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    The Animosity Tour and Other Promotional Movie Campaigns We Love

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    For Jennifer Lopez, Sterling K. Brown, Dakota Johnson and others, the standard publicity push isn’t so standard anymore.In the 1999 rom-com “Notting Hill,” the sheepish bookseller played by Hugh Grant goes to a hotel expecting a date with the megawatt star played by Julia Roberts. He is surprised to find he has arrived at a press junket and looks adorably flustered as he’s shuffled from room to room, pretending to be a reporter from Horse & Hound to interview the stars of her space movie.The sequence is a handy introduction to this strange custom of film publicity: actors sitting in sterile suites for a parade of brief interviews. But these days that almost seems quaint. The press tour has taken on a life of its own, with stars like Dakota Johnson, Jennifer Lopez and Zendaya making news for the tour itself with quippy sound bites, inscrutable looks and fashion moments.It can be grueling for celebrities. Lupita Nyong’o recently described junkets as a “torture technique” in an interview with Glamour. But these cycles can be more entertaining than the movies themselves. Grant’s bookseller would be baffled to learn that you can categorize the tours as follows:The Animosity TourFlorence Pugh was pointedly not at the Venice Film Festival news conference for “Don’t Worry Darling” in 2022.Jacopo Raule/Getty ImagesThe promotion stops for nothing, not even cast members who appear to hate being in one another’s company. This seemed to be the case during the cycle for “Atlas,” Netflix’s new sci-fi flick starring Jennifer Lopez and Sterling K. Brown.During joint interviews, Brown seemed unable to help himself from making fun of Lopez. In one viral moment, he feigned surprise when she said she was Puerto Rican, before repeating her comfort meal of “rice and beans and like, you know, chicken” in overemphasized Spanish. In another moment, he jumped in and helped her out when her own Spanish failed her. After supplying the right word, he did a little dance. That clip prompted social-media users to wonder what J. Lo did to Brown. During these interactions Lopez looked perturbed, leaving plenty of room for observers to jump to conclusions.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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      Going Behind the Scenes of ‘Popcast (Deluxe)’

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      The weekly culture roundup show, hosted by Jon Caramanica and Joe Coscarelli, celebrates its first anniversary on May 31.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.When you walk into the “Popcast (Deluxe)” recording studio on the second floor of the New York Times office in Manhattan, the first thing you notice is two colorful chairs in the center of the room with black microphones perched on the seat backs.“We were thinking ‘elevated basement,’” said Jon Caramanica, a pop music critic for The New York Times and a host of the show, a weekly culture review on YouTube. “It’s a little ‘Wayne’s World.’”Mr. Caramanica and his co-host, the Times pop music reporter Joe Coscarelli, picked out the furniture for their studio at Horseman Antiques on Atlantic Avenue in Brooklyn. The chairs are among many quirky personal touches they’ve added to the space — books, photography from their work at The Times, lots of junk food — that, like the show, blend a highbrow and lowbrow aesthetic.Both Mr. Caramanica and Mr. Coscarelli were treading new ground when they began hosting “Popcast (Deluxe),” The Times’s first video podcast, together one year ago. The show is a spinoff of “Popcast,” a weekly pop music podcast that Mr. Caramanica has hosted since 2016. For the “deluxe” version with a broader view of pop culture, the idea was to take something that was already working — the easy and playful rapport between Mr. Caramanica and Mr. Coscarelli, a frequent “Popcast” guest — and adapt it for YouTube, a video platform that podcasts were increasingly moving into.“We want to go where smart, curious, pop-culture-interested people are living,” Mr. Coscarelli said. “YouTube was the obvious next place.”The pair records on Mondays and releases segments of the conversation throughout the week on YouTube, as well as a full audio episode on Wednesdays. For the week of May 13, Mr. Caramanica and Mr. Coscarelli had decided to cover the feud between the hip-hop giants and rivals Drake and Kendrick Lamar, as well as Zendaya’s star turn in the tennis film “Challengers,” and they allowed a Times Insider reporter to observe.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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      Popcast (Deluxe): The Kendrick-Drake Beef Ends + Zendaya & Post Malone

