Aurelia Butler

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    Sean Combs, Defendant: Gestures to His Family, Sticky Notes to His Lawyers

    With no cameras in the courtroom, few have glimpsed the music mogul as he helps direct his defense, facing charges that could put him in prison for the rest of his life.He shakes his head and fidgets in his seat during testimony, passes notes to his lawyers and blows kisses to his mother in the courtroom gallery. Sometimes Sean Combs pulls out chairs for the women on his legal team.His federal trial has drawn worldwide attention, with minute-by-minute coverage from the press and social media influencers who broadcast live updates from the street outside U.S. District Court in Lower Manhattan.But since federal courts bar cameras, Mr. Combs’s demeanor during the most critical eight weeks of his life — Does he smile? Does he seem mad, nervous, sad? — has been largely outside public view, captured only by the sketches of courtroom artists.For weeks now, Mr. Combs, who is facing sex-trafficking and racketeering conspiracy charges that could put him in prison for the rest of his life, has been an attentive and largely easygoing presence in the courtroom. His expressions of disagreement with witnesses have been subdued, showing no inkling of the volcanic, violent temper often described in testimony.When George Kaplan, a former assistant, described the pace of working for Mr. Combs as “almost like drinking from a fire hose,” the mogul nodded in approval. When another assistant, using the pseudonym Mia, said she would be punished if she did not do “everything that he told me to do,” he just scoffed and shook his head.It is an understated posture for a man whose profile as a chart-topping producer, rapper, reality-TV star and gossip-page fixture was larger than life, giving rise to the multitude of nicknames — Puff Daddy, Diddy and Love — by which he has been known.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 Women Who Try to Keep Pace With Ethan Hunt

    Over eight installments, the “Mission: Impossible” franchise has never quite found the perfect match for Tom Cruise’s world-saving spy.Ethan Hunt, the charismatic hero of the “Mission: Impossible” franchise played by Tom Cruise, cares about one thing above all else: His team.The story of Ethan’s life as told in eight movies has been marked by his intense loyalty to the people by his side. The most enduring have been Luther Stickell (Ving Rhames), the computer whiz who has been his buddy in all installments, and Benji Dunn (Simon Pegg), another technical genius who guides him through sticky situations. But Ethan’s love life has been an evolving saga that has gone through some hiccups, as the filmmakers try to figure out how to pair off a man whose work life involves scaling buildings, jumping out of planes and saving the world every few years. Over the years, the “Mission: Impossible” films have tested out different roles for the ladies in Ethan’s life, to varying degrees of success.Emmanuelle Béart as Claire Phelps in “Mission: Impossible” (1996)Emmanuelle Béart’s femme fatale character was the first “Mission” lead opposite Cruise.Paramount PicturesIn the series’ first entry, directed by Brian De Palma, Ethan has a sexually charged relationship with Claire (Emmanuelle Béart). She is the wife of Jim Phelps (Jon Voight), Ethan’s Impossible Mission Force team leader, who is presumed dead. Only, Jim isn’t dead, he’s actually the one framing Ethan in order to steal a top-secret list of undercover agents and make a financial killing. And Claire, it turns out, was in on the ruse. She dies at the hand of her husband, a bittersweet ending for a pretty classic femme fatale.Thandiwe Newton as Nyah Nordoff-Hall in “Mission: Impossible II” (2000)Thandiwe Newton and Dougray Scott in “Mission: Impossible II.” Paramount PicturesThe second installment of the franchise is known as the rockiest — and not just because it features Ethan rock climbing. That extends to his love interest, Nyah, played by Thandiwe Newton. Unlike other “M:I” ladies, Nyah follows the model of a Bond girl. She’s a thief who Ethan must enlist to help him track down a deadly virus known as Chimera, stolen by her ex-boyfriend (Dougray Scott). From the moment she’s onscreen, her body is sexualized, and very soon after she meets Ethan, they end up in bed together. But the whole plot feels forced, as if the filmmakers were trying to convince us that Ethan is a different character, more suave than he actually is.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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    Woman Expected to Testify That Sean Combs Held Her Over a Balcony

