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      Superman Is Driving DC Studios’ New Strategy

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      The yet-to-be-cast “Superman: Legacy” will begin a story that unfolds across at least 10 interconnected movies and TV shows, with Batman, Swamp Thing and others.Superman is returning to theaters — only now, along with saving the world, he has to prove that Warner Bros. has finally, without question, it means it this time, found a winning superhero strategy.DC Studios, a newly formed Warner division dedicated to superhero content, unveiled plans on Tuesday to reboot Superman onscreen for the first time in a generation, tentatively scheduling the yet-to-be-cast “Superman: Legacy” for release in theaters in July 2025. James Gunn, known for “Guardians of the Galaxy,” is writing the screenplay and may also direct the movie, which will focus on Superman balancing his Kryptonian heritage with his human upbringing.“He is kindness in a world that thinks of kindness as old-fashioned,” said Peter Safran, chief executive of DC Studios, a title he shares with Mr. Gunn.Moreover, “Superman: Legacy” will begin a story that will unfold (Marvel style) across at least 10 interconnected movies and TV shows and include new versions of Batman, Robin, Supergirl, Swamp Thing and Green Lantern. Those marquee DC Comics characters will be joined by lesser-known personalities from the DC library, including Creature Commandos and Booster Gold, a time traveler. One of the shows will explore Themyscira, the mythical island home of Wonder Woman.The 10 projects will roll out over four to five years — at which time a second batch of related films and shows will be announced, expanding the “Superman: Legacy” saga to nearly a decade and perhaps helping David Zaslav, the chief executive of Warner Bros. Discovery, to keep a promise to Wall Street about growth.“Part of our strategy is drive the hell out of DC,” Mr. Zaslav said at an RBC Capital Markets event in November. Discovery took over Warner Bros. last year as part of a $43 billion merger.If it all comes to fruition, the “Superman: Legacy” universe of projects will add to a roster of unrelated superhero movies left over from a previous Warner Bros. administration. These movies, sequels all, include “Shazam! Fury of the Gods,” “The Flash,” “Aquaman and the Lost Kingdom,” “Joker: Folie à Deux” and “The Batman — Part II.”Warner Bros. bought DC Comics in 1969, and has since used DC characters to make more than 40 movies and at least 30 television shows, including cartoons. But the DC library has been widely viewed on Wall Street as underexploited because a competing comics-to-screens company, the Disney-owned Marvel, has provided an example of what is possible.Over the last 10 years, Marvel has been a blockbuster machine, delivering slates of interconnected superhero movies that have collected $23 billion at the global box office. Movies based on DC characters and released by Warner Bros. have generated about $9 billion over that period.Suffice it to say, Warner Bros., which invented the big-budget superhero movie in 1978 with “Superman,” has been under pressure to get its act together. In a restructuring in October, Mr. Zaslav ended the studio’s decentralized approach to superhero management — separate film and television divisions developed material independently, sometimes causing friction — and put Mr. Gunn and Mr. Safran in charge of superhero films, series and animated offerings.“The stakes are massive for us, and for Warner Bros. Discovery,” Mr. Safran said.Mr. Gunn called Warner’s old system “pretty messed up.”“Nobody was minding the mint,” he added. “They were just giving away I.P. like they were party favors to any creator who smiled at them.”Superhero movies remain reliably popular at the box office, but a glut of them has prompted worries that studios are wearing out the audience.“I think it’s real,” Mr. Gunn said, referring to superhero fatigue. “You have to make the stories diverse and different. Good guy, bad guy, giant thing in the sky, good guys win — you can’t tell that story again. You need to tell stories that are more, you know, morally complex.” More

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      ‘Pamela, a Love Story’ Review: A Frank Look Back

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      This documentary from Ryan White rewinds, to powerful effect, on Pamela Anderson’s life and fame.Are you ready for Pamela Anderson, ordinary person? Ryan White’s genuinely engaging documentary “Pamela, a Love Story” presents the sex symbol plain, wearing little if any makeup, dressed in a shift and a robe.The story she tells is of a small-town girl — she was raised partly on an island in British Columbia — who endured abuse from an early age. Speaking of the babysitter who molested her, she says, “I told her I wanted her to die, and she died in a car accident the next day.” She attributed the turn of events to “magical powers.”She did possess a kind of magic, being both very pretty and very photogenic. She was discovered via sports arena Jumbotron in 1989. After posing for Playboy magazine, she got famous before she was even vaguely ready for any such thing. “I’ve never sat across from an interview subject before and said, ‘May we talk briefly about your breasts?’” the interviewer Matt Lauer, of all people, states in an archival clip.Anderson admits a longtime romantic predisposition toward “bad boys.” In the ’90s, when she was the bombshell star of “Baywatch,” she wed one of the baddest, the rock drummer Tommy Lee.Her still indignant and hurt recollections concerning the couple’s infamous sex tape, which she has always insisted was stolen property, are bracing.This star’s personality doesn’t veer into any ideology, let alone a feminist one. But when Anderson recalls being deposed by hostile lawyers while trying to shut down the marketing of the sex tape, she remembers thinking, “Why do these grown men hate me so much?” The collision of her good-faith lack of inhibition with institutionalized misogyny makes this Canadian’s biography a very disquieting American story.Pamela, a Love StoryNot rated. Running time: 1 hour 52 minutes. Watch on Netflix. More

