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      in Movies

      ‘The Interview’: Demi Moore Is Done With the Male Gaze

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      Demi Moore’s new movie, “The Substance,” which opens Sept. 20, is a dark comedy about the horrors of getting older as a woman in Hollywood. But it’s also a literal body-horror film — the basic premise is that Moore’s character, an aging actress-turned-celebrity-fitness-instructor named Elisabeth Sparkle, takes a strange elixir (the substance) that allows her to create a younger, more perfect version of herself. And you see that creation in bloody, visceral detail. The movie kind of grossed me out, to be honest, but I couldn’t stop thinking about it afterward. And it was fascinating to see Moore, who has been open about her own struggles with her body image and has lived most of her life in the public eye, play this role.Listen to the Conversation With Demi MooreThe actress discusses how her relationship to her body and fame has changed after decades in the public eye.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio AppI’ve been mesmerized by Moore for decades, starting in 1985 with “St. Elmo’s Fire,” when her husky voice and bold onscreen persona — in this instance, a kind of wildness that made her seem both alluring and destructive — first broke through. There was a period when it felt as if every movie Moore starred in was an event — “Ghost,” “A Few Good Men,” “G.I. Jane,” “Striptease,” “Indecent Proposal.” She eventually became the highest-paid actress in Hollywood, and also an early advocate for pay equity in the industry, long before the issue was part of the national discourse.But even though Moore was such a visible celebrity of my teenage and early adult years, I never felt I knew much about her until reading her revealing 2019 memoir, “Inside Out,” which opens at the lowest point in her life, with the end of her marriage to Ashton Kutcher and her relapse into alcoholism. Moore’s struggles started early as the child of a mentally ill, alcoholic mother. But much of the book is about the extreme lengths she went to during her prime Hollywood days to control her body through disordered eating and exercise. Now in her 60s and a grandmother, Moore tells me she has finally grown comfortable in her own skin and, with “The Substance” and this stage of her career, is hoping to upend expectations about what it means to be an aging woman in an industry that both embraced and judged her harshly. (And a note: I asked Moore how her former husband Bruce Willis, who’s living with frontotemporal dementia, is doing, and she said he’s stable and OK, all things considered.)Why did you sign on to star in a movie about a woman who’s aging in Hollywood and at war with her own body? It felt very meta watching you do this. Why it was easy for me to step in and do this is because I don’t feel I am her. This is a woman who has no family — she’s dedicated her entire life to her career, and when that’s taken, what does she have? And so, in a way, I had enough separation from her, and at the same time, a deep, internal connection to the pain that she was experiencing, the rejection that she felt. I knew it would be challenging, but potentially a really important exploration of the issue.Tell me what you understand the issue to be. That it’s not about what’s being done to us — it’s what we do to ourselves. It’s the violence we have against ourselves. The lack of love and self-acceptance, and that within the story, we have this male perspective of the idealized woman that I feel we as women have bought into. More

    • 138 Shares189 Views

      in Movies

      Margaret Qualley Is Getting the Hang of Being a Movie Star

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      Margaret Qualley could finally breathe again.“I’ve been working a lot,” she said over iced tea at Clark’s, a Brooklyn Heights diner near where she lives with her husband, the music producer Jack Antonoff. “I’m relishing these little lull moments.”Qualley, 29, has more than earned a break. After making a striking debut 10 years ago in the HBO series “The Leftovers,” she appeared in “Once Upon a Time … in Hollywood,” followed by Emmy-nominated performances in “Fosse/Verdon” and the Netflix mini-series “Maid.” In the past year, she starred in “Poor Things,” “Drive-Away Dolls” and “Kinds of Kindness,” and when we met, she had just returned from shooting three back-to-back movies — Ethan Coen and Tricia Cooke’s “Honey Don’t!,” John Patton Ford’s “Huntington” and Richard Linklater’s “Blue Moon.”Moviegoers will next see her in “The Substance,” a film that is somehow a departure from all of the above and one she acknowledged was uniquely challenging. Directed by Coralie Fargeat and slated for release on Sept. 20, it is a body-horror blood bath in which Demi Moore plays Elisabeth Sparkle, an actress who, attempting to recapture her fading youth, injects herself with a mysterious serum.“I’m just trying to move through life like water in a river,” Margaret Qualley said, “and stay agile and move around the rocks.”Thea Traff for The New York TimesThe result is Sue, played by Qualley, a younger, taller, “perfect” woman who emerges fully formed from Elisabeth’s body. The two of them must trade places every week, with the one who’s off-duty kept nourished by IV bags of potions. But soon enough, Sue develops a taste for her brand-new world and doesn’t want to be put on ice when it’s her turn to hibernate.Qualley was in Panama, shooting Claire Denis’s “Stars at Noon,” when she read the script, and was drawn to the prospect of playing a character who seemed “really far from me,” 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

    • 113 Shares129 Views

      in Television

      Sasheer Zamata Is OK With Being the Practical B.F.F.

