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      Beverly Johnson, ‘the Model With the Big Mouth’

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      In her new one-woman show, she details her 50-year modeling career, her tumultuous relationships — and an unsettling encounter with Bill Cosby.She was 18, new to New York, a tenderfoot in an industry said to eat its young. But Beverly Johnson was not short on brass.She had been quick in the early 1970s to sign with the formidable model agent Eileen Ford — and just as swift, at 19, to inform her, “I want to be on the cover of American Vogue.” When Ms. Ford asked her curtly, “Who do you think you are, Cleopatra?” Ms. Johnson was as curt with a comeback, murmuring, audibly enough, “That’s exactly who I think I am.”Ms. Johnson revisits that moment in “In Vogue,” her one-woman show set to open in Manhattan on Sunday. The play, largely derived from her 2015 memoir, “Beverly Johnson: The Face That Changed It All,” and written with the playwright Josh Ravetch, is by turns an upbeat and cautionary account of Ms. Johnson’s adventures — and hairy misadventures — in the mannequin trade.Onstage she tells of defying expectations and defecting to a competing modeling agency, despite the warnings of peers that such a move would amount to professional ruin.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?  More

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      France’s President Condemns ‘Manhunt’ Against Gérard Depardieu

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      Emmanuel Macron broke with his culture minister, who had called comments made by Depardieu in a documentary a “disgrace.” The actor is facing renewed scrutiny over sexual assault accusations.President Emmanuel Macron of France this week condemned what he called a “manhunt” targeting Gérard Depardieu, the embattled French actor whose worldwide fame has been tarnished in recent years by allegations of sexual harassment and assault.Macron’s comments, which prompted swift criticism, came after a documentary that aired in France this month showed the actor making crude sexual and sexist comments during a 2018 trip to North Korea.Depardieu, 74, has faced renewed scrutiny in the wake of the documentary, including new accusations of sexual assault, the stripping of several international honors and the removal of a likeness of him from the Musée Grévin, a Paris wax museum. He has denied any wrongdoing.Rima Abdul Malak, France’s culture minister, said she was “disgusted” by Depardieu’s comments in the documentary and that disciplinary proceedings would determine whether he should also lose his Legion of Honor, France’s highest award.But in a television interview on Wednesday evening, Macron mounted a staunch defense of Depardieu, who was once one of France’s most prominent and prolific leading men. Macron said that Depardieu “makes France proud” and castigated an “era of suspicion” against prominent artistic or cultural figures.“One thing you’ll never see me in is a manhunt,” Macron told France 5 television, calling himself an “admirer” of Depardieu.As France’s president, Macron is the grand master of the order of the Legion of Honor, an award created by Napoleon Bonaparte in 1802 for “outstanding merit” in a field and given to Depardieu in 1996. Macron said his culture minister had overstepped “a bit too much.”“Am I going to start stripping the Legion of Honor from artists or officials when they say things that shock me?” Macron said. “The answer is no.”“You can accuse someone — maybe there are victims, and I respect them, and I want them to be able to defend their rights,” he added. “But there is also a presumption of innocence,” he said.Macron’s comments reflected the mixed reaction to the #MeToo movement in France, where the reckoning with sexism was hailed by feminist groups, but also fueled worries over the influence of puritanical sexual mores and cancel culture imported from America.France’s movie industry has grappled with several high-profile accusations of sexual abuse in recent years and taken steps to address them. But the country has also given a warm reception to artists accused of abuse — including Johnny Depp and Louis C.K. — exposing a cultural divide with the United States.Feminists and leftist politicians said on Thursday that they were appalled by Macron’s comments.