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      Andrea Riseborough’s Path to Surprise Oscar Nomination Is Scrutinized

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      Andrea Riseborough got the nod for the little-seen “To Leslie.” The Academy of Motion Picture Arts and Sciences is reviewing whether her A-list campaign violated rules.When the Oscar nominations were announced last week, one of the most surprising was Andrea Riseborough’s inclusion in the best actress category.Ms. Riseborough’s portrayal of a former lottery winner battling addiction in the little-seen “To Leslie” had received scant recognition on the awards circuit. Few critics included the film on their best-of-the-year lists, and it made just $27,000 at the box office during its initial release in October.Yet just as voting for the Oscars began, a number of A-list actors started lauding Ms. Riseborough’s performance publicly. “Andrea should win every award there is and all the ones that haven’t been invented yet,” Gwyneth Paltrow wrote on Instagram, joining dozens of actors like Edward Norton and Susan Sarandon who lavished praise on Ms. Riseborough. Kate Winslet hosted a screening of the film, and during a virtual question-and-answer session with Ms. Riseborough and the film’s director, Michael Morris, called Ms. Riseborough’s work “the greatest female performance onscreen I have ever seen in my life.”“The thing that feels most exciting is being acknowledged by your community,” Ms. Riseborough told The New York Times on the day she was nominated. “It’s a marker by which we measure ourselves in so many ways — by those we aspire to be like, or those we admire. So it’s huge.”But what at first seemed like a story of how a grass-roots — though star-studded — word-of-mouth campaign had managed to help a respected actress crash the Oscar party quickly drew backlash.There were soon questions of whether the efforts on behalf of Ms. Riseborough had violated Oscar rules (“Was the Andrea Riseborough Oscar Campaign Illegal?” read a headline in the Hollywood newsletter by Puck’s Matthew Belloni) and whether Ms. Riseborough, who is white, had secured a nomination that may otherwise have gone to a Black actress like Viola Davis (“The Woman King”) or Danielle Deadwyler (“Till”).“We live in a world and work in industries that are so aggressively committed to upholding whiteness and perpetuating an unabashed misogyny towards Black women,” Chinonye Chukwu, the director of “Till,” wrote on Instagram after the nominations. Ms. Chukwu did not mention Ms. Riseborough or “To Leslie” in her post.Interviews With the Oscar NomineesMichelle Yeoh: The “Everything Everywhere All at Once” star, nominated for best actress, said she was “bursting with joy” but “a little sad” that previous Asian actresses hadn’t been recognized.Angela Bassett: The actress nearly missed the announcement because of troubles with her TV. She tuned in just in time to find out that she was nominated for her supporting role in “Black Panther: Wakanda Forever.”Andrea Riseborough: A social media campaign by some famous friends netted the star of “To Leslie” her first Oscar nomination. Here is what she said about being nominated.Ke Huy Quan: A former childhood star, the “Everything Everywhere All at Once” actor said that the news of his best supporting actor nomination was surreal.Austin Butler: In discussing his best actor nomination, the “Elvis” star said that he wished Lisa Marie Presley, who died on Jan. 12, had been able to celebrate the moment with him.The Academy of Motion Picture Arts and Sciences will take up the matter of Ms. Riseborough’s nomination during a previously scheduled meeting on Tuesday. Among the issues will be whether the campaign violated any academy rules and, if so, what the repercussions should be.At issue seems to be the efforts by the actress Mary McCormack, who is married to Mr. Morris, and her manager, Jason Weinberg, who also represents Ms. Riseborough, to get her friends and acquaintances in the entertainment industry to watch the film and talk about it. Neither Ms. McCormack nor Mr. Morris is a member of the academy, though many of the actors who praised Ms. Riseborough’s performance are.Howard Stern, Ms. McCormack’s co-star in the 1997 film “Private Parts,” praised “To Leslie” on his satellite radio show, and the veteran actress Frances Fisher repeatedly posted about it on Instagram, writing on Jan. 14 that voters should select Ms. Riseborough since “Viola, Michelle, Danielle & Cate are a lock for their outstanding work.” Mentioning competitors or their films directly is verboten when campaigning. Voters are also not supposed to be courted directly, without the academy acting as a gatekeeper of sorts.The specter of rescinding Ms. Riseborough’s nomination has been raised, but one longtime academy member, who discussed internal matters on the condition of anonymity, considered that unlikely since she did not make the direct appeals to voters herself. An acting nomination has never been rescinded, though it has happened in other categories.Ms. Riseborough declined to comment. Mr. Weinberg did not respond to requests seeking comment from him and Ms. McCormack.The academy