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      Why Gina Rodriguez Put Mumford & Sons on Her Birth Playlist

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      The actress spent her pregnancy making a new TV series, “Not Dead Yet,” and watching “WandaVision.”In the ABC sitcom “Not Dead Yet,” premiering Feb. 8, Nell Serrano is an obituary writer who, according to the subject of one of her assignments — yes, she’s visited by the dead — envies other people’s happiness.Gina Rodriguez, who is expecting her first child, spoke with us last month, saying that she’s in a different, happier place than Nell, whom she plays, but she knows things could change at any time. “I’m learning at every single turn,” she said.Previously the star of the CW television series “Jane the Virgin” and heard in the title role of the Netflix animated series “Carmen Sandiego,” Rodriguez shared some of the music on her birth playlist, as well as other things that have been helping her get by, including “WandaVision” and “Be Here Now.” These are edited excerpts from the conversation.1. “WandaVision” I started watching the show during my pregnancy. At first I was like, what is this show? It’s a take on “I Love Lucy”? And then I saw that it’s all wrapped up in her grief. The power of human emotion and the unconscious decisions that we make when we’re in these spaces of love and longing and grief are just wild and awesome. Its portrayal of a human journey through the possibility of action based on an unconscious emotion is really interesting to me.2. Ram Dass My husband discovered Ram Dass and brought him into our relationship. I find the way he viewed the world and the journey he went on to be very helpful to me. We have, like, 14 copies of his book “Be Here Now,” because it’s our No. 1 present we give people. Every time I listen to the audiobook “Becoming Nobody,” I learn something new, and I’m reminded that I fall right back into things, such as feeling like my identity is my everything and my ego gets attached to the identity.3. Failure In my production company, we want to create a safe space for failure because it’s only in failure that you learn. And if you don’t get another chance after failure, it is such an unfortunate missed opportunity for growth. When you have a space where you can fail, you do better, you get stronger and you say, “OK, I’m not going to do it like this, I’m going to try it like this. Or that path didn’t work, let’s try this next path.”4. “The Dawn of Everything” I have always been interested in the history of humankind. It’s so interesting that every time we personify people of the past, they’re not as intelligent and not as civilized. I picked up David Graeber and David Wengrow’s “The Dawn of Everything: A New History of Humanity” on a Barnes & Noble shopping spree. It’s riveting. It presents such an interesting perspective on the history of humanity, and it makes me think about everything just a little bit more.5. Bidet When we remodeled our home, we had a combination toilet/bidet put in our primary bedroom. It is a game changer. When we go overseas and the bidet is a separate unit, I’m like, this is fabulous. It should be like this everywhere.6. “My Brilliant Friend” After we shot “Annihilation,” Natalie Portman gave me Elena Ferrante’s Neapolitan novels series as a wrap gift. I have read each of them multiple times. Starting with “My Brilliant Friend,” they are the most whisk-you-away, escape-into-another-person’s-world books. I love them so much. It was the best wrap gift I’ve ever gotten. And I always think about Natalie when I read them.7. Mumford & Sons I have a playlist of songs to listen to when I give birth. Several Mumford & Sons songs are on the playlist, including “Little Lion Man,” “Awake My Soul” and “I Will Wait.” They sing like they’re connected to the center of the universe. It makes me feel a sense of closeness to my ancestors, even though it’s not the kind of music my ancestors listened to. There’s just a spirituality to their music. Whether they were writing that or not, that’s what I respond to.8. Bad Bunny My fellow Puerto Rican artist is definitely the music of my ancestors. I think he is super innovative. He’s been able to introduce styles of music, such as merengue, that haven’t been popular in the United States. Bad Bunny makes me feel every nostalgia under the sun of my childhood. And I just think he’s super, super talented.9. Oregon After we started visiting friends in Bend, we fell in love with Oregon, which is now our second home. We try and spend half the year there. It’s such a beautiful state. There are so many different climates and things to see — the mountains, the coast, the woods. I saw my first owl in Oregon. I grew up in Chicago and Puerto Rico. We weren’t seeing owls.10. Oahu Hawaii feels like home. It feels like Puerto Rico. There is a oneness of Mother Nature there that feels like the center of the forest, but it’s beach, and it’s jungle, and it’s water and ocean. Oddly, you find a lot of people who vacation in Hawaii in Oregon, and vice versa. They feel like polar opposites, but they tend to draw people with the same kind of yearning for Mother Nature. More

