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So many romantic comedies are released on or around Valentine’s Day because no other film genre (or holiday) focuses so absolutely on what romantic love might be. And yet to examine the genre’s tropes closely is to recognize their silliness, or their endorsement of behavior that verges on stalking. (Thinking about showing up at your […] More
A destination wedding becomes a high-stakes hostage situation in this action-heavy film.As a general rule, putting Jennifer Lopez in your romantic comedy automatically gets you halfway to a decent movie. The male lead hardly matters: while Lopez has had natural chemistry with George Clooney (“Out of Sight”) and Matthew McConaughey (“The Wedding Planner”), she’s had it just as easily with men of less distinction, like, say, Michael Vartan (“Monster in Law”) or Alex O’Loughlin (“The Back-Up Plan”).In the frothy action rom-com “Shotgun Wedding,” directed by Jason Moore, Lopez stars opposite Josh Duhamel: not exactly Clark Gable, but Lopez makes it work. She always does. As a couple whose destination wedding is interrupted by hostage-taking pirate-terrorists, the two bicker and banter with classic screwball brio, with a love-hate rapport that is both delightful and effortlessly convincing. Much of the dialogue feels canned and phony in the style of a badly written sitcom. But coming out of J. Lo’s mouth, I believed it.“Shotgun Wedding” combines two familiar subgenres in a fairly original way — the comedy of remarriage, in which an embittered couple rediscover their affection after having drifted apart, and the single-setting terrorist picture, in which an Everyman (or Everywoman) must rescue hostages from an elite squad of armed bad guys. “Die Hard” meets “The Awful Truth,” in essence, with a wedding in the Philippines as its sumptuous tropical setting. It’s an appealing setup, and as Lopez and Duhamel begin to take up machine guns and grenades against their foes, there’s some novel charm in seeing the tensions of the rom-com and the action thriller playfully juxtaposed. Less agreeable is the forced air of ingratiating humor. Cloying pop culture references and of-the-moment punch lines abound, including jokes about Etsy and gaslighting. It smacks of desperation to go viral — a fault jarringly at odds with the pleasing simplicity of the rest of the movie.Shotgun WeddingRated R for strong language, sexual innuendo and (surprisingly) graphic violence. Running time: 1 hour 40 minutes. Watch on Amazon Prime Video. More
In the Netflix documentary about Jennifer Lopez’s life and career by the director Amanda Micheli, the political moments are brief, and then it’s back to rehearsal.A film about Jennifer Lopez and her performance at the Super Bowl in 2020 was bound to generate headlines, but the Netflix documentary “Halftime” makes sure it happens. The multihyphenate’s accomplishments can stand on their own without, for instance, a single publicity baiting remark from her boyfriend, the actor Ben Affleck.His cameo is only a small part of the brand management at play here as the director Amanda Micheli does her best to effectively tell a full-bodied story that reaches beyond what it seems Lopez wants you to know.A political moment — like when Lopez calls President Trump an expletive for his remarks connecting Mexican immigrants and crime — is only a political moment for so long, and then it’s back to rehearsal or the makeup chair. Complex topics like being a woman in a male-dominated movie industry and Hollywood double standards are explored briefly; more often, Lopez comments on fan-service subjects like the tabloids and that iconic Versace dress from the 2000 Grammys.The most captivating arc is how and why Lopez became so outspoken during the Trump era. She says that worrying about her children’s futures, and “living in a United States she didn’t recognize,” galvanized her. But even those scenes build tediously to what should feel like a more triumphant ending, when she shares why she couldn’t, in good conscience, agree to take the Super Bowl halftime stage without standing against anti-immigration measures. By the end, Lopez wins her fight with the National Football League to include children in cages as a human rights statement.In “Halftime,” she is seen in top J. Lo form, an empowering Hollywood icon with an inspirational story to share. Is that reason enough to watch this scattershot portrait? It depends on if she had your love to begin with.HalftimeNot rated. Running time: 1 hour 35 minutes. Watch on Netflix. More
