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      Review: Nicholas Hytner’s ‘Guys and Dolls’ Finds New Depths

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      Nicholas Hytner’s heartbreaking ambulatory staging, at the Bridge Theater in London, finds new depths in the classic Broadway musical.“Guys and Dolls” is surely one of the most beloved Broadway musicals in London, where it resurfaces every decade or so to beguile audiences with its treasurable humor and wit. The difference this time, in Nicholas Hytner’s joyous new production, which opened Tuesday at the Bridge Theater, is that the show courses with a degree of feeling not always found in this story of two male “no-goodniks” and the women who love them. That warmth transforms Frank Loesser’s 1950 classic into something as touching as it is tuneful: You leave humming, and with a full heart.This first-ever musical at the Bridge theater, which opened in 2017, is also Hytner’s first London musical in 30 years. And like his last one, “Carousel,” this “Guys and Dolls” is sure to be a smash hit.Many will know the story, adapted from Damon Runyon: The nightclub singer Miss Adelaide (Marisha Wallace) wants to make a husband of her fiancé of 14 years, Nathan Detroit (Daniel Mays). Similarly domestic thoughts come to obsess the prim Sister Sarah (Celinde Schoenmaker), who falls hard for the smooth-talking gambler, Sky Masterson (Andrew Richardson).Celinde Schoenmaker, left, as Sister Sarah, and Marisha Wallace, as Miss Adelaide.Manuel HarlanAt the Bridge, 400 or so playgoers per performance have the opportunity to follow these characters’ paths to the altar, quite literally. The seats have been removed from the orchestra level and the action unfolds across hydraulic platforms that rise up from beneath the stage floor. Those who would prefer not to spend nearly three hours on their feet can occupy tiered seating that encircles the auditorium.Hytner has tried this immersive approach before, with Shakespeare, and the concept turns out equally well-suited to this self-described “musical fable of Broadway,” with its inimitable book by Jo Swerling and Abe Burrows. The designer Bunny Christie offers the neon-filled landscape of a bygone Times Square, and crew members dressed as police officers are there to keep spectators out of the way of the flexible sets, and the performers.Yet proximity to the cast would mean nothing if the actors didn’t deliver. And it’s here that Hytner really scores, fielding a company of players — including several newcomers to musical theater — that mines the twin love affairs on view for all their emotional heft. They sing splendidly, and break your heart, too.I’ve not seen a “Guys and Dolls” that gives its central quartet such equal weight. It’s tempting to think of Sister Sarah in the shadow of the audience-grabbing Miss Adelaide, the singer — and stripper — who has been pretending for years to her unseen mother that she and Nathan are married.But Schoenmaker’s golden-voiced Sarah suggests a devil-fearing member of the Save-a-Soul Mission Band whose resolve looks ready to crack in the face of the right guy — which Sky turns out to be. Making his professional theater debut in that role, the dusky-voiced Richardson is a real find.As Miss Adelaide, Wallace avoids caricature, coupling robust comedy with the sense of an aching heart and bringing her roof-raising vocals to her character’s famously adenoidal “Lament.” But you also sense the mounting annoyance she feels toward the rapscallion Nathan, who won’t be easily weaned from rolling dice and shooting craps.Andrew Richardson, as Sky Masterson, and Schoenmaker.Manuel HarlanAdelaide and her dancers from the Hot Box stop the show with the second-act “Take Back Your Mink,” which the choreographers Arlene Phillips and James Cousins turn into a dizzying striptease. Yet you feel this Adelaide laying bare a depth of affection for Nathan that makes something momentous of their climactic duet, “Sue Me.” Mays, a TV and film name irresistibly cast as Nathan, brings a sure voice and even surer comic timing to the role, which he plays as a streetwise commitment-phobe who is essentially a softie.The score, orchestrated by Charlie Rosen, sounds great as performed by a 14-piece swing band perched above the action, lending a party feel to the proceedings, in which the audience joins a conga line with the cast (on the night I attended, at least).The ensemble numbers come roaring to life, with Cedric Neal’s sweet-faced Nicely-Nicely Johnson leading “Sit Down, You’re Rockin’ the Boat” to three encores. He is surveyed from above by the band leader, Tom Brady, who surveys the tidal pull of the song in mock-disapproval; after all, we can’t be there all night.But the evening is nowhere more affecting than in the plaintive solo number, “More I Cannot Wish You,” in which the kindly Arvide Abernathy (Anthony O’Donnell) wishes his granddaughter, Sarah, the experience of love that she has denied herself. There’s nothing I could wish more for theatergoers than to experience this “Guys and Dolls” for themselves.Guys and DollsThrough Sept. 2 at the Bridge Theater, in London; bridgetheater.co.uk. More