“Manhunts remain prohibited. The hunt for women, on the other hand, remains open,” Osez Le Féminisme, a feminist group, said on social media, while Sandrine Rousseau, a Green lawmaker, called Macron’s comments “yet another insult to the movement to let victims of sexual violence speak out.”François Hollande, Macron’s predecessor as president, criticized him for extolling Depardieu’s acting instead of expressing support for victims of sexual crimes.“No, we are not proud of Gérard Depardieu,” Hollande told France Inter radio, noting that Macron once called gender equality and the fight against sexism a top priority. “And that’s how he treats the issue of Gérard Depardieu?” Hollande said.Depardieu is still an internationally recognized figure who, in the last 50 years, has had roles in more than 250 movies, including “Cyrano de Bergerac” and “The Man in the Iron Mask.”But he has faced a growing number of sexual abuse accusations in recent years.In interviews in April with Mediapart, an investigative news site, 13 women — actresses, makeup artists and production staff — accused Depardieu of making inappropriate sexual comments or gestures during film shoots. Two other women made similar accusations in interviews this summer with France Inter.Depardieu has been charged with rape and sexual assault in one case, which involves Charlotte Arnould, a French actress who says he sexually assaulted her in Paris in 2018, when she was 22, during informal rehearsals for a theater production.Depardieu has not been convicted in connection with any of the accusations, and he has categorically denied any wrongdoing.“I have never, ever abused a woman,” he wrote in a rare letter to the newspaper Le Figaro in October.“All my life, I’ve been provocative, outgoing, sometimes crude,” Depardieu wrote, adding an apology for “acting like a child who wants to amuse the gallery.” But, he added, “I’m neither a rapist nor a predator.”The documentary that set off a new wave of scrutiny aired this month on France 2 and features previously unseen footage of Depardieu on a 2018 trip to North Korea, where he is seen repeatedly making extremely crude and uninhibited sexual and sexist comments about women.The documentary suggests that sexual jokes, comments and attitudes by Depardieu on movie sets were commonplace and widely-known, but that the French movie industry brushed them off.Four women accuse Depardieu of inappropriate comments or sexual misconduct in the documentary, including Arnould and Hélène Darras, an actress who says he sexually assaulted her on a 2008 film set and who filed a suit against him in September. Depardieu has not been charged in that case.After the documentary aired, Quebec announced that the actor was being stripped of the Canadian province’s highest honor and a Belgian town where he once lived said it was revoking an honorary title.This week, extra woes for Depardieu piled up quickly. The Musée Grévin said that his wax statue, which first entered the museum in 1981, had been removed. A spokeswoman said that this was “following reactions from visitors who were very shocked by the actor’s comments” and who had then verbally abused employees.On Wednesday, Ruth Baza, a Spanish journalist, told the newspaper La Vanguardia that Depardieu had kissed and groped her without her consent when she was in Paris in 1995 to interview him for a magazine piece.Like many public officials in France — Macron first and foremost — Abdul Malak, the culture minister, said that she was “against cancel culture.”“We are not going to stop watching his movies,” she told France 5 television of Depardieu last week. But she said his comments in the documentary could constitute sexual harassment and were “intolerable,” reflecting badly on France.“He is such a monument of world cinema,” Abdul Malak said, adding that she had received messages from ministers and other cultural figures from around the world “who are shocked, who say, ‘To us, he was such a symbol of France.’” More

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      John Bailey, Oscars President at a Time of Strife, Dies at 81

