Aurelia Butler

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    ‘The Idea of You’ Review: Surviving Celebrity

    Anne Hathaway headlines a movie that’s got a lot to say about the perils of fame.Women of a certain age (that is, my age) feel like they grew up alongside Anne Hathaway, because, well, we did. We were awkward teens together when she made “The Princess Diaries” in 2001. We felt ourselves to be put-upon entry-level hirelings right when “The Devil Wears Prada” came out in 2006. We understood her broken-down narcissistic addict in “Rachel Getting Married,” because who couldn’t? And we watched the Hathaway backlash, pegged to public perception that she was trying too hard, and worried that people saw us the same way.Now we’re 40-ish. We know for sure that Gen Z considers millennials to be cringe, and, thankfully, we no longer feel the need to care. The greatest gift of reaching middle age is having settled into yourself, and that is apparently what Hathaway, age 41, has done. She has been through the celebrity wringer (and more) and come out the other side looking radiant, with a long list of credits in movies that swing from standard commercial fare to auteurist masterpieces.This is perhaps why it’s so satisfying to see her name come first — alone, before the title credit — in “The Idea of You,” which is on its surface a relatively fluffy little film. Based on the sleeper hit novel by Robinne Lee, “The Idea of You” is plainly fantasy, in the fan fiction mold, that poses the question: What if Harry Styles, the British megastar and former frontman of One Direction, fell madly in love with a hot 40-year-old mom? In this universe, the Styles character is Hayes Campbell (Nicholas Galitzine), the British frontman of a five-member boy band called August Moon.Hathaway plays Solène Marchand, an art gallery owner whose arrogantly useless ex-husband, Daniel (Reid Scott), buys v.i.p. meet-and-greet tickets for their 16-year-old daughter, Izzy (Ella Rubin), and her two best friends, all of whom were huge August Moon fans … in the seventh grade. The event is at Coachella, and Daniel is set to take the teenagers but backs out at the last second, citing a work emergency. Solène reluctantly agrees to take them, and while at the festival, mistakes Hayes’s trailer for the bathroom. They meet, it’s cute, and you can guess what happens next.Or can you? It was clear about 10 minutes into the movie that what was required for enjoyment was to surrender to the daydreaming, and so, with very little internal protest, I did. How could I resist? Solène is smart, competent, kind and secure; she has great hair and a great wardrobe; and most important, she seems like a real person, even if the situation in which she finds herself greatly stretches the bonds of credibility. More than once, I was struck by how authentically 40 Solène seemed to me — a woman capable of making her own decisions, even ones she thinks might be ill-advised — and how weirdly rare it is to see that kind of character in a movie. She has a kid, and friends, and a career. She reads books and looks at art, and she is flattered by this 24-year-old superstar’s attention but takes a long time to come around to the idea that it may not be a joke.Solène also feels real shame and real resolve in the course of the winding fairy tale story, which predictably has to go south. But most of all, she’s in a movie that doesn’t try to shame her, or patronize her, or make her appear ridiculous for having desires and fantasies of her own. She’s just who she is, and it’s simple to understand her appeal to someone whose life has never been his own.Directed by Michael Showalter, who wrote the adapted screenplay with Jennifer Westfeldt, “The Idea of You” succeeds mostly because of Hathaway’s performance, though she and Galitzine spark and banter pleasurably (and he can dance and sing, too). It tweaks the novel in a number of ways — Hayes is older than the book’s character, for one thing — and also seems to implicitly know it’s a movie, and that movies have a strange relationship with age-gap romances.In fact, that’s one of its strengths. Several times, characters remark on the double standard attached to people’s judgment of Solène and Hayes’s relationship, hypothesizing that in a gender-swapped situation, people would be high-fiving the older man who landed the hot younger star. Sixteen years looks like a lot on paper, but in the movies, at least, it is barely a blip.That musing is interesting enough, if a familiar one. More fascinating in “The Idea of You” is its treatment of the cage of celebrity. Hayes seems mature compared with his bandmates and the girls who follow them around, but he’s also clearly stuck in some kind of arrested development. And I do mean stuck: He is self-aware enough to tell Solène, plaintively, that he auditioned for the band when he was 14 and not much has changed beyond his level of fame. He wants a life beyond the spotlight, badly.And that’s just what he can’t get. Neither can Solène, nor, eventually, anyone around her. The idea of living a quiet life might obviously be out of reach, but the added elements of tabloid news and rabid fans unafraid to treat Hayes as if they know him make things far worse. The film starts to feel a little like the tale of a monster, but the monster is parasociality, encouraged by the illusion of intimacy that the modern superstar machine relies on to keep selling tickets and merch and albums and whatever else keeps the star in the spotlight.It’s probably coincidental that “The Idea of You” comes on the heels of Taylor Swift’s latest album, “The Tortured Poets Department,” on which she strongly implies that her carefully cultivated fandom has made her love life a nightmare. But spiritually, at least, they’re of a piece — even if the origins of the film’s plot seem as much borne of parasociality as a critique of it. And that makes Hathaway’s performance extra poignant. She’s been dragged into that buzz saw before. And somehow, she’s figured out how to make a life on the other side of it.The Idea of YouRated R for getting hot and heavy, plus some language. Running time: 1 hour 55 minutes. Watch on Prime Video. More