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      Cindy Williams, Star of ‘Laverne & Shirley,’ Dies at 75

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      The show, in which Ms. Williams and Penny Marshall played roommates who worked in a Milwaukee brewery, was a spinoff of “Happy Days” and became a staple of 1970s television.Cindy Williams, an actress best known for her role on the 1970s slapstick sitcom “Laverne & Shirley,” died on Wednesday in Los Angeles. She was 75.Her death followed a brief illness, her assistant, Liza Cranis, said by phone on Monday, adding that she had died “peacefully.” No cause was given.With Penny Marshall, Ms. Williams starred in the sitcom, which ran from 1976 to 1983 and was a spinoff of the television show “Happy Days.” It followed two young single women working at a Milwaukee brewery in the 1950s. Ms. Williams played Shirley Feeney, an upbeat and demure complement to Ms. Marshall’s brash Laverne DeFazio.“Laverne & Shirley” ran for eight seasons and, for several years, was among the highest-rated shows in the country. Ms. Williams appeared in more than 150 episodes but left in the final season of the show, after considerable on-set tension between her and Ms. Marshall. Ms. Marshall died in 2018, also at age 75.Ms. Williams is survived by her children, Emily and Zak Hudson, who, in a statement on Monday, described their mother as “one of a kind,” noting her sense of humor and “glittering spirit.” Her marriage to the musician Bill Hudson ended in divorce.Ms. Williams signing copies of her book “Shirley, I Jest! A Storied Life” in 2015.Beck Starr/Getty ImagesBefore Ms. Williams debuted in the role that would most define her career, she was cast in the George Lucas film “American Graffiti,” released in 1973. For her portrayal of Laurie in the film, she earned a nomination for best supporting actress from the British Academy Film Awards. The next year, she was in the Francis Ford Coppola film “The Conversation.” American Graffiti” and “The Conversation” garnered best picture nominations at the Academy Awards.Ms. Williams also auditioned for the role of Princess Leia in the “Star Wars” franchise, a part that eventually went to Carrie Fisher.Later in her career, Ms. Williams was a guest star on well-known television shows such as “Law and Order: SVU” and “7th Heaven” and earned several stage credits including the Broadway production of “The Drowsy Chaperone,” in which she briefly played Mrs. Tottendale.But she was best known as Shirley.“She was sort of an optimist, kindhearted, repressed, temperamental, fun-loving person,” Ms. Williams once said of her character. “I always saw her as having this fear,” she added, noting that while Shirley’s desires were never explicitly played out onscreen, both Laverne and Shirley strove for the comforts of modern life.“That was the sadness of those characters to me,” Ms. Williams added. “What if that never happens, then where are we? And that was sort of my life, too.”Born in Van Nuys, Calif., a neighborhood in the San Fernando Valley region of Los Angeles, on Aug. 22, 1947, Cynthia Jane Williams became interested in acting during high school and attended Los Angeles City College, where she majored in theater arts, according to biographies provided by Ms. Cranis. “I’m what you might call a ‘Valley Girl,’” Ms. Williams wrote in her 2015 memoir, “Shirley, I Jest! A Storied Life.”She worked at a pancake house, as well at the Whisky a Go Go nightclub in Hollywood, according to The Hollywood Reporter. Ms. Williams went on to perform in commercials for deodorant and sunglasses, some of which never aired, she said in an interview with the Television Academy. Her early television roles included parts on “Room 222,” “Nanny and the Professor” and “Love, American Style.”