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      Late Night Remembers Norm Macdonald

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      Seth Meyers, James Corden and Jimmy Fallon paid tribute to the stand-up comic and former “Saturday Night Live” cast member on Tuesday.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.A Late-Night LegendThe comedian Norm Macdonald died on Tuesday, and a few late-night hosts caught the news in time to honor the frequent guest and former “Saturday Night Live” cast member.Seth Meyers called the loss of Macdonald tragic, saying, “I do not think that Norm would want to hear anything sentimental.” Still, Meyers shared some of his favorite Macdonald quips and what he had learned from watching him anchor “Weekend Update.”“And also, he loved, or I should say he just didn’t care, if he was bombing. If he thought the jokes were good, he had exactly as much fun telling them to a dead audience than to one who appreciated them. And I think for so many of us, we came up watching Norm, and we thought that you were on the inside with him when you were watching him tell these jokes that you thought were great, and no one in the room thought was good and you just felt this connection to him — and that ability to just stare into an audience, unblinkingly telling the jokes that — that you believed in.” — SETH MEYERSJimmy Fallon called Macdonald one of his comedy idols — “a comic’s comic” — reciting a bit from Macdonald’s early stand-up sets he’d memorized.“He’s just one of the greatest comedians ever, and, God, we’re going to miss him. He was a friend of the show — family, really, to us.” — JIMMY FALLONJames Corden hailed Macdonald as “perhaps the single greatest guest in the history of late-night television.”“Norm Macdonald passed away today, far too soon, after a nine-year battle with cancer; a battle Norm never told anybody about, because all Norm ever wanted to do was to make us laugh, and he was absolutely brilliant at it. There was nobody quite like him.” — JAMES CORDENThe Punchiest Punchlines (Side Effects Edition)“After she announced that she has not received the coronavirus vaccine, rapper Nicki Minaj tweeted yesterday that a friend of her cousin received the shot and became impotent after, quote, ‘his testicles became swollen.’ Which is pretty shocking, because when I got the shot, it was in my arm.” — SETH MEYERS“I can’t believe I have to say this, but doctors agree that Covid vaccines do not cause swollen testicles. But to be fair to Dr. Minaj, everyone knows there’s no source more reliable than your extended family’s acquaintances in another country.” — STEPHEN COLBERT“Her report comes straight from ‘The New England Journal of my cousin’s friend in Trinidad.’ Just check out this week’s study, ‘I heard his girlfriend got pregnant from a hot tub.’” — STEPHEN COLBERT“Can we talk a moment about this poor guy. Think about it: He’s minding his own business with his swollen testicles in Trinidad and because his best friend happens to be cousins with Nicki Minaj — now the whole world knows that he’s impotent, he got dumped and he’s got giant testicles. He must be so mad at his friend.” — TREVOR NOAH“I mean that poor guy — single, swollen and everyone is asking them if he can hook them up with Nicki Minaj tickets.” — TREVOR NOAH“And for this friend, hate to say it, if your testicles swell up, the question isn’t ‘Did you get a vaccine recently?’ it’s ‘What have you been doing to your balls?’” — JIMMY KIMMEL“By the way, if anyone can track down this friend of Nicki’s cousin, I would really like to talk to him — I have questions.” — JIMMY KIMMELThe Bits Worth WatchingThe Broadway cast of “Tina — The Tina Turner Musical” performed “Private Dancer” on Tuesday’s “Tonight Show.”What We’re Excited About on Wednesday NightNew “Dancing With the Stars” cast member Jojo Siwa will be on Wednesday’s “Tonight Show.”Also, Check This OutFrom left, Alexia Landeau, Elisabeth Shue, Sarah Jones and Julie Delpy in a scene from “On the Verge.”NetflixThe French actress Julie Delpy created and stars in the new Netflix series “On the Verge,” a comedy following four middle-age friends in Los Angeles. More

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      Norm Macdonald, ‘Saturday Night Live’ Comedian, Dies at 61

