More stories

  • in

    When Weird Al Yankovic Met Daniel Radcliffe, Things Got … Well, You Know

    For their decidedly nonfactual rock biopic, the pop-music parodist and the “Harry Potter” star found themselves on the same wavelength.The real Weird Al Yankovic, left, and his movie double, Daniel Radcliffe. “I hope this confuses a lot of people,” the musician said of their biopic.Sinna Nasseri for The New York TimesListen to This ArticleTo hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.Generally speaking, Weird Al Yankovic and Daniel Radcliffe are never going to be mistaken for each other. Yankovic is the lanky, longhaired Southern California dude who became an accordion whiz and a master parodist of pop music. Radcliffe is the more compact, London-born wunderkind of the “Harry Potter” movies who has since graduated into an eclectic acting career.Still, this past winter, during the making of the new movie “Weird: The Al Yankovic Story,” their mutual presence on the set occasionally led to confusion. When crew members called for “Weird Al,” they wanted the actor playing him, which meant Radcliffe. Eventually, for maximum clarity, they began referring to the authentic Yankovic as “Real Al,” though some further disorientation was inevitable.As Yankovic explained in a recent conversation with Radcliffe, “Every time I would walk by the ‘Weird Al’ sign on your trailer, I’d be like” — he paused and acted out an exaggerated double take — “Oh, no, that’s not me.”This is the effect that the makers of “Weird” are hoping it will have on audiences when Roku releases the biopic on Nov. 4. It is a wildly satirical, highly nonfactual telling of Yankovic’s ascent from a geeky young accordionist to the beloved performer of hit songs like “My Bologna,” “Another One Rides the Bus” and “Eat It,” embellished with stories of sex, drugs and jungle combat that never really happened to him.“I hope this confuses a lot of people,” Yankovic said of “Weird,” which he wrote with the film’s director, Eric Appel. “We want to lead them down a path and think, Is this a real biopic? Is this the real story? The movie starts out pretty normal. Then it progressively goes way off the rails.”Central to fulfilling that premise is the casting of Radcliffe, an enthusiastic Yankovic fan who looks little like the musician and had no desire to impersonate him.Radcliffe was a longtime fan of comedy musicians like Tom Lehrer and Weird Al. In his first meeting with Yankovic, he remembers thinking, “If this happens, my girlfriend is going to be so thrilled.”Sinna Nasseri for The New York TimesFor all the attention he brings to it, Radcliffe said, he appreciated “Weird” precisely because it allowed him to follow his post-“Potter” path into more unexpected roles. Playing Yankovic, at least as he’s depicted in the movie, was the exact assignment Radcliffe was looking for — even if the title put some constraints on how he could describe the film.Radcliffe started to say, “There was nothing weird — see, it makes the word ‘weird’ hard to use in other contexts — there was nothing unusual about it.” He added that even before he had read the script, and was simply asked about playing Yankovic, “I was very, very into the idea.”Over a breakfast interview last month at a downtown Manhattan restaurant, Yankovic, 62, and Radcliffe, 33, exhibited an adorkable affection for each other. There were a lot of “you go ahead,” “no, you continue” exchanges. It was as if neither man knew who was the celebrity and who was the admirer.They said there was a similar energy in their first video chat in the winter of 2020, when Yankovic was pitching Radcliffe on the idea of starring in the movie. “I have a real problem in meetings sometimes when I like something and I want to do it,” Radcliffe said. “I just gush in various ways. I get very, very repetitive.”“Weird” was very much a passion project for Yankovic, who has released 14 studio albums since 1983 but starred in just one movie, the 1989 cult comedy “UHF.”In 2010, Appel wrote and directed a tongue-in-cheek trailer for a nonexistent movie, also called “Weird.” Starring Aaron Paul (“Breaking Bad”) as a hard-partying version of Yankovic, the video was released on Funny or Die and became a viral success.Over the years, Yankovic showed the fake trailer at his concerts, where some fans believed it was advertising a real film.