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    Shannen Doherty’s ‘Let’s Be Clear’ Podcast Put It All Out There

    Over the past eight months, the “90210” and “Charmed” star spoke frankly and candidly about her cancer and her tumultuous career.It did not take long for Shannen Doherty to establish that hers was a different sort of celebrity podcast.Doherty began recording episodes of “Let’s Be Clear” from her home in November 2023, as she received treatment for a recurrence of breast cancer. As the podcast’s title suggests, the assertive star of “Beverly Hills 90210,” “Heathers,” “Mall Rats” and “Charmed” — as famed for her acting as for reports of her on-set infighting and partying — reckoned with her life and career with a candor that distinguished her project amid a glut of often aimless celebrity podcasts.Doherty was similarly confrontational as she wrestled with her own mortality — not in the abstract, but in wrenching specifics. She matter-of-factly recounted getting rid of her collection of antique furniture so her mother wouldn’t be faced with clearing out a storage unit after her death. On another episode, Doherty described selling off a property in Tennessee and choked up over what the decision meant.“I felt like I was giving up on a dream and what did that mean for me?” she asked rhetorically before taking a deep breath. “Did it mean that I was giving up on life? Did it mean that I was, like, throwing in the towel?”Doherty, who died Saturday at 53, didn’t do rewatches or share cute behind-the-scenes stories. Neither did she make oblique references to unnamed power brokers. Doherty faced the past and present head on, hosting former co-stars, directors, an ex-boyfriend and an ex-husband in conversations that sometimes exonerated her and that other times offered her the chance to assume culpability.In one of the earliest episodes, Doherty dived deep into the dispute with her former “Charmed” co-star Alyssa Milano that led to Doherty’s departure after the third season of the show, which was reported at the time as a voluntary decision.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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    For This Drama, Some Actors Had to Return to Prison by Choice

    Alongside Colman Domingo and Paul Raci, ex-inmates shot “Sing Sing” in a decommissioned correctional facility. Then came the screening in the actual prison.Between the jangle of keys and the beeps of walkie-talkies, the men watched.The occasion was an advance screening of the new A24 film “Sing Sing,” and at the prison it’s set in, the men were taking in a fictional version of their lives.Amid a heat wave, the audience — a mix of the studio’s guests and incarcerated men in hunter-green pants — crowded into the correctional facility’s chapel-turned-cinema. With the sun streaming through a stained-glass window of Christ kneeling before the cross, the viewers fanned themselves with paper plates.It was the first time Clarence “Divine Eye” Maclin had been to the prison in Ossining, N.Y., since 2012, when he finished serving more than 17 years for robbery.While incarcerated, Maclin had starred as Hamlet in the prison’s makeshift auditorium. Now he was free and returning for his screen debut. He entered the chapel with a grin and a triumphant bounce.Based on the work of the nonprofit Rehabilitation Through the Arts, “Sing Sing,” directed by Greg Kwedar, follows the production of a prison troupe’s first comedy, a fever dream of a play featuring time travel, ancient Egypt and Shakespeare. Maclin and the recent Oscar nominee Colman Domingo star as fellow prisoners alongside Paul Raci (also an Oscar nominee) as their earnest director.Maclin watching himself at the screening. “I always knew I wanted to act,” he said, but “I thought I would be doing it for free somewhere.”Hiroko Masuike/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

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    Stream Shelley Duvall’s Greatest Performances: ‘The Shining,’ ‘Popeye’ and More

