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    In the Weeds of ‘In the Heights’

    The film adaptation of the Tony-winning musical “In the Heights” was released this month, one of the first blockbuster movies to arrive after more than a year of pandemic shutdowns. The original musical was the breakthrough for Lin-Manuel Miranda, who wrote its music and lyrics and went on to gain global fame with “Hamilton.”The film opened to successful box office numbers, but also spawned several critical conversations, particularly about the lack of Afro-Latino representation among the film’s lead actors, and the ways in which it failed to capture the full mosaic of the actual neighborhood of Washington Heights.On this week’s Popcast, a conversation about Miranda’s evolutionary approach to the musical theater lineage, how the film left certain elements of the musical on the cutting room floor and the critical blowback brought on by the film’s casting choices.Guests:Sandra Garcia, a Styles reporter for The New York TimesIsabelia Herrera, an arts critic fellow for The New York Times’s Culture deskLena Wilson, a film critic who has written for The New York Times, Slate and others More

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    Olivia Rodrigo’s ‘Sour’ Breakthrough

    For the past few years, there’s been something of a pop star vacuum — or at least, a pop-music star vacuum. By and large, performers making centrist, big-tent pop music have been relegated to the sidelines as hip-hop — and other genres borrowing heavily from it — took center stage.But Olivia Rodrigo, a Disney child star wielding a bad breakup and a tart voice, has made pop primal, and primary, again. “Sour,” her first album, just debuted at No. 1 on the Billboard album chart with the biggest sales week of the year.On this week’s Popcast, a conversation about Rodrigo’s meteoric year so far, the long arc of the mainstreaming of emo and the quickening of the maturing of Disney idols.Guests:Olivia Horn, who writes about music for Pitchfork, The New York Times and othersLindsay Zoladz, who writes about music for The New York Times and others More