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      in Music

      Bolshoi Performer Is Killed in Onstage Accident

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      The man, in his late 30s, was crushed during a scene change as the opera “Sadko” was performed before an audience, the theater said.A performer was killed during an opera at the Bolshoi Theater in Moscow on Saturday when there was an accident during a scene change, the theater said.The man, in his late 30s, was working as an extra in a performance of the opera “Sadko,” by the Russian composer Nikolai Rimsky-Korsakov.Russian news reports said that the man had been crushed by a piece of scenery, and videos of the event that circulated online showed it happening as a backdrop descended to the stage. As the chorus kept singing and the orchestra continued to play, there was a sudden commotion onstage. Performers waved their arms and shouted “Stop!” The music ground to a halt, and most of the performers walked offstage while a few went to the rear of the stage to help the man. The curtains closed.The show was stopped immediately, the Bolshoi said in a statement, and the audience was asked to leave.“A tragic accident happened during the ‘Sadko’ production tonight,” the Bolshoi, one of Russia’s most prestigious theaters, said in a statement. The theater said it was assisting investigators as they sought to determine the circumstances of the man’s death.The man was identified as Yevgeny Kulesh. He worked as part of a 50-person group of Bolshoi employees who serve as onstage extras, supplementing singers and dancers.Russian news reports said that audience members had not initially seemed aware of the death and appeared to think that the panic onstage was part of the performance.The Bolshoi has a history of strange deaths and injuries. In 2013, the artistic director of the Bolshoi Ballet was severely injured when a masked man threw acid in his face. That same year, a violinist died after falling into the orchestra pit. More

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      in Television

      How ‘Boeing’s Fatal Flaw’ Grounded the 737 Max and Exposed Failed Oversight

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      A new documentary by Frontline, in partnership with The New York Times, examines how competitive pressure, flawed design and problematic oversight of the Boeing jet led to two crashes that killed 346 people.A new documentary by Frontline, in partnership with The New York Times, investigates the Boeing 737 Max catastrophe, and will air on PBS on Tuesday, Sept. 14, and will be streaming on PBS.org/frontline, YouTube and in the PBS Video App.Ruth Fremson/The New York Times‘Boeing’s Fatal Flaw’Writer/director Thomas JenningsReporters David Gelles, James Glanz, Natalie Kitroeff and Jack NicasWatch the new documentary by Frontline, in partnership with The New York Times, on Tuesday, Sept. 14, on PBS and streaming at pbs.org/frontline, on YouTube and in the PBS Video App.Airplanes are designed to go up after takeoff, but that’s not what happened to Lion Air Flight 610 when it left Jakarta, Indonesia, in October 2018.“You don’t see planes diving on departure,” one Indonesian aviation expert said. And yet the Boeing 737 Max jet, piloted by an experienced crew, went into an irrecoverable nosedive minutes after takeoff. All 189 people on board were killed when it crashed into the Java Sea.Four months later, 157 people died when another 737 Max, operated as Ethiopian Airlines Flight 302, plummeted to the earth, ringing new alarms about the aircraft. Days later, the jet was grounded.“Boeing’s Fatal Flaw,” a new documentary by Frontline, featuring reporting by The New York Times, investigates the causes of the two crashes and how a software system that was supposed to make the plane safer played a role in the catastrophes.The Boeing 737 Max began as a success story: The plane was the company’s best selling jet ever, with hundreds of billions of dollars in advance orders from airlines around the world. But our reporters’ investigation shows that, early on, the tale had all the elements of a tragedy in the making.Internal Boeing documents and interviews with former Federal Aviation Administration officials and congressional investigators reveal how competitive pressures influenced the efforts to bring the 737 Max to market. And The Times’s investigation details how an essential software system known as MCAS was implemented with insufficient oversight and inadequate pilot training.“Boeing’s Fatal Flaw” traces The Times’s investigation. Boeing declined to be interviewed for the film, but the documentary includes details from our reporters’ on-the-record interview with the company’s chief executive, Dave Calhoun. The film also features on-camera interviews with congressional investigators, aviation experts and family members of the passengers aboard the two fatal flights.You can watch on Tuesday, Sept. 14, on PBS and streaming at pbs.org/frontline, on YouTube and in the PBS Video App.Featured ReportersDavid Gelles writes the Corner Office column and other features for the Business section. Since joining The Times in 2013, he’s written about mergers and acquisitions, media, technology and more.James Glanz is a reporter on the Investigations desk. Before joining the desk, he spent nearly five years in Iraq as a correspondent and Baghdad bureau chief. On Sept. 11, 2001, he covered the collapse of the twin towers and, for two years, continued to report from ground zero. He has a Ph.D. in astrophysical sciences from Princeton.Natalie Kitroeff is a foreign correspondent covering Mexico, Central America and the Caribbean. Before that, she was a business reporter writing about the economy for The Times. She also covered the California economy for The Los Angeles Times and reported on education for Bloomberg.Jack Nicas has covered technology for The New York Times since 2018. Before joining The Times, he spent seven years at The Wall Street Journal covering technology, aviation and national news.Producers Vanessa Fica and Kate McCormickSenior producer Frank KoughanExecutive producers for Left/Right Docs Ken Druckerman and Banks TarverExecutive producer of FRONTLINE Raney Aronson-RathFRONTLINE, U.S. television’s longest running investigative documentary series, explores the issues of our times through powerful storytelling. It is produced at GBH in Boston and is broadcast nationwide on PBS. More

