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    Fever Ray’s Karin Dreijer, Behind the Mask

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    The musician, whose new album was released in March, discusses disguises, recording and why they find karaoke so off-putting.Karin Dreijer’s is a face of many masks. Around 20 years ago, when the Swedish musician first began releasing songs with the eerie, beloved electronic duo the Knife, Dreijer and their brother, Olof, were often photographed wearing black, face-obscuring beaks — a little bit bubonic plague doctor, a little bit “Eyes Wide Shut.” The solo project Fever Ray, begun in 2009, offered Dreijer more opportunities for striking visual imagery and character work. They once accepted an award from Sweden’s Sveriges Radio wearing an eerily realistic mask that made it look like their flesh was melting.As Fever Ray, Dreijer invents another uncanny guise on the cover of their latest album, “Radical Romantics,” which finds them embodying a kind of zombified office drone character with thin, stringy hair and eyes and mouth rimmed with a sickly yellow. That image, Dreijer said in a recent Pitchfork interview, was influenced by a seminude self-portrait of the 79-year-old Norwegian figurative painter Odd Nerdrum. “I thought of it as a Grindr pic,” they said of the Nerdrum piece. “It contains so much longing: throwing yourself out there, head over heels. I tried to do a face like his.”Dreijer and their longtime friend and collaborator Martin Falck, taking their daily lunchtime walk in the wilderness.Rebecka UhlinDreijer is, by contrast, barefaced and bundled in a nondescript, oversize black hoodie when I reach them by video call in their studio in Stockholm. Their white-blond hair is cropped artfully, and they sit in front of a white wall as blank as a primed canvas. They would be leaving for the States in two days to embark on the five-city North American leg of the “Radical Romantics” tour, but they were looking further ahead, too. “I am thinking about what I will do next,” Dreijer says. “Which is a good thing, so you don’t just drop after the tour. Touring is intense and a lot of fun — there are so many people around. I am planning what I’m going to do afterward.”Fever Ray’s music is somehow both brooding and ecstatic — a sonic kaleidoscope that explodes with infinite variations of gray. Throbbing synthesizers and driving electronic beats provide a steady backbone for Dreijer’s bracing, shape-shifting vocals and restless experiments in genres as varied as punk, ambient and industrial-tinged psych-rock.Some sketches and visual ideas illustrating the mood of the latest Fever Ray album, “Radical Romantics.”Rebecka Uhlin“Radical Romantics” finds Dreijer working with some familiar collaborators (like Olof, for the first time since the Knife released its final studio album, “Shaking the Habitual,” in 2013) and some new ones, like Trent Reznor and Atticus Ross, who add an edge of industrial menace to two of the album’s boldest tracks. The visual language of “Radical Romantics” was, like much of Dreijer’s work, developed with longtime friend Martin Falck. “We’re always sending each other pictures and film clips and stuff on Instagram,” Dreijer said. “‘Look, we should do this next time! This looks amazing, we should try this!’ We collect everything in a folder and then try to organize it, which is almost impossible.”For all its imaginative character play, “Radical Romantics” is Dreijer’s most vulnerable album — an open hearted exploration of love and its possible failures. “I think we started to really work on a gut feeling for what we find fun,” they said. “And then we talk about what we find fun in relation to what we are really, really afraid of, what we find scary.”“Me and Martin, we are afraid of everything,” they add. “I think we are both the world’s most scared people. But then I think we have become quite brave, as well.”A banally patterned tie, one of the key accessories of the zombified office drone character that Dreijer embodies in some of the album’s visuals.Rebecka UhlinMakeup — and lots of it — is another important visual tool in Dreijer’s many transformations.Rebecka UhlinWhat time of day do you work?I have two kids, so I’ve had to work proper office hours, because that’s when you have child care. And I think also, to have a good routine, to go [to the studio] in the morning and you work during the day and then you go home and you have a social life, you can meet friends and hang out with your kids. I think that has been quite important for me. Then I also do really like to go there on holidays. Like for Christmas, or in the middle of the summer. Because that’s when you feel like you get so much time and nobody interrupts. And everybody thinks you’re away doing Christmassy stuff, but you’re actually there working.My oldest kid is turning 20 this year, so I have had that routine for a long time. But now I feel like when they are about to move out, and they also don’t need me the same way in the evenings and weekends and stuff, then yeah, I think I started to enjoy going there in evenings and nights, as well.A shocking pink jacket makes the familiar a little uncanny.Rebecka UhlinAre there set hours that you sleep?I have understood that I need to sleep, eat and work out to be able to function properly. Which is a bit annoying, because it doesn’t feel like fun stuff when the only thing you want to do is just continue working. But it’s not so helpful to skip those three things.What type of exercise do you do?It’s a good biking distance to my studio, so I try to bike there. I really do like hot yoga. Going to the gym is really boring, but I do that, especially now, when I’m on tour, I have to do that. In the winters, I ski a lot.What embarrasses you?It’s interesting what embarrasses people. I don’t like to sing to a small group of people. [Laughs.] I really find it difficult to do karaoke. It’s this idea of authenticity that I find very difficult. Maybe it’s not embarrassing, it’s more like, it’s really frightening.Planning the many component parts of the “Radical Romantics” experience.Rebecka UhlinHow is that different from performing your own material onstage?Because then it becomes a performance, and I can play around much more with the ideas of authenticity and what’s a natural voice. It’s easier, I think, to play with those ideas than it is if you can’t use props or lights or effects. If I say, “This is the authentic me, this is authenticity,” then people will believe you.There’s something uncomfortably sincere about a lot of karaoke.And you’re also supposed to sound a specific way. You’re supposed to sound like the original. That is at least what people are striving to do. And I have never been able to sing in that classically “good” way of singing. I don’t know how to do it.I was reading another interview with you that said on one of the effects machines you use to process your vocals, there’s actually a knob that says “gender” on it, that you can twist.Yes, there is a machine that has that. It’s fun. [Laughs.]Driving beats provide a sturdy backbone for Dreijer’s shape-shifting vocals and restless experiments in genres as varied as punk, ambient and industrial-tinged psych-rock.Rebecka UhlinHow do you think of music as a place to play with gender?I think I have found out that making music, for me, is to create spaces where I feel free. And playing around with gender is one aspect of it. Early on, when working with the Knife, we tried to find this space where you couldn’t exactly tell what kind of voice this is, if it’s male or female or something in between. To find that space, for me, is a very freeing thing. And it can be done in so many different ways. It also has to do with how you perform the vocals, if the vocalist sounds very close or far away or [like] whispering or screaming. All these things work together to find this space.What are you reading right now?I have it here because I got it for my birthday a couple of weeks ago from my brother, actually. [Holds the book up to the screen.] “Dear Senthuran” by Akwaeke Emezi. I think it’s amazing. It’s a way of seeing a nonbinary identity from a place that I didn’t know about. It’s more of a spiritual way of seeing gender. I’m also into reading a lot of poetry about love. I have a new favorite writer called Chen Chen, who also writes really amazing poetry.The striking album cover was inspired by the work of the Norwegian figurative painter Odd Nerdrum. “I thought of it as a Grindr pic,” Dreijer said of the Nerdrum self-portrait they tried to emulate here.Rebecka UhlinYou’ve also mentioned that bell hooks was a big inspiration on this album. When did you first encounter her work?I was so enthusiastic on the last Knife tour, 10 years ago, that I gave [hooks’s 1999 book] “All About Love” to all the band and the crew to read. It’s been with me for a long time. And I still think it’s great. It’s so strange when everybody has some kind of relationship with love, but there are so few people who have a definition of what it is they mean when they say they are in love. What does it mean to say, “I love you”? I think it’s really important to share a definition with the people you want to have close relationships with. What do I need to feel loved? And what do you need to feel loved? And I think she writes about that really well.I’ve found your music to be so referential to other texts in a way that is rare. It seems like books are an important part of your musical world. Is it difficult to incorporate that in a way that doesn’t feel too academic?When we did the last Knife album [“Shaking the Habitual”], it was pretty academic, I would say. Even though I have never studied at the university, we read a lot and we had a lot of literature lists and stuff like that. And I think after that, both me and Olof talked about how we’re not so into that kind of process anymore, that starts through the head and then into the body. I am more interested in things that go into the body directly. But I think I’ve been as inspired by film and images because I normally have a clear feeling of a song when I start. It’s more of a feeling or an emotion. And then I know the colors of it and what kind of setting it should take place in.Martin Falck’s notebook — one of six he kept during this Fever Ray project.Rebecka UhlinDo you consider yourself a visual artist? You’re a musician, but there’s such a visual component to Fever Ray.I think I’m still trying to find out what I am, or what I do. I know I do music, and I’m very involved in making the visuals. The music is sort of the hard, difficult work that I have to do. I work mostly by myself for a really long time, and then when I have the sketches and I know what the tracks are about, then I invite people to collaborate. Then when the music is finished, we get to do the fun stuff, which is the visuals. I work with Martin on those.Is it easy for you to invite new collaborators in and figure out how to work with them?I ask people who I think do interesting and fun things. You never really know how it will turn out. So I did start a couple of collaborations with people that didn’t really work out. During Covid and the pandemic, I didn’t meet anybody in person except my brother. We have built studios just next to each other.Dreijer’s shoes also blend the flashy with the banal.Rebecka UhlinIs it important for your creative process to have your brother close by?I don’t know if it’s important. It was just a practical thing that he moved back from Berlin like five years ago and we both needed studios, so we decided to build together. Because I was just renting different rooms here and there. So it’s my first studio that’s my own. With a window, so I can see the sky. I’ve only been in basements before.Tell me more about your studio space.First it was a huge sort of industrial space, and then we built this cube in the middle with two studios in it. It’s a wooden cube inside this huge space. And in the big space, I think the most important thing, because it’s so dark here most times of the year, is that we have daylight light tubes. I don’t know what they’re called in English. It’s like full daylight — to go there is a bit like having light therapy. Or just having proper daylight, which I think helps a lot. To be able to be here in the winter. So I think that is the best thing about the studio. In my little work studio room, it’s not full daylight. Then it’s more cozy.Early in the process of dreaming up the “Radical Romantics” aesthetic, the Knave was an important character for Dreijer and Falck. Rebecka UhlinWhat’s the worst space you’ve ever worked in?I’ve rehearsed and recorded in really, really [expletive] places. I think one of my first rehearsal spaces, with one of my first bands — this is like early ’90s — we were sharing a space with another band with only guys. They peed in glasses and left them in the rehearsal space, because there was no real bathroom around. That was very disgusting, but it also tells a lot about the time, how it was when I started to make music. It was super male-dominated and it was really difficult to find a space where you felt safe and free.How do you know when a song is done?That is a very difficult thing to know — but when you listen to it in many different places and leave it for some time and can come back to it and still feel like it makes sense. But then if you listen to it one year later, you probably would feel differently and want to redo a lot and change things because you are in a different place yourself. This time I worked with 10 tracks: To have them all done at the same time, that is a bit of a challenge.What is your relationship to deadlines?I set my deadlines myself. And then when I’m completely done with everything, I start to work with my management and the different labels. I’m very happy not to have anybody involved in the musical process that tells me, “Oh, you have to be ready now.” That would never work for me.This interview has been edited and condensed. More

