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    • 125 Shares199 Views

      in Television

      The ‘Severance’ Actress Who Plays Natalie On Those ‘Terrifying’ Scenes

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      “That’s the great thing about being an adult,” says Sydney Cole Alexander, who plays Natalie, the liaison with a wide smile and a cold gaze on the hit workplace thriller.As Natalie, a devoted spokeswoman for the shadowy Lumon Industries on “Severance,” Sydney Cole Alexander has an exacting morning routine. It starts with that tightly coiled updo.Ben Stiller, one of the Apple TV+ drama’s executive producers, “has a reputation for being very particular about hair,” Alexander said. After she was cast in the series, which follows workers who sign up for a procedure that bifurcates their personal and professional lives, she sat for a camera test. Stiller had asked her to repurpose the freeze-dried smile she flashed in a Crest commercial she’d booked the same day as “Severance,” and she encouraged him to let Natalie, the headset-wearing “conduit to the gods,” as she puts it, go blonder.“Every curl on my head was curled,” Alexander recalled. “And I just thought it was so Lumon, because that would take forever. I think it helped me to think about: What is this woman’s morning like? How committed is she to perfection and this company, and representing them perfectly?”In Season 2, which had its finale on Friday, the facade slips momentarily in a charged, nearly wordless exchange when Natalie presents Seth Milchick, a Black department chief and fellow Lumon true believer, with “inclusive” paintings from a tone-deaf board. “I did feel a little bit of sympathy with Milchick, which I think is terrifying for her,” said Alexander, who is biracial. “Because this is her prize, that she’s not sympathetic; it’s why she’s so good at her job.”In a video interview this month from her Brooklyn apartment, Alexander opened up about another dream role, the Jim Carrey movie that gets her choked up, her incurable sweet tooth and more. These are edited excerpts from our conversation.Vintage ShoppingAs a teenager in New York City, a social activity was going to Beacon’s Closet or No Relation. I started furnishing my apartment with vintage things. There’s something so fun about the story of an item and that something can last, not even decades, but centuries.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

    • 100 Shares189 Views

      in Movies

      Inside the Controversy Surrounding Disney’s ‘Snow White’ Remake

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      Disney knew that remaking “Snow White and the Seven Dwarfs” as a live-action musical would be treacherous.But the studio was feeling cocky.It was 2019, and Disney was minting money at the box office by “reimagining” animated classics like “Aladdin,” “Beauty and the Beast” and “The Jungle Book” as movies with real actors. The remakes also made bedrock characters like Cinderella newly relevant. Heroines defined by ideas from another era — be pretty, and things might work out! — were empowered. Casting emphasized diversity.Why not tackle Snow White?Over the decades, Disney had tried to modernize her story — to make her more than a damsel in distress, one prized as “the fairest of them all” because of her “white as snow” skin. Twice, starting in the early 2000s, screenwriters had been unable to crack it, at least not to the satisfaction of an image-conscious Disney.“Snow White and the Seven Dwarfs,” which premiered in 1937, posed other remake challenges, including how to sensitively handle Happy, Sneezy, Sleepy, Dopey, Bashful, Grumpy and Doc. (One stalled Disney reboot had reimagined the dwarfs as kung fu fighters in China.)Still, Disney executives were determined to figure it out. They had some new ideas. More important, the remake gravy train needed to keep running.“It’s going to be amazing, another big win,” Bob Chapek, then Disney’s chief executive, said of a live-action “Snow White and the Seven Dwarfs” at a 2022 fan convention.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

