Aurelia Butler

More stories

  • 113 Shares149 Views

    in Movies

    The Best True Crime to Stream: The Fame Monster

    Across television, film and podcasting, here are four picks that explore lesser-discussed crimes involving celebrities.There is an absolute glut of true crime content that involves the rich and famous. These stories also tend to be rehashed and retread because fame breeds fascination, of course, and name recognition helps when seeking the eyes and ears of an audience. But there are plenty of stories involving stars that are just as compelling even if they haven’t gotten the same attention. Here are four of them across television, podcast and film.Documentary film“Fanatical: The Catfishing of Tegan and Sara”The harsh realities of toxic fan culture have gotten more attention in 2024, with pop stars like Chappell Roan and Billie Eilish speaking more openly about the ubiquitousness of harassment and obsession that accompany fame.For this new documentary, the director Erin Lee Carr (“Mommy Dead and Dearest,” “At The Heart of Gold”) weaves together two sides of a shocking story that turned the lives of Tegan and Sara Quin, twin sisters who are the queer folk-pop duo Tegan and Sara, upside down.In the 1990s and 2000s, the sisters had a knack for building community at shows and online, with Tegan in particular feeling a responsibility to their fans. When this familiarity dovetailed with a catfishing scheme, Tegan and many fans became ensnared in a sophisticated identity theft operation that lasted over 15 years. “Fake Tegan systematically destroyed my life,” Tegan says at one point.As layers are peeled back, a more complex picture comes into focus. Unfortunately, the end brings little comfort, only underscoring the magnitude of the discoveries made along the way.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

  • 175 Shares199 Views

    in Movies

    Alec Baldwin’s ‘Rust’ to Premiere: What to Know About the Movie Marked by Tragedy

    The film, whose cinematographer, Halyna Hutchins, was killed in a shooting on the set, is being screened at a festival devoted to cinematography.It was just over three years ago that Alec Baldwin was practicing drawing a gun on the set of the western “Rust” in New Mexico when it went off, firing a live round that killed its cinematographer, Halyna Hutchins, and wounded its director, Joel Souza.The fatal shooting resulted in criminal cases, lawsuits and a reassessment of the use of real guns in Hollywood. In the midst of it all the movie was completed in Montana, with a new cinematographer and only fake weapons allowed on the set, by a team that said it wanted to ensure that Ms. Hutchins’s final work reached the screen.On Wednesday, the 133-minute-long film will have its world premiere at a small if starry film festival in Torun, Poland, called Camerimage, which is devoted to the art of cinematography. Here’s what to know about the unusual event.Will Alec Baldwin be there?Though Mr. Baldwin stars in the film, as a grizzled outlaw named Harland Rust, he is not expected to be in the audience on Wednesday.The film’s main spokesman at the festival will be its director, Mr. Souza, who was injured in the shooting when the bullet passed through Ms. Hutchins and lodged in his shoulder. Mr. Souza completed the project after Ms. Hutchins’s widower, Matthew Hutchins, gave it his blessing and stepped in as an executive producer.“It became very important to me to finish that on her behalf,” Mr. Souza said in an interview this year. “I would never presume to want to speak for somebody who can’t speak for themselves anymore, but I feel pretty damn confident that’s what she would have wanted.”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

  • 138 Shares129 Views

    in Music

    Sean ‘Diddy’ Combs’s Lawyers Argue Seizure of Jail Notes Was Unjust

    Lawyers for the music mogul objected at a hearing to prosecutors viewing handwritten materials from their client’s cell after a sweep of the Brooklyn jail where he is being held.Sean Combs appeared in a Manhattan courtroom on Tuesday as his lawyers objected to the prosecution’s use of handwritten notes found inside the music mogul’s jail cell, arguing that his rights had been violated when they were turned over to prosecutors.The dispute stemmed from a recent sweep of the Metropolitan Detention Center in Brooklyn, where Mr. Combs has been held since September. Prosecutors cited the notes, which they contend exposed prohibited behavior, in a court filing last week in which they argued Mr. Combs should remain incarcerated until his trial, which is scheduled for May.The text of Mr. Combs’s notes was redacted from the public record. But prosecutors said it showed that he was trying to obstruct their case, by suggesting that he had paid a potential witness to post a statement on social media expressing support for him. Another note, the government said, related to him directing someone to find “dirt” on two alleged victims.Mr. Combs’s lawyers quickly lodged an objection to the prosecution’s possession of the notes, arguing that it was a violation of attorney-client privilege.“This has been a complete institutional failure,” Marc Agnifilo, Mr. Combs’s lead lawyer, said at the hearing.The prosecution has defended its handling of the notes, writing in court papers that the sweep was preplanned and not engineered to target Mr. Combs. The government further said that any recovered material was reviewed by a “filter team” within the U.S. attorney’s office tasked with excluding any privileged materials from prosecutors handling the case.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