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      A respected cinematographer, he guided the motion picture academy at the height of the #MeToo movement and dealt with infighting around the Oscar ceremony.John Bailey, an accomplished cinematographer who was president of the Academy of Motion Picture Arts and Sciences from 2017 to 2019, a tumultuous period when Harvey Weinstein was excommunicated from the group and complaints mounted about the Academy Awards ceremony, died on Friday. He was 81.His death was announced by the academy, which did not say where he died or specify the cause.As a cinematographer, Mr. Bailey collaborated frequently with celebrated directors like Paul Schrader and worked on many well-known movies, including “Groundhog Day” (1993) and “The Big Chill” (1983).Before he was chosen to head the academy, he had never held a prominent public role, and he was never nominated for an Oscar himself, though he helped others win the award. In an interview in 2020 with the publication American Cinematographer, Mr. Bailey said he generally tried to make his own work “invisible.”After the academy announced in August 2017 that he would be its next president, The New York Times reported: “Hollywood scratched its head. Who?”It took only two months for Mr. Bailey to find himself in the news. Shortly after The Times and The New Yorker published investigations revealing previously undisclosed allegations of sexual harassment against the producer Harvey Weinstein, the academy voted overwhelmingly to “immediately expel” him. It was only the second known instance of an expulsion from the academy.(The first happened in 2004, when the character actor Carmine Caridi had his membership revoked after he broke rules about lending DVD screeners of contending films. Since then, the comedian and actor Bill Cosby, the director Roman Polanski and the cinematographer Adam Kimmel have also been expelled.)In a letter Mr. Bailey sent to members of the academy days after the vote, he wrote that the organization could not become “an inquisitorial court.” But he also expressed passionate support for the decision.“We are witnessing this venerable motion picture academy reinvent itself before our very eyes,” Mr. Bailey said to a luncheon of Oscar nominees several months later, according to Vanity Fair. “I may be a 75-year-old white male, but I’m every bit as gratified as the youngest of you here that the fossilized bedrock of many of Hollywood’s worst abuses are being jackhammered into oblivion.”In the kind of head-spinning turn of events that became familiar during the height of the #MeToo moment, Mr. Bailey himself became the subject of a sexual harassment accusation only weeks later.Variety reported that the academy had received three harassment complaints about Mr. Bailey. But the academy later announced that it had only one such accusation to look into, and within weeks it determined that there was no merit to the claim.More turmoil for Mr. Bailey’s academy lay ahead. The 2018 Oscars telecast saw a drop-off in ratings that has never been fully reversed. The comedian Kevin Hart was hired to host the 2019 ceremony, then stepped down amid criticism of jokes he had made years earlier about not wanting his son to be gay, leaving that year’s event hostless.Mr. Bailey made the case for two changes to the ceremony designed to maintain viewer interest in a new era: adding a “popular film” category, to include the kind of blockbuster movies that the Oscars otherwise overlook, and holding some award announcements during commercial breaks to shorten the broadcast. The academy encountered such severe blowback to those proposals that it scrapped both of them.In 2019, when term limits compelled Mr. Bailey to step down from his position, The Times described his tenure as “chaotic,” but in hindsight, perhaps none of the scandals of Mr. Bailey’s era rose to the level of Will Smith giving Chris Rock an unscripted slap to the face midbroadcast. (Mr. Smith received a ban of 10 years from the Oscars.)Getting embroiled in culture wars and power struggles was an unexpected career development for Mr. Bailey. He made it his modus operandi, he told American Cinematographer, to avoid “tawdry” films. Describing his youthful aspirations in a 2017 interview with The New York Times, Mr. Bailey said, referring to a long-dead French film critic, “I wanted to write — to be the American André Bazin.”Mr. Bailey in 1983 with the director Lawrence Kasdan on the set of “The Big Chill.”Columbia Pictures, via Everett CollectionJohn Ira Bailey was born on Aug. 10, 1942, in Moberly, Mo. He grew up in Norwalk, a city in Los Angeles County, California. He told American Cinematographer that his father was a machinist who never went to high school.He earned a bachelor’s degree from Loyola Marymount University in Los Angeles in 1964, and several years later he earned a graduate degree in cinema from the University of Southern California. He entered that program to pursue film studies, a young cinephile hoping to become a critic, but found himself drawn instead to cinematography.Early in his career, he had small jobs on several enduring films, like being the camera operator on Mr. Malick’s “Days of Heaven.” The beauty of Néstor Almendros’s cinematography in that movie remained an inspiration for Mr. Bailey.When Mr. Schrader was preparing to shoot “American Gigolo” (1980), he planned to find a European cinematographer. But then, American Cinematographer reported, he was introduced to Mr. Bailey, found himself impressed by Mr. Bailey’s knowledge of foreign film and decided to hire him instead. The two men would go on to work together on five movies.That same year, Mr. Bailey worked with Robert Redford on “Ordinary People,” Mr. Redford’s directorial debut, which won several Oscars, including for best director.In later years Mr. Bailey repeatedly collaborated with the directors Michael Apted (on the 1996 movie “Extreme Measures” and other films) and Ken Kwapis (on films including “The Sisterhood of the Traveling Pants” in 2005 and “He’s Just Not That Into You” in 2009). He also wrote a blog about film for American Cinematographer.His accomplishments at the academy included expanding international membership, which he told The Times helped the South Korean film “Parasite” win the best-picture award in 2020.He is survived by his wife of 51 years, Carol Littleton, an Oscar-nominated film editor.At the 2018 luncheon for Oscar nominees, Mr. Bailey had some useful advice for winners, The Times reported.“Thank your mom,” he said, “not your personal trainer.” More