declined to comment for this article, but it released a statement that said, “We are conducting a review of the campaign procedures around this year’s nominees, to ensure that no guidelines were violated, and to inform us whether changes to the guidelines may be needed in a new era of social media and digital communication.”Oscars campaigning has been a blood sport for decades. The modern Machiavelli for the process was, after all, Harvey Weinstein, who became notorious for bludgeoning would-be voters with parties, screenings and not-so-subtle whisper campaigns.The process has become only more sophisticated. In 2019, for instance, Netflix rented two soundstages on a historic movie lot in Hollywood to push for “Roma.” The voters who attended “‘Roma’ Experience Day” received breakfast and lunch and there were hours of panel discussions with Alfonso Cuarón, the movie’s director, and his crew.But there are rules, many of them put into place after Oscar campaigning turned into an entire industry, employing scores of consultants and strategists and generating millions of dollars of revenue for the trade publications that accept “For Your Consideration” advertisements.Studios are permitted to send out only one email a week to Oscar voters, and they cannot send them directly. The emails must be routed through messaging services sanctioned by the academy. According to one awards consultant, who described the process on the condition of anonymity, each email blast can cost $2,000.Screenings are permitted, with “reasonable” food and drink. (The rule book doesn’t spell out the definition of “reasonable.”) Everything must be provided in the same location where the movie was shown. Lavish dinners across the street or across town are not allowed.As for individual lobbying, the academy includes only a one-line explanation of what is forbidden: “Contacting academy members directly and in a manner outside of the scope of these rules to promote a film or achievement for Academy Award consideration is expressly forbidden.”In 2010, Nicolas Chartier, a producer of “The Hurt Locker,” was barred from attending the Academy Awards after he sent emails to voters urging them to vote for his film and not “Avatar.” In 2014, the composer Bruce Broughton contacted members directly, asking them to vote for his song from the unheralded film “Alone Yet Not Alone.” He received a nomination, but the academy rescinded it. In 2017, a sound mixing nomination for Greg P. Russell (“13 Hours: The Secret Soldiers of Benghazi”) was rescinded for a similar reason. In each case, the academy declined to add a fifth nominee.Ric Robertson, the academy’s former chief operating officer and a member for 24 years, said a failure to address the issues of personally lobbying voters could lead to more concerted campaigns.“This campaign sounds like it was organic,” Mr. Robertson, who was involved in putting many of the campaigning rules into effect, said of Ms. Riseborough’s situation. “It came about because a couple of prominent people really liked the film and the performance and used their connections to promote it. Well, it could get a lot more organized next year and institutionalized at other companies.”Though “To Leslie” was unknown to many voters before numerous stars began praising it, Ms. Riseborough is a respected British actress with a chameleonic flair. She has spent the past two decades playing complicated women in mostly independent films. She has worked for directors as varied as Alejandro G. Iñárritu (“Birdman”), Tom Ford (“Nocturnal Animals”) and Mike Leigh (“Happy-Go-Lucky”). Mr. Morris previously directed her in the Netflix series “Bloodline.”And since the questions about Ms. Riseborough’s campaign have arisen, there has been a backlash to the backlash. The “unabashed solicitation of Oscar votes,” The Hollywood Reporter’s Scott Feinberg said, “is a tradition almost as old as the academy itself.”For the Oscars, this is the latest in a string of controversies in recent years. Some were self-inflicted, like the two consecutive years the organization nominated only white actors, which spawned the hashtag #OscarsSoWhite and led the academy to begin overhauling and diversifying its membership. The exclusion of Ms. Davis and Ms. Deadwyler, and Ms. Chukwu’s comments after the nominations, show that the issue remains a raw one.Last year, as the Oscars were trying to recover from the pandemic, Will Smith shocked a global audience by slapping Chris Rock onstage during the telecast. Shortly after, Mr. Smith returned to the stage to accept the best actor trophy. The academy subsequently barred him from Oscar-related events, included the ceremony, for the next decade.As for “To Leslie,” which barely had the funds to pay the $20,000 fee to submit it to the academy’s portal so members could watch it, all of the attention has seemed to help, a little.Momentum Pictures, its distributor, returned the film to six theaters this past weekend, betting that Ms. Riseborough’s nomination would intrigue audiences. According to The Hollywood Reporter, it grossed around $250,000. More

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      Which Sundance Movies Could Follow ‘CODA’ to the Oscars?

