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      ‘Unrest’ Review: The Times Are Not A-Changin’

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      A factory worker joins with a group of anarchist watchmakers in this marvelously crisp drama.At the center of every mechanical clock is a spiral — the unrest as it’s known in Switzerland — and it’s a smart metaphor for Cyril Schäublin’s marvelously crisp study of anarchist watchmakers in the 1870s Saint-Imier valley. These women and men are aggrieved by long hours, dehumanizing labor, high taxes, health insurance costs, voting disenfranchisement, income inequality, surging nationalism and the pressures of an increasingly global economy. All of this while being distracted by an emerging mass-produced technology — the photograph — which allows them to stare at pocket-size images of influential strangers (executed rebels, mostly) like ye olde social media. This emboldened era believes its teetering system will collapse. We know it won’t. Time, Schäublin implies, is quite literally circular.The film punctures that airless sense of fate which can suffocate period pieces and restores this moment of upheaval to immediacy. Schäublin and the cinematographer Silvan Hillmann shoot scenes like a documentary. The camera lurks at a distance while the actors speak as casually as if they’re wearing hidden mics; the shot list could be transplanted as is to a fast fashion factory in present-day Bangladesh. Yet, to Schäublin, this story is more personal than his strictly anthropological movie lets on. His grandmother worked at a Swiss watch factory, and said her own grandmother had, too.Outside the building, the real-life Russian anarchist Pyotr Kropotkin (Alexei Evstratov) tangles politely with a smiling, implacable gendarme (Laurent Ferrero). Inside, a few more characters emerge: the politically ambitious factory owner (Valentin Merz), a handful of female employees (Clara Gostynski, Monika Stalder, Laurence Bretignier) and a series of bloodless managers who loom over the ladies’ hunched bodies with a stopwatch timing their productivity. There’s a bitter irony in the realization that the workers are constructing their own doom. Now that seconds can be measured, every one of them counts.UnrestNot rated. In Swiss German, Russian, French and English, with subtitles. Running time: 1 hour 33 minutes. In theaters. More

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      ‘Chile ’76’ Review: Domestic Unease That Twists Into Intrigue

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      Manuela Martelli’s new film examines the Pinochet dictatorship through the eyes of a woman who never intended to play an active role.In 1973, the socialist government of Chile was overthrown by a military junta led by Gen‌‌. Augusto Pinochet, with the backing of the United States. Thousands were killed, and hundreds of thousands fled the country under Pinochet’s dictatorship, which lasted for 17 years and was maintained through violence. ‌With the new film “Chile ’76,” the director Manuela Martelli joins the company of Chilean filmmakers like Pablo Larraín and Sebastián Leilo, who have made thought-provoking movies reflecting on the Pinochet regime and its impact on the lives of everyday people. Martelli’s initial inspiration for the story came from a source close to home. She imagined the loss felt by her grandmother, who died by suicide in 1976, one of the most violent years of the dictatorship, before Martelli was born.The protagonist of “Chile ’76” is Carmen (Aline Küppenheim), a regal woman of middle age. She’s a grandmother and a career flight attendant who now lives a comfortably bourgeois lifestyle with her husband in Santiago. When the story begins, she’s in the process of overseeing renovations to her family’s beachside vacation home. Carmen occupies her time alone with charitable work, guided by the sanguine priest of the town, Father Sánchez (Hugo Medina).Carmen is discomforted by the sanctioned brutality around her — early on, she witnesses distraught neighbors being dragged away in the streets. But Carmen’s comfortable existence is not directly disrupted until Father Sánchez asks her to care for a fugitive hidden in the church. She acquiesces, nursing Elías (Nicolás Sepúlveda), a wounded revolutionary, back to health. She transports antibiotics for his injuries, and lies to the suspicious authorities to cover her tracks. Anxiety becomes Carmen’s constant companion as telephones buzz on lines that might be tapped, and neighbors pry, posing inconvenient questions.Martelli’s film demonstrates remarkable skill in reconstructing he time period, giving consideration both to recreating the appearance of the era and its emotional tenor. She filmed in beach towns that have remained relatively unaltered since the ’70s, and she complements the look of crumbling building facades with wood-paneled interior sets. It’s a world that’s both worn and warm; even the wallpaper comes in cozy plaid.Yet Martelli’s detailed, beautiful frames aren’t signs of empty aestheticism. Her eye for composition mirrors that of her protagonist, a person of elegant tastes who is drawn into a political plot that intrudes upon her capacity to redesign. The film’s original score blends electronic and orchestral music, and acts as an indicator of Carmen’s justified paranoia, entering in moments when her routines are most disturbed. As an entrant into the growing canon of Chilean films responding to the Pinochet dictatorship, “Chile ’76” is a sly genre exercise, an example of how political repression can squeeze a domestic melodrama until it takes the shape of a spy thriller.Chile ’76Not rated. In Spanish, with subtitles. Running time: 1 hour 35 minutes. In theaters. More

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      Film and TV Writers on Strike Picket Outside Hollywood Studios