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      in Theater

      The Passion of Adèle Haenel, an Artist of Fierce Political Conviction

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      Haenel, working with the choreographer-director Gisèle Vienne in “L’Étang,” is trying to “pierce through the surface of things.”The actress Adèle Haenel bristled when asked what drew her to radical art and politics. “The term ‘radical’ is used as a way to discredit protest discourse,” said Haenel, who is best known in the United States for the 2019 art-house hit “Portrait of a Lady on Fire.” That was also one of the last feature films she worked on. Since then, she has opted to dramatically alter the course of her life and career.Over the past few years, Haenel, 34, has become one of the most visible and committed faces of the #MeToo movement in France. In May, she wrote an open letter published in the influential French culture weekly Télérama to explain her absence from movie screens: “I decided to politicize my retirement from cinema to denounce the general complacency of the profession toward sexual aggressors and more generally the way in which this sphere collaborates with the mortal, ecocidal, racist order of the world such as it is.”She has, she told me, “a political understanding of the world, and my actions are consistent with it as much as possible. Calling someone radical is a way to say ‘She’s hysterical, she’s angry.’ I prefer coherent to radical.”I said that I had used the word in a positive way — to suggest bold choices that steered clear of the artistic mainstream. “I’m not annoyed with you,” Haenel said. “I’m reacting strongly, but it’s just to make myself clear.”Making herself clear is important to Haenel, who has an intense focus and frequently looked to the side as we talked, as if to better organize her thoughts away from an interlocutor’s gaze. She sometimes wrote down points she wanted to come back to later — and she did return to them.We were talking in a house on the bucolic campus of PS21: Performance Spaces for the 21st Century, in Chatham, N.Y., where Haenel was appearing in the director-choreographer Gisèle Vienne’s show “L’Étang.” The show comes next to New York City for performances at New York Live Arts, Saturday through Monday, as part of the Dance Reflections festival.By American theatrical standards, “L’Étang” (“The Pond”) is pretty close to radical, though. Based on a short play by the Swiss-German writer Robert Walser, the dance-theater piece locks Haenel and Julie Shanahan, a longtime member of Pina Bausch’s Tanztheater Wuppertal ensemble, in a helix of escalating tension performed in often excruciatingly slow motion, a tempo familiar to those who saw Vienne’s hypnotic “Crowd” last year at the Brooklyn Academy of Music.Haenel takes on multiple roles, most notably that of Fritz, an adolescent who fakes suicide to attract his mother’s attention, and his two siblings; Shanahan plays their parents. The atmosphere is somewhat hallucinatory — Vienne has cited David Lynch among her influences — but it requires consummate precision, both physical and emotional.“We worked a lot on trying to pierce through the surface of things, and that’s not something you can do alone,” Haenel said. “Among the people onstage, we tried to better understand what’s implied, to understand a person’s feelings. You start anticipating when a person is going to stop moving. That’s a kind of communication I feel very strongly with Julie. We don’t need to talk about it endlessly; I just feel how long she’s going to take to do something.”For Vienne, effort is an integral part of the process. “What I do is very technical from a choreographic and interpretive standpoint,” she said in Chatham. “This virtuosity is the result of a long physical and theoretical training — sociology, philosophy and politics are important to understanding what we’re in the process of building, and the formal choices we make as we create the piece.”This rigor and commitment suit Haenel, as she passionately pursues a path in which artistic goals are intertwined with politics and life, a dedication that coalesces in her work with Vienne.The two met in 2018, when they were on the admissions committee