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:The seeming conclusion of the beef between Drake and Kendrick LamarThe way in which Kendrick Lamar used the tools that Drake had long perfected against him, especially in the hit “Not Like Us,” now the No. 1 song in the countryHow the meme ecosystem turned on Drake, long its most effective weaponizer, owing in part to the crowdsourced takedowns recorded to Metro Boomin’s instrumental song “BBL Drizzy”What might be next for both Drake and Kendrick LamarZendaya’s star turn in the tennis film “Challengers”Whether Zendaya’s emergence as a red carpet fixture trumps her actingZendaya’s Disney pastSongs of the week from Post Malone featuring Morgan Wallen (“I Had Some Help”), plus Ian’s “Figure It Out” and Central Cee’s “CC Freestyle”Snack chat about hip-hop jewelry and blown-out mixesConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      ‘Challengers’ and That Ending: Our Critics Have Thoughts

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      The tennis movie comes to an abrupt stop midmatch, so we don’t know who won. Does that matter?The relationships in “Challengers” are complicated. Patrick (Josh O’Connor) and Art (Mike Faist) were close pals on the juniors tennis circuit when they met Tashi (Zendaya), a phenom. As the years pass and they become entangled in on-court rivalry and off-court sexual tensions, the film builds to a vicious challenger-circuit match between Art, now a top-ranked pro with a confidence problem, and Patrick, sleeping in his car between tournaments. In the stands is Art’s wife and Patrick’s ex, Tashi, who turned to coaching after an injury cut short her career. The film ends abruptly, the outcome of the match unclear — and that has been the subject of much discussion online. So we asked our critic at large Wesley Morris and our movie critic Alissa Wilkinson to weigh in. Caution: Spoilers ahead.WESLEY MORRIS Alissa, we’re here to discuss the final moments of “Challengers,” and in order to do that, I’m committing a big personal no-no and talking about a movie that people have had only two weeks to see. Sometimes it takes me — a culture professional — a while to catch up, so I’d imagine other folks might appreciate some distance between opening weekend and the instant media chatterboxes start breaking down the dismount. I also understand that’s a very 1988 flavor of film discourse and that a judge would overrule me.So: People are confused about this ending? Or intrigued? Either way, I ask: Which part? The storm of final shots (final camera shots) that boot us out of the theater midmatch? Or the final encounter between Tashi and Patrick, which I refuse to ruin? Or her final glimpse, on match eve, of a sleeping Art?If we’re talking about that shot storm, which goes down in a third-set tiebreaker between Patrick and Art, is it so intriguing that it warrants a conversation? There’s one image of Patrick crouching and another of Art aloft, mid-slam, that I’ll always remember. What follows? Eh. I don’t know who these characters are, who they’re supposed to be, or what they might want, even secretly. So I didn’t care what happens after this match.If anything concerned me, it was the fact that this finale takes place in the middle (or the end, I suppose) of the third point of the tiebreaker, which has at least four or five more points to go. Is caring who wins the match gauche? Is it safe to assume that, based on the number of warnings and penalties the exasperated chair umpire (Darnell Appling) Frisbees out, whatever’s happening in that final scene is the end of the match anyway, because one of these guys is getting ejected? Did I just wind up re-enacting what people are doing with this movie anyway and express genuine intrigue?Josh O’Connor as a down-on-his-luck pro in the film.MGMWe 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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      How They Served the Tennis Scenes in ‘Challengers’

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      Painstaking effort went into building the energetic competition moments in Luca Guadagnino’s love-triangle tennis drama. Here’s a closer look at the process.“Let’s not make a tennis film.”That was the director Luca Guadagnino’s unconventional approach to “Challengers,” the hit movie starring Zendaya, Mike Faist and Josh O’Connor as rival tennis aces, locked in a high-stakes love triangle.Guadagnino, the Italian director known for his deft eroticism (“Call Me By Your Name”), didn’t want it to look like tennis usually does, with a static camera positioned behind the player who is serving, or a wide shot of the court. “That kind of televisual stillness — there’s objectivity,” he said, “which is exactly the opposite of what I was going after.”Instead, he wanted the action to mirror the characters’ complicated and sweaty dynamic — for viewers to feel like they were inside the competition, which is as much metaphor as sport. “We were asking ourselves all the time, are we really giving a kinetic experience, an intimate experience, for an audience? And are we translating that into something that can emotionally resonate?” he said in a recent video interview.But when production started, Guadagnino was a neophyte: “I was completely ignorant about tennis,” he said. Perhaps that’s why he was able to envision unique shots, like one that is below the net, or another where the camera is the ball, giving a spinning view as it hurtles across the court.Revved by Trent Reznor and Atticus Ross’s techno score, the visuals are naturalism on overdrive. But even with an assist from special effects, the tennis proved hard to shoot; the 10-minute finale game took eight months to produce. It was, Guadagnino said, “a very, very, very laborious movie.”In separate video interviews, Guadagnino, the Thai cinematographer Sayombhu Mukdeeprom and Brad Gilbert, the American tennis pro turned coach and commentator, who served as a consultant on the film, explained how they created the vigorous love-set-match moments.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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      With ‘Challengers’ and ‘Saltburn,’ Hollywood Movies Embrace Sex Again

