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    Lloyd Newman, Teenage Chronicler of ‘Ghetto Life,’ Dies at 43

    He and LeAlan Jones recorded stories of life and death in a Chicago housing project for NPR, winning a Peabody Award and inspiring the birth of StoryCorps.Lloyd Newman, who teamed up with a fellow teenager in the 1990s to record two award-winning radio documentaries that bared the pernicious underside of growing up in a Chicago public housing project, died on Dec. 7 in Elmhurst, Ill. He was 43.His death, in a hospital, was caused by complications of sickle cell anemia, his brother Michael said.Mr. Newman, the understated, harder-luck half of the duo, was 14 and in the eighth grade when he and his best friend, LeAlan Jones, 13, tape-recorded 100 hours of oral history and interviews to produce “Ghetto Life 101.” The producer David Isay transformed into a 28-minute segment on National Public Radio in 1993.In 1996, the youths won a Peabody Award, the youngest broadcasters at the time to do so, for “Remorse: The 14 Stories of Eric Morse,” a collage of recordings exploring the killing of a 5-year-old boy, tossed from the window of a vacant 14th-floor apartment in the Ida B. Wells Homes by a 10 and an 11 year old because he had refused to steal candy for them, according to the police.The two young journalists “squeezed magic from the streets of their struggling South Side neighborhood,” the reporter Don Terry wrote in The New York Times in 1997.The radio broadcasts were adapted into a book, “Our America: Life and Death on the South Side of Chicago” (1997), which they wrote with Mr. Isay.Mr. Isay had produced both documentaries, and they inspired him to establish the StoryCorps oral history project. It began with a recording booth in Grand Central Terminal in Manhattan in 2003 and since then has interviewed a half-million people, an effort to encourage mutual understanding by asking “to hear someone’s truth,” as the project puts it.Even when he was only 14, Lloyd Newman seemed unlikely to outlive his friend. “It’s easy to do wrong around here,” he told The Times in 1996. “It’s easy to get caught up by mistake.”Mr. Jones had been raised by middle-class grandparents in a private home a block away from the housing project. He graduated from high school on schedule, earned a bachelor’s degree in social science from Barat College in Lake Forest, Ill., ran for Barack Obama’s vacated U.S. Senate seat as the Green Party candidate in 2010 (he polled 3.2 percent) and became a mentor and professional journalist. Yet he seemed more pessimistic of the two.“Unfortunately, Lloyd and I both knew we had accomplished very little with the challenges introduced in the documentaries,” Mr. Jones said in an email this week, citing, among other metrics, the rising toll of Black teenagers killed in Chicago.Mr. Newman’s trajectory was more problematic, but he seemed more spirited.He was “whip smart, street smart, with a huge heart and a shy smile,” Mr. Isay said on NPR last week, but “he lived through more in his first dozen years than most people live in a lifetime.”Lloyd Sentel Newman was born on March 3, 1979, to Michael Murry, an alcoholic who, by the time his son was a teenager, hadn’t lived with the family for a decade, though he kept in touch with them and lived nearby. His mother, Lynn Newman, also drank heavily and died of cirrhosis when she was 35 and Lloyd was 15.Lloyd was raised in a rowhouse, part of the Ida B. Wells Homes, by a sister who was six years older. She and another sister also died of complications of sickle cell anemia.In addition to his brother Michael, he is survived by another brother, Lyndell; and a sister, Ericka Newman.Mr. Newman in 2019. He struggled academically but completed high school and attended college.Michael NewmanLloyd, who sold laundry bags with his father and peddled newspapers, struggled at Wendell Phillips High School in Chicago. But he was able to transfer to Future Commons Technical Prep High School (now closed), where he received closer supervision in smaller classes.“It isn’t hopeless,” he told The Times in 1997. “I’ll go to summer school and regular school and night school — I’ll never drop out.”He didn’t. After six years, he finally received his diploma and enrolled at Langston University in Oklahoma, though he never graduated.He returned to Chicago, where in 2006 he was arrested outside his sister’s apartment and charged with the manufacture, delivery and possession of crack cocaine.He pleaded guilty on his lawyer’s advice and was sentenced to two years’ probation. In 2021, his conviction was vacated thanks to another lawyer, Joshua Tepler, after it was determined that the evidence used to convict Mr. Newman had been faked by corrupt police officers who were implicated in more than 100 other phony arrests.In interviews, Mr. Newman said he dreamed of going to college, opening a hardware store or becoming a journalist. After moving to DeKalb, Ill., west of Chicago, to be closer to his brother, he worked as a cabby and as an Uber driver.In 2018, he was hired as a part-time shelver by the DeKalb County Library System and was later promoted to a $16-an-hour position mostly handling book loans to and from other libraries.Before he lapsed into a coma seven months ago, he and a partner were planning to open a tobacco and CBD retail store.“Ghetto 101” originated when Mr. Isay was hired at WBEZ radio, NPR’s Chicago affiliate, to contribute to a series of broadcasts inspired by Alex Kotlowitz’s book “There Are No Children Here: The Story of Two Boys Growing Up in the Other America” (1991).Michael Newman said that Lloyd had responded to a leaflet distributed by Mr. Isay seeking boots-on-the-ground reporters. Lloyd, he said, “thought that it would be fun and something different to do.”Mr. Kotlowitz said in an email that the project had imbued Mr. Newman with a quiet confidence and gave him a job that fit his character, as an “understated yet fiercely powerful storyteller who so relished making individual connections often with people whose lives so differed from his own.”“He was such a generous spirit and such a thoughtful soul,” Mr. Kotlowitz added. “I don’t know if he fully grasped the impact his storytelling had on others, but it inspired so many and challenged them in ways that brought us all closer.”Both youths understood the challenges they faced in the other America, the one outside the ghetto.“If we go in the store, we’re looked at wrong, as if we was going to steal,” Mr. Newman told Charlie Rose on PBS in 1997. “We’re not trusted, and most people feel that way.”By his own reckoning, Lloyd Newman might not have expected to die of natural causes. In 1997, enumerating the most common causes of death in the projects, he told The Times: “People get thrown out of windows, drowned, stabbed, shot. But a lot of that killing would stop if the government would make it livable around here. We don’t have no parks. The swings are broken. There’s nothing for people to do. There’s no fun. Life isn’t worth living without some fun.”In the documentary “Remorse,” Mr. Newman and Mr. Jones stood on the roof of the public housing building from which 5-year-old Eric Morse had been dropped from a 14th-floor window by two other young kids, or “shorties,” in the parlance of the streets. Looking over the edge, Mr. Jones asked Mr. Newman what would have gone through his mind if it was he who had been plunging to the ground.“I’d be thinking about how I’m going to land and if I’m going to survive,” Mr. Newman said. “I’d be thinking about how it is in heaven.”They mulled how long the fall would take and whether there would be time enough to say a prayer. Regardless, they concluded, Eric was so young that he would surely have gone to heaven.“Dude, you think they got a playground in heaven for shorties?” Mr. Jones asked.“Nope,” Mr. Newman said. “They don’t got a playground in heaven for nobody.” More