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    Richard Tandy, Keyboardist for Electric Light Orchestra, Dies at 76

    He helped shape the band’s futuristic sound, which blended Beatles-esque pop with orchestral arrangements.Richard Tandy, the keyboardist for the British rock band Electric Light Orchestra, whose riffs helped define the futuristic blend of Beatles-esque pop and orchestral arrangements that catapulted the group to global fame in the 1970s, has died. He was 76.His death was announced by Jeff Lynne, the band’s frontman and leader, in a social media post. Mr. Lynne, who called Mr. Tandy his “longtime collaborator,” did not specify when Mr. Tandy had died or the cause of death.Born on March 26, 1948, in Birmingham, England, Mr. Tandy first entered the orbit of E.L.O. by playing the harpsichord in a band with Bev Bevan, who would later become E.L.O.’s drummer.He joined E.L.O. after the release of its first album in 1972, initially playing bass guitar but later becoming the group’s keyboardist after another founding member left.Through ever-changing lineups, Mr. Tandy remained a core band member alongside Mr. Lynne and Mr. Bevan, until it disbanded in 1986. The band went on to sell over 50 million albums, with five reaching Billboard’s top 10.Playing a range of keyboard instruments including the clavinet — an electric clavichord — and the Minimoog synthesizer, Mr. Tandy’s riffs provided the foundations for some of E.L.O.’s most famous songs.On “Evil Woman,” one of the group’s best known songs, it was Mr. Tandy’s “funky clavinet riff that duels with the group’s vocals during the chorus,” in addition to gospel-styled female backing vocals, that made the song “a multi-textured feast of pop hooks,” Donald A. Guarisco wrote for the All Music Guide. Another of the band’s biggest hits, “Mr. Blue Sky,” featured Mr. Tandy’s riff and synthesized vocals.While Mr. Lynne, the frontman, was the driving force behind E.L.O., Mr. Tandy was his key collaborator, co-arranging many of the string parts of the group’s songs.“Tandy was crucial in ELO’s creation of a realm where rock and classical music could exist together,” the Rock & Roll Hall of Fame, into which E.L.O. was inducted in 2017, said on social media on Tuesday.Mr. Tandy’s surviving family include his wife Sheila, Mr. Lynne said. More

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    2 Players Sue Philharmonic, Saying They Were Wrongfully Suspended

    Matthew Muckey and Liang Wang said they were sidelined without cause by the New York Philharmonic after a recent magazine article detailed allegations of misconduct against them.Two New York Philharmonic players sued the orchestra on Wednesday, saying they had been wrongfully suspended after a recent magazine article revived allegations of misconduct against them.The players, Matthew Muckey and Liang Wang, filed separate lawsuits in Federal District Court in Manhattan. The men claimed that the Philharmonic had removed them without cause and in violation of an arbitrator’s ruling, which had ordered the orchestra to reinstate them in 2020 after an earlier attempt to fire them. The players also sued their union, Local 802 of the American Federation of Musicians, accusing the organization of failing to provide them fair representation.The Philharmonic, which recently said it would commission an outside investigation into the orchestra’s culture in response to the uproar over the article, said that it could not comment on active litigation. Local 802 declined to comment.The lawsuits came after a report last month in New York magazine detailed accusations of misconduct made in 2010 against Mr. Muckey, the associate principal trumpet, and Mr. Wang, the principal oboist. After the story’s publication the Philharmonic moved quickly to remove Mr. Muckey and Mr. Wang from rehearsals and performances and suspend the players with pay for an indefinite period.In the article Cara Kizer, a former Philharmonic horn player, came forward for the first time to publicly discuss an encounter that she said occurred while she was on tour with the Philharmonic in Vail, Colo., in 2010. She told the Vail Police Department at the time that she had been sexually assaulted after spending the evening with the two players and was given a drink she came to believe was drugged, according to police records. No charges were filed against the men, and both have denied wrongdoing. In 2018 the Philharmonic, under new leadership, commissioned an investigation and moved to dismiss Mr. Muckey and Mr. Wang. But the players’ union challenged their dismissals, and an independent arbitrator forced the orchestra to reinstate them in 2020.Mr. Muckey’s lawsuit accused the Philharmonic of backtracking on that agreement. The suit said that the orchestra had “violated an indisputably final and binding award which has determined that Mr. Muckey could not be removed based upon such allegations and specifically ordered his reinstatement with back pay and seniority.”Mr. Wang accused the Philharmonic of suspending him “without cause or explanation, and in clear violation of the terms of his employment, which expressly require that he be given opportunities to perform and excel as a musician.” His suit claims that a lawyer for the Philharmonic said in 2019 that the ensemble had not accused Mr. Wang of misconduct related to the incident in Colorado.Both men claimed that Local 802, which fought for their reinstatement in 2018, had failed to respond to their requests for assistance in contesting their new suspensions. The union has struck a different tone on the case since the publication of the article. Sara Cutler, Local 802’s new president and executive director, said last month that the decision to keep Mr. Wang and Mr. Muckey offstage “are good first steps, but they can’t be the last.” She also said that she was “horrified” by the accusations, “as a woman, a musician and a new union president.”Mr. Wang’s suit accused Ms. Cutler of making “duplicitous and injurious statements.” Mr. Muckey’s suit said that Local 802 had “failed and refused to perform its duty of fair representation.” Mr. Muckey and Mr. Wang, who are seeking an unspecified amount in damages, said that the Philharmonic’s decision to suspend them had harmed their careers. Mr. Muckey lost engagements with the Chamber Music Society of Lincoln Center and other ensembles. Mr. Wang was placed on leave from the Manhattan School of Music, where he teaches, and he lost work with the Taipei Music Academy and Festival and other groups. More

