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    This Math Tutor Keeps Popping Up in Wes Anderson Films

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    Michael Maggart spends most days running the online tutoring company he founded after a decade working as a math teacher. But every now and then, his high school friend Wes Anderson, the director, contacts him out of the blue, summons him to a film set and sends him to wardrobe.There’s Maggart playing a security guard in “The Phoenician Scheme,” Anderson’s latest film, which was released in May. Previously, he played a detective in Anderson’s 2023 film, “Asteroid City,” and a hotel concierge in Anderson’s second feature film, “Rushmore” (1998). His credits also include a series of AT&T commercials that Anderson directed, and Anderson’s 2023 short film, “The Wonderful Story of Henry Sugar.”Maggart as a casino cashier, one of several roles he played in “The Wonderful Story of Henry Sugar” (2023).Mike MaggartMaggart said he sometimes felt guilty about landing roles that an aspiring actor would covet, but “then I just kind of enjoy it.”Vincent Alban/The New York TimesMaggart, 55, who splits his time between Austin, Texas, and New York City, has no formal training or interest in pursuing a career in acting. He has no other acting credits and would never have appeared in movies at all if not for an old friend who happens to be a celebrated film director — one who likes him enough to put him on camera. For Maggart, this has meant hobnobbing, dining and running lines with A-list actors like Tom Hanks, Bill Murray and Benicio Del Toro.“I do feel a little guilty sometimes because, for example, the scene in ‘The Phoenician Scheme’ that I have is three lines,” he said. “And I’m sure that it would be quite a moment for the career of a young actor or any actor to get those three lines instead of me. But I only think of that briefly and then I just kind of enjoy it.”Maggart is not certain why Anderson keeps thinking of him for bit parts in his films. Anderson, 56, who did not respond to an interview request, described his old friend as a “crucial collaborator” in a video message for an event in Houston celebrating the 25th anniversary of “Rushmore.”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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      Beyoncé Pauses Houston Concert After Car Prop Malfunction Left Her Dangling Over Crowds

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      She was singing “16 Carriages,” as she sat in the back of a red convertible prop high above the crowds on Saturday, when it suddenly slanted in the air.The superstar singer Beyoncé gave thousands of fans a scare during a concert in Houston on Saturday, as a car prop in which she sang high above the crowds suddenly tilted sharply to one side in an apparent malfunction.The moment, which was caught on video, showed Beyoncé wearing a white cowboy hat with an American flag by her side performing her song “16 Carriages” from the back of a red convertible when it slanted in the air over the crowds.“Stop. Stop, stop, stop, stop. Stop,” the singer calmly announced as she paused the performance over the roaring crowd, which called for her to be brought down.The car and Beyoncé were harnessed to cables and she could be seen gripping one as the vehicle continued to dangle over concertgoers, who held up their illuminated smartphones like candles.In April in Los Angeles, Beyoncé appeared in a car similar to the one that malfunctioned on Saturday in Houston.The New York TimesThe singer, 43, was slowly lowered to safety, much to the joy and relief of her fans who cheered her.“OMG she scared me,” one fan shared in a video.In another clip when she was back onstage, Beyoncé told the crowd, “If ever I fall, I know y’all would catch me.”It was not clear what led to the mishap. Parkwood Entertainment, the singer’s management company, said in an Instagram post that “a technical mishap caused the flying car, a prop Beyoncé uses to circle the stadium, and see her fans up close, to tilt.” The company said, “She was quickly lowered and no one was injured.” A representative for the stadium did not give further details.In a compilation of images from the show, the company also included one of Beyoncé performing from the dangling prop.The concert was held at the NRG Stadium in Houston, her hometown, and was the first of two shows there this weekend.The concerts are part of her international Cowboy Carter Tour, which opened in April in Los Angeles, to support her 2024 album “Cowboy Carter,” which won album of the year at the Grammys this year. More

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      Selena’s Killer Is Denied Parole 30 Years After Murder

