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      in Movies

      ‘Youth (Hard Times)’ Review: Working Till They Drop

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      In Wang Bing’s riveting new documentary about Chinese garment workers, a generation asks: What good is money when you have no rights?Wang Bing calls his new films about Chinese garment workers the “Youth” trilogy for good reason: Most of the people shown clocking marathon hours at sewing machines are barely in their 20s. Maybe that’s why the concrete buildings where they both work and live can feel like dystopian dorms. The men and women split their time largely between cluttered workshops downstairs and bunkrooms upstairs, where they trade war stories of long hours, short wages and bad bosses.It’s a story as old as time, or industrialization, which may be why the English title of the trilogy’s second entry, “Youth (Hard Times),” evokes Charles Dickens’s 1854 novel set in a mill town. Wang’s nearly four-hour documentary depicts the migrants who trek to these streets of Zhili in the district of Huzhou City and earn “bitter money” (to borrow the title of an earlier Wang film). To watch them toil away despite thankless conditions is to admire their resilience but also feel their time being lost.“Youth (Hard Times)” leans into the obstacles thrown at workers and how, despite iron nerves and late nights, the house always wins. Shot in a present-tense vérité style, it stitches together micro-stories into a larger narrative in which negotiation can’t undo exploitation. Some tales are mundane but maddening: A man is pushed to work faster with a broken machine. Others combine the ache of short fiction and the brutality of a police report: A slender young man fumes to friends about getting locked up in a police station over a wage dispute, and then his boss stiffs him when his “pay book” (logging his hours) goes missing.Wang’s camerawork feels keen, even personal. Often we hustle along the buildings’ open-air terraces, which lend a theatrical sense of everybody being in everybody else’s business. Days blur into nights — the workrooms don’t seem to have much sunlight — and Wang follows the workers’ youthful energies and comings and goings, which set the film’s pace over the machine-gun chatter of sewing desks. In one workshop, one man starts working shirtless, prompting someone to quip, “That’s a bit sexy.”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

    • 100 Shares189 Views

      in Music

      Sean ‘Diddy’ Combs’s Empire: Winnowed, but Still Weighty

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      The music mogul’s business portfolio has shrunk, in part because of multiple sex abuse allegations, but his wealth remains a critical factor as his criminal case unfolds.In arguing to keep Sean Combs in jail until his trial on federal racketeering and sex trafficking charges, prosecutors have portrayed him as a lavishly wealthy, well-connected music mogul who would be well positioned to flee. In court papers, prosecutors cited media reporting that estimated his wealth at close to a billion dollars.But as Mr. Combs’s reputation has unraveled amid a wave of high-profile lawsuits and criminal charges, so has his business portfolio. Once a major brand ambassador and chairman of a media platform, he has been forced to withdraw from those roles. In June, several months before Mr. Combs was indicted, Forbes estimated his net worth at $400 million, down from $740 million in 2019.Mr. Combs’s fortune has been at the forefront of his public persona since the 1990s, when the success of his hip-hop and R&B label, Bad Boy Entertainment, meant he was known as much for his high-flying, champagne-popping lifestyle as the music he produced.One year ago, Mr. Combs, who is known as Diddy, was at the helm of an ever-growing portfolio: He was a record label founder, a liquor promoter, a cable TV and digital media chairman, a philanthropist and a fashion executive with a label called Sean John.Mr. Combs has gained prominence as a record label executive, a liquor promoter and the founder of a cable TV and digital media platform.From left: Theo Wargo/WireImage, via Getty Images; Stan Honda/Agence France-Presse — Getty Images; Dimitrios Kambouris/Getty Images for Revolt TV“He was a larger-than-life marketer,” said Dessie Brown Jr., an entertainment consultant who long viewed Mr. Combs as a model for building a career. “He always talked about being like a ringleader in a circus.”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

    • 125 Shares189 Views

      in Television

      Dylan Bachelet Brings Pirate Style to ‘Great British Baking Show’

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      A breakout contestant on “The Great British Baking Show” is drawing style comparisons to characters from “Pirates of the Caribbean,” “The Princess Bride” and more.Long hair, strong eyebrows, silver hoop earrings, a goatee and the occasional bandanna makes Dylan Bachelet’s style feel both unique and uncannily familiar.Though Mr. Bachelet, a talented 20-year-old contestant on the current season of “The Great British Baking Show,” did not initially get much screen time in the series known for its convivial contestants and some cringe-inducing baking challenges, it did not take long for fans to notice him. Online forums and comment sections lit up, comparing Mr. Bachelet to all sorts of roguish characters: Captain Jack Sparrow, Khal Drogo (a “Game of Thrones” chieftain played by Jason Momoa), Disney princes and romance novel cover models, to name a few.“He’s so striking. He’s got eyes that speak to your soul and a distinctive look,” said Karmen Ledgister, a personal trainer from London, who was among the people trying to find the perfect comparison. “He reminds me of Goku from ‘Dragon Ball Z’ with his style and his stance. Of course, there’s that dark hair!”Adding to the mythology, Mr. Bachelet joked with Noel Fielding, one of the show’s hosts, about what it means that both of them are left-handed. “You know the word sinister means left-handed?” he said to Mr. Fielding. “They used to kill us.”While the show — known as “The Great British Bake Off” outside of the United States — is not the type of reality TV program to play on looks, even Mr. Fielding appears to be smitten, calling Mr. Bachelet “too handsome to be a chef” in Episode 3.

