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      in Movies

      Gotham Awards Go to ‘A Different Man’ and ‘Sing Sing’

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      The kickoff to awards season has a mixed record but can help lift small films like the two surprise winners.“A Different Man,” a dark indie comedy starring Sebastian Stan, was the surprise best-feature winner at the 34th annual Gotham Awards, which took place Monday night at Cipriani Wall Street in New York.Directed by Aaron Schimberg, the film stars Stan as an actor with neurofibromatosis who undergoes an experimental surgery to remove tumors from his face, giving him a more conventional appearance. That makeover puts him in danger of losing a leading role to a local bon vivant (Adam Pearson) who also has neurofibromatosis but owns his appearance without shame.Though “A Different Man” is distributed by the hot studio A24, it was considered the lowest-profile contender in its category. Most pundits expected the Palme d’Or winner “Anora” to cruise to victory here and even Schimberg was caught off-guard by the win. “I think I’m not the only person in the room who’s totally stunned by this,” the director said onstage, admitting he had not prepared a speech in advance, fearing it would be “hubris” to do so.In a very fluid Oscar season, the Gotham win could raise the chances of Stan, who also stars in the Donald Trump biopic “The Apprentice,” and Pearson, a dark-horse supporting-actor candidate. Though the Gothams’ effectiveness as an Oscar bellwether can fluctuate, three of the four most recent films to triumph there — “Past Lives,” “Everything Everywhere All at Once” and “Nomadland” — also went on to be nominated for best picture at the Oscars.The Gothams are most valuable when it comes to helping smaller films like “A Different Man” that rely on an awards-season run to stay in the conversation. Though the ceremony recently lifted its $35 million budget cap for eligible contenders, its nominating juries, which are mostly made up of a handful of film journalists, still tend to favor movies that were made on a shoestring.That includes “Sing Sing,” a prison drama that won the night’s lead and supporting-performance honors for Colman Domingo and Clarence Maclin. (The Gothams are gender-neutral.) “Let’s keep doing work that really matters, that makes a difference,” Domingo, who starred in “The Color Purple” and “Rustin” last year, told the audience. “That’s what we can do right now. That can be a light in the darkness.”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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      in Television

      Wayne Northrop, ‘Days of Our Lives’ Actor, Dies at 77

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      He was best known for playing two characters, Roman Brady and Dr. Alex North, in more than 1,000 episodes on the daytime soap opera.Wayne Northrop, an actor who played two roles on the long-running daytime soap opera “Days of Our Lives,” as a good-hearted detective and then as a shadowy doctor, died on Friday. He was 77.Mr. Northrop, who learned six years ago that he had early onset Alzheimer’s disease, died at the Motion Picture and Television Woodland Hills Home in Woodland Hills, Calif., according to a family statement from his publicist, Cynthia Synder.He appeared in several television shows throughout his career, including the prime-time legal drama “L.A. Law” in the 1980s. He gained notoriety on ABC’s “Dynasty” as the handsome and mysterious chauffeur Michael Culhane who drove around the Denver business titan Blake Carrington, who was portrayed by the actor John Forsythe. Mr. Northrop appeared in 35 episodes.Mr. Northrop was probably best known for his roles on “Days of Our Lives.” The show, which premiered in 1965 on NBC, follows various characters in the fictional Midwestern town of Salem.Mr. Northrop portrayed two characters on the show. He was the tough but loyal detective Roman Brady from 1981-84 and again from 1991-94, according to his publicist.Beginning in 2005, he played Dr. Alex North, a one-time medical school classmate of Dr. Marlena Evans, a psychiatrist and the town’s matriarch, played by Deidre Hall. The Dr. North character was an amnesia specialist and a shadowy figure who manipulated, blackmailed and even committed murder on the show, according to soaps.com.Mr. Northrop appeared in more than 1,000 episodes from 1981-2006. The show moved to the network’s Peacock streaming service in 2022.Wayne Northrop was born on April 12, 1947, in Sumner, Wash. He earned his bachelor’s degree in communications from the University of Washington before pursuing acting.Mr. Northrop’s career began in theater, with his first big break in 1975 when he joined the Los Angeles Actors’ Theater.He made his television debut with a small part in “Police Story,” an anthology crime drama about the lives of police officers. His other television credits include appearances in “Eight Is Enough,” a show about a newspaper columnist and his eight children; “Baretta,” about a New York City detective; and “The Waltons,” about a Virginia family in the 1930s and ’40s; and “You Are the Jury,” about actual courtroom trials.He also landed roles in the made-for-television films “Beggarman, Thief,” (1979) about the Jordache family, adapted from the novel by Irwin Shaw; and “Going for Gold: The Bill Johnson Story” (1985) about the first U.S. men’s skiing gold medal winner.Mr. Northrop also appeared as Rex Stanton in 121 episodes of the “General Hospital” soap opera spinoff, “Port Charles” from 1997-98. That show also starred his wife, Lynn Herring Northrop, who has been an actress on “General Hospital” since 1986.He is survived by his wife, their sons, Hank Northrop and Grady Northrop, and stepmother, Janet Northrop, according to the family statement. More