“People would be like, ‘You should make a whole movie,’” Yankovic said. “I was like, ‘Nah, it’s a trailer. It’s what it’s supposed to be — it’s a gag.’”But more recently, following the success of other rock biopics like “Bohemian Rhapsody” and “Rocketman,” Yankovic began to take seriously the idea of a feature-length version of “Weird.”The real Weird Al in concert in Chicago in 1985, above, and Radcliffe as the accordion slinger in the movie, right. The musician taught the actor enough of the instrument to fake it onscreen.Paul Natkin/Getty ImagesAaron Epstein/RokuHe was also annoyed at what he felt were unnecessary changes to the factual stories of the rock stars depicted in these other movies. He pointed to a scene in “Rocketman” when Elton John impulsively chooses his new surname after he spots a portrait of the Beatles and zeros in on John Lennon.“Everybody who’s an Elton John fan knows it was inspired by Long John Baldry,” Yankovic said, raising his voice just slightly. “I guess they thought nobody knows who Long John Baldry is.”An initial effort to pitch “Weird” around Hollywood was unsuccessful, and studios seemed to expect a movie that more directly lampooned existing biopics, in the same way Yankovic’s songs parodied other hit singles. “People thought it was going to be more spoofier — more ‘Naked Gun,’ more ‘Scary Movie’ — than it is,” Appel said.So he and Yankovic sat together in a coffee shop, watching the trailers for other biopics and looking for common storytelling tropes. Together they wrote a script in which, Yankovic said, “facts are changed arbitrarily, just to change them.”No matter what “Weird” may depict, Yankovic did not compose his song “My Bologna” in a spontaneous moment of out-of-body inspiration. Also, he said, “I did record it in a bathroom but not in a bus station. Why did we change it? Just ’cause that’s what biopics do.”Their movie still needed a leading man, and they thought of Radcliffe, who they knew appreciated comedy musicians like Tom Lehrer.Radcliffe, it turned out, liked Yankovic’s music also — and so, too, did his longtime girlfriend, the actress Erin Darke, who had been a fan for years and often played Yankovic’s albums on road trips.(Throughout their first video call about “Weird,” Radcliffe said in an excited whisper, “I was going, If this happens, my girlfriend is going to be so thrilled.”)More crucially, Radcliffe said he felt “Weird” offered the artistic liberty he has sought on films like the biographical drama “Kill Your Darlings,” which cast him as the poet Allen Ginsberg, or “Swiss Army Man,” a dark comedy in which he played a highly versatile corpse.“Whenever I get a chance to throw myself into something, I will,” Radcliffe said.Even before Radcliffe had seen a script, “I was very, very into the idea” of playing Yankovic, he said.Sinna Nasseri for The New York TimesCompared to a scene in “Weird” when the fictionalized Yankovic is on a psychedelic drug trip and hatches from a giant egg, Radcliffe said, “maybe only Paul Dano riding me like a Jet Ski in ‘Swiss Army Man’ comes close to the weirdest thing I’ve ever done.”He added, “There was definitely a freedom in the version of Al that is in the script. And it is so insane.” Turning to Yankovic, he said, “You didn’t murder many, many people.”“Not a lot,” Yankovic replied. “Very few.”With Radcliffe on board, Roku picked up the movie. But the company agreed to only 18 days of filming, which made for an incredibly tight schedule on a project in which he had to perform several musical numbers (lip-syncing Yankovic’s original vocals), as well as execute a couple of action sequences.“On ‘Potter,’ one of those scenes could take 16 days,” Radcliffe said.So he used his preproduction time to learn his lines and choreography and get into top physical shape. (“I did end up realizing I am shirtless in the Weird Al movie more than anything else I have done,” he said. “Most of it was scripted, but I hadn’t really taken it in.”)And once cameras started rolling, everyone held on tight. “The Covid of it all was terrifying, especially for me and Eric,” Radcliffe said. “There is no Plan B. We just have to not get sick.”Even before filming started, the comedian Patton Oswalt, who had been cast in a key role as Dr. Demento, the radio host who gave Yankovic some of his earliest airtime, broke his foot. Though there was some talk of whether Oswalt could play the part on crutches, Rainn Wilson (“The Office”) took over on short notice.The production was also buoyed by a committed performance from Evan Rachel Wood (“Westworld”), who plays Madonna — though in this story, the Material Girl is a sly, selfish seductress who is clearly only using Yankovic in hopes that he will parody one of her songs.