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      Acerbic and sometimes controversial, he became familiar to millions as the show’s “Weekend Update” anchor from 1994 to 1998.Norm Macdonald, the acerbic, sometimes controversial comedian familiar to millions as the “Weekend Update” anchor on “Saturday Night Live” from 1994 to 1998, died on Tuesday in Los Angeles. He was 61.His manager, Marc Gurvitz, confirmed the death. Lori Jo Hoekstra, his longtime producing partner, told the entertainment news outlet Deadline that the cause was cancer, something he had been dealing with for some time but had kept largely private.Mr. Macdonald had a deadpan style honed on the stand-up circuit, first in his native Canada and then in the United States. By 1990 he was doing his routine on “Late Night With David Letterman” and other shows. Then, in 1993, came his big break: an interview with Lorne Michaels, a fellow Canadian, for a job on “Saturday Night Live.”“I knew that even though we hailed from the same nation, we were worlds apart,” Mr. Macdonald wrote in “Based on a True Story: Not a Memoir” (2016), a fictional work with occasional hints of biography mixed in. “He was a cosmopolite from Toronto, worldly, the kinda guy who’d be comfortable around the Queen of England herself. Me, I was a hick, born to the barren, rocky soil of the Ottawa Valley, where the richest man in town was the barber.”In any case, he got the job, and by the next year he was in the anchor chair for the “Weekend Update” segment. In sketches, he impersonated Burt Reynolds and Bob Dole and played other characters.Mr. Michaels, in a telephone interview on Tuesday, said that Jim Downey, the show’s head writer at the time, had first brought Mr. Macdonald to his attention.“Jim just liked the intelligence behind the jokes,” he recalled.And Mr. Michaels saw it, too.“There’s something in his comedy — there’s just a toughness to it,” he said. “Also, he’s incredibly patient. He can wait” — that is, wait for a punchline.That, Mr. Michaels said, made Mr. Macdonald different stylistically from other “Weekend Update” anchors.“I think it took some getting used to for the audience,” Mr. Michaels said. “It wasn’t instantly a hit. But he just grew on them.”In early 1998, however, Mr. Macdonald was booted from the anchor chair, reportedly at the behest of Don Ohlmeyer, president of NBC Entertainment, West Coast, who was said to have been annoyed by Mr. Macdonald’s relentless mocking of his friend O.J. Simpson.Mr. Macdonald as the anchor of “Weekend Update” in 1995. He got the anchor job 1994, a year after joining “Saturday Night Live,” and lost it in 1998.Al Levine/NBCUniversal via Getty ImagesMr. Macdonald stayed on for a few more episodes but didn’t return for the 1998-99 season. His post-“S.N.L.” television ventures were a mixed bag. “Norm” (originally called “The Norm Show”), a comedy about a former hockey player, ran from 1999 to 2001 on ABC. “Sports Show With Norm Macdonald,” on Comedy Central, lasted only a few months, in 2011. “The dedicated fan will identify two patterns in his television work,” Dan Brooks wrote in a 2018 article about him in The New York Times Magazine. “It is invariably funny, and it is invariably canceled.”But Mr. Macdonald said he didn’t think of himself first as a TV performer, and he continued to work as a comedian throughout his career.“In my mind, I’m just a stand-up,” he told Mr. Brooks. “But other people don’t think that. They go, oh, the guy from ‘S.N.L.’ is doing stand-up now.”Though known for “Weekend Update,” Mr. Macdonald did not do much topical material in his own routines. He liked jokes that would still be funny years in the future. Among his most famous is one he told on “The Tonight Show With Conan O’Brien” in 2009, about a moth that goes to a podiatrist. After a setup that rambled on for minutes, in which the moth pours out various emotional troubles, the podiatrist asks the insect why it came to a podiatrist rather than a psychiatrist. Mr. Macdonald’s punchline: “And then the moth said, ‘Because the light was on.’”Mr. Macdonald’s sense of humor sometimes got him in hot water. In 2018, for instance, he drew criticism for remarks that seemed to defend the comedian Louis C.K., who had been accused of sexual misconduct, and Roseanne Barr, who was under fire for a racist Twitter post. (Louis C.K. had written the foreword to Mr. Macdonald’s 2016 book, and Ms. Barr had hired him as a writer on her 1990s sitcom, “Roseanne.”) In apologizing for those comments, Mr. Macdonald made a remark that mocked people with Down syndrome.Missteps aside, Mr. Macdonald was always good for an unpredictable few minutes, or more, on a late-night talk show.“I’ve been interviewing Norm for 18 years, and he has consistently broken every talk-show rule,” Mr. O’Brien told The Times in 2011. “He tells anecdotes that are blatantly false. His stories have always been repurposed farmer’s daughter routines that he swears happened to him.”Mr. O’Brien added, “When Norm steps out from behind the curtain, I honestly don’t know what is going to happen, and that electrical charge comes through the television.”Mr. Macdonald in a scene from his sitcom “The Norm Show” (later called simply “Norm) in 1999. With him were Laurie Metcalf and Max Wright.Robert Votes/ABCNorman Gene Macdonald was born on Oct. 17, 1959, in Quebec City, according to IMDB.In 1998, his brother Neil told The Record of Ontario that Norm had had a flirtation with the newspaper business as a young man but that he had deliberately botched an interview for a job as a copyboy because he wasn’t that serious about the profession.“He once said he was interested in discovering the truth, but he hoped it would be within walking distance,” Neil Macdonald told the newspaper.He also recalled finding his brother hyperventilating in the washroom at Yuk Yuk’s, an Ottawa comedy club, before going onstage for his first stand-up gig. But he got it together and, as comedians say, killed.By 1984, Mr. Macdonald was skilled enough to spend four months opening for the comedian Sam Kinison. He eventually made his way to Los Angeles, and in 1992 he was hired as a writer on “The Dennis Miller Show” and then “Roseanne.”“I never wanted fame at all, I just wanted to do stand-up,” he told The Ottawa Citizen in 2010. “I found when I came to Los Angeles to do more stand-up comedy that people wanted me to do other things, which I really didn’t want to.”“Stand-up,” he added, “is an odd kind of job where, if you’re good at it, they figure you’ll be good at other stuff in show business, which is usually not the case.”Mr. Macdonald wrote the 1998 film “Dirty Work,” in which he starred with Don Rickles, Chevy Chase and others. Among his other credits were the “Dr. Doolittle” movies, in which he provided the voice of a dog named Lucky.His survivors include his mother, a son and two brothers, his manager said. “He was an original,” Mr. Michaels said, “and he didn’t compromise in a business that’s based on compromise — show business.”Dave Itzkoff More