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      ‘Lumière’: An Actress Destined to Be in the Light

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      Jeanne Moreau’s first film as a director is showing for a week at Film Forum, newly restored and seven minutes longer than its 1976 U.S. release.Movies directed by their stars are a genre unto themselves, one that includes first-person documentaries, avant-garde “psychodramas,” and self-portraits like Jeanne Moreau’s “Lumière” — a movie about a fictional actress in her prime.“Lumière,” Moreau’s first film as a director, is showing for a week at Film Forum, starting March 17, newly restored and seven minutes longer than the 1976 version released in the United States.Moreau doesn’t assume a role in “Lumière” so much as present herself. Not autobiographical, it is a film about acting, or what Yvonne Rainer called the “lives of performers.” Moreau’s character, Sarah, is a benign star orbited by three disparate colleagues. Laura (Lucia Bosè), an Italian actress about Sarah’s age, is married to a producer and oppressed by her social roles as wife, mother and daughter. Somewhat younger, Julienne (Francine Racette) is a narcissistic (or ambitious) stage actress being stalked by an even more narcissistic American star (Keith Carradine). And Caroline (Caroline Cartier), an insecure neophyte, is struggling with exploitative men and an emotionally abusive partner.“Lumière,” which opened the Second International Festival of Women’s Films in 1976, provocatively scheduled before the New York Film Festival that year, is more matter-of-fact than polemical. Several men revolve around Sarah as well. These include the annoying young director who is also her lover (Francis Huster), a saintly older man (François Simon) who helped her survive a personal tragedy, and a moody novelist (Bruno Ganz) to whom she’s taken a fancy. Sarah’s colleagues seem hemmed in by men who are jealous, predatory and selfish, unable to fathom the female solidarity that the film celebrates. By contrast, she is independent.As Sarah is in control of her life (and wardrobe), so Moreau appears confident in her direction of a large and talented cast. One of the busiest actors of her generation, whose résumé included work with some of the world’s greatest directors — Antonioni, Buñuel and Welles, among them — she doesn’t lack for visual ideas. (Curiously, the one movie Sarah cites is Ingmar Bergman’s “Hour of the Wolf,” a gothic tale of an artist’s descent into darkness that is the near opposite of “Lumière.”)Fluid and assured, the movie unfolds in the days leading up to Sarah being presented with a lifetime achievement award — which, in terms of Moreau’s career, might almost be “Lumière.” Moreau as a filmmaker is less vain than honest in presenting herself as a universally admired professional. When she was interviewed by Richard Eder for The New York Times, she explained that, as a child, she used to sneak off to the theater: “I sat there in the dark and watched all these people in the light on the stage. I got so excited. I thought that I was not destined to be in the dark; my vocation was to be in the light.”Onscreen, Moreau projects self-possession. In its final scene, “Lumière” illustrates another showbiz bromide: The show must go on — and it is Moreau’s show. Her resting-face frown may suggest dour determination, but her moments of levity are surprisingly generous. The “lumière” of the title is also, as the French critic Isabelle Jordan ended her review of the film, that of “the most beautiful smile in French cinema.”LumièreThrough March 23, Film Forum, Manhattan; filmforum.org. More

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      ‘Everything Everywhere All at Once’ Is Big Winner at the Oscars