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      in Television

      Trevor Moore, Co-Founder of ‘Whitest Kids U’Know’ Comedy Show, Dies at 41

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      The comedian, who released a solo album called “Drunk Texts to Myself” and whose films included “The Civil War on Drugs,” was killed in an unexplained accident.Trevor Moore, a comedian and co-founder of the popular sketch comedy show “The Whitest Kids U’Know,” which appeared on the Independent Film Channel, died on Saturday in Los Angeles. He was 41.His death was confirmed by the Los Angeles County medical examiner-coroner, who said that Mr. Moore had died in a yard on a residential block in the Franklin Hills section of the city, the same block where public records showed that he had lived.He was killed in an accident, according to a statement from his wife, Aimee Carlson, that was released by his manager, Kara Welker. The statement did not provide details of the accident, and Ms. Welker said she did not have additional information. The medical examiner’s office said it would conduct an autopsy.Mr. Moore released a solo comedy album, “Drunk Texts to Myself”; hosted a one-hour special on Comedy Central; and co-directed, co-wrote and starred in the films “Miss March” (2009) and “The Civil War on Drugs” (2011).But he is best known for his work on “Whitest Kids U’Know,” which ran for five seasons starting in 2007. Zany and wry, it sought to wring laughs out of thorny issues like police brutality, the war on drugs and student debt.One writer at the website Salon last year said the show “eerily foresaw the Trump era.” Other times, the show veered into the absurd. After going off the air, it developed a following online, and its YouTube channel has more than 100 million total views.Mr. Moore often rooted his comedy in terrain his audiences could recognize — a park with an old friend, a modern-day White House news conference — and injected each scenario with dizzying amounts of lunacy and humor.In one memorable sketch, a White House press secretary reveals more and more details about an unlikely turn of events on a secret United States space station on the moon that has been taken over by bears.“We believe they may be involved in some sort of intergallatic drug cartel, perhaps affiliated with one of the interstellar wizard alliances,” the press secretary deadpans. Stunned reporters try to absorb the shocking news when one finally asks, “You wouldn’t happen to be invading Iran today, would we?” The press secretary pauses, then smiles wryly and says, “You got me.”In 2019, Mr. Moore brought his idiosyncratic sensibilities to the talk show format, and began hosting “The Trevor Moore Show” on Comedy Central. Its early episodes had titles like “Achieving World Peace with Flat Earth Theory” and “Why is Everyone So Horny All the Time?”“See, the worst part about dying,” Mr. Moore said on the show in June, “is that you don’t get to hear all the nice things said about you after you’re gone.”Born on April 4, 1980, in Montclair, N.J., Mr. Moore was raised in Charlottesville, Va., by his parents, Mickey and Becki Moore, popular Christian rock singers, according to Vanity Fair and the website IMDb.At 16, Mr. Moore began creating weekly cartoons for local newspapers in Virginia, and by 19 he had written and produced a weekly sketch comedy program, “The Trevor Moore Show,” for local television stations, according to IMDb.Mr. Moore graduated with a degree in film from the School of Visual Arts in New York City. In 2010, he married Ms. Carlson. In addition to his wife and parents, Mr. Moore is survived by a 3-year-old son, August. He is also survived by a sister, Lila Haile.News of Mr. Moore’s death drew an outpouring of praise for the comedian from collaborators and admirers.On Instagram, the comedian James Adomian of IFC’s “Comedy Bang! Bang!” said Mr. Moore “was a magnetic friend to all, who thought everything was unstoppably hilarious no matter how scary or hopeless — this sardonic gallows humor was a beacon and a guide to me and many others in dark times.”Referring to two sketch comedy shows with strong cult followings, David Gallaher, who has written for Marvel and DC Comics, said on Twitter that Mr. Moore “blended the BEST of The State and Kids In The Hall to create something beautiful, subversive, and contemporary.”Neil Vigdor More