Eliana Willis

More stories

  • 163 Shares129 Views

    in Theater

    ‘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

  • 113 Shares179 Views

    in Theater

    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

  • 138 Shares119 Views

    in Television

    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

  • 138 Shares139 Views

    in Theater

    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

  • 125 Shares149 Views

    in Television

    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

  • 125 Shares159 Views

    in Television

    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

  • 75 Shares119 Views

    in Television

    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

  • 63 Shares199 Views

    in Theater

    Best Arts Photos of 2022

    These are the images that defined a remarkable time across the worlds of art, music, dance and performance.Sinna Nasseri photographed Weird Al, left, and Daniel Radcliffe at a playground in Lower Manhattan in August before the release of their biopic, “Weird: The Al Yankovic Story.”Sinna Nasseri for The New York TimesCulture comes to life through a progression of ideas and images: Artists create works, and our photographers then capture these creators and their offerings — in turn creating photography that shares with us moments of intimacy we wouldn’t otherwise witness. Over the past year, photo editors at The New York Times have commissioned thousands of photographs of the movie stars, choreographers, opera singers, musicians and artists who made memorable contributions to the cultural world.In one frame by Chantal Anderson, the actor Caleb Landry Jones sips from a coffee mug at his kitchen counter, last night’s dishes piled high in the sink, as sunlight pours in from the window above. In another, Rosie Marks gives us an inside look at Charo being Charo: working out at home, full hair and makeup, in a gym frozen in time. In Michael Tyrone Delaney’s photograph of Awol Erizku, the artist stands before his work, his gaze set on his toddler. It’s an image that speaks to both his personal relationship with his child and his art’s relationship to her.Together, these photographs capture a narrative about a year in the arts, building a collection of evolving scenes and inner worlds. We asked some of the photographers to discuss the intentions behind these frames and the stories they saw within them. Now that the year is coming to a close, take one more look back at how we saw culture this year. — JOLIE RUBEN, senior photo editorDecember 2021When it comes to comedies, “I don’t get cast in them,” Nicole Kidman told The New York Times late last year about her role as Lucille Ball in the film “Being the Ricardos.” That might be the result of a career spent in dramas or “it might be my personality, too.”Jody Rogac for The New York TimesJanuary“Authentic Selves: The Beauty Within,” the countertenor Anthony Roth Costanzo’s New York Philharmonic festival, was a self-portrait of the musician, who is also an impresario and a community organizer. “I’m not interested in any artist because of their fame,” he told The Times.Erik Tanner for The New York TimesI like to think about this portrait of Anthony Roth Costanzo in the spirit of early stage plays, a sort of dollar-store version of world building, where rudimentary means of expression invite the smoke and mirrors to be an active part of the world rather than obscure it. I created a stage set as a field of flowers in a perpetual state of bending in the wind. The twine that suspends the flowers was both practical but also meant to dispel any illusion of the wind being real; showing my cards, as it were.— Erik Tanner“When I look back, I don’t remember it as suffering,” Penélope Cruz said of playing Janis in “Parallel Mothers,” because “for me, she was alive.” The film was her seventh collaboration with the director Pedro Almodóvar.Camila Falquez for The New York TimesThe Broadway veteran Kenneth Ard and the jazz vocalist Kat Edmonson were cast in “The Hang,” a jazz opera from the performer Taylor Mac.Justin J Wee for The New York TimesThe way that Kat Edmonson draped her arm over Kenneth Ard’s, the way that his body lay back on this stool, the texture of the stool, the color of their costumes, the lighting overhead and the fog from the smoke machine. As a queer person, it felt like a metaphor for how it feels to walk out of the closet: It’s like an exhale, an aha moment where everything has meaning, feels connective and lush, but only if you allow yourself to experience it in that way. — Justin J WeeFebruaryTo play a superstar at a vulnerable moment in the rom-com “Marry Me,” Jennifer Lopez said, “I had to remind myself in this movie that this was actually a safe place to let those feelings out.”Chantal Anderson for The New York Times“It’s so in my bones,” Beanie Feldstein said of playing Fanny Brice in “Funny Girl” on Broadway. “I used to run around the house in my pajamas screaming ‘Don’t Rain on My Parade,’ pretending my dog was the tugboat.”OK McCausland for The New York TimesI brought the flowers as a prop for Beanie. Yellow roses, as featured in “Funny Girl” the movie, starring Barbra Streisand. I wanted to evoke the idea of a torch being passed. — OK McCauslandThe dancer and choreographer Angela Trimbur (squatting) champions low-stakes, accessible and intuitive movement. Dancing, she said, “is the way that I talk to myself.”Cait Oppermann for The New York Times“I wanted this work to focus on joy and celebration and love,” said the choreographer Kyle Abraham of his evening-length work “An Untitled Love,” set to songs by D’Angelo.Lelanie Foster for The New York TimesAs a former dancer and D’Angelo fan, I was inspired by these two worlds of dance and R&B. I only asked Kyle if he could improvise a little bit for me. Soon enough I was in the midst of an intimate solo performance in the BAM lobby. — Lelanie FosterSam Waterston, best known for “Law & Order,” began his career on the stage but soon branched into TV and film, taking on drama and comedy. “I’ve always wanted to prove that I can do all kinds of things,” he said.Mark Sommerfeld for The New York TimesJerry Saltz, New York magazine’s senior art critic, and a figurine of himself. He was photographed for an essay by the New York Times movie critic A.O. Scott about the physical objects of our pop culture obsessions.Daniel Arnold for The New York TimesMarchThe Spanish pop singer Rosalía smashed together new sounds from the Latin world and beyond on her latest album, “Motomami.” “I just want to hear something I haven’t heard before,” she said.Carlos Jaramillo for The New York TimesThe guitarist, singer, actress and comedian Charo has felt underestimated “all the time, all the time,” she said. “But it never gave me a complex. I have fun. As long as people enjoy it, I don’t care. Because once I have that, I have the power of the stage.”Rosie Marks for The New York TimesI wanted to capture the slight chaos of Charo at home on her compound. There is a lot going on in the frame: the artificial grass carpet, the rusty weights, the old TV, a missing piece of the mirror — and then her in the middle, wearing a bright yellow outfit right out of an ’80s workout video, with hair and makeup that could be taken right out of one of her sold-out Vegas shows. She insisted we stay after the shoot and served up several cheese and meat platters. — Rosie MarksSand in Death Valley, Calif., was manipulated in different ways for the soundscape of “Dune,” Denis Villeneuve’s film based on Frank Herbert’s seminal sci-fi novel.Peter Fisher for The New York TimesI watched “Dune” three times before heading to this shoot, taking notes on my yellow legal pad each time. The sound engineers did such an incredible job immersing the audience in this alien world, I wanted the images to at least attempt to do the same thing, like we were reporting from the surface of Arrakis. — Peter FisherThe vocalist, flutist and producer Melanie Charles singing at a rehearsal in her Brooklyn home. Her music uses electronics and calls for something heavier than an upright bass. “Musicians like me and my peers, we need some bump on the bottom,” she said.Sinna Nasseri for The New York TimesInstead of trying to separate different elements in the frame, sometimes I want my photograph’s different parts to connect and flow together to create shapes and lines. The neck of the bass guitar meets the circle of the bass drum, and Melanie Charles’s foot connects with the bass, which forms a diagonal line with Jonathan Michel’s finger. Melanie’s living room was inundated with music, with instruments. You get the sense that there’s not much separating her life from her music. — Sinna NasseriWith an exhibition at the Gagosian this year, Awol Erizku, above in his studio, was able to reach a broad audience. “I want to be remembered for Black imagination,” Erizku said, “to expand the limits of Black art.”Michael Tyrone Delaney for The New York TimesWalking into Awol Erizku’s studio is like walking into his mind. It’s a large warehouse, filled with striking imagery and sculptures in progress. He asked to get one photo with his daughter, Iris. A lot of his work is made with his daughter in mind. For me, this image embodies the themes of legacy building and cultivation of Black imagination. — Michael Tyrone DelaneyThe reality TV star Kourtney Kardashian and the prolific drummer Travis Barker, who got married this year, kiss on the Oscars red carpet in March.Krista Schlueter for The New York TimesAprilThe actor and musician Caleb Landry Jones at his Los Angeles home. His role in the Australian drama “Nitram” earned him a top prize at Cannes.Chantal Anderson for The New York TimesBefore the Broadway debut of “Mr. Saturday Night” — a musical version of his 1992 movie about an aging performer who won’t accept that his time in the spotlight is up — Billy Crystal said, “The worst nightmare is, do you wake up one day and you’re not funny anymore?”Philip Montgomery for The New York TimesSarah Silverman during a break from rehearsals of “The Bedwetter,” about a 10-year-old Silverman who suffered from the embarrassing condition of the title. “It will be familiar to so many people,” Silverman said about how the musical explores the emotions raised by divorce.Mark