On the 40th anniversary of his breakthrough drama, “Chan Is Missing,” the auteur says a new generation of Asian American filmmakers must make more challenging work.Sitting in a booth in a dive bar in San Francisco’s Chinatown, the same one where he shot scenes for his 1985 gem, “Dim Sum: A Little Bit of Heart,” Wayne Wang was still frustrated. We had spoken five years earlier, when he expressed dismay at how little had changed in Hollywood and the indie scene since the 1982 release of “Chan Is Missing,” his seminal neo-noir that was the first Asian American film in modern cinema to gain widespread distribution.Now, things are a little different — for Wang’s own legacy, for a new generation of Asian American filmmakers, for the state of movies. And yet, the elder auteur, whose journey since that breakthrough took him across art-house avenues into Hollywood studios and back out, is still unsatisfied. When it comes to Asian American directors, “none of the filmmakers have really dug in to say these are our own stories and these stories are on one level universal, another level, very specific to our culture,” he said.On the 40th anniversary of “Chan Is Missing,” Wang, sharply dressed and sprightly at 73, is experiencing a belated moment of wider recognition. He’s celebrating two retrospectives, in Berkeley and Los Angeles, a restored director’s cut of his audaciously experimental “Life Is Cheap … But Toilet Paper Is Expensive” (1989), and the Criterion Collection releases of “Chan” and “Dim Sum.”One would be hard-pressed to find any filmmaker who not only daringly chronicled Chinese life in a time when it was unthinkable in American cinema, but also parlayed all that into one of the more eclectic careers in Hollywood, that includes two entries (“Chan” and “The Joy Luck Club”) on the National Film Registry. There are the Hong Kong films (“Chinese Box”) and the New York films (“Smoke”); the near career-ending erotic picture (“The Center of the World”); the pure Hollywood period (“Maid in Manhattan”); and the return to his culturally specific indie roots (“Coming Home Again”).“It comes from the fact that I was born and brought up a mess,” Wang said, explaining the zigzagging. After immigrating to the Bay Area from Hong Kong in 1967 at 18, he was suddenly enmeshed in an America of Quaker families, counterculture figures, the Black Panthers, and urgently political-minded folks in San Francisco’s Chinatown.Wang, who is working on an adaptation of a short story by Yiyun Li and a small-screen series about a Chinese American family, spoke about his career, going to Francis Ford Coppola for advice, and working with Jennifer Lopez. These are edited excerpts from our conversation.Victor Wong in “Life Is Cheap … But Toilet Paper is Expensive.” a 1989 Wang film that has been restored. Forever Profits ProductionsPeter Wang in “Chan Is Missing,” which largely used its actors’ feelings about Chinese American identity.Nancy Wong/Wayne Wang ProductionsForty years later, “Chan Is Missing” still feels timeless in how it reckons with Chinese American identity politics. Did you intend to make a film that put a stamp on Chinese American identity?I didn’t think like that. I just wanted to make an interesting, complex film. More what the Chinese and the Chinese American community is, which includes the new immigrants. It was more that than identity. Because mainstream America had no idea who we were.And yet the film is adamant about not trying to offer a neat depiction of who or what the community is. It feels unencumbered by the idea of making a political statement.Because everybody around me who was Asian or Chinese or Japanese wanted to make a film about how badly we were treated. There was always a message. That gave me a clear picture of where I didn’t want to go. I wanted to do something a little more complicated, a little more questioning rather than saying, “We were really badly treated on Angel Island” [the immigration station in California].I only had a script for the structure of the film. Most of the time, what people are saying came from themselves. I would maybe ask them, What do you think Americans really think of the Chinese? [The lead actor] Mark Hayashi always said, “Oh God, this identity [expletive] is old news, man.” I said, “Then put it in the movie!”You then made a string of films about the Chinese diaspora that eventually led to “The Joy Luck Club.” Did you want to bring your sensibilities to the mainstream?It was a pretty conscious step.It was a studio film with an all-Asian cast in 1993. Did it feel like a breakthrough at the time?Absolutely. People were calling from Hollywood, and I knew I had to grab that energy pretty quickly. And that energy wasn’t so much “Chinese American films are really going to do well for us.” But that was also when I said, between “Chan,” “Dim Sum,” “Eat a Bowl of Tea,” “Joy Luck Club,” I’ve got to do something else. Otherwise I’m going to get locked into this one box. I’d been working on a script with Paul Auster, “Smoke.” Miramax said, “What do you want to do next? We’ll just give you the money.”It’s striking that with your success, you did a small