  • 63 Shares189 Views

    in Music

    A Bizarre Love Triangle Playlist

    Sabrina Carpenter, Loretta Lynn and SZA sing about all the points on a love triangle.Sabrina Carpenter’s “Taste” was the most successful of this year’s triangular tunes.Brendan Mcdermid/ReutersDear listeners,Today’s playlist is all about one of popular music’s favorite shapes: the love triangle.Full of drama, secrets and passion, songs about love triangles have never exactly gone out of style. But as I’ve been considering some of the patterns and trends in this past year of pop music, I’ve noticed that they’re more popular — and in some cases, subversive — than ever.This year has specifically been full of songs in which the singer is unusually fixated on “the other woman.” The most successful is “Taste,” a sassy, innuendo-stuffed pop-country smash by one of the year’s breakout stars, Sabrina Carpenter. “I’ve heard you’re back together,” she sings to her love interest’s former and current squeeze. “And if that’s true, you’ll just have to taste me when he’s kissing you.” That refrain has more than a hint of queer subtext, which Carpenter makes explicit in the campy, surprisingly gory music video, which ends with her kissing her female rival (played by Jenna Ortega) and the two accidentally killing their shared beau. In a twist, they’re not terribly bothered by it.But “Taste” wasn’t the only 2024 song with an eye on the other point of the triangle. Released in March, Olivia Rodrigo’s “Obsessed” — a track from the deluxe edition of “Guts” — finds the singer haunted by the imagined perfection of her current partner’s ex-girlfriend: “If I told you how much I think about her, you’d think I was in love,” she sings. Another prominent triangular tune, Billie Eilish’s “Wildflower,” from “Hit Me Hard and Soft,” has become such a beloved fan favorite that it has spent 26 weeks on the Billboard Hot 100. “I see her in the back of my mind, all the time,” Eilish sings of a partner’s ex — whom Eilish comforted when they first broke up, causing her to wonder, “Did I cross the line?”These songs all suggest some sort of transference and, at times, even a flirtation with both opposing points on the love triangle. Pop songs about same-sex desire are not nearly as taboo as they once were, and I suspect the surge in these sorts of songs reflect that shift.But in another sense, they’re telling a tale as old as time, a point I wanted to underscore by putting them in conversation with some older tracks. On today’s playlist, you’ll hear all the aforementioned songs, along with classics from the Cars, Loretta Lynn and Robyn, among other artists. It also features a certain global superstar’s 2024 remake of the ultimate “other woman” song, “Jolene.” No matter how you slice it, it seems, three’s a crowd.I know I’ve been known to share,LindsayWe 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

  • 125 Shares109 Views

    in Movies

    ‘Barbenheimer’ Ruled the Box Office. Can ‘Glicked’ Recapture the Magic?

    “Wicked” and “Gladiator II” both open Friday, and some fans hope to rekindle the excitement that greeted last year’s simultaneous openings of “Barbie” and “Oppenheimer.”The summer of 2023 was all about “Barbenheimer” — when “Barbie” and “Oppenheimer” opened the same day, capturing the public imagination and bringing crowds back to movie theaters that had struggled since the pandemic.This fall, some fans are hoping to recapture a little of that excitement with a buzzy new movie face-off with its own catchy portmanteau: “Glicked.” (Sorry, “Wickiator.”)“Wicked,” the first installment of the onscreen adaptation of the beloved Broadway musical, and “Gladiator II,” a swords-and-sandals epic directed by Ridley Scott that picks up more than two decades after the first installment, will both be widely released in theaters on Friday. Seeing the potential for another odd pairing at multiplexes, select corners of the internet have dubbed it “Glicked Day” (pronounced glick-id).Can they make “Glicked” happen? Will Elphaba green replace Barbie pink? Here are four questions to get you up to speed.Are the stars of ‘Wicked’ and ‘Gladiator II’ rooting for ‘Glicked’?Yes. Two movies that open on the same day are typically viewed as competitors, but some hope that, like “Barbenheimer,” this unlikely pairing will pique the interest of moviegoers, which could help both succeed at the box office.“If it has a similar effect to what it did for ‘Barbie’ and ‘Oppenheimer,’ it would be amazing,” Paul Mescal, who stars as Lucius in “Gladiator II,” told Entertainment Tonight. He added that “the films couldn’t be more polar opposite, and it worked in that context previously, so fingers crossed people come out.”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