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    Duane Eddy, Whose Twang Changed Rock ’n’ Roll, Dies at 86

    A self-taught electric guitar virtuoso, he influenced a generation of musicians. One of them, John Fogerty, called him rock’s first guitar god.Duane Eddy, who broke new ground in pop music in the 1950s with a reverberant, staccato style of guitar playing that became known as twang, died on Tuesday in Franklin, Tenn. He was 86. The cause of his death, in a hospital, was complications of cancer, said his wife, Deed (Abbate) Eddy.Mr. Eddy had tremendous success as a strictly instrumental recording artist in the late 1950s and ’60s, selling millions of records worldwide with growling, echo-laden hits like “Rebel Rouser” and “Forty Miles of Bad Road.” In the process, he played a major role in establishing electric guitar as the predominant musical instrument in rock ’n’ roll.Mr. Eddy influenced a multitude of rock guitarists, including George Harrison, Jimi Hendrix and Bruce Springsteen, whose plunging guitar lines on “Born to Run” pay homage to Mr. Eddy’s muscular fretwork.“Duane Eddy was the front guy, the first rock and roll guitar god,” John Fogerty, the founding lead singer and guitarist of Creedence Clearwater Revival, is quoted as saying on the Rhino Records website.Mr. Eddy, who was self-taught, devised his rhythmic melodicism by playing the lead lines on his recordings on his guitar’s bass strings and by liberally using the vibrato bar. He never learned to read or score music, but he had a strong ear for pop idioms, including country, jazz, and rhythm and blues.Mr. Eddy in a publicity photo from 1958, the year his rollicking “Cannonball” charted in both the United States and Britain.PoPsie Randolph/Michael Ochs Archives, via Getty ImagesHe also had a knack for studio experimentation; at one point he brought a 2,000-gallon water tank to a session and placed a speaker inside to simulate the effects of an echo chamber.“I like exploring different textures on tracks in the studio, and different arrangement ideas,” Mr. Eddy said in a 2013 interview with Guitar Player magazine, which had honored him in 2004 with its Legend Award.“For me,” Mr. Eddy went on, “it’s not just playing the instrument, it’s also making the record. I guess a better way of explaining it is that I don’t write or arrange songs as such. Instead, I think of it as writing or arranging records. My sound is the common denominator that pulls all the threads and knits them together.”Easily recognizable, Mr. Eddy’s signature approach to the guitar accounted for 15 Top 40 pop hits from 1958 to 1963. “Because They’re Young,” a string-sweetened record, appeared on the soundtrack of the 1960 movie of the same name that starred Dick Clark and Tuesday Weld. More characteristic of Mr. Eddy’s gritty playing was “Cannonball,” a rollicking instrumental that reached the pop Top 20 in the U.S. and the Top 10 in Britain in 1958, and “(Dance With the) Guitar Man,” a 1962 hit that featured a female vocal group on the chorus. “The Ballad of Paladin,” a loping instrumental, was used as the theme for the CBS television series “Have Gun — Will Travel.”Most of Mr. Eddy’s albums from the late 1950s and early ’60s incorporated a variation on the word “twang” in their titles. This one, released in 1960, was co-produced by his frequent collaborator Lee Hazlewood.Jamie RecordsMost of Mr. Eddy’s early recordings were made with the producer and songwriter Lee Hazlewood and released on the Philadelphia-based label Jamie Records. The Rebels, his backing band, boasted several members of the celebrated West Coast studio collective known as the Wrecking