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      Timothée Chalamet Wears Butter-Colored Givenchy Suit at Oscars

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      Timothée Chalamet’s sartorial playfulness has been a consistent theme as he stepped out in memorable looks for each red carpet event over the last few months. For the Oscars, the most conservative red carpet of them all, he did not disappoint.Chalamet arrived in a monochromatic butter yellow custom Givenchy suit designed by Sarah Burton. A double-breasted cropped jacket with a notch lapel was paired with leather pants and a silk shirt.“Love that suit,” Conan O’Brien said to Chalamet during the show’s opening monologue. “You will not get hit on your bike tonight.”A best actor nominee for his portrayal of Bob Dylan in the biopic “A Complete Unknown,” Chalamet, 29, nonchalantly bobbed down the red carpet, hands behind his back, in his pastel outfit.Leading up to the release of his film in December, through the months that followed on the awards trail, Chalamet has waged a viral campaign that diverted from the old, staid ways of Hollywood promotion. That has included a slew of eye-catching outfits, including an all-pink ensemble consisting of a Chrome Hearts hoodie and tank top that he wore at the Berlin International Film Festival.And at the Screen Actors Guild Awards, where he wore a black leather suit paired with a lime green shirt, he accepted his best actor award with a speech that reaffirmed that he was serious about his job: “I’m really in pursuit of greatness,” he said. “I know people don’t usually talk like that but I want to be one of the greats.”Whether he takes home best actor tonight or not, he takes the prize for men’s wear with his “movie-star trucker vibe,” as our men’s wear critic Guy Trebay wrote. More

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      Ariana Grande and Cynthia Erivo Continue ‘Wicked’ Theme at Oscars Red Carpet

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      In the words of Glinda, pink goes good with green.After months of method dressing, “Wicked” stars Ariana Grande and Cynthia Erivo both arrived on the Oscars red carpet in their Ozian characters’ signature colors.For Ms. Grande, nominated for best supporting actress, that meant an icy pink satin and tulle bustier gown from Schiaparelli decked out in more than 190,000 crystal sequins, rhinestones and beads. The wiggly waistline was inspired by an lamp designed by the artist Alberto Giacometti.Ariana Grande’s Schiaparelli gown was decorated with more than 190,000 crystal sequins, rhinestones and beads.Nina Westervelt for The New York TimesErivo’s signature fingernails were decorated with elaborate, hand-sculpted gilded art, including a tiny watch and clock.Jutharat Pinyodoonyachet for The New York TimesMs. Erivo, who is nominated for best actress, opted for a shade of deep forest green, so dark it almost appeared black at first glance. But make no mistake, the subtle homage was intentional. Speaking with E! on the red carpet, she said the velvet Louis Vuitton gown — with an almost vampiric architectural collar — was a “nod to Oz, a nod to the green, and a nod to old Hollywood.” Her signature fingernails by the nail artist Mycah Dior were decorated with elaborate, hand-sculpted gilded art, including a tiny watch and clock.Over the course of the “Wicked” press tour, both stars regularly stepped out in styles that referenced their characters. At the premiere in Los Angeles, Ms. Grande wore a pink Thom Browne gingham dress, while Ms. Erivo donned a green vinyl Louis Vuitton number.Even at events not officially related to the film, the pair remained committed to the bit, like during an appearance at the Olympics in Paris where they each wore … well, you know.The second installment of “Wicked” comes out later this year. We’ll have to wait and see if the duo will still be holding space for pink and green come November. More

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      What to Watch For at the Oscars: ‘Emilia Pérez,’ Cynthia Erivo and More