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      Jonathan Majors in “Magazine Dreams” and Teyana Taylor in “A Thousand and One,” among others, could make the journey from Park City to the Dolby Theater.Over the past few decades, the Sundance Film Festival has premiered Oscar winners like “Manchester by the Sea,” “Call Me by Your Name” and “Minari,” but it wasn’t until last March — when the crowd-pleasing “CODA” won best picture — that a Sundance movie went the distance and claimed the top Academy Award.It may be a little while before Sundance pulls off that feat again, as the Oscar nominations announced last week featured no movies from the festival in the best-picture race; indeed, the only 2022 Sundance film to make a dent in the top six Oscar categories was the British drama “Living,” which earned a best-actor nod for Bill Nighy. But could the movies that just premiered at the 2023 edition of the festival, which concluded on Sunday, help recover some of Sundance’s award-season mojo?The program certainly offered a fair amount of best-actor contenders who could follow in Nighy’s footsteps. Foremost among them is Jonathan Majors. The up-and-coming actor already has a crowded 2023: He’ll soon be seen facing off against Michael B. Jordan in “Creed III” and playing the supervillain Kang in Marvel properties like “Ant-Man and the Wasp: Quantumania” and “Loki.” And that slate just got even stronger with the Sundance premiere of “Magazine Dreams,” a troubled-loner drama in which Majors plays an amateur bodybuilder on the brink of snapping. Had the film been released a few months ago, Majors would have made this year’s thin best-actor lineup for sure, but the right studio buyer could take advantage of his newfound Marvel momentum to muscle this formidable performance into the next race.The Projectionist Chronicles the Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Meet the Newer, Bolder Michelle Williams: Why she made the surprising choice to skip the supporting actress category and run for best actress.Best-Actress Battle Royal: A banner crop of leading ladies like Michelle Yeoh and Cate Blanchett rule the Oscars’ deepest and most dynamic race.‘Glass Onion’ and Rian Johnson: The director explains why he sold the “Knives Out” franchise to Netflix, and how he feels about its theatrical test.A Supporting-Actress Underdog: In “Everything Everywhere All at Once,” don’t discount the pivotal presence of Stephanie Hsu.Other best-actor candidates that could come from the current Sundance crop include Gael Garcia Bernal, who could earn his first nomination for playing a gay luchador in the appealing “Cassandro,” and David Strathairn, who toplines the modest, humane “A Little Prayer,” about a father deciding whether to meddle in his son’s extramarital affair. One point in Strathairn’s favor is that his film will be released by Sony Pictures Classics, which has managed to land a well-liked veteran in the best-actor lineup three of the last four years (Nighy for “Living,” Anthony Hopkins for “The Father” and Antonio Banderas for “Pain and Glory”).The top Sundance jury prize went to A.V. Rockwell’s “A Thousand and One,” which could earn best-actress attention for Teyana Taylor, who plays a defiant ex-con resorting to desperate measures to keep custody of her son. (Still, the film’s planned March release from Focus Features will require some end-of-year reminders for forgetful voters.) Also buzzed about was Greta Lee, who could be in contention for A24’s “Past Lives,” about a Korean American woman reunited with her former lover; the film was so rapturously received that a best-picture push could be in the cards.Will any of the year’s biggest-selling films crash the Oscars race? Netflix spent $20 million to acquire the well-reviewed “Fair Play,” which pits the “Bridgerton” star Phoebe Dynevor against the “Solo: A Star Wars Story” actor Alden Ehrenreich as co-workers whose affair curdles once she gets promoted. It’s not the kind of starry auteur project that usually gets a big end-of-the-year campaign from Netflix, but if this battle of the sexes becomes a zeitgeisty hit, the streamer may give it a shot. Apple TV+ paid $20 million for the musical comedy “Flora and Son,” from the “Once” director John Carney, while Searchlight shelled out more than $7 million for the Ben Platt vehicle “Theater Camp.” At the very least, these two comedies feature delightful original-song contenders.Sundance films could make the biggest splash is in the best-documentary race: All but one of this year’s Oscar-nominated documentaries first debuted at the January festival, and even if you stripped Sundance of its star-driven narrative films, the strength of its docs would still preserve its status as a top-tier world festival.This year, the most-talked-about docs were the award winners “Going to Mars: The Nikki Giovanni Project,” about a storied Black poet; the Alzheimer’s drama “The Eternal Memory”; “Beyond Utopia,” which features compelling hidden-camera footage of North Koreans trying to defect; and “20 Days in Mariupol,” about the Russian siege of a Ukrainian port city. More