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      in Theater

      Auli’i Cravalho on ‘Moana 2’ and Making Her Broadway Debut

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      On a chilly November evening, wearing a light leather jacket and a scarf, Auli’i Cravalho was freezing as she plunged through a pair of gleaming doors into a candlelit bar in Midtown Manhattan.“I do not know how people layer here — I’m in total awe,” said Cravalho, who had just come from a photo shoot at a park on the Lower East Side. Like the plucky young heroine she voices in Disney’s “Moana” films — the sequel, “Moana 2,” hits theaters on Wednesday — Cravalho grew up in a tropical climate, in Kohala, Hawaii.But recently she had been living in an apartment in Hell’s Kitchen, with her partner and her best friend, while starring in the Broadway revival of “Cabaret.” Cravalho plays the singer Sally Bowles in the John Kander and Fred Ebb musical about a Berlin nightclub during the rise of fascism.That night would be her first back in the show after sitting out a few performances after she “had come this close to vocal hemorrhaging.”“I have a newfound respect for the leads of these musicals, because my gosh, it is tough,” said Cravalho, 24, whose name is pronounced owl-LEE-ee cruh-VAL-yo. It had been a whirlwind few weeks, but she was gregarious as she sipped tea poured from a miniature teapot.In addition to performing an emotionally demanding role seven times a week, there were promotional appearances for “Moana 2,” the follow-up to the 2016 Polynesian animated adventure — a global phenomenon that was the most-streamed movie on any U.S. platform last year, according to Nielsen.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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      in Theater

      Juliette Binoche Is Taking Christian Louboutin to the Theater

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      “I’ve seen this play three times, and it’s five and a half hours long,” said the actress, who stars in the new movie “The Return.”In Homer’s “Odyssey,” Penelope waits 20 years for her husband, Odysseus, to come home after winning the Trojan War.Juliette Binoche waited even longer to reunite with Ralph Fiennes after “The English Patient,” the 1996 film in which they co-starred.Their collaboration this time: “The Return,” Uberto Pasolini’s reimagining of Homer’s epic, and a project the filmmaker worked on for 30 years.Binoche was excited by Pasolini’s vision for the movie — a kind of stripped-down landscape with actors wrapped in cloth instead of costumes.“There was something bare about it. He tried to really go to the core of the dialogue,” she said in a video call from Paris. “He made those characters very human.”Binoche was also at a point in her life where “I was in touch with the feeling of abandonment, the feeling of the patience that you need to have for this male side of anger, of going into the world and conquering,” she said.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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      in Television