    In “The Shining,” “Popeye” and more, her unusual presence jumps off the screen. That’s true even in small roles in “Annie Hall” and “Time Bandits.”Shelley Duvall, who died on Thursday at 75, had one of the most thrilling and complicated careers in modern cinema history. Discovered by the director Robert Altman, who became her greatest collaborator, Duvall fell into acting almost by accident. But her screen presence was so beguiling and irresistible that she became one of the defining stars of the 1970s and ’80s.Her layered and detailed performances in the likes of “3 Women” and “The Shining” made her a celebrated star. And yet she never fit easily into Hollywood, remaining always decidedly herself. In later life, Duvall retreated from acting and the public eye, but left behind a remarkable and diverse body of work. Here’s where you can stream some of her best.1970‘Brewster McCloud’Buy or rent on most major platforms.Duvall in her first onscreen role, as an optimistic tour guide in “Brewster McCloud.”MGMWhen Duvall was discovered by Robert Altman and the actor and casting director Bert Remsen, in Houston, she had no intention of becoming a performer. “I wanted to be a great scientist, not an actress. Madame Curie was my heroine,” she once told Roger Ebert. But Altman and Remsen had other plans, putting her in their strange delight of a movie about a boy, played by Bud Cort, who lives in the Houston Astrodome and wants to build wings to fly. Once she appears onscreen as the tour guide Suzanne, it’s clear she is one of the most unusual presences ever to grace the screen. With her oversize eyelashes, a staple of her personal style that highlighted her features, she’s intriguingly cheerful as she chirps away about diarrhea. Her optimism seduces Cort’s Brewster, and with him the audience, even if she turns out to be fickle.1971‘McCabe & Mrs. Miller’Stream on Tubi; buy or rent on most major platforms.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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    Shelley Duvall, Star of ‘The Shining’ and ‘Nashville,’ Dies at 75

    Her lithesome features and quirky screen presence made her a popular figure in 1970s movies, particularly Robert Altman’s.Shelley Duvall, whose lithesome features and quirky screen personality made her one of the biggest film stars of the 1970s and early ’80s, appearing in a string of movies by the director Robert Altman and, perhaps most memorably, opposite Jack Nicholson in “The Shining,” died on Thursday at her home in Blanco, Texas. She was 75.A family spokesman said the cause was complications of diabetes.Ms. Duvall wasn’t planning on a film career when she met Mr. Altman while he was filming “Brewster McCloud” (1970); she had thrown a party to sell her husband’s artwork, and members of his film crew were in attendance. Taken with her, they introduced her to Mr. Altman, a director with his own reputation for oddball movies and offbeat casting. He immediately asked her to join the cast, despite her lack of training.Ms. Duvall with Bud Cort in Mr. Altman’s “Brewster McCloud” (1970), her first film. She wasn’t planning on a film career when she met Mr. Altman, but he cast her despite her lack of training.Metro-Goldwyn-Mayer, via Everett CollectionShe said yes — and went on to appear in an unbroken string of five more Altman movies: “McCabe and Mrs. Miller” (1971), “Thieves Like Us” (1974), “Nashville” (1975), “Buffalo Bill and the Indians, or Sitting Bull’s History Lesson” (1976) and “3 Women” (1977). She also starred as Olive Oyl opposite Robin Williams in Mr. Altman’s “Popeye” (1980).“I thought: boy, if it’s this easy, why doesn’t everybody act?” Ms. Duval told The New York Times in April.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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    Shelley Duvall: A Life in Pictures