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      Stream These 8 Movies Before They Leave Netflix in February

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      A handful of great titles are leaving the service for U.S. subscribers soon, including a bona fide comedy classic. See them while you can.This month’s selection of titles leaving Netflix in the United States are a typical esoteric assortment of big-budget studio flicks and indie dramas, but the comedies are what really make this one stand out — including an anticapitalist satire and one of the very first stand-up spotlights the service ever funded. Let’s start there. (Dates indicate the final day a title is available):‘Zach Galifianakis: Live at the Purple Onion’ (Feb. 25)There’s something vaguely end-of-an-era-ish about seeing Netflix finally bid farewell to this top-tier 2006 stand-up special from the magnificently absurd Galifianakis — one of a handful of original films and specials created at the time for its “Red Envelope Entertainment” imprint as exclusives for the service, which now rolls out an original comedy special nearly every week. So catch it while you can; it’s Galifianakis at his peak, and the special’s structure (interspersing his wildly funny live act with tortured interviews with his straight-arrow brother, also played by the comedian) is genuinely inspired.Stream it here.‘Air Force One’ (Feb. 28)Throughout the 1990s, multiplexes were positively deluged by “Like ‘Die Hard,’ but on a _____” movies, with airplane and airport settings proving especially popular (“Executive Decision,” “Passenger 57” and “Die Hard 2” among them). This 1997 thriller from the director Wolfgang Petersen got hyper-specific, imagining “Die Hard” on the president’s plane. And the venerable formula works: Harrison Ford is a credible man-of-action commander in chief, Gary Oldman chews plenty of scenery as the villain, and the silly but effective catchphrase “Get off my plane!” still demands cheers.Stream it here.‘Cake’ (Feb. 28)Back in 2014, Jennifer Aniston nearly snagged an Oscar nomination for her against-type turn in this indie drama, in which the typically light comedian went very heavy as a grieving mother attempting to piece back together her broken life. To be fair, she deserved the recognition; Aniston plays the breezy ingénue so well that it’s easy to underestimate her considerable gifts as an actor of genuine gravitas. And she’s in good company here — the stellar supporting cast includes Felicity Huffman, Anna Kendrick, William H. Macy and Sam Worthington.Stream it here.‘Coach Carter’ (Feb. 28)It’s forgivable if you assume you’ve already seen “Coach Carter,” even if you haven’t; the formula of the underdog sports movie is, to put it mildly, well-established. (Oh, so the tough-as-nails new coach meets resistance at first from the unruly, poorly performing team but slowly earns the players’ respect? And translates that camaraderie to the court? And it’s all based on a true story?!) But the filmmakers here know that you know how these movies are supposed to go, gracefully subverting those expectations, and Samuel L. Jackson is cast perfectly in the title role.Stream it here.‘Margin Call’ (Feb. 28)The writer and director J.C. Chandor’s 2011 feature debut was a high-profile affair — one of the first films to directly address the 2008 financial crisis — and it did so with offhand intelligence and admirable nuance. Chandor’s gripping script telescopes the action to a 24-hour period and the setting to a single Wall Street investment bank, as the implications and consequences of the impending crisis become clear, and the firm’s strong personalities bounce and collide. A tiptop ensemble cast brings verve to the key players, with fine performances Paul Bettany, Jeremy Irons, Demi Moore, Zachary Quinto (who was also a producer), Kevin Spacey and Stanley Tucci.Stream it here.‘Scream 4’ (Feb. 28)The 2022 reboot of the “Scream” slasher-satire franchise was commercially successful enough to warrant a follow-up, due in theaters this March. But critically speaking, the magic simply wasn’t there — and probably couldn’t be, given the passing of the series’s original director, Wes Craven, and the noninvolvement of the original screenwriter, Kevin Williamson. From that perspective, the original series truly concluded with this 2011 installment, reuniting Craven, Williamson and the franchise stars Neve Campbell, Courteney Cox and David Arquette, alongside a host of new and noteworthy stars (including Kristen Bell, Alison Brie, Hayden Panettiere and Emma Roberts) for a typically self-referential bouillabaisse of horror, comedy and movie mania.Stream it here.‘Shutter Island’ (Feb. 28)Martin Scorsese and Leonardo DiCaprio have released five feature films collaborations to date, but this 2010 thriller tends to be overlooked in that filmography — perhaps because it is the only one not nominated for the best picture Academy Award. That’s unsurprising, as this adaptation of the best-selling novel by Dennis Lehane is a thick slice of Gothic horror, and Oscar voters are famously adverse to honoring genre material. But it’s a crackerjack example of the form; DiCaprio is hauntingly good as a U.S. Marshal investigating a mysterious disappearance on the titular psychiatric facility.Stream it here.‘Sorry to Bother You’ (Feb. 28)The hip-hop provocateur Boots Riley, best known for his work fronting the politically conscious Oakland crew the Coup, made a loud splash in his crossover to feature filmmaking with this debut effort, starring Lakeith Stanfield as a telemarketer who discovers the secret to success in the corporate world. The satire is razor-sharp (Riley’s debt to “Putney Swope” is crystal clear), and the picture’s politics are delightfully unapologetic; it is exhilarating to watch a novice filmmaker marshal the tools of the medium to craft something genuinely, gleefully subversive.Stream it here. More