“I always played the lead’s best friend, always,” she said.Then known for her seemingly guileless American sweetheart presence, Ms. Williams turned that expectation inside out with an exceptionally sly performance in “The Conversation.” In the film, the viewer pieces together her words from a surreptitiously recorded conversation, expecting her to be a helpless victim, not the calculating femme fatale that she is. More dramatic roles might have followed, but she turned to situation comedy instead.Ms. Williams and Ms. Marshall were writing partners at Zoetrope, a production company founded by Mr. Coppola, where they were working on a prospective TV spoof for the bicentennial, when Garry Marshall, Ms. Marshall’s brother, asked if the two women would guest star on his show “Happy Days” as easy dates for Fonzie (Henry Winkler) and Richie (Ron Howard). Fonzie claimed Laverne for himself, while Shirley was meant for Richie, reuniting Ms. Williams with her “American Graffiti” co-star, Mr. Howard, who had played her boyfriend in that film.The episode of “Happy Days,” which aired in 1975, was so popular that Mr. Marshall pitched Fred Silverman, a top executive at ABC, about doing a comedy starring the two, arguing that there were no other shows about blue-collar women.The opening credits of “Laverne and Shirley” featured a school rhyme and a heartwarming mission statement that summed up the duo’s playful, hopeful ethic that anyone could relate to: They might just be young working-class women in the big city, but they are going to make their dreams come true.Laverne and Shirley’s high jinks were reminiscent of those of Lucy Ricardo and Ethel Mertz on “I Love Lucy,” but, for this classic comedy duo, Shirley was (usually) the calmer and dreamier of the pair. With her breezy personality, Ms. Williams demonstrated an easy flair for portraying the awkwardness of youth in broad physical comedy.In a review of “Laverne & Shirley” in 1976, John J. O’Connor, the television critic for The New York Times, wrote: “Both title roles are played to a splendid noncondescending turn. Miss Williams and Miss Marshall touch all the best bases, a bit of Barbara Stanwyck in “Stella Dallas” here, a bit of Giùlietta Masina in “La Strada’ there, touches of Lucille Ball, Eve Arden and that crowd all over the place.”Though the actresses shared the screen, Ms. Williams sometimes felt that her co-star got preferential treatment because of her connection to Mr. Marshall. For her part, Ms. Marshall felt that Ms. Williams’s husband at the time, Mr. Hudson, who wanted to be a producer, was too demanding.At the beginning of the show’s final season, viewers watched Ms. Williams marry Walter Meeney — and become Shirley Feeney Meeney. Soon afterward, however, her long run had an ignominious end, with the plot claiming Shirley had followed her new husband overseas, leaving only a note to say goodbye. In reality, the actress had hoped to work with the show to hide and accommodate her pregnancy. She later sued for $20 million; the case was settled out of court for an undisclosed amount.“‘Laverne & Shirley’” ended abruptly for me,” Ms. Williams wrote in her memoir. “When we shot the first episode, I was four months pregnant. But when it came time to sign the contract for that season I realized that the studio had scheduled me to work on my delivery due date.”“In the wink of an eye, I found myself off the show,” she wrote. “It was so abrupt that I didn’t even have time to gather my personal things.”In 2013, Ms. Williams and Ms. Marshall reunited for an appearance on the Nickelodeon series “Sam & Cat,” a modern show that riffed on the themes of “Laverne & Shirley” and starred Jennette McCurdy and Ariana Grande.Ms. Williams published her memoir two years later, and last year she completed a national theater tour of a one-woman show, “Me, Myself and Shirley.” In the show, she chronicled her life in Hollywood as well as her relationship with Ms. Marshall.“You couldn’t slip a playing card in between us because we just were in rhythm,” she said last year in an interview with NBC. “I couldn’t have done it with anyone else.”Sheelagh McNeill More

