thanks to how Vaughn’s role as a world-weary, wiseass former detective in the new Apple TV+ series “Bad Monkey” scans as a mature update of his comedic persona.) But what I was expecting from Vaughn wasn’t what I got. Instead, I found someone more provocative and earnest, who came most alive when he put me under the conversational microscope. Which is to say, I got a surprise.Hollywood doesn’t know what to do with R-rated comedies anymore. Why do you think they’ve become harder to crack? When you talk about the R comedies in Hollywood, I feel like there’s a set of rules that the executives follow. The goal is not to get fired — they can defend why they greenlit something. The R comedies that took off was the studio saying to young people that were funny, “Go ahead.” They didn’t micromanage. We were on the sets changing lines and trying to make each other laugh. It’s not done as well by committee. They started managing everything too much and trying to control it all.Vince Vaughn with John Favreau in “Swingers” (1996).Miramax Films, via Everett Collection More

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    How a ‘Dirty Gospel’ Minister Spends His Sundays

    The Reverend Vince Anderson, a mainstay of the Brooklyn music scene, fills his day with worship in two languages, the Mets and a full hour of watering his 92 houseplants.When most people picture a minister, Vince Anderson is not who comes to mind.He curses. He wears caftans. He has played a “dirty gospel” residency with his six-member band, The Love Choir, on Monday nights for the past 26 years, a majority of them at the Union Pool bar in Williamsburg, Brooklyn. His signature song is “Get Out of My Way,” a growling, percussive call-and-response anthem he wrote in 2000. (He used to get naked by the end of every show; he stopped in the mid-2000s.)Mr. Anderson, 53, who left seminary after three months in 1994 to pursue music, is the minister of music and community arts at Bushwick Abbey, an Episcopal church in Brooklyn, and plays the piano for Sunday services at Iglesia de la Santa Cruz, a Spanish-speaking congregation in the same building.Known as Reverend Vince, Mr. Anderson said he was ordained in 2003. He has played with all of his band members since at least about that time, and he said they’ve never had a rehearsal. “Once in a while I send the band a crude recording, but most of the time I just play a new song once onstage for the first time on piano, and they kind of get it, and then we go into it,” he said.He was the subject of a 2022 documentary, “The Reverend,” which is now streaming on Amazon Prime Video and the Criterion Channel. He lives in a two-bedroom apartment in the Ridgewood neighborhood of Queens — about a 15-minute walk from his Bushwick congregations — with his wife of five years, Millicent Souris, 50, a cook and a writer, and their 3-month-old rescue kittens, Ace and Sonny.DAILY DEVOTIONS I wake up around 7 a.m. — lately I’ve been trying to keep my phone out of my bedroom, so I just use my Apple Watch for an alarm — and read a book or some psalms. I’m currently reading “Wandering Stars,” Tommy Orange’s new novel. I let the kittens come in and cuddle with me for a minute. Rather than doomscrolling, I’m trying to just be thankful and count my blessings; it’s important to me to be present in the moment to start my day.GETTING CENTERED I started drawing mandalas during my recovery from spinal surgery in January (I had five herniated discs in my spine, all from me playing piano) and I’ve kept it up. I’ll paint or draw something in a circle, which gives me focus. It opens up the spiritual side of me and gets the creative side of me flowing in a different way than music does.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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    Aerosmith Retires From Touring, Citing Steven Tyler’s Vocal Injury

    Last year, the band’s frontman, Steven Tyler, suffered a vocal injury during a show, and the farewell tour was postponed. The band announced its retirement on Friday, saying a full recovery was not possible.Aerosmith, the venerated American hard rock band whose hit records like “Dream On” have reverberated across the airwaves and in sweaty sold-out venues around the world for more than half a century, announced Friday that it was retiring from the tour stage, citing a permanent vocal injury to its star frontman, Steven Tyler.“He has spent months tirelessly working on getting his voice to where it was before his injury,” the band said in a statement on its website. “We’ve seen him struggling despite having the best medical team by his side. Sadly, it is clear, that a full recovery from his vocal injury is not possible. We have made a heartbreaking and difficult, but necessary, decision — as a band of brothers — to retire from the touring stage.”An email message sent to a representative for the band on Friday night was not immediately returned.The announcement came ahead of the band’s “Peace Out” farewell tour, which had been set to begin in Pittsburgh on Sept. 20 and run through February at stops in the United States and in Canada, including a performance at Madison Square Garden in New York City on Feb. 23, 2025. The band’s final tour stop was scheduled for Buffalo on Feb 26.The tour had been postponed to later this year after Tyler, 76, hurt his vocal cords during the band’s Sept. 9, 2023, show at UBS Arena on Long Island. The band said that it had decided to postpone the tour until this year because the injury turned out to be more serious than initially thought and involved a fractured larynx in addition to the vocal cord damage.Fans who purchased tickets through Ticketmaster will receive automatic refunds, the band said. People who bought tickets via third-party sites were asked to contact those vendors. More