“I’m amazed the lawyers let us get away with this movie, frankly,” Yankovic said. “But they’re like, Oh, yeah, all public figures — go for it.” (A representative for Madonna did not respond to a request for comment.)As in other rock biopics, Yankovic said, “facts are changed arbitrarily, just to change them” in “Weird.”Sinna Nasseri for The New York TimesAppel said Yankovic and Radcliffe were especially important for setting a professional tone while everyone worked at breakneck speed. And during postproduction, Appel continued to communicate closely with Yankovic while the musician has been on a North American concert tour.“When we were mixing the movie, he was on Zoom with us, all day long, from a different city every day,” Appel said. “He’d text me between songs: ‘I think the backing vocals on this song need to get bumped up a tiny bit.’ Then I’d start to respond and he’d say, ‘Oop, gotta go onstage.’”“Weird” is arriving at an awkward moment for the streaming industry, which is in a period of reassessment and retrenchment after years of expansion, and for Roku, whose stock took a beating after the company missed earnings goals this summer.While this might seem to put increased pressure on the movie to deliver an audience, the filmmakers could only shrug their shoulders and say they were just grateful to have made it at all.“This is a new thing for them,” Yankovic said of Roku. “Hopefully this will do well for them.” Radcliffe said he had encountered more curiosity about “Weird” than he did for the Harry Potter reunion special he appeared in for HBO Max this past January. “I still can’t believe people weren’t jumping at the chance to make your movie,” Radcliffe said to Yankovic. “They’ll regret it now.”The Weird Al of “Weird” and Real Al would now go their separate ways: Radcliffe was preparing for a revival of “Merrily We Roll Along” at New York Theater Workshop, and Yankovic was due in Toronto that evening to continue his concert tour. (“We’re in the homestretch now — just three more months,” he said wryly.)But they would always be united by their time together on “Weird” and the unique opportunity that Radcliffe had to learn the accordion from Yankovic — at least enough to make him look like a competent musician in a movie.“When you’re playing Al, to not give it a good, honest attempt seems a wasted opportunity,” Radcliffe said.Yankovic replied, “Every time I see somebody play the accordion on TV or film, it’s always a disappointment.” (As an exception, he singled out Mary Steenburgen, who he said “can actually play.”) “Dan put in the effort,” he said. “I don’t know if he could do a solo performance.”Radcliffe quickly responded, “No way, I could not. But I can do the left hand on ‘My Bologna’ pretty effectively. I learned the bits I needed for the songs, on one hand or the other.” He laughed and added, “Doing them both at the same time is a nonstarter.”Audio produced by More

  • in

    Modern Love Podcast: First Love Mixtape, Side B

    Listen and follow Modern LoveApple Podcasts | Spotify | StitcherWhat’s the song that taught you about love as a teen?Brian ReaWhen we asked this question at the start of the season, the responses came pouring in. We heard from present-day teens streaming their anthems on repeat, and we heard from listeners who have been with their partners for over 50 years. There were stories of jazz and rap, adrenaline rushes and loneliness, and many lessons in matters of the heart. (“Don’t let your friends choose your boyfriends,” Amy from St. Louis said.)On our season finale, we share more of these songs and stories. Then, we fast-forward to an essay about the end of love. After more than 50 years of marriage, Tina Welling decided that she wanted a divorce — a decision that turned out to be liberating.Thank you to all of the listeners who sent us their teenage anthems. We’ve compiled them into one glorious Spotify playlist. Take a listen below.Hosted by: Anna MartinProduced by: Hans Buetow, Julia Botero, Anna Martin and Mahima ChablaniEdited by: Sara SarasohnExecutive Producer: Wendy DorrEngineered by: Elisheba IttoopOriginal Music: Hans Buetow and Dan PowellTheme Music: Dan PowellEssay by: Tina WellingRead by: Suzanne TorenFounder, Modern Love: Daniel JonesEditor, Modern Love Projects: Miya LeeSpecial thanks: Mahima Chablani, Renan Borelli, Jeffrey Miranda, Julia Simon, Lisa Tobin, Sam Dolnick, and Ryan Wegner at Audm.Thank you to so many listeners who shared their teenage songs and stories, including Kate Mitchell, Ankit Sayed, Helen Coskeran, Michal Vaníček and Sara Molinaro.Thoughts? Email us at modernlovepodcast@nytimes.com. More

  • in

    Will the Virus Cooperate With Broadway’s Spring Rebound?