Sommerfeld for The New York TimesNicolas Cage, who starred as “Nick Cage” in this year’s “The Unbearable Weight of Massive Talent,” said, “I don’t want to be one of those actors — and there are a lot of them, I won’t mention any names — who are high on their own supply.”Sinna Nasseri for The New York TimesI had about 10 minutes with Nicolas Cage in a Manhattan hotel. The story was about his newest movie, which has a meta quality to it: Nic plays himself at different stages of his life. I thought a mirror would represent that well. The side of his face is the foreground, and there’s also the lesser foreground of his hand. The middle ground shows his circular reflection while the background is another reflection of Nic. And there’s a further background beyond that. The depth of this frame is a big part of its power. — Sinna NasseriAlexander Skarsgard said working on the Viking saga “The Northman” was “the greatest experience of my career but, God, it was intense.”Robbie Lawrence for The New York TimesMay“I don’t want to be a celebrity,” Ethel Cain said ahead of the May release of her debut album, “Preacher’s Daughter.”Irina Rozovsky for The New York TimesWhen I met her, Ethel Cain was living in a small house in a small town somewhere in Alabama. It was a total time warp with no obvious signs of modernity — video tapes, crocheted table settings, wood paneled walls, quilts. In this photo, we were in Ethel’s bedroom, where she sleeps and records, the microphone just a few feet from the bed. We were talking about her childhood in the church. She was lying down, and I was on my knees beside her with the camera, a pious sight in and of itself. — Irina Rozovsky“I’ve made it clear to people that I’m never going to make a record that’s the same as another,” Bad Bunny said. His fourth album, “Un Verano Sin Ti,” was a smash hit.Josefina Santos for The New York TimesMichael Che, known mostly for “Saturday Night Live,” said there had been a certain amount of trial and error in developing his own show, the HBO Max series “That Damn Michael Che,” and in figuring out his career: “Everything looks easy till you start doing it.”Andre D. Wagner for The New York TimesOne of my favorite ways to make photographs is to be out on the streets and in the world; I love playing off juxtaposition and chance encounters. Even the streets know that Michael Che is PURE GENIE-US! — Andre D. WagnerFans respond to Austin Butler, above, the way they did to a young Leonardo DiCaprio, said the “Elvis” director Baz Luhrmann.Chantal Anderson for The New York TimesAnson Boon said he “loved the intensity” of playing Johnny Rotten, the Sex Pistols frontman, in “Pistol,” a Hulu limited series.Mark Sommerfeld for The New York Times“I have spent a lot of time with different choreographers, all with different processes, so I also told myself: There are no rules,” said Janie Taylor, a former City Ballet principal, whose dances were featured in the L.A. Dance Project’s Joyce Theater season.Thea Traff for The New York TimesEach morning in Los Angeles, there’s typically a layer of fog (the “marine layer”) that clouds sunlight. We were incredibly lucky the morning of this shoot — there was no fog, only direct, beautiful California sunlight. The light was also low enough in the sky to create a beautiful shadow across half of Janie Taylor’s body. I asked her to dance in a way that felt reflective of her work, and she gave so much expression and movement in this light. — Thea Traff“My job was to capture their genius and not take shots that were superfluous,” said Marty Callner, who directed the first specials of Robin Williams, Steve Martin and George Carlin.Peter Fisher for The New York TimesLars “Bala” Lyons stands by while a red-tailed hawk (magnified by binoculars) perches above near Tompkins Square Park in New York. “For the Birds,” a star-studded, 242-track collection of songs and readings inspired by or incorporating birdsong, was released this year.Sinna Nasseri for The New York TimesFor this story I embedded myself with New York City’s birders — people who are obsessive about tracking birds, while the rest of us just go about our lives. I wanted to show that difference in one photo, so I split the frame by holding binoculars to the top half of my lens, which I focused on a red-tailed hawk, while the bottom half reveals a man on the ground just walking, unaware of the magnificent creature above him and the fandom surrounding the city’s birds. — Sinna NasseriWhen Oscar Isaac was offered “Moon Knight,” a Marvel series on Disney+, he wasn’t sure he was ready for another action blockbuster. “As fun as they can be, you’re outputting a lot of energy, and then you leave and you’re just exhausted,” he said.Erik Tanner for The New York TimesJuneIf the filmmaker Taika Waititi stepped back and considered all of his projects, “I’d probably have a panic attack,” he said. “I know there’s too many things.”Dana Scruggs for The New York TimesFrom left, Terry Elliott Lamont, Michael Turner Jr. and Von Williams in the McCulloh Homes public housing project, which was used as “The Pit” in “The Wire.” This year, a Baltimore photographer considered the HBO