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      J. Harrison Ghee and Alex Newell, Gender Nonconforming Performers, Earn Tony Nominations

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      Even as gender identity has become an increasingly politicized subject in a polarized America, Broadway shows are featuring a growing number of gender nonconforming performers, and two of them scored Tony nods Tuesday morning.J. Harrison Ghee, one of the stars of a musical adaptation of “Some Like It Hot,” was nominated in the best leading actor in a musical category. And Alex Newell, who plays a whiskey distiller in the country musical “Shucked,” was nominated in the best featured actor in a musical category.Both performers use he/she/they pronouns, and both agreed to be considered as actors (rather than actresses) for Tony purposes.Another gender nonconforming performer on Broadway this season, Justin David Sullivan of “& Juliet,” opted out of awards consideration, rather than choosing between the actor and actress categories. More

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      in Theater

      Tennessee Law Limiting ‘Cabaret’ Shows Raises Uncertainty About Drag Events

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      The measure is part of a wave of legislation by conservative lawmakers across the country against drag performances. Many are wondering how it will be applied.NASHVILLE — A bill signed into law this week in Tennessee makes staging “adult cabaret” on public property or anywhere a child could see it a criminal offense. The law forbids performances in those places by topless, go-go or exotic dancers, strippers, or male or female impersonators who, as the law defines it, provides entertainment that is “harmful to minors.” The word “drag” does not appear in the legislation. And to some legal experts, the description provided in the letter of the law would not apply to drag as they know it. But many in the state are still trying to grasp how the measure will ultimately affect drag events, theater performances that involve drag, and even transgender and gender nonconforming people as they go about their lives.The law is part of a cascade of legislation across the country fueled by a conservative backlash to drag events, which has also spurred protests from far-right groups and threats directed at performers. Now that it is one of the first to succeed, with lawmakers in other states pursuing legislation with similarly ambiguous language, the law has prompted concerns about how it will be enforced and the implications it could have.“The murkiness of this law is causing a lot of people to be on edge,” said Micah Winter, a performer and board member of Friends of George’s, a theater company in Memphis whose shows are often centered on drag.Proponents of the legislation have described it as a way to safeguard children, asserting that drag events can have sexualized language and suggestive performances that may be too mature for younger viewers.“This bill gives confidence to parents that they can take their kids to a public or private show and will not be blindsided by a sexualized performance,” Jack Johnson, the Republican state senator who sponsored the legislation, said on Twitter.Gov. Bill Lee of Tennessee giving his State of the State address in February. Mark Zaleski/Associated PressStill, the legislation figures into a campaign by conservative lawmakers across the country to curb the rights of people in the L.G.B.T.Q. community. In Tennessee, one proposal would block transgender people from changing the gender listed on their drivers’ licenses, and on Thursday, the same day Gov. Bill Lee signed the adult cabaret bill, he approved legislation that prevents all puberty-delaying treatment, hormone therapies and referrals for transgender children to receive gender-affirming medical care in the state.Drag has become more mainstream in Tennessee, as in much of the country. Performers in vibrant costumes that upend gender assumptions could simply be reading a book, promoting acceptance and literacy. Or they might be “reading” — that is, playfully mocking — tourists piled onto buses rolling through Nashville or lip-syncing in variety shows in boozy brunches in Memphis or Chattanooga.“Not one of our performers on this bus has ever shown more skin than a Titans’ cheerleader on a Sunday afternoon,” David Taylor, an owner of the Big Drag Bus Tour in Nashville and bars that host drag events, said in a hearing on the legislation.Legal experts said the equivocal wording meant that the adult cabaret law was not exactly a ban on drag but could still have consequences.“It’s an anti-drag law,” said Kathy Sinback, the executive director of the American Civil Liberties Union of Tennessee, “because they passed it intentionally to try to chill and prevent people from doing drag, but that’s not really what the law says.”“It should not even touch any drag performances,” she added. But after watching public commentary and a series of legislative hearings debating the merits of the bill, she said, “it’s clear that some people think that drag in and of itself as an art form is obscene and that it should not be viewed by children.”But Ms. Sinback said the parameters set in the legislation should not apply to most drag performances, given that they would have to be considered extremely sexual or violent, lack serious literary, artistic, political or scientific values, and be considered broadly offensive and obscene to a child to warrant charging the performer with a crime.Mr. Johnson said that the law was not meant to target drag performances in general or discriminate against the L.G.B.T.Q. community. “It simply puts age restrictions in place to ensure that children are not present at sexually explicit performances,” he said in an interview with CNN.Critics said the legislation reflected what many in the gay and transgender community have described as a bleak and dangerous climate in Tennessee, threatening people who are often marginalized and already uniquely vulnerable. The law over medical care has provoked the most alarm. The Tennessee chapter of the American Academy of Pediatrics opposed the law, saying in a statement that it will “significantly limit our ability to practice to the standard of care established by numerous national medical organizations.”Sruti Swaminathan, a staff attorney for Lambda Legal, which is working with other civil liberties groups in mounting a legal challenge to the legislation barring gender-affirming care, said, “This is clearly an effort to villainize us and isolate us because they fear our resilience and our self-love and our collective power.”People protesting against the bill on cabaret restrictions in Knoxville, Tenn., in February. Jamar Coach/News Sentinel, via ReutersTennessee is one of more than a dozen states where conservative lawmakers, focusing on issues of gender and identity, have pursued legislation that explicitly or otherwise seeks to impose restrictions on drag events.Some of the bills would require venues to register as adult entertainment spaces or “sexually oriented businesses,” and others would forbid performances at schools or libraries. A proposal in Arizona would outlaw drag performances within a quarter-mile of public playgrounds and schools.The law in Tennessee has not yet spurred a legal challenge, but activists and lawyers were prepared to start one as they watched to see how it is applied. Those who violate the law will be charged with a misdemeanor or a felony for continued offenses.The drag performer Poly Tics attending a rally in Kentucky on Thursday. Bruce Schreiner/Associated PressIn Kentucky, where the State Legislature has advanced a sprawling bill to curtail health care access for L.G.B.T.Q. children, lawmakers had also considered restrictions that included prohibiting what the state classifies as “adult performances” from operating within 1,000 feet of child care facilities, schools, public parks, homes or places of worship. The legislation was amended on Thursday to limit such performances from taking place in public places or a location where the performance could be viewed by a child — a step that critics of the legislation took as a victory.“This version is much more narrowly tailored to just explicit sexual content,” said Chris Hartman, executive director of the Fairness Campaign, an L.G.B.T.Q. advocacy group in Kentucky, who acknowledged that much of his organization’s limited energy was focused on challenging the legislation on restricting gender-affirming health care.Compared with other proposals on L.G.B.T.Q. issues that advocates contend will have immediate and damaging impact, the ones that are tied to drag stir worries rooted more in uncertainty.For transgender and gender nonconforming people, who face a heightened threat of violence, some fear the law could be wielded as a tool to further discriminate against them.“The language is vague enough that it leaves it in the hands of each individual jurisdiction to define what counts as a ‘male or female impersonator,’” said Dahron Johnson, who works in community outreach with the Tennessee Equality Project. “They could say I, just going about my daily life, am an ‘impersonator.’”In theater, there is a long history of performance featuring cross-dressing and drag — Shakespeare famously employed male actors to play female roles — and many touring shows feature some variation on the practice: “The Lion King” (a male meerkat, Timon, dons a dress to dance the Charleston), “Hairspray” (the protagonist’s mother is often played by a man in drag) and “1776” (now touring with a new production in which all the male characters are played by female, transgender and nonbinary actors).“Hairspray” and many other theater productions feature drag performances.Sara Krulwich/The New York Times“We’re absolutely opposed to any legislation that restricts the rights of our producers to present stories we’ve been presenting for 4,000 years,” said Charlotte St. Martin, the president of the Broadway League, a trade association representing producers and presenters around the country. Ms. Martin said the league is “very concerned” about the legislation under consideration in multiple states.Brett Batterson, the president and chief executive of the Orpheum Theatre Group in Memphis, said that on Friday, he paused conversations about bringing to Memphis a solo show, “Dixie’s Tupperware Party,” a small, long-running and popular touring production that has played all over America and is performed by a man in drag.“We decided we would pause our discussion to see how some of the language is interpreted,” Mr. Batterson said. “I think the law will be challenged, and we want to see how it plays out.”For now, Friends of George’s was not ready to change any of its plans. “We think it’s outrageous, but we’re forging ahead with our next production in spite of everything,” said Ty Phillips, the nonprofit’s vice president.Yet uncertainty remained. Mr. Winter noted that over the years he has played Mother Ginger in “The Nutcracker” and the mother in “Hairspray.”“Can I still do that?” he asked. More