    • 150 Shares169 Views

      in Movies

      Gene Hackman’s Wife Died at Least a Day Later Than Originally Thought

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      Betsy Arakawa made several calls to a medical clinic on Feb. 12, the day after the authorities initially believed that she died.The authorities in New Mexico have recovered evidence that Betsy Arakawa, the wife of the actor Gene Hackman, died at least one day later than they had previously estimated.The New Mexico authorities initially believed that Ms. Arakawa had likely died of a rare viral infection on Feb. 11, because that was when she was last seen publicly and stopped returning email correspondence.But after analyzing her cellphone, investigators learned that Ms. Arakawa had made three phone calls on the morning of Feb. 12, Denise Womack-Avila, a spokeswoman for the Santa Fe County Sheriff’s Office, said on Monday. She said that Ms. Arakawa had made the calls to a concierge medical service, Cloudberry Health.Dr. Josiah Child, the lead physician there, said in an interview that the clinic called Ms. Arakawa back that morning and scheduled an appointment for that afternoon. He said she had reported feeling congested but that there were no signs of respiratory distress. Ms. Arakawa did not show up for her appointment that afternoon, Dr. Child said.“I suspect that she was starting to feel ill and that’s why she reached out to us,” he said.Ms. Arakawa and Mr. Hackman were both found dead in their secluded home outside of Santa Fe late last month. The state medical examiner concluded that Ms. Arakawa, 65, died from the effects of hantavirus, which is contracted through exposure to excrement from rodents. The virus can cause flulike symptoms before progressing to shortness of breath, as well as cardiac and lung failure.They said that Mr. Hackman, who had Alzheimer’s, spent another week in the house with her body and died Feb. 18 of heart disease.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 Shares119 Views

      in Music

      Trump Seeks More Sway in Picking Kennedy Center Honorees

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      When President Trump was criticized by some of the artists who were recognized at the annual Kennedy Center Honors program during his first term, he responded by boycotting the show, breaking with decades of precedent.Now, as he leads a sweeping takeover of the Kennedy Center in his second term, Mr. Trump is seeking changes that will allow him greater sway in the selection of honorees, according to two people briefed on the matter who were granted anonymity to describe confidential discussions.Mr. Trump, who is now the chairman of the Kennedy Center, is scheduled to speak at a meeting of its board on Monday afternoon, when proposed changes to the honors advisory committee will be on the agenda, according to the individuals and a copy of the agenda that was obtained by The New York Times.Since 1978, the Kennedy Center has named honorees to be recognized each year at a star-studded televised gala without interference from the White House. The center has honored a broad spectrum of artists and performers, including Lucille Ball, Dolly Parton, Clint Eastwood, Fred Astaire and the Grateful Dead.But Mr. Trump is seeking a more direct role. He replaced all the Biden appointees on the center’s once-bipartisan board, was elected chairman and installed a loyalist, Richard Grenell, as its president. The board is scheduled to meet Monday to consider a resolution, which has not been previously reported, that would give Mr. Trump more control over the selection of honorees.The resolution states that members of the committee responsible for selecting honorees “shall be appointed by the chairman of the board, and shall serve at the pleasure of the chairman,” according to a copy obtained by The Times. That would give Mr. Trump broad power to hire and fire those who help decide who will receive the honor, which recognizes people and institutions for lifetime artistic achievement. The committee will recommend a slate of honorees to the Kennedy Center’s president for approval, the resolution says.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 Shares109 Views

      in Theater

      With $921 Seats, Denzel Washington’s ‘Othello’ Breaks a Box Office Record

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      Demand to see Denzel Washington and Jake Gyllenhaal play Shakespeare has set a record in a year when big stars have been driving up the prices of Broadway plays.The hottest play on Broadway was written more than 400 years ago. Demand to see Denzel Washington and Jake Gyllenhaal face off in Shakespeare’s “Othello” is so strong that many center orchestra seats are selling for $921, helping the show break box office records.During its first week of previews, its average ticket price was $361.90, more than double that at the next highest-average-price show (“The Outsiders,” at $155.02). And last week “Othello” grossed $2.8 million, more than any nonmusical has ever made in a single week on Broadway.The huge numbers, for a show that has not yet been reviewed and that was selling briskly long before anyone had seen it, come at a time when the prices for the most sought-after pop concerts and sporting events are also quite high.And theater prices — at least for the most sought-after shows — are no exception.At its peak, “Hamilton” charged $998 for the very best seats during holiday weeks, and at one point a revival of “Hello, Dolly!” charged $998 for front row seats, which allowed fans of Bette Midler the possibility of being brushed by her glove as she strolled along a passerelle.Washington, seen leaving after a performance, is both highly acclaimed and enormously popular.Amir Hamja for The New York TimesBut “Othello” is distinguished by the large number of seats being sold at the highest prices, which is driving up its average ticket price. At many upcoming performances, the show is asking $921 for the first 14 rows in the center orchestra, and for much of the first two rows in the front mezzanine.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 Shares119 Views