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      Studios obsessively focused on PG-13 franchises and animation in recent years, but movies like “Challengers” and “Saltburn” show eroticism has returned.Zendaya, clad in a skintight dress, gyrates on a dance floor in “Challengers,” a $56 million sports drama that arrived in multiplexes on Friday. “It’s getting hot in here,” the hip-hop soundtrack intones, as she closes her eyes and runs her hands through her hair, lost in fantasy. “So take off all your clothes.”The story continues at a motel, where Zendaya, playing a tennis prodigy, begins a ménage à trois with two guys; it fizzles after they become more interested in each other. The plot moves on — to sultry interplay on the hood of a car, in a dorm room, in the back seat of a car, on the wooden slats of a sauna. There is erotic churro eating.“Sex is back!” shouted an apparently elated man at the conclusion of a prerelease “Challengers” screening in West Hollywood, Calif., this month.Trend spotting in cinema is a hazardous pursuit. Think about how many times the rom-com has been declared dead — and alive — and dead. (No, wait, alive.) But this much can be said with surety: Hollywood is hornier than it has been in years.“It absolutely feels like the pendulum has swung back toward filmmakers exploring adult relationships and sexuality in their projects,” said Amy Pascal, the former chairwoman of Sony Pictures and producing force behind “Challengers.”“I welcome that,” she added.Eroticism was common in studio hits like “Basic Instinct,” starring Sharon Stone, in the 1980s and ’90s.Rialto PicturesWe 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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      ‘Challengers’ Review: Game, Set, Love Matches

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      Zendaya, Josh O’Connor and Mike Faist play friends, lovers and foes on and off the tennis court in Luca Guadagnino’s latest.You can always feel the filmmaker Luca Guadagnino trying to turn you on — he’s a zealous seducer. His movies are sleek divertissements about ravishing people and their often sumptuously rarefied sensibilities and worlds. I tend to like his work, even if it can be overly art-directed and feel too (excuse the verb) curated to stir the soul along with my consumer lust. I am moved when a father tenderly comforts his son in “Call Me by Your Name”; my most vivid memories of “A Bigger Splash” is its striking setting and a dress that Tilda Swinton wears.Guadagnino’s latest, “Challengers,” is about a continually changing love triangle involving two besotted men and a sharp, beautiful woman with killer instincts and personal style. Largely set in the world of professional tennis, it is a fizzy, lightly sexy, enjoyable tease of a movie, and while someone suffers a bad injury and hearts get broken (or at least banged up), for the most part it’s emotionally bloodless. Even so, it’s a welcome break in tone and topic after Guadagnino’s Grand Guignol adventures in “Suspiria,” a take on a Dario Argento horror film, and “Bones and All,” about two pretty cannibals hungrily and moodily adrift.Written by the novelist and playwright Justin Kuritzkes, “Challengers” is fairly straightforward despite its self-consciously tortured narrative timeline. It tracks three tennis prodigies — friends, lovers and foes — across the years through their triumphs and defeats, some shared. When it opens, the troika’s one-time brightest prospect, Tashi (Zendaya), has been retired from playing for a while and is now coaching her husband, Art (Mike Faist), a Grand Slam champ rapidly spiraling downward. In a bid to reset his prospects (he’s a valuable property, for one), he enters a challenger tournament, a kind of minor-league event where lower-ranking professionals compete, including against injured higher-ranking players.That match takes place in New Rochelle, N.Y., an easy drive from Flushing, Queens, and the home of the U.S. Open, which Art has yet to win. It’s while in New Rochelle that he and Tashi dramatically reconnect with Patrick (Josh O’Connor), the errant member of their complicated three-way entanglement. A rich boy who cosplays as poor (well, at least struggling), Patrick met Art when they were children at a tennis academy. By 18, they were tight friends and perhaps something more; the movie coyly leaves just how close to your imagination, even as it fires it up. It’s at that point that they met Tashi, then a fast-rocketing star.Soon after the movie opens in 2019, it jumps to the recent past (“two weeks earlier”) and then starts bouncing around back and forth in time like a ball flying over the net, with the New Rochelle match serving as the story’s frame. (The 2019 date may be a nod to an epic men’s final at Wimbledon that year in which, after nearly five hours, Novak Djokovic beat Roger Federer.) Turning back the clock can be a cheap way to make movies appear more complex than they actually are. Here, though, as the story leaps from past to present — from when Tashi, Art and Patrick were feverishly young to when they were somewhat less young — time begins to blur, underscoring that the passing years haven’t changed much.All three leads in “Challengers” are very appealing, and each brings emotional and psychological nuance to the story, whatever the characters’ current configuration. They’re also just fun to look at, and part of the pleasure of this movie is watching pretty people in states of undress restlessly circling one another, muscles tensed and desiring gazes ricocheting. Guadagnino knows this; he’s in his wheelhouse here, and you can feel his delight in his actors. With the cinematographer Sayombhu Mukdeeprom, he shows them off beautifully, caressing them in light so that they look lit from within. Even during the fantastically staged and shot — and very sweaty — New Rochelle match, they glow.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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      ‘Dune: Part Two’ Review: Bigger, Wormier and Way Far Out