movie. You didn’t seem to be trying to climb the ladder.I wasn’t trying to climb the ladder. I just saw Francis Ford Coppola in [an interview], talk about how the thing that drove him was basically fear and not knowing what he was doing. I was kind of functioning in that same way. I wanted to get into a film that I don’t completely understand.You and Coppola were both San Francisco-based filmmakers. Were you friends?My office was in his building, and we would run into each other and have little talks. When I shot “Smoke,” I was working with Harvey Keitel and Bill Hurt. I went to him [Coppola] and asked, how do you work with actors? I hadn’t worked with big Hollywood stars, and I was freaked out by it. Francis basically said, if you find the right person, you give them something to do, and they’ll be fine.I really respect [Hurt], but he’s a nut case in some ways. Throughout the first half of the shoot, we got to be pretty good friends. Then we had three days off, and he came back and had a football helmet on. I went to put my hands on his shoulders, and he said, “What are you doing? Are you trying to push me down the stairs?” So he turned like that. And the football helmet, he said, “I need to protect myself today, you’re going to hit me.” [Laughs] But he [was] one of the greatest actors, so subtle and so sensitive to everything.What led you to eventually do a full-on studio film like “Maid in Manhattan”?“Center of the World” got such bad reviews and everybody hated what I did that I couldn’t get a meeting in Hollywood. One bad film, especially an edgy sex film, you get written off. And the producers of “Maid in Manhattan” came calling. It was probably the most difficult thing I ever did. First day, the executives said, [Ralph Fiennes is] losing his hair in the front — it’s not very good. What can we do? They were more concerned about Ralph Fiennes’s hair.Jennifer Lopez and Ralph Fiennes in “Maid in Manhattan,” which Wang shot at the height of the paparazzi frenzy over the actress’s initial relationship with Ben Affleck. Barry Wetcher/Columbia PicturesHow was it working with Jennifer Lopez?It was difficult. She went out on dates every night with Ben Affleck. And in New York [where filming took place], there’s a law where the paparazzi could be in your face shooting stills. The only time they could not do it is when we’re doing a real take. So during rehearsals, they were literally right here, and there were a lot of them.During this period, were you at peace with doing purely studio films?There’s always that question. I knew in the back of my head, I could always leave and go back to what I did before. It just got a little difficult to get off that Ferris wheel.As you’ve returned to indie films, the landscape for marginalized voices like yours has changed.I don’t disagree, but not to the degree that I feel they should be. There’s a lot more Asian American films. I mean, anything from Ali Wong to “The Farewell” [from Lulu Wang].Did you like “The Farewell?”I like it better than the other films, maybe only because it’s more similar to mine. I’m prejudiced that way. It’s about family. But I don’t see anybody trying to do something in a more brave way. They’re still trying to please executives and then to please an audience more, rather than going out there with whatever budget they have to do something that’s challenging.The director and actor Justin Chon was in your most recent film, “Coming Home Again.” What do you think of his films?I think “Gook” was the most challenging film out there. Justin has got it in his heart to do it. And I feel the pain every time I talk to him working on something. Because the producers want a certain thing, and it’s really hard for him.But do you empathize with Asian American filmmakers trying to appease studios or audiences to break through?I talked to [the “Fast and Furious” franchise director] Justin Lin about this. He said, every year the studios make maximum 15 films [each] or something, and if one is made by an Asian American, that is progress. I tend to agree. But at the same time, was there another film completely outside the system that’s challenging the system or doing something really different? No.Not just Asian Americans, it’s across the board. Formally interesting and challenging films are just not being made. All the films are dumbed down to what I would call a Disney level. [Laughs] That’s all dangerous in the long run.The way “Chan Is Missing” happened — made for less than $25,000 on weekends by a crew with day jobs — could a film like that be made now and find an audience?If you get a grant or an independent investor, I think it could still happen again. When you are dealing with interesting characters and a certain kind of humanity, and it’s written well, you can get there. I have a strong belief in that. I have to. Otherwise I would probably just cut meat or something and be a butcher. [Laughs] More