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      Those in picket lines at the headquarters of companies like Netflix were critical of working conditions that have become routine in the streaming era.Ellen Stutzman, a senior Writers Guild of America official, stood on a battered patch of grass outside Netflix headquarters in Los Angeles. She was calm — remarkably so, given the wild scene unfolding around her, and the role she had played in its creation.“Hey, Netflix! You’re no good! Pay your writers like you should!” hundreds of striking movie and television writers shouted in unison as they marched outside the Netflix complex. The spectacle had snarled traffic on Sunset Boulevard on Tuesday afternoon, and numerous drivers blared horns in support of a strike. Undulating picket signs, a few of which were covered with expletives, added to the sense of chaos, as did a hovering news helicopter and a barking dog. “Wow,” a Netflix employee said as he inched his car out of the company’s driveway, which was blocked by writers.In February, unions representing 11,500 screenwriters selected Ms. Stutzman, 40, to be their chief negotiator in talks with studios and streaming services for a new contract. Negotiations broke off on Monday night, shortly before the contract expired. Ms. Stutzman and other union officials voted unanimously to call a strike, shattering 15 years of labor peace in Hollywood, and bringing the entertainment industry’s creative assembly lines to a grinding halt.“We told them there was a ton of pent-up anger,” Ms. Stutzman said, referring to the companies at the bargaining table, which included Amazon and Apple. “They didn’t seem to believe us.”The throng started a new chant, as if on cue. “Hey, hey! Ho, ho! This corporate greed has got to go!”Similar scenes of solidarity unfolded across the entertainment capital. At Paramount Pictures, more than 400 writers — and a few supportive actors, including Rob Lowe — assembled to wave pickets with slogans like “Despicable You” and “Honk if you like words.” Screenwriting titans like Damon Lindelof (“Watchmen,” “Lost”) and Jenny Lumet (“Rachel Getting Married,” “Star Trek: Strange New Worlds”) marched outside Amazon Studios. Acrimony hung in the air outside Walt Disney Studios, where one writer played drums on empty buckets next to a sign that read, “What we are asking for is a drop in the bucket.”Another sign goaded Mickey Mouse directly: “I smell a rat.”But the strike, at least in its opening hours, seemed to burn hottest at Netflix, with some writers describing the company as “the scene of the crime.” That is because Netflix popularized and, in some cases, pioneered streaming-era practices that writers say have made their profession an unsustainable one — a job that had always been unstable, dependent on audience tastes and the whims of revolving sets of network executives, has become much more so.The streaming giant, for instance, has become known for “mini-rooms,” which is slang for hiring small groups of writers to map out a season before any official greenlight has been given. Because it isn’t a formal writers room, the pay is less. Writers in mini-rooms will sometimes work for as little as 10 weeks, and then have to scramble to find another job. (If the show is greenlit and goes into production, fewer writers are kept on board.)“If you only get a 10-week job, which a lot of people now do, you really have to start looking for a new job on day one,” said Alex Levy, who has written for Netflix shows like “Grace and Frankie.” “In my case, I haven’t been able to get a writing job for months. I’ve had to borrow money from my family to pay my rent.”Lawrence Dai, whose credits include “The Late Late Show with James Corden” and “American Born Chinese,” a Disney+ series, echoed Ms. Levy’s frustration. “It feels like an existential moment because it’s becoming impossible to build a career,” he said. “The dream is dead.” More

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      Will Poulter Is Just Getting Used to His Superhero Era