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      Julie Delpy’s New Netflix Comedy Gives Voice to Women ‘On the Verge’

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      The talky, slice-of-life series follows four women whom the usual rom-com formula says should have figured it all out by now. Turns out, that’s not real life.Julie Delpy does not mince words when it comes to women and age.“Fifty is not the new 30,” she said during a recent video call from her hotel room in Paris. She was there to promote her television creation, the 12-part series “On the Verge,” which she wrote, oversaw and stars in.“There’s almost a cruel thing about women that if we can’t procreate anymore, what are we?” said Delpy, who also directed several episodes. “And then you become a grandmother and you exist again in your seventies. You have this dead zone.”Produced by Canal Plus and Netflix, “On the Verge,” is a sometimes absurd and yet all-too-real comedy that follows four mostly well-off friends in Los Angeles as they grapple with middle age — only to realize that after all these years, they still have no clue what they’re doing. The idea seems to have found a ready audience: After its debut last week, the series quickly cracked the Netflix Top 10 in the United States, reaching No. 7 by the weekend.So much for dead zones. And not bad for a talky, slice-of-life series that also toggles between English and French.Delpy, 51, has made a career out of creating and portraying worldly female characters in films where most of the action takes place on a walk, on a train or around the dinner table. It hasn’t always been easy getting those characters from page to screen, she said, but it has been especially tough since she started writing about women her age.Per the usual romantic comedy formula, women in their 20s and 30s are often shown screwing up and struggling to figure things out, and it’s supposed to be cute. But by a woman’s 40s or 50s — the part that comes after the happy ending — she is meant to have herself all put together, right?In “On the Verge,” that notion is, literally, a joke.“I loved how all our characters were just beginning to find their confidence when they are about to turn 50,” said Elisabeth Shue, who executive produced and stars in the show. She described filming one particular dinner party scene from Episode 2 that, for Shue, “was a perfect reflection of Julie’s artistic sensibility.”“It was just a lovely mixture of insanity and humor born out of insecurity and chaos,” she added.From left, Alexia Landeau, Elisabeth Shue, Sarah Jones and Delpy in a scene from “On the Verge.” NetflixIn the series, Delpy plays Justine, a successful chef with a bustling restaurant. She is writing a cookbook while working long hours at the restaurant, raising a young son and enduring a barrage of passive aggressive insults from her sulking, out of work husband. Shue plays her friend Anne, a clothing designer with a trust fund, a vaping habit and a husband who is struggling to accept their gender-fluid son.The Tony winner Sarah Jones plays Yasmin, a mother and wife who gave up her career and is desperate now to reclaim something for herself. Alexia Landeau (who co-wrote several episodes and executive produced) plays Ell, a jobless single mother of three children by three different dads.Despite the characters’ struggles, “On the Verge” is very much a comedy, and Delpy isn’t afraid to crack jokes about serious topics like the stresses endured by working mothers, toxic masculinity or ageism. In one early scene, Yasmin is interviewed by a woman half her age and is told that she is, basically, too old. When Yasmin starts to panic and clutches her chest, the young interviewer asks if she is having a heart attack.The scene details an experience that will resonate with many women; Delpy gives the audience permission to laugh, even as they’re cringing.“I’m 46, not 96!” Yasmin shoots back.It’s a comic, cerebral sensibility has been honed throughout Delpy’s career. Her parents, Albert Delpy and Marie Pillet, were both actors (they played her onscreen parents in Delpy’s 2007 feature, “Two Days in Paris”), and she grew up in France surrounded by artists, theater actors and writers. Her first big onscreen role came when Jean Luc Godard cast her in his 1985 film “Detective,” when she was 14. She went on to work with Agnieszka Holland on the Golden Globe-winning film “Europa Europa” and with Krzysztof Kieslowski on his “Three Colors” trilogy.She spent much of her childhood backstage at her parents’ experimental theater shows or dancing, making music and writing on her own; later, she studied filmmaking at N.Y.U. It’s that mix of experimentation and structure (Delpy is quick to point out that the show is meticulously scripted) that she brings to “On the Verge.”“It’s sophistication obliterated by absurdity,” said Giovanni Ribisi, who plays Justine’s endearing yet infuriating boss, speaking about Delpy’s sensibility. “Julie has made a mark with her own style. She’s a craftsman. She’s got personality. Like they had in the 1970s.”When Delpy played Céline opposite Ethan Hawke in Richard Linklater’s “Before Sunrise” (1995), her character resonated with a generation of 20-something women in the 1990s — women who were thrilled to see a romantic female lead who could be both philosophical and funny. “Before Sunrise,” shot on a modest budget, proved to audiences and critics alike that a simple tale about two people meeting on a train and talking all night long could go on to become one of the most enduring romantic films of the ’90s.Delpy went on to co-write the sequels, “Before Sunset” and “Before Midnight,” with Linklater and Hawke, earning Oscar nominations for best adapted screenplay for both films.She has directed seven films, including the drama “My Zoe,” released earlier this year. With “Verge,” she got to tackle subjects close to her heart, show off her comedy chops and explore the lives of women who, even in their 40s and 50s, deserve more than a few throwaway lines.“It’s fun to be able to talk about real things,” Delpy said. “Although it was a bit of a struggle to get there.”Delpy started thinking in 2013 about the four main characters in “On the Verge,” and a script soon followed. A few people were interested in the project over the years as she shopped it around, but financiers and studios were reluctant to back “a show about women in that age range,” she said.“Fifty is not the new 30,” Delpy said, adding: “The show is talking about not having to lie about your age.”Elliott Verdier for The New York Times“I think it eventually happened, in part, because people are ready,” Delpy said. “It was the right timing, finally.”Olivier Gauriat, an executive producer of the series, signed on in 2019 because he was a fan of Delpy’s work onscreen and off. But he was also drawn to what she was trying to do in “Verge” with regard to female representation and age.“There are not many shows out there revolving around women at this age,” said Gauriat. “Canal Plus and Netflix were very supportive, and I think that’s what was interesting to them. They gave her carte blanche.”Preproduction on “Verge” began prepandemic, before being shutdown with the rest of Hollywood. Delpy went back to the scripts. She adjusted certain story lines to reflect what was actually happening. By the time shooting finally began, she had revised the timeline to take place in January and February of 2020, eight weeks during which a crisis was building but few understood what truly lay ahead. Viewed over a year and a half later, “Verge” feels like a time capsule of those early days just before everyone started stockpiling toilet paper and hunting for N95 masks.Delpy said she had decided to incorporate real world events because the characters were, as it says in the title, on the verge of something new and unknown, and so was the world around them.“Everything is changing for these characters, but everything is changing for the world as well,” she said.Things may be changing, but Delpy harbors no illusions that women over 40 are suddenly the new “it girls.” There’s a moment in “Verge” when Jerry tells Justine, “You’re in a cultural blind spot” — no one cares about women her age.It’s funny because it’s so absurdly insulting. It’s also funny because it rings true.“The show is talking about not having to lie about your age,” she added. “Or pretend you’re something else.” More

