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    ‘The Four Seasons’ Review: Tepid Trouble in Middle-Aged Paradise

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    In this Netflix series created by Tina Fey, among others, old friends contend with the fallout from a surprising breakup.“The Four Seasons” follows three couples on four vacations, two episodes per trip. Everyone is thinking about his or her middle-aged ennui and the routines — ruts? — of marriage, what companionship and friendship and sex look like in this chapter and the next.The show is based on a 1981 movie with the same premise, written and directed by Alan Alda, who also starred. (He has a brief cameo here.) This Netflix version was created by Tina Fey, Lang Fisher and Tracey Wigfield, with Fey and Will Forte as Kate and Jack, the roles played originally by Carol Burnett and Alda. Their friend group is filled out by Steve Carell, Kerri Kenney-Silver, Colman Domingo and Marco Calvani, and the series’s plot is similar but not identical to that of the movie. The biggest change is that the prickly, talky humor and depth have been sanded down into mild, featherweight Netflix chow.“The Four Seasons,” which arrived on Thursday, is pleasant enough, but it never shakes the fact that most people would rather listen to the cast than the characters. Such talent; such humor; such icons! Anyway, here’s a show where all of those lights are under a bushel basket.In the first outing, everyone is at a lake house for the 25th wedding anniversary of Anne and Nick (Kenney-Silver and Carell). After a night of toasting one another and congratulating themselves on finding their soul mates, Nick shocks the guys by telling them that he plans to leave Anne. He isn’t happy, and she’s too stagnant.Every marriage goes through phases when the spouses feel more like roommates than romantic partners, Jack says.“I wish we were roommates,” Nick says. “Roommates hang out together. There’s porn about roommates. We’re like co-workers at a nuclear facility: We sit in the same room all night monitoring different screens.”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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      The Stylish Celebrities Who Ruled the Red Carpet This Awards Season: Cynthia Erivo, Timothée Chalamet and More

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      If fashion is a game, they were playing to win.The ultimate honor during awards season is to take home a statue. But the glut of ceremonies and related events between January and March has long offered celebrities another way to distinguish themselves: by their clothing choices.For A-listers, red carpets are as much a venue for self expression as they are an arena for landing brand deals, invitations to fashion weeks and the covers of not-yet-extinct print magazines. For viewers, they can offer a peek at the trends of tomorrow. And for many people, whether they are walking or watching, red carpets are also just a lot of fun.The eight stars on this list seemed to have a firm grasp of all of those points, based on the ways they navigated the many red carpets that they graced. Some used the carpets to play muse to particular designers, while others used them to challenge beauty stigmas. All, needless to say, turned countless heads while doing it.Zoe SaldañaMore looks →In Saint Laurent at the Academy Awards in March.Jutharat Pinyodoonyachet for The New York TimesIn Saint Laurent at the Vanity Fair Oscar party in March.Danny Moloshok/ReutersIn Saint Laurent at the Screen Actors Guild Awards in February.Robyn Beck/Agence France-Presse — Getty ImagesIn Saint Laurent at the EE British Academy Film Awards in February.Andy Rain/EPA, via ShutterstockIn Saint Laurent at the Golden Globes in January.Caroline Brehman/EPA, via ShutterstockThe “Emilia Pérez” actress received a staggering amount of trophies, winning best supporting actress awards at the the Golden Globes, the Critics Choice Awards, the British Academy Film Awards, the Screen Actors Guild Awards and the Academy Awards. She had an equally strong style showing: Ms. Saldaña, who has worked with the stylist Petra Flannery, wore a number of layered, ruffled and sculptural creations by Saint Laurent, whose top designer, Anthony Vaccarello, was among the “Emilia Pérez” producers.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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      For Stars at the Oscars, a Night of Celebration and Selfies