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      Gregory Allen Howard, Screenwriter of ‘Remember the Titans,’ Dies at 70

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      After the success of the movie, he established a brand for writing Hollywood movies about inspiring episodes in Black history.Gregory Allen Howard, who wrote the scripts of several Hollywood movies about inspiring episodes in Black history, most famously “Remember the Titans,” died on Friday in Miami. He was a day shy of his 71st birthday.His death, at a hospital, was caused by heart failure, his spokesman, Jeff Sanderson, said.“Remember the Titans” (2000) has joined the list of American films that find social significance in sports triumphs. Denzel Washington stars as Herman Boone, a Black coach leading a high school football team during its first season after racial integration. With the help of a white assistant, played by Will Patton, along with Black and white high school players who become devoted to each other, Mr. Boone launches the team on a glorious season, culminating in the state championship.The movie was an immediate sensation, premiering at the Rose Bowl and the White House. President Bill Clinton led people involved with the production in a school chant. Just a year later, The New York Times was calling it “one of the most successful sports films of all time” and a leading exemplar of “a genre that could be called the macho weepie.”On Nov. 4, 2008, after Barack Obama ended his presidential victory speech in Chicago with the words “May God bless America,” he was answered by the swelling, uplifting horns of the “Remember the Titans” instrumental theme.Mr. Howard was the prime force behind the movie. After moving to Alexandria, Va., he found himself struck by a prevailing atmosphere of racial harmony there. When he asked around about its source, he was continually told about the football team of T.C. Williams High School, which became integrated in 1971 and went on that year to win the state championship. He began buying life rights, including those of the real Herman Boone, and working on a screenplay.Mr. Howard at the premiere of “Harriet” in 2019. He said he had spent 25 years fighting to make the movie.Leon Bennett/WireImage, via Getty ImagesIn a review, the Times film critic A.O. Scott described “Remember the Titans” as “corny,” adding that it was “unabashedly, even generously so.” The movie is widely reported to have earned more than $100 million worldwide over its roughly $30 million budget.Mr. Howard continued working in the vein of inspirational Black history. He wrote the story for “Ali,” which had four other screenwriters. It premiered in 2001 and starred Will Smith as Muhammad Ali. In a review in The Times, Elvis Mitchell called “Ali” a “near great movie.” But despite hype, it lost money at the box office. Beginning in 1994, Mr. Howard tried to get a movie made out of a screenplay he wrote on the life of Harriet Tubman. In 2019, A.O. Scott described the final product, “Harriet,” as “accessible, emotionally direct and artfully simplified.”In an essay for The Los Angeles Times that year, Mr. Howard described the release of the film as the culmination of an “epic 25-year journey.” He said that he could not list “the number of doors slammed in my face, the number of passes, the number of unreturned phone calls, canceled meetings, abandonments, racist rejections, the number of producing partners who bailed.”But over time the movie industry became more interested in a Tubman biopic, he continued: “#OscarsSoWhite, DiversityHollywood and the other pushes and protests for inclusion and diverse storytelling had moved the needle: The climate had changed,” he wrote.Michael Bentt, left, and Will Smith in the movie “Ali.” Mr. Howard wrote the story for the film.Peter Brandt/Getty ImagesGregory Allen Howard was born on Jan. 28, 1952, in Norfolk, Va. He was raised by his mother, Narcissus (Cole) Henley, and his stepfather, Lenard Henley, a chief petty officer in the Navy. (His father was Lowry Howard.)From the time he was 5 to 15, his family moved 10 times, finally settling in Vallejo, Calif. In 1974, he graduated from Princeton with a bachelor’s degree in American history. In later years, he frequently referred to his studies in college as inspiring the historical subject matter of his screenplays.After briefly working on Wall Street, Mr. Howard moved to Los Angeles and tried to become a screenwriter. He did not have much success and moved to Alexandria, wondering if a change in scenery might help while also contemplating giving up and studying to become a teacher.“When you hear no that much, you just begin to think, ‘I guess they’re right,’” he told The Times in 2000.After being inspired by the story of T.C. Williams High School, he pitched “every financing entity in the movie business,” he told The Times, until the producer Jerry Bruckheimer finally took on the project.In the mid-2010s, Mr. Howard’s website reflected a sense that his career had stalled. “The sad truth is it’s almost impossible to get movies made,” he wrote. “It’s a miracle that I’ve been involved in two, ‘Ali’ and ‘Titans.’”But by 2020, things had changed, with “Harriet” released the previous year and Mr. Howard working on several new projects also related to African American history and culture, he told The Washington Post.Mr. Howard is survived by a half sister, Lynette Henley, and a half brother, Michael Henley. Herman Boone died in 2019.Mr. Howard, who was an offensive lineman on his own high school varsity football team, attributed the success of “Remember the Titans” to the popularity of the sport and the place it holds in the memories of American men.“You’re talking about millions of guys,” he told The Times in 2001. “It’s a bonding experience like you can’t believe, and for a lot of men it was the last time they were important or heroic. It touches a nerve of a time when I was last innocent.” More