Crew including the guitarist Al Casey, the saxophonists Jim Horn and Plas Johnson, and the keyboard and bass player Larry Knechtel.Most of Mr. Eddy’s albums from the late 1950s and early ’60s incorporated a version of the word “twang” in their titles.Mr. Eddy was born on April 26, 1938, in Corning, N.Y., a small town in the south central part of the state, and started playing the guitar at the age of 5. His father, Lloyd, drove a bread truck and later managed a Safeway grocery store, and his mother, Alberta Evelyn (Granger) Eddy, managed the home. The family moved to Tucson, Ariz., when Duane was 13, and then to Phoenix, where he met Mr. Hazlewood and they began their musical partnership.He acquired his first custom-made Chet Atkins-model Gretsch guitar when he was 16. He made his first recordings — as half of the duo Jimmy and Duane, with the pianist Jimmy Delbridge (who later recorded under the name Jimmy Dell) — the next year.Mr. Eddy on “American Bandstand” in 1958. A year earlier, he had begun touring with Dick Clark’s Caravan of Stars.ABC Photo Archives/Disney General Entertainment Content, via Getty ImagesIn 1957, Mr. Eddy began touring as a guitarist with Dick Clark’s Caravan of Stars, and he began releasing recordings under his own name shortly afterward.Mr. Eddy and Mr. Hazlewood parted ways over a contract dispute in late 1960, though they later reunited to work on projects. Mr. Eddy signed with RCA shortly after.The hit singles had stopped coming by the mid-1960s, but Mr. Eddy continued to release instrumental albums, including “Duane Does Dylan,” a collection of covers of songs written by Bob Dylan.The rockabilly revival of the next decade gave rise to renewed interested in Mr. Eddy’s work. The 1970s also saw Mr. Eddy producing albums by Phil Everly and Waylon Jennings, whose widow, Jessi Colter, was married to Mr. Eddy from 1962 to 1968.Mr. Eddy’s music was introduced to yet another generation of fans in the 1980s, when the British synth-pop group Art of Noise released an avant-disco reworking of his 1960 hit version of Henry Mancini’s “Peter Gunn,” with Mr. Eddy on lead guitar. It won a Grammy Award for best rock instrumental performance in 1987.Mr. Eddy plays guitar at the 2009 Country Music Hall of Fame Medallion Ceremony in Nashville. He was inducted into the Rock & Roll Hall of Fame in 1994.Ed Rode/Getty ImagesMr. Eddy was inducted into the Rock & Roll Hall of Fame in 1994, the same year that his original hit recording of “Rebel Rouser” appeared in the movie “Forrest Gump.” “The Trembler,” a track he wrote with Ravi Shankar, was featured in Oliver Stone’s 1994 film, “Natural Born Killers.” He was also inducted into the Musicians Hall of Fame in Nashville in 2008.In addition to his wife, Mr. Eddy is survived by three children, Linda Jones and Chris Eddy, from his first marriage, to Carol Puckett, and Jennifer Eddy Davis, from his marriage to Ms. Colter; a sister, Elaine Scarborough; five grandchildren; and nine great-grandchildren.Unlike many instrumentalists, Mr. Eddy said, he never seriously considered expanding his musical résumé to include vocals.Elaborating on the subject to Guitar Player in 2013, he recalled an interview with Conan O’Brien at which he was asked, “Duane, you’ve been in this business for many years now; what do you consider your greatest contribution to music?” He answered, “Not singing.”“I never felt that I had a good voice for singing,” he went on. “When I was young, this frustrated me a lot, so I took it out on the guitar.” More

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    Kim Noltemy, Orchestra Veteran, Is Tapped to Lead L.A. Philharmonic