    Bryana Bongolan, a friend of the mogul’s former girlfriend Casandra Ventura, is set to give her account of being dangled from a 17th-floor balcony.A woman is expected to take the stand at Sean Combs’s federal trial on Wednesday to give her account of the music mogul dangling her over a 17th-floor apartment balcony.Bryana Bongolan, a friend of Casandra Ventura, Mr. Combs’s former girlfriend, filed a lawsuit against Mr. Combs last year. In her complaint, Ms. Bongolan said she had been staying in Ms. Ventura’s Los Angeles apartment when, early one morning in 2016, Mr. Combs stormed in, yelled at Ms. Bongolan and held her over the balcony railing — “with only Combs’ grip keeping her from falling to her death” — before he pulled her back and slammed her onto a patio table.Her full account has been anticipated for months. The indictment that charges Mr. Combs with sex trafficking and racketeering conspiracy made brief mention of what appears to be Ms. Bongolan’s account, saying that “on one occasion, Combs dangled a female victim over an apartment balcony.” Her story was also referenced in Ms. Ventura’s bombshell civil suit in November 2023, which led to the government’s investigation and Mr. Combs’s arrest.The racketeering charge against Mr. Combs involves accusations that the mogul engaged an inner circle of bodyguards and high-ranking employees to help him commit a series of crimes over two decades.Mr. Combs has pleaded not guilty to the charges. His lawyers have said that he and his employees were involved in legitimate business operations, not a criminal conspiracy, and that the sex at issue in the government’s case was entirely consensual.Prosecutors, nearing the halfway point of what they expect to be an eight-week trial, said they will soon call “Jane,” the second woman — after Ms. Ventura — who the government says was a victim of sex trafficking by Mr. Combs.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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    At 85, Composer Annea Lockwood Is Far From Done Listening

    Lockwood, a composer who spins music from the sounds of the natural world, is sharing with and learning from a new generation of artists.Outside Annea Lockwood’s house you could hear the sounds of a gentle breeze, rustling the leaves of her tree-lined driveway and swinging the wind chimes in her backyard. Every so often birds would interject with a bit of song over the rumble of a car down the road.“This neighborhood is a lovely, peaceful little place,” Lockwood said one morning last month. “But it has a very radical background.”Lockwood, 85, a composer of insatiable curiosity and a singular ear for the music of the natural world, lives about an hour north of Manhattan, on street named after Baron de Hirsch, a 19th-century philanthropist who sponsored the resettlement of persecuted Russian Jews. Her house was originally built for the Mohegan Colony, a community with anarchist roots. Not far away, toward the Hudson River, people attending a Paul Robeson concert were once attacked in what came to be known as the Peekskill Riots.“So this is an area with a right-wing town and a left-wing colony,” Lockwood said. “Fascinating, isn’t it?”For the last 50 years, Lockwood has lived and worked here in Crompond, N.Y., in a house that she shared with her partner, the composer Ruth Anderson, until her death in 2019. But Lockwood also spends a lot of time outdoors, especially in recent collaborations with a younger generation of musicians that have taken her on adventures along rivers like the Columbia and the Elwha.For Lockwood, listening is a way to connect with the nonhuman world. “I am seeking ways to recognize that we are part of that world, not dominant and not separate,” she said. Brian Karlsson 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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    In ‘Bring Her Back,’ Sally Hawkins Takes Horror to Heart