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      Sylvia Syms, Versatile British Actress, Is Dead at 89

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      In a career that began in the 1950s, she had roles that ranged from the lead in the movie “Teenage Bad Girl” to Margaret Thatcher and the Queen Mother.Sylvia Syms, a British actress whose many roles in a career of more than 60 years included Prime Minister Margaret Thatcher and the Queen Mother, died on Friday in London. She was 89.Her death, at Denville Hall, a retirement home for actors and entertainers, was announced by her family.Sylvia May Laura Syms was born in London on Jan. 6, 1934, to Edwin and Daisy (Hale) Syms. She was educated at convent schools and at the Royal Academy of Dramatic Art and began her acting career onstage in the George Bernard Shaw play “The Apple Cart” in 1953.She became a stalwart of the British cinema soon after she played the title role in the 1956 movie “Teenage Bad Girl.” Among the many films in which she appeared in the late 1950s were the World War II adventure “Ice Cold in Alex” (1958), starring John Mills, in which she played an army nurse, and “Expresso Bongo” (1959), a satire of the music business. In that movie she portrayed the stripper girlfriend of a sleazy talent manager played by Laurence Harvey.In 1961 she was the wife of a closeted lawyer played by Dirk Bogarde — a role several other actresses had turned down — in the thriller “Victim,” the first British film to deal openly with homosexuality.Ms. Syms never achieved the level of stardom that some had predicted for her. One reason is that she rarely worked in Hollywood (although she did have a prominent role in Blake Edwards’s 1974 Cold War drama “The Tamarind Seed”). Another, according to The Daily Telegraph, is that her ability to disappear into the roles she played kept her from being, in her words, “instantly recognizable as me.” But she remained busy well into her 80s.Her notable later roles included Margaret Thatcher — in the 1991 television film “Thatcher: The Final Days” and later on both TV and stage in “Margaret Thatcher: Half the Picture” — and Queen Elizabeth the Queen Mother in Stephen Frears’s Academy Award-winning 2006 film “The Queen.” In that movie Helen Mirren played her daughter, Queen Elizabeth II.The next year, Ms. Syms was made an officer of the Order of the British Empire by the real Queen Elizabeth II at Buckingham Palace.From 2007 to 2010, Ms. Syms had a recurring role as a dressmaker on the long-running BBC soap opera “EastEnders.” Her last role was in an episode of the historical drama series “Gentleman Jack,” a BBC-HBO co-production, in 2019.Ms. Syms’ marriage to Alan Edney ended in divorce in 1989 after 33 years. She is survived by her daughter, the actress Beatie Edney, and her son, Ben Edney.The Associated Press contributed reporting. More

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      Do You Have a Civic Duty to Watch the Video of Memphis Police Beating Tyre Nichols?