      View this post on Instagram A post shared by Dylan Bachelet (@dylanbachelet_)
      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

    • 125 Shares129 Views

      in Television

      ‘The Perfect Couple’ Offers Signe Sejlund’s Take on Nantucket Style

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      Scrutinizing the costumes in Netflix’s “The Perfect Couple.”“It’s not a documentary,” said Signe Sejlund, the costume designer for the Netflix limited series “The Perfect Couple.” “It’s a murder mystery.”Yet the compulsively watchable show is not merely a murder mystery. Set on Nantucket, a glorified sand dune 30 miles off the coast of Massachusetts — where superyachts bottleneck in the harbor every summer; the median home price has surpassed $3 million; and the guy in line at Something Natural, a favorite local sandwich stand, could well be a billionaire — the show is in some sense a travelogue offering a worm’s-eye view of rich people behaving appallingly. It is also a statement on our cultural fascination with the folkways of people with too much money to count.The series, adapted from a novel by Elin Hilderbrand, is a tale of “them” and “us.”Embodying “them” in this case is the fractious Winbury family: patriarch Tag (Liev Schreiber), matriarch Greer (Nicole Kidman) and their three sons. Everyone else is “us.”The Winburys have for generations vacationed at an oceanside mansion — putatively located in Monomoy, an enclave with some of Nantucket’s costliest real estate — among peers who attended the same private schools, belonged to the same country clubs and adopted the same form of garb that was once a tell for quiet wealth. Think modest A-line dresses; knotted-rope sailors’ bracelets; boat shoes so weathered they are patched together with duct tape; polos and T-shirts worn almost to transparency; and stiff Nantucket basket purses whose lids are topped with bone medallions incised like sailor’s scrimshaw.Signe Sejlund, the show’s costume designer, treated characters like Thomas Winbury (Jack Reynor) as “peacocks.”NetflixTag Winbury (Liev Schreiber) is from an old-money family that has for generations vacationed at an oceanside mansion on Nantucket.NetflixWe 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

    • 138 Shares169 Views

      in Music

      Sean Combs’s White Parties Were Edgy, A-List Affairs. Were They More?

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      The events helped the music mogul raise his profile. But one woman who worked at them has said in court papers that the parties had a dark side, too.In the 2000s, few events held the cultural cachet of the White Party thrown by Sean Combs — fetes in Beverly Hills, the Hamptons and other playgrounds of the rich, studded with famous names and fabulous tableaus.At the 2009 party, Demi Moore made the scene with Lil’ Kim, dancers gyrated in giant plastic balloons alongside tottering stilt walkers, and Ashton Kutcher swung, Tarzan-like, across a swimming pool as models in white bikinis lounged beside it.And at the center of it all was Mr. Combs, the billionaire hip-hop mogul also known as Puff Daddy and Diddy, invariably toasting the scene with a glass of Cîroc vodka, and welcoming comparisons of his revels to those of lore.“Have I read ‘The Great Gatsby?’” Mr. Combs once told The Independent. “I am the Great Gatsby!”Today, Mr. Combs’s fortunes again invite comparison to Gatsby, though now through scandal. Prosecutors say Mr. Combs enlisted employees, enablers and prostitutes to stage far darker soirees than White Parties called “freak-offs” — drug-heavy, sometimes days-long hotel parties during which investigators say he abused and coerced participants into sexual acts, which he sometimes filmed and masturbated to.The criminal indictment unsealed in Manhattan federal court this month has invited something of a reappraisal of the White Parties for some of those who reveled or worked at them. Were they merely innocuous, press-conscious branding events at which to see and be seen? Or was there, beyond the all-white facade, a darker element?Indeed, a recent lawsuit claims misdeeds occurred at those events, too: In July, Adria English, who was hired by Mr. Combs to work a series of White Parties in the mid-to-late 2000s, sued him, asserting she was plied with drugs and ecstasy-laced liquor at the events, and commanded to have sex with certain guests, making her into “a sexual pawn.” Jonathan Davis, a lawyer for Mr. Combs, denied in July that his client had ever “sexually assaulted or sex trafficked anyone.”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