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      in Movies

      Acting Awards Without Gender Categories? Here’s Where Celebrities Stand

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      Nominees at the Screen Actors Guild Awards in Los Angeles on Sunday were split on combining award show categories for best actor and best actress.LOS ANGELES — On the red carpet before the Screen Actors Guild Awards at the Fairmont Century Plaza in Los Angeles on Sunday, stars answered the usual questions. Were they excited to be here? Yes. How did it feel to be recognized? Amazing. What TV show would they want to guest star in? “The White Lotus.”But one question we posed made nearly every person stop, ponder for several seconds and then deliver a thinking-aloud answer, often with a caveat or a pivot in the middle:“Should major award shows eliminate separate acting categories for men and women?” we asked.The ongoing debate over gender-neutral acting prizes, which could also mean fewer nominations for everyone, is part of the conversation again this awards season. In 2021, the Gotham Awards, which honor independent films, nixed separate acting categories for men and women. Last year, the Brit Awards, Britain’s equivalent of the Grammys, merged its categories for best male and best female artist of the year into one gender-neutral top prize. And this year, the event faced backlash for not nominating any women for the award. The Grammy Awards eliminated many gendered categories beginning with the 2012 ceremony.Nonbinary actors such as Emma Corrin, who are often forced to choose a category in which to be considered, have called for gender-neutral award categories. The trans nonbinary performer Justin David Sullivan from the Broadway musical “& Juliet” withdrew their name from consideration when the Tony Awards eligibility rulings were announced earlier this month, putting public pressure on the awards. (Both the Academy of Motion Picture Arts and Sciences, which hands out Oscars, and the Television Academy, which handles the Emmy Awards, are looking into nongendered categories, according to The Los Angeles Times. Nominees are already able to request gender-neutral wording on their awards at both events.)The immediate response of many attendees at the SAG Awards was a desire for awards to be more inclusive.“I think it’s a positive thing,” said Will Sharpe, who plays Ethan Spiller, the workaholic tech nerd married to Harper on Season 2 of “The White Lotus,” which won the top TV award for a drama series on Sunday night, noting he believed it would “level out the playing field.”Will Sharpe from Season 2 of “The White Lotus” at the SAG Awards. Aude Guerrucci/Reuters“Why not?” said Michael Imperioli, who plays the womanizing Hollywood producer Dominic Di Grasso on “The White Lotus,” on combining the acting categories. “It’s all one big acting soup.”Other nominees addressed the potential benefit for nonbinary actors.“There are people who don’t want to be defined by gender, and I want to help make awards more inclusive for them,” said Rhea Seehorn, who plays the lawyer Kim Wexler in “Better Call Saul,” which was nominated for outstanding performance by an ensemble in a drama series for its final season.But then she paused.“At the same time,” she added, until women and nonbinary performers are afforded “as much screen time as the men, it’s not very fair to compare the performances.”Top awards often go to the actors who spend the most time onscreen, and a recent study found that, in 2021, in the top 100 grossing films, male characters outnumbered female ones by almost two to one.Jamie Lee Curtis, who won the supporting-actress statuette for her role in “Everything Everywhere All at Once” over the Golden Globe winner Angela Bassett (“Black Panther: Wakanda Forever”) and the BAFTA winner Kerry Condon (“The Banshees of Inisherin”), echoed Ms. Seehorn’s indecision.Jamie Lee Curtis won a SAG Award for outstanding performance by a female actor in a supporting role for her part in “Everything Everywhere All at Once.”Frazer Harrison/Getty Images“I’m all for inclusion, which is the most important thing,” she said, “but, at the same time, I want to make sure that the most opportunities are available to people. I know a lot of people believe in same-sex education. There are a lot of young women who get very quiet when the boys get really loud.”Female nominees in particular expressed concern that the idea of a single prize would put men at a distinct advantage because of the richer and more numerous roles available to them.“There’s still a lot of male parts,” said Patricia Arquette, who plays Harmony Cobel, Mark’s domineering boss, in “Severance,” which was nominated for outstanding ensemble performance in a drama series. “I don’t know if that would be fair.”Patricia Arquette plays Harmony Cobel in “Severance,” which was nominated for outstanding performance by an ensemble in a drama series.Jordan Strauss/Invision, via Associated Press“Until there’s a 50-50 opportunity, then we still need to have our own categories,” said Olivia Williams, who plays Camilla Parker Bowles in Season 5 of “The Crown,” which was also nominated for best ensemble performance in a drama series.Sarah Polley, the writer and director of the female-focused film “Women Talking,” which examines sexual assault in a religious community, said the potential for parity in consideration had to be weighed against the realities of the film and television industries.“What none of us want to see is a general acting category where it ends up being all-male nominees,” she said, “Which I think is the fear — and that’s a genuine fear.”But, she added, there were also important considerations to weigh that extend beyond fairness to the issue of fundamental identity.“We have a nonbinary actor in our cast,” she said, referring to August Winter, who plays Melvin, a character who lives as an openly trans man in a patriarchal society. “And there would have had to be a choice made between male and female, neither of which was accurate.”Members of the cast of “Women Talking” from left, Liv McNeil, August Winter, Kate Hallett, Michelle McLeod, Sheila McCarthy, Sarah Polley, Rooney Mara, Claire Foy and Jessie Buckley.Jordan Strauss/Invision, via Associated Press“I’m not sure what the solution is,” she added, “but it certainly can’t stay the way it is, because it is excluding people from being recognized.”Mx. Winter, who uses the pronouns they and them, said they supported gender-neutral categories because they “honor the person who is making the art.”“Right now, you need to choose,” they said, referring to awards that separate categories for men and women. “And I don’t think people should be put in that position.”Other nominees noted, however, that they were concerned that combined categories would lead to fewer performances being recognized.Ms. Bassett said that collapsing the categories could lead to fewer chances for recognition. “I don’t like it,” she said. “Not enough opportunity.”Angela Bassett was nominated for a SAG award for outstanding performance by an actress in a supporting role for “Black Panther: Wakanda Forever.”Jordan Strauss/Invision, via Associated PressJon Gries, who plays Greg Hunt, the scheming husband of Jennifer Coolidge’s character, Tanya, in “The White Lotus,” echoed that concern. “When you have best actor, best actress, you have more awards,” he said. (“We like more awards,” said Sabrina Impacciatore, who plays the series’s uptight hotel manager, as she strolled up and put a hand on his shoulder.)Sally Field, who received a lifetime achievement award for her nearly six-decade TV and film career on Sunday night, expressed a general frustration with the competitive nature of awards. “It’s hard to compare actors, whether they be male or female, because the roles are so different,” she said. So the idea of a rule change that would recognize even fewer performances was befuddling to her.“Why would you do that?” she said, looking as though someone had just suggested she go roll through the mud in her ball gown. “I mean, you already can’t even compare Cate Blanchett and Viola Davis. They’re both beyond belief.”Quick Question is a collection of dispatches from red carpets, gala dinners and other events that coax celebrities out of hiding. More

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      Harry Styles Dedicated a Brit Award to Female Acts Who Weren’t Nominated

