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      Sydney Sweeney and Dr. Squatch Launch Soap Infused With Actress’s Bathwater

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      Calling the requests “weird in the best way,” the actress worked with Dr. Squatch on a soap that has a manly scent and just a touch of her actual bath water.Sydney Sweeney, the actress known for her roles in “Euphoria,” “Anyone But You” and a host of other buzzy movies and TV shows, is the face of a new bar of soap, purportedly made with a special ingredient: her own bath water. The internet may take quite some time to recover from this news.The product, “Sydney’s Bathwater Bliss,” is a collaboration with Dr. Squatch, a men’s personal care company that describes itself as using natural ingredients and “manly scents.”The actress announced the new soap on Instagram. Her caption referenced a previous advertisement she had done with Dr. Squatch, saying, “You kept asking about my bathwater after the @drsquatch ad… so we kept it.”In a news release, Ms. Sweeney said the requests for her bath water were “weird in the best way.”The limited-edition bar of soap, made with sand, pine bark extract and a “touch” of Ms. Sweeney’s real bath water, according to the company, will be go on sale June 6. Leaning in to the salacious nature of the product, an Instagram post by Dr. Squatch included a provocative description of the soap’s scent.“There’s no playbook for turning Sydney Sweeney’s actual bath water into a bar of soap, but that’s exactly why we did it,” John Ludeke, the senior vice president of global marketing for Dr. Squatch, said in the company’s news release. “We thrive on ideas that make you laugh.”The limited-edition bar of soap is made with sand, pine bark extract and a “touch” of Ms. Sweeney’s real bath water, according to Dr. Squatch.Dr. SquatchNearly as eye-catching as soap made from the slosh of one’s own bathing ritual are the reactions to it on social media. Users’ remarks have run the gamut, from extremely vulgar to celebratory. Others were simply asking, “Why?”In a Reddit thread that questioned whether Ms. Sweeney’s new product was preying on the loneliness of men, Meera Gregerson, 28, said she did not view selling a product to people as predatory.“I think that the fact that she’s been sexualized and made to be a sex icon in some ways as a celebrity — I think it’s fair for her to also want to make money off of that,” Ms. Gregerson said in a phone interview. “I don’t think it’s that different from her selling movies using her appearance as a selling point.”Multiple social media users have pointed out that Ms. Sweeney’s new product is reminiscent of a stunt from Belle Delphine, an adult content creator with a large social media following, who made headlines in 2019 for selling her own bath water.Chad Grauke, 39, who also took to Reddit to share his reaction to the soap, said he did not take issue with the product itself, but was more so curious about “what type of person is buying this stuff.”“I don’t feel it’s the lonely hermit as much as it’s the bro who thinks he has a chance,” Mr. Grauke said. More

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      Leonie Benesch Brings a Quiet Intensity to Her Role in ‘Late Shift’

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      From TV series to art house films, Leonie Benesch brings a quiet intensity to the screen, including her latest movie.The German actress Leonie Benesch appears in every scene of Petra Volpe’s “Late Shift,” a tense drama about a night nurse in an understaffed hospital.The film, which screens at the inaugural edition of South by Southwest London on Tuesday in its British debut, follows Benesch’s character, Floria, over the course of a single night. She rushes from bedside to bedside, bringing patients painkillers or peppermint tea and calms their nerves by trying to get hold of a doctor — or just by singing to them.To prepare for the role, Benesch said she shadowed nurses in a hospital for a week, learning to handle medical equipment and internalizing the rhythm of care work.“I wanted to understand the choreography and how do they move. How do they interact with patients? What’s the code-switching between talking to one another and talking to patients?” Benesch, 34, said in an interview. “The challenge for me,” she added, “was that a health care professional watch this and go: She could be one of us.”The actress spoke in May from a hotel bar in Cardiff, Wales, in crisp British-accented English. She was in Wales filming the political thriller “Prisoner,” the sort of large-budget international television production that dots her résumé along with smaller art house films.Benesch, right, with Christian Friedel in the 2009 film “The White Ribbon.” She landed the part of Eva, her first major film role, when she was just 17.X FilmeWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      It’s Still South by Southwest, but This Time It’s in London