for the National Theater of Brittany’s acting school. Haenel participated in a workshop with prospective students led by Vienne. “I loved it,” she said. “The improvisation was related to her show ‘Crowd’ and involved developing slow motion as a new sense, like seeing or hearing, that would allow you to live or experience things differently.”Making herself clear: Haenel, who has retired from the movie business, has collaborated with Vienne on a few projects. “At the heart of ‘L’Étang,’” Haenel said, “is the issue of violence.”Lauren Lancaster for The New York TimesThe pair further explored that theme in “L’Étang,” which became their first official collaboration and, after a Covid 19-imposed delay, premiered in 2021. Over the course of our conversation, Haenel often circled back to what she referred to as de-hierarchization. In the show, for example, words, movement, music, sound and lighting all contribute to communicating information, feelings and emotions. This undermines the traditional place of text at the top of the theatrical pyramid, and makes us reconsider what carries meaning onstage.And “L’Étang” subverts the usual link between the performers’ body language and the way text is delivered — especially since the voices are often electronically distorted. (Adrien Michel did the sophisticated sound design.)“It’s about the friction between text and subtext,” Haenel said. She brought up an especially intense scene in which she and Shanahan are face to face. They barely move, but the effect is one of terrifying brutality. “Julie actually speaks very calmly, but for us it’s a crazy scene of aggression because there is a negation of the body language,” Haenel said, adding that something they explored with Vienne was dissociation. “We’ve achieved a level where we can have a body that looks almost stoned with a speeded-up voice.”The impact is intended to be as much political as it is aesthetic. “At the heart of ‘L’Étang’ is the issue of violence,” Haenel said, “and this violence is not about saying tough things, but about turning someone else’s speech into silence.”Haenel and Vienne’s partnership has bloomed since 2018. In August, they premiered a new show, “Extra Life,” also starring Theo Livesey and Katia Petrowick, at the prestigious Ruhrtriennale festival in Germany. They are also involved with public readings of work by Monique Wittig, the lesbian philosopher and activist who died in 2003 and has been enjoying a revival in France over the past few years. While in New York for “L’Étang,” Haenel is participating in a Wittig event on Wednesday at the Albertine bookstore, which its organizers conceived in collaboration with Vienne.“Talking about Monique Wittig is a political act of active memory creation,” said Haenel, who is trying to get new English translations of Wittig’s work off the ground. “I’d love to help her be read again in the United States, to be studied more.”Digging deep with Vienne and championing Wittig are of a piece for Haenel. “I’ve always tried to engage in a thinking process,” she said. “The idea is not so much to become better, but not to become calcified in an antiquated relationship to the world. What’s at stake is not whether that relationship is truer or not — I find the idea of a criteria of truth super-problematic — but whether it’s more alive or not. At least for me.” More

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      in Music

      The Opera Star David Daniels’s Sexual Assault Trial: What to Know

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      The countertenor and his husband, Scott Walters, each face a charge of aggravated sexual assault in Texas.Update: Just as the trial was set to begin on Friday, David Daniels and his husband, Scott Walters, pleaded guilty to sexual assault of an adult, a second-degree felony, after reaching a deal that will spare them jail time.The opera star David Daniels, one of the world’s leading countertenors, is expected to go on trial in Houston this week over charges that he sexually assaulted a young singer after a performance there in 2010.Mr. Daniels and his husband, Scott Walters, were arrested and charged with sexual assault in 2019 in connection to an incident in which the singer, Samuel