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      Timothée Chalamet and Zendaya make an appealing pair in Denis Villeneuve’s follow-up film, and the actors fit together with tangible ease.Having gone big in “Dune,” his 2021 adaptation of Frank Herbert’s futuristic opus, the director Denis Villeneuve has gone bigger and more far out in the follow up. Set in the aftermath of the first movie, the sequel resumes the story boldly and quickly, delivering visions both phantasmagoric and familiar. Like Timothée Chalamet’s dashingly coifed hero — who steers monstrous sandworms over the desert like a charioteer — Villeneuve has tamed a Leviathan. The art of cinematic spectacle is alive and rocking in “Dune: Part Two,” and it’s a blast.The new movie is a surprisingly nimble moonshot, even with all its gloom and doom and brutality. Big-screen enterprises, particularly those adapted from books with a huge, fiercely loyal readership, often have a ponderousness built in to every image. In some, you can feel the enormous effort it takes as filmmakers try to turn reams of pages into moving images that have commensurate life, artistry and pop on the screen. Adaptations can be especially deadly when moviemakers are too precious with the source material; they’re torpedoed by fealty.“Dune” made it clear that Villeneuve isn’t that kind of textualist. As he did in the original, he has again taken plentiful liberties with Herbert’s behemoth (one hardcover edition runs 528 pages) to make “Part Two,” which he wrote with the returning Jon Spaihts. Characters, subplots and volumes of dialogue (interior and otherwise) have again been reduced or excised altogether. (I was sorry that the great character actor Stephen McKinley Henderson, who played an eerie adviser in the first movie, didn’t make the cut here.) The story — its trajectory, protagonist and concerns — remains recognizable yet also different.“Dune” turns on Paul Atreides (Chalamet), an aristocrat who becomes a guerrilla and crusader, and whose destiny weighs as heavily on him as any crown. In adapting “Dune,” Villeneuve effectively cleaved Herbert’s novel in half. (Herbert wrote six “Dune” books, a series that has morphed into a multimedia franchise since his death in 1986.) The first part makes introductions and sketches in Paul’s back story as the beloved only son of a duke, Leto (Oscar Isaac), and his concubine, Lady Jessica (Rebecca Ferguson). When it opens, the royals, on orders from the universe’s emperor, are preparing to vacate their home planet, a watery world called Caladan, to the parched planet of Arrakis, a.k.a. Dune.The move to Arrakis goes catastrophically wrong; Paul’s father and most members of House Atreides are murdered by their enemies, most notably the pallid, villainous House Harkonnen. Paul and the Lady Jessica escape into the desert where — after much side-eyeing and muttering along with one of those climactic mano-a-mano duels that turn fictional boys into men — they find uneasy allies in a group of Fremen, the planet’s Indigenous population. A tribal people who have adapted to Dune’s harsh conditions with clever survival tactics, like form-fitting suits that conserve bodily moisture, the Fremen are scattered across the planet under the emperor’s rule. Some fight to be free; many pray for a messiah.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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      Venice Film Festival Finds Drama Without Zendaya