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      The Tejano music icon was fatally shot by the founder of her fan club, who has been serving a life sentence in Texas. On Thursday, a panel denied her first attempt at parole.A panel in Texas on Thursday denied parole for the woman who killed Selena, a 23-year-old trailblazing Mexican American singer who was making it big in the popular music scene. The decision came a few days shy of the 30th anniversary of the killing, which shocked her fans and spurred a cultlike following.Yolanda Saldívar, the woman who fatally shot her, was the founder of Selena’s fan club; she killed Selena after a confrontation in a motel in Corpus Christi, Texas, on March 31, 1995. A jury convicted Ms. Saldívar of first-degree murder, and she was sentenced to life in prison with the possibility of parole after 30 years.Ms. Saldívar’s case had gone into the review process approximately six months before she was to first become eligible for parole this Sunday, the Texas Board of Pardons and Parole said in a statement. She won’t be eligible for parole for five more years.“After a thorough consideration of all available information, which included any confidential interviews conducted, it was the parole panel’s determination to deny parole to Yolanda Saldivar and set her next parole review for March 2030,” the statement said.The panel cited the violent nature of the killing as the reason for its denial.“The record indicates that the instant offense has elements of brutality, violence, assaultive behavior or conscious selection of victim’s vulnerability indicating a conscious disregard for the lives, safety, or property of others, such that the offender poses a continuing threat to public safety,” the statement said.When she was killed, Selena had just come off a Grammy Award win. She was on the verge of making a breakthrough that could have brought her songs about heartbreak and new love to wider Spanish- and English-speaking audiences.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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      Patrick Summers, Veteran Opera Conductor, to Step Down in Houston

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      Summers, who has helped introduce new operas into the American canon, will leave his role at Houston Grand Opera in 2026.Patrick Summers, a veteran conductor who over the past 26 years has helped turn Houston Grand Opera into one of most innovative companies in the United States, will leave his post in 2026, the company announced on Wednesday.Summers, 61, Houston Grand Opera’s artistic and music director, said he was eager for a change and felt he was leaving the organization in a strong position.“I love the company and the work that we’ve done here,” he said. “But I realized it’s time to make space for a new generation.”Summers has played an important role in introducing new operas into the American canon.He has premiered 11 works in Houston, including Jake Heggie’s “It’s a Wonderful Life” and Carlisle Floyd’s “Cold Sassy Tree.” He has recorded new and recent operas, including Daniel Catán’s “Florencia en el Amazonas.” And, as a guest conductor, he has led major premieres at other companies: He was on the podium, for example, when Heggie’s “Dead Man Walking” had its debut at San Francisco Opera in 2000.The star soprano Renée Fleming called Summers a “consummate musician” and a “natural educator.”“His effect has been to maintain a high standard of quality and hire great singers and have wonderful productions,” she said. “The whole ecosystem has benefited from his long tenure there.”Summers joined Houston Grand Opera as music director in 1998. He was recruited by David Gockley, the company’s general director from 1972 to 2005, who made it a hub for experimentation, commissioning dozens of new works. Summers became artistic and music director in 2011.Khori Dastoor, Houston’s general director and chief executive since 2021, said Summers’s creative drive had transformed the company.“He lives in the future; he lives in commissions,” she said. “He lives in the support of talent at the beginning, when it’s most needed.”Dastoor said that the company had not yet begun searching for a successor but that she hoped there would not be a long gap between Summers and his replacement.“We’re united and ready to make an ambitious and bold choice when the time comes,” she said.For his next chapter, Summers said, he did not anticipate taking on another major director role, hoping to focus on performance. He will be given the title of music director emeritus at Houston Grand Opera and continue to appear there. This season, he is leading a new production of Verdi’s “Il Trovatore” and performances of Missy Mazzoli’s “Breaking the Waves.”Since the pandemic, Houston Grand Opera has been in a relatively strong position compared to its peers, with strong ticket sales and fund-raising.Summers said he was proud of the company. “We’re one of the real success stories in the arts in the United States,” he said. “How could I have any regrets?” More