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      Andrea Riseborough’s Path to Surprise Oscar Nomination Is Scrutinized

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

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

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

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      Annie Wersching, Star of ‘Star Trek: Picard,’ Dies at 45

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      Ms. Wersching was best known for playing the Borg Queen on the Paramount+ “Star Trek” series. She was also on the television series “24,” “Bosch” and “Timeless.”The actress Annie Wersching, best known for her roles on the television series “Star Trek: Picard,” “24,” “Bosch” and “Timeless,” died on Sunday morning in Los Angeles. She was 45.Ms. Wersching’s death was confirmed by her publicist, Craig Schneider. The cause was cancer, Mr. Schneider said in a statement released on Sunday. He noted that Ms. Wersching was diagnosed in 2020 but had continued her acting work, playing the Borg Queen on the second season of “Picard,” a “Star Trek” spinoff on Paramount+, as well as the serial killer Rosalind Dyer on the ABC crime series “The Rookie.”Ms. Wersching was also known for playing Julia Brasher, a police officer on the Amazon series “Bosch,” and Emma Whitmore, an engineer, on the NBC series “Timeless.” On Fox’s “24,” she played the special F.B.I. agent Renee Walker.Ms. Wersching, with Kiefer Sutherland, starred in two seasons of “24” on Fox.FoxMs. Wersching also provided the voice for the character Tess in The Last of Us, a 2013 video game that has recently been adapted into a television series on HBO.“There is a cavernous hole in the soul of this family today,” Ms. Wersching’s husband, the actor Stephen Full, said in a statement. “But she left us the tools to fill it. She found wonder in the simplest moment. She didn’t require music to dance. She taught us not to wait for adventure to find you.”Mr. Full noted that whenever he and his sons left their house, Ms. Wersching would shout “Bye!” until they were out of earshot.“I can still hear it ringing,” he added. “Bye, my Buddie.”In an interview with the Paramount+ show “The Ready Room,” Ms. Wersching described playing the Borg Queen as “certainly a little intimidating.” She noted that she had familiarized herself with the role and those who had previously played it before going forward with her own interpretation and performance. “It’s such an iconic role,” she said. “I’m incredibly excited to have everyone see.”Ms. Wersching starred as the Borg Queen on “Star Trek: Picard.”Paramount+In a statement released on Sunday, Akiva Goldsman, an executive producer of “Picard,” described Ms. Wersching as a “gift” and an “utter joy” to work with. “Her entire ‘Star Trek’ family is heartbroken,” he said.Jon Cassar, director and producer of “24,” said in a statement that he mourned the loss of a colleague and a friend. “Annie came into my world with an open heart and a contagious smile,” he said. “Brandishing such talent, she took my breath away.” He added, “She’ll be truly missed.”Ms. Wersching was born and raised by her parents, Sandy and Frank Wersching, in St. Louis. She is survived by her husband and their three children, Freddie, Ozzie and Archie Full. More

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      Sylvia Syms, Versatile British Actress, Is Dead at 89

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

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      Everett Quinton, a Force in Downtown Theater, Dies at 71