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      In the late 1960s, young cineastes shook up a moribund film industry by delivering idiosyncratic, startlingly original work. The moment became known as New Hollywood.When film historians look back at the 95th Academy Awards, they may mark it as the start of a new New Hollywood. Voters honored A24’s head-twisting, sex toy-brandishing, TikTok-era “Everything Everywhere All at Once” with the Oscar for best picture — along with six other awards — while naming Netflix’s German-language war epic “All Quiet on the Western Front” the winner in four categories, including best international film.The Daniels, the young filmmaking duo behind the racially diverse “Everything Everywhere All at Once,” won Oscars for their original screenplay and directing. (The Daniels is an oh-so-cool sobriquet for Daniel Kwan and Daniel Scheinert. They are both 35.) The film, which received a field-leading 11 nominations, also won Oscars for film editing, best actress and best supporting actor and actress, with Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis honored for their performances.“Ladies, don’t let anybody ever tell you that you are ever past your prime,” Yeoh, 60, said when accepting the best actress Oscar. “Never give up.” She was the first Asian woman to receive the award.Clip Courtesy A.M.P.A.S.© 2023Quan’s win provided the Academy Awards with a hall-of-fame comeback story: After early success in movies like “The Goonies” and “Indiana Jones and the Temple of Doom,” his acting career grew so cold that he turned to stunt work. “Dreams are something you have to believe in,” Quan said as tears streamed down his face and A-list attendees gave him a standing ovation. “I almost gave up on mine. To everyone out there, please keep your dreams alive.”Curtis was also in tears by the time she reached the fiery conclusion of her acceptance speech. “To all of the people who have supported the genre movies that I have made for all these years,” she said, “the thousands and hundreds of thousands of people, we just won an Oscar together!”Clip Courtesy A.M.P.A.S.© 2023The Academy of Motion Picture Arts and Sciences spread nominations remarkably far and wide this year. Two blockbuster sequels, “Avatar: The Way of Water” and “Top Gun: Maverick,” made the best picture cut. So did the little-seen art films “Triangle of Sadness,” “Women Talking” and “Tár.” Voters also made room for a musical (“Elvis”) and a memory piece (“The Fabelmans”). In some ways, spreading nominations widely reflected the jumbled state of Hollywood. No one in the movie capital seems to know which end is up, with streaming services like Netflix hot then not, and studios unsure about how many films to release in theaters and whether anything but superheroes, sequels and horror stories can succeed. Over the weekend, “Scream VI” was the top movie at the North American box office, with an estimated $44.5 million in ticket sales.First-time nominees filled 16 of the 20 acting slots, with new stars like Austin Butler (“Elvis”), Barry Keoghan (“The Banshees of Inisherin”), Brian Tyree Henry (“Causeway”), Paul Mescal (“Aftersun”) and Stephanie Hsu (“Everything Everywhere All at Once”) honored for breakthrough roles.But first-time acting nominations also went to Hollywood stalwarts like Curtis, Yeoh and Brendan Fraser. To some degree, the inclusion of Quan, Curtis, Fraser and Yeoh was seen as redemption for Hollywood: All had somehow been cast to the side at some point over their careers.An overcome Fraser, who won the Oscar for best actor for his performance as an obese professor in “The Whale,” thanked Darren Aronofsky, the film’s director, “for throwing me a creative lifeline.”Clip Courtesy A.M.P.A.S.© 2023The academy was also trying to balance old and new in the Oscars ceremony itself. The academy’s chief executive had promised a return to the polished, glamorous Oscar ceremonies of the past to recover from last year’s chaotic telecast, when an angry Will Smith walked onstage and slapped Chris Rock. In a change from last year, when eight categories were scuttled to a nontelevised portion, all 23 Oscars were handed out live on air.As host, Jimmy Kimmel arrived on the Oscars stage by parachute, moments after a pair of “Top Gun”-style fighter jets flew over the Dolby Theater in Los Angeles at 345 miles per hour. He then breezed through a self-assured monologue that left the A-listers seated before him cheering in support. He teased Steven Spielberg — gently — for his lack of recreational drug use and Fraser and Quan for once appearing together in “Encino Man.” It was the kind of affable ribbing that once made Billy Crystal the king of the Oscar M.C.’s.The host Jimmy Kimmel arrived on the stage via parachute and breezed through his monologue.Todd Heisler/The New York Times“And if any of you get offended by a joke and decide you want to come up here and get jiggy with it? It’s not going to be easy,” Kimmel said, addressing last year’s slap without directly mentioning Smith. He then joked that people like Michael B. Jordan, the “Creed” star, and Pedro Pascal, who plays the title role in “The Mandalorian,” were prepared to intervene.