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      The “Saturday Night Live” alumna plays a sorceress in the new “WandaVision” spinoff “Agatha All Along.”As someone who once walked on stilts in Mickey’s Jammin’ Jungle Parade and operated a Sebastian the Crab puppet, the comedian and actress Sasheer Zamata is no stranger to the world of Disney.In August, she was in Anaheim, Calif., for D23 Expo, a weekend event for Disney fans where she promoted the new Marvel series “Agatha All Along,” a “WandaVision” spinoff in which she co-stars with Kathryn Hahn, Aubrey Plaza and Patti LuPone.Zamata, a “Saturday Night Live” cast member for four seasons, has worked on a Marvel project before, voicing one of the characters in the animated series “Moon Girl and Devil Dinosaur.” In “Agatha,” she plays a sorceress.At D23, she said, “We sang our witch’s chant, we were in these hooded cloaks, there was fog, and it felt very epic. We were singing to a stadium of 12,000 people, full Taylor Swift-style.”Zamata went on to talk about the kid’s movie she rewatches every few years, the friend she talks to every day and the album she listens to before going onstage. These are edited excerpts from the conversation.1Black Girl SunscreenI run through it so fast. I slather it all over because it’s so moisturizing. Even if I’m not going to be outside all day, I still use it because it feels good. When I was younger, I fell into the idea that Black people can’t get sunburned. Now, I can’t even imagine walking outside without sunscreen.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 Shares139 Views

      in Movies

      Ian McKellen Has Clapped Back at Critics. Now He’s Playing One.

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      In the new film “The Critic,” he plays the titular acid-tongued reviewer in 1930s Britain, who is terrified of being outed as gay.In Anand Tucker’s new film “The Critic,” Ian McKellen plays Jimmy Erskine, a closeted reviewer in 1930s Britain who covers theater with equal measures of wit and acid. “Despite her crimes against the theater, she was sensationally gorgeous when drunk,” Jimmy writes of a young actress portrayed by Gemma Arterton.Naturally, McKellen luxuriates in such lines. When the screenwriter Patrick Marber (“Notes on a Scandal,” “Closer”) sent the actor the script, he said, “‘This is the best part I’ve ever written for anybody,’” McKellen recalled. “Well, I didn’t want to appear to be rude by not doing it.”At 85, the actor is not slowing down, and continues to test himself by playing unlikely roles (just four years ago he was a rather mature Hamlet in London) and collaborating with directors like Robert Icke. Only a recent accident temporarily set the actor off course: In June he fell off the stage during a fight scene in “Player Kings,” Icke’s adaptation of Shakespeare’s “Henry IV” diptych, in which McKellen played John Falstaff.“The Critic,” which comes to theaters Friday, was shot over five weeks. “The budget was very small for what we were trying to achieve, Ian was 83, it was really hard,” Tucker, the film’s director, said. “But he was just on it — and he’s in almost everything.”McKellen with Gemma Arterton, who plays Nina Land, a young actress who is often panned in Jimmy Erskine’s reviews.Sean Gleason/Greenwich EntertainmentThis could also describe McKellen’s decades-spanning career: He has been in almost every kind of production — fantasy blockbusters like the “Lord of the Rings” films, onstage in plays by Shakespeare and Beckett and in drag as the dame in the beloved British holiday tradition known as pantomime.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 Shares199 Views

      in Theater

      Hollywood Is Heading for Broadway (and Off). Here’s a Cheat Sheet.

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      New York’s stages have long drawn talent from Hollywood, but this is shaping up to be an exceptionally starry season. Why? Producers have determined that limited-run plays with celebrities are more likely than new musicals to make money. And some musicals are also hoping big names will help at the box office. Here’s a sampling of stars onstage this season.This Fall★ ON BROADWAY ★Mia Farrowin ‘The Roommate’Farrow, who made her stage debut when she was 18 and had a breakout role in the 1968 film “Rosemary’s Baby,” thought she was happily retired until she read the script for this Jen Silverman comedy about two women with not much in common other than their living quarters. Now, at 79, she’s returning to the stage, opposite the three-time Tony winner Patti LuPone, for what she says may be the last time. Now running at the Booth.★ ON BROADWAY ★Robert Downey Jr.in ‘McNeal’One of Hollywood’s most successful stars, Downey has a bevy of superhero movies under his belt (he played Iron Man) and an Oscar for “Oppenheimer” (he was the antagonist, Lewis Strauss). He’s making his Broadway debut in a new Ayad Akhtar play, portraying a famous novelist with a potentially problematic interest in A.I. Now running at the Vivian Beaumont.Clockwise from top left: Nicole Scherzinger, Katie Holmes, Jim Parsons, Adam Driver and Mia Farrow (center).Photographs via Associated Press; Getty Images; Reuters★ ON BROADWAY ★Daniel Dae Kimin ‘Yellow Face’Talk about meta! This is David Henry Hwang’s play about a play about a musical, sort of. Kim, known for “Lost” and the rebooted “Hawaii Five-0,” portrays a playwright named DHH (get it?) who mistakenly casts a white actor as an Asian character in a Broadway flop inspired by his own protests against the casting of a white actor as a Eurasian character in “Miss Saigon.” Previews begin Sept. 13 at the Todd Haimes.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 Theater