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      He took over the Ridiculous Theatrical Company after the death of his partner, Charles Ludlam, in 1987. His specialty was playing women, but his range was wide.Everett Quinton, a versatile mainstay of the downtown theater scene in New York as an actor, director and, for decades, leader of the Ridiculous Theatrical Company, died on Monday in Brooklyn. He was 71.The cause was glioblastoma, a fast-moving cancer, Mr. Quinton’s friend Julia Campanelli said, speaking on behalf of his sister Mary Ann Quinton.Mr. Quinton was especially adept at playing women, including the nasty stepmother in “Rodgers & Hammerstein’s Cinderella,” which toured the country early in this century. But he took on a range of roles male and female, onstage and occasionally on television or in films — in Oliver Stone’s prison drama “Natural Born Killers” (1994), he was an unpleasant deputy warden.It was a career he had not been expecting in 1975 when he met Charles Ludlam, a playwright, actor and director who had founded the Ridiculous company (one of several in the era that worked the campy, gender-bending genre known as Theater of the Ridiculous) in 1967 in Greenwich Village, and who was a dynamic part of the avant-garde theater world.“I was just cruising Christopher Street on a cold February night,” Mr. Quinton recalled in a 2001 interview with The New York Times. “He gave me his phone number but I lost it. I thought his name was Steven. Six months later, that August, I was back on Christopher Street and he walked out of a restaurant and said to me, ‘You do exist.’ From then on we were together.”The two became partners in life and in the theater, where Mr. Quinton designed costumes, served as assistant stage manager and, in a 1976 show called “Caprice,” took to the stage.“I was the ballerina who got kidnapped,” he told The Daily News of New York in 1993, remembering that first role. “I knew I’d found my niche.”Mr. Quinton, right, in 1986 with Charles Ludlam, his partner both onstage and off. Mr. Quinton took over the Ridiculous Theatrical Company after Mr. Ludlam died in 1987.Patrick McMullan/Getty ImagesHe played all sorts of roles in Ridiculous productions, including the title character in Mr. Ludlam’s “Beauty and the Beast”-like fairy tale “The Enchanted Pig,” which ran for months in 1979 at the Ridiculous theater on Sheridan Square.“Everett Quinton personates the oinker as a most sympathetic fellow,” Don Nelsen wrote in a review in The Daily News.The two had a sensational success in 1984 with Mr. Ludlam’s “The Mystery of Irma Vep” (the name is an anagram for “vampire”), a parody of Victorian penny dreadfuls in which they played all the roles, male and female, switching deftly and rapidly. (Mr. Quinton held down four — a maid, an aristocrat named Lord Edgar, a monster/vampire and a woman hidden in the manor house.)“Each character is such a complete, precise comic creation that it often takes one’s breath away to watch the actors move from one role to the next (and back again) with nary a pause,” Frank Rich wrote in his review in The Times. “In ‘Irma Vep,’ Mr. Ludlam and Mr. Quinton have raised the Ridiculous to the sublime.”Mr. Ludlam and Mr. Quinton performed the show more than 330 times. But it turned out to be the peak of Mr. Ludlam’s career — he died of AIDS-related pneumonia in 1987. Mr. Quinton soldiered on with the Ridiculous theater, restaging some of Mr. Ludlam’s works while gradually expanding the offerings. By 1994, Mel Gussow, writing in The Times, found that Mr. Quinton had put his own stamp on the company.“While respecting the theatrical legacy of his mentor and longtime companion,” Mr. Gussow wrote, “Mr. Quinton has given the company his own irreverent signature: Ludlamania has been Quintonized.”He kept Ridiculous Theatrical going until 1997, by which time it had lost its Sheridan Square space and was, like other small theater companies, done in by high costs in an increasingly gentrifying part of town. Mr. Quinton, though, continued to direct and perform, including in “Drop Dead Perfect,” which played at the Theater at St. Clement’s in Manhattan in 2014 (and returned for an encore the next year).