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    ‘There’s No Way to Do a Good Job if You’re Judging the Character’

    The actor K. Todd Freeman has worked with Steppenwolf Theater since 1993. His roles, however challenging, usually don’t exact a personal toll. Bruce Norris’s incendiary “Downstate,” which debuted at that Chicago theater in 2018, is different.“After three or four months of doing the play,” Freeman said, “it’s like, OK, I need to stop.”Like many of Norris’s works (including “Clybourne Park”), “Downstate,” a drama about a group home for men who have committed sexual offenses against children, is in part a provocation, a goad to presumed moral certainties. It focuses on four men: Dee (Freeman), who had sexual contact with a 14-year-old boy; Felix (Eddie Torres), who molested his daughter; Fred (Francis Guinan), a former piano teacher who abused two of his students; and Gio (Glenn Davis), who committed statutory rape.So inflammatory are its themes that Steppenwolf, having received threats, had to hire additional security for the show’s run. And the production, now at the Off Broadway theater Playwrights Horizons in Manhattan after a subsequent run at London’s National Theater, continues to attract controversy, such that anyone who describes it positively risks being seen as endorsing its subject matter.From left: Guinan, Eddie Torres (partially obscured), Davis, Susanna Guzman and Freeman in the play, which is at Playwrights Horizons through Dec. 22.Sara Krulwich/The New York TimesAfter the Washington Post critic Peter Marks posted a link on Twitter to his favorable review, conservatives, including Senator Ted Cruz, attacked him. They claimed that the play and by extension the review were sympathetic to pedophiles.On a recent weekday, at a restaurant near the theater, three of the actors — the Steppenwolf regulars Freeman and Guinan, and Davis, one of the company’s artistic directors — discussed what it takes to imagine men who have done the unimaginable and how much of their own sympathy they can extend. These are edited excerpts from the conversation.Did you do much research into men who have offended against children?FREEMAN There was a literary department at Steppenwolf that provided a great research packet. They gave the laws, what jail time we all would have had, what sort of rehab we would have had, how we got from the crime to this house. And there were documentaries that were made available to us. It was never overwhelming to me.“I don’t believe in the term ‘monsters’ for human beings. I don’t like the otherness of that,” Freeman said.Clark Hodgin for The New York TimesWas there anything you learned that surprised you or made you question how the country prosecutes and treats sex offenders?DAVIS I talked to Bruce about why he wrote the play. He said, “We live in a country in which you can murder someone, go to prison, come out, and have some approximation of a decent life afterward. But if you’re marked with this scarlet letter, this follows you forever.” He said, “I want to explore how we feel about that as a culture.”GUINAN I was rather shocked by the fact that all you have to do is go online and they’ll tell you exactly where all of these people live. Primarily, it ends up being in really poor neighborhoods. I was just shocked at how many convicted child molesters there are within walking distance of my house in Illinois.FREEMAN I was like, why isn’t there a registry for murderers? I would like to know when there’s a convicted murderer moving into my neighborhood. That’s a pretty horrible thing, killing people. Why aren’t we up in arms about that as well?Have these characters fully reckoned with their actions?GUINAN Fred, while he acknowledges what a terrible thing it was, then says, “I don’t know why the Lord would make me this way.” So I don’t think so. I don’t think he has.FREEMAN There are people who like to define their lives by their past and their scars. Do they need to? And is it bad if they don’t? It’s easy to judge these people. I don’t believe in the term “monsters” for human beings. I don’t like the otherness of that. It helps us think that we’re better or different — that we could never do that. We all could.Guinan said that the role has “opened the question of ‘what about the unforgivable in your own life?’ That’s a question I really have not answered for myself.”Clark Hodgin for The New York TimesCould we? I can’t imagine a circumstance in which I would abuse a child.FREEMAN I can’t either. But most child abusers have been abused. Maybe if you had that past? We just don’t know.Did you ever find yourself judging the characters or feeling repulsion for the characters?FREEMAN That’s just not what you do as a performer. There’s no way to do a good job if you’re judging the character.DAVIS There’s a part of you that understands, psychologically, that what this character has done is wrong, egregious. And then in honoring the story, honoring the character, you divorce yourself of that judgment. If I’m playing a character and I’m not going as far as I can because of my own judgment, I should probably let someone else have it.If you were withholding judgment, why then did the play begin to weigh on you?DAVIS It’s not an easy world to live in every day. You have to prepare yourself for what you’re about to hear and do.FREEMAN These four walls are basically the characters’ entire world. Trying to believe in the reality of that, just believing in the given circumstances, it’s a weight.Is it important to you that the audience empathize with these characters?DAVIS I don’t think we as artists can predetermine the response from the audience. What I owe to the audience is a realistic portrayal of the given circumstance and to let them decide for themselves if they want to feel compassion.FREEMAN To me, this is not a play about pedophiles. To me, pedophilia is a metaphor for the limits of our compassion, our mercy, our grace.“Whether I extend a little bit of grace or a lot of grace or no grace at all, my job is simply to portray what this character was thinking, what they were after, why they do what they do,” Davis said.Clark Hodgin for The New York TimesWhat do you make of the criticism that this play is sympathetic to pedophilia?FREEMAN I don’t think there’s a single line in there that suggests that. But it’s seeing them as human.DAVIS It’s a play that forces you to look at these people outside of the worst thing they’ve ever done. For some people, that’s too much.What has been the experience of having to extend your own humanity to the most reviled?DAVIS It’s not any different, in terms of any other character that I might play who does nefarious things. These characters have done particularly egregious acts. But whether I extend a little bit of grace or a lot of grace or no grace at all, my job is simply to portray what this character was thinking, what they were after, why they do what they do. So I don’t know if I would necessarily put it in those terms, that I’m extending my humanity, because it can sound like I’m forgiving them on some level. As an actor, I simply need to get inside of them.GUINAN For myself, it’s opened the question of “what about the unforgivable in your own life?” That’s a question I really have not answered for myself. Do you let yourself off the hook? And how do you do that?FREEMAN This is one of the best roles I’ve ever done. Because it is dangerous. And because it is scary. And incendiary. Who wants to do something that’s forgettable and nice? More