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      The once-gawky British actor buffed up to play Adam Warlock in “Guardians of the Galaxy Vol. 3.” But he says, in his head, he’s still 5-foot-4.Even when people don’t know Will Poulter’s name, they recognize his face. It helps that the 30-year-old Brit has been acting for half his life and has racked up an eclectic list of film credits, though he’s also blessed with a pair of distinctive eyebrows that are as curvy and expressive as a fleur-de-lis. They pull people in, even if those people aren’t always sure where to place the on-the-cusp actor.“To be honest,” Poulter said, “the bulk of my interactions are, ‘Do I know you from somewhere? Are you the guy from that thing? What have I seen you in?’”Often, this forces Poulter to cycle through a list of his projects until something clicks. Do they remember him as the shy dork who received kissing lessons from Jennifer Aniston in “We’re the Millers,” or the brash friend who meets a bad end in “Midsommar”? Or maybe they grew up on some of the YA franchises he co-starred in, like the “Maze Runner” series and “The Chronicles of Narnia: The Voyage of the Dawn Treader”?Poulter is a patient man, but his willingness to oblige a stranger can still lead to some awkward moments. “No one wants to be put in a position where you’re reciting your C.V.,” he said. Likening himself to a supporting character from “The Simpsons,” he added: “I often feel like I’m doing a Troy McClure impression: ‘You may know me from such things as…’”After this weekend, Poulter’s “where do you know me from” conversations will receive a cut-to-the-chase trump card: He’s joined the Marvel Cinematic Universe, playing the caped superhero Adam Warlock in “Guardians of the Galaxy Vol. 3.” Described in the comic books as a genetically engineered perfect being, Poulter’s Warlock has glittery-gold skin and dangerous powers: Imagine an Oscar statuette that can shoot cosmic beams out of its hands, and you’re halfway there.Poulter as Adam Warlock in “Guardians of the Galaxy Vol. 3.” Whether he returns to the Marvel Cinematic Universe depends on fan reception.Jessica Miglio/MarvelIntroduced flying through outer space to the stirring guitar rock of Heart’s “Crazy on You,” Warlock is a significant figure in Marvel lore, though he’s still coming into his own when we meet him in the new “Guardians” film: Ejected from his birthing cocoon a bit too early, Warlock has a sense of right and wrong that is up for grabs, which gives Poulter several surprising beats to play as he butts heads with the Guardians and considers joining their side.“He brought life and reality to someone who is essentially a child in the body of an adult,” said the film’s writer-director, James Gunn, who picked Poulter over a wide field of hot Hollywood hopefuls. “And,” Gunn added, “he got yoked.”Ah yes, the great yokening. Though he was often cast as scrawny geeks earlier in his career, Poulter’s been through a recent, gym-aided glow-up: 6-foot-2 and Marvel-muscular with a thick head of blond hair, he has followed in the path of fellow British actors Nicholas Hoult and Dev Patel, who played realistically awkward teenagers onscreen before blossoming into Hollywood heartthrobs.Just a few years ago, Poulter was bullied on social media for his looks, but after his physical transformation, he’s been the subject of thirst tweets and internet-boyfriend articles. It’s enough to give a guy whiplash, and Poulter said he’s parsing the head trip.“It’s quite odd, because I’ve sort of formed my personality around looking a certain way,” he admitted. “Psychologically, I’m still 5-foot-4 because that’s what I was at school. Even being tall is something that I’m still getting used to!”Poulter is polite and humble without a trace of former-child-actor neediness. In early March, when I met him for strip-mall soul food in Los Angeles, he had gotten up early to watch an Arsenal soccer game and was eager to follow the match with a big bowl of jambalaya. “Will is completely easy, listens to everything, and is simultaneously very serious and game for anything,” Gunn said. “He’s down to earth and just plain fun to be around.”And though Gunn selected him to play a golden god, Poulter is too self-deprecating to let that kind of role go to his head.“I knew when I was cast that they were definitely going in a different direction than ‘perfect man,’” he told me, grinning.“Will is completely easy, listens to everything, and is simultaneously very serious and game for anything,” James Gunn said. Rosie Marks for The New York TimesTHOUGH IT CAN come with its own special baggage, Poulter has always considered acting to be a safe space. As a preteen growing up in Hammersmith, London, he would spend his entire school week looking forward to drama class on Friday morning, a place where he could kick off his shoes and explore creatively.When he was 12, his drama teachers encouraged him to audition for the charming indie comedy “Son of Rambow”; he landed the film’s breakout role on his first try and filmed it for eight weeks during his summer holiday. “For that to be my introduction to the film industry, I couldn’t have asked for a gentler, nicer, more wholesome experience,” he said. “It really lit the fire in me to want to do it again.”Poulter has worked steadily ever since — you may have also seen his supporting roles in prestige dramas like “The Revenant” and “Detroit” — while also navigating the unique challenge of growing up in the public eye. At 19, his role as awkward virgin Kenny in “We’re the Millers” elevated his profile but led to an uptick in jeers and catcalls from strangers; later, after playing a bespectacled computer-game designer in the 2018 “Black Mirror” episode “Bandersnatch,” some social-media users made such cutting comments about his looks that Poulter announced he’d be stepping back from Twitter to preserve his mental health.That’s why, now that the tide has turned toward appreciative tweets instead of cruel jokes, Poulter is skeptical about putting any stock into what social media has to say about him. “It shouldn’t inform how I treat myself, because I don’t know those people,” he said. “One of the dangers with social media is we can conflate things that exist online to the real world without even questioning it. We just carry the one and don’t really ask whether it actually adds up at the end of the day.”He smiled. “That’s a bad math analogy from someone who’s heavily dyslexic.”He’s seen tweets that compare pictures of his gawky character from “We’re the Millers” to his modern-day, muscular incarnation, as though they couldn’t possibly be the same person. “People are acting like I played Kenny Miller in 2013 and then woke up and now I look like I do, like there was some strange and mystical explanation behind it,” he said. “I just grew up, like every other human being on Earth.”But unlike Adam Warlock, who emerges from his birthing cocoon with a perfect physique, Poulter’s new look took time to attain: He began lifting weights at the start of the pandemic and found the regular fitness regimen did wonders for his mental health. A looming shirtless scene in the Michael Keaton-led limited series “Dopesick” spurred Poulter to step up his workouts, and by the time he began auditioning for “Guardians,” he had already reached the sort of shape that meant he could plausibly play a superhero.“If you want to do it in a way that’s safe and is entirely natural, you have to be prepared to spend a long period of time doing it,” Poulter said. “There’s no way that I could’ve got into the shape that I got had I not been working out for a number of years prior and built up foundations.”Though social-media posts now thirst for him, Poulter is skeptical: “It shouldn’t inform how I treat myself, because I don’t know those people.”Rosie Marks for The New York TimesIf people think his physical transformation happened overnight, Poulter worries they’ll believe he turned to enhanced means to attain it. “Obviously, there’s a lot of pressure out there on young people, both men and women, regarding body image,” Poulter said. “I’m being kind of careful in the words, but if you’re going to promote the process by which you achieved said body goal, I think you have to be fully transparent about how you got there.”Are other actors less than transparent about getting yoked? “Potentially,” Poulter demurred. “It’s not for me to say.”Still, even if Poulter took the long road to his Marvel musculature, he knows it hasn’t stopped people from speculating. “The rumor mill was mad,” he said. “My own mum was sending me something from someone being like, “Has Will had plastic surgery?’”Though Poulter tries to brush all that off, one viral clip still gnaws at him: On YouTube, a physical trainer analyzed a shirtless photo of Poulter from “Dopesick” and criticized his team on the assumption that they had trained him to diet in a certain way.“It’s got millions of views,” Poulter said. “Does it bug me that anyone might believe that, or think that I went about it in a different way that would contradict what I’m an advocate of? For sure. But I guess it’s about learning to relinquish your control over that sort of thing and just hope that there’s enough people who know what’s up.”As we finished lunch, Poulter chatted with our server; over the course of our meal, I had watched it dawn on her that she knew who he was. “You’re very funny,” she eventually told Poulter, who thanked her.We discussed his impending worldwide press tour for “Guardians,” though Poulter said he genuinely didn’t know whether Marvel had bigger plans for him beyond this film: “It kind of hinges on how people respond to the character,” he said. “If the fans don’t like Adam Warlock, obviously I’m going to be pretty gutted. My family’s opinion means a lot, but it’s not necessarily going to bring me back as the character.”But even if it proves to be a one-off, playing Warlock was a valuable experience, Poulter said. When he first started on the production, Gunn told him that he shouldn’t be afraid to screw up, even if those mistakes might make him feel self-conscious. For someone who struggles with how he can be perceived, that advice was scary but also freeing: It meant that he could take big swings and feel safe, and that he could learn to forgive himself when things didn’t go to plan.Those are the sort of realizations that keep Poulter enamored with acting even when so many other things about his chosen career can be tricky. “It can be stressful, it can be painful, and plainly speaking, it can be difficult to do and a strain on your mental health, but I also think it’s very necessary to reflect on your own psyche and think about its impact on the world around you,” Poulter said. “It’s a lovely psychoanalytical journey that I’m really enjoying.” More