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      Day 1 brought challenges but not “Challengers,” the film that had been scheduled to open this usually starry event until it was delayed by the strikes.The sky in Venice wept on Wednesday, for there were no pictures to be taken of Zendaya in couture clambering from a speedboat.No? Too much? Well, it’s hard not to sound melodramatic at a film festival where the movies are big but the mood swings are even bigger. Let me clear my throat, take a swig of this Aperol spritz, and start again …The 80th edition of the Venice Film Festival kicked off on this rainy Wednesday with several big-name auteurs in attendance but few of the stars that this event has come to count on. With dual strikes by the writers and actors guilds forcing a Hollywood shutdown, and the actors forbidden from promoting studio films during the labor action, Venice will inaugurate a fall film season that is still in significant flux.The first day was meant to be turbocharged by the presence of Zendaya, who turned heads here two years ago in a series of stunning dresses while publicizing the first installment of “Dune.” But the shutdown cost Venice the new film she stars in, Luca Guadagnino’s “Challengers,” in which she plays a tennis pro who has to make a romantic choice between two best friends, played by Josh O’Connor and Mike Faist (the cheeky marketing materials tease that on at least one night, she chooses both).Without its lead available to support the film, MGM delayed the release of “Challengers” to spring 2024 and yanked it from the Venice lineup. Taking its place as the festival’s opening-night film was “Comandante,” a World War II film told from the point of view of Italian submariners. While it’s well-shot and full of suspenseful battle sequences, “Comandante” features exactly zero tennis hotties contemplating a threesome, which may hinder its ultimate appeal with a Venice audience that was promised starry romantic high jinks.Though the festival’s artistic director, Alberto Barbera, admitted at a news conference on Wednesday that the likes of Emma Stone (“Poor Things”) and Bradley Cooper (“Maestro”) will not be attending Venice because of the strike, other actors who hail from more independent productions have managed to secure guild waivers, including “Ferrari” star Adam Driver, “Memory” lead Jessica Chastain, and the cast of Sofia Coppola’s “Priscilla.” They’re expected to show up on the Lido this week alongside a posse of high-powered directors that includes David Fincher (“The Killer”), Ava DuVernay (“Origin”) and Richard Linklater (“Hit Man”).Still, the strikes loom large. At Barbera’s news conference, the jury president, the filmmaker Damien Chazelle (“La La Land”), dressed for maximum solidarity, donning a “Writers Guild on Strike!” shirt and a similar button on the lapel of his sport coat. He noted that as of Wednesday, the writers had been on strike for 121 days, with the actors joining them for the last 48 days, and he called on studios to compensate those artists fairly.“I think there’s a basic idea that each work of art has value unto itself, that it’s not just a piece of content, to use Hollywood’s favorite word right now,” Chazelle told reporters, adding that that idea “has been eroded quite a bit over the past 10 years. There’s many issues on the table with the strikes, but to me, that’s the core issue.”Chazelle was joined by the directors Martin McDonagh and Laura Poitras, who both wore shirts supporting the Writers Guild. They are part of a jury that includes the filmmakers Jane Campion and Mia Hansen-Love, among others.“I’m not sure I entirely deserve this spot, but I will do my best to live up to it,” Chazelle said. “I thank Mr. Barbera for his foolishness in letting me try it out.”Though Chazelle has been to Venice a few times before, to debut “La La Land” and his follow-up, “First Man,” he said he still found the place quite surreal. “That fact that you take a boat to a screening, it’s silly,” Chazelle said. “Cinema, to me, is a waking dream and that, to me, is Venice.”See what I said about melodrama? When you’re in Venice, where even the paint peels in the most picturesque way, you just can’t help yourself from indulging. That’s how your columnist felt last night in the rain, mulling over two of the worst disasters to hit Italy in quite some time: St. Mark’s Square was flooded, and there was no Zendaya. But at least the sun will come out tomorrow here, as will the new films by Michael Mann and Wes Anderson. More