    Noltemy, the Dallas Symphony Orchestra’s chief executive, will take the helm of the Philharmonic as it searches for its next music director.The Los Angeles Philharmonic’s history of inventive programming and strong finances have made it the envy of orchestras around the United States.But recently, the ensemble has been going through a period of abrupt change. Chad Smith, the ensemble’s former president and chief executive, left last year to run the Boston Symphony Orchestra. Gustavo Dudamel, its celebrated music and artistic director, will depart for the New York Philharmonic in 2026.On Wednesday, though, the orchestra said it had found a leader who can help put it back on track. Kim Noltemy, a veteran administrator, will become the Los Angeles Philharmonic’s next president and chief executive, starting in July.Noltemy, 55, who has led the Dallas Symphony Orchestra since 2018, said that she hoped to build on the Philharmonic’s legacy of innovation.“The potential for the Los Angeles Philharmonic to grow, thrive and make a huge impact in changing how people think about music and how music affects their lives is enormous,” she said in an interview.Thomas L. Beckmen, the chairman of the Philharmonic’s board of directors, said that Noltemy rose to the top of the list of candidates because of her experience. Before Dallas, she held leadership posts at the Boston Symphony Orchestra.“Of all the people we interviewed, she was the most prepared,” Beckmen said in an interview. “Sometimes, I thought she knew more about us than I knew about us.”Noltemy will face several immediate challenges, including helping to find a successor to Dudamel, one of the world’s most in-demand maestros, who has led the ensemble since 2009 and has been a key force behind its box-office success and expansive music education programs.Beckmen said the search could take “a couple years more, or maybe longer,” but that he was confident the orchestra could find someone who would be a draw like Dudamel.“Dudamel is great, and so is the orchestra here in L.A., which is, if not the best, certainly at the top of the field,” he said. “That’s not going away.”Asked whether the ensemble was interested in appointing a woman, Beckmen declined to comment. (Across the United States, women remain considerably underrepresented among music directors at top orchestras.)Noltemy said that “all talented conductors” would be considered, regardless of gender or race. “This orchestra,” she added, “is really so focused on the idea that the L.A. Phil has to represent its community, and its community is incredibly diverse.”Dudamel said in a statement on Wednesday that he looked forward to “welcoming Kim into our L.A. Phil family.”“Our extraordinary musicians and organization have shown the world a powerful new vision for what an orchestra can be, and how it can impact the community around it,” he said. “I am confident we will continue to push ourselves to even greater heights in the years to come.”In Dallas, Noltemy has built a reputation as a community-focused leader. She has expanded music education programs and worked to increase civic pride in the ensemble, including by staging more small-scale performances outside the concert hall.During her tenure, the orchestra has hired more women and people of color as conductors, composers and guest performers. The administrative staff has also grown more diverse; women make up a majority of the senior leadership team.In Los Angeles, Noltemy said, she would work to expand the Youth Orchestra Los Angeles, known as YOLA, which Dudamel helped start, and which is modeled on El Sistema, the Venezuelan social and artistic movement. She is also eager for the Philharmonic to play a prominent role when Los Angeles hosts the Summer Olympics in 2028.The Philharmonic in a relatively strong position compared with other American orchestras. As of March, it was averaging about 89 percent attendance, back to where it was before the pandemic, even as the number of subscribers has fallen to 6,409, from 8,791.Noltemy follows in a line of pathbreaking chief executives. Ernest Fleischmann, who led the orchestra from 1969 to 1998, revitalized its lucrative summer programming at the Hollywood Bowl, fought to build Disney Hall and hired a young Esa-Pekka Salonen to be its music director. Deborah Borda, who led the orchestra from 2000 to 2017, built on those successes, opening the hall, hiring Dudamel, fostering ties with the city and championing new music. Smith, a protégé of Borda’s, helped drive the orchestra’s unconventional approach to programming.Beckmen said that he hoped Noltemy would serve for a decade or longer. She would like to stay until she retires.“The Los Angeles Philharmonic has long been the most amazing and interesting place,” she said. “I see this as the culmination of my career.” More

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    Popcast (Deluxe): Sabrina Carpenter, Chappell Roan + Editing Taylor Swift

    Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:How “The Tortured Poets Department” has aged with the passing of one week since its releaseThe huge commercial success of “The Tortured Poets Department” so farThe contemporary expectations of immediate album reviewsHow Swift’s pandemic albums “folklore” and “evermore” introduced a new generation of hard-core fansJon and Joe’s picks for the best songs from “The Tortured Poets Department”The rise of a pair of pop’s middle-class stars, Chappell Roan and Sabrina CarpenterCarpenter’s emergence into the shadow of Dua LipaThe success of “Espresso”Chappell Roan’s meteoric six-month rise and her relationship to drag cultureRoan’s diaristic and specific songwritingSongs of the week from Tommy Richman, Cash Cobain (featuring Bay Swag and Ice Spice) and ShaboozeySnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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    The Best Movies and TV Shows Streaming in May