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      Are the Movies Back? Our Critics Weigh In.

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      Our chief film critics look at the new season in the new abnormal, while remembering the lessons of cinema history. Are we on the cusp of a new era or will this too pass?Movie theaters are open for business again. and the film world is abuzz with new release dates, in-person festivals, an accelerating Oscar race, an array of Covid-19 protocols and anxious prognostications. Is this the death of cinema (again) or its glorious rebirth? Or has it mutated into something new altogether, a two-headed Disney-Netflix monster with art somewhere in its genome? Our chief film critics, Manohla Dargis and A.O. Scott, have some thoughts on these matters. They also asked some industry veterans to weigh in.MANOHLA DARGIS Hello, friend — it’s been awhile. I recently returned from a book leave and having failed to win the lottery, I am back (happily!). I ignored most of the movie news while I was gone, though was sad to learn about the closure of my favorite theater here in Los Angeles, the ArcLight Hollywood, which was felled by the lockdowns. It felt like the beginning of the end of something, but here we are in a new season that looks more like 2019 than 2020 — even with requests to see our vax cards. What’d I miss?A.O. SCOTT You didn’t miss much, except for a few episodes in the continuing discourse — part soap opera, part séance, part tech seminar — about the Future of Movies. Judged solely from the slate of upcoming releases (some held back from 2020), that future looks a lot like the recent past. The fall will see new work from both Andersons, Wes and P.T. Jane Campion’s first feature in more than a decade. A new James Bond. The predominance of familiar directors and stars along with newly minted auteurs (like Chloé Zhao, following her best picture win for “Nomadland” with a Marvel spectacle) creates a reassuring sense of continuity. Cinema as we have known it seems to still exist.Richard Madden and Gemma Chan in Chloé Zhao’s new superhero movie, “Eternals.”Marvel/DisneyAt the same time — though not for the first time — it is widely feared to be in mortal peril. Some of that anxiety is Covid-specific. Nobody knows when or how this thing will end, and whether audiences will return to theaters in sufficient numbers to revive the old business models. The pandemic is not the only factor, and the future of movies and moviegoing may depend less on virus mutations or consumer preferences than on corporate strategy.If Covid stretches on, we will lose more art-house theaters, resulting in less box office revenue. At some point there won’t be enough theaters to generate sufficient revenue to justify releasing a movie theatrically. If you lay on how the past 18 months have changed viewing habits, it looks even worse: the art-house audience is more mature, and that demographic has so far not been eager to return to cinemas.— Richard Abramowitz, founder and chief executive of the distributor AbramoramaDARGIS That we’re social animals is what made me think that we’d get back into theaters, that and there’s too much money at stake. Moviegoing has been up and down forever. But for decades the major studios have been eroding exhibition — the moviegoing habit itself — with a business model that banks on a handful of youth-baiting tentpoles and some monster weekends. Their audience flocks to the theaters for a bit, and everyone else waits for home video (or not). I looked at the numbers for the last “Avengers” movie: it opened in American theaters in April 2019 and played through September, but it sucked up more than 90 percent of its domestic haul in 30 days.I imagine that a lot of people waited to see it, just as earlier generations waited for stuff to hit TV, cable, video — all once viewed as a threat to moviegoing. For a time, these different avenues seemed fairly complementary. But the habit of on-demand, whenever, wherever watching has proved overwhelming, which is bad for exhibition but good for the multinational companies that own the studios because they also own the companies which funnel stuff into homes. So, maybe these multinationals will shift exclusively to streaming. Maybe they’ll re-embrace theaters or buy them all up. In the end, I am far more worried about nonindustrial cinema and if its audience will return to theaters.Sure, there’s the occasional blockbuster they may want to see as an Imax experience and want to have that shared community experience, but like everything in the world, with the multitude of choices available and given time, effort and expense to go to the movies, most opt to see movies in the comfort of their homes.— Marcus Hu, co-founder of the distributor Strand ReleasingSCOTT The small screen is definitely getting bigger, whether we like it or not. Subscription revenue is unlikely ever to match blockbuster box-office numbers, but for a lot of independent-minded filmmakers, streaming offers money for projects the big studios don’t make anymore. For a long time, the big studios have been concentrating their resources on franchise, I.P.