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      ‘King Charles, the Boy Who Walked Alone’ Review: Reflections on a Monarch

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      A sort of cinematic advance man for this week’s coronation, the documentary makes a show of seeking balance but often tips its hand in favor of Charles.Several times in this picture its interviewees attempt to contradict the impression that King Charles is an “old dry stick.” Hence the documentary, directed by Jim Nally, is juicier than its sad-sack title indicates. The “boy who walked alone” phrase comes from Johnny Stonborough, who was a schoolmate of the then Prince of Wales at Gordonstoun, a strict Scottish boarding school (referred to by some, says Stonborough, as “Colditz in a kilt”) where Charles’s father sent him to “toughen him up.” Not only did Charles not make many friends there, but he also endured bullying from upperclassmen under approval from the headmaster.Once out of school, though, he did rather well with members of the opposite sex. The picture teems with contemporary interviews with former Charles-daters who speak of his wit, his “cheekiness” and his delightful flirtatiousness. But even as he enjoyed himself on beaches and polo fields with women he was well aware he could never marry, he still kept his eye on one; the movie reminds us that he’d met Camilla Rosemary Shand when he was a teen, and he did not take his eye off her after marriage made her Camilla Parker Bowles.The movie itself highly approves of the match. About an hour into proceedings, there’s a spate of Princess Diana-bashing during which the phrase “not to speak ill of the dead” is never uttered. Near the movie’s end, a “royal journalist” and a “royal biographer” wax rueful that Prince Harry has lashed out at Dad Charles, who is maybe, in their opinion, the last royal to really care about the monarchy. Gosh. If there’s one thing this movie demonstrates, it’s that whatever the actual function of said monarchy, it does give Britain’s taxpayers their money’s worth in drama if nothing else.King Charles, the Boy Who Walked AloneNot rated. Running time: 1 hour 30 minutes. Watch on Paramount+. More

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      ‘Oliver!’ Returns, With Darker Twists Intact