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      in Television

      Akili McDowell, Star of ‘David Makes Man,’ Is Charged With Murder

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      Mr. McDowell, 21, was being held on bond for the July shooting death of a man in the parking lot of a Houston apartment complex, the authorities said.Akili McDowell, an actor who starred in the television series “David Makes Man,” has been charged with murder in the July shooting death of a man in the parking lot of a Houston apartment complex, authorities said.Mr. McDowell, 21, was arrested and charged on Thursday with the murder of Cesar Peralta, 20, according to a criminal complaint.Mr. McDowell is being held on $400,000 bond at the Harris County jail and is scheduled to be arraigned on Oct. 9. A lawyer for Mr. McDowell did not immediately respond to requests for comment.Jonell Whitt, Mr. McDowell’s manager, offered prayers to the victim’s family and to Mr. McDowell. She declined to comment further on Monday evening.Harris County sheriff deputies responded to reports of a shooting on July 20 in the parking lot of an apartment complex in Houston, according to the sheriff’s office.Deputies arrived to find an adult male, who has since been identified as Mr. Peralta, unresponsive from apparent gunshot wounds. Emergency medical workers pronounced him dead at the scene. The authorities said that deputies spoke with several witnesses who reported seeing the victim in a fight with an unidentified male, who fled on foot immediately after the shooting.“David Makes Man” follows David, played by Mr. McDowell, as he navigates life in a housing project in South Florida while trying to succeed as one of the few Black students at his magnet school. The show, which aired on the Oprah Winfrey Network, was tinged with magical realism and explored its characters’ inner lives. It was created and written by Tarell Alvin McCraney, known for his Tony-nominated play “Choir Boy” and as a writer of the Oscar-winning film “Moonlight.”According to the website IMDb, Mr. McDowell appeared this year in “The Waterboyz,” a film about two young men whose paths cross while trying to make it in Atlanta. He also appeared in the 2015 film “Criminal Activities,” a crime yarn starring John Travolta; and in the television shows “Billions” and “The Astronaut Wives Club.”Alain Delaquérière More

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      Mark James, ‘Suspicious Minds’ Songwriter, Is Dead at 83

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      Mr. James wrote hit songs recorded by Elvis Presley, Brenda Lee, Willie Nelson and other artists.Mark James, a genre-defying and Grammy Award-winning songwriter whose hits included “Suspicious Minds,” “Hooked on a Feeling” and “Always on My Mind,” died at his home in Nashville on Saturday. He was 83.His death was confirmed by his daughter, Sammie Zambon. The Houston Chronicle first reported the news of Mr. James’s death.Various stars, including Elvis Presley and Willie Nelson, lent their voices to Mr. James’s catalog of songs over the years.His career of powerhouse hits began in 1968 with “The Eyes of a New York Woman,” cut by the country and pop hitmaker B.J. Thomas. Mr. Thomas, a lifelong friend of Mr. James, then recorded “Hooked on a Feeling,” Mr. James’s 1968 song celebrating newfound love, which hit the top five that year. The song again made it to the top five in 1974, when the Swedish rock band Blue Swede released its version.Mr. James catapulted into a different stratosphere in 1969 when Elvis cut “Suspicious Minds,” a song Mr. James first recorded and released as a single, to little notice, the previous year. Elvis’s version reached No. 1 in 27 countries and became one of his biggest hits and his last No. 1 single. The song is included in Rolling Stone’s list of the 500 greatest songs of all time.“Always On My Mind,” which Mr. James co-wrote with Wayne Carson and Johnny Christopher, became one of his most decorated works. Brenda Lee recorded the first version in 1972 before Elvis released his take in 1973 and John Wesley Ryles made it a top 20 country hit in 1979, according to the Texas Heritage Songwriters Association.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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      Settlements Reached in Travis Scott Astroworld Concert Deaths