-driven entertainment at the expense of stand-alone features aimed at adult audiences. Streaming has picked up some of that slack.The upshot is that what you and I and others in our rapidly aging demographic understood by “going to the movies” may have been replaced by a different menu of choices and practices. What I mean is the idea of the movie theater as a destination, independent of a particular film that might be showing. A lot of the time, you’d just go and see whatever was there, and there was always something — art, trash or in between — worth the price of the ticket, which wasn’t all that much. A movie habit was easy enough to acquire, and a lot of us did.Kirsten Dunst in “The Power of the Dog,” Jane Campion’s new film.Kirsty Griffin/NetflixKids nowadays haven’t developed it in quite the same way. They have more screens, more options and different reasons for buying a ticket. I’m not lamenting, just observing. What I wonder about is the effect of these changes on the art form that we’re still calling by the anachronistic names cinema and film.The studios stopped making the kinds of movies I make around the time we were finishing “Moneyball” — I remember an exec telling me he would have passed on it if it had come to him then. In the years it took to get that movie made, the world for that kind of movie turned.— Rachel Horovitz, producerDARGIS Let’s check back in 50 years to see how streaming affected cinema, which is always a moving target. To be honest, while it’s interesting to see how the big companies are handling the newest normal, the work I tend to love has long had a separate ecology, with its own way of doing things, its own community and relations. In 1991, Julie Dash’s “Daughters of the Dust” needed a slow release, critical love and word of mouth to make a dent, and the same is true of most of the movies we care about now. As a friend asked the other day, would Bong Joon Ho’s “Parasite” be “Parasite” if it had only been streamed? We both think the answer is no — it would still be great, but not a cultural sensation.Movies, unlike branded entertainment, need to live in the world, not just on personal devices. This isn’t about the putative romance of moviegoing, but how people experience art and culture, because while we’re talking about infrastructure, we are also talking about pleasure — the pleasure of the cinematic object, and the pleasure of your company and conversation. It’s frustrating that people keep writing lazy obituaries for cinema, something they have no feeling for or interest in. I don’t love all that’s transpired in movie history — the shift from film to digital, the loss of technical competency — but I remain buoyed by the persistence of the art and how its ecologies adapt and persevere.Even so, and I think I’ve said this before, I do increasingly view the segment of the movie world that I most worry about as akin to jazz. It’s something usually appreciated by a niche audience but that needs new blood — the kids you mentioned — to truly sustain it.Theatrical films will have exclusive windows in theaters, but those windows will be shorter and more flexible. But movies that matter, that have cultural impact, will again play exclusively in movie theaters for some time, likely 45 days.— Tom Rothman, chairman and chief executive of Sony Pictures’ Motion Picture GroupSCOTT I guess I’m always optimistic about the tenacity of artists and the curiosity of audiences, and aware that the good work most often gets done against the grain of whatever the system is at a given moment. But it’s nonetheless important to be critical of that system, and reasonable to wonder how its current iteration might stymie some kinds of originality while encouraging others.Daniel Craig as James Bond in “No Time to Die,” set for the fall.Nicola Dove/MGMThere’s no going back to any previous golden age, and the gold rubs off pretty quickly when you take a close look. The old studios whose products earned the designation “classical” were built on exploitation and predation, and ruled by autocratic moguls. Things were not much better, from an ethical or political standpoint, in the New Hollywood ’70s or the indie ’90s.Still, great and weird movies were being made then, as they are now. But I fear that many of them will languish in the streaming algorithms or in the margins of micro-distribution, estranged from even the smallish publics that might have discovered them. One cause for alarm — which has nothing to do with streaming per se — is the mass extinction of the local newspapers and alt-weeklies that nourished local film scenes across the country. The health of movies is connected to the health of journalism.[I worry] that the economic challenges will force the art-house cinemas away from the smaller titles that add significantly to diversity and inclusion in our cinematic landscape. Additionally, that the downsizing of newspaper and media coverage for smaller films will force the theater owners’ hands in these decisions.— Dennis Doros, co-founder of Milestone FilmsDARGIS The pandemic has brought specific issues to the fore — at the least, maybe improved theater ventilation will put an end to watching multiplex fodder in a miasma of despair and stale popcorn. More to your last point, I think that mostly what the pandemic has done is underscore, again, that all of us are still navigating the world created by the internet, which changed how we labor, play, read, watch, think. The movie industry has a history of different production-distribution-exhibition models that work until they don’t, yet throughout these shifts, movies kept being made and people kept watching them, and I imagine they’ll keep getting made and we’ll keep watching and talking about all of it.SCOTT Let’s hope so! Otherwise we may both find ourselves on permanent book leave. More