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      From the most competitive races to the lasting controversies, here’s a guide to becoming an instant expert.The Best Picture Race Looks Wide OpenRalph Fiennes in “Conclave,” which is a top contender for the best picture Oscar. Its biggest competition: “Anora.”Focus FeaturesWhen the Ralph Fiennes-led papal thriller “Conclave” secured the highest honor at the 31st Screen Actors Guild Awards last weekend, it seemed like a strong indicator that it would prevail in the best picture category at the Academy Awards on Sunday night. After all, the last three winners of SAG’s top prize — “Oppenheimer,” “Everything Everywhere All at Once” and “CODA” — all won the best picture statuette at the Oscars.But it isn’t exactly that clear cut.Those past three films had essentially swept their awards season, and aside from the SAG Awards, “Conclave” has won only one other best picture title, at the BAFTAs in February.“Anora,” the comedy-drama about a stripper (played by Mikey Madison) whose modern fairy-tale romance implodes, had several of the other early big wins this season, including two major industry prizes — from the Directors Guild of America and the Producers Guild of America — that almost always signal a best-picture Oscar up ahead.Also, Edward Berger, the director of “Conclave,” was not nominated for a best directing Oscar. Only six films in the history of the Oscars have won best picture without a best directing nomination, most recently “CODA” in 2022.Scandals Plague ‘Emilia Pérez’Karla Sofía Gascón in “Emilia Pèrez.” She is up for a best actress Oscar, but her chances of winning may have been derailed by recent scandals.Shanna Besson/NetflixJust a few weeks ago, “Emilia Pérez” was on top of the world. The Spanish-language musical out of France had earned 13 Oscar nominations, the most of any film this year (and nearly the most ever), and its lead, Karla Sofía Gascón, made history as the first openly transgender actress to be nominated for an Academy Award, in the best actress category no less.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How to Watch the Oscars 2025: Date, Time and Streaming

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      Conan O’Brien will host the annual awards, which will be available to watch live on a streaming service for the first time.It seems like a lifetime ago that Sean Baker’s screwball comedy “Anora” first emerged as the favorite in the best picture race (no one was yet even thinking about holding space for “Wicked”).But we’re now right back where we started in the fall with both math and our Projectionist columnist, Kyle Buchanan, predicting that “Anora” will emerge triumphant. It’s by no means a sure thing — last weekend’s big Screen Actors Guild Awards winner, the papal thriller “Conclave,” could play spoiler.In the acting races, Demi Moore appears to be the one to beat after notching another win at the SAGs (though Buchanan says not to count out Fernanda Torres, who delivers a tour de force performance in the quiet Brazilian drama “I’m Still Here”).But could Adrien Brody, who plays a Jewish architect who survives the Holocaust in “The Brutalist,” be in for an upset from the 29-year-old Timothée Chalamet, who has embarked on a decidedly unconventional — and very online — Oscar campaign for his lead role in the Bob Dylan biopic “A Complete Unknown”?Here’s everything you need to know.What time does the show start and where can I watch?This year’s show is again one for the early birds: The ceremony is set to begin at 7 p.m. Eastern, 4 p.m. Pacific, at the Dolby Theater in Los Angeles.On TV, ABC is the official broadcaster. Online, you can watch the show live on the ABC app, which is free to download, or at abc.com, though you’ll need to sign in using the credentials from your cable provider. There are also a number of live TV streaming services that offer access to ABC, including Hulu + Live TV, YouTube TV, AT&T TV and FuboTV, which all require subscriptions.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Geoffrey Rush Lives for the Roar of the Crowd

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      “If you sit at home, you are not sharing your own private experience of what the general pulse of the world is,” said the actor, who stars in the horror film “The Rule of Jenny Pen.”Geoffrey Rush has rarely met a physical task he didn’t want to attempt, be it sword fighting for “Pirates of the Caribbean” or playing the piano for his Oscar-winning role in “Shine.”The new horror movie “The Rule of Jenny Pen,” starring Rush as a supercilious former judge living in a nursing home, required yet another unfamiliar skill set: He had to use a motorized wheelchair.“I got very good at getting up to speed, but in narrow corridors, it was not the same story,” Rush, 73, said of the feature directed by James Ashcroft and also starring John Lithgow as a psychopathic fellow resident. A lot of the final day’s goof reel “was punctuated by me running into staircases or James leaping over furniture because I went, ‘It’s just not responding.’”In a video call from his native Australia, Rush discussed his cultural essentials, many of them — to his surprise — from his childhood and early professional life. These are edited excerpts from the conversation.The TreniersThey were the first band to use the words “rock” and “roll” in lyrics, way back in the late ’40s and early ’50s, when they were a blues band hovering between swing and boogie-woogie. Their energy was definitely sexy and audacious. They beat Bill Haley by about a half decade. My mum was a great jiver during my childhood, and she loved Little Richard. She used to dive onto the dance floor.Silent Film ClownsBob Monkhouse, who was an English comedian, had a show that I used to watch every Saturday night called “Mad Movies.” I got introduced to silent film and not necessarily the big guns. He looked at a lot of the minor characters, and I became obsessed by that.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Patina Miller, of Starz’s ‘Power’ Series, Spends Her Sundays

