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      in Television

      Rachael Lillis, Who Voiced Popular ‘Pokémon’ Characters, Dies at 55

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      Ms. Lillis voiced the characters of Misty and Jessie in the animated series based on a video game. She was diagnosed with breast cancer in May.Rachael Lillis, an actress who voiced the original English versions of Misty and Jessie, popular characters in the 1990s “Pokémon” anime television series, and later in the franchise’s movies and games as well, died on Saturday in Los Angeles. She was 55.The cause was cancer, according to Laurie Orr, one of her sisters.Ms. Lillis started voice acting in the 1980s, according to her IMDB page, but her big break came in the late 1990s when she was cast in the English version of the “Pokémon” TV series, a popular Japanese anime based on the “Pokémon” video games. In hundreds of episodes over eight years, Ms. Lillis voiced the characters Misty, a trusted friend of the main character, Ash Ketchum, and Jessie, one of the show’s villains.She also voiced those characters in two “Pokemon” movies as the cultural phenomenon grew.Ms. Lillis, who lived in Los Angeles, also was the voice of Jigglypuff, whose fairy song put listeners to sleep and was one of the creatures the characters pursue.Ms. Lillis, who had dozens of other voice credits to her name, had a strong sense of humor and a talent for voice acting, said Eric Stuart, who voiced James, the other member of Team Rocket in the “Pokémon” series, and worked with Ms. Lillis for many years.“If you met her, you’d not say this was so natural for her,” Mr. Stuart said in a phone interview. “Rachael in real life was pretty low key, kind of quiet and sweet,” Mr. Stuart added. “The minute she stepped in that booth it was like this whole other energy came out.”Mr. Stuart first met Ms. Lillis in the mid-1990s, when there were not a lot of people dubbing anime into English.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

      This Theater Company in Wisconsin Banks on the Glory of the Human Voice

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      For a regular theatergoer, a recent July evening in rural Wisconsin was peak surreal.It could have been the sight of an amphitheater packed to its 1,075-seat capacity for a weeknight performance of the fairly obscure French comedy “Ring Round the Moon.”Or maybe it was that the actors didn’t have mics, which is a rarity nowadays. From my seat, I could see audience members leaning in, transfixed by those unamplified voices.“They’re here to listen,” Brenda DeVita, the artistic director of American Players Theater, said of the faithful who flock to Spring Green, about an hour west of Madison.A.P.T., in its 45th season, describes itself as a language-based company, which explains why it has doubled down on idiosyncratic choices in the current theatrical landscape. One is not doing musicals. Another is eschewing mics.That last is partly a practical choice since A.P.T. productions — nine this season, with the last closing on Nov. 10 — are done in repertory. This means the actors are always busy rehearsing or performing, leaving little spare time to add microphones to tech rehearsals. But banking on the glory of the human voice is primarily an artistic decision: Nothing comes between the actors, their words and the public.“Much Ado About Nothing,” featuring Sydney Lolita Cusic, lower left, and Samantha Newcomb and Briana J. Resa on the balcony, is running through September at American Players Theater’s 1,100-seat outdoor amphitheater.Eric Ruby for The New York TimesWe 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

    • 138 Shares179 Views

      in Movies

      What ‘It Ends With Us’ Says About the Blake Lively Brand

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      The images onscreen are informed by the actress’s offscreen businesses, making the movie a fascinating study in the uses of star power.Blake Lively’s hair is like a character unto itself in the new romantic drama “It Ends With Us.”Her thick mane shapeshifts with her role, Lily Bloom, a flower shop owner who falls in and out of love with an abusive neurosurgeon. Lively’s hair, dyed a soft ginger, is artfully messy when she gets her hands dirty starting up the store. The camera follows a mass of buoyant curls when she struts into a party dressed to impress the man who will ultimately betray her. When she wakes up post-coitus, her hair is perfectly tousled. When she is sad, it droops as if by magic.You could say Blake Lively’s hair is a tool she uses to sell her performance, but her performance is also a tool she uses to sell her hair. Those who are impressed with her locks in “It Ends With Us” can learn from her Instagram that she recently debuted a line of hair-care products called Blake Brown. (Brown is her father’s last name.)In many ways “It Ends With Us” is a brand-building exercise for Lively. Yes, the film, directed by Justin Baldoni, is an adaptation of a popular novel, meant to lure fans of the best-selling author Colleen Hoover, but it also serves as an advertisement for the world of Lively — not just her talent but her celebrity and her other significant role, mogul, making the film a fascinating study in the various forms star power can take.On the most readily understandable level, “It Ends With Us” makes a convincing case for Lively as an actress. Her particular je ne sais quoi was evident back in the 2007 pilot of “Gossip Girl,” which opened with a tribute to her allure. Her character — Serena van der Woodsen, the rich girl with a troubled past — arrives at Grand Central, back in New York after a mysterious absence, and everyone turns toward her. As she looks around the train station’s vast hall, she looks gorgeous and wistful, every flip of her hair (that hair!) seems imbued with greater meaning.Lively as Serena van der Woodsen in the opening scenes of “Gossip Girl.”KC Bailey/CWLike every young star on that prime-time soap, Lively made a bid for a film career. “Green Lantern” (2011) didn’t win her a franchise, but it did introduce her to her future husband, Ryan Reynolds. The dark comedy “A Simple Favor” (2018), in which she played a martini-stirring psychopath, was a surprise box office success and garnered a fervent enough fan base to earn a sequel. But Lively seemed to struggle to find her niche in movies, and while she received some praise for performances in the romance “The Age of Adaline” (2015) and the survival thriller “The Shallows” (2016), nothing propelled her to the next level of fame on the big screen.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