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      In 2022, the Brit Awards merged its top artist prizes to include male, female and nonbinary acts. This year, the event faced backlash for not nominating any women.On Saturday night at a glittering ceremony in London, the pop star Harry Styles was named artist of the year at the Brit Awards, the highest honor at Britain’s equivalent of the Grammys.After punching the air as he headed onstage, the singer then thanked his family, his mother and his former bandmates from One Direction.But to some watching the televised ceremony in Britain, the acclaim for the pop icon was a little soured because Styles triumphed in a category that did not have a single female nominee — an unintended consequence of the decision a little more than a year earlier by the Brit Awards to merge its categories for best male and best female artist of the year into one gender-neutral top prize.For the past few weeks, prominent figures in Britain’s music industry, and even some politicians, have been discussing the effects of that change on the visibility of female musicians here.At a time when other major cultural award shows — including the Tony Awards and the Academy Awards — are facing pressure to include nonbinary artists, the experience at the Brits shows the difficulties that can arise from removing gendered categories.Onstage, Styles made it clear he was conscious of the conversation. “I’m very aware of my privilege up here tonight,” he said, “so this award is for Rina, Charli, Florence, Mabel and Becky.” Those are the names of five female British pop stars — Rina Sawayama, Charli XCX, Florence Welch, Mabel and Becky Hill — who were not nominated.For much of the past decade, the British Phonographic Industry, or BPI, which organizes the awards, has broadcast its efforts to make the event more inclusive. But three years ago, the organization faced a dilemma after the singer Sam Smith announced they were nonbinary and used they/them pronouns.The Dreamy World of Harry StylesThe British pop star and former member of the boy-band One Direction has grown into a magnetic and provocative performer.A Destination for Fans: A stray lyric in Harry Styles’s song “Falling” radically changed the clientele — and fortunes — of a Beachwood Cafe, a cheerful spot with an all-day menu in Los Angeles.Latest Album: The record-breaking album “Harry’s House” is a testament to the singer’s sense of generosity and devotion to the female subject.Styler Fashion: Stylers, as the pop star’s fans are called, love to dress in homage to their idol. Here are some of the best looks seen at a concert.Opening Up: For his solo debut, Styles agreed to a Times interview. He was slippery in conversation, deflecting questions with politeness.That made the pop star — and frequent Brit Award winner — ineligible for the show’s artist of the year awards, which had long been split into “best male” and “best female” categories.When the BPI announced that it would drop gendered categories for the 2022 awards, the move was praised by British musicians and newspapers as long overdue.At last year’s Brit Awards, which was the first time the ceremony featured a gender-neutral best artist category, Adele won the trophy, along with three others. Kate Green/Getty ImagesThat decision did not immediately lead to the exclusion of women: Last year, Adele won the first best artist prize. “I understand why the name of this award has changed,” she said at the 2022 ceremony, “but I really love being a woman and being a female artist.”This year, however, the nominees list included four men alongside Styles: the rappers Stormzy and Central Cee, the dance act Fred Again.. and the singer George Ezra.Francine Gorman of Keychange, an organization that aims to increase female and nonbinary involvement in Europe’s music industry, said in a recent interview that the all-male list was “a real step backward” for inclusion.“We’re faced with five men, and they’re supposed to be representative of every British artist making music today,” she said.Smith — who was in the running for two awards at Saturday’s event — also criticized the all-male nominees in a recent interview with The Sunday Times, a British newspaper. “There’s so much incredible female talent in the U.K. — they should be on that list,” they said. (Smith’s representatives did not respond to an interview request for this article.)Sam Smith arriving at the 2023 Brit Awards. After the singer came out as nonbinary, the awards decided to award a single gender-neutral artist of the year prize.Andy Rain/EPA, via ShutterstockOn Wednesday, concern about the issue even made it to Britain’s parliament, where the Women and Equalities Committee was holding an inquiry into misogyny in music. Caroline Nokes, the committee’s chair, said afterward that she thought that the Brit Awards had acted “too soon” to remove gendered categories, given the significant barriers women face to building careers in music.In an era when some people in Britain see conflicts between women’s rights and those of transgender and nonbinary people, the absence of female nominees for the top award touched a nerve, though most commentary has focused on the barriers facing women in music.The BPI has not announced any steps to avoid another all-male shortlist at next year’s awards. YolanDa Brown, a saxophonist and the BPI’s chair, said in a video interview this week that the organization would review the nomination process and determine if any changes were needed to support women. That could include expanding the number of nominees, she said, but she would not guarantee that any measures would be taken.“Change and evolution is uncomfortable,” Brown said. The success of the move to gender-neutral categories should be judged over a longer time period, she added, noting that “this is just the second year.”The Brits’ best artist category has strict eligibility criteria. Acts must have released either a Top 40 album or two Top 20 singles, within a yearlong period, to make the longlist. This year, only 12 female acts and one nonbinary act qualified, compared with 58 men. The awards’ voting body, made up of some 1,200 music industry insiders, then chooses nominees from the longlist. This year’s voting bloc was 52 percent female.An all-male shortlist “was always going to happen sooner or later” because of the unequal nature of Britain’s music industry, said Vick Bain, a consultant on diversity issues and the president of Britain’s Incorporated Society of Musicians. Women make up only about 20 percent of artists, and 14 percent of songwriters, signed to British record labels and publishers, Bain said.Charli XCX performs at the 2022 Glastonbury Festival. That year, the singer’s album “Crash” was No. 1 in Britain, but she wasn’t nominated for artist of the year at the Brit Awards.Kate Green/Getty ImagesBain said the one positive aspect of the exclusion of female and nonbinary acts was that “it’s shone a spotlight” on that inequality. Women are similarly underrepresented in the British and American movie industries, Bain said, so the Academy Awards could expect similar problems if the academy were to do away with gendered acting categories.In 2020, the BAFTAs, Britain’s main film awards, made a host of changes to try to increase the diversity of its honorees. That included reserving half of the spots on the longlist for the best director prize for women. Yet at this year’s awards, just one female director was among the final six nominees.Before Saturday’s awards, few British musicians commented directly on the backlash. Representatives for more than 20 British pop acts declined interview requests for this article, including the publicists for all 12 female artists who were eligible for this year’s award, as well as all five of the representatives for the male nominees.Bain said the lack of diversity at the Brits requires action across Britain’s music industry, not just from the awards themselves. Record labels should sign more female acts and provide them with the same marketing support as male stars, she said, while festivals should book more women and more radio stations should play their music.Until those wider shifts happen, award shows will “have to be prepared to keep changing” their procedures to stay inclusive, said Bain, who noted that it was true of film awards as well as the Brits.On Saturday night, some acts suggested the Brits needed to up its game. When asked about the lack of female nominees for best artist on the Brits red carpet, Charli XCX told a BBC reporter that female musicians were “doing everything right.”“I don’t think it’s our fault,” she said. “I think it might be theirs.” More