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      Rudy Giuliani’s Rowdy 9/11 Speech Leaves Late-Night Hosts Reeling

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      ‘I’m not saying Rudy was drunk, but that’s usually when guys from Brooklyn start to imitate the queen of England,’ Seth Meyers said.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.‘What Is He Doing?’This weekend’s 20th anniversary of the Sept. 11 attacks would not appear to be very good fodder for lighthearted late-night humor. But that was until Rudy Giuliani got involved.On Saturday, Giuliani turned a speech commemorating the occasion into a wandering, unfunny but still-comic monologue. He impersonated Queen Elizabeth II and reminisced awkwardly about his run-ins with Prince Andrew.Trevor Noah was one of many late-night hosts who responded with baffled amusement.“You know your speech went off the rails when people watching it are like: ‘I wish this guy would talk more about 9/11. What is he doing?’” — TREVOR NOAHOn “Late Night,” Seth Meyers said there was reason to agree with the commentators who suggested that Giuliani was not in full command of his faculties.“I’m not saying Rudy was drunk, but that’s usually when guys from Brooklyn start to imitate the queen of England.” — SETH MEYERS“I guess Rudy can add this tape to his reel of impressions if he ever auditions for ‘America’s Not Talent.’” — SETH MEYERSTaco Bell EnvironmentalismTaco Bell recently started a program that aims to help customers recycle the plastic from used sauce packets by having them mail those packets back.Noah said the idea deserved points for creativity but probably wouldn’t actually do much to help the environment.“This idea has all sorts of problems with it. For one thing, people who eat at Taco Bell don’t care about the environment. I mean, they don’t even care about their own bodies.” — TREVOR NOAH“Yeah, this is a weird idea, but what did you expect? Coming up with weird ideas is Taco Bell’s whole thing. This is a place that will still wrap a soft shell around a hard shell and wrap that inside a Dorito’s chip — which is delicious, but you really think their idea to save the environment is going to make sense?” — TREVOR NOAHThe Punchiest Punchlines (M.T.A. Edition)“At the Washington Football Team’s season opener, a pipe at the stadium burst over a group of fans, and some people said it might have been sewage. I don’t know; take a look. [Shows footage] Well, that’s a good omen for the season, you know? Washington is still looking for a team name; it’s too bad the Browns are already taken.” — JIMMY FALLON“An investigation concluded last week that a recent M.T.A. subway outage that shut down 83 trains was caused by someone accidentally flipping a power switch. Said one man, ‘So thaaaat’s what it does.’” — SETH MEYERSThe Bits Worth WatchingDr. Anthony Fauci talked to Noah about combating vaccine hesitancy and what he called the need for vaccine mandates.Jimmy Kimmel’s wife, Molly McNearney, came up with a skit that allows her to declutter their house at the same time: It’s called “Win Jimmy’s Crap.”What We’re Excited About on Tuesday NightJustice Stephen Breyer, who at 83 has been fending off calls from fellow liberals to step down, will talk to Stephen Colbert on Tuesday. Will Colbert hold his feet to the fire?Also, Check This OutThe Metropolitan Opera performed Verdi’s Requiem on Saturday, the company’s first time playing inside its theater since March 2020.Richard Termine/Met OperaAnthony Tommasini, The Times’s chief classical music critic, gave an enthusiastic review to the first performance at the Metropolitan Opera since the start of the coronavirus pandemic: a staging on Saturday of Verdi’s Requiem in commemoration of 9/11. More

