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    Fyre Festival 2 Announces Dates, Location, Ticket Prices

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    Eight years — and one prison sentence — later, Billy McFarland is back with another attempt at the event.Luxury accommodations at a tropical resort. World-class hospitality. “Boundary-pushing” excursions by day. Beachside musical performances by night. And exorbitant ticket prices to boot.All of that might sound familiar to anyone who followed the well-chronicled saga of the Fyre Festival, an ill-fated musical carnival that, in 2017, was such a spectacular failure that it spawned dueling documentaries on Netflix and Hulu. Billy McFarland, the festival’s organizer, wound up going to prison for nearly four years after he entered a guilty plea to charges that included wire fraud.But Mr. McFarland, 33, a self-described tech entrepreneur, is back — and he is trying the whole thing over again.Mr. McFarland announced this week that Fyre Festival 2, replete with all the trappings listed above, is scheduled for May 30 to June 2 on Isla Mujeres, a Mexican island and vacation destination a few miles off the coast from Cancun. More specifically, the event will be staged at “Playa FYRE,” according to the festival’s website — though the GPS coordinates provided on the festival’s website appear to point to a landless spot to the west of Isla Mujeres.Skepticism would not be out of place when it comes to a sequel of an event where everything seemed to go wrong, but people willing to roll the dice can get started immediately, as some tickets are already on sale.What is planned for the sequel?The festival is being advertised as “an electrifying celebration of music, arts, cuisine, comedy, fashion, gaming, sports and treasure hunting — all set in the stunning location of Isla Mujeres, Mexico.”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 Music

      The London Contemporary Music Festival Trolls for Aesthetics

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      The directors of the London Contemporary Music Festival discuss this year’s edition, the event’s 10th anniversary.Recently, the London Contemporary Music Festival released a limited run of merchandise. There was a graphic T-shirt featuring the names of musicians whose creations have appeared at past festivals, plotted on a graph with two axes: the Y labeled “twee” to “brutal,” and the X “top” to “bottom.” Brian Ferneyhough was a brutal top, Cornelius Cardew a twee bottom, and Laurie Anderson was somewhere in between.The festival — equal parts adventurous and provocative — leans further into artistic trolling for this year’s 10th anniversary edition. Titled “LET’S CREATE,” it focuses on the trickster figure in art, which it describes as “shape-shifter, border-crosser, mischief-maker, lord of misrule.” This is a return to what the festival’s directors, Igor Toronyi-Lalic and Jack Sheen, see as its essence.“The trickster is our patron saint, for all experimental music,” Toronyi-Lalic said in an interview. “That is the impetus.”“LET’S CREATE” is a nod to the much-discussed set of principles and desired outcomes used by Arts Council England to inform their funding decisions. Similar trickery streaks through the program. Take Wednesday’s concert, “Sorry.” After the British premiere of Philip Corner’s 1969 performance “During This Concert the Hall Will Be Bombed — or Blown Up,” there’s a sci-fi opera (featuring Spam and the cost of living crisis) by the noise artist Russell Haswell and a pantomime by Adam de la Cour inspired by the Garbage Pail Kids, (which themselves are a 1980s parody of the Cabbage Patch Kids). Then, closing the evening, the electronic producer Aya plays music by the other 45 Ayas listed ahead of her on music database Discogs.Holding together a packed festival program — the music spans from the final notes that Plato heard to the present, with nearly 50 world premieres — are similar feats of niche trolling. To introduce “LET’S CREATE,” Toronyi-Lalic and Sheen asked ChatGPT what the 19th-century music critic Eduard Hanslick might have made of it. “It is not music they are creating but a chaotic charade masquerading as artistic rebellion,” the digital Hanslick replied.The initial impulse for the festival came as a reaction to the “Rest Is Noise” festival at the Southbank Center in 2013; Toronyi-Lalic thought that it was too focused on music written before 1940. Over a decade later, the London Contemporary Music Festival still feels driven by its directors’ dissatisfaction with programming, commissioning and even taste in England.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 Movies

      Alec Baldwin’s ‘Rust’ to Premiere: What to Know About the Movie Marked by Tragedy

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      The film, whose cinematographer, Halyna Hutchins, was killed in a shooting on the set, is being screened at a festival devoted to cinematography.It was just over three years ago that Alec Baldwin was practicing drawing a gun on the set of the western “Rust” in New Mexico when it went off, firing a live round that killed its cinematographer, Halyna Hutchins, and wounded its director, Joel Souza.The fatal shooting resulted in criminal cases, lawsuits and a reassessment of the use of real guns in Hollywood. In the midst of it all the movie was completed in Montana, with a new cinematographer and only fake weapons allowed on the set, by a team that said it wanted to ensure that Ms. Hutchins’s final work reached the screen.On Wednesday, the 133-minute-long film will have its world premiere at a small if starry film festival in Torun, Poland, called Camerimage, which is devoted to the art of cinematography. Here’s what to know about the unusual event.Will Alec Baldwin be there?Though Mr. Baldwin stars in the film, as a grizzled outlaw named Harland Rust, he is not expected to be in the audience on Wednesday.The film’s main spokesman at the festival will be its director, Mr. Souza, who was injured in the shooting when the bullet passed through Ms. Hutchins and lodged in his shoulder. Mr. Souza completed the project after Ms. Hutchins’s widower, Matthew Hutchins, gave it his blessing and stepped in as an executive producer.“It became very important to me to finish that on her behalf,” Mr. Souza said in an interview this year. “I would never presume to want to speak for somebody who can’t speak for themselves anymore, but I feel pretty damn confident that’s what she would have wanted.”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 Movies