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      Frigid Fringe Festival Is ‘Uncensored’ No More After Pulling a Work About Gender

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      The Frigid Fringe Festival in New York said it would no longer bill itself as “uncensored” after deciding not to move ahead with a performance it deemed anti-trans.Since its 2007 founding, the Frigid Fringe Festival in New York has selected the plays it produces randomly, like many other fringe festivals around the world that aim to highlight voices from outside the theatrical establishment. It boasted that it was both “unjuried,” since it did not rely on gatekeeping panels, and “uncensored.”But that changed this past fall, when Frigid decided for the first time that it would not stage one of the productions it had chosen. A staffer at the festival had red-flagged the work, “Poems on Gender,” after its author, David Lee Morgan, submitted a blurb drawn from the show that began: “There are two sexes, male and female.” Further investigation led organizers to conclude that it “featured material we deem to be anti-trans.”In canceling its production of “Poems on Gender,” Frigid announced that it would stop calling itself “uncensored,” and that it would reserve the right to withdraw future plays. “Our commitment to freedom of expression does not obligate us to lend our efforts to platform what we consider to be hate speech, or even just very offensive and hurtful speech,” it said in a news release. It added, “In this case we choose to just say no.”The festival was “uncensored” no longer, becoming the latest example of a wider rebalancing in the worlds of culture, publishing and academia, as many institutions that once emphasized freedom of expression and artistic license have curbed speech that they deem hateful or offensive to members of marginalized groups.Morgan, a busker and spoken-word poet based in London who performs “Poems on Gender” as a recited monologue, said in an interview that he did not expect Frigid to tolerate absolutely everything. “If I were presenting a recruiting film for the Ku Klux Klan,” he said, “I’d be astounded if they’d be fine with putting it on.”On Being Transgender in AmericaFeeling Unsafe: Intimidation and violence against gay and transgender Americans has spread this year — driven heavily, extremism experts say, by increasingly inflammatory political messaging.Puberty Blockers: These drugs can ease anguish among young transgender people and buy time to weigh options. But concerns are growing about their long-term effects.‘Top Surgery’: Small studies suggest that breast removal surgery improves transgender teenagers’ well-being, but data is sparse. Some state leaders oppose such procedures for minors.Generational Shift: The number of young people who identify as transgender in the United States has nearly doubled in recent years, according to a new report.But he disputed that his show, which he performed last year at the prominent Edinburgh Festival Fringe, was deserving of censorship. “Is it reactionary?” he said. “Is it anti-trans? Is it bigotry to say there are two sexes, male and female?”Erez Ziv, a founder of Frigid New York and its managing artistic director, said he could not ask his increasingly diverse staff, which includes several transgender and nonbinary people, to be part of a production that denied their realities. The Frigid Fringe Festival, which will run in February and March, supplies shows with theatrical space and publicity, and tech and front-of-house workers. Productions keep all box office revenue. (Frigid relies on grants and small fees from the productions.)“In November, I boastfully said to an entire room full of fringe producers in North America that I would allow a show to happen no matter what,” Ziv said. “But then it happened: We actually got a show that I just couldn’t ask my staff to work.”“I support free speech,” he added. “I think all speech should be legally protected, but not all speech should be platformed.”David Lee Morgan said he did not believe his work “Poems on Gender” deserved censorship: “Is it bigotry to say there are two sexes, male and female?”Charlotte Hadden for The New York TimesBefore deciding, Ziv, who never reads production scripts for Frigid, viewed several online videos of Morgan performing other works. He also consulted a colleague: the co-artistic director at Frigid, Jimmy Lovett, partly because Lovett is trans.Lovett said that some of Morgan’s online performances of related works were “very minimizing of our experiences” and framed transition-related surgery and other medical care as “damaging to the body rather than necessary and healthy for the individual.”In sometimes elliptical language, “Poems on Gender” raises questions about how some people define their genders (“You tell me I can’t be your friend/Unless I believe you are a real woman/I can’t do that”) and about transition-related medical care (“You took a rainbow and forged it into a knife”).Morgan, who grew up in Washington State, describes himself as left-wing and feminist and said that “Poems on Gender” was partly inspired by conversations with trans friends from the spoken-word poetry scene. “I’m looking at people I have a lot of respect and unity with, and then seeing where we disagree,” he said, noting that he believes some of the friendships have ended because of his views.Frigid’s evolution away from its stage-anything ethos is striking, because the festival exists precisely to ensure that even unusual or outré works get a chance to go up in New York City.Fringe festivals share a mandate to elevate edgier voices. The concept originated when troupes that were not invited to the first Edinburgh International Festival in 1947 put on a counter-festival, which a journalist later described as “round the fringe of official festival drama.” They have earned a reputation for giving opportunities to new talent: the hit Broadway musical “Six,” about the wives of Henry VIII, was written by college students and was one of the 3,398 shows the Edinburgh Festival Fringe put on in 2017.Xela Batchelder, a veteran fringe producer who studied fringe festivals for her Ph.D. dissertation, said that generally “the audience is the curator,” and that it would be a challenge for festivals to begin deciding which works to stage and which to rule out. “It’s going to be very hard for the arts organizations and the artists trying to figure out how to work through all this,” she said.The fringe model has been tested in recent years. The Chicago Fringe Festival, which like Frigid selected works entirely by lottery, faced backlash in 2017 for staging “A Virtuous Pedophile.” (Its author, Sean Neely, said the play did not advocate pedophilia.) The outcry was “very detrimental” to the festival, said Anne Cauley, its executive director at the time, and the festival’s largest foundation sponsor declined to renew its support the next year. The festival ceased after 2018.The Canadian Association of Fringe Festivals, whose guiding principles call for convening no juries for selecting plays and allowing no interference with artistic content, added a new plank in 2017 that said, “Festivals will promote and model inclusivity, diversity and multiculturalism.”A spokeswoman for the association, Michele Gallant, said that Frigid, which is one of its members, had still abided by the principle that says “festival producers do not interfere with the artistic content of each performance,” because it had not altered the show — but simply pulled it entirely.Morgan still hopes to take “Poems on Gender” to other fringe festivals.He won the Canadian association’s lottery in November, which gives him entry to fringe festivals next summer in the cities of Victoria and Vancouver, in British Columbia. The Vancouver Fringe declined to comment, and an official at the Victoria Fringe did not respond to a request for comment. More