“Seriously, the academy has a crisis team in place,” Kimmel said. “If anything unpredictable or violent happens during the ceremony, just do what you did last year — nothing. Maybe even give the assailant a hug.”As expected, “Guillermo del Toro’s Pinocchio” received the Oscar for best animated feature, and “Navalny” was honored as best documentary. Less anticipated was Ruth Carter’s win for her “Black Panther: Wakanda Forever” costume design. (Most awards handicappers had predicted victory for the “Elvis” costume designer Catherine Martin. Carter also won for “Black Panther” in 2019.)The #OscarsSoWhite outcries from 2015 and 2016, prompted by all-white slates of acting nominees, continue to reverberate at the academy, which has been trying to diversify its membership by race, gender and nationality. Nearly 50 percent of the academy’s most recent class of new members came from overseas. About 25 percent of the academy’s total membership of 10,000 now comes from outside the United States.But the academy was criticized this year for not nominating any women in the best director category. For decades, women and people of color were almost entirely excluded from the directing race. In 2021, for the first time, two women were nominated: Chloé Zhao (“Nomadland”) and Emerald Fennell (“Promising Young Woman”), with Zhao winning. Last year, Jane Campion (“The Power of the Dog”) won the Oscar for directing.This year, Sarah Polley (“Women Talking”) was left out even though her film was nominated for best picture. (Polley won for her adapted screenplay.) “I give up,” Patty Jenkins, whose directing credits include “Wonder Woman” and “Monster,” told Variety on Saturday about women being shut out of the category. “It’s still going to take a long ways to go. It’s going to take a lot more to really see truly more diverse awards.”The internationalization of the academy was on display among this year’s directing nominees. The Swedish filmmaker Ruben Östlund (“Triangle of Sadness”) and the British-born Martin McDonagh (“The Banshees of Inisherin”) were honored. Joining them were Todd Field (Tár) and the Daniels. Filling out the best director category was Spielberg — a director who was once part of that New Hollywood crew and is now a Hollywood elder statesman with nine total nominations for directing, this one for “The Fabelmans.”The academy emphasized that the ceremony would feel modern — part of an urgent effort to make the telecast more relevant to young people. The 2022 show drew 16.6 million viewers, the second-worst turnout on record after the pandemic-affected 2021 telecast. If the Nielsen ratings do not improve, the academy faces a financial precipice: Most of its revenue comes from the sale of broadcasting rights to the show. Hundreds of millions of dollars are at stake. (The most-viewed Oscars telecast was in 1998, when 57.2 million people watched “Titanic” win the trophy for best picture.)Rihanna performed her nominated song from “Black Panther: Wakanda Forever.”Todd Heisler/The New York TimesBig musical stars, including Rihanna and Lady Gaga, sang their nominated songs; Lenny Kravitz performed during the “In Memoriam” segment. The best song Oscar went to “Naatu Naatu” from the Indian film “RRR.” The nominee pool for best picture had never before included more than one billion-dollar ticket seller, according to box office databases, and this year there were two. “Top Gun: Maverick” collected $1.5 billion, and “Avatar: The Way of Water” took in $2.3 billion. (Viewership tends to increase when popular films are nominated.)In another change, the red carpet was not red: Stars walked a champagne-colored rug, breaking with a 62-year tradition. The choice was made as part of an overhaul of the preshow spectacle, which, for the first time, was managed by members of the Met Gala’s creative team. In the days leading up to the Oscars, another in a series of rainstorms soaked Los Angeles, so much so that the academy sent an alert to the news media on Wednesday warning that it may “need to clear the carpet at a moment’s notice.” In the end, the weather cooperated, and it was a sunny 63 degrees. More