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    Tony Awards to Be Staged in Manhattan’s Washington Heights

    The annual ceremony honoring Broadway’s top productions and performers is moving to the New York neighborhood where the musical “In the Heights” was set.After 75 years of ceremonies in and around New York’s theater district, the Tony Awards next year will move uptown, holding the annual best-of-Broadway awards ceremony in Washington Heights.Tony Awards administrators made the surprise announcement Tuesday morning, saying that the next ceremony would take place on June 11 at the United Palace, an ornate theater in northern Manhattan that was constructed as a movie theater and is now used for religious and cultural activities.The administrators did not immediately offer a rationale for the move, but it brings the ceremony to a neighborhood with a large Hispanic population, and to a theater that has been championed by one of Broadway’s best-known stars, Lin-Manuel Miranda. (Miranda’s first Broadway musical, “In the Heights,” is named for, and takes place in, the neighborhood.)The ceremony, which will honor plays and musicals that opened on Broadway between April 29, 2022 and April 27, 2023, will be broadcast on CBS and streamed on Paramount+. The nominations will be announced on May 2.The United Palace is a landmark building that opened in 1930 as a Loew’s “Wonder Theater,” which were large and luxurious movie palaces. The building has 3,400 seats, which makes it the fourth largest theater in Manhattan — it is significantly smaller than Radio City Music Hall, where the Tony Awards have often taken place, but larger than the Beacon Theater, where the awards have sometimes been staged in recent years.The Tony Awards have, since 1947, changed locations multiple times. They were initially held in hotel ballrooms, then Broadway theaters before switching to larger venues in the 1990s.The Tony Awards, formally known as the Antoinette Perry Awards, were founded by the American Theater Wing and are now presented by the Broadway League and the Wing. Next year’s ceremony will be directed by Glenn Weiss, who has frequently played that role; Weiss and his longtime collaborator, Ricky Kirshner, will produce the broadcast with the League and the Wing. More

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    Late Night Isn’t Amused by Marjorie Taylor Greene’s Jan. 6 Joke