    “The Idea of You,” “Scrublands,” “The Big Cigar” and “Hacks” are streaming.Every month, streaming services add movies and TV shows to its library. Here are our picks for some of May’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)New to Amazon Prime Video‘The Idea of You’Starts streaming: May 2Anne Hathaway plays a middle-age woman on a wild, globe-hopping adventure with a new lover in this romantic dramedy, based on Robinne Lee’s best-selling novel. Hathaway stars as Solène, who accompanies her teenage daughter to Coachella, where she meets and discovers an instant rapport with Hayes Campbell (Nicholas Galitzine), a 24-year-old lead singer of a mega-popular boy band. The movie’s director, Michael Showalter — who also co-wrote the screenplay with Jennifer Westfeldt — has shown a facility with blending low-key humor and realistic relationship angst in his films “The Big Sick” and “Spoiler Alert.” So while “The Idea of You” features fabulous-looking people and catchy songs, it’s mostly about how the two leads’ genuine yearning for each other helps them withstand some uncomfortable public scrutiny.Also arriving:May 9“The GOAT” Season 1“Maxton Hall: The World Between Us”May 16“Outer Range” Season 2May 23“The Blue Angels”“The 1% Club”May 24“Dom”May 31“The Outlaws” Season 3Jay Ryan in “Scrublands.”Sundance NowNew to AMC+‘Scrublands’ Season 1Starts streaming: May 2In the opening sequence of this Sundance Now mystery series, a priest (Jay Ryan) in a run-down Australian Outback town pulls out a rifle after Sunday services and kills five of his congregants. One year later, a burned-out investigative journalist (Luke Arnold) is assigned to write a short article about how the community is recovering from the trauma. But thanks to a helpful local (Bella Heathcote), the reporter quickly realizes that the official story about what happened that Sunday may be wrong. Based on a Chris Hammer novel and directed by Greg McLean (best-known for the Aussie horror classic “Wolf Creek”), the moody and twisty “Scrublands” is about a town with dark secrets and a man who risks his life and career to expose them.Also arriving:May 3“Skeletons in the Closet”May 12“Anne Rice’s Interview With the Vampire” Season 2May 13“Harry Wild” Season 3May 15“In the Kitchen With Harry Hamlin” Season 1May 17“Nightwatch: Demons Are Forever”May 27“The Truth”May 31“Stopmotion”André Holland in “The Big Cigar.”Apple TV+New to Apple TV+‘Dark Matter’Starts streaming: May 8Based on a novel by Blake Crouch (who also serves as the series’ showrunner), this trippy science fiction thriller stars Joel Edgerton as Jason, a physics professor who has a happy life with his wife (Jennifer Connelly) and their teenage son (Oakes Fegley). When Jason is attacked one night by a masked stranger, he finds himself transported to an alternate reality where he has no wife and no son — but where he does have the kind of prestigious reputation that his brilliant scientist brother (Jimmi Simpson) has always enjoyed. Once he shakes off the initial disorientation, Jason faces a choice: to accept that this new version of himself is who he was always meant to be, or to use his knowledge of quantum theory and inter-dimensional travel to embark on a quest through infinite worlds, to find his way back to his family.‘The Big Cigar’Starts streaming: May 17The magnificent actor André Holland plays the Black Panther Party founder Huey P. Newton in “The Big Cigar,” which tells the strange but mostly true tale of his friendship with the politically progressive Hollywood producer Bert Schneider (Alessandro Nivola). When Newton was wanted for murder, Schneider reportedly helped him escape to Cuba, using a fake movie production as a cover. The mini-series recreates the headiness of the early 1970s, when various artistic, social and cultural movements were pushing hard against the establishment. This historical drama is based on a magazine article by the reporter Joshuah Bearman, whose work previously inspired the Oscar-winning movie “Argo,” a similar story about the worlds of showbiz and politics colliding.Also arriving:May 1“Acapulco” Season 3May 8“Hollywood Con Queen”May 22“Trying” Season 4Jim Henson, in “Jim Henson Idea Man,” a documentary.Disney+New to Disney+‘Jim Henson Idea Man’Starts streaming: May 31Jim Henson will always be remembered for creating the Muppets, which have been beloved since they debuted on television in 1955. But Henson was also a filmmaker, a visual artist, and a businessman shrewd enough to use the commercial appeal of his creations to bankroll his more ambitious projects, most of which were made to celebrate to the warmer side of the human spirit. For the documentary “Jim Henson Idea Man,” the director Ron Howard and his team were allowed extensive access to the Henson archives. The film combines archival clips of the Muppets with rare home-movie footage and diary entries — along with behind-the-scenes photos and sketches and new interviews with some of Henson’s collaborators — to tell the story of a visionary who built an empire out of feelings and felt.Also arriving:May 4“Star Wars: Tales of the Empire”May 5“Monsters at Work” Season 2May 8“Let It Be”May 10“Doctor Who” Season 14May 22“Chip ’n’ Dale: Park Life” Season 2May 24“The Beach Boys”Tomoaki Hamatsu, or Nasubi, in “The Contestant.”DisneyNew to Hulu‘The Contestant’Starts