    In a rare interview, the actress discusses tackling a difficult, sensitive and often dastardly role in the latest offering from Danny and Michael Philippou.The actress Sally Hawkins has a to-die-for pedigree. She’s been nominated twice for Academy Awards, once as a creature’s lady love in Guillermo del Toro’s “The Shape of Water” and again for Woody Allen’s “Blue Jasmine,” in which she played a depressed working-class woman opposite Cate Blanchett. Her British stage credits include plays by Shakespeare, Chekhov and García Lorca, and on Broadway, Shaw.“Bring Her Back,” Hawkins’s latest film (in theaters) is also a plum project. It’s from the prestige art-house distributor A24, and it’s the second feature by Danny and Michael Philippou, the twin Australian YouTubers-turned-directors who became Hollywood famous after their possession drama “Talk to Me” became one of A24’s biggest hits in 2023.But “Bring Her Back” is also a malign and at times shockingly gruesome horror movie; critics have noted its “restlessly mounting anguish” and have called it the “feel-bad movie of the year.” It remains to be seen if genre-averse fans who know Hawkins from her acclaimed work, including appearances in two “Paddington” films, will turn out for a movie that has a scene between a young boy and a giant kitchen knife that even gorehounds may have a hard time stomaching.To hear Hawkins explain it, she said yes to the film precisely because of its weight — or rather, lack of it.“There’s no fat on it. It’s muscular,” she said last month during a phone call from London. “The writing just hits hard, and you know it comes from a place of real understanding.”Hawkins with Jonah Wren Phillips in “Bring Her Back.”Ingvar Kenne/A24We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Happiness’: Living in a State of Irony

    Todd Solondz’s 1998 movie, revived for a run at the IFC Center in a new 4K restoration, has scarcely lost its capacity to discomfit.Playfully named “Happiness,” Todd Solondz’s painful, deadpan burlesque of bourgeois mores encompasses murder, mutilation, rape, pedophilia, suicide, obscene phone calls and free-floating masochism, among syndromes yet to be named. “Happiness” scared off its initial distributor but struck a chord at Cannes. Released unrated, it was hailed as the dark comedy du jour, a runner-up in three categories (film, screenplay and actor) in the 1998 New York Film Critics Circle’s annual awards.The movie may not be as shocking as it was 27 years ago but, revived for a run at the IFC Center in a new 4K restoration, it has scarcely lost its capacity to discomfit.A family drama centered on three adult sisters, “Happiness” mocks mid-period Woody Allen as it transposes Chekhov to suburban New Jersey. The eldest, Trish (Cynthia Stevenson), is a smug housewife with two kids and a psychoanalyst husband named Bill (Dylan Baker), who is depressed and harboring a desire for small boys. Bill’s patient (Philip Seymour Hoffman) drones through his sessions and makes obscene phone calls to the middle sister, Helen (Lara Flynn Boyle).Thoroughly unpleasant Helen is a narcissistic writer, author of a best-selling novel titled “A Pornographic Childhood.” By contrast, the youngest, most sympathetic sibling, Joy (Jane Adams), is a hapless failure — a would-be singer-songwriter introduced in the film’s opening sequence, making a bad date worse.Their parents, Mona (Louise Lasser) and Lenny (Ben Gazzara), are unhappy in Florida, where the local real estate agent is played by a glitzy Marla Maples, then married to the real estate developer Donald Trump. Her character tells Mona that getting a divorce was the best decision of her life. (Solondz is a master caster.)Everyone is alone. They are largely oblivious to each other’s misery, yet the strongest, funniest scenes are one-on-ones. Often shot in close-up, these suggest acting exercises or skit comedy gone off the rails. The bit in which Bill explains what used to be called “the facts of life” to his 11-year-old son is as excruciating as it is absurd.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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    5 Minutes That Will Make You Love Ella Fitzgerald