    The Republican congresswoman said that if she and Steve Bannon had planned the Capitol riot, “we would have won.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Coulda Shoulda WouldaAt a Republican gala on Saturday, Representative Marjorie Taylor Greene of Georgia made a joke about the Jan. 6 riot: “If Steve Bannon and I had organized that, we would have won.” She added, “Not to mention, it would have been armed.”“You see, the joke is, conservatives are such bloodthirsty psychopaths, if they had actually planned the insurrection on the Capitol, it would have been way more violent,” Seth Meyers said on Monday. “That’s like if Holiday Inn ran an ad that said, ‘If “White Lotus” took place here, a lot more people would have died.’”“Now, let me just say if I saw Greene with a gun, I would definitely be scared, but I refuse to believe Steve Bannon knows how to use one. No one who layers polo shirts is good with a firearm. In a way, they’d make fun partners in a buddy cop movie.” — SETH MEYERS“So, by ‘we’ she means the rioters, and by ‘would have won’ she means ‘overthrown the government’?” — STEPHEN COLBERT“[Imitating Marjorie Taylor Greene] If I had been in charge of invading my own office, Mike Pence wouldn’t just look like a ghost, he’d be one!’” — JIMMY KIMMELThe Punchiest Punchlines (Keep Your Day Job, Elon Edition)“Elon is being slammed for a tweet he posted yesterday that said, ‘My pronouns are prosecute and Fauci.’ Fauci was like, ‘Yep, much like a Tesla battery, Elon’s on fire.’” — JIMMY FALLON“It’s like a joke generated by A.I. — it makes no sense. The structure is wrong, it doesn’t rhyme with anything, there are too many syllables. It’s exactly the kind of joke you would expect from a guy who named his son after the bottom row of an eye chart.” — JIMMY KIMMEL“Yeah, you could tell Fauci wasn’t having it because he wrote back, ‘Congrats on making Twitter the Johnson & Johnson vaccine of social media.’” — JIMMY FALLONThe Bits Worth WatchingMichelle Obama exchanged Christmas gifts with Jimmy Kimmel on his Monday night show.What We’re Excited About on Tuesday NightStanley Tucci will pop by “The Tonight Show” on Tuesday.Also, Check This OutSteve Tientcheu in “Les Misérables.”Julien Magre/Amazon StudiosMovies about soccer are often eclectic and at times unclassifiable, drawing from multiple continents and genres. More

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    Review: ‘Merrily We Roll Along’ Returns, the Way It Never Was

    Maria Friedman’s rethinking of the much-loved, much-monkeyed-with 1981 Sondheim-Furth flop gets very close to coherence, and all the way to enjoyable.Many people love something about “Merrily We Roll Along” but few people love everything.It has that brilliant Stephen Sondheim score! It has that meshuga George Furth book! It’s a comedy of misbehavior, a tragedy of cynicism, a big Broadway musical, a tiny domestic drama, a timeline in search of a story that’s never found and, anyway, doesn’t make sense. Even if it did, no one is old enough/young enough to convincingly perform roles that age in reverse from 40 to 20. And if they do, they can’t sing.What no one wants is to leave the 1981 flop alone. Though too often lifeless in its many incarnations, it is also somehow deathless, rising repeatedly from the glossy grave of its beloved original cast album — remembered more fondly than the messy if emotional original production — in hopes of a transfiguration that finally makes it work.The revival that opened on Monday at New York Theater Workshop, after earlier iterations at the Menier Chocolate Factory in London and the Huntington Theater Company in Boston, comes closer to meeting that goal than any of the many I’ve seen before. Maria Friedman’s staging brings the intelligence of the songs fully alive and justifies the baroque construction. Her framing snaps the picture almost fully into focus. And with Jonathan Groff, Daniel Radcliffe and Lindsay Mendez as the show’s central trio of backward-tumbling friends, it is perhaps for the first time perfectly cast.Is that enough to make it great, the way it never was?The question resonates with the material — which, being about show business, is always involved in a meta-conversation with itself. Groff plays Franklin Shepard, a hacky movie producer in 1976, trailing two wives with a third on the way, who gradually evolves (backward) into a promising theater composer in 1957. Radcliffe plays his word man, Charley Kringas, who, in a nationally televised meltdown in 1973, spectacularly splits from the oldest of his old friends. Mendez plays the third wheel, Mary Flynn, an embittered (what else?) theater critic and washed-up novelist whose fog of alcohol slowly burns away to reveal, by the final curtain, a hopeful innocent in love forever with the unavailable Frank.Groff as Franklin Shepard, who’s a hacky movie producer when the musical opens in 1976.Sara KrulwichFriedman clarifies this rangy structure from the first image, which replaces the ensemble scenes of previous productions with Frank standing completely alone in the ruins of his life. As disembodied voices sing the opening phrases of the upbeat title song we quickly understand that we will be focusing not on the triangle so much as its apex. No one else in the story, not even his besties and exes, is quite real to Frank anyway; they are props in his monodrama, and often mangled. This is going to be the story of a brilliant young man who, failing to grow up, inevitably punches down.Happily, Groff has the glamour and fury to shoulder that interpretation. No Frank I’ve seen has been so unapologetic in his solipsism, so sure he deserves a get-out-of-jail-free card to life’s every complication. And when someone crosses him, as Charley does singing “Franklin Shepard, Inc.” on that TV show, Frank is so livid, staring straight ahead as if his friend no longer exists, that you wait in terror for what will happen next. What you get, even worse, is what happens before.The laminated ironies of Furth’s timeline, lifted from a 1934 Kaufman and Hart play with the same title and a similar arc, have always seemed better integrated into Sondheim’s ingenious score than into the plot itself. The songs are structured like a musical in reverse, with reprises preceding instead of following fuller versions, and bits of accompaniment later revealing themselves as new melodies. By the time you hear “Our Time,” the exquisite hymn of hopefulness that ends the show, you will recognize that it has already been cannibalized for parts; a few of its bleached bones show up as early as the second number, “That Frank,” with much more cynical lyrics.Friedman’s staging for the first time raises the story to nearly the same level of expressiveness. The dialogue, which in most productions sounds like movie lines instead of actual speech, has been put through some sort of sanding machine that removes its polish and restores real texture. Even in the songs, phrases that can seem too perfectly crafted are now engorged with specifics that inform the actors’ delivery and thus our understanding. For “Franklin Shepard, Inc.,” Radcliffe seems to have written a Bible of back story, giving wild spins to every line that help send the song into orbit.Visually too, Friedman simplifies, reinforces and focuses what we see. Soutra Gilmour’s costumes, though changing with the years, are similar enough to immediately specify everyone in the cast. (Frank is usually in a black suit, Charley in eye-jarring argyle, Mary in busy print shmattes.) And since all the action takes place within the cold unit set representing Frank’s midcentury Bel Air house (also by Gilmour) we never wonder why we’re watching a scene, even if it nominally takes place somewhere else. We’re watching it because it’s his brain.From left: Reg Rogers and Krystal Joy Brown, with Groff, Mendez and Radcliffe.Sara KrulwichBut those fixes, however successful, are also compromises. The Bel Air house, fairly hideous and mostly blank to allow for its transformations, necessitates a lot of choral furniture-handling that works against the sleekness of the material. Though the cast, especially Mendez, is vocally splendid, the original Jonathan Tunick orchestrations, vastly reduced to nine players from 19, have undergone a radical deglamorization, making it a smart if sad choice to drop most of the brilliant overture. And if dancing doesn’t really fit Friedman’s more interior approach (the limited choreography is by Tim Jackson) the general lack of Broadway pizazz leaves the show feeling deprived of half its inheritance.With the Off Broadway run (through Jan. 22) all but sold out, and commercial producers teed up for a transfer, we may yet find out what “Merrily” can be at its best. For now, it’s just at its best so far. That means some scenes work as they never have; the Act II opener, “It’s a Hit,” which often lays an egg, is for the first time hilarious, thanks in large part to Reg Rogers as Frank and Charlie’s producer. The unlikely progress through the story of Gussie Carnegie — the producer’s secretary, then wife, then star, then ex, but in reverse — suddenly seems clear and, in Krystal Joy Brown’s fetching performance, charming if not credible.Yet at the same time, some things that used to work no longer do. The supporting characters, heavily doubled, are mostly a blur. The song “Old Friends,” which at its root is about the fatal compromises that keep people together, has a case of fake giddiness. And “Bobby and Jackie and Jack,” a comedy number about the Kennedy family that the three friends perform in a downtown club in 1960, lays the egg that “It’s a Hit” no longer does.Musicals are mysterious. Even the best are games of Whac-a-Mole: Fix one problem and another pops up. It’s therefore no small thing to say that in her effort to drag a half-living thing like “Merrily” to full life, Friedman is more than halfway there. Maybe, finally, it’s a hit.Merrily We Roll AlongThrough Jan. 22 at New York Theater Workshop, Manhattan; nytw.org. Running time: 2 hours 30 minutes. More