“In a sweet 1950s peach crocheted dress and matching bolero, Everett Quinton has never looked lovelier,” Anita Gates began her review in The Times.Sometimes Mr. Quinton would try roles first played by Mr. Ludlam. In 1998, at the West Side Theater in Midtown Manhattan, he directed a revival of “Irma Vep” and starred, this time taking the roles Mr. Ludlam had played (while Stephen DeRosa played the parts Mr. Quinton had originated). In 1990 he staged Mr. Ludlam’s “Camille,” a play loosely based on an Alexandre Dumas novel, taking on the role of Marguerite, which Mr. Ludlam had played in the 1973 premiere.Cheryl Reeves-Hayes was also part of the 1990 cast. “Whenever he was onstage as Marguerite,” she said by email, “I would hurry up and change so I could sit in the wings and watch him perform. He was mesmerizing to watch, and I learned so much from him as an actor.”Mr. Quinton during a dress rehearsal for the 1998 production of “The Mystery of Irma Vep.” Before Mr. Ludlam’s death, the two had performed a version of the show more than 330 times.James Estrin/The New York TimesRamona Ponce started designing costumes for Ridiculous productions in 1991. Her first assignment was for a 10-minute entertainment Mr. Quinton was staging for a trade council that was meeting at the Waldorf Astoria in Manhattan. The audience was not appreciative.“As soon as they saw the men in drag onstage they started throwing rolls,” she said by email. “Right there in the Waldorf Astoria Hotel ballroom. Rolls!!“Everett was furious, humiliated, traumatized. He turned on his heel and stalked out through the kitchen, head held high, topped by a giant mobcap, in Victorian drag. After that we couldn’t even mention the show, or the name of the hotel, for a decade after. But the show was magical and strange and daring and fun, all the things I wanted in life.”Everett James Quinton Jr. was born on Dec. 18, 1951, in Brooklyn. His father was a postal worker, and his mother, Elizabeth Frances Reardon Quinton, was a homemaker.After serving in the Air Force in Thailand, Mr. Quinton attended Hunter College for two years, but he had no thought of a theater career.“My only experience with the theater was playing Rip Van Winkle in the Cub Scouts,” he told The Daily News in 1993.Meeting Mr. Ludlam introduced him to a whole new world of possibilities. “I ran away and joined the circus” was how he put it in the 2001 interview with The Times.Although the Ridiculous troupe was known for parodies, cross-dressing and the occasional pig costume, Mr. Quinton said he gradually learned that outlandishness didn’t preclude the need for finding a character and making her, him or it real.“Even grotesques have feelings,” he told The Times in 1994.After Mr. Ludlam’s death, Mr. Quinton, who lived in the West Village, had a long-term relationship with Michael Van Meter, a member of the Ridiculous company who died in 2007 of complications of AIDS. In addition to his sister Mary, he is survived by another sister, Elizabeth Frances Quinton, and four brothers, Matthew, John Paul, Thomas and Timothy.Ms. Ponce said Mr. Quinton was well versed in and wary of theatrical superstitions, including the one that forbids whistling in a theater and the one that warns against mentioning the play “Macbeth” for fear of incurring a curse — neither of which she was aware of before working for him.“When I started whistling backstage, he came flying out from the dressing room and demanded that I leave the theater, walk around the park outside and say a line from Shakespeare before I could come back in,” she said. “He didn’t wait for me to mention the Scottish play — he decided he’d better tell me about that one before something really bad happened.”Mr. Quinton’s friend William Engel, an artist, noted that Mr. Quinton had a deeply spiritual side. He said the two of them worked together on many pageants for Grace & St. Paul’s Church on the Upper West Side.“No one could be more welcoming at the Lord’s table than Everett Quinton,” he said by email. “Especially the L.G.B.T.Q. community.”Ms. Reeves-Hayes said Mr. Quinton introduced her to that same church. When they took their production of “Camille” to London in 1991, she said, “Ev would be my church buddy, and we visited a couple of churches in the city.”On other walkabouts, they indulged a different tradition. They both admired old cartoon and comic strip characters, especially Krazy Kat, who loved a mouse, Ignatz. The mouse would constantly hurl bricks at Krazy, which she interpreted as a sign of affection.“So,” Ms. Reeves-Hayes said, “whenever we would see a cute guy, one of us would ask, ‘Got a brick?’” More