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      The Academy Awards can be a fraught affair. When many of the world’s biggest stars gather to be validated for their artistry, the tension of parsing the winners from non-winners (not losers!) threatens to stultify the whole thing. But at Sunday night’s Oscars ceremony — where “Anora” (and Sean Baker) won big, Cynthia Erivo and Ariana Grande belted big-hearted songs, and Adrien Brody kissed and was kissed — our photographer caught the stars in unguarded moments of joyful support and celebration throughout the night.Cynthia Erivo, whose rousing duet with Ariana Grande, “Defying Gravity,” opened the ceremony, waved to a familiar face in the Dolby Theater.Rumer Willis and Demi Moore, in the foreground, and Penélope Cruz and Lupita Nyong’o, middle, chatting as Isabella Rossellini looks on.Colman Domingo, with his husband, Raul Domingo, taking a selfie. Ariana Grande, left, enjoyed a moment with her “Wicked” co-star Bowen Yang, center, and Matt Rogers, who co-hosts “Las Culturistas,” a podcast, with Yang.Jeremy Strong, nominated for best supporting actor for his role in “The Apprentice,” was saluted in a speech by his “Succession” co-star Kieran Culkin, who won the award.Mikey Madison celebrated winning the award for best actress for her role in “Anora.” “This is a dream come true,” she said. “I’m probably going to wake up tomorrow.”The nominees for best actor — from left: Timothée Chalamet, Colman Domingo, Adrien Brody, Ralph Fiennes and Sebastian Stan — huddled for an impromptu photo shoot.Emma Stone, last year’s best actress winner for “Poor Things,” poked her tongue at a neighbor.Margaret Qualley embraced her husband, the music producer Jack Antonoff, during a break in the show.Adrien Brody kissed Daniel Blumberg for winning best original score for “The Brutalist.” On the red carpet before the show, Brody had been surprised by a kiss from Halle Berry, who recreated their smooch at the 2003 Oscars.Sean Baker made history Sunday night, tying Walt Disney for most individual Oscars collected in one night, with four. His film “Anora” won five, including best picture.Fernanda Torres, a best actress nominee for “I’m Still Here,” connected with Colman Domingo. She was the second Brazilian to ever receive a best acting nod. Her mother, Fernanda Montenegro, nominated in 1999, was the first.Jeff Goldblum, left, compared cellphones with his wife Emilie Livingston.Cynthia Erivo with Ralph Fiennes, who starred in “Conclave,” a film about the intrigue behind the selection of a new pope that received eight nominations.After his best actor win for “The Brutalist” was announced, Adrien Brody soaked in the moment. He then tossed his gum from the stage to his girlfriend Georgina Chapman.Ariana Grande with Ethan Slater, her co-star in “Wicked,” which was up for 10 Oscars.Demi Moore, left, reached across Margaret Qualley, her co-star in “The Substance,” to greet Qualley’s husband, Jack Antonoff. Moore, a nominee in the best actress category, lost to Mikey Madison. More

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      How to Watch the Oscars 2025: Date, Time and Streaming

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      Conan O’Brien will host the annual awards, which will be available to watch live on a streaming service for the first time.It seems like a lifetime ago that Sean Baker’s screwball comedy “Anora” first emerged as the favorite in the best picture race (no one was yet even thinking about holding space for “Wicked”).But we’re now right back where we started in the fall with both math and our Projectionist columnist, Kyle Buchanan, predicting that “Anora” will emerge triumphant. It’s by no means a sure thing — last weekend’s big Screen Actors Guild Awards winner, the papal thriller “Conclave,” could play spoiler.In the acting races, Demi Moore appears to be the one to beat after notching another win at the SAGs (though Buchanan says not to count out Fernanda Torres, who delivers a tour de force performance in the quiet Brazilian drama “I’m Still Here”).But could Adrien Brody, who plays a Jewish architect who survives the Holocaust in “The Brutalist,” be in for an upset from the 29-year-old Timothée Chalamet, who has embarked on a decidedly unconventional — and very online — Oscar campaign for his lead role in the Bob Dylan biopic “A Complete Unknown”?Here’s everything you need to know.What time does the show start and where can I watch?This year’s show is again one for the early birds: The ceremony is set to begin at 7 p.m. Eastern, 4 p.m. Pacific, at the Dolby Theater in Los Angeles.On TV, ABC is the official broadcaster. Online, you can watch the show live on the ABC app, which is free to download, or at abc.com, though you’ll need to sign in using the credentials from your cable provider. There are also a number of live TV streaming services that offer access to ABC, including Hulu + Live TV, YouTube TV, AT&T TV and FuboTV, which all require subscriptions.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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      How to Watch the SAG Awards