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    The Pundit Whisperer of Qatar’s beIN Sports World Cup Coverage

    Qatar’s beIN Sports hired a host of retired soccer stars to bring authority to its World Cup coverage and a group of interpreters to render their words into Arabic. The toughest assignments go to one man.DOHA, Qatar — There is perhaps no one in the world who has paid closer attention to the diction and pronunciation of the former England soccer captain John Terry over the past month than Lassaad Tounakti, a 52-year-old Tunisian with a gift for languages, a passion for cologne and an accidental television career.For Tounakti, understanding the minute details of the way Terry speaks is no casual affair. His ability to understand Terry’s every utterance has been a vital part of one of the World Cup’s toughest, and least forgiving, man-to-man assignments: As the main interpreter for beIN Sports, Tounakti has since the start of the tournament served as the voice of Terry and other retired stars hired by BeIN as it has transmitted the tournament night after night to Arabic-speaking viewers across the Middle East and North Africa.It can seem, at times, like a Sisyphean task. BeIN Sports, the broadcaster based in Qatar, has devoted six channels to the World Cup, including two that are Arabic only. Each one is broadcasting tournament content for up to 18 hours a day. There are pregame shows, halftime chats and postgame panel discussions, but also sideline interviews, on-the-street cutaways and fan-zone appearances. Much of that programming is beamed out live to the world, and much of it involves a delicate live dance involving Arab hosts and guests and former soccer stars who do not speak a common language.Interpreting their words — quickly, precisely and live on the air — requires an extraordinary fluency in not only languages but soccer. For Tounakti, it means translating every word of Arabic into English in the ears of the former soccer stars before flicking a switch — literally and in his mind — and immediately rendering their thoughts, delivered in English, back into Arabic.Tounakti uses two buttons during broadcasts: E for English and A for Arabic.Erin Schaff/The New York TimesEvery voice is different. The English diction of Kaká, a World Cup-winning Brazilian, is different from that of the Dutch soccer great Ruud Gullit, and the nuances of their pronunciations are different from those of the former Germany captain Lothar Matthäus.Because of the sheer volume of coverage it is providing, beIN is employing four staff interpreters and supplementing them with freelancers for the World Cup. Most interpreters work in a rotation, but there are some accents, some ways of speaking, that require just a little bit more expert handling. Terry’s thick East London accent is one of those.“For the time being,” Tounakti said, “John Terry is mine.”Speaking to the WorldTounakti’s career as the Arabic voice of beIN’s imported experts was in many ways accidental. As a delegation from Qatar prepared to fly to Zurich in December 2010 to make its final pitch to host the 2022 World Cup, beIN realized it did not have an interpreter who spoke both French and English.Tounakti, a university professor with a doctorate in linguistics and experience interpreting for the country’s emir, was enlisted for the trip, which ended with his voice relaying the shocking news that Qatar had won the rights to bring the World Cup to the Middle East for the first time. “They say I am the guy that made 350 million people cry,” he said.In the decade since the vote, beIN, which is owned by the Qatari state, grew into one of the world’s biggest broadcasters, spending billions of dollars on sports rights every year and expanding into dozens of countries. Most of that expansion has been preparation for this moment: a month of televising the World Cup from Qatar.BeIN Sports has devoted six channels to the World Cup, including two that are Arabic only. Erin Schaff/The New York TimesWhile the 64 games have been a centerpiece of the coverage, a significant part of the network’s content has revolved around the high-profile guest commentators the company has hired at great expense to bring credibility, celebrity and commentary to its coverage.Last week, in the street separating two buildings in beIN’s complex in Doha, Peter Schmeichel, a former Denmark and Manchester United goalkeeper who is one of the company’s longtime analysts, arrived for an evening shift in the studio accompanied by Jermaine Jones, a German-born former U.S. midfielder.A Brief Guide to the 2022 World CupCard 1 of 9What is the World Cup? More