streaming: May 2In 1998, an aspiring comedian named Tomoaki Hamatsu — nicknamed Nasubi, the Japanese word for eggplant, because of his long face — won the opportunity to compete on an extreme kind of game show. Locked in a spartan apartment and stripped naked, Nasubi was challenged to survive off whatever he could win from mail-in contests advertised in magazines. Unbeknown to him, his ordeal was broadcast to a rapt nation. Clair Titley’s documentary “The Contestant” looks back at Nasubi’s year of deprivation and isolation, which was framed for the TV audience as a hilarious and heartwarming adventure. The truth, of course, was far more complicated, which Titley covers in a film that examines how fans of reality TV can sometimes forget they’re watching — and judging — real people.Also arriving:May 1“Elvis”“Shardlake” Season 1May 2“Welcome to Wrexham” Season 3May 3“Prom Dates”May 7“Billy & Molly: An Otter Love Story”May 8“In Limbo” Season 1May 9“Black Twitter: A People’s History”May 10“Biosphere”“Eileen”“Past Lies” Season 1May 12“Where the Crawdads Sing”May 14“The Killing Kind” Season 1May 15“Uncle Samsik” Season 1May 17“Birth/Rebirth”“The Sweet East”May 22“Chief Detective 1958” Season 1May 24“Ferrari”Jean Smart in Season 3 of “Hacks.”Hilary Bronwyn Gayle/MaxNew to Max‘Hacks’ Season 3Starts streaming: May 2The first two seasons of the dramedy “Hacks” followed the codependent relationship between a complacent stand-up comic, Deborah Vance (Jean Smart), and the cynical, self-sabotaging comedy writer Ava Daniels (Hannah Einbinder), hired to help add edge to Deborah’s Las Vegas act. Season 2 ended with the ladies parting ways after working together on a hit comedy special; but they reunite in Season 3 as Deborah makes plans to right some old wrongs by landing a gig as a late-night talk show host. “Hacks” is about the sometimes wildly varying values of two different generations of comedians. It’s also about two women who have made a lot of messes in their lives — and have come to rely on each other to help with the cleanup.Also arriving:May 2“Turtles All the Way Down”May 3“Stop Making Sense”May 9“Pretty Little Liars: Summer School”May 10“The Iron Claw”May 11“Nikki Glaser: Someday You’ll Die”May 20“Stax: Soulsville U.S.A.”May 23“Thirst with Shay Mitchell”May 29“MoviePass, Moviecrash”From left: Katja Herbers, Aasif Mandvi and Mike Colter in “Evil.”Elizabeth Fisher/Paramount+New to Paramount+‘Evil’ Season 4Starts streaming: May 23One of TV’s most unusual and entertaining dramas comes to an end with its latest season, which finds its demon-hunting heroes dealing with satanic cults and devil babies. Katja Herbers returns as Dr. Kristen Bouchard, a forensic psychologist who works alongside the Catholic priest David Acosta (Mike Colter) and the tech whiz Ben Shakir (Aasif Mandvi) to investigate paranormal phenomena. The job frequently puts them at odds with the mysterious sociopath and impish mischief-maker Dr. Leland Townsend (Michael Emerson). Created by Michelle and Robert King (the team behind “The Good Fight” and “Elsbeth”), “Evil” is a witty and often genuinely creepy horror procedural, which considers whether the modern world’s wickedness is supernatural in nature or just a case of humans being humans.Also arriving:May 1“Behind the Music” Season 2May 7“Kiss the Future”May 10“The Chi” Season 6, Part 2May 14“Pillowcase Murders”May 17“Mourning in Lod”“RuPaul’s Drag Race All Stars” Season 9“RuPaul’s Drag Race All Stars: Untucked” Season 9May 21“LOLLA: The Story of Lollapalooza”May 30“Pyramid Game”Harvey Keitel in “The Tattooist of Auschwitz.”Martin Mlaka/Sky UKNew to Peacock‘The Tattooist of Auschwitz’Starts streaming: May 2In this historical drama based on a true story, an older Jew named Lali Sokolov (Harvey Keitel) meets regularly with the aspiring author Heather Morris (Melanie Lynskey) to tell her a story he had previously kept to himself, for almost his entire life: all about how he survived Auschwitz by making himself useful to his jailers. Based on the book that the real-life Morris produced from interviews with Sokolov — a blend of unflinching Holocaust testimony and page-turning fiction — “The Tattooist of Auschwitz” portrays the moral compromises required to endure an atrocity. But it’s also about an unlikely love affair, which develops between Lali (played by Jonah Hauer-King in flashbacks) and Gita (Anna Prochniak), a woman he befriends while he’s tattooing her arm.‘We Are Lady Parts’Starts streaming: May 30One of Peacock’s best foreign TV acquisitions, this British sitcom is the brainchild of the writer-director Nida Manzoor, whose work draws on her love of pop culture and her experiences growing up in a Pakistani Muslim family. Last year she released her debut feature film “Polite Society,” a martial arts comedy; and now Manzoor returns with a second season of the wonderful “We Are Lady Parts,” which stars Anjana Vasan as Amina, a dorky college student and observant Muslim who joins a radical all-female, all-Muslim punk band. In Season 1, this eclectic group of ladies became a cult success. In Season 2, they have an opportunity to record an album and grow their audience but find themselves unsure if that’s what they really want.Also arriving:May 3“The American Society of Magical Negroes”May 7“Eurovision Song Contest 2024”May 9“Love Undercover” Season 1 More