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      Netflix and ‘The Queen’s Gambit’ dominate the Creative Arts Emmys.

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      Fueled by “The Queen’s Gambit” and “The Crown,” Netflix dominated the competition at the Creative Arts Emmy Awards over the weekend.Netflix took home 34 Emmys at three separate ceremonies on Saturday and Sunday, while Disney+, the streamer’s closest competitor, won 13 awards. HBO and its streaming service, HBO Max, the perennial Emmys heavyweight, won just 10 awards.Each year, the Television Academy, which organizes the Emmys, announces the winners for dozens of technical awards in the lead-up to the biggest prizes that are announced at the main event, the Primetime Emmy Awards. This year’s prime-time ceremony will take place on Sunday and will be broadcast on CBS.“The Queen’s Gambit,” a limited series about a chess prodigy, won nine Creative Arts Emmys over the weekend, more than any other series. Its closest competitors, with seven awards each, were the Disney+ Star Wars action adventure show “The Mandalorian” and the NBC stalwart “Saturday Night Live.”Although the Creative Arts Emmys are not quite prime-time ready — they include awards like best stunt performance, best hairstyling and outstanding lighting direction for a variety series — they count all the same in the Hollywood record books, and the leaderboard for the 73rd Emmy Awards is now officially underway.The weekend ceremonies also handed out a few key acting awards. “The Queen’s Gambit” took the prize for best cast in a limited series. It beat out a pair of acclaimed HBO series, “I May Destroy You” and “Mare of Easttown.” “The Crown” won for best cast in a drama, and the Apple TV+ show “Ted Lasso” won for best cast in a comedy. Both are favored to take more prizes at the main event.Netflix’s dominance all but guarantees that it will win more Emmys than any other TV network, studio or streaming platform, making 2021 the first year it will beat out its chief rival, HBO, to claim ultimate bragging rights. Three years ago, in a first, Netflix tied HBO for top honors. Going into this year’s Emmys ceremonies, HBO, aided by HBO Max, led all networks with 130 nominations, one more than Netflix.The 73rd Emmy Awards will effectively be a showcase for television achievement during the pandemic. Because of production shutdowns and delays, the number of TV shows in the second half of last year and the first half of this year declined. Submissions for the top categories this year were down 30 percent.The ceremony, hosted by Cedric the Entertainer, will take place indoors and outdoors on the Event Deck at L.A. Live, near the Emmys’ usual home at the Microsoft Theater in downtown Los Angeles. Attendance will be drastically reduced, but in contrast to last year’s remote ceremony, most winners are likely to deliver their acceptance speeches in person. More

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      How ‘Boeing’s Fatal Flaw’ Grounded the 737 Max and Exposed Failed Oversight