    Listen to This ArticleTo hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.After a gloomy winter in which the Omicron variant shriveled Broadway’s lucrative holiday season, New York’s vaunted theater industry has been betting on a big spring, nearly doubling the number of shows on offer as the pandemic-battered business thirsts for a rebound.Adding all those plays and musicals — 16 new productions plus three returning from hiatuses are opening over a five-week stretch — was always going to be a gamble, since no one knows, in this not-yet-post-pandemic era, whether there are enough tourists and theatergoing locals to sustain that many shows.And now the stubborn persistence of the coronavirus is complicating matters even further. A rising number of cases in New York City, coinciding with the arrival of the virus’s BA. 2 subvariant, has once again rocked Broadway, infecting some of its biggest stars, including Daniel Craig, Sarah Jessica Parker and Matthew Broderick, and forcing four shows to temporarily cancel performances.“Our hope is that this isn’t a moment, but rather this is the way we will function now,” Parker said as she reflected on the high number of spring Broadway openings.OK McCausland for The New York Times“What we thought we were entering into this spring, which was always going to be busy and crowded, over the last week has changed dramatically,” said Greg Nobile, the lead producer of a new farce, “POTUS,” which, while still in rehearsals, has had to adapt as four of its seven actresses tested positive for the coronavirus. “Somehow it feels like, ‘This again?’ The answer is yes, but this time, we need to ask the question, how do we truly keep the show on, and what are the ways we are adjusting to what is a new normal?”Broadway’s big spring began on a cold night in late March with the opening of a revival of “Plaza Suite,” a Neil Simon comedy starring Parker and Broderick that was initially scheduled to start performances on March 13, 2020. Broadway shut down for the pandemic the day before that performance, and the Hudson Theater remained vacant, with the married co-stars’ names on the marquee and the set on the stage, for two full years before they returned to try again.“Every time I can walk a red carpet, I know it’s going to bring green currency to our city,” Mayor Eric Adams of New York said at the “Plaza Suite” opening.OK McCausland for The New York Times“Our hope is that this isn’t a moment, but rather this is the way we will function now,” Parker, in a pink satin gown with a beaded tulle overlay, said opening night at the end of an 80-foot-long preshow red carpet. “We have restaurants waiting to reopen still, we have hotel employees waiting to come back, we have delis that have been hit, we have ushers who are wanting to work the front of the house.”The crowd that came out to cheer her on, which included Mikhail Baryshnikov, Laura Linney, Cynthia Nixon and Martin Short, was buoyant.Broderick, finished with the gauntlet of camera crews arrayed inside a translucent tent, remarked how much he had enjoyed returning to the theater as an audience member, and now as a performer. “We’re learning to live with the pandemic or endemic — whatever you want to call it now — so the stronger theater and everything New York gets, the more normal life is,” he said. “This is part of the world coming back.”But eight days later, he tested positive, and two days later, so did she.Broadway openings remain starry, even in an era of few parties. Among those at the “Plaza Suite” opening: Anna Wintour, the longtime Vogue editor. OK McCausland for The New York TimesThe crowd that came out to cheer Parker and Broderick on included Mikhail Baryshnikov and his wife, Lisa Rinehart.OK McCausland for The New York Times“Plaza Suite” has been closed since Thursday, as has “Paradise Square,” a new musical which was already struggling at the box office and can ill afford the lost revenue. Craig’s show, a revival of “Macbeth,” canceled 10 days of its preview period. And “A Strange Loop,” a new musical which won the Pulitzer Prize based on its Off Broadway run, has postponed the start of its previews. All cited positive coronavirus tests among company members as the reason; all hope to resume performances this week.The latest virus-related cancellations were all at new shows; shows that have been running longer had more time to prepare for cast absences, and have been able to soldier on with understudies. Most notably, a revival of Stephen Sondheim’s “Company” that opened last December temporarily lost six of its principals to positive coronavirus tests in April, including its lead actress, Katrina Lenk, but the show went on. (Its best known performer, Patti LuPone, was not among those stricken, possibly because she had tested positive in late February and missed 10 days then.)And the effects are not limited to Broadway: Off Broadway, shows including “Suffs,” at the Public Theater, and “At the Wedding,” at Lincoln Center Theater, have also temporarily canceled performances.The industry is undergoing a stress test of sorts, as the annual crush of Broadway openings, which tend to cluster just before an end-of-April deadline to qualify for the Tony Awards, is