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      Michelle Yeoh Makes Oscar History as First Asian to Win Best Actress

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      Michelle Yeoh won the best actress Oscar at Sunday night’s ceremony for her role as a beleaguered wife, mother and laundromat owner whose life is turned upside down when she is thrown into multiple parallel universes in A24’s genre-bending hit “Everything, Everywhere All at Once.” The victory makes her the first Asian star to win best actress in the 95-year history of the Academy Awards.“For all the little boys and girls who look like me watching tonight, this is a beacon of hope and possibilities,” she said in accepting her award. “This is proof that dreams — dream big, and dreams do come true. And ladies, don’t let anybody tell you you are ever past your prime. Never give up.”This was her first Oscar nomination and win after a venerated career that toggled between action-heavy roles (“Crouching Tiger, Hidden Dragon”) and performances of regal self-containment (“Crazy Rich Asians”). Tonight, she beat out Andrea Riseborough (“To Leslie”), Cate Blanchett (“Tar”), Michelle Williams (“The Fabelmans”) and Ana de Armas (“Blonde”).Yeoh’s biggest competition came from Blanchett, who won the best actress trophy at the BAFTAs but saw her path to the winner’s circle narrow after Yeoh’s historic win at the SAG Awards, where she became the first Asian star to win the guild’s best actress prize for a film.All season long, Yeoh has spoken of the obstacles she and other Asian performers have faced in Hollywood. After the Oscar nominations were unveiled in January, she told The Times, “Of course, I’m over the moon, but I feel a little sad because I know we know there have been amazing actresses from Asia that come before me, and I stand on their shoulders.” She added, “I hope this will shatter that frigging glass ceiling to no end, that this will continue, and we will see more of our faces up there.”Here’s the full text of her acceptance speech on Sunday:Thank you. Thank you. For all the little boys and girls who look like me watching tonight, this is a beacon of hope and possibilities. This is proof that dreams — dream big, and dreams do come true. And ladies, don’t let anybody tell you you are ever past your prime. Never give up.I wouldn’t be standing here tonight without the Daniels [directors of “Everything Everywhere”], without A24, without my amazing cast and crew, without everyone who was involved with “Everything Everywhere All at Once.” I have to dedicate this to my mom, all the moms in the world. Because they are really the superheroes. And without them, none of us will be here tonight. She’s 84. And I’m taking this home to her. She’s watching right now in Malaysia, K.L., with family and friends. I love you guys. I’m bringing this home to you. And also my extended family in Hong Kong, where I started my career. Thank you for letting me stand on your shoulders, giving me a leg up so that I can be here today. And to my godchildren, to my sisters, all of them, to my brothers. Oh God. To my family, thank you. Thank you.Thank you to the Academy. This is history in the making. Thank you. More

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      Jamie Lee Curtis Wins First Oscar for Best Supporting Actress

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      After a tight three-way race, “Everything Everywhere All at Once” co-star Jamie Lee Curtis won the supporting actress Oscar at the 95th Academy Awards on Sunday night, pulling ahead of Angela Bassett (“Black Panther: Wakanda Forever”) and Kerry Condon (“The Banshees of Inisherin”).The three women have traded wins all season. Bassett initially seemed to be the favored pick after victories at the Golden Globes and Critics Choice Awards, but Condon then picked up a win from the British voting body BAFTA, while Curtis triumphed at the Screen Actors Guild Awards.In her acceptance speech on Sunday, she noted all the many people who helped in her career, and shouted, “We. Just. Won. An. Oscar. Together!”Curtis got her start in Hollywood as a scream queen in the “Halloween” franchise before segueing to bombshell roles in “Trading Places” and “True Lies.” But she played well against type in “Everything Everywhere” as a grumpy, frumpy tax auditor.The 64-year-old is the daughter of the actors Janet Leigh and Tony Curtis, who were both nominated for Oscars but never won. “To be connected through this legacy of their work and my work,” she told The Times last month, “it’s very powerful.”On Sunday, she asked the very enthusiastic audience to settle down, so she could deliver her speech without being played off. “Stop!” she told the crowd, and added, referring to the academy president: “I have 45 seconds, and I promised Janet Yang I wouldn’t do it well, because I’m a good girl.”Here’s the full text of her acceptance speech:I know it looks like I’m standing up here by myself, but I am not. I am hundreds of people. I’m hundreds of people. I am the — where are the Daniels? — Daniels [the “Everything Everywhere” directors Daniel Kwan and Daniel Scheinert], Jonathan [Wang], Ley Line Entertainment, the entire crew, my bae Michelle [Yeoh], Ke [Huy Quan], Steph [Hsu], the entire group of artists who made this movie. We just won an Oscar!To my dream team: my agent Rick Kurtzman, Alan Wertheimer, Heidi Schaeffer, Sean James, Grace Ahn, Jane Ross. We just won an Oscar!To my family, my beautiful husband, Christopher Guest; our daughters, Annie and Ruby; my sister Kelly. We just won an Oscar! To all of the people who have supported the genre movies that I have made for all these years, the thousands and hundreds of thousands of people, we just won an Oscar together.And my mother and my father were both nominated for Oscars in different categories. I just won an Oscar. More