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      The music, tech and film festival, long known for being in Austin, Texas, expands to Europe for the first time.The artist known as Beeple set a record in 2021 when a work of his — a collage of 5,000 images that existed only as a digital file — sold for $69.3 million in a Christie’s auction.Beeple, whose real name is Mike Winkelmann, is one of the artists participating in the inaugural edition of South by Southwest London, the music, film and tech festival. This time, he is presenting “The Tree of Knowledge,” a critique of the human addiction to smartphones.“People don’t fully recognize how much their phone is stressing them out,” and how much they’re “dialing up the noise,” Beeple said in a phone interview. “They could make the choice to dial down the noise, and just put their phone down, and exist in a much more calm state in which technology still exists.”The work is a refrigerator-size box containing a giant tree (recreated via projection mapping), with screens on all sides, and a large dial. When viewers turn the dial, the box is covered with live news, stock prices and data, illustrating the information overload faced by humanity.“The Tree of Knowledge” by Beeple (Mike Winklemann) is designed to address humans’ addiction to smart phones. It features four video screens arranged in rectangular pillars with imagery generated from a variety of real-time data.Tree of Knowledge/Beeple Studios The owner of the Tree of Knowledge can control the work further by pressing a “choose violence” button, which initiates a violent state for several minutes before destroying the tree. The tree regenerates when the violence ends.Beeple Studios“The Tree of Knowledge” encapsulates the spirit of South by Southwest London, which begins on Monday and runs through June 7. The event will feature a diverse group of speakers, including the ABBA singer-songwriter Bjorn Ulvaeus, the actor Idris Elba, the wellness and meditation expert Deepak Chopra, the primatologist Jane Goodall and the comedian Katherine Ryan. There will also be voices from the technology world, including Demis Hassabis, co-founder of Google’s DeepMind lab and co-winner of the Nobel Prize in Chemistry; and Alex Kendall, the chief executive of Wayve, a developer of artificial intelligence systems for self-driving cars.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Iranian Film at South by Southwest London Offers a Dose of Hope

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      Amirali Navaee’s new film, “Sunshine Express,” screening next at South by Southwest London, is a project more focused on hope than politics.For the Iranian writer and director Amirali Navaee, portraying his country is not about depicting sadness and tragedy, which he feels has come to define the onscreen portrayal of his home in recent years.Iranian filmmakers have been as much in the news as their films have been over the past decade. The writer and director Mohammad Rasoulof fled Iran last year after being sentenced to eight years in prison while finishing “The Seed of the Sacred Fig,” which tells the story of a family torn apart by protests that were violently crushed by the Iranian government in 2022-23. His harrowing journey has been well-documented, and the film premiered at the Cannes Film Festival last year, with Rasoulof in attendance, where it received a special award from the competition jury. It was later nominated for best international feature at the Academy Awards.The Iranian director Asghar Farhadi, whose films “A Separation” (2012) and “The Salesman” (2017) both won Oscars for best international feature, refused to attend the Academy Awards the second time he won in protest over President Trump’s executive order that blocked entry of citizens from Iran and several other predominantly Muslim countries to the United States.And “Un Simple Accident,” from the Iranian writer-director Jafar Panahi, was awarded the Palme d’Or at Cannes last month. Panahi has been imprisoned several times in Iran because of his work but has continued to make movies in defiance of the Iranian government.“Sunshine Express” tells the story of people in a role-playing game who hope to win a cash prize.Distorted PicturesFor his first feature-length film, Navaee (pronounced nah-vah-YEE), who is also a choreographer and visual artist, said he wanted to express something more complex and less overtly political than other Iranian films. The project, “Sunshine Express,” debuted in February at the International Film Festival Rotterdam and is making its British premiere at South by Southwest London on Wednesday. Shot in a warehouse in Tehran on a small budget (Navaee, 42, said many of his friends helped finance the movie), it tells the story of people in a role-playing game on a train headed to a place called Hermia in the hopes of winning a cash prize.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Russell Brand Pleads Not Guilty to Rape and Sexual Assault Charges