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      A new documentary by Frontline, in partnership with The New York Times, examines how competitive pressure, flawed design and problematic oversight of the Boeing jet led to two crashes that killed 346 people.A new documentary by Frontline, in partnership with The New York Times, investigates the Boeing 737 Max catastrophe, and will air on PBS on Tuesday, Sept. 14, and will be streaming on PBS.org/frontline, YouTube and in the PBS Video App.Ruth Fremson/The New York Times‘Boeing’s Fatal Flaw’Writer/director Thomas JenningsReporters David Gelles, James Glanz, Natalie Kitroeff and Jack NicasWatch the new documentary by Frontline, in partnership with The New York Times, on Tuesday, Sept. 14, on PBS and streaming at pbs.org/frontline, on YouTube and in the PBS Video App.Airplanes are designed to go up after takeoff, but that’s not what happened to Lion Air Flight 610 when it left Jakarta, Indonesia, in October 2018.“You don’t see planes diving on departure,” one Indonesian aviation expert said. And yet the Boeing 737 Max jet, piloted by an experienced crew, went into an irrecoverable nosedive minutes after takeoff. All 189 people on board were killed when it crashed into the Java Sea.Four months later, 157 people died when another 737 Max, operated as Ethiopian Airlines Flight 302, plummeted to the earth, ringing new alarms about the aircraft. Days later, the jet was grounded.“Boeing’s Fatal Flaw,” a new documentary by Frontline, featuring reporting by The New York Times, investigates the causes of the two crashes and how a software system that was supposed to make the plane safer played a role in the catastrophes.The Boeing 737 Max began as a success story: The plane was the company’s best selling jet ever, with hundreds of billions of dollars in advance orders from airlines around the world. But our reporters’ investigation shows that, early on, the tale had all the elements of a tragedy in the making.Internal Boeing documents and interviews with former Federal Aviation Administration officials and congressional investigators reveal how competitive pressures influenced the efforts to bring the 737 Max to market. And The Times’s investigation details how an essential software system known as MCAS was implemented with insufficient oversight and inadequate pilot training.“Boeing’s Fatal Flaw” traces The Times’s investigation. Boeing declined to be interviewed for the film, but the documentary includes details from our reporters’ on-the-record interview with the company’s chief executive, Dave Calhoun. The film also features on-camera interviews with congressional investigators, aviation experts and family members of the passengers aboard the two fatal flights.You can watch on Tuesday, Sept. 14, on PBS and streaming at pbs.org/frontline, on YouTube and in the PBS Video App.Featured ReportersDavid Gelles writes the Corner Office column and other features for the Business section. Since joining The Times in 2013, he’s written about mergers and acquisitions, media, technology and more.James Glanz is a reporter on the Investigations desk. Before joining the desk, he spent nearly five years in Iraq as a correspondent and Baghdad bureau chief. On Sept. 11, 2001, he covered the collapse of the twin towers and, for two years, continued to report from ground zero. He has a Ph.D. in astrophysical sciences from Princeton.Natalie Kitroeff is a foreign correspondent covering Mexico, Central America and the Caribbean. Before that, she was a business reporter writing about the economy for The Times. She also covered the California economy for The Los Angeles Times and reported on education for Bloomberg.Jack Nicas has covered technology for The New York Times since 2018. Before joining The Times, he spent seven years at The Wall Street Journal covering technology, aviation and national news.Producers Vanessa Fica and Kate McCormickSenior producer Frank KoughanExecutive producers for Left/Right Docs Ken Druckerman and Banks TarverExecutive producer of FRONTLINE Raney Aronson-RathFRONTLINE, U.S. television’s longest running investigative documentary series, explores the issues of our times through powerful storytelling. It is produced at GBH in Boston and is broadcast nationwide on PBS. More

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      New York Fashion Week: Day 6

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      Introducing a duffel bag by Telfar, and a new TV channel to fight the bots.On Sunday, Telfar, the rebellious anti-fashion-with-a-capital-F brand, held a news conference to announce its latest project, Telfar TV.The 24-hour live TV station will be accessible via an app on smart TVs. The channel won’t be on YouTube or Instagram, the company said; there will be no way to share its programming or leave comments.It’s not yet clear what that programming may be or when it will air, though that seems to be the point: Telfar TV is a “void,” and a “vessel” for expression by the designer Telfar Clemens and his community.But here’s where fans of Telfar’s enormously popular shopping bags, the typically sold-out Bushwick Birkin, should pay close attention: Watching Telfar TV may be the best way to score a bag. Mr. Clemens is tired of bots — tired of the robots or people or robot-people who snap up his bags only to resell them for 10 times their original price.He is “here to take back every bag that the bot has stolen from us and give it right back to everybody in this room,” Mr. Clemens said.At unannounced intervals the TV station will air a QR code allowing viewers to shop the latest bag drop. The drop won’t be announced anywhere else. “We can drop exactly as many bags as people are watching,” said Babak Radboy, the creative director of Telfar.This will be tested with a new bag shape: the duffel, a buttery leather cylinder with long and short straps, imprinted with the brand’s “T” logo on its sides. Like the original Telfar shopping bag, it comes in small, medium and large sizes.“Wait, who wants one?” Mr. Clemens asked at the news conference, after rolling out black and white versions of the bags on a pedestal and unveiling them like a game show prize, eliciting cheers and grabby hands thrust in the air. “You gotta check out TC TV.” More