      Kit Connor and Rachel Zegler Are Star Crossed in Central Park

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      On a morning in mid-August, a breeze stirred Central Park’s midsummer leaves. Children skipped, dogs lolloped, a bunny peeked out from a hedge near the Great Lawn while a nearby saxophone ruined “Isn’t She Lovely.” It was a very nice day to fall in love.The actors Kit Connor and Rachel Zegler were there, hiking up to Belvedere Castle and then down to the Shakespeare Garden. Connor, 20, and Zegler, 23, don’t plan to fall in love. But the next day, at rehearsal, in Brooklyn they would discover how to make the characters they play fall desperately, terribly in love.As the stars of the “Romeo + Juliet” that opens on Broadway on Oct. 24, they will die for love, they will die for each other, eight times a week. Both are making their Broadway debuts and both have the not exactly enviable task of making a 16th-century play with (apologies for centuries-old spoilers) a famously grim ending feel breath-catchingly new and vital.Daunting? Not at all.“It should be fun,” Connor said, not without some anxiety. Zegler gave him a sardonic look. “It will be fun,” he said. Connor, a British star of the Netflix teen romance “Heartstopper,” and Zegler, an American who made a thrilling film debut in Steven Spielberg’s “West Side Story,” had never met until March, shortly after they each agreed to star in the revival, dreamed up by the Tony-winning director Sam Gold, with music by Jack Antonoff. They had been offered the roles separately, without the benefit of a chemistry read. That spring day, Gold brought them to Circle in the Square Theater, where previews will start Sept. 26, then bought them cups of coffee at the Cosmic Diner.Kit Connor, right, on the Netflix series “Heartstopper” opposite Joe Locke.Teddy Cavendish/NetflixWe 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

      Super Emmy: Is the Time Now Right for This Former Disaster?

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      Fifty years ago, the Emmy Awards implemented a change deemed such a disaster it was quickly eliminated.For the 1974 ceremony, the Television Academy created a “Super Emmy” that pitted winners in the comedy and drama balloting against each other. For example, the “M*A*S*H” star Alan Alda took home two trophies that year: one for best comedy actor and a second in a head-to-head showdown with Telly Savalas, who had already won the drama lead acting award for “Kojak.”The stated goal was to streamline the televised ceremony — the category honors were given out before the telecast and only the Super Emmys were awarded on air. But Alda and his fellow winner Mary Tyler Moore joined critics like John J. O’Connor of The New York Times in panning the stunt, and organizers retreated.Yet a half-century and a reshaped television environment later, the Super Emmy, that strange visitor from the 1970s, might be one of those once-bad ideas whose time has finally come.Not that the Emmys are looking to prolong the show, which will air Sunday on ABC. Unlike the Oscars, TV’s most prestigious award remains pretty rigidly held to its allotted time, so adding a category would likely require pushing another out of the main broadcast.But a Super Emmy would do more than merely add a “Highlander”-style bolt of excitement — “There can be only one!” — to a generally predictable telecast. It would also acknowledge the blurring of lines in TV’s categorical designations, which often makes it hard to differentiate between drama, comedy and limited series.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

    • 163 Shares199 Views

      in Theater

      James Earl Jones, Actor Whose Voice Could Menace or Melt, Dies at 93

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      James Earl Jones, a stuttering farm child who became a voice of rolling thunder as one of America’s most versatile actors in a stage, film and television career that plumbed race relations, Shakespeare’s rhapsodic tragedies and the faceless menace of Darth Vader, died on Monday at his home in Dutchess County, N.Y. He was 93.The office of his agent, Barry McPherson, confirmed the death in a statement.From destitute days working in a diner and living in a $19-a-month cold-water flat, Mr. Jones climbed to Broadway and Hollywood stardom with talent, drive and remarkable vocal cords. He was abandoned as a child by his parents, raised by a racist grandmother and mute for years in his stutterer’s shame, but he learned to speak again with a herculean will. All had much to do with his success.So did plays by Howard Sackler and August Wilson that let a young actor explore racial hatred in the national experience; television soap operas that boldly cast a Black man as a doctor in the 1960s; and a decision by George Lucas, the creator of “Star Wars,” to put an anonymous, rumbling African American voice behind the grotesque mask of the galactic villain Vader.Mr. Jones in 1979 as the author Alex Haley on “Roots: The Next Generation.”Warner Brothers Television, via Everett CollectionThe rest was accomplished by Mr. Jones himself: a prodigious body of work that encompassed scores of plays, nearly 90 television network dramas and episodic series, and some 120 movies. They included his voice work, much of it uncredited, in the original “Star Wars” trilogy, in the credited voice-over of Mufasa in “The Lion King,” Disney’s 1994 animated musical film, and in his reprise of the role in Jon Favreau’s computer-animated remake in 2019.Mr. Jones was no matinee idol, like Cary Grant or Denzel Washington. But his bulky Everyman suited many characters, and his range of forcefulness and subtlety was often compared to Morgan Freeman’s. Nor was he a singer; yet his voice, though not nearly as powerful, was sometimes likened to that of the great Paul Robeson. Mr. Jones collected Tonys, Golden Globes, Emmys, Kennedy Center honors and an honorary Academy Award.

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