    Ella Fitzgerald, “the First Lady of Song,” had a voice so nuanced that it conveyed vast emotions within the contexts of jazz and soul with unparalleled grace and dignity.Born April 25, 1917, in Newport News, Va., she grew up in Yonkers, N.Y., working odd jobs — including one as a runner for local gamblers — then, as a teenager, she’d go to Harlem and catch shows at the Apollo. There, in 1934, she won a chance to compete in Amateur Night, and only decided to sing (she was going to dance initially) after a dance group, the Edwards Sisters, did such a great job that she needed to switch gears. Fitzgerald wowed the crowd, and from that moment, her career was set. “I knew I wanted to sing before people the rest of my life,” she once said.Ella Fitzgerald’s masterful use of scatting has been copied by vocalists the world over.National Jazz Archive/Heritage Images, via Getty ImagesBy the mid-1930s, as the frontwoman of Chick Webb’s big band, Fitzgerald started experimenting with her voice, using it as an additional horn in the group in the emerging style that became known as scatting. To this day, her masterful use of it is copied by vocalists the world over. At 21, Fitzgerald became a star with her sprightly version of “A-Tisket, A-Tasket,” which sold more than one million copies. Over the next decades, she was a fixture in jazz and entertainment, touring and performing with pretty much everyone of note while cementing her own status as a cornerstone in music.Fitzgerald’s stature has only grown since then. Here are 16 songs chosen by musicians, authors, curators and scholars who admire the singer’s contributions to art and culture. Find playlists embedded below, and don’t forget to leave your own favorites in the comments.◆ ◆ ◆‘Dream a Little Dream of Me’Valerie June, musician and authorOnce Cupid’s arrow strikes, falling in love is the easy part. Staying in love is where we get one chance in a lifetime to conjure the best of ourselves with the only true love of our lives. I write this with joy in my soul and sadness in my heart as I dedicate this Ella Fitzgerald song, “Dream a Little Dream of Me,” to my brother and his wife, Rae Marie Hockett. You see, Rae Marie and Jason were high school sweethearts. I wasn’t initially sure if they were a fling or forever. But until death do us part was truly their love story. Last month, Rae passed away suddenly from heart issues at 45. Her life was short but full of love and sweetness. It was like a dream, and their passion tells the tale of longevity and beauty, as we never know how long we get to spend with those we love. Artists like Ella and Count Basie are the forces that hold us together with songs. Once the curtain closes, it might feel like a dream, but every time we hear the song, it reminds us that every moment is real. While my heart beautifully breaks with grief and loss, “Dream a Little Dream of Me” is from Ella to Rae Marie. Love true, love hard, love and let go — it will come back to you.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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    Misery Loves Company? Bleak Week: Cinema of Despair Hits a Nerve.

    Movies that are major downers, it turns out, are a big film festival draw. “Sometimes the world is such that you just need to wallow a little bit.”The festival Bleak Week: Cinema of Despair started three years ago as a primal scream from a little Los Angeles nonprofit organization.What has happened since says a lot about the mood in at least one corner of American culture.The American Cinematheque, a nonprofit that brings classic art films to Los Angeles theaters, was struggling to sell tickets in 2022. Older cinephiles were still spooked by the Covid pandemic; younger ones were glued to Netflix.At the same time, some Cinematheque staff members were depressed about the direction the world seemed to be heading. It was the year Russia invaded Ukraine, the Supreme Court overturned Roe v. Wade, a gunman killed 19 children at a Texas elementary school and Big Tech rolled out artificial intelligence bots.Out of that somber stew came a programming idea called Bleak Week: Cinema of Despair. Over seven days, the Cinematheque screened 30 feel-bad movies. It called the selections “the greatest films from around the world that explore the darkest sides of humanity.” For the inaugural festival, one centerpiece film was Béla Tarr’s “Satantango” (1994), a seven-hour-and-19-minute contemplation of decay and misery.Gabriel Byrne in Joel Coen’s 1990 film “Miller’s Crossing.”20th Century Fox, via The American Cinematheque“‘Everyone was saying, ‘You should do comedies,’” Grant Moninger, the Cinematheque’s artistic director, said. “But we thought, ‘What if you did the exact opposite?’ We’re not in this to dangle keys at a baby.” (Now might be a good moment to mention that Moninger grew up with a mother, he said, who “only rented movies on VHS in two genres: the Holocaust and slavery.”)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