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    Golden Globes Nominations: ‘The Banshees of Inisherin,’ ‘Elvis’ Among Nominees

    The tarnished awards ceremony will air on NBC in January in a one-year trial. But which stars will show up to collect their trophies?The companies behind the tarnished Golden Globe Awards pushed forward with a rehabilitation effort on Monday, announcing nominations for a televised ceremony on Jan. 10 that will find “The Fabelmans,” “Elvis” and “The Banshees of Inisherin” among those in contention for the top film prizes.Who will show up to collect the trophies is another matter.NBC canceled the 2022 telecast amid an ethics, finance and diversity scandal involving the Hollywood Foreign Press Association, the unorthodox organization that bestows the Globes. Citing extensive H.F.P.A. reforms, NBC in September agreed to return the ceremony to its air for an 80th installment — under a one-year trial. For the first time, the show will also be available simultaneously online, through Peacock, NBCUniversal’s streaming service.Most movie studios view the Globes telecast and accompanying red carpet spectacle as crucial marketing opportunities for winter films, especially dramas, which have been struggling at the box office. But not everyone in Hollywood is eager for the Globes to return. Publicists and agents say that some stars (those with the most to gain from the exposure) have an open mind, while others want the Globes to be retired forever.Kelly Bush Novak, the chief executive of ID, a leading Hollywood publicity and marketing firm, said she would encourage clients to participate, in part because she expected Globe voters to recognize a diverse group of artists. “Many of us — in a truly collective effort — held the organization accountable, and many of us are encouraged by the strides and commitment that have resulted,” Novak said. (She added, however, that more work needed to be done.)Last year, after The Los Angeles Times enumerated the foreign press association’s well-known but long-overlooked lapses, Tom Cruise returned his Globe trophies. More recently, Brendan Fraser, who has received rave reviews for his performance as a morbidly obese man in “The Whale,” said that he would not attend the ceremony if nominated. In 2018, Fraser accused a then-member of the H.F.P.A. of groping him in 2003, which the member denied.Fraser was nominated on Monday for best actor in a drama. Other notable nominees include Ana de Armas, for her performance in Netflix’s widely derided Marilyn Monroe biopic “Blonde.” James Cameron was nominated as best director, for “Avatar: The Way of Water,” which opens worldwide on Friday.Some awards prognosticators had expected to see Cruise among the best actor nominees, for his performance in “Top Gun: Maverick.” But he was left out. (The movie did receive a nomination for best drama.) Will Smith, vying for awards attention with “Emancipation,” also failed to make the list.The stand-up comedian Jerrod Carmichael will host the Golden Globes ceremony, which is being held on a Tuesday (as opposed to its accustomed Sunday spot) to avoid NBC’s “Sunday Night Football.”With a new interim chief executive, Todd Boehly, leading a turnaround effort, the H.F.P.A has overhauled membership eligibility, recruited new members with an emphasis on diversity, enacted a stricter code of conduct and has moved to end its tax-exempt status and transform into a for-profit company with a philanthropic arm. Boehly is awaiting final governmental approval for that plan. Once it comes, he is expected to disband the H.F.P.A. and rebrand the charitable division.The 96-member organization now has six Black members — up from zero — and has added 103 nonmember voters, a dozen or so of whom are Black. One member was recently kicked out for conduct violations, including fabricating quotes, which leaders of the group have cited as proof of their reformed ways.Live awards shows, including the Oscars, have lost tens of millions of viewers over the past decade, but the biggest ceremonies still attract a larger audience than almost anything else on traditional television, aside from live sports. The most recent Golden Globes telecast, held without celebrity attendees in early 2021 because of the pandemic, attracted about seven million viewers, according to Nielsen. Prepandemic, the show was attracting about 18 million viewers annually.Here is a list of the nominees:Best Motion Picture, Drama“Avatar: The Way of Water”“Elvis”“The Fabelmans”“Tár”“Top Gun: Maverick”Best Motion Picture, Musical or Comedy“Babylon”“The Banshees of Inisherin”“Everything Everywhere All at Once”“Glass Onion: A Knives Out Mystery”“Triangle of Sadness”Best Director, Motion PictureJames Cameron, “Avatar: The Way of Water”Daniel Kwan and Daniel Scheinert, “Everything Everywhere All at Once”Baz Luhrmann, “Elvis”Martin McDonagh, “The Banshees of Inisherin”Steven Spielberg, “The Fabelmans”Best Performance by an Actress in a Motion Picture, DramaCate Blanchett, “Tár”Olivia Colman, “Empire of