    • 125 Shares149 Views

      in Television

      Jessel Taank is Back For More on ‘RHONY’ Season 2

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      Early on a Monday evening during New York Fashion Week, Jessel Taank breezed into the Sabyasachi boutique in the West Village, passing a life-size elephant sculpture near the sidewalk. But the “Real Housewives of New York City” star couldn’t quite say what it was doing there.“Good question,” she said with a laugh. “There’s apparently a great elephant migration that I wasn’t aware happens this time of year, and Sabyasachi is celebrating that tonight.”In fact, The Great Elephant Migration is a touring art installation featuring a herd of 100 faux pachyderms, handcrafted in Tamil Nadu from a dried invasive shrub. (Actual Indian elephant migration in India happens year-round.)Such obliviousness to details seems on brand for Ms. Taank, 41. After all, who could forget when she called TriBeCa “up and coming” on the last season of the “Real Housewives of New York City”?Ms. Taank with an art installation outside the Sabyaschi fashion week party she attended on a recent Monday night. Lanna Apisukh for The New York TimesBut when she commits these faux pas, she does so with a disarming smile, one that has won over prickly fans. By the end of the show’s 14th season — and the first of the cast reboot — it was clear that she had received the villain edit, criticized for what came off as willful ignorance and bratty behavior. But she had also found a fan base so ardent that, according to Rolling Stone, its members call themselves “Taank Tops.”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

    • 113 Shares129 Views

      in Television

      Jessel Taank is Back For More on Season Two

      by

      Early on a Monday evening during New York Fashion Week, Jessel Taank breezed into the Sabyasachi boutique in the West Village, passing a life-size elephant sculpture near the sidewalk. But the “Real Housewives of New York City” star couldn’t quite say what it was doing there.“Good question,” she said with a laugh. “There’s apparently a great elephant migration that I wasn’t aware happens this time of year, and Sabyasachi is celebrating that tonight.”In fact, The Great Elephant Migration is a touring art installation featuring a herd of 100 faux pachyderms, handcrafted in Tamil Nadu from a dried invasive shrub. (Actual Indian elephant migration in India happens year-round.)Such obliviousness to details seems on brand for Ms. Taank, 41. After all, who could forget when she called TriBeCa “up and coming” on the last season of the “Real Housewives of New York City”?Ms. Taank with an art installation outside the Sabyaschi fashion week party she attended on a recent Monday night. Lanna Apisukh for The New York TimesBut when she commits these faux pas, she does so with a disarming smile, one that has won over prickly fans. By the end of the show’s 14th season — and the first of the cast reboot — it was clear that she had received the villain edit, criticized for what came off as willful ignorance and bratty behavior. But she had also found a fan base so ardent that, according to Rolling Stone, its members call themselves “Taank Tops.”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

    • 113 Shares199 Views

      in Movies

      ‘Happy Clothes’ Review: Patricia Field Doc Is Pleasantly Chaotic

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      “Happy Clothes” covers her work on “Emily in Paris” and “Sex and the City,” as well as her time as a tastemaker in the 1970s and ’80s underground.Patricia Field likes, as she puts it, “happy clothes.” If you’ve seen her work, you get it; if you’ve watched TV, you have probably seen her work. The fashion maven is one of the most celebrated and influential costume designers of the past three decades, with “Emily in Paris,” “The Devil Wears Prada” and “Sex and the City” among her credits. Michael Selditch’s new documentary, “Happy Clothes: A Film About Patricia Field” (in theaters and on demand), follows Field as she works on the second season of the Starz comedy “Run the World,” but the feature is really a celebration of her long career.A movie like this can head in a lot of directions, and a possible weakness of “Happy Clothes” is that it tries to go in all of them. There are conversations with Field’s friends and collaborators, including the “Devil Wears Prada” director David Frankel, the “Sex and the City and “Emily in Paris” creator Darren Star, and the actresses Sarah Jessica Parker, Kim Cattrall and Lily Collins. Field’s work in the past as the owner of a well-known boutique that bears her name comes to life through archival footage and interviews, while observational images show her working with assistants, shopping for pieces and going to sets.There’s just a lot here. But with a subject like Field, the mild chaos feels pleasantly appropriate. Her taste runs toward the conspicuous and bold, and several interviewees — particularly Parker, who became a fashion icon partly because of her willingness to wear anything Field selected — note that her choices can be shocking at first. Prints and patterns, gems and silhouettes, neons and bold accessories: You never really know what you’ll get when you work with Field.But that’s why people love her. Her style, as she says, is happy. “I like clothes that don’t die,” she explains, a statement that reveals she’s always thinking about longevity. Field is amazingly energetic — her 80th birthday approaches as the film begins — and she’s interested only in the future, telling someone at one point that she doesn’t keep an archive because she’s always looking forward.It’s probably ironic, then, that the most illuminating element of “Happy Clothes” is a sequence in which her taste now is linked to her history as a central figure in New York’s underground culture of the 1970s and 1980s. Former employees and customers attest to what it meant to have a place — her store — where they could be unapologetically queer or trans or just interested in fashion, where they didn’t have to hide their identities. Field was ahead of her time in more ways than one, and this history suggests that she has been practicing an exuberant joy her whole career. That, “Happy Clothes” says, is her real legacy. More