    Shelley Duvall, who died on Thursday at the age of 75, captivated Hollywood with her raw honesty, intuitive acting and winsome Texas drawl. She was nicknamed “Texas Twiggy” for her sharp fashion sense and became a regular presence in 1970s celebrity photos.Though she retired from show business in 2002, a new generation has remade her as a cult figure for the quirky and misunderstood. Here are some snapshots from her life and career.Duvall signing autographs. She wasn’t planning on a film career but she became the go-to actress for roles that called for an out-of-the-ordinary performance.Art Zelin/Getty ImagesDuvall with Robert Altman, the director who helped launch her career, beginning with “Brewster McCloud” (1970). She went on to appear in many more Altman films, including “McCabe and Mrs. Miller” (1971), “Nashville” (1975) and “3 Women” (1977).Gilbert Tourte/Gamma-Rapho, via Getty ImagesDuvall dancing at Studio 54. She lived the life of a celebrity in the 1970s and 1980s, dating Paul Simon and Ringo Starr.Guy Marineau/WWD and Penske Media, via Getty ImagesAltman directed Duvall and Sissy Spacek in “3 Women.” Here they attend a screening of the film at Cannes.Jean-Jacques Levy/Associated PressBeside jury president and Italian director Roberto Rossellini, Duvall displays her award for best actress at Cannes in 1977 for her performance in “3 Women.”Jean-Jacques Levy/Associated PressThree actresses who worked with Robert Altman: Geraldine Chaplin (“Nashville”), Lauren Hutton (“A Wedding”) and Duvall at a party honoring the director in New York.Getty ImagesThe film critic Pauline Kael called her the “female Buster Keaton.” On casting Duvall in “The Shining,” Stanley Kubrick told her, “I like the way you cry.”Reg Innell/Toronto Star, via Getty ImagesDuvall with Ringo Starr en route to his home in Monte Carlo.PA Images, via Getty ImagesSitting between Paul Simon and James Taylor, Duvall greets Arnold Schwarzenegger at a screening in 1977.Sal Traina/WWD and Penske Media, via Getty ImagesWith Simon and Gilda Radner. Duvall hosted “Saturday Night Live” in 1977.Getty ImagesDuvall with Jack Nicholson, her co-star in “The Shining.” Critics at the time picked her performance apart, and she was nominated for a Razzie award for worst actress. But something in the authenticity of her reactions, her otherworldliness, resonated with audiences.Robin Platzer/Getty ImagesTerry Gilliam (far left) directed Duvall in “Time Bandits” (1981).Ron Galella/Ron Galella Collection, via Getty ImagesDuvall at a Hollywood party in 1982.Judy Graeme/WWD and Penske Media, via Getty ImagesRobin Williams with Duvall, who played Olive Oyl to his Popeye in the comedy from 1980.Fairchild Archive/WWD/Penske Media, via Getty ImagesAndy Warhol with Duvall in New York City. He put her on the cover of Interview magazine.Sonia Moskowitz/Getty ImagesDuvall at a cast party for “Faerie Tale Theatre,” one of the many children’s television shows she produced starting in the mid-’80s. Episodes featured Robin Williams, Christopher Reeve, Carol Kane and Mick Jagger, among other stars.Bob Riha, Jr./Getty ImagesDuvall produced the 1990 Disney television musical “Mother Goose Rock ‘n’ Rhyme,” where she met Dan Gilroy, who composed and performed some of the soundtrack and became her longtime partner. Vinnie Zuffante/Getty ImagesDuvall in 2024. She spent many decades away from Hollywood, living in small-town Texas, but had recently started acting again.Katherine Squier for The New York Times More

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    In ‘The Shining,’ Shelley Duvall Was a Perfect Gothic Heroine

    Her performance was perhaps misunderstood at the time, just as the narrative surrounding her life would be later.If Stanley Kubrick’s “The Shining” was a twist on the centuries-old Gothic horror genre, there was no one better suited to play a modern Gothic heroine than Shelley Duvall. Duvall, who died Thursday at 75, was in her late 20s when she shot the role of Wendy Torrance, put-upon wife of blocked writer Jack (Jack Nicholson). The pair have holed up with their young son in the Overlook Hotel, working as winter caretakers.But something evil is afoot. The Overlook is less hotel than haunted house, saddled with the weight of inexplicable and violent history. Wendy is virtually trapped there, a small woman often alone in a rambling, dangerous building full of secrets. It might be more accurate to call the Overlook a monster, one that pushes its monstrousness onto its inhabitants. And it is Wendy, not Jack, who successfully resists in the end.The Gothic heroine, the woman trapped in the menacing haunted home, must exhibit courage in the face of danger, remaining resolute while also being susceptible to the evil that lurks around every corner. Without that tension, we wouldn’t be kept in suspense. In the film, Duvall is waifish, eyes wide, hair flat and scraggly, and it’s hard not to believe she’s going to die. Her only objective is to save her son, Danny, from his father, who — we learn early on — previously broke Danny’s arm in an alcoholic rage. This evil she is fighting is malevolent and abusive and real, a threat she has seen in action before, only now it carries an ax.The Wendy of Kubrick’s 1980 movie is a different kind of woman than the Wendy of Stephen King’s earlier novel — she’s more vulnerable, more frightened. King complained that the movie’s version was “basically just there to scream and be stupid and that’s not the woman that I wrote about.” Duvall was cited as a weak point in many of the film’s mixed reviews and nominated for a Razzie for worst actress.Yet her work in “The Shining” has grown in critical esteem in recent years; today it can feel as if detractors simply weren’t expecting how unsettling it would be to witness her performance of abject terror. There’s a strangeness to it: Her eyes are both huge and heavy-lidded, her mouth equally able to draw into a rosebud or spread wide for a shriek. Throughout the film, her affect is almost that of a china doll, terrified of being shattered. She appears afraid to breathe, barely able to speak.Duvall’s work in the film has grown in critical esteem in recent years. Warner Bros. Inc, via Associated PressWe 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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    ‘Oh, Mary!’ Star Cole Escola Is a Campy Actor With Serious Fashion