As a pop star who weds a math teacher in a stunt wedding, Jennifer Lopez is all business. But the original songs shine.The director Kat Coiro narrates a sequence from her film featuring Jennifer Lopez, Owen Wilson and Maluma.Universal PicturesRarely are romantic comedies titled more desperately than “Marry Me.” There is something pleasing about the bluntness. And because it’s a command that involves Jennifer Lopez, we’re permitted to skate atop the movie’s despair. But the ice is thin. Lopez has rarely stayed emotionally still long enough to luxuriate in moods less emphatic than “I will” and “I do.” Her comedies argue for restlessness as a quest for true stability: The right man soothes her nerves, dispels her doubts, restores her worth. But none of those movies has been as point-blank as this new one, whose original source is a punky graphic novel.The pop star she’s playing, Kat Valdez, has agreed to a stunt wedding during a live concert (and before a presumed online audience of 20 million) with her pop star boyfriend, Bastian. Within minutes of the ceremony, Kat discovers that he’s been messing around with one of her assistants but she decides to wed someone and picks the divorced dad (Owen Wilson) holding a “marry me” sign in the crowd. Lopez performs this choice so lifelessly yet with such automatic determination that it’s fair to classify the sign as a cue card.This brand-new relationship is Kat’s way of mourning her suddenly old one. Introspection and grief never cross her mind. “Why do I pick the wrong guy?” is as inward as things get. Amazingly, the next day, she endorses sticking with the brand logic of the marriage while doing yoga in her soulless high-rise home. She couldn’t have selected a blander, less objectionable stranger for a husband than Charlie Gilbert. He teaches middle-school math, co-parents one of those only-in-a-movie preteens (she’s spunky yet unsure of herself) and speaks in Wilson’s drawling whine.Jennifer Lopez, left, portrays a pop star who weds a teacher played by Owen Wilson in the romantic comedy “Marry Me.”Universal PicturesCharlie dislikes the demands of Kat’s celebrity. “Her entire life is sponsored,” he cries, upon watching her shoot a post for Vitamix. But he concedes to the arrangement because, it seems, the daughter (Chloe Coleman), a big Kat Valdez fan, will finally believe her dad likes fun. He never sits her down to talk about fun’s downsides. Does she know why he and her mom aren’t together? How aware is she that Kat’s been married three other times and that one of those marriages lasted for two days? It doesn’t matter because this movie vows to satisfy all involved parties.Does “involved” include me? I just kept counting the missed opportunities. Once, at about the halfway point, Charlie bets Kat that she can’t give up her accouterments of affluence and live like, say, Jenny from the block. Yet what Kat requests in exchange is so … puny — for Charlie to open some social media accounts — that I hurt for her imagination. (That’s his daughter’s version of proof of life.) There’s a movie in that premise, nonetheless. Maybe even some stakes: Kat may yet discover where she keeps the wine glasses and how to properly use a Vitamix (they’re called lids, Kat.) And, online, Charlie might meet a woman who dreams of even more for him. And hopefully, Lopez would play her, too.She has her moments as Kat. They’re mostly physical: mincing down a school hallway in formfitting, scarlet couture under a parka; uttering the word “Peoria” then appearing there, as if the mother ship abandoned her. Here is a star who’s been performing for so long that performance is all, as an actor, she knows. If Kat isn’t teaching Charlie’s math students how to dance in order to calm their pre-competition jitters, she’s luring them into singing one of her hits at a school formal. This is Lopez’s best mode, and she’s always known it.But rather than indulge her stardom and its candy shell, the movie, which Kat Coiro directed from a screenplay credited to three writers, seems to apologize for them. Kat wishes for a kind of pedestrian normalcy, a common prayer of princesses in everything from the delight of “Roman Holiday” and “Notting Hill” to the despondence of “Beyond the Lights” and “Spencer.” “Marry Me,” though, has an awkward, translucent ply. Kat’s discography includes a catchy convolution whose chorus is “I am the love of, the love of my life.”So many parallels exist between Lopez’s character and what, in reality, we know Lopez has withstood that the movie all but doubles as one of those brand-burnishing docu-selfies, right down to a crowd-pleasing retreat into the arms of a white suitor after someone charismatic and brown has let her down. The Colombian singer Maluma plays Bastian; he’s a bag of cuddles here, masquerading