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      The video of Memphis police beating Tyre Nichols challenges public complacency — and complicity. What are our duties as citizens and as human beings?Do you have a civic duty to watch, or a moral obligation not to?Some version of that question has confronted us since the body- and pole-camera footage of Memphis police officers beating Tyre Nichols was released on Friday evening. The argument isn’t necessarily about whether the Police Department should have posted the roughly hourlong, four-part, lightly redacted video online for everyone to see.The legal and political reasons for doing so, at the urging of Mr. Nichols’s family, seem obvious and cogent. Too often, the worst abuses of power are allowed to fester in secrecy, shrouded in lies, bureaucratic language and partial information. Raw video offers clarity, transparency and perhaps accountability — a chance for citizens to understand the unvarnished truth about what happened on the night of Jan. 7.That is the hope, in any case: that concerned Americans will become witnesses after the fact, our senses shocked and our consciences awakened by the sight of uniformed officers repeatedly kicking and punching Mr. Nichols, who would die from his injuries three days later. “I expect you to feel what the Nichols family feels,” Cerelyn Davis, the Memphis police chief, said in anticipation of the video’s impact. Her appeal to common humanity expressed faith in the power of even the most horrific images to foster empathy and community — and faith in the human capacity to experience outrage and compassion when shown such images.That faith provides a strong argument for the importance of looking. To turn away in circumstances like this would not merely be to succumb to a loss of nerve, but to risk a loss of heart. In insisting that the world see what had been done to her son, RowVaughn Wells, Mr. Nichols’s mother, recalled Mamie Till-Mobley, who in 1955 placed the disfigured body of her murdered son, Emmett, in an open coffin so that the viciousness of the racists who killed him could not be denied.A delicate ethical line separates witness — an active, morally engaged state of attention — from the more passive, less demanding condition of spectatorship. The spectacle of violence has a way of turning even sensitive souls into gawkers and voyeurs. Violence, very much including the actions of the police, is a fixture of popular culture, and has been since long before the invention of video. For much of human history, public executions have been a form of entertainment. The history of lynching in the United States is in part a history of public spectacle, in which the mutilation and murder of Black men brought out white crowds to stare, cheer and take photographs.I’m not saying that looking at the video of Mr. Nichols’s beating is equivalent to joining in one of those crowds, but rather that Black suffering in America has often been either relegated to invisibility or subjected to exploitation and commodification. That is the dilemma that Ms. Wells and others in her position have faced, even as she challenges the public to acknowledge her son’s full humanity.We don’t automatically recoil from violence. We can just as easily respond with indifference, morbid fascination — or worse. Images are powerful, but not powerful enough to compensate for a society’s failures of decency or judgment, or to overcome its commitment to denying truths that should be self-evident. Mr. Nichols’s case can’t help but recall the police beating of Rodney King in Los Angeles in 1991, captured on video by a neighbor. The officers in that case were acquitted, and unrest swept the city.On Friday, not long before the Memphis videos were posted, a police body-cam clip was released showing part of the Oct. 28 assault on former Speaker Nancy Pelosi’s husband, Paul, at his home in San Francisco. That attack, carried out by an apparent right-wing extremist, had been the subject of grotesque jokes and lurid, baseless speculations from some of his wife’s political enemies. While the video seems to refute all such claims, it is unlikely to stem the tide of conspiracism and fantasy in some right-wing precincts. The assault on the U.S. Capitol on Jan. 6, 2021, also involved extremists hunting for Ms. Pelosi, and in spite of abundant documentation has been treated by partisans as a tangle of mystery, indeterminacy and through-the-looking-glass distortion.A clip from the attack on Paul Pelosi at his home in San Francisco.San Francisco Police Department, via Associated PressVideo may not lie, but people do. The fact that even the plainest images are open to interpretation, manipulation and mischaracterization places an ethical burden on the viewer. The cost of looking is thinking about what we see. Video is a tool, not a shortcut or a solution. Three decades after the Rodney King beating, Derek Chauvin was convicted of murdering George Floyd, and a bystander’s video of his killing galvanized a global protest movement. What we do with the images is what matters.What do we do with these images that come from official sources, and that exist partly because of the impulse to keep a closer eye on law enforcement? In the Memphis videos what is perhaps most heartbreaking, and most chilling, is the casual indifference of the officers to Mr. Nichols’s anguish — and to the cameras that recorded it.In the pole-camera video, which is the longest of the four segments and has no sound, you see him crumpled against the side of a patrol car and collapsing onto the ground as his assailants and an ever-increasing number of their colleagues mill around, mostly ignoring him. Someone lights a cigarette. Someone fiddles with a clipboard. Because of the silence of the soundtrack and the immobility of the camera, time seems to slow down, and action mutates into abstraction. A human catastrophe is playing out under a ruthlessly impersonal eye looking down from above.The body-cam footage puts viewers in the position of the police officers.Memphis Police Department, via Agence France-Presse — Getty ImagesThe body-cam adds sound and movement. You feel the frenzy of the chase and the impact of bodies as Mr. Nichols is taken down. Then you hear his anguished, pleading, desperate cries. You also hear the officers complaining that he made them run after him and made them pepper-spray one another, insisting that he must be “on something” and embroidering a story — which they may well believe — about how he took a swing at one and grabbed for another’s gun.After a while, the drama of the traffic stop, the chase and the beating fades into the routine tedium of the job. The semi-intelligible voices on the radio, the blend of jargon and profanity in the officers’ conversation, their mixture of weariness and bravado — all of this is familiar. We’ve seen this before, not only in real life but also, perhaps most of all, in movies and on television. And of course in first-person games, which the body-cam footage uncannily and unnervingly replicates. We see the violence from the point of view of a perpetrator. We aren’t bearing witness so much as experiencing our own complicity, and taking account of that is perhaps where the work of watching these videos should begin. More