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      The comedian, actor and YouTuber is now scheduled to face a trial in June 2026.Russell Brand, the comedian, actor and conspiracy-minded YouTuber, appeared in a London courthouse on Friday and pleaded not guilty to multiple charges of rape and sexual assault.In a short hearing, Tony Baumgartner, the presiding judge, said that Mr. Brand would face a four-to-five-week trial starting on June 3, 2026. Britain’s judicial system has a backlog of cases, meaning there is often a delay between defendants entering a plea and standing trial.Mr. Brand, 49, is facing one charge of rape, one of oral rape, two counts of sexual assault and another of indecent assault.Those five charges involve four women. Prosecutors say the incidents occurred between 1999 and 2005, including one in which they claim Mr. Brand raped a woman in a hotel room during a political conference for the Labour Party.During the 10-minute hearing in a courthouse filled with tens of journalists, Mr. Brand, wearing a dark gray suit and striped shirt opened to reveal his chest, stood in a plexiglass box at the back of the courtroom and responded, “Not guilty,” when each of the charges was read out.Under British law, news media outlets are not allowed to identify anyone who makes sexual assault accusations unless the accuser chooses to waive the right to anonymity. Once criminal proceedings are underway, strict rules also prevent the reporting of information about the case that could prejudice a jury at trial.Before Friday’s hearing, Mr. Brand had strenuously denied all the charges. In April, he posted a video to his social media accounts in which he said that he had once been a “drug addict, a sex addict and an imbecile,” but that he had “never engaged in nonconsensual activity.”Mr. Brand has been a star in Britain for decades and found fame with stand-up shows and as a TV and radio host for the BBC and MTV. After the period covered by the criminal charges, he gained a profile in the United States, too, when he starred in hit movies, including “Forgetting Sarah Marshall” in 2008. He was also briefly married to Katy Perry, the pop star.These days, Mr. Brand is best known as a politically charged YouTuber. He has over 6.7 million subscribers to his channel and over 11 million followers on X, where he posts videos that often touch on religion, conspiracy theories and conservative talking points. More

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      When the Whole Country Watched a Nuclear War Movie at Once

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      The 1983 ABC movie “The Day After” was a landmark moment that proved contentious even before it aired, as a new documentary shows.In 1980, the year the new documentary “Television Event” (in theaters) opens, researchers found that about three-quarters of Americans believed there would be nuclear war in the next 10 years. Schoolchildren participated in evacuation drills. There were enough nuclear weapons in America and the Soviet Union to wipe out the world’s population many times over. And yet, as participants in the film repeatedly point out, for the most part people couldn’t bear to think about it. We find it hard to live with our own imminent destruction and also remember to take out the trash regularly.That knowledge, though, gave rise to “The Day After,” the controversial TV movie that aired on ABC in 1983 and was watched by more than 100 million people, about 67 percent of the American viewing public that evening. The film, shot in Lawrence, Kan., depicts the very real-feeling aftermath of a nuclear attack.The production and release were fraught. Some executives felt that TV wasn’t the place to scare people; there was a lot of strife behind the scenes. To tell the story of “The Day After,” the director, Jeff Daniels, weaves together copious behind-the-scenes production footage with contemporary interviews. The “Day After” director, Nicholas Meyer, still seems a little scarred by the experience. Brandon Stoddard, then president of ABC Motion Pictures, talks about conceiving the idea for a movie that “has meaning, that has import.” The more skeptical, practical Stu Samuels, then vice president of ABC Motion Pictures, speaks at length about the many challenges of getting this kind of movie shot and on the air, including run-ins with the network’s standards department. Edward Hume, who wrote “The Day After,” and Stephanie Austin, an associate producer, talk about the film, as does Ellen Anthony, who lived in Lawrence and played the youthful Joleen, a girl who must live in an underground bunker with her family.“Television Event” makes a very compelling case that “The Day After” was a groundbreaking cinematic achievement, even if it was made for the small screen. There were plenty of difficulties, both on the ground and in the edit room; there was network skepticism and even, eventually, some disapproval by the federal government. One flaw in documentaries of this sort can be a chorus of interviewees who all echo one another and seem basically in agreement, but that is not the case here: The subjects of “Television Event” often express skepticism or outright animosity toward one another, giving different versions of events and opinions about the process. That not only makes it a fascinating glimpse into this production, but reminds the audience how tricky it is to get anything made, let alone a movie like “The Day After.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Best True Crime to Stream: Dramatizations That Deliver