as a red flag. At some point, Kat even notes that she’s never been nominated for anything. (The happiest we see her in the whole movie is on Grammy nomination day.)The original songs are the best things in the movie. Those, and the two or three scenes in which Sarah Silverman — as Charlie’s sidekick and, somehow, a school guidance counselor — appears to abandon a script that it pained me to watch her obey. The pain extends to Lopez. I spend her movies waiting for the moments in which she seems most relaxed and least forced, when the effort has fallen away and the person she’s playing is free to do and be and feel. “Marry Me” is a sad tale that’s too busy leaping from plot point to plot point for Lopez to express anything close to real. It tells a lot and shows nothing.I keep referring to her and Kat as entertainers, which, of course, they are. But what Lopez performs here — what she’s frequently performing — is the business of entertainment. She’s the star as executive, and all she often lets us see is execution. (Kat’s truest friend is her manager, an efficient Englishman, whom John Bradley plays with persuasive concern.) Kat and Charlie don’t meet much of each other’s families. And the movie denies them any chance to explore the weirdness of this relationship. He’s something Kat must do — although not carnally, never that; we just get a morning after in which she’s long removed herself from his bed and is taking work calls. Which is fine. But don’t call this love when all we see is task management.Marry MeRated PG-13. Kisses, cunning, backup dancers in body suits with nuns’ habits. Running time: 1 hour 52 minutes. In theaters and streaming on Peacock. More
Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More
The director Kat Coiro narrates a sequence from her film featuring the actress and Maluma.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.An outsized pop performance strikes some tender emotions in this scene from “Marry Me.”Jennifer Lopez stars as Kat Valdez, a pop star who had planned to marry another musician, Bastian (Maluma), at a concert before she discovers he’s been cheating on her. She decides to marry a random concertgoer, Charlie (Owen Wilson), instead.This scene comes after Charlie and Kat have been spending time together, getting a feel for each others’ lives, when Bastian asks Kat to perform with him again at Madison Square Garden, doing a ballad version of their hit song “Marry Me.” Charlie doesn’t attend the concert, but watches at home and is struck by the chemistry between Bastian and Kat onstage. Narrating the scene, the director Kat Coiro said she wanted this performance to be the biggest event of the film to contrast Kat’s superstar life with Charlie’s modest teacher life.To pull the sequence off, which involves reactions from a packed audience, Coiro and her team filmed the crowd at one of Maluma’s concerts and paired that with footage of Lopez and Maluma performing in an empty Madison Square Garden.Read the “Marry Me” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More
LOS ANGELES — Of course the fireplace is lit at Jennifer Lopez’s house. It’s a rainy day just a week before Christmas, and her Spanish-style Bel-Air estate is decorated as you would expect: pine garland strewn around the mantle, orange roses on the coffee table, a professionally trimmed Christmas tree in the living room.It’s like a page from a Restoration Hardware catalog, right down to the star herself, dressed in the couture version of the work-from-home uniform: chunky beige sweater, cream sweatpants, blinged-out Timberlands. Her hair is pulled back in a bun and a touch of makeup highlights her impossibly dewy skin. The giant diamond studs affixed to her ears are the one true giveaway of her status as one of the most famous women on the planet.Which makes you wonder, does anything happen by accident in Jennifer Lopez’s life? It’s a question to be pondered especially after her newish boyfriend, Ben Affleck, pops in for a kiss and a whispered conversation near a giant gingerbread house that’s iced with the words “Affleck Lopez Family.”After all, this is a woman who has successfully navigated the treacherous waters of celebrity for close to three decades, endured round after round of public romances and breakups, refashioned herself from dancer to singer to actress to producer. At 52, a time when female stars usually find themselves in an ageist and sexist Hollywood purgatory, she seems to be more relevant than ever.To play a superstar at a vulnerable moment, Lopez said, “I had to remind myself in this movie that this was actually a safe place to let those feelings out.”Chantal Anderson for The New York TimesHer new movie, the sparkly romantic comedy “Marry Me,” long-delayed by the pandemic, opens in theaters and on Peacock on Valentine’s Day weekend. In it, Lopez plays