even bigger than usual because some productions postponed their start dates in the hopes of avoiding the peak of the Omicron variant. This month features the highest number of Broadway openings in any April for more than a decade.So many shows are opening that Times Square rehearsal space is scarce, so the farce “POTUS” turned to Union Square. Among those in the cast are Julianne Hough, front left, and Vanessa Williams, front right.OK McCausland for The New York TimesBroadway is always a risky business, in which far more shows fail than succeed. Some producers acknowledge that having a glut of new shows vying for attention and audience at the same fraught time is less than ideal, but they tend to be optimists, and each seems to believe that theirs is the show audiences have been waiting for.“You can play a bit of chicken-and-egg,” said Jordan Roth, the president of Jujamcyn Theaters, which runs five Broadway houses. “Should we wait until every tourist is in town? But why is every tourist going to be in town if we wait? At some point we have to decide that we’re going to live.”This is actually Broadway’s second attempt at a rebound. The first began gradually last June, with the return engagement of Bruce Springsteen’s wildly popular evening of songs and storytelling. The first play began performances last August, and in September, with a moment of hope and celebration, the biggest musicals returned.Julie White, right, was among the members of the “POTUS” cast who tested positive during rehearsals. On White’s first day back, still coughing and wearing a mask, the play’s director, Susan Stroman, helped silence prop watches.OK McCausland for The New York TimesEarly box office grosses and attendance were encouragingly robust. But then the Omicron variant arrived in New York, contributing to the premature closing of nine shows and crushing attendance at the worst possible time of year: Only 62 percent of Broadway’s seats were occupied during the week ending Jan. 9.Through late winter, there were only 19 shows running in Broadway’s 41 theaters. With little competition, many of those left standing — mostly established hits or shows with famous titles — did quite well. By the week ending March 20, 92 percent of seats were occupied.Now, as the number of shows grows, and untested titles join the hits, average attendance is slipping, with 85 percent of seats filled during the week ending April 3. Overall, 224,053 people were at the 31 shows running that week, which is the highest number of ticket holders this year, but is substantially lower than the 315,320 who attended the 38 shows running during the comparable week in 2019.“The reopening of these shows is a real celebration of moving forward,” said Tom Harris, the president of the Times Square Alliance, which is marking this busy spring with a display of 10-foot-tall Playbill monoliths erected on a theater district pedestrian plaza. He noted that while Times Square was growing livelier, it is still quieter than it used to be: In March there were about 255,000 people passing through the neighborhood on an average day, he said, down from about 365,000 daily visitors before the pandemic.The play did not miss a day of rehearsals, despite cast absences; in this scene, Anita Abdinezhad, seated, filled in for Rachel Dratch. OK McCausland for The New York TimesUntil the pandemic, Broadway was booming, with 14.8 million ticket holders spending $1.8 billion at the box office during the 2018-19 season, which was the last full season before the coronavirus. But travelers to New York City, who before the pandemic accounted for two-thirds of the Broadway audience, have not returned in prepandemic numbers; the city’s tourism agency is projecting 56.4 million visitors this year, down from 66.6 million in 2019.That helps explain why Mayor Eric Adams had been celebrating Broadway at every opportunity — showing up at the openings of “The Music Man” and “Paradise Square” and attending a student performance of “Hamilton” in recent weeks.“Every time I can walk a red carpet,” Adams said in an interview at the “Plaza Suite” opening, “I know it’s going to bring green currency to our city.”On Sunday, he too tested positive for the coronavirus.The play is a comedy by Selina Fillinger about seven women who try to shore up a problematic president. OK McCausland for The New York TimesNow, as the city has dropped vaccine mandates at restaurants and other public spaces, Broadway must decide whether to do the same. Its current safety protocols, which require that all ticket holders show proof of vaccination to enter theaters and remain masked while inside, except when eating or drinking, are in place through April 30. Theater owners and operators had planned to announce by April 1 whether they would extend those rules, but they postponed that decision until April 15 as case counts rose.At the same time, the new shows keep coming. So many are opening this month that “POTUS,” whose stars include Julianne Hough and Vanessa Williams, wound up rehearsing at the Daryl Roth Theater, in Union Square, because the production could not find suitable space in the theater district.On a recent Saturday, the cast gathered to work on scenes on a makeshift White House set. One of the stars, Rachel Dratch, was still out with the coronavirus, so her part was rehearsed by an understudy, Anita Abdinezhad, while another star, Julie White, was back for the first time since finishing her isolation period. White, who had kept an eye on rehearsals via video while recuperating, was still coughing beneath a mask, but had her lines down cold, and she leaned in to the comedy.As she arrived, she was visibly delighted to be back at work. She noted her relief at finally seeing negative results on her daily coronavirus test, saying, “It was so good to see that single line this morning.”Audio produced by More