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      Ke Huy Quan Wins Best Supporting Actor Oscar, Capping Remarkable Comeback

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      Ke Huy Quan won the Oscar for his supporting role in “Everything Everywhere All At Once” at the 95th Academy Awards on Sunday night, completing one of the most impressive Hollywood comebacks of all time.After experiencing fame in the 1980s as a child actor in films like “Indiana Jones and the Temple of Doom” and “The Goonies,” Quan eventually moved behind the camera to work in stunt choreography. “I had to step away because the phone stopped ringing,” he told The Times about his two-decade absence from the screen. “Hollywood didn’t write roles for Asian actors.” But he continued to pay his Screen Actors Guild dues every month, as if biding his time for a return to acting.In 2018, inspired by the success of “Crazy Rich Asians,” Quan called an agent friend to represent him and only two weeks later, he was sent “Everything Everywhere,” in which he plays the kindhearted husband of Michelle Yeoh’s multiverse-jumping heroine. Since the film’s release, Quan has taken trophy after trophy from the Golden Globes, Screen Actors Guild Awards, Critics Choice Awards, and Independent Spirit Awards.Now, in a year that saw a record number of Asian performers nominated in the acting races, Quan has added an Academy Award to that shelf of statuettes. Below is his full acceptance speech.Oh my God. Thank you. Thank you. My mom is 84 years old. And she’s at home watching. Mom, I just won an Oscar. My journey started on a boat. I spent a year in a refugee camp. And somehow, I ended up here on Hollywood’s biggest stage. They say stories like this only happen in the movies. I cannot believe it’s happening to me. This, this, is the American dream. Thank you so much.Thank you so much to the Academy for this honor of a lifetime. Thank you to my mom for the sacrifices you made to get me here. To my little brother David, who calls me every day just to remind me to take good care of myself. I love you, brother.Thank you to Kendall for all your support and everything you’ve done. Thank you to A24, the Daniels, Jonathan, Jamie, Michelle and my “Goonies” brother for life, Jeff Cohen. I owe everything to the love of my life, my wife, Echo, who, month after month, year after year, for 20 years, told me that one day, one day, my time will come. Dreams are something you have to believe in. I almost gave up on mine. To all of you out there, please keep your dreams alive. Thank you, thank you so much for welcoming me back. I love you. Thank you thank you thank you. More

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      How Will Smith’s Slap Has Changed the Oscars