Light”Viola Davis, “The Woman King”Ana de Armas, “Blonde”Michelle Williams, “The Fabelmans”Best Performance by an Actress in a Motion Picture, Musical or ComedyLesley Manville, “Mrs. Harris Goes to Paris”Margot Robbie, “Babylon”Anya Taylor-Joy, “The Menu”Emma Thompson, “Good Luck to You, Leo Grande”Michelle Yeoh, “Everything Everywhere All at Once”Best Performance by an Actress in a Supporting Role in any Motion PictureAngela Bassett, “Black Panther: Wakanda Forever”Kerry Condon, “The Banshees of Inisherin”Jamie Lee Curtis, “Everything Everywhere All at Once”Dolly de Leon, “Triangle of Sadness”Carey Mulligan, “She Said”Best Performance by an Actor in a Motion Picture, DramaAustin Butler, “Elvis”Brendan Fraser, “The Whale”Hugh Jackman, “The Son”Bill Nighy, “Living”Jeremy Pope, “The Inspection”Best Performance by an Actor in a Motion Picture, Musical or ComedyDiego Calva, “Babylon”Daniel Craig, “Glass Onion: A Knives Out Mystery”Adam Driver, “White Noise”Colin Farrell, “The Banshees of Inisherin”Ralph Fiennes, “The Menu”Best Performance by an Actor in a Supporting Role in any Motion PictureBrendan Gleeson, “The Banshees of Inisherin”Barry Keoghan, “The Banshees of Inisherin”Brad Pitt, “Babylon”Ke Huy Quan, “Everything Everywhere All at Once”Eddie Redmayne, “The Good Nurse”Best Screenplay, Motion PictureTodd Field, “Tár”Daniel Kwan and Daniel Scheinert, “Everything Everywhere All at Once”Martin McDonagh, “The Banshees of Inisherin”Sarah Polley, “Women Talking”Steven Spielberg and Tony Kushner, “The Fabelmans”Best Original Score, Motion PictureCarter Burwell, “The Banshees of Inisherin”Alexandre Desplat, “Guillermo del Toro’s Pinocchio”Hildur Gudnadottir, “Women Talking”Justin Hurwitz, “Babylon”John Williams, “The Fabelmans”Best Original Song, Motion Picture“Carolina,” “Where the Crawdads Sing”“Ciao Papa,” “Guillermo del Toro’s Pinocchio”“Hold My Hand,” “Top Gun: Maverick”“Lift Me Up,” “Black Panther: Wakanda Forever”“Naatu Naatu,” “RRR”Best Motion Picture, Animated“Guillermo del Toro’s Pinocchio”“Inu-Oh”“Marcel the Shell With Shoes On”“Puss in Boots: The Last Wish”“Turning Red”Best Motion Picture, Foreign Language“All Quiet on the Western Front”“Argentina, 1985”“Close”“Decision to Leave”“RRR”Best Television Series, Drama“Better Call Saul”“The Crown”“House of the Dragon”“Ozark”“Severance”Best Television Series, Musical or Comedy“Abbott Elementary”“The Bear”“Hacks”“Only Murders in the Building”“Wednesday”Best Limited Series, Anthology Series or a Motion Picture made for Television“Black Bird”“Monster: The Jeffrey Dahmer Story”“The Dropout”“Pam & Tommy”“The White Lotus”Best Performance by an Actress in a Television Series, DramaEmma D’arcy, “House of the Dragon”Laura Linney, “Ozark”Imelda Staunton, “The Crown”Hilary Swank, “Alaska Daily”Zendaya, “Euphoria”Best Performance by an Actress in a Television Series, Musical or ComedyQuinta Brunson, “Abbott Elementary”Kaley Cuoco, “The Flight Attendant”Selena Gomez, “Only Murders in the Building”Jenna Ortega, “Wednesday”Jean Smart, “Hacks”Best Performance by an Actress in a Limited Series, Anthology Series or a Motion Picture Made for TelevisionJessica Chastain, “George & Tammy”Julia Garner, “Inventing Anna”Lily James, “Pam & Tommy”Julia Roberts, “Gaslit”Amanda Seyfried, “The Dropout”Best Performance by an Actor in a Television Series, DramaJeff Bridges, “The Old Man”Kevin Costner, “Yellowstone”Diego Luna, “Andor”Bob Odenkirk, “Better Call Saul”Adam Scott, “Severance”Best Performance by an Actor in a Television Series, Musical or ComedyDonald Glover, “Atlanta”Bill Hader, “Barry”Steve Martin, “Only Murders in the Building”Martin Short, “Only Murders in the Building”Jeremy Allen White, “The Bear”Best Performance by an Actor in a Limited Series or a Motion Picture Made for TelevisionTaron Egerton, “Black Bird”Colin Firth, “The Staircase”Andrew Garfield, “Under the Banner of Heaven”Evan Peters, “Monster: The Jeffrey Dahmer Story”Sebastian Stan, “Pam & Tommy”Best Performance by an Actress in a Supporting Role in a Television Musical, Comedy or Drama SeriesElizabeth Debicki, “The Crown”Hannah Einbinder, “Hacks”Julia Garner, “Ozark”Janelle James, “Abbott Elementary”Sheryl Lee Ralph, “Abbott Elementary”Best Performance by an Actor in a Supporting Role in a Television Musical, Comedy or Drama SeriesJonathan Lithgow, “The Old Man”Jonathan Pryce, “The Crown”John Turturro, “Severance”Tyler James Williams, “Abbott Elementary”Henry Winkler, “Barry”Best Performance by an Actress in a Supporting Role in a Television Limited Series, Anthology Series or Television MovieJennifer Coolidge, “The White Lotus”Claire Danes, “Fleishman Is in Trouble”Daisy Edgar-Jones, “Under the Banner of Heaven”Niecy Nash, “Monster: The Jeffrey Dahmer Story”Aubrey Plaza, “The White Lotus”Best Performance by an Actor in a Supporting Role in a Television Limited Series, Anthology Series or Television MovieF. Murray Abraham, “The White Lotus”Domhnall Gleeson, “The Patient”Paul Walter Hauser, “Black Bird”Richard Jenkins, “Monster: The Jeffrey Dahmer Story”Seth Rogen, “Pam & Tommy” More