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      Patina Miller may play a fearless New York City drug queenpin inspired by 50 Cent’s mother on television, but for a long time, something scared her: having a child of her own.“I thought maybe I wouldn’t be good at it,” said Ms. Miller, 40, who plays the indomitable Raquel Thomas on the crime drama “Power Book III: Raising Kanan.” (The fourth season premieres Friday on Starz.)“I was always afraid of holding other people’s babies because I thought I’d break them,” she said.But now that she is a mother — to a 7-year-old daughter, Emerson Harper Mars, with her husband, the venture capitalist David Mars — she couldn’t imagine her life any other way.“Sundays are about being comfy, being with family,” said Ms. Miller, whose 15-year-old niece, Alanna Miller, also lives with her. She added, “It’s nice to sit and talk to each other without being on our phones.”Ms. Miller was born in Pageland, S.C., and raised by a single mother who encouraged her love for gospel music. She has lived in New York since 2007, when she moved from South Carolina after college and subsequently landed her breakout role as the nightclub singer Deloris Van Cartier in the Broadway adaptation of “Sister Act.” She won a Tony Award in 2013 for her performance as a circus artist in the musical “Pippin.”She has called the Upper West Side home for the past three years. Her family lives in a brownstone between Central Park and Riverside Park with their English bulldog, Maddie.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Gene Hackman’s Gritty, Grouchy, Old-School Style

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      Between the idols of Hollywood’s golden age and the media-savvy stars of today, he had an appeal all his own.In the decades separating the suave Cary Grant from the willowy Timothée Chalamet, there was a leading man with a rougher kind of charm.Even in his box-office heyday, Gene Hackman had a receding hairline and a paunch. He could pass for 50 when he was 30. He described himself as a “big lummox kind of person.”His first noteworthy role came alongside Jean Seberg in the 1964 film “Lillith.” Ms. Seberg said she found Mr. Hackman handsome because his face had so much character to it — but she didn’t believe he would go very far in an industry that favored Warren Beatty and other more conventionally attractive men.But changing attitudes demanded a new kind of star, and Mr. Hackman arrived when the sharp-focus cinema of the midcentury years gave way to the grainier palette of the 1970s, a time when the line between hero and antihero was blurring.He was 40 when he had his first leading role, in the drama “I Never Sang for My Father.” The next year he put on a porkpie hat to play the vicious cop Popeye Doyle in “The French Connection,” a performance that won him the first of his two Oscars.Mr. Hackman put on a porkpie hat to play Popeye Doyle in “The French Connection,” a performance that won him the first of his two Oscars.20th Century Fox, via Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      “The Royal Tenenbaums” Introduced Gene Hackman to a New Generation

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      His performance in Wes Anderson’s “The Royal Tenenbaums” introduced Hackman to a new generation, and his presence helped define the film.When the director Wes Anderson and the actors Anjelica Huston, Bill Murray and Gwyneth Paltrow took the stage in 2011 for a panel celebrating the 10th anniversary of Anderson’s “The Royal Tenenbaums,” there was no need for small talk before addressing the elephant in the room.“So, no Gene Hackman?” began the director Noah Baumbach, the panel’s co-moderator, introducing an apparently genuine nervousness into the discussion.Hackman, who was found dead on Wednesday afternoon with his wife at their home in Santa Fe, N.M., at the age of 95, loomed over “The Royal Tenenbaums” in every possible sense.Within the film, of course, he is the paterfamilias — he is Royal Tenenbaum, “the displaced patriarch,” as Hackman put it in an on-set interview — of the remarkable, scattered family at the center of Anderson’s third film, the one that took him from art houses to the mainstream.That 2011 panel dived into Hackman’s presence, particularly an off-camera gruffness, that distinguished him from the whimsy typical of Anderson’s work. Here was the avatar of 1970s grit and paranoia — who had won an Oscar playing the bad-boy narcotics detective Popeye Doyle in “The French Connection” — dropped into a very different type of cinematic vision, from a very different generation.The tone throughout the panel, particularly from Anderson, was respectful and appreciative. But it was clear that Hackman stood out on set. At the time of filming “The Royal Tenenbaums,” Hackman was already considering a retirement that just a few years later he announced and stuck to, Anderson said. None of the panelists had been in touch with Hackman during the intervening years, they said. And they all remembered him being terse with Anderson.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More