      ‘Rust’ Western Will Premiere in Europe 3 Years After Fatal Shooting

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      After the Alec Baldwin movie turned into the scene of a tragedy with the death of its cinematographer, the film will debut next month at a festival that celebrates cinematography.The movie “Rust,” which has become synonymous with the fatal shooting of its cinematographer on set in 2021, will be screened publicly for the first time in November at a film festival in Poland devoted to cinematography.The festival, Camerimage, said on its website that the premiere would honor Halyna Hutchins, the 42-year-old cinematographer who was killed on Oct. 21, 2021, when the movie’s star, Alec Baldwin, was positioning an old-fashioned revolver for the camera and it discharged a live bullet.Ms. Hutchins’s husband, Matthew Hutchins, and their son, who was 9 years old when she died, will benefit financially from the movie’s release under the terms of a settlement agreement in a wrongful-death lawsuit. Filming resumed in 2023 with no real weapons, and the writer and director of “Rust,” Joel Souza, who was injured in the shooting, returned to see the movie through to the end.“Rust” is a western about an orphaned 13-year-old boy who, after accidentally shooting a rancher, escapes a death sentence with his outlaw grandfather, played by Mr. Baldwin. The finished movie, which was initially filmed outside Santa Fe, N.M., and finished in Montana, does not include the scene that Ms. Hutchins was working on when she was killed.The decision to finish the movie was somewhat controversial in the film industry, as the production restarted during the prosecutions of Mr. Baldwin and the movie’s original armorer, Hannah Gutierrez-Reed.Ms. Gutierrez-Reed, who loaded the gun with a live round before it went off, was convicted of involuntary manslaughter and sentenced to 18 months in prison. A judge dismissed the manslaughter case against Mr. Baldwin during his trial in July, citing the prosecution’s withholding of evidence.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 Movies

      5 Halloween Film Festivals Worth Traveling For

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      It’s October, and horror movie festivals scratch both the weekend getaway and scare-the-bejesus-out-of-you itch. A guide to some worth checking out.Watching weird indie horror movies at home on Tubi can be a bunch of fun. So can going to the local multiplex to see the latest scary Hollywood blockbuster with other shrieking fans.Horror film festivals offer the best of both worlds, with twists. The programming is heavy on premieres and small-budget indies, and the more ambitious festivals host events like costume contests and offer themed food and drinks to keep the party going. Some of the festivals are very kid-friendly, and others are better suited for blood-and-guts lovers.With Halloween around the corner and fall getaways calling, here’s a look at some of the noteworthy scary (and not-that-scary) film festivals happening this October.The Eerie Horror Fest is held at the Warner Theater, in Erie, Pa., an ornate movie palace that opened in 1931 and seats 2,250.Paul GibbensEerie Horror FestErie, Pa., Oct. 4 and 5Presented by the Film Society of Northwestern Pennsylvania, this festival is known for showing classic and new films along with a hearty roster of panel discussions and events. A highlight takes place on Oct. 5, when the festival presents a screening of the 1995 horror film “Tales From the Hood,” an influential horror anthology and a seminal work in both horror and Black cinema, followed by a Q. and A. with the director, Rusty Cundieff.The frosting on the cake at this festival is its home: The Warner Theater, an ornate Art Deco and French Renaissance space first opened in 1931, with 2,250 seats, a grand proscenium stage and crushed velour and gold leaf accents — the kind of elegance more associated with the likes of Cannes than “Carrie.” This year, the festival has teamed up with two local coffee purveyors — Purrista Cat Café and North Edge Craft Coffee, a roaster — for a special drink menu featuring themed concoctions like the Frankenstein’s Matcha and Killer Klownz, a blueberry cheesecake latte. There will also be displays of adoptable cats — black ones, perhaps — at the theater.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 Theater

      Shaw Festival Presents ‘The Orphan of Chao’ and ‘Snow in Midsummer’

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      By presenting “The Orphan of Chao” and “Snow in Midsummer,” the Shaw Festival is helping “the past to smash its way into the modern world.”For 35 years, the Shaw Festival had one central criterion for its programming: Any and all plays had to have been written during George Bernard Shaw’s lifetime.This is not as confining as it sounds. Shaw, after all, was born in 1856 — when Abraham Lincoln was still an Illinois lawyer — and died a few months after Charles Schulz’s “Peanuts” hit the comics pages in 1950.Nonetheless, two of the festival’s nine productions this season fall well before that time period. “The Orphan of Chao” and “Snow in Midsummer” are adaptations of perhaps the two best-known plays from the Yuan period of classical Chinese drama, which stretched from 1279 to 1368.“To twin ‘Orphan’ with ‘Snow’ gives our audience the chance to see two very different approaches to legendary material,” said Tim Carroll, the Shaw Festival’s artistic director. “Both pieces, in very different ways, allow the past to smash its way into the modern world.”At the center of this confluence is Nina Lee Aquino, one of the most significant figures in Canadian theater. The festival not only enlisted Aquino to direct “Snow” (her debut there), but also cast her husband, Richard Lee, an actor and fight director, and their 17-year-old actress daughter, Eponine Lee, in both plays.The director Nina Lee Aquino, center, with her husband, Richard Lee, and their daughter, Eponine.Katie GalvinWe 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 Movies