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    How ‘Peter Pan’ Inspired Richard Branson

    The businessman and subject of a new documentary series is a fan of “Mare of Easttown,” “Sharkwater” and letting his grandchildren beat him at chess.In the opening moments of the HBO documentary series “Branson,” Richard Branson looks into the camera to say goodbye.“It’s always strange recording something when you’re alive and healthy,” he said, “knowing the only reason this video will be seen is if something has gone awry.”Branson, a serial entrepreneur whose businesses include the aerospace company Virgin Galactic, has bid farewell before when he thought he needed to prepare for the worst — “I’ve written letters to my children and my grandchildren on a number of occasions,” he said in a phone interview last month — but in this case, it was 16 days before he tried spaceflight.Even though that 2021 trip was a success, the footage didn’t go to waste. It made its way into “Branson,” a four-part series that covers his life and career, including his founding of the Virgin empire. Talking about his life, he believes, is part of the mission.“Your life is not wasted if you’ve learned a lot and you’ve shared it,” he said in the documentary. “If you’ve learned a lot and you don’t share your life, I personally feel that your life is wasted somewhat.”Here, Branson shares the people who have inspired him, the books he returns to and why he keeps losing at tennis. These are edited excerpts from the conversation.1. “Peter Pan” I found the “Peter Pan” story as a kid and thought it was a magical story. Being able to just flap the arms and fly has been my most recurring dream.2. Forgiveness It was an honor to be able to spend quite a bit of time with Archbishop Desmond Tutu. And one of my favorite books is Nelson Mandela’s “Long Walk to Freedom.” I think that the overriding lesson that the two of them taught the world was the importance of forgiveness. The Truth and Reconciliation Commission that they set up in South Africa was completely and utterly remarkable.3. Grandchildren The best present I ever received was when my grandkids put on a show for me, which they performed in the middle of the dining room table. Shows from kids, and then grandkids, are often the best presents.4. “Biko” I was in South Africa with Nelson Mandela when they unveiled a statue of Steve Biko, a Black activist who was killed in a prison cell by white people during apartheid. After Mandela made his speech, I managed to get the microphone off him and handed it to Peter Gabriel and suggested that he just sing his song, “Biko,” without any instrumentation. The streets were filled with people, and every one of them sang along with him.5. “Swallows and Amazons” As a very young kid, I loved the Arthur Ransome novel “Swallows and Amazons.” It’s about a group of children having adventures in England. Now I read it to my grandkids. It’s a beautiful book.6. “Mare of Easttown” Kate Winslet ended up marrying into our family — married my nephew. I think her best performance ever was in “Mare of Easttown.” It’s extraordinarily powerful that she can do a Philadelphia lady and do it so well. I hope she makes a follow-up on that.7. “Sharkwater” A strong documentary can really wake one up. There’s a brilliant documentary called “Sharkwater,” which the late Rob Stewart made to campaign against the mass killing of sharks and other species in the ocean for things like shark fin soup. After I saw it, I started spending a lot of time campaigning to get sharks protected.8. Joe’s Stone Crab I’d rather swim with the fish than fish for fish these days, even though that sounds a bit “Godfather”-ish. When my wife, Joan, and I are in Miami, we like to eat at Joe’s Stone Crab. It’s got the best fish and crab and a lovely atmosphere as well.9. Chess I play lots of chess. And I like chess boards, which you’ll find around every corner of our home. I like boards to be simple, not the Balinese pieces where I don’t know which one is the queen and which one is the king. I started playing with my grandkids when they were quite young, and I let them beat me all the time to keep them interested. But my 7-year-old grandson has been taking lessons, and it was tough going recently, so I decided to beat him. I think he’s now at an age where he’ll want to come back for more.10. Tennis I play every morning and evening with a tennis pro. It’s a good way of being humble because I get beat, morning and evening, every day. More