drama’s impact on the city where he was raised, 20 years after the show’s debut.Gioncarlo Valentine for The New York TimesWhen I was a kid growing up in Baltimore, I was lucky enough to have a group of queer friends. We called ourselves “The Pridelights.” The three people in this image, Terry, Michael, and Von, were among the core members of the group and, in many ways, the core of my childhood. The composition is a nod to the iconic “Destiny Fulfilled” album cover, an album that was so central to us when it was released. We fought constantly about who in our group was Beyoncé (Von and me), Kelly (Michael) and Michelle (Terry). There are almost no images of us together when we were children. Looking at this image now, it feels corrective. — Gioncarlo ValentineJuly“I wanted to build a framework for myself, for how to keep art sacred,” the singer-songwriter Maggie Rogers said of her detour to Harvard Divinity School during the pandemic. Her second major-label album, “Surrender,” was released this summer.OK McCausland for The New York TimesAugustDecades in the making, Michael Heizer’s “City,” a massive mile-and-a-half-long sculpture set in a remote Nevada valley, was finally revealed this year.Todd Heisler/The New York TimesIt is nearly impossible to distill the experience of Heizer’s magnum opus “City” in one frame. From dusk to dawn, I had the rare opportunity to wander the immense space, allowing the light to be my guide. Standing in the bitter cold, I made a handful of exposures around 10 seconds long. Seeing “City” under moonlight made me think of how humans have been building mysterious structures on this planet for thousands of years, many in relation to the heavens above. — Todd HeislerThe photographer Sinna Nasseri captured images of present-day New York City as it might have been predicted by science fiction films of the 1980s. Here, a delivery robot serves food at Lilya’s Restaurant & Grill in Staten Island, N.Y.Sinna Nasseri for The New York TimesAbbi Jacobson’s series version of “A League of Their Own,” on Amazon Prime Video, expanded upon the 1992 film. “The movie is a story about white women getting to play baseball,” she said. “That’s just not enough.”Chantal Anderson for The New York TimesWhat I love about Abbi Jacobson is how relatable the characters she plays are — you really feel like you know her and are friends with her from watching her. When I found out we were going to be taking photos in L.A., I thought of Art’s Delicatessen & Restaurant as the perfect place to meet up. It’s a family-owned spot you go back to over and over again with friends. There’s an intimacy and history there that I wanted in the images. — Chantal AndersonAhead of her album “Hold the Girl,” Rina Sawayama said, “I think the temptation, as an artist these days, is to look online and see what the fans want. But I’m going to write something that’s meaningful and worth people’s time.”Olivia Lifungula for The New York TimesFinishing touches underway on Wolfgang Tillmans’s retrospective, “To Look Without Fear,” at the Museum of Modern Art, which ends on New Year’s Day.Daniel Arnold for The New York TimesWolfgang Tillmans and I shot this couple melting into one viewer before a photo in his MoMA survey at the same time, he on his iPhone and me with my camera. I’m guessing his pic is better. — Daniel ArnoldSeptemberThe choreographer Gisèle Vienne at her parents’ home in Grenoble, France. She returned to New York in October with the U.S. premiere of “Crowd,” a magnetic work that places 15 dancers, consumed with love and longing, at an all-night party.Sam Hellmann for The New York TimesGisèle Vienne had given me a tour of the house, and this room was straight away my favorite. The light through the dirty windows, her mother’s sculptures, the dried plants, the floor. This was taken toward the end of the shoot so she had been dancing for a while, and it was terribly hot outside. I couldn’t tell she was sweating so much, though the flash revealed it. That’s when it began to be truly interesting. She was letting go, and I was finally becoming invisible. — Sam HellmannMoneybagg Yo has grown into the biggest rap star to emerge from Memphis in a generation.Chantal Anderson for The New York TimesMost punk shows don’t have an audience that can comfortably fit under the lip of the stage. Or fans that headbang atop the shoulders of their heavily tattooed papas. But that was the scene at a Linda Lindas show at the Bowery Ballroom in New York this summer.OK McCausland for The New York TimesThe sculptor Fred Eversley, an unheralded pioneer of the Light and Space movement, with one of his parabolic lenses that is installed on the ground floor of his five-story building in Manhattan’s SoHo neighborhood. “I don’t like art that you have to know art history to appreciate,” he said.Elliott Jerome Brown Jr. for The New York TimesDaniel Clark Smith, a chorister, reviewed sheet music at a dress rehearsal of “Medea” at the Metropolitan Opera in Manhattan. It was the Met’s first production of the Cherubini work.Sinna Nasseri for The New York TimesYvonne Rainer, a giant of choreography with more than a half-century of work behind