  • in

    The Sublime Spectacle of Yoko Ono Disrupting the Beatles

    In Peter Jackson’s “The Beatles: Get Back,” Ono is a performance artist at the height of her powers.Listen to This ArticleTo hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.Early in “The Beatles: Get Back,” Peter Jackson’s nearly eight-hour documentary about the making of the album “Let It Be,” the band forms a tight circle in the corner of a movie soundstage. Inexplicably, Yoko Ono is there. She perches in reach of John Lennon, her bemused face oriented toward him like a plant growing to the light. When Paul McCartney starts to play “I’ve Got a Feeling,” Ono is there, stitching a furry object in her lap. When the band starts into “Don’t Let Me Down,” Ono is there, reading a newspaper. Lennon slips behind the piano and Ono is there, her head hovering above his shoulder. Later, when the group squeezes into a recording booth, Ono is there, wedged between Lennon and Ringo Starr, wordlessly unwrapping a piece of chewing gum and working it between Lennon’s fingers. When George Harrison walks off, briefly quitting the band, there is Ono, wailing inchoately into his microphone.At first I found Ono’s omnipresence in the documentary bizarre, even unnerving. The vast set only emphasizes the ludicrousness of her proximity. Why is she there? I pleaded with my television set. But as the hours passed, and Ono remained — painting at an easel, chewing a pastry, paging through a Lennon fan magazine — I found myself impressed by her stamina, then entranced by the provocation of her existence and ultimately dazzled by her performance. My attention kept drifting toward her corner of the frame. I was seeing intimate, long-lost footage of the world’s most famous band preparing for its final performance, and I couldn’t stop watching Yoko Ono sitting around, doing nothing.From left, Ringo Starr, Paul McCartney, George Harrison and John Lennon play as Yoko Ono arranges some papers.Apple Corps“The Beatles: Get Back” is being read by some as an exculpatory document — proof that Ono was not responsible for destroying the Beatles. “She never has opinions about the stuff they’re doing,” Jackson, who crafted the series out of more than 60 hours of footage, told “60 Minutes.” “She’s a very benign presence and she doesn’t interfere in the slightest.” Ono, also a producer on the series, tweeted an article without comment that claims she is merely performing “mundane tasks” as the band gets to work. In the series, McCartney himself — from the vantage of January 1969, more than a year before the band’s public dissolution — pokes fun at the idea that the Beatles would end “because Yoko sat on an amp.”Her presence has been described as gentle, quiet and unimposing. Indeed, she is not the set’s most meddlesome interloper: That is Michael Lindsay-Hogg, the hapless director of the original documentary “Let It Be,” who keeps urging the band to stage a concert in an ancient amphitheater in Libya or perhaps at a hospital for children suffering from reassuringly minor ailments.And yet there is something depressing about the recasting of Ono as a quiet, inconspicuous lump of a person. Of course her appearance in the studio is obtrusive. The fact that she is not there to directly influence the band’s recordings only makes her behavior more ridiculous. To deny this is to sap her of her power.What to Know About ‘The Beatles: Get Back’Peter Jackson’s seven-plus hour documentary series, which explores the most contested period in the band’s history, is available on Disney Plus.Re-examining How the Beatles Ended: Think you know what happened? Jackson may change your mind.Yoko Ono’s Omnipresence: The performance artist is everywhere in the film. At first it’s unnerving, then dazzling.6 Big Moments: Don’t have time to watch the full documentary? Here’s a guide to its eye-opening scenes.From the beginning, Ono’s presence feels intentional. Her gauzy black outfit and flowing, center-parted hair lend her a tent-like appearance; it is as if she is setting up camp, carving out space in the band’s environment. A “mundane” task becomes peculiar when you choose to perform it in front of Paul McCartney’s face as he tries to write “Let It Be.” When you repeat this for 21 days, it becomes astonishing. The documentary’s shaggy run-time reveals Ono’s provocation in all its intensity. It’s as if she is staging a marathon performance piece, and in a way, she is.The Beatles play their final public performance as Yoko Ono looks on.Apple Corps/Disney+Jackson has called his series “a documentary