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      A trial had been set to hear evidence that organizers of a 2021 Travis Scott concert knew the crowd was too large and ignored pleas to stop it as 10 people were crushed.A lawyer for Live Nation, the concert company, said in court on Wednesday that settlements had been reached in all but one of the lawsuits over the deaths of 10 people who were fatally crushed during a performance by Travis Scott at the 2021 Astroworld festival in Houston.The disclosure came as lawyers were preparing for the first trial over the deaths. A lawyer for the plaintiffs in that case confirmed that a settlement had been reached with the defendants, including Mr. Scott, Live Nation and Apple, which live-streamed the event.The trial had been expected to present a jury with harrowing testimony about the chaotic conditions at the Nov. 5, 2021, concert and the warnings raised by some of those working there. The victims, including two teenagers and a 9-year-old boy, suffocated in the midst of the heaving crowd while Mr. Scott performed.For more than two years, details have slowly emerged in court filings and police reports, revealing the behind-the-scenes arguments and backstage wrangling that accompanied one of the worst concert disasters in the United States.Some of the organizers of the Astroworld festival knew that the space was too small, according to evidence uncovered during the preparations for trial. Mr. Scott kept performing as people were suffocating, it showed, signaling a plan to continue the show until after Drake had performed despite efforts to stop the show earlier. A police investigation pointed to what the plaintiffs identified as a potential reason: a $4.5 million contract with Apple requiring Mr. Scott to finish the show in order to get paid.Ten people were fatally crushed during a performance by Travis Scott during the 2021 Astroworld festival in Houston. Jamaal Ellis/Houston Chronicle, via Associated PressWe 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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      Most Wrongful Death Lawsuits Tied to Astroworld Festival Are Settled

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      The rapper Travis Scott and the concert promoter Live Nation faced 10 suits after the 2021 tragedy. One case from the family of a 9-year-old victim is pending.Nine of the 10 wrongful death lawsuits that were filed after a stampede at the Astroworld music festival in 2021 have been settled, a spokeswoman for Live Nation confirmed on Wednesday after a court hearing about the latest agreement.Ten people were killed and hundreds more injured as a result of a large crowd surge during a performance by the rapper Travis Scott in Houston on Nov. 5, 2021. The suits alleged that Scott, who was the headliner, the concert promoter Live Nation and other defendants had contributed to the deaths through negligent planning and a lack of safety measures.A lawsuit filed by the family of 23-year-old Madison Dubiski was set to go to trial this week. But a lawyer for Live Nation said in a civil district court in Harris County that the case had been settled along with eight others, according to The Associated Press.In its lawsuit, Ms. Dubiski’s family alleged that the defendants had caused her death by their failure to adequately plan, staff and supervise the concert. “While in attendance at the festival, Madison was trampled and crushed resulting in horrific injuries, pre-death pain and suffering, and her death,” the suit said.The terms of the settlements were confidential.The remaining pending lawsuit was filed by the family of 9-year-old Ezra Blount, the youngest person killed. Lawyers for his family did not respond to requests for comment.Last year, a grand jury declined to indict Scott and five others connected to the festival. A crowd of 50,000 people had gathered for the third iteration of Scott’s event, named after the 2018 album that helped make him a star.Ben Sisario More

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      Jorie Graham’s Poetry of the Earth and Humanity, Set to Music

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      The composer Matthew Aucoin, Graham’s former student, and the director Peter Sellars have adapted her poems into the operatic “Music for New Bodies.”Peter Sellars wanted to know more.He was in San Francisco a few years ago, attending a performance of “The No One’s Rose,” a fascinatingly idiosyncratic work of music theater that featured some of his favorite artists, from the American Modern Opera Company, and a score by the young composer Matthew Aucoin.One section of the piece stood out: “Deep Water Trawling,” a setting of a poem by Jorie Graham that felt both human and not, both natural and spiritual. Most important, it seemed to have brought out something new, and special, in Aucoin’s writing.After the show Sellars, who at 66 has long been a reigning opera director, asked Aucoin, “What was that?”They decided to take the inspiration of Graham’s poetry further, starting without any specific commission. Now, having taken shape as the evening-length “Music for New Bodies,” their project is premiering in concert on Saturday in Houston, presented by Dacamera and the music school at Rice University, where it will be performed.The director Peter Sellers, center. “This is not just standard operating procedure,” he said. “The piece has this depth and this inner tranquillity, and warmth and intensity.”Meridith Kohut for The New York TimesIn five movements sprawling across 70 minutes, “New Bodies” sets poems by Graham about the earth and humanity that are told in shifting voices and registers, channeling natural forces and at times evoking the mind under anesthesia. Although its expansiveness and form recall Mahler’s “Das Lied von der Erde,” it is neither a song cycle nor a symphony. It is perhaps closest to opera, though mostly, it is what it is.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