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      in Movies

      ‘Close’ Director Lukas Dhont: Film’s Master Storyteller of Youth

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      At 31, Lukas Dhont already has two art-house hits to his name. The Belgian director’s latest film, “Close,” shows his skill at eliciting intense performances from young actors.As a child growing up in Dikkelvenne, a quiet, quaint village near the city of Ghent, Belgium, the movie director Lukas Dhont often felt like an outsider. Other boys saw him as too feminine and mocked his interest in dance, except one named Félicien, with whom he shared a close friendship. But as the two approached puberty, Dhont felt social pressures pulling them apart.“In that moment, that tenderness started to become looked at through the lens of sexuality,” Dhont, now 31, said in a recent interview. “People were divided into groups and boxes, and we were confronted with the idea of labels.” As they became fearful of being ostracized, their friendship evaporated, and Dhont, who is gay, was fiercely bullied for the rest of his school days.That experience as a young person struggling with expectations around gender and sexuality has shaped both of Dhont’s acclaimed feature films: “Girl,” his 2018 movie about a transgender ballerina, and “Close,” a devastating portrait of a friendship between two young boys in the Belgian countryside, which won the Grand Prix award, the equivalent to second place, at the Cannes Film Festival last year.From left: Gustav De Waele and Eden Dambrine in a scene from “Close,” and Victor Polster in a scene from “Girl.”A24; Netflix“Close” is being distributed by A24 in the United States and is being released in theaters on Friday. It further establishes Dhont as a phenom of global art house cinema and one of its most observant chroniclers of adolescence. And it cements his reputation as a filmmaker who is exceptionally skilled at eliciting intensely emotional performances from young, often untrained actors.Dhont, who employs loose scripts and encourages his actors to improvise dialogue, said his method resembled that “of a choreographer, introducing movements.” He said his relatively open approach allowed young actors “to bring so much of themselves” to the films. “I create characters for them to hide in,” he said. “They are like co-authors.”That strategy helped him to coax out two astonishing central performances for “Close,” a slow-burn drama about two 13-year-old boys named Léo and Rémi (played by newcomers Eden Dambrine and Gustav De Waele) whose close bond elicits scrutiny when classmates suspect they are a couple. After a skittish Léo begins distancing himself from Rémi, a series of slights build to tragedy.The Projectionist Chronicles the Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Meet the Newer, Bolder Michelle Williams: Why she made the surprising choice to skip the supporting actress category and run for best actress.Best-Actress Battle Royal: A banner crop of leading ladies like Michelle Yeoh and Cate Blanchett rule the Oscars’ deepest and most dynamic race.‘Glass Onion’ and Rian Johnson: The director explains why he sold the “Knives Out” franchise to Netflix, and how he feels about its theatrical test.A Supporting-Actress Underdog: In “Everything Everywhere All at Once,” don’t discount the pivotal presence of Stephanie Hsu.Dambrine, a French student at a dance academy in Belgium, had never acted before Dhont spotted him on a train in 2018 and approached him about auditioning for the lead role in “Close.” Dhont explained that he when he saw the then-11-year-old, he was struck by his “angelic and androgynous” features and “very big eyes.”Eden Dambrine in a scene from “Close.” Dambrine was a student at a dance academy when Dhont approached him on a train and asked him to audition for the movie.A24In a video call, Dambrine, who is now 15, explained that it had been a “boyhood dream” to act in a movie, and that he had gotten the impression that acting could be fun from watching the blooper reels from “Avengers” films. (He added that when he called his mother to tell her that a stranger had approached him about starring in a movie, she had responded: “Get off the train! Get off the train!”)His mother ultimately accompanied him throughout the shoot, which lasted two months, in Belgium and the Netherlands. Among other challenges, the film required Dambrine to act out several intensely emotional moments in long, silent close-up. After he nailed a scene, in the first take, in which his character has a breakdown in a doctor’s office, much of the crew began weeping, Dhont recalled.Dambrine’s mother, whose name is France, said Dhont’s talent for working with young actors was partly a function of his youth. “He is not that far from being a teen,” she said, adding that Dhont’s emphasis on fostering bonds between crew and cast members before shooting, and his openness to improvisation, allowed her son to feel comfortable so he could focus on the emotional elements of his performance.She also noted that Dhont and Dambrine shared the experience of having been raised by single mothers “who had to figure out how to raise their kids.” The director, she said, “has a lot of empathy.”“When you’re young, you want to belong to a group, but there are people for whom that doesn’t work,” Dhont said. Kevin Faingnaert for The New York TimesDhont recalled that he had first become interested in film as a child, amid his parents’ divorce, when his mother returned home one night from seeing “Titanic,” James Cameron’s 1997 blockbuster. “My mom had been gloomy, and seeing her come back, telling me how beautiful it was,” he said, “I became obsessed with the film, and the feeling that a film could change someone.”His interest in making movies was bolstered at age 12, when an incident led him to give up his childhood dream of being a dancer. Dhont said that after performing a dance to the song “Fighter,” by Christina Aguilera, at a school talent show, his classmates mocked him even more mercilessly. “I felt so ashamed that I told myself I will not dance publicly anymore,” he recalled.Shortly after graduating from the Royal Academy of Fine Arts, in Ghent, where he studied film, he began making his first feature, “Girl,” at age 26. Partly inspired by Dhont’s own youthful experiences and the true story of Nora Monsecour, a transgender ballerina, the film won several awards, including the Caméra d’Or, at Cannes, but also drew a backlash from transgender people.Some were angered by the casting in the lead role of Victor Polster, a male actor who won an acting award at Cannes for his performance, while others argued that a climactic incident of self-inflicted violence in the film was exploitative. Writing in the Hollywood Reporter, the trans critic Oliver Whitney argued that “Girl” invited “the audience to react with disgust” at the main character’s body.“I just create characters for them to hide in,” Dhont said of the actors he works with. “They are like co-authors.”Kevin Faingnaert for The New York TimesThe blowback to the movie, Dhont said, was “emotionally challenging.” He added that “now, if I made a film with a trans character as the lead, I would make it differently,” but declined to get into the specifics of what he would change. “I can’t go back in time,” he said.Dhont said that his films thus far had been about the period in a person’s youth when they are “confronted with society for the first time” and “performing types of identities or stereotypes of identities.”“When you’re young, you want to belong to a group, but there are people for whom that doesn’t work,” Dhont said. “My films are about showing the world from that perspective.” More