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      Across television, film and podcast, here are four picks that successfully give well-known true-crime stories the scripted treatment.Not long ago, comically bad re-enactments were the cornerstone of true-crime movies and TV shows. Despite their cheesiness, these staged scenes served a purpose: to bring scenarios to life, of course, but also to offer some relief from talking-head interviews and still shots of photographs and documents.But in the last decade or so, the number of true-crime stories that have received scripted treatment, often casting A-list actors, has exploded. It’s a phenomenon due in part to Ryan Murphy’s true-crime anthology series “American Crime Story” — which debuted in 2016 and has taken on the O.J. Simpson saga and the assassination of Gianni Versace — and more recently “Monster.”Coming this summer is a Paramount+ mini-series about the murder of JonBenet Ramsey, the child beauty queen who was found strangled to death in her family’s Colorado home in 1996. It will star Melissa McCarthy and Clive Owen as JonBenet’s parents. And over at Hulu, a scripted series about the Murdaugh family murders is being developed. Like their predecessors, these series will most likely aim to hew closely to their stranger-than-fiction origins while giving the creators artistic license in how the cases are brought to life onscreen.Ahead of those, check out these four offerings that give such stories the dramatized treatment to great effect.Mini-Series“The Staircase”Few true-crime stories have held my attention over the years as this one about Michael Peterson, a North Carolina novelist and aspiring politician who was charged with the death of his wife, the telecom executive Kathleen Peterson. She was found crumpled and bleeding at the base of the staircase in their upscale Durham home in 2001.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Mia Threapleton Created Her Deadpan Nun in ‘The Phoenician Scheme’

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      When Mia Threapleton learned that Wes Anderson wanted her to star in his next film, she did what any normal person would: She asked her agent to call the casting director back to make sure there had been no mistake, and then found a quiet spot on the train she was riding in, curled up and sobbed.“I couldn’t believe it,” the 24-year-old British actress said. In Anderson’s latest, “The Phoenician Scheme,” Threapleton plays Sister Liesl, a nun who is estranged from her father, the eccentric businessman Zsa-zsa (Benicio Del Toro). He wants to reconnect and make her his heir.Chic in a white sleeveless top, her long blond hair falling in loose waves around piercing blue eyes, Threapleton was preparing to head to the Cannes Film Festival, where “The Phoenician Scheme” premiered this month. The movie is by far her most prominent role to date — not that you would recognize her in it even if she were a familiar face.“It was a lot,” she said of the I-did-my-makeup-in-a-closet-and-cut-my-hair-with-garden-shears look: blunt brunette bob, garish turquoise eye shadow, bold red lip. But she trusted Anderson because she had long admired his work. She grew up with the director’s stop-motion “Fantastic Mr. Fox,” and his coming-of-age romance, “Moonrise Kingdom,” is a personal favorite.“I remember watching it and thinking, ‘I’d love to be able to do that,’ so then having this opportunity to do that was such a surreal experience,” said Threapleton, who, unlike Sister Liesl, laughs readily and occasionally breaks into a smile that plays up the likeness to her mother, the actress Kate Winslet.Threapleton as Sister Liesl in “The Phoenician Scheme.”TPS Productions/Focus FeaturesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More