      How Hollywood Glamour Is Reviving the Endangered Broadway Play

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      George Clooney, Robert Downey Jr., Denzel Washington and Mia Farrow are coming to Broadway, where some producers see plays with stars as safer bets than musicals.Robert Downey Jr. is deep in rehearsals for his Broadway debut next month as an A.I.-obsessed novelist in “McNeal.” Next spring, George Clooney arrives for his own Broadway debut in “Good Night, and Good Luck,” and Denzel Washington returns, after a seven-year absence, to star in “Othello” with Jake Gyllenhaal.Then comes an even more surprising debut: Keanu Reeves plans to begin his Broadway career in the fall of 2025, opposite his longtime “Bill & Ted” slacker-buddy Alex Winter in “Waiting for Godot,” the ur-two-guys-being-unimpressive tragicomedy.Broadway, still adapting to sharply higher production costs and audiences that have not fully rebounded since the coronavirus pandemic, is betting big on star power, hoping that a helping of Hollywood glamour will hasten its rejuvenation.Even for an industry long accustomed to stopovers by screen and pop stars, the current abundance is striking.It reflects a new economic calculus by many producers, who have concluded that short-run plays with celebrity-led casts are more likely to earn a profit than the expensive razzle-dazzle musicals that have long been Broadway’s bread and butter.For the actors, there is another factor: As TV networks and streaming companies cut back on scripted series, and as Hollywood focuses on franchise films, the stage offers a chance to tell more challenging stories.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

    • 113 Shares99 Views

      in Movies

      Ariana Greenblatt on the ‘Stupid’ Movie That Inspires Her

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      “It’s a big part of my personality,” admitted the actress, who broke through in “Barbie” and is now in the sci-fi film “Borderlands.”After playing America Ferrera’s defiant daughter in “Barbie,” Ariana Greenblatt has lots of mentor options. There’s Margot Robbie (“so cool”). Michael Cera (“I love him so much”). Greta Gerwig (“yeeessss”).But her go-to vibe check? That remains her older brother, Gavin, who is studying fashion design.“All my looks are approved by him,” Greenblatt, 16, said in a phone interview from her home in Los Angeles, where she lives with her family and two rescue dogs, Luna and Foxy. “He has such great style.”He also served as the vetter on another important project: “Borderlands,” a film adaptation of the sci-fi video game in which Greenblatt plays the demolitions expert Tiny Tina.“I called him to fact-check: ‘Is this video game cool?’ He was like, ‘Yeah, I play it all the time,’” Greenblatt said. “That was my green light to move forward.”While she watched her dogs try to catch a squirrel, Greenblatt, who is now filming “Now You See Me 3” in Budapest, discussed the item that’s her must-have on the road, why she thinks everyone should read “The Outsiders” and her dream writing project. These are edited excerpts from the conversation.1‘The Outsiders’At first I was mad that I had to read it in school, but I really connected with it. My favorite character is either Darry or Sodapop — he was so cute in the movie! When Dally got shot at the end, it made me sob. Wait, there’s a musical? Now I have to see it!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

    • 125 Shares169 Views

      in Theater

      Overlooked No More: Renee Carroll, ‘World’s Most Famous Hatcheck Girl’

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      From the cloakroom at Sardi’s, she made her own mark on Broadway, hobnobbing with celebrity clients while safekeeping fedoras, bowlers, derbies and more.This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.For 24 years, as the hatcheck girl at Sardi’s, the storied theater district restaurant on West 44th Street in Manhattan, Renee Carroll found fame from within the close confines of a cloakroom.From that post, she hobnobbed with celebrity clientele, fed insider gossip to newspaper columnists and wrote an immensely popular, chatty book that dished about which stage actress ate too much garlic (Katharine Cornell, if you must know) and how fading stars wistfully reacted when rising newcomers like Joan Crawford entered the dining room.Checking hats at a restaurant might seem like a menial job, and in fact the salary for safekeeping homburgs, fedoras, bowlers and derbies was measly, but Caroll saw the position as an opportunity to make her own mark on Broadway.With her wisecracking personality, she won over actors, writers and producers while earning dime or quarter tips. If someone checked a play script with her, she perused it and offered canny critiques, sometimes unsolicited, by the time the patron had finished lunch.Her approbation was considered such a good-luck charm that even hatless playwrights and producers were known to leave her money. Eugene O’Neill once entrusted her with his wristwatch when he had nothing else on hand to check.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