about a documentary,” and we are constantly reminded that we are watching the band produce its image for the camera. Ono was, of course, already an accomplished performance artist when she encountered Lennon, seven years her junior, at a gallery show in 1966. She was a pioneer of participatory artwork, a collaborator of experimental musicians like John Cage and a master at coyly appearing in spaces where she was not supposed to belong. In 1971, she would stage an imaginary exhibition of ephemeral works at the Museum of Modern Art in New York. In the catalog, she is photographed in front of the museum holding a sign that says “F,” recasting it as the “Museum of Modern [F]art.”The idea that Ono doomed the band was always a canard that smacked of misogyny and racism. She was cast as the groupie from hell, a sexually domineering “dragon lady” and a witch who hypnotized Lennon into spurning the lads for some woman. (In 1970, Esquire published an article titled “John Rennon’s Excrusive Gloupie” that promised to reveal “the Yoko nobody Onos,” featuring an illustration of Ono looming over Lennon, who is rendered as a cockroach on her leash.) These slurs would spiral into an indefatigable pop-culture meme that has haunted generations of women accused of intruding on male genius.Ono did not “break up the Beatles.” (If Lennon’s distancing from the band was influenced by his desire to explore other pursuits, including his personal and creative relationship with Ono, that was his call.) But she did intrude. In the documentary, McCartney politely complains that his songwriting with Lennon is disrupted by Ono’s omnipresence. For her part, she was vigilant about escaping the typical role of the artist’s wife. In a 1997 interview, she commented on the status of women in rock in the 1960s: “My first impression was that they were all wives, kind of sitting in the next room while the guys were talking,” she said. “I was afraid of being something like that.” Later, she would dedicate her barbed 1973 song, “Potbelly Rocker,” to the “wives of rockers who are nameless.”The Beatles record the album that will become “Let It Be.” Yoko Ono is also there.Apple CorpsIn her 1964 text project “Grapefruit,” a kind of recipe book for staging art experiences, she instructs her audience “not to look at Rock Hudson but only Doris Day,” and in “The Beatles: Get Back,” she skillfully redirects the eye away from the band and toward herself. Her image stands in contrast to that of other Beatles partners — modelesque white women in chic outfits who occasionally swoop in with kisses, nod encouragingly and slip unobtrusively away. Linda Eastman, McCartney’s future wife, lingers a little longer, occasionally circulating and photographing the band. Eastman was a rock portraitist, and one of the film’s most fascinating moments shows her in deep conversation with Ono — as if to prove Ono’s point, it is a rare on-set interaction with no recovered audio.Ono simply never leaves. She refuses to decamp to the sidelines, but she also resists acting out stereotypes; she appears as neither a doting naïf nor a needling busybody. Instead she seems engaged in a kind of passive resistance, defying all expectations of women who enter the realm of rock genius.The Barenaked Ladies song “Be My Yoko Ono” compares Ono to a ball and chain (for the record, Ono said of the song, “I liked it”), but as the sessions go on, she assumes a weightless quality. She seems to orbit Lennon, eclipsing his bandmates and becoming a physical manifestation of his psychological distance from his old artistic center of gravity. Later, her performance would grow in intensity. The “Let It Be” sessions were followed by the recording of “Abbey Road,” and according to the studio’s engineer, when Ono was injured in a car accident, Lennon arranged for a bed to be delivered to the studio; Ono tucked herself in, commandeered a microphone and invited friends to visit her bedside. This is a lot of things: grotesquely codependent, terribly rude and iconic. The more Ono’s presence is challenged, the more her performance escalates.Ono wailing inchoately into Harrison’s microphone during his absence from the recording sessions.Apple CorpsAll of this was used to crudely fashion Ono into a cultural villain, but it would also later establish her as a kind of folk hero. “It all comes down to YOKO ONO,” the drummer Tobi Vail wrote in a zine connected to her riot grrrl band Bikini Kill in 1991. “Part of what your boyfriend teaches you is that Yoko Ono broke up the Beatles,” she writes. That story “makes you into the opposite of his band.” It relegates women to the audience and ridicules them for attempting to make their own music. In Hole’s 1997 song “20 Years in the Dakota,” Courtney Love summons Ono’s powers against a new generation of whining fanboys, and says that riot grrrl is “forever in her debt.” Vail called Ono “the first punk rock girl singer ever.”In Jackson’s film, you can see the seeds of this generational shift. One day, Eastman’s young daughter, Heather, a bob-haired munchkin, whirls aimlessly about the studio. Then she spies Ono singing. Heather observes her with scrunch-faced intensity, steps up to the microphone and wails. More