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      Advice From Pelosi’s Daughter: ‘Every Woman Needs a Paul Pelosi'

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      Speaker Nancy Pelosi’s husband, a multimillionaire venture capitalist recovering from a brutal attack, has long taken care of the couple’s “business of living,’’ including shopping for the speaker’s clothes.WASHINGTON — House Speaker Nancy Pelosi was glued to CNN the night after the 2020 election, while her husband, Paul Pelosi, sat nearby unwrapping a package.“What is that?” she asked him in a scene from the new HBO documentary, “Pelosi in the House,” directed by their daughter Alexandra Pelosi.“Dish towels,” Mr. Pelosi responded with a hint of irony as he popped the bubble packing. Ms. Pelosi smiled and then turned her attention back to the election coverage.It was just one instance of a dynamic on display throughout the film: Mr. Pelosi, who was brutally attacked at the couple’s San Francisco home by an assailant who was said to have been targeting the speaker, takes care of what their family refers to as the “business of living.” That leaves his wife, who will step down as speaker when Republicans assume the House majority on Jan. 3, free to focus on her work.It is the kind of relationship that women in politics rarely talk about, but can sometimes help make the difference between success and failure: a partner willing to take on the mundane tasks and supportive role that traditionally fell to political wives. And although the Pelosis are wealthy and can get all the household help they need, the documentary captures that being a political spouse can mean simply showing up, and then standing off to the side.Throughout the film, as Ms. Pelosi does business on the phone with Vice President Mike Pence, Senator Chuck Schumer or Joseph R. Biden Jr., who was then a presidential candidate, Mr. Pelosi, 82, a multimillionaire businessman who founded a venture capital investment firm, is often in the same room dealing with the day-to-day necessities of their lives.In one scene, Ms. Pelosi was in her pajamas strategizing on a call with Representative Jerrold Nadler, Democrat of New York, about the first impeachment of President Donald J. Trump while Mr. Pelosi, sitting across from her, was on his cellphone dealing with a contractor trying to access their San Francisco home to fix a broken shower.A New U.S. Congress Takes ShapeFollowing the 2022 midterm elections, Democrats maintained control of the Senate while Republicans flipped the House.Who Is George Santos?: The G.O.P. congressman-elect from New York says he’s the “embodiment of the American dream.” But his résumé appears to be mostly fiction.McCarthy’s Fraught Speaker Bid: Representative Kevin McCarthy has so far been unable to quash a mini-revolt on the right that threatens to imperil his effort to secure the top House job.The G.O.P.’s Fringe: Three incoming congressmen attended a gala that drew white nationalists and conspiracy theorists, raising questions about the influence of extremists on the new Republican-led House.Kyrsten Sinema: The Arizona senator said that she would leave the Democratic Party and register as an independent, just days after the Democrats secured an expanded majority in the Senate.“I don’t know what happened to that key,” Mr. Pelosi said, using an expletive.Paul and Nancy Pelosi met as college students while taking a summer class at Georgetown University in 1961. They married two years later and had five children in six years. Ms. Pelosi spent her early years in the marriage as a stay-at-home San Francisco mother and did not run for Congress until she was in her 40s. What followed was nothing that Mr. Pelosi ever pictured for his wife, or his family, according to his daughter.“I don’t think this is what he signed up for in 1987,” Alexandra Pelosi said in an interview, referring to the year Ms. Pelosi was first elected to Congress. “He just had to get over it.”The couple had five children in six years.Peter DaSilva for The New York TimesMr. Pelosi, according to his daughter, never caught the political bug. He forbids political talk at the dinner table. But over the years he has been at his wife’s side at her big political moments, and has taken on many of the duties of the homemaker. He does the dishes, deals with contractors, pays the bills and shops for Ms. Pelosi’s clothes.“She’s never ordered dish towels in her life,” Alexandra Pelosi said. “That’s what he’s been doing forever. He does the shopping for her, from the dish towels to the Armani dress.’’“He’s got Armani on speed dial,’’ she added, referring to the Italian designer Giorgio Armani, one of the speaker’s favorites. “He’s the full-service husband.”Ms. Pelosi had more to say: “The dress she wore to the state dinner; he ordered it for her, and he sent my sister to go try it on.” (Ms. Pelosi was referring to a gold sequin gown by another Italian designer, Giambattista Valli, that her mother wore to a White House state dinner early this month for President Emmanuel Macron of France.)The documentary, focused on Ms. Pelosi’s rise and professional accomplishments, offers glimpses into how a marriage to a supportive spouse helps create the space for a woman’s work — in her case, operating years as the most powerful political force in the Democratic Party in recent years.Other than Hillary Clinton, few women in politics have risen to Ms. Pelosi’s stature, and there are not many male spouses like her husband. Former President Bill Clinton played the role of supportive spouse during Mrs. Clinton’s two presidential campaigns, but after he had already had his turn.Doug Emhoff has assumed a supporting role to Vice President Kamala Harris, but that has also meant becoming a public figure in his own right. Mr. Pelosi never wanted anything close to that.“He’s a private person with a private life with a very interesting collection of friends, including Republicans,” Alexandra Pelosi said. “He didn’t sign up for this life.”But, she said, he has made it work. “Every woman needs a Paul Pelosi.’’The Pelosis met in 1961, while taking a summer class at Georgetown University. Doug Mills/The New York TimesIn one scene in the documentary, Mr. Pelosi was scraping breakfast dishes in a robe while his wife spoke on the phone to Mr. Pence. At one point, she put herself on mute and blew kisses at her husband.In a scene shot during the 2020 presidential campaign, Ms. Pelosi was on the phone with Mr. Biden advising him “don’t go too far to the left.” Mr. Pelosi was sitting next to her, reading his iPad, only half paying attention to his wife’s conversation.Mr. Pelosi appeared at ease in his supporting character role.“Are you in line to get a picture with the speaker?” his daughter shouted at him from behind the camera at a gathering at the U.S. Capitol ahead of one of Mr. Trump’s State of the Union addresses, while Ms. Pelosi was working a photo line.“Oh I am,” he joked.The following year, there he was again, sitting and snacking while Ms. Pelosi worked the room.“I heard Paul Pelosi was here,” his daughter joked.“I just came for the pistachios,” he said.As Ms. Pelosi prepared to enter the House chamber — where she would eventually tear up Mr. Trump’s speech and dismiss it as a “manifesto of mistruths” — her husband was with her in her office offering moral support.“You look great, hon,” Mr. Pelosi told her.Despite his appearances in the documentary, Mr. Pelosi is not always at the speaker’s side, including in May, when he was in a car accident in Napa County, Calif., and afterward pleaded guilty to a single count of driving under the influence of alcohol. Ms. Pelosi was across the country, preparing to deliver a commencement address at Brown University.“He’s there for the days that matter,” Alexandra Pelosi said. “It’s really just because she says you have to come. These kinds of people need a family to be there for support on days that matter.”In October, Mr. Pelosi was beaten with a hammer at the couple’s San Francisco home by an assailant who was said to have been targeting the speaker. He suffered major head injuries, but has appeared in recent days by Ms. Pelosi’s side, including her portrait unveiling at the Capitol and at the Kennedy Center Honors celebration.Still, his daughter said he was on a long road to recovery. “He has good days and bad days,” she said, noting that he has post-traumatic stress and tires quickly.The attack on the man who has been a quiet pillar of the Pelosi family life has taken a toll on all of them. The speaker told CNN’s Anderson Cooper in a recent interview that “for me this is really the hard part because Paul was not the target, and he’s the one who is paying the price.”“He was not looking for Paul, he was looking for me,” she added.His daughter said one of the most uncomfortable parts of the ordeal has been the glare of the public spotlight on a person who has tried to avoid it.“He’s remained out of the limelight as much as he could,” she said. “He almost got to the end without anyone knowing who he was.” More