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      The emphasis Encores! puts on words and music rather than spectacle allows the cruel realities of Dickensian London to stand out amid the bouncy tunes.It was 10 a.m. on a recent morning in a rehearsal room at New York City Center, and nine boys scurried around the space, clutching parasols of red and white lace, tin cups and jaunty pocket squares.“OK, everyone!” said Lorin Latarro, the choreographer of the show, a new staging of “Oliver!,” the Lionel Bart musical opening at City Center on Wednesday for a two-week run as part of the Encores! series. “Today we’re going to work on ‘I’d Do Anything.’”The boys gathered around Raúl Esparza, who is playing Fagin, the lovable London crime lord, in a battered brown hat with a buckle, tan overcoat and black fingerless gloves.“Would you risk the ‘drop’?” he sang, his eyes bugging as he grabbed his scarf and mimed a noose tightening around his neck. (Translation: Are you willing to go out and commit robbery and possibly face the gallows if you’re caught?) All nine pickpockets in training nodded enthusiastically.“Oliver!,” based on the Charles Dickens novel “Oliver Twist,” is the story of an orphan’s search for belonging in that band of young pickpockets in 1830s London. It mixes fun, candy-coated musical theater crowd-pleasers like “Food, Glorious Food” and “Consider Yourself” with darker Dickensian themes including poverty and domestic violence.“The show has these really harrowing lyrics even in songs that are upbeat,” said the production’s director, Lear deBessonet. “And I think that in some productions, you may just be bobbing along with the rhythm of the song, and you might not really hear those words.”But that’s generally not the case in the concert-like stagings that Encores! is known for. Although there is an orchestra onstage, props and sets are minimal.“Because you strip away some of those other production elements, it really puts a new focus on the lyric,” deBessonet said. “It’s meaty work for me as a director to figure out how to tell the story with so few elements.”When deBessonet, now in her third year as the artistic director of Encores!, was setting the season lineup in late 2021, just before the Omicron surge of Covid-19, she was struck by the parallels between the uncertain present and the perilous world of Dickens’s day.“It’s interesting that ‘Oliver!’ is generally thought of as a family musical,” she said in a recent conversation in her office at City Center. “It certainly has these very winsome tunes, and the cast of children is delightful beyond measure, but there are dark edges of the story that we’re very much leaning into and exploring in this production.”Lilli Cooper, left, as Nancy, and Angelica Beliard, right, dancing with Benjamin Pajak, who plays Oliver in the musical.Jeenah Moon for The New York TimesMANY OF THE SONGS FROM ‘OLIVER!’ have become well known, thanks to the popular 1968 film adaptation, which starred Ron Moody as Fagin. This crowd-pleasing musical is a staple of school stages across Britain, where it debuted in London’s West End in 1960, and the United States, where it opened on Broadway in 1963 and won three Tony Awards, including one for the score. But “Oliver!,” like many of the shows staged by Encores!, whose mission is to offer revivals of seldom-seen work, is rarely produced in full.It hasn’t been professionally staged in its entirety on a New York City stage in nearly 40 years, since the short-lived 1984 Broadway revival that starred Patti LuPone as Nancy. In fact, neither deBessonet, nor any of the five main cast members except for Benjamin Pajak (“The Music Man”), who plays Oliver, had ever seen a live performance of the show.David Jones as the Artful Dodger (in top hat) and Georgia Brown, beside him, in a number from the musical “Oliver!” on “The Ed Sullivan Show” in 1964.CBS Photo Archive/Getty ImagesIn addition to Esparza (“Company”), the show also stars Lilli Cooper as Nancy, the romantic partner of the brutal Bill Sikes (Tam Mutu, recently of “Moulin Rouge! The Musical”), and Julian Lerner, who plays the Artful Dodger, the leader of the gang that takes Oliver in.Underscoring the musical’s darker bits, deBessonet said, like the fear and loneliness the orphaned Oliver experiences, was a matter of subtraction rather than addition. Without elaborate sets or showstopping production numbers there are fewer elements competing to divert the audience’s attention from the words of the actors.But neither did the production need to amp up the grim with foreboding lighting or a fog machine, she said — the darkness is already inherent in Dickens’s text, and in Bart’s book, score and lyrics.“We’re trying to have those words be heard with the belief that the complexity is in the lyric itself,” she said.One example, she said, is the titular tune “Oliver!,” a song familiar to many, even those who haven’t seen the show, for its high-spirited chorus.“It’s this really bouncy song,” deBessonet said, “but the actual lyrics are:There’s a dark, thin, winding stairwayWithout any banisterWhich we’ll throw him down and feed him on cockroachesServed in a canister.The show does preserve many of the musical’s more lighthearted elements. Every song from the original Broadway production remains, including bouncy numbers like “I’d Do Anything” and “You’ve Got to Pick a Pocket or Two.” The dreamlike sequence “Food, Glorious Food,” with its visions of sausages and mustards, jelly and custard. And 20 additional performers, all New York City public school students, will join the company onstage for “Consider Yourself,” the boys’ full-voiced embrace of Oliver into their ranks — the first true family he has known.“The show is incredibly challenging — the domestic violence, the treatment of children at that time in general is truly harrowing,” deBessonet said. “And yet there’s this buoyant joy about these numbers.”And the emotional core is still the camaraderie that springs up between the striving, working-class characters.“The whole narrative question of the show is ‘Where is the love?’ and Fagin is one answer,” deBessonet said. “But it’s complicated.”Even though the Fagin of the Bart musical is more of a lovable curmudgeon than the child-exploiting criminal in the Dickens novel, deBessonet and Esparza said that they wanted the audience to remain cognizant of the less-savory context of his mentorship.“I fully believe Fagin loves those children, and he is exploiting them,” deBessonet said. “He’s sending them out to rob for him, to keep him alive, and he knows that every time he sends them out, there’s a possibility that they could get caught or killed.”Less complex is Bill Sikes, who is objectively the show’s most loathsome character.“Bill Sikes is a sociopath, and there is no end to his cruelty,” deBessonet said of Nancy’s abusive boyfriend. “The show ends with him murdering her brutally in front of us and in front of a kid.”A model of the stage set of “Oliver!”Jeenah Moon for The New York TimesBut Mutu knew he didn’t want to play a one-note villain. Instead he searched for the humanity within the character, to add nuances to his portrayal without offering redemption.“People aren’t black and white,” he said. “There are levels to each of us. Yes, I am playing a sociopath who has violent tendencies —”“— but he has redeeming qualities,” Esparza interjected. “Which are?”They both laughed.“The love between Nancy and Bill is genuine,” Mutu said, referring to their codependency as fascinating. “I’m trying to find the sense of the complexity of our relationship, which I think gets brushed under the carpet.”Normally, deBessonet said, she would have no interest in doing a production that includes violence toward a woman — “I’ve already seen enough of that for a lifetime” — but she was impressed by Nancy’s bravery, how she risked everything to save the life of Oliver.And Cooper and deBessonet said they wanted to make sure Nancy’s murder was not the final word on her story. “Her life is about her heroism and choosing to lay down her life to save this child who not too long ago was a stranger to her,” deBessonet said.Though Nancy allows others to see her as a passive player in her own life, Cooper wanted her performance to underscore the power Nancy wields in moments like the “Oom-Pah-Pah” number, in which her lively and somewhat risqué dance is actually a means of distracting Bill Sikes and Fagin so she can help Oliver escape.“She has this innate maternal nature to her,” Cooper said, “especially with all the boys in Fagin’s den and wanting to protect them. Even with Bill, the man that she loves, she feels needed by those who are wounded and fragile and need help.”“She herself was a child thief, and she’s managed to grab hold of life with this force,” deBessonet said. “In the face of all that difficulty, she’s been able to say, ‘I’m still going to love life.”BACK IN THE REHEARSAL ROOM, the boys continued their run-through of “I’d Do Anything.” Two stood on either side at the front, wielding red parasols, while two with white ones flanked them from behind. As the boys spun the parasols to imitate wheels, Nancy and the Artful Dodger walked to center.“Would you climb a hill?” she sang, as the human “carriage” began to roll.“Anything!” he responded.“Wear a daffodil?”He nodded. “Anything!”“Leave me all your will?”He nodded more vigorously. “Anything!”“Even fight my Bill?” she asked pointedly.He recoiled slightly.“Stop!” Latarro called. She walked over to Lerner. “Bill Sikes is really tall and really scary — he’s like a boxer,” she said. “So you all jump back like ‘No way!’”They tried again.This time when Nancy asked, all nine pickpockets sprung back as though they had just realized they were standing on the third rail. Their eyes hardened.“Anything!” More