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      In a wide-open best picture race, the awards, which are streaming on Netflix, could offer some clarity.This year’s Oscars best picture race is, for the first time in years, wide open.Will the newly ascendant front-runner “Anora,” Sean Baker’s Palme d’Or winner about a stripper who impulsively marries the son of a Russian oligarch, take the statuette? Will Brady Corbet’s epic “The Brutalist” find its way to the top? And what about the wild card, the papal thriller “Conclave,” which recently took top honors at the EE British Academy Film Awards, or BAFTAs — Britain’s version of the Oscars?With the days ticking down until the March 2 Academy Awards ceremony, the Screen Actors Guild Awards could offer some clarity. In four of the past five years, the SAGs have given their top honor — best ensemble — to the eventual Oscar winner.The 15 awards, which are voted on by actors and other performers who belong to the SAG-AFTRA union, honor the best film and television performances from the past year. The movie musical “Wicked” and the FX series “Shogun” are the leading nominees.Here’s how to watch, and what to watch for.What time does the show start, and where can I watch?The two-hour ceremony begins at 8 p.m. Eastern time (5 p.m. Pacific time) at the Shrine Auditorium in Los Angeles, a historic venue that has also hosted the Oscars. For the second year, the awards show will stream live and exclusively on Netflix; there is no way to watch without a subscription.Is there a red carpet?The red carpet preshow will stream live on Netflix beginning at 7 p.m. Eastern time (4 p.m. Pacific time). The YouTube star Lilly Singh and the actress and former “Saturday Night Live” comedian Sasheer Zamata will host the event, which will include interviews with nominees and the announcement of the winners in the best stunt ensemble categories.Who is hosting?Kristen Bell, who recently starred in the Netflix rom-com “Nobody Wants This,” will steer the ship. This will be her second time hosting; the first was in 2018.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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      Gotham Awards Go to ‘A Different Man’ and ‘Sing Sing’

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      The kickoff to awards season has a mixed record but can help lift small films like the two surprise winners.“A Different Man,” a dark indie comedy starring Sebastian Stan, was the surprise best-feature winner at the 34th annual Gotham Awards, which took place Monday night at Cipriani Wall Street in New York.Directed by Aaron Schimberg, the film stars Stan as an actor with neurofibromatosis who undergoes an experimental surgery to remove tumors from his face, giving him a more conventional appearance. That makeover puts him in danger of losing a leading role to a local bon vivant (Adam Pearson) who also has neurofibromatosis but owns his appearance without shame.Though “A Different Man” is distributed by the hot studio A24, it was considered the lowest-profile contender in its category. Most pundits expected the Palme d’Or winner “Anora” to cruise to victory here and even Schimberg was caught off-guard by the win. “I think I’m not the only person in the room who’s totally stunned by this,” the director said onstage, admitting he had not prepared a speech in advance, fearing it would be “hubris” to do so.In a very fluid Oscar season, the Gotham win could raise the chances of Stan, who also stars in the Donald Trump biopic “The Apprentice,” and Pearson, a dark-horse supporting-actor candidate. Though the Gothams’ effectiveness as an Oscar bellwether can fluctuate, three of the four most recent films to triumph there — “Past Lives,” “Everything Everywhere All at Once” and “Nomadland” — also went on to be nominated for best picture at the Oscars.The Gothams are most valuable when it comes to helping smaller films like “A Different Man” that rely on an awards-season run to stay in the conversation. Though the ceremony recently lifted its $35 million budget cap for eligible contenders, its nominating juries, which are mostly made up of a handful of film journalists, still tend to favor movies that were made on a shoestring.That includes “Sing Sing,” a prison drama that won the night’s lead and supporting-performance honors for Colman Domingo and Clarence Maclin. (The Gothams are gender-neutral.) “Let’s keep doing work that really matters, that makes a difference,” Domingo, who starred in “The Color Purple” and “Rustin” last year, told the audience. “That’s what we can do right now. That can be a light in the darkness.”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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      in Television

      Colman Domingo Makes Sense of ‘The Madness’