    • 138 Shares99 Views

      in Television

      Gabriel Olds, Los Angeles Actor, Is Arrested on Sexual Assault Charges

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      Gabriel Olds, who played the Christian broadcaster Pat Robertson in the 2021 movie “The Eyes of Tammy Faye,” has been accused of sexually assaulting three women.A Los Angeles actor was arrested on Wednesday after three women accused him of luring them into a “false sense of security” on dates and then sexually assaulting them, the police said.The actor, Gabriel Olds, 52, has had roles in television, film and stage productions since the 1990s, including a turn as Pat Robertson, the Baptist minister and broadcaster, in the 2021 movie “The Eyes of Tammy Faye,” starring Jessica Chastain and Andrew Garfield.The Los Angeles police said in a statement on Wednesday that investigators had identified three women whom Mr. Olds sexually assaulted since 2013, as well as two other women who reported “lesser violent sexual conduct.” Mr. Olds, who was charged with seven counts of felony sexual assault, was being held for $3.5 million bail.It was not immediately clear if he had a lawyer.Because Mr. Olds often traveled for work, detectives believe there may be more victims in other parts of the country who have not come forward, the Los Angeles police said.A New York native and Yale alumnus, Mr. Olds used his status as an Ivy League graduate with a long list of film credits to meet women and arrange dates, the police said. He met some of the women on dating apps, the police said.One of the three women, who was 41, reported on Jan. 19, 2023, that Mr. Olds had raped her at her home in Los Angeles, the police said. The two other women later reported similar assaults dating back to 2013, the police said.“We heard the same story again and again,” Detective Brent Hopkins, a supervisor in the special assault section of the Los Angeles Police Department, said in a statement. “Mr. Olds started off charming, but then used brutal violence to carry out these rapes. Some of these survivors suffered in silence for years before finding the strength to speak up. Now that he’s off the streets, we want to make sure everyone has a chance to be heard.”Mr. Olds’s television credits include appearances in two episodes of “NCIS: Los Angeles” and in a single episode of the NBC series “Blindspot,” according to IMDB. On the New York stage, he played Rodolpho in a 1997 production by the Roundabout Theater Company of Arthur Miller’s “A View From the Bridge.” More

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      in Movies

      ‘Deadpool & Wolverine’ Director Shawn Levy on Those Surprise Cameos

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      Shawn Levy explains the thinking behind specific cameos, what was saved from discarded scripts and how they made that end-credits tribute to Fox.Though the director Shawn Levy has spent the last several months promoting his new blockbuster, “Deadpool & Wolverine,” there was so much he couldn’t say until now.“This conversation will be tantamount to therapy for me,” Levy joked last week as he signed on to a video call to discuss cameos and plot elements that had to be kept hidden until after the film’s juggernaut opening weekend. (Major spoilers follow.)Though trailers sold the movie as a team-up between Ryan Reynolds’s meta mercenary, Deadpool, and Hugh Jackman’s surly mutant, Wolverine, the starry supporting cast includes some big surprises, including Jennifer Garner as the assassin Elektra, Wesley Snipes as the vampire hunter Blade and Channing Tatum as the card-tossing mutant Gambit. The film’s multiverse-spanning shenanigans also allow the return of Chris Evans, who retired his Captain America character in “Avengers: Endgame” but here reprises Johnny Storm, the “Fantastic Four” character he played back when 20th Century Fox owned key pieces of the Marvel portfolio.Levy said nearly all of those surprise cameos were hatched in Reynolds’s apartment, where much of the movie was conceived amid pie-in-the-sky brainstorming. “It was the two of us acting scenes out, passing a laptop back and forth and saying, ‘Hey, what if this?’” Levy recalled. “It invariably led to one of us texting that actor and just asking.”Here are edited excerpts from our conversation.Ryan has said that you both had trouble cracking the story before Hugh agreed to come on board. Was there anything from those early, Wolverine-less versions that you kept?A few disparate elements made it all the way through, and one of the bigger ones includes this notion of Wade going through a midlife malaise and selling used cars: This was a guy who had given up on his better self and was living a life of compromise. That survived through the Wolverine iteration of this movie, as did the imperative of having Wade’s chosen family factor in. And I remember [Paul] Wernick and [Rhett] Reese, who co-wrote the first “Deadpool” movies, pitching this idea of a Chris Evans misdirect very, very early: What if we could get Chris Evans and the audience thinks it’s Cap, but he’s actually coming back as Johnny Storm? It was such an A-plus idea that it survived every iteration of the story line.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