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      in Music

      The Year Pop’s Men Dismantled Their Masculinity

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      In 2022, stars including Harry Styles, Jack Harlow and Bad Bunny offered liberated takes on gender, but also risked pandering. Are men OK?In April, during his headlining set at Coachella, the reigning pop prince Harry Styles invited a surprise guest, Shania Twain, to the stage to sing a provocatively chosen duet: “Man, I Feel Like a Woman.”Clad in a low-cut, silver sequined jumpsuit, Styles strutted, twirled and belted out the cheeky anthem’s lyrics. “This lady taught me how to sing,” he told the raucous crowd of over 100,000 when the song was over. “She also taught me that men are trash.”The performance was fun, headline-generating and relatively radical: It is difficult to imagine Styles’s generational predecessor, Justin Timberlake — or even Timberlake’s successor, Justin Bieber — playing so fast and loose with gender roles. That is partially because the Justins embraced hip-hop and R&B — genres where such experimentation is often less welcome — more directly than Styles ever has. But it’s also because the cultural forces that shape the norms and expectations of what a male pop star can and should be are evolving.While the year in music was dominated by a handful of female powerhouses (critically, by Beyoncé’s widely praised dance-floor odyssey “Renaissance” and commercially, by Taylor Swift’s moody synth-pop juggernaut “Midnights”), the top male pop stars — Styles, Bad Bunny and Jack Harlow — all found success while offering refreshingly subversive challenges to old-school masculinity.Styles and Harlow seem cannily aware of how to position themselves as heartthrobs in a cultural moment when being a man — especially one that scans straight and white — can seem like a minefield of potential missteps, offenses and overextended privilege. Bad Bunny, even more subversively, ripped up the English-language pop star’s rule book and offered a more expansive vision of gender and sexuality.Bad Bunny, the Puerto Rican superstar whose summery smash “Un Verano Sin Ti” spent more weeks atop the Billboard chart than any other album this year, has gleefully rejected the confines of machismo. Instead, he has embraced gender-fluid fashion, called out male aggression in his songs and videos and even made out with one of his male backup dancers during a performance at this year’s MTV Video Music Awards — decisions that carry extra weight considering his aesthetic-hopping pop is rooted in reggaeton, a genre that has leaned on heteronormativity.Bad Bunny has gleefully rejected the confines of machismo.Isaac Esquivel/EPA, via ShutterstockStyles, too, has won fans and admirers by treating his gender presentation as something of a playground, whether that means wearing a dress on the cover of “Vogue,” refusing to label his sexuality or flipping the familiar script of the older male auteur/younger female muse in his much publicized relationship with his “Don’t Worry Darling” director Olivia Wilde, who is 10 years his senior. None of it has been bad for business: Styles’s “As It Was” was the year’s longest-reigning Billboard No. 1 and, globally, Spotify’s most-streamed song of 2022.But there’s also an increasingly fine line between allyship and pandering, one that fans aren’t shy about calling out online. Styles and Bad Bunny have been accused of the very contemporary crime of “queerbaiting,” or cultivating a faux mystique around one’s sexuality to appeal to an L.G.B.T.Q. fan base. To overemphasize straightness and alpha-male stereotypes, though, presents its own risks, especially in a post-MeToo moment. What’s a man to do?Harlow, the 24-year-old Kentucky-born rapper, spent 2022 trying to figure it out. A technically dexterous rapper with an easy charisma and a head of Shirley Temple ringlets, Harlow is known for making artistic choices that spotlight his skills and convey his seriousness as an MC. He’s also cultivated a persona as an irrepressible flirt with a particular attraction to Black women. He famously shot his shot with Saweetie on the BET Awards red carpet, repeatedly popped into Doja Cat’s Instagram live broadcasts and even parodied his reputation during a star-turning “Saturday Night Live” hosting gig, when he played himself in a skit that imagined him seducing Whoopi Goldberg on the set of “The View.”Harlow’s music, too, actively cultivates the female listener. As he explained in an interview with The New York Times earlier this year, “I always think about if I was in the car and the girl I had a crush on was in the shotgun and I had to play the song, would I be proud to play the song?”Jack Harlow’s music focuses on a kind of glorification of the female listener.Calla Kessler for The New York TimesThroughout his second album, “Come Home the Kids Miss You,” Harlow paints himself as stylish and sensitive, a man who keeps his nails clean and discusses his romantic encounters in therapy. In the grand tradition of his elder Drake, Harlow often uses the pronoun “you” to directly and intimately address women in his songs. His biggest solo hit to date, “First Class,” which spent three weeks at No. 1 this spring, turned “Glamorous,” Fergie’s blingy 2007 hit about luxury and hard-earned success, into a chivalric invitation for a lady to come enjoy the good life on Harlow’s dime: “I could put you in first class,” he clarified.Stylistically, Harlow’s music is worlds away from Styles’s, but both share a kind of glorification of the female listener, a lyrical attentiveness to her pleasure and a subtle insistence that they are more caring partners than all those other men who, in Styles’s parlance (and on superhumanly empathetic ballads like “Boyfriends” and “Matilda”), are “trash.”In some sense, this is certainly progress. Consider that Timberlake’s early aughts success involved the excessive vilification of his ex Britney Spears, or that a performance that pantomimed a kind of hyper-heterosexual dominance over Janet Jackson had virtually no effect on his career, but nearly ended hers. Harlow’s collaboration with and public support for the gay pop star Lil Nas X and even his fawning over his female peers are worlds away from his predecessor Eminem, who negotiated his complex stance as a white man in a predominantly Black genre by punching down at women and queer people. Misogyny and homophobia aren’t exactly good for business anymore — and thank goodness.It’s hard to imagine these men making the same mistakes as their forebears, and overcorrection is in some sense welcome, given the alternative. (Bad Bunny, again, has taken even bolder risks, like vehemently criticizing the Puerto Rican government in response to island-wide blackouts.)But even responsibly wielded privilege is still, at the end of the day, privilege. And Styles’s and Harlow’s music often betrays that by its relative weightlessness, its sense of existence in a space free of any great existential cares. Styles’s songs in particular seem hollowed out of any introspection; most of the ones on “Harry’s House” pass by like cumulus clouds. The focus of Harlow’s music vacillates between girls and ego, with few gestures toward the riskier political statements he’s made on red carpets (decrying homophobia) and on social media (attending protests demanding justice for Breonna Taylor). That failure to see oneself as part of a larger problem is a symptom of privilege, too. Even if he’s wearing sequins, a man declaring that “men are trash” is just a very subtle way of saying “not all men.” What about the guy saying it?On “Part of the Band,” a moody, verbose single released this year by the British band the 1975, the frontman Matty Healy imagines overhearing a snippet of chitchat between two young women: “I like my men like I like my coffee/Full of soy milk and so sweet it won’t offend anybody.” The implication is that Healy is decidedly not one of those men, and it’s indeed hard to imagine a listener — particularly a non-male one — making it through all 11 tracks of the 1975’s soft-focused “Being Funny in a Foreign Language” without cringing at something Healy says. (Just one example: “I thought we were fighting, but it seems I was ‘gaslighting’ you.” Yeesh.)But in Healy’s musings, there’s something often lacking in Harlow’s or Styles’s music: a genuine sense of self-scrutiny, and an active internal monologue about what it means to be a man at this moment in the 21st century. Healy’s songs are, as the critic Ann Powers put it in an astute essay tracing the cultural lineage of “the dirtbag,” excavations of “the curses and blessings of his gendered existence.” Under his relentless microscope, straight(ish) white masculinity is, blessedly, freed from its status as the default human condition and instead becomes a curiosity to poke and prod at, exposing its internal contradictions and latent anxieties.“Am I ironically woke?” Healy wonders later in “Part of the Band.” “The butt of my joke? Or am I just some post-coke, average, skinny bloke calling his ego imagination?” Cringe if you want. He’s man enough to let the question hang there in the air. More