  • 113 Shares129 Views

    in Music

    At the Serpentine, Holly Herndon Taught A.I. to Sing

    Holly Herndon and Matt Dryhurst are presenting their first large-scale solo museum show. It sounds gorgeous, even if its visual elements are lacking.Although it’s easy to feel alienated by the opaque processes behind artificial intelligence and fearful that the technology isn’t regulated, the artists Holly Herndon and Matt Dryhurst want you to know that A.I. can be beautiful.Their exhibition “The Call,” at the Serpentine Galleries in London through Feb. 2, is the first large-scale solo museum show for the artist duo, who have long been at the forefront of A.I.’s creative possibilities.Herndon — who was born in Tennessee, grew up singing in church choirs and later received a Ph.D. in music composition from Stanford — has made cutting-edge, A.I.-inflected pop music for over a decade. With Dryhurst, a British artist who is also her husband, she has branched out to make tools that help creatives monitor the use of their data online, and recently, into the visual arts.The couple’s work “xhairymutantx,” commissioned for this year’s Whitney Biennial, uses A.I. text prompts to produce an infinite series of Herndon portraits that highlight the playful nature of digital identities.The Serpentine show combines musical and visual elements. With the varied a cappella choral traditions of Britain in mind, Herndon and Dryhurst worked with diverse choirs across the country, from classical to contemporary groups of assorted sizes, to produce training data for an A.I. model. In a wall text, the artists explain that “The Call” consists of more than just the A.I.’s output. They also consider the collection of the data and the training of the machine as works of art.“We’re offering a beautiful way to make A.I.,” the artists’ statement adds. Their utopian take is that A.I. is collectively made: It learns from whatever it is exposed to and can therefore be shaped for good.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

  • 88 Shares119 Views

    in Music

    Book Review: ‘Cher: The Memoir,’ by Cher

    The first volume of her frank autobiography is a testament to resilience, chronicling a grim childhood and the brazen path to stardom, with and without Sonny.CHER: The Memoir, Part One, by CherBefore Twitter morphed into the strange ghost town of X, with lurking users wondering whether to post or stomping off in high dudgeon for Bluesky and Threads, Cher was one of its finest sheriffs. Publications including The New York Times analyzed her grammar-defying style and compiled her stinging critiques of the then and future president Donald J. Trump.In Volume 1 of her confident, confiding new autobiography, which covers the period from her birth on May 20, 1946 (“under the sign of Taurus on the cusp of Gemini, so it’s like there are three of us in here”), to the dawn of her serious movie career in the early ’80s, Cher explains that her distinctive syntax on the platform evolved from undiagnosed dyslexia. “Punctuation marks are like symbols to me that you throw in the air and they land where they land,” she writes.Happily “Cher: The Memoir” is not the round of verbal 52 pickup this portends, but a detailed and characteristically profane recollection of its author’s eventful life: singing, dancing and acting her way out of a childhood so “Dickensian” there were rubber bands around the saddle-shoe soles and ants in the Rice Krispies.Cher’s embodiment of that trendy wellness buzzword “resilience” started from the moment her mother, Jackie Jean Crouch (later Georgia Holt), bailed on an abortion appointment. “It was her body, her life and her choice to make,” Cher writes. “Thank God she got off that table, though, or I wouldn’t be here to write these pages.” Her famous contralto has been modulated, but not Autotuned past recognition.Cherilyn, as she was called, though her birth certificate read Cheryl, is America’s melting pot personified, and her long place on the front (and sometimes back) burner of pop culture evokes both the country’s loftiest promises and its worst failures. A great-grandmother on her mother’s side had Cherokee heritage, raising her children in a log cabin in the Missouri backwoods, in poverty that dripped down generations. Cher’s biological father, who was Armenian, stole, gambled and would become a heroin addict. 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

  • 88 Shares159 Views

    in Music

    Jon Batiste Can’t Stop Thinking About Beethoven

    Long before Jon Batiste was a bandleader, television personality and Grammy- and Academy Award-winning artist, he was a classical piano student.As an adolescent in Metairie, La., he spent Saturday mornings at the home of his teacher, known as Miss Shirley, working on scales and arpeggios, and music by Bach and Debussy.“I was the kind of student that would leave the books in the foyer to sit there until next week’s lesson,” Batiste said. “No practice at home. The beauty of the music didn’t dawn on me until later.”Now Batiste, 38, is returning to his classical roots with an album called “Beethoven Blues.” It features his improvisations on masterpieces like “Für Elise” and the Fifth Symphony, as well as Beethoven-inspired compositions like “Dusklight Movement” and “Life of Ludwig.”Unmute to hear Batiste riff on “Für Elise.”For Batiste, who recorded the album in a day and a half at his home in Brooklyn, the project is personal. It brings him back to the Maple Leaf Bar and other stages in New Orleans, where, as a teenager, he began fusing Chopin nocturnes and Bach inventions with his own music.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