      Earl Holliman, Rugged, and Familiar, Screen Presence, Dies at 96

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      Earl Holliman, an iron-jawed actor who earned a star on Hollywood Boulevard for a prolific career that included a corral full of Westerns, an appearance on the first episode of “The Twilight Zone” and a turn as Angie Dickinson’s boss on the 1970s television drama “Police Woman,” died on Monday at his home in Studio City, Calif. He was 96.His death was confirmed by his husband, Craig Curtis, who is his only survivor.While never a household name, Mr. Holliman was a seemingly ubiquitous presence on both the big and small screen, collecting nearly 100 credits over a career that spanned almost five decades.Ruggedly handsome, he was a natural choice for Westerns, war movies and police procedurals. Among his many notable films were “The Bridges at Toko-Ri” (1954), starring William Holden and Grace Kelly; “Gunfight at the O.K. Corral” (1957), starring Burt Lancaster and Kirk Douglas; “The Sons of Katie Elder” (1965), with John Wayne and Dean Martin; and “Sharky’s Machine,” the 1981 Burt Reynolds detective thriller.Over the years, he also popped up in many television series, including “Gunsmoke,” “CHiPs” and “Murder, She Wrote.”Mr. Holliman’s career started with promise. He broke through in the Depression-era romance “The Rainmaker” (1956), winning a Golden Globe for best supporting actor for playing the impulsive teenage brother of a lovelorn woman (Katharine Hepburn) who encounters a grifter (Mr. Lancaster) promising rain in drought-ravaged Kansas.A relative unknown, Mr. Holliman managed to win the role over Elvis Presley, who was then rocketing to fame as a rock ’n’ roll trailblazer, but who took time out to read for the role. (Mr. Holliman apparently had little to worry about: “Elvis played the rebellious younger brother with amateurish conviction — like the lead in a high school play,” Allan Weiss, a screenwriter who saw the audition, recalled.)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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      in Theater

      Helen Gallagher, Winner of Two Tonys and Three Emmys, Dies at 98

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      She was honored on Broadway for roles in “Pal Joey” and “No, No, Nanette” and then turned to TV, where she won three Daytime Emmys for her work on “Ryan’s Hope.”Helen Gallagher, who parlayed her song-and-dance skills into Tony Award-winning performances in revivals of the musicals “Pal Joey” and “No, No, Nanette,” and who turned to television to play the matriarch on the long-running soap opera “Ryan’s Hope” when theater no longer provided her a living, died on Sunday in Manhattan. She was 98.Her death, in a hospital, was confirmed by Patti Specht, a friend and the executor of her will.Ms. Gallagher was 18 when she made her Broadway debut in 1944, in the chorus of a Cole Porter revue, “Seven Lively Arts.” Over the next several decades, she worked with an A-list group of choreographers, including Jerome Robbins (“High Button Shoes”), Agnes de Mille (“Brigadoon”), Bob Fosse (“Sweet Charity”) and Donald Saddler (“No, No, Nanette”).Ms. de Mille nearly fired her from “Brigadoon” in 1947. “Agnes wanted very lyrical work, and I’d just done ‘Billion Dollar Baby’ and everything came out bumps and grinds,” Ms. Gallagher told The New York Times in 1971.But in 1958, when she played Ado Annie, her favorite role, in a revival of Rodgers and Hammerstein’s “Oklahoma!” at New York City Center, she unexpectedly earned Ms. de Mille’s praise.“She came in and restaged ‘All Er Nuthin’ for me, and she made it a little dance beside the song,” Ms. Gallagher said on the Behind the Curtain theater podcast in 2017.“She sent me an orchid on opening night,” she added, with a note saying, “‘You are truly a star.’”By then, Ms. Gallagher had been a Tony Award winner for six years. In 1952, she had portrayed the bitter chorus girl Gladys Bumps in a revival of “Pal Joey,” the Richard Rodgers-Lorenz Hart musical about a notorious, womanizing nightclub owner, Joey Evans (Harold Lang), who is targeted by Ms. Gallagher’s character and a mobster in a revenge scheme.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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      in Movies

      Danielle Deadwyler Goes Deep in “The Piano Lesson”