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      The Slap is sure to figure into the Oscars this year, even if the academy would prefer we all move on from the shocking moment on March 27, 2022, when Will Smith slapped Chris Rock onstage. The organization has said tonight’s telecast will not dwell on the episode. Then again, it has set up a crisis team to deal with any unexpected developments at the ceremony, proof that the incident continues to cast a long shadow. It will inform what you will — and won’t — see at the Dolby Theater tonight.The encounter itself unfolded quickly: Rock, on hand to present best documentary, fired off a series of jokes targeting stars in attendance. After he made a crack about Jada Pinkett Smith’s close-cropped hair, her husband, Will Smith, left his seat in the audience, walked onstage and struck Rock. After sitting down again, Smith yelled at Rock to keep Pinkett Smith’s name out of his mouth. Rock said he would, then quipped, “That was the greatest night in the history of television.”He was clearly stunned and the incident has reverberated in the months since. Here’s a look at the fallout:Will Smith: The star, who went on to win the best actor Academy Award that night for “King Richard,” was banned from the Oscars ceremony for 10 years (though he is still eligible to win awards). Tradition calls for the previous year’s acting winners to present statuettes this year, but he won’t be onstage tonight.The ban was imposed after Smith resigned from the academy and issued an apology on social media. He followed that up with a much longer apology a few months later on YouTube aimed at Rock, Rock’s family, Smith’s family and Questlove, who won the documentary prize but was overshadowed by what had just transpired. As for a direct conversation between Smith and Rock, the actor noted he had been told the comedian wasn’t ready to talk.The academy is not Hollywood, and in the industry Smith’s career continues to roll on. In January, it was announced that he was reteaming with Martin Lawrence on another sequel in the “Bad Boys” franchise.Chris Rock: In the aftermath of the incident, the comedian said little. At a standup show a few days later, he told a sold-out crowd, “I’m still kind of processing what happened.” Fast-forward nearly a year and Rock was clearly ready to talk on his livestreamed Netflix special Saturday night. Rock laid into Smith, criticizing him for picking on someone much smaller — “Will Smith is significantly bigger than me. We are not the same size. Will Smith does movies with his shirt off. You’ve never seen me do a movie with my shirt off” — and relishing any takedown of Smith: “Now I watch ‘Emancipation,’ just to see him get whupped,” Rock joked. (For a fascinating perspective also delivered via standup comedy, try Marlon Wayans’s new HBO Max special, which is all about the Slap from the point of view of an artist who has known the Smiths and Rock for decades.)Jada Pinkett Smith: The actress rolled her eyes when Rock spoke about her hair, and part of the controversy has focused on the insensitivity of the line given that she has alopecia, a condition involving hair loss. She has made a few comments over the past several months on social media but did not address the joke itself. (In his apology video, Will Smith took care to point out that Pinkett Smith had nothing to do with his decision to hit Rock.) Mainly the actress’s focus was on healing between the two men. On “Red Table Talk,” her Facebook Watch show, she said, “My deepest hope is that these two intelligent, capable men have the opportunity to heal, talk this out and reconcile.”The academy: Heavily criticized for doing little that night (officials asked Smith to leave, apparently, and he refused), the organization has issued a few mea culpas for its response, most recently at the nominees’ luncheon last month. “It was inadequate,” said Janet Yang, the academy president. “We learned from this that the academy must be fully transparent and accountable in our actions, and particularly in times of crisis, we must act swiftly, compassionately and decisively.”How do they plan to do better next time? A crisis team will be stationed at the ceremony, according to a Time magazine interview with the academy chief executive, Bill Kramer, who explained: “We have a whole crisis team, something we’ve never had before, and many plans in place. We’ve run many scenarios.”“Emancipation”: This slave drama starring Will Smith was expected to be a strong Oscar contender this year — until the Slap greatly clouded its prospects. Though Smith could still have been nominated despite the ban, academy voters avoided that possibility when they omitted both the star and the film from the nominations.Jimmy Kimmel: The academy C.E.O. said over the summer that the 2023 telecast would not address the Slap, even in joke form. (“We want to move forward and to have an Oscars that celebrates cinema.”) But the Oscars host, Jimmy Kimmel, doesn’t seem to have gotten the message. His commercial promoting the Oscars includes several references to Rock, a former host himself. And the spot, a spoof of “Top Gun: Maverick,” explains that ABC was intent on finding an M.C. “who’s unflappable — and unslappable.” Kimmel’s response: “I can’t get slapped, I cry a lot.” More

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      Adam Brody Feels All the Feels With Surfing, ‘Avatar’ and Cate Le Bon