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      Writers, Seeking Pay Change for the Streaming Era, Prepare to Strike

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      In the 16 years since the entertainment industry’s last strike, sweeping technological change has upended the television and movie business.When the most recent Hollywood strike took place — 16 years ago — the internet had not yet transformed the television and movie businesses. Broadcast networks still commanded colossal audiences, and cable channels were still growing. The superhero boom had begun for movie studios, and DVDs generated $16 billion in annual sales.Since then, galloping technological change has upended Hollywood in ways that few could have imagined. Traditional television is on viewership life support. Movie studios, stung by poor ticket sales for dramas and comedies, have retreated almost entirely to franchise spectacles. The DVD business is over; Netflix will ship its last little silver discs on Sept. 29.It’s a streaming world now. The pandemic sped up the shift.What has not changed much? The formulas that studios use to pay television and movie creators, setting the stage for another strike. “Writer compensation needs to evolve for a streaming-first world,” said Rich Greenfield, a founder of the LightShed Partners research firm.Absent an unlikely last-minute resolution with studios, more than 11,000 unionized screenwriters could head to picket lines in Los Angeles and New York as soon as Tuesday, an action that, depending on its duration, would bring Hollywood’s creative assembly lines to a gradual halt. Writers Guild of America leaders have called this an “existential” moment, contending that compensation has stagnated despite the proliferation of content in the streaming era — to the degree that even writers with substantial experience are having a hard time getting ahead and, sometimes, paying their bills.“Writers at every level and in every genre, whether it’s features or TV, we’re all being devalued and financially taken advantage of by the studios,” said Danny Tolli, a writer whose credits include “Roswell, New Mexico” and the Shondaland show “The Catch.”“These studios are making billions in profits, and they are spending billions on content — content that we create with our blood, sweat and tears,” Mr. Tolli continued. “But there are times when I still have to worry about how I’m going to pay my mortgage. How I’m going to provide for my family. I have considered Uber to supplement my income.”Studio chiefs have largely maintained public silence, leaving communication to the Alliance of Motion Picture and Television Producers, which bargains on their behalf. In statements, the organization has said its goal was a “mutually beneficial deal,” which was “only possible if the guild is committed to turning its focus to serious bargaining” and “searching for reasonable compromises.”Privately, numerous studio and streaming service executives portrayed writers as histrionic and out of touch. You can’t make a living as a TV writer? By what standard? The business has changed; get used to it.By some measures, a major strike in Hollywood is long overdue. Since the 1940s, with a couple of exceptions, strikes have shaken the entertainment industry almost like clockwork — every seven or eight years — usually aligning with upheaval in the fast-changing business. The dawn of television. The rise of cable networks.“These things gotta happen every five years or so, 10 years,” Clemenza, the weathered Corleone capo explains in “The Godfather,” one of Hollywood’s most storied creations, as the film’s gangster families “go to the mattresses” against one another. “Helps to get rid of the bad blood.”Writers in Hollywood have long complained that studios treat them like second-class citizens.Dick Strobel/Associated PressFor generations, ever since the end of the silent film era, Hollywood writers have complained that studios treat them as second-class citizens — that their artistic contributions are underappreciated (and undercompensated), especially compared with those of actors and directors.Among Hollywood workers, screenwriters have walked out the most often (six times) and were responsible for the entertainment industry’s most recent strike in 2007. It was a precarious economic time — the Great Recession was underway — but “new media” was on the horizon. Apple had started to sell iPods that could play video. Disney was offering $2 downloads for episodes of “Lost.” Hulu was in the start-up stages.The existing contract between studios and the Writers Guild of America, which expires at 12:01 a.m. Pacific time on Tuesday, sets minimum weekly pay for certain television writer-producers at $7,412. (Agents for experienced writers can negotiate that up.) One problem, according to the guild, involves the number of weeks writers work in the streaming era.Because of streaming, the network norms of 22, 24 or even 26 episodes per season have mostly disappeared. Most streaming series are eight to 12 episodes long. As a result, the median writer-producer works nearly 40 weeks on a network show, according to guild data, but only 24 weeks on a streaming show, making it difficult to earn a stable paycheck.Residuals have also been undercut by streaming. Before streaming, writers could receive residual payments whenever a show was resold — into syndication, for overseas airing, on DVD. But global streaming services like Netflix and Amazon have cut off those distribution arms.Instead, streaming services pay a fixed residual. Writers say there is no way to know whether those fees are fair because services hide viewership data. A new contract, guild leaders have said, must include a formula for paying residuals based on views.Guild leaders contend that it would cost studios a collective $600 million a year to give them everything they want. The companies, however, are under pressure from Wall Street to cut costs. And gains for one group of entertainment workers would almost certainly need to be extended to others: Contracts with the Directors Guild of America and SAG-AFTRA, the actors’ union, expire on June 30.Hollywood companies say they simply cannot afford widespread raises. Loaded with $45 billion in debt, Disney laid off thousands of employees in recent days, part of a campaign to eliminate 7,000 jobs by the end of June. Disney+ remains unprofitable, although the company has vowed to change that by next year. Disney is Hollywood’s largest supplier of union-covered TV dramas and comedies (890 episodes for the 2021-22 season).Warner Bros. Discovery, which has roughly $47 billion in debt, has already cut thousands of jobs as part of a $4 billion pullback. NBCUniversal is also tightening its belt as it contends with cable cord-cutting and a troublesome advertising market.These companies remain highly profitable. But they have not been delivering the kind of steady profit growth that Wall Street rewards.The last time the writers had a chance to negotiate a contract, the pandemic prompted a speedy agreement.Annie Tritt for The New York TimesScreenwriters come into these talks with notable swagger. In 2019, when film and TV writers fired their agents in a campaign over what they saw as conflicts of interest, many agency leaders figured that the guild would eventually fracture. That never happened: After a 22-month standoff, the big agencies effectively gave writers what they wanted.For screenwriters, there is also pent-up demand for raises, made worse by climbing inflation. When writers last had the opportunity to negotiate a contract, the pandemic was shutting down Hollywood, and so the two sides came to a speedy agreement — “essentially kicking the can down the road” in the words of Mr. Greenfield. In the negotiation cycle before that, writers focused more on shoring up their generous health plan.And writers have been incensed by mixed messaging from companies on their financial health.“NBCUniversal is performing extremely well operationally and financially,” Brian Roberts, the chief executive of Comcast, which owns NBCUniversal, wrote to employees last week, when the division’s top executive was ousted.Netflix’s co-chief executive, Ted Sarandos, received a pay package worth $50.3 million in 2022, up 32 percent from 2021, Netflix disclosed last week.“Lots of people are still getting very rich off of Hollywood product — just not the creators of that product,” said Matt Ember, a screenwriter whose credits include “Get Smart,” “The War With Grandpa” and the animated “Home.”The upshot: The situation might get worse before it gets better.“Every industry goes through course corrections,” said Laura Lewis, the founder of Rebelle Media, an entertainment production and financing company. “Maybe this is an opportunity to adjust the models for the next phase of the entertainment business.”“The question,” she continued, “is how much pain will we have to endure to get there.”John Koblin More

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      What Do ‘Candyman’ and ‘Peter Pan & Wendy’ Have in Common? A Director Explains.