her, went out swinging with “Hellzapoppin’: What About the Bees?,” which took on themes of race and resistance.Erik Tanner for The New York TimesFrom left, the artists Coreen Simpson, Randy Williams and Lorraine O’Grady in the Founders Room of the Museum of Modern Art. Just Above Midtown, an incubator of some of the most important Black avant-garde art of the 1970s and ’80s, was the subject of an exhibition.Elliott Jerome Brown Jr. for The New York TimesToward the end of my time with the group, I came back into the darkened conference room to see them arranged in a loose circle as they shared stories. I’d technically finished photographing them, but they were so immersed in conversation and used to my presence. This particular photograph, of Lorraine O’Grady holding court, ended up being my favorite. — Elliott Jerome Brown Jr.Tyler Mitchell in his Brooklyn studio alongside test prints of images from his London exhibition. The photographer is part of a generation that’s “blending fashion into art and art into fashion,” an Aperture magazine editor said.Elliott Jerome Brown Jr. for The New York TimesAbel Selaocoe, a classically trained South African artist, is best known for his work on the cello, but is also a singer and improviser. He drew on musical traditions from across the globe for his debut album, “Where is Home (Hae Ke Kae).”Adama Jalloh for The New York TimesOctoberWhether it’s Jamie Lee Curtis’s return to her horror roots in “Halloween Ends” or her buzzy performance in “Everything Everywhere All at Once,” freedom is what the actress is after. “I feel all the feels, all the time,” she said.Ryan Pfluger for The New York TimesTaking a raw Southern sound to the top of the pop charts, Lil Baby could have come only from one place: Atlanta, where the rap scene is one of the world’s most consequential musical ecosystems.Kevin Amato for The New York TimesThis year, Michael Imperioli, best known for playing crooks and cops, appeared in the comedies “This Fool” and “The White Lotus.” “I don’t really know how to be funny,” he insisted.Daniel Arnold for The New York TimesBest known for playing nice guys, Jake Lacy won acclaim as a privileged jerk in HBO’s “The White Lotus.” In the Peacock drama “A Friend of the Family,” he went even darker.Nathan Bajar for The New York TimesThe prolific choreographer Twyla Tharp told new stories with two classic works at New York City Center this fall: “In the Upper Room” and “Nine Sinatra Songs.” “I was looking for some kind of spirituality or personal redemption,” said Kaitlyn Gilliland, dancing here with Lloyd Knight.Julieta Cervantes for The New York TimesNovemberJeremy Pope, a Tony-nominated actor, segued to the big screen in the gay military drama “The Inspection.” “I feel so blessed that I’m able to do this fully in my Blackness and in my queerness,” he said.Erik Carter for The New York TimesIn the Hulu series “Fleishman Is in Trouble,” Claire Danes and Jesse Eisenberg play two halves of a splintered couple. “Playing a married person with kids, I was at greater risk of taking it home than I have been with other projects,” Danes said.Thea Traff for The New York TimesIt’s tough to pose two people in a dynamic way when they’re inclined to just stand or sit side by side facing the camera. Claire Danes and Jesse Eisenberg play a recently divorced couple in the show, so I came to set with the idea to pose them as if they were embracing or slow-dancing, in a pose that felt reflective of their characters. — Thea TraffIn the drama “Causeway,” Jennifer Lawrence played a military engineer who returns home from Afghanistan after a brain injury. It’s the kind of indie she hasn’t really starred in since her breakthrough in 2010. “I don’t know how I can act,” she said, “when I feel cut off from normal human interaction.”Robbie Lawrence for The New York TimesThe choreographer Neil Greenberg at a rehearsal of his dance “Betsy.” His beaded headpiece was inspired by a cast member’s flowing hair. “They’re a little like Las Vegas’s idea of a sheikh,” Greenberg said.Mark Sommerfeld for The New York Times“I think it’s one of the best costumes. It’s so furry and smooth and nice. But it’s also really hot,” said Eleanor Murphy, left. “I like throwing the cheese,” said Taiga Emmer. The two alternate as the Bunny in the New York City Ballet’s production of “The Nutcracker.”Erik Tanner for The New York TimesThe eminent composer Steve Reich, who is in his 80s, released two important albums and a conversations book this year. His next premiere, “Jacob’s Ladder,” is expected in fall 2023.Philip Montgomery for The New York TimesLaura Poitras’s documentary “All the Beauty and the Bloodshed” tells a complex story of the photographer Nan Goldin’s personal trauma and protest. “It’s my voice telling my story with my pictures, so it has to be true to me,” said Goldin, above.Thea Traff for The New York TimesThe choreographer Katja Heitmann collects the quotidian habits and mannerisms of volunteers — how they walk, stand, kiss, sleep and fidget — for her ongoing dance project “Motus Mori” (meaning “movement that is dying out”).Melissa Schriek for The New York TimesAdditional production by More