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      The “Shazam!” star revives himself with sprinkle doughnuts, Frank Black’s “Teenager of the Year” and daily naps.“Shazam!,” the 2019 DC Universe comic-adventure about some foster kids and their adult superhero alter egos, and its new sequel, “Shazam! Fury of the Gods,” might not change the arc of Adam Brody’s career exactly — though there are perks to being in a hit.“I’ve been acting for so long now but have barely set foot in any sort of big action movie,” said Brody, one of the stars of the FX series “Fleishman Is in Trouble.” “Being on something of this size is a thrill, just the huge setups and huge wire rigs, and you’re being chased by a dragon. It’s a big part of the Hollywood acting experience in the modern age that I really hadn’t got to play with before.”“Fury of the Gods,” opening Friday, finds the teens — including Freddy Freeman, played by Jack Dylan Grazer, with Brody as his grown version — fully endowed with otherworldly powers. Then the Daughters of Atlas (Helen Mirren, Lucy Liu and Rachel Zegler) show up, and they want their magic back.But “Fury of the Gods” isn’t the only action Brody has seen recently. In an upcoming remake of “The River Wild” for Netflix, he’ll be occupying the same space, if not the same character, as the menace played in the 1994 original by Kevin Bacon. Brody’s wife, Leighton Meester, and their friend Taran Killam join him as distrusting siblings on a raft ride to hell.In a video call from Los Angeles, where he and Meester live with their daughter and son, Brody talked about venturing into the trenches with “Hardcore History,” revering Frank Black and listening to NPR in lieu of college. These are edited excerpts from the conversation.1SurfingI’m from San Diego, and a big part of the beach for me is surfing. I was obsessed with it, and from junior high and high school that was my main focus. Then I moved to L.A. to try acting, and I ditched it for well over a decade. In my early 30s, I started dipping my toe because I missed the beach environment. And surf has slowly but steadily taken over my life again. My wife has picked it up and is obsessed. I’m at this really lovely place where the two halves of my life have converged.2DoughnutsI could eat them every day. I do enjoy this gourmet artisanal doughnut revolution that’s been going on for the last decade. I don’t like the chain ones — they seem so processed and lacking some flavor. But probably my favorite, even more than the really nice gourmet ones, are those strip-mall family-owned ones, usually Vietnamese- or Cambodian-owned but not always. They tend to be a little lighter, so you can take down a couple. My eye is very drawn to sprinkles. Pretty hard for me to say no.3Dan Carlin’s ‘Hardcore History’ PodcastHe’s always like, “Now remember, I’m not a historian.” I’m like, “But you are a historian. Why are you talking to me about this for 20 hours, then?” Every episode is five hours long, and one comes out every six months. “Blueprint for Armageddon” on World War I, which is the first one I listened to, blew me away.4Frank Black’s ‘Teenager of the Year’This is probably the only album or musician that I loved as a teenager that I still love. It’s not even that I listen to him a lot anymore, but I still revere him. It has a real irreverent, comedic and punk element to it. And he sings about so many subjects I think are great: California, space and astral planes and different dimensions, the Mariana Trench and the depths of the ocean.5Cate Le BonShe sounds like nobody else. I find the up-tempo stuff very groovy. At the same time it’s so off-kilter. There’s descending notes in minor chords and drone-y saxophone. And I find her singing emotional, and yet she’s Bowie-esque, distant and unknowable. Not a false note in the entire discography.6NapsI’ve always been pretty talented at napping. It doesn’t have to be that long, but there has to be one. I have less time to do it since I’ve been a parent. I’m sort of sounding scarily like my dad when I say that. I picture him asleep with a Kindle on his chest. But my favorite thing in a leisure-filled day: I’m going to start to read lying down, I’m going to close the book, take a nap, wake up and keep reading.7NPRI didn’t go to college, and I kind of consider it my alma mater. I like their breadth of coverage. It’s local, it’s national, it’s global. I like most of the personalities on it, and I find something about their — it’s not monotone, but it’s soft tones — very reassuring. It’s a calm, assured personality, giving you what I think is a well-rounded coverage. I’m sure some people would disagree, but they’re wrong.8‘The Crown’These are some of the best scenes on television. You have two great actors, and a monster scene for them to do with a real beginning, middle and end. I also am a big fan of the formatting, taking the historical record and bending it to a theme and an arc versus a cliffhanger. They’re really doing their own mini three-act movie in each episode.9‘Avatar: The Way of Water’I say this as someone who didn’t even like the first one. But I have a retroactive appreciation for it now because I like the second one so much. I took my daughter, who’s 7. I was like, “It’s over three hours long, and I’ve heard mixed things, but let’s go see, and if we want to leave, we’ll leave.” And I proceeded to have one of the best times I’ve had at the movies in decades. For starters, I cried — we both did — and I haven’t cried at a movie since “Titanic.”10‘Ronia, the Robber’s Daughter’My daughter and I watched the cartoon series that Goro Miyazaki did, and then we read the book. It’s a year in the life of this 9-year-old girl who lives in an abandoned fortress with her mother and her loving but volatile father and his group of robbers in medieval Renaissance times. She starts to explore the forest and then meets a boy her age. It’s so in touch with nature and the cycles of life, her very first pangs of love and her growing independence. And at the end of every chapter, the writer, Astrid Lindgren, had a phrase or two that really got to me — simple and yet emotional. More