    Cole Escola, the actor and playwright, stood before a mirror at a pastel-colored studio in Manhattan’s garment district, holding a spray of white satin flowers in one hand.“The calla lilies are in bloom again,” Escola said, quoting a Katharine Hepburn line from the film “Stage Door.” The actor delivered it in Ms. Hepburn’s signature mid-Atlantic accent.It was the last day of June — the day of the New York City Pride March — and Escola was at the studio of Jackson Wiederhoeft, the designer of the brand Wiederhoeft, for a fitting before a red-carpet appearance: the Broadway premiere of “Oh, Mary!,” a comedic play written by and starring Escola, on Thursday.In the show, Escola plays a fictionalized version of the former first lady Mary Todd Lincoln, portraying her as an alcoholic and an aspiring cabaret performer desperate to flee the White House and her husband. After it premiered Off Broadway in February, “Oh, Mary!” received a groundswell of raves from critics, generating buzz loud enough for it to twice extend its Off Broadway run before being brought to Broadway this summer.The play’s glowing reception has made Escola an overnight sensation, 17 years after taking up acting. Previously, the actor had been known for YouTube skits and supporting roles on TV shows like “Search Party” and “At Home With Amy Sedaris.”Escola’s newfound stardom has meant adjusting to certain trappings of fame, like being invited to late-night talk shows, awards shows and red-carpet events — and receiving the wardrobe scrutiny that comes with such public appearances.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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    Alec Baldwin’s Role as a Producer Ruled Not Relevant to ‘Rust’ Trial

    The ruling was a victory for the actor, who is set to stand trial this week on a charge of involuntary manslaughter in the fatal shooting of a cinematographer. He has pleaded not guilty.A judge in New Mexico ruled on Monday that Alec Baldwin’s role as a producer of the film “Rust” was not relevant to his upcoming trial for involuntary manslaughter in the fatal shooting of its cinematographer in 2021, dealing a setback to the prosecution.Judge Mary Marlowe Sommer of the First Judicial District in New Mexico ruled that prosecutors could not argue that Mr. Baldwin’s role as a member of the film’s production team — he was one of its producers in addition to being its leading man — had made him more culpable for the death of the film’s cinematographer, Halyna Hutchins.It was a blow to the prosecution, which had sought to make Mr. Baldwin’s role as a producer part of their case. “As the producer he has the power to control safety on set, and there was a tremendous lack of safety on this set,” one of the prosecutors, Erlinda O. Johnson, argued in court earlier on Monday.Mr. Baldwin’s defense has disputed that, saying that as a member of the production team he was involved in creative matters, but that others had authority over hiring and budgets.The judge ruled that the prosecution could not present evidence about Mr. Baldwin’s position as one of the film’s producers.“I’m having real difficulty with the state’s position that they want to show that, as a producer, he didn’t follow guidelines and therefore, as an actor, Mr. Baldwin did all of these things wrong resulting in the death of Ms. Hutchins because as a producer he allowed these things to happen,” Judge Marlowe Sommer 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