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      The Netflix thriller uses a murder mystery to explore the dangers of misinformation and conspiracy theories. “It’s this flood of not knowing what to believe,” the actor says.The actor Colman Domingo had recently finished back-to-back shoots for the films “Rustin” and “The Color Purple.” He was not looking to star in a series, let alone a series in which the main character seemingly never stops talking. “I’ll be very honest,” he said. “I was trying to rest.” But when his agent sent him the scripts for “The Madness,” he couldn’t help himself.“I thought, Yeah, this is just too good,” he said.This was on a recent evening, and Domingo had joined a video call to discuss “The Madness,” an eight-episode thriller that premieres Thursday on Netflix. Domingo stars as Muncie Daniels, a CNN pundit who has become increasingly alienated from his family, his community and even his own beliefs. When a white supremacist is murdered and Muncie is falsely accused of the crime, he goes on the run, embarking on a journey that reconnects him with what he values. (It also connects him to television’s current favorite villain: a shady billionaire.)A suspenseful series, set largely in Philadelphia and the Poconos, “The Madness” is a showcase for Domingo and a meditation on the dangers of misinformation, disinformation and conspiracy theories, though some of those theories turn out to be true. Domingo, who is currently shooting a new project in Beacon, N.Y. (he is bad at resting), joined the showrunners Stephen Belber, based in New York, and V.J. Boyd, who called in from Los Angeles, to discuss conflict, repair and why cable news is never the answer. These are edited excerpts from the conversation.Why did you want Colman?STEPHEN BELBER I’ve been a fan since his theater days. I wanted this weirdly beautiful blend of grace and force that Colman brings to everything he touches. It was what Muncie required. There’s a certain bombast to him, but there’s a certain vulnerability. And then remembering that Colman is from West Philly, the universe was speaking to us.V.J. BOYD It was very important that we had someone who had great presence, because this is a show where the protagonist is front and center.And Colman, why did you want to do the series?COLMAN DOMINGO I had questions about our society, about who’s pulling the strings, about disinformation, about why we’re so divided. All these questions that I had, they were uncovering. They were saying, “Let’s bring this to the forefront.” I wanted to be the instrument. I understand this character deeply.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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      For This Drama, Some Actors Had to Return to Prison by Choice

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      Alongside Colman Domingo and Paul Raci, ex-inmates shot “Sing Sing” in a decommissioned correctional facility. Then came the screening in the actual prison.Between the jangle of keys and the beeps of walkie-talkies, the men watched.The occasion was an advance screening of the new A24 film “Sing Sing,” and at the prison it’s set in, the men were taking in a fictional version of their lives.Amid a heat wave, the audience — a mix of the studio’s guests and incarcerated men in hunter-green pants — crowded into the correctional facility’s chapel-turned-cinema. With the sun streaming through a stained-glass window of Christ kneeling before the cross, the viewers fanned themselves with paper plates.It was the first time Clarence “Divine Eye” Maclin had been to the prison in Ossining, N.Y., since 2012, when he finished serving more than 17 years for robbery.While incarcerated, Maclin had starred as Hamlet in the prison’s makeshift auditorium. Now he was free and returning for his screen debut. He entered the chapel with a grin and a triumphant bounce.Based on the work of the nonprofit Rehabilitation Through the Arts, “Sing Sing,” directed by Greg Kwedar, follows the production of a prison troupe’s first comedy, a fever dream of a play featuring time travel, ancient Egypt and Shakespeare. Maclin and the recent Oscar nominee Colman Domingo star as fellow prisoners alongside Paul Raci (also an Oscar nominee) as their earnest director.Maclin watching himself at the screening. “I always knew I wanted to act,” he said, but “I thought I would be doing it for free somewhere.”Hiroko Masuike/The New York TimesWe 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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      ‘Sing Sing’ Review: Divine Interventions

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      A deep-tissue turn by Colman Domingo and a breakout performance by Clarence Maclin lift this moving drama about a prison theater program.Spoken by the two key characters in the prison-set drama “Sing Sing,” the word “beloved” is as moving as it is unexpected. It uplifts and gently shatters. It makes a case for the deep respect and deeper amity forged in a theater program set up at the eponymous maximum-security facility.Colman Domingo imbues his character John Whitfield, a.k.a. Divine G, with a steadfast compassion but also the tamped-down frustrations of a man convicted of a crime he says he didn’t commit. And Clarence Maclin — a formerly incarcerated newcomer whose story, along with that of the actual Whitfield, the film is built upon — burrows into his former self in a finessed and fierce performance as Divine Eye, the prison-yard alpha who auditions for Sing Sing’s Rehabilitation Through the Arts theater program. That program is the movie’s other star.The film, directed by Greg Kwedar from a script written with Clint Bentley, orbits the prickly relationship between G, a much-respected member of the R.T.A. ensemble, and Eye. We first meet Eye shaking down a wan mark and conducting his drug business in the prison yard. G and his best friend, Mike Mike (Sean San José in a poignant turn), watch, waiting to gauge Eye’s genuine interest in the acting program. There’s a long wait-list.A published writer, G spends his time away from the rehearsal room in the library or at his typewriter building his clemency appeal or researching the cases of fellow inmates. Eye, possessing a gap-tooth smile he’s slow to reveal, is a psychological pugilist looking for the soft spot to land the hurtful punch.From the jump, Eye challenges G’s standing. He’s the prince of the hard gaze. Nothing sits right with him. He thinks the warm-ups are goofy. (They are until they aren’t.) When a fellow actor crosses behind him during the blocking of a scene, he’s ready to pummel.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