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      On a recent Sunday morning in West Hollywood, the actress Danielle Deadwyler wore all white, clad in a pristine Tory Burch dress.“You know what white represents?” she said. “Spiritually, it’s rebirth: You get baptized, you put on a white robe, and you allow yourself to be witnessed in a certain way and to be changed. I think I’m in the midst of all of that.”Did she have a sense of where that change would take her?“Hell no,” Deadwyler said. “But I’m open.”Certainly, she appears headed in the right direction. After supporting roles in “The Harder They Fall” and “Station Eleven” established her as an actress to watch, Deadwyler’s career breakthrough came two years ago with the film “Till,” about the 1955 Mississippi murder that helped catalyze the civil-rights movement. For her deeply felt performance as Mamie Till, whose 14-year-old son Emmett was slain by white supremacists, Deadwyler won leading honors from the NAACP Awards, Gotham Awards and National Board of Review.She’s every bit as powerful in Netflix’s “The Piano Lesson,” which premiered on the streamer last week and is once again earning the 42-year-old actress awards buzz. Based on the play by August Wilson, “The Piano Lesson” casts Deadwyler as Berniece, a widowed mother at odds with her brother, Boy Willie (John David Washington), in post-Depression-era Pittsburgh. Both siblings must contend with generational trauma that’s wrapped up in the fate of their family piano: Though Boy Willie wants to sell it to buy land, Berniece insists the piano should stay put, since it serves as a totemic reminder of what their enslaved ancestors have been through.Danielle Deadwyler stars as Berniece in “The Piano Lesson,” an adaptation of August Wilson’s play.As Berniece deals with Boy Willie, rebuffs the preacher Avery (Corey Hawkins), who seeks to court her, and shares a surprising, erotically charged moment with her brother’s friend Lymon (Ray Fisher), Deadwyler feels compellingly real in the role. “I’ve never felt like I was watching Danielle in this, I never thought of her outside the role,” said Denzel Washington, who produced the film. Unlike other actors who are determined to show their work, Deadwyler simply embodies the character, Washington said: “If you can dissect it, then they’re probably not very good, right? It’s what you get from it that’s proof of what they’re doing — it’s what you feel.”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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      in Theater

      Emma Corrin and Maggie Nelson on the Strength in Vulnerability

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      Admiration Society brings together two creative people from two different fields for one wide-ranging conversation.Emma Corrin first encountered Maggie Nelson’s work three summers ago, when the actor was in Brighton, England, filming 2022’s “My Policeman,” a British drama about postwar sexual repression. At the time, Corrin, now 28, was grappling with their gender identity, and a friend recommended “The Argonauts” (2015), Nelson’s memoir about queer desire and making a family with her partner, the artist Harry Dodge. The book appealed so deeply to Corrin that, when that production ended, they decided to remain at the flat they’d rented during filming to finish reading it.Nelson, 51, was born in Northern California and moved in the 1990s to New York, where she worked as a waitress, trained as a dancer and took workshops with the poet Eileen Myles before getting her Ph.D. in English at the City University of New York. In addition to “The Argonauts,” Nelson, who’s now based in Los Angeles, is the author of “Bluets” (2009), a meditation on love and loss in the form of a treatise on the color blue; “Like Love” (2024), her latest collection of essays and conversations; and eight other books that include scholarly criticism, autobiography, true crime and poetry.Corrin’s career has also spanned genres. After earning a degree in education, English and drama at the University of Cambridge, the London-based actor gained sudden acclaim as Princess Diana on “The Crown” in 2020, and then went on to star in the historical romance “Lady Chatterley’s Lover” (2022), the psychological thriller “A Murder at the End of the World” (2023) and in the 2022 stage adaptation of “Orlando: A Biography,” Virginia Woolf’s 1928 novel. Once billed as an ingénue, Corrin brings a fierce physicality to their roles, the next of which will be in Robert Eggers’s gothic horror film “Nosferatu,” an update of the vampire classic that will be released next month.For Corrin, who recently wrote a screenplay with a friend, Nelson’s work remains a touchstone. After wrapping “A Murder at the End of the World,” the co-creator Zal Batmanglij presented the actor with a copy of “The Red Parts,” Nelson’s 2007 memoir of following a murder trial. Earlier this year, Corrin saw the playwright Margaret Perry’s adaptation of “Bluets,” starring Emma D’Arcy, Kayla Meikle and Ben Whishaw, in London. It was the first time that Nelson’s work had been performed onstage.This past summer, Corrin, who was in Los Angeles to promote their turn in “Deadpool & Wolverine,” met Nelson for the first time in a Hollywood photography studio, where the actor and the writer discussed vulnerability, the dangers of self-editing for social media and the pleasure of bringing a sense of play to their work.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