a J.Lo-like superstar trying to negotiate a love life amid the trappings of uber-fame. (Sound familiar?) She will play another bride in “Shotgun Wedding,” due out this summer, before trading the gowns for a role as a deadly assassin in Netflix’s upcoming film “The Mother,” which she planned to finish shooting in the Canary Islands after the Christmas holiday.At some point the streaming service, which last year signed a multiyear deal with Lopez’s company, Nuyorican Productions, will also release a documentary that chronicles the year she turned 50 and all her disparate worlds coalesced: legitimate recognition for her acting in “Hustlers” (she earned her second Golden Globe nomination and a SAG Award nod), her 2019 international concert tour and the halftime show at the 2020 Super Bowl. The year, she said, “when everything I had worked for in movies, music and fashion just started happening.”“Marry Me,” which Lopez began working on years ago with Elaine Goldsmith-Thomas, her former agent turned producing partner, is in some sense an explanation of what it’s like to exist under Lopez’s spotlight, something she calls “a very specific life.” It is also a high-wire act, a bet that she can revive a genre that’s been left for dead by both the studio system and the rom-com stars of the past.A scene from “Marry Me,” featuring Lopez and Owen Wilson as her love interest.Universal PicturesFor Goldsmith-Thomas, Lopez’s decision to go from “Hustlers,” which upped her cred as a serious actress, to “Marry Me,” which aligns more with her earlier success as a stalwart of the rom-com (“Maid in Manhattan,” “The Wedding Planner”), makes perfect sense. “We loved making ‘Hustlers,’ but that doesn’t mean that’s all we should do,” she said. “She had an opportunity to pull the curtain back and make a film about what it was like to live and to love in a glass bowl, to have your mistakes amplified and crucified across all platforms, and to ultimately find your way in spite of it. Add to that the ability to produce, and perform a soundtrack to that journey, and we’d be fools not to make it.”In “Marry Me” Lopez plays Kat Valdez, a global pop star who intends to marry her boyfriend, also a worldwide sensation (played by the Colombian singer-songwriter Maluma), in front of millions of fans in a televised stunt. Moments before the big “I do,” Valdez discovers he has been cheating on her, calls off the ceremony while onstage and opts to marry the poor schlub in the audience (Owen Wilson) holding a “Marry Me” sign. Think “The Bodyguard” meets “Notting Hill” complete with a soundtrack by Lopez.The movie is both a frothy pop fantasy and a glimpse into a life few are lucky enough to lead. Any obsessive Lopez fan will surely examine it closely for clues into Lopez’s own psyche, specifically how lonely it can be at the top, where the cocoon of entitlement can often feel like a cage. And they won’t be wrong.With “Marry Me,” Lopez returns to rom-coms, a genre that has been left for dead by studios.Chantal Anderson for The New York TimesLopez recalled filming a scene in which her character returns home after the stunt ceremony has gone south, depleted and still in her gown. She turns on Jimmy Fallon, only to see him insult her during his late-night monologue, and she starts to cry. It’s a hint of vulnerability you don’t often see from Lopez and one that took some time for the actress to reach.“Once you’ve gotten burned a few times, you realize, ‘I have to be careful.’ If things are too deep and you put them out there, somebody might step on your heart,” she said, adding an expletive.The film’s director, Kat Coiro, admired Lopez’s quest for perfection. “There is a choreography even in her acting,” she said. Yet for the scene to work, Coiro asked Lopez to repeat it a number of times to break down that veneer. The result feels real, or as real as Lopez will allow herself to be.“I had to remind myself in this movie that this was actually a safe place to let those feelings out,” said Lopez, seated in front of that garlanded fireplace. “They’re making fun of me, that hurts. My instinct was to act like it didn’t.”Lopez has spent decades trying to find that balance between what the public wants from her and what she is willing to give to them. She still loves doing meet-and-greets with fans after concerts. Coiro, for one, was stunned with just how much time she was willing to give them.“She’s so ubiquitous that sometimes she doesn’t get the credit she deserves,” the director said. “I think there’s something of that in this film.” When Kat Valdez “talks about never winning any awards, I think that was a moment that was true to life,” Coiro continued. “She’s been around. She has fans like nobody else, and because of that high profile sometimes she’s not looked at in a certain way.”Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More