      Venice Film Festival Looks: Angelina Jolie, Brad Pitt And More

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      No amount of star power can truly outshine the beauty of La Serenissima, the ancient republic better known as the city of Venice. But the Venice Film Festival, with its parade of A-listers arriving for movie premieres in water taxis, comes close.Typically held not long after the fall couture shows in Paris, the Venice Film Festival benefits, in pure fashion terms, from being a showcase of the newest garments from some designers. How these elaborate, often form-fitting, confections are transferred so rapidly from Parisian runways to Venetian red carpets hardly matters to looky-loos with their eyes perennially pressed to the glass of fashion.This year’s festival, running from Aug. 28 until Saturday, has not just been an exhibition for new designs, but also of vintage pieces. Some looked as fresh as ever. Garments old and new are among these 15 looks, which will be hard to forget for reasons good and bad (but mostly good).Taylor Russell: Most Modern Retro!Louisa Gouliamaki/ReutersThe actress radiated an icy elegance in a Loewe gown reminiscent of the creations of Jean Louis, a designer who had the lock on high glamour during the golden age of Hollywood studios.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 Theater

      7 Days in the Cultural Life of an Artistic Director

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      Violaine Huisman, who leads programming for the Crossing the Line festival, takes in dance on Little Island, a world premiere at Asia Society and “invigorating” translation projects.Bastille Day felt a little bit different this year than others, said Violaine Huisman, the artistic director of New York’s annual Crossing the Line festival. L’Alliance, the French cultural center in Midtown, throws a party every July 14, the anniversary of the storming of the Bastille during the French Revolution. This year, the celebration took place just one week after a surprising snap election left President Emmanuel Macron — and France — in a state of flux.“I overheard onlookers wondering out loud whether it was a French tradition to demonstrate with blank signs on that day,” recalled Huisman, who had just been in the country to witness the upset in the streets. (Many participants in this year’s festival opted to carry blank placards in homage to a demonstration created by the choreographer Anna Halprin during the civil rights and antiwar protests of the 1960s.)During these times of uncertainty, many look to art for clarity and guidance. Huisman, 45, is certainly one of those people, as she has been hard at work curating programming for the next Crossing the Line, which kicks off several weeks of art, dance and theater on Sept. 5.Ahead of the festival, Huisman tracked a few days of her cultural life, noting some of the performances, books and music, mostly from her native France, that inspired her. Here are edited excerpts from phone and email interviews.“I overheard onlookers wondering out loud whether it was a French tradition to demonstrate with blank signs on that day,” Huisman said.Jutharat Pinyodoonyachet for The New York TimesSunday: Placards for PeaceWe celebrated Bastille Day at L’Alliance with a street fair and an amazing piece of performance art, in which two dozen volunteers carrying blank placards engaged in a procession through Midtown, trailed by a marching band. It was a re-enactment by Anne Collod of Anna Halprin’s “Blank Placard Dance.” Volunteers asked audience members what they would march for. “Peace” was the overwhelming response.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 Music

      An Undersung and Unruly Woodstock in Pictures, 30 Years On

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      A new photography show celebrates the 30th anniversary of Woodstock 1994, middle child to the festivals of 1969 and 1999.Nestled between the instantly legendary festival in 1969 and the violence of the 1999 incarnation, Woodstock 1994 — a 25th anniversary celebration of the original — can be easy to overlook.That installment, in Saugerties, N.Y., was supposed to be a slightly more grown-up (or, depending who you ask, commercial) version. But, as in 1969, attendees saw severe traffic jams, fences that could not contain the crowd and rainy weather that turned the festival grounds into a muddy slog.Then, five years later, fires, rioting and reports of sexual assault at the 1999 festival made national headlines, and gave “Woodstock” a whole new meaning.Members of the band Green Day, at Woodstock 1994, in a photo by Danny Clinch.Danny ClinchNow, for the 30th anniversary of ’94, a photography exhibition places the middle child of the festivals at center stage. The show, at the Opus 40 gallery in Saugerties, opens on Friday and runs for three weeks. It features work from Albert Watson, Henry Diltz, Cheryl Dunn and Danny Clinch, who remember the festival as messy yet rewarding.That the show is taking place at all is thanks to Watson, who is known for black-and-white portraits of luminaries including Steve Jobs. The show was put together by Tyler Harte, a Manhattan property manager who moonlights as an organizer of concerts and skateboard events — and manages the building where Watson’s photography studio is. Harte realized that the anniversary was coming up and contacted Watson about potentially doing something with his 1994 photography.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