      in Movies

      Gemma Chan Gets Joni Mitchell’s ‘Blue’ More as She Gets Older

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      The actress, now starring in “The Actor,” talks about Schubert, “In the Mood for Love” and other art, food and pets that she loves.After captivating audiences as the glamorous Astrid in “Crazy Rich Asians,” Gemma Chan was sent quite a few scripts with dignified but unhappy wives.She sensed trouble ahead.“There’s a danger of being typecast,” she said. “But I’m still a work-in-progress pushing back on that. I want to do something different and show something different and tell a different story.”Her new film, “The Actor,” directed by Duke Johnson, checked those boxes. Chan plays Edna, a costume designer in a factory town and the romantic interest of an amnesiac.She had loved Johnson’s haunting animated movie “Anomalisa,” and she responded similarly when she read “The Actor.”“Then I spoke to Duke about how he planned to shoot it, which was in quite a different way to anything that I’ve shot before,” she said. “Quite experimental, bringing elements that were quite theatrical and quite stylized.”Chan has also wrapped “Josephine,” with Channing Tatum, about an 8-year-old who witnesses an assault. And she is producing her own work: an adaptation of the “Rise of the Empress” fantasy book series for Amazon Prime Video, and an unconventional history of Anna May Wong, considered to be the first Chinese American movie star.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

    • 63 Shares189 Views

      in Television

      Brian Tyree Henry Isn’t Hiding

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      The actor Brian Tyree Henry made his professional debut in 2007, as Tybalt, in a shimmering “Romeo and Juliet” for Shakespeare in the Park. More stage roles followed, then a nimble leap to television, in “Atlanta,” and a turn to film.I saw it all, or nearly all (not “Godzilla vs. Kong”). So I can’t really explain how I spent so long in a nearly deserted hotel dining room sending increasingly anxious texts to Henry’s publicist, wondering where he was. As I texted, Henry was sitting at a table maybe 20 feet away, in glasses and a baseball cap. The cap had a large B on it.Some comfort: This also happens to Julia Roberts, his co-star on a Sam Esmail film currently in production in Paris. “He’s kind of this quiet chameleon,” she told me later. “Sometimes I don’t put two and two together immediately. Then I’m like, oh, wait a minute: It’s Brian again.”Henry, 42, an actor of extraordinary texture, vigor and grace, is tall and relatively broad. He looks, he knows, like a guy who used to play football. (Actually, he was a speech debate kid and a member of the marching band.) That he can disappear into roles, into a restaurant table, speaks to his gift, his craft. But for a man who has spent his life fighting to be seen, who struggles to feel that he belongs in the places he inhabits, it also brings a kind of pain.Brian Tyree Henry was drawn to his role in “Dope Thief,” his first top billing. But he had to wrestle with his own insecurities.Kadar Small for The New York Times“Even you didn’t know me with glasses on,” he said, once I’d shifted to his table. “There’s always just something that people are expecting. Then I come in and they’re just like, ‘Oh, well, that’s not what we want.’ And I’m like, well, this is who I am.”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

      For the Actors of ‘Sumo,’ Learning Lines Was Just the Half of It

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      Two men, barefoot and wearing traditional loincloths around their waists, tussled with each other on a stage transformed to look like a sumo ring.A fighting consultant, who had been observing the rehearsal nearby, stepped in to offer advice: The men’s arm movements were too straight; their motions needed to be smoother and more circular. Moments later, the two actors were at it again: reaching out, shifting their weight and then pushing off each other in a grappling exchange.New York theatergoers have seen it all, including shows about sports — which are not uncommon. But rarer, nonexistent even, is a theatrical work about sumo wrestling. Now, Lisa Sanaye Dring’s “Sumo” is transporting Off Broadway audiences at the Public Theater to an intimate sumo wrestling facility in Tokyo — known as a heya, or wrestling stable — where bare-chested actors fearlessly slap into each other in a heap of flesh and sweat.“I’m interested in people who use their bodies differently than I use my body,” Dring said, reflecting on what led her to write “Sumo.” “It feels very much linked to me — the fighting and the human story — because their humanity is inside how they fight.”The play itself tells the story of Akio, a newcomer to the heya who, because he’s considered rather small by sumo standards, isn’t taken seriously at first. An unranked wrestler trying to prove himself, he endures brutality as he goes about sweeping up rice, bathing the highest-ranking wrestler and doing other servant-like tasks that he has been relegated to performing. Before long, though, he quickly proves himself and rises to become one of the group’s strongest combatants.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