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      Review: In ‘Orlando,’ Emma Corrin Straddles Genders and Centuries

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      In a freewheeling London adaptation of Virginia Woolf’s 1928 novel, Corrin plays a character whose emotions are as fluid as their identity.LONDON — The play comes perfectly matched with its leading player in “Orlando,” a freewheeling take on Virginia Woolf’s gender-bending novel that opened Monday at the Garrick Theater here.Neil Bartlett’s breezy adaptation of its 1928 source is playful, and ultimately moving, but the director Michael Grandage owes much of the production’s success to its galvanizing star, Emma Corrin, who made an acclaimed West End debut last year in the short-lived “Anna X.” Thankfully, this time, Corrin can be seen onstage for considerably longer; “Orlando” runs through Feb. 25.The fast-rising Corrin, who identifies as nonbinary and uses they/them pronouns, has made headlines recently as much for their gender identity as for increasingly prominent screen roles. After winning a Golden Globe for playing Princess Diana in “The Crown,” Corrin starred in two films this season, “Lady Chatterley’s Lover,” and “My Policeman,” which was also directed by Grandage.Yet none of those roles has connected as directly to Corrin’s ongoing self-inquiry as the restless, century-straddling Orlando. “Being nonbinary is an embrace of many different parts of myself, the masculine and the feminine and everything in between,” Corrin said in a recent interview with The New York Times.Corrin has obviously spent some time with a question that Orlando asks rhetorically throughout the play: “Who am I?” We first meet the character as a young nobleman, born into Elizabethan-era luxury and a home containing 365 rooms. (The real-life inspiration for this vast property was Knole House, the countryside home of Vita Sackville-West, the author and socialite for whom an adoring Woolf wrote the novel.)But as time hurtles forward, Orlando barely ages and awakens one day from an extended slumber, age 30, as a woman. “Well, knock me down with a flipping feather,” says Orlando’s longtime housekeeper, Mrs. Grimsditch, in response. On the other hand, this loyal sidekick has seemed comfortable with gender fluidity from the start: “Ladies and gentlemen — no, sorry, everyone” she says in an early speech to the audience. The invaluable Deborah Findlay, hair disheveled but her sense of fun unimpaired, is a delight in the role.Corrin is more than game for whatever the play requires. This includes putting on and taking off Peter McKintosh’s ravishing costumes, to keep pace with the passing centuries.The youthful male we glimpse at the play’s start has an impishly androgynous allure, along with a gift for rewriting Shakespeare: “Shall I compare me to a summer’s day?” a glinting Orlando asks early on. But with age comes experience and exposure, not just to royalty (Lucy Briers makes a memorably stern Elizabeth I) but also to lovers and intimates of various genders and circumstances, including a bawdy Nell Gwyn (Millicent Wong) who tells Orlando, “For a lady, you’re really quite the gentleman.”Corrin is in full-throated voice throughout the vicissitudes of Orlando’s fraught love life — when Orlando’s heart is broken, you know it — and in moments when Orlando is taken over by fear. It’s not just that gender is fluid, we feel, but emotions are, too, and the play comes blessed with an actor who can project confidence one minute, and surrender to uncertainty the next. “Orlando” features a cast of Virginia Woolfs, who the titular character turns to to amend or amplify the story. Marc BrennerThe production features a bustling chorus of Woolfs, nine in all, bespectacled and drably attired; each of them adroitly handles at least one additional role, and sometimes more. (That supporting cast includes another nonbinary actor in Oliver Wickham, who plays Clorinda, an early crush for Orlando.)The sobriety of the author on view in this version contrasts with the vivacity of her creation. We see an anxious Orlando interacting with the lineup of women: “Come on, you wrote me,” she says, almost pleadingly, as if Woolf could posthumously amend the story. And yet the play sustains a spryness of tone.Bartlett’s adaptation is more of a sparky, affectionate pastiche, whether invoking another Woolf title, “A Room of One’s Own,” or handing a song lyric from the musical “Cabaret” — another show about shifting identity — to an especially ardent suitor, the Archduchess Harriet. (Richard Cant has particular fun with that role.)We get a synoptic survey of changes in women’s circumstances over time — I loved the sight of the Virginias producing teacups from their bags to signal the arrival of the Victorian era — and there’s a verbal lob in the direction of Britain’s governing Conservative Party that surely owes more to Bartlett than Woolf. But Corrin’s gorgeous performance lifts the 90 minutes, no intermission, well beyond anything resembling a history lesson or a night out requiring preparatory homework.“I once did love,” Orlando says wistfully, and the play leaves us hopeful that this mutable, mesmerizing character will find his, or her, or their, own way to do that again.OrlandoThrough Feb. 25 at the Garrick Theater, London; thegarricktheatre.co.uk. More