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    Why Are Movies so Bad at Making Civil War Look Scary?

    The filmmaker has made it clear that “Civil War” is a warning. Instead, the ugliness of war comes across as comforting thrills. Early in “Civil War,” the writer-director Alex Garland’s dystopian blockbuster, a plucky young journalist named Jessie recalls an event called the Antifa Massacre. You can picture the eeriness that Garland must have assumed that phrase would conjure: familiar words, filtered through his apocalyptic vision, projecting today’s ideological rancor into the future. His film is an invitation to imagine what might emerge from America’s political divisions if we don’t back away from the fractious disaffection that has characterized most of the 21st century. But it is also vague about what the Antifa Massacre, or any of the war, actually is. Who was massacred? Who did the massacring? What were the stakes? All we know is that America has descended into a chaotic conflict: California and Texas have united to battle an authoritarian Loyalist government, while other states have gathered into various alliances. Beyond that, “Civil War” obscures the war’s political and social contours. One senses that, for Garland, the ideological dimensions are beside the point, a distraction from what he hopes is a searing vision of a future nobody wants. To that end, maybe, he has cast “Civil War” as an antiwar movie in the tradition of Elem Klimov’s “Come and See,” a 1985 fever dream about Nazi Germany’s invasion of Soviet Byelorussia. The power of “Come and See” lies in its images, which depict war’s depravity with the unsparing clarity of prophecy. One 10-minute scene forces us to watch a carnival of violence as German soldiers, who have gathered civilians into a church, set it aflame. Garland intends a similar revelation. In interviews, he and his cast have made it clear that they see “Civil War” as a warning. You can practically hear him whisper through every frame: This could happen here.François Truffaut once said that every film about war ends up being pro-war: Whatever a director points his camera at, even violence, becomes appealing, or at least intriguing. To make an effective antiwar film, a director must find a way to unsettle this relationship between image and titillation. I think often about the 1966 Italian thriller “The Battle of Algiers,” which depicts Algerian resistance to French colonial rule. It is, generally, a triumphalist take on the power of liberatory violence, and it has proved popular among armed insurgents. There’s a mournful, cautionary undercurrent, though, that sometimes overwhelms its heroic story. In one scene, two women smuggle bombs out of a ghetto and into French cafes. One leaves hers beneath a bar, and we wait while the camera cuts from one French face to another: a flirting couple, a sullen baby, a laughing barkeep, a waiter who looks directly at us. In that long wait before the bomb goes off, we are tricked into a moral accounting of political violence’s toll on human life. The movie reminds us that our attraction to violence also threatens to destroy the society we depend on, plunging us into a Hobbesian state of nature.This balancing act depends on depicting the social costs of war on the lives of civilians — something contemporary films about war on American soil have struggled to accomplish. “Civil War” follows Kirsten Dunst as Lee, a war photographer traveling from New York to Washington with her gonzo bro colleague Joel, hoping to photograph the president while Joel interviews him. They’re joined by Jessie and Sammy, Lee’s mentor. What unfolds is essentially a road-trip movie that shuttles this quartet from one apocalyptic set piece to another. They are journalists, but they do no reporting on the tragedies they encounter on the way to their big scoop. They don’t meet many people, and when they do, they are rigorously incurious. They arrive at a refugee camp, yet make no attempt to interview any refugees. Why are two soldiers shooting at another amid a Christmas display? Joel makes only a cursory effort to find out. These are war journalists with a strange lack of interest in covering the war’s victims or America’s shredded social fabric. Garland’s vision is almost entirely restricted to destroyed buildings and corpses.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