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      For the new Disney+ retelling, David Lowery drew on a range of unexpected influences, including the 1992 horror film, art-house classics and “Raising Arizona.”It was “E.T. the Extra-Terrestial” that turned David Lowery into a lifelong fan of “Peter Pan,” specifically the scene in which a mother reads the section about Tinkerbell’s possible death to her daughter while the friendly alien hides in the closet. “You just watch E.T. listening to that story, and it’s so emotionally resonant that it hooked me to ‘Peter Pan,’ no pun intended, more than any film version of it did early on,” Lowery said.For his second live-action retelling of a classic Disney film — following “Pete’s Dragon” (2016) — Lowery imagined his own variation on Neverland in “Peter Pan & Wendy,” with the young actors Alexander Molony and Ever Anderson in the title roles and Jude Law as the villainous Captain Hook. Initially, however, Lowery underestimated the task.“When I first took the job, I thought, ‘It’s Peter Pan, how hard could it be?’ It turned out to be the hardest but most exhilarating creative endeavor I’ve done to date,” he said. The difficulty, he thinks, stemmed from his desire to introduce a new shade to a fairy tale while honoring the story’s legacy.The original J.M. Barrie novel about Peter Pan and Wendy as well as the numerous film adaptations — Steven Spielberg’s “Hook,” P.J. Hogan’s “Peter Pan,” Joe Wright’s “Pan” and, of course, Disney’s 1953 animated rendering, among them — all swirled in Lowery’s mind as he reconsidered the boy who never grows up.Speaking during a recent video interview from Cologne, Germany, Lowery, 42, laid out some of the less obvious influences for his reimagining of “Peter Pan & Wendy,” now streaming on Disney+.Peter Pan’s Flight at DisneylandTo remain faithful to Disney’s take on “Peter Pan,” Lowery closely observed Peter Pan’s Flight, one of the original rides at Disneyland based on the 1953 film. The attraction, he said, “represents the movie distilled into a physical experience.” Although stunningly crafted, some the animated film’s defining iconography, most notably the image of Captain Hook straddling the jaws of the crocodile, has a greater impact on younger audiences when they see it immortalized in three dimensions in Peter Pan’s Flight.That the old-fashioned theatrical illusions the ride employs, like the use of forced perspective for London’s skyline, could still elicit wonder even in an age of digital effects, impressed him. Lowery rode Peter Pan’s Flight while preparing to shoot “Peter Pan & Wendy,” and hearing the excited reactions of children and adults alike reminded him of how beloved the animated version is. “Seeing this film condensed into a theme park ride, I realized the weight that these stories, as told by Disney, have in popular culture,” he said.‘Indiana Jones and the Temple of Doom’Lowery first watched the Steven Spielberg action adventure at the tender age of 7, and it immediately ignited his creative aspirations. “It’s a real kitchen-sink experience,” he said. “It’s a musical, it’s a drama, it’s a romance, it’s a horror film.” For the emotional approach to “Peter Pan & Wendy,” Lowery drew on the eclectic tone of “Temple of Doom” as well as its juvenile sense of humor.When creating the pirate hideout Skull Rock, Lowery tried to evoke the underground mines, in a cavernous space illuminated by lava, where the film’s Temple of Doom was located. “There’s also one shot in particular of Tiger Lily, the Lost Boys and Wendy looking down as John and Michael are about to be executed that is a direct homage to Indy, Willie Scott and Short Round looking down into the temple as the poor gentleman is about to be sacrificed to Kali,” Lowery explained.Andrei TarkovskyLowery sought to reconceptualize how Peter Pan and Tinkerbell are introduced to the Darling children. As he wrote the sequence in which Tinkerbell sprinkles Wendy with pixie dust, ostensibly to float her all the way to Neverland before she wakes up, the image of the sleeping woman levitating in the Russian auteur Andrei Tarkovsky’s surrealist “Mirror” (1975) came to mind. He added a screen grab of that moment to his look-book and then replicated it with Wendy.‘Master and Commander: The Far Side of the World’To differentiate his movie from traditional pirate films, including Disney’s “Pirates of the Caribbean” franchise, Lowery looked to Peter Weir’s 2003 high-seas saga, which informed how he thought about Captain Hook and his crew. Instead of mere scoundrels, Lowery saw Captain Hook’s men as pirates playacting as soldiers and Hook himself as a decaying version of Captain Jack Aubrey (played by Russell Crowe in “Master and Commander”).“I thought, ‘What if Captain Hook at some point commandeered a Napoleonic vessel and executed all the other soldiers on board and he and his pirates took over this ship and he now thought of himself as an admiral on the HMS Bounty?” Lowery said. To help the actors, the director brought in consultants to teach them how to realistically operate a ship. One bit of unexpected synchronicity: John DeSantis, who plays Bill Jukes in Lowery’s fantasy, also appeared in Weir’s Oscar-winning film.‘Death in Venice’Since Captain Hook is horrified at the notion that he has grown up, Lowery introduced the idea that he dyes his hair. “He wants to maintain his youth as an affront to Peter,” Lowery explained. The inspiration came from Luchino Visconti’s “Death in Venice”: In the Italian director’s historical drama, an aging composer played by Dirk Bogarde colors his hair and wears makeup to appear younger. “At the end, when he’s on the beach, the hair dye just starts running down his face, exposing the deceit at the heart of Bogarde’s character,” Lowery said.Bill the Butcher and ‘Candyman’For Captain Hook’s image, Lowery drew from multiple sources. When he first pitched the project to the studio, he edited a hook for a hand onto a photo of a mustachioed Daniel Day-Lewis in 19th-century attire as Bill the Butcher in Martin Scorsese’s “Gangs of New York.” “That became the Captain Hook I saw in my mind while I was writing the script,” he recalled.With the hook itself, Lowery wanted to stay away from the precise, shiny devices used in other adaptations, like Spielberg’s “Hook.” The one Jude Law would wield in “Peter Pan & Wendy” had to look like a less refined, “pugilistic instrument of violence.” Lowery gave the prop department an image of the actor Tony Todd in Bernard Rose’s 1992 horror film “Candyman,” about a ghostly killer with a hook for a missing hand. “We want it to be rusty,” Lowery added, “and to feel like it was a piece of metal that he pulled from the boat and had a blacksmith hammer into a barely usable form.”‘Raising Arizona’There’s a vivid montage near the end of Lowery’s movie that shows Wendy’s adult life. She overcomes nostalgia and embraces the potential that lies ahead. “I wanted to capture the idea that growing up could be a beautiful thing,” he said. The montage is an allusion to a sequence, known as “Dream of the Future,” in the offbeat Coen brothers comedy “Raising Arizona,” in particular the shot where the kidnapper H. I. McDunnough (played by Nicolas Cage) imagines himself and his wife in old age with their large family gathered around a table. “As someone who is still in the process of growing up, it’s really helpful for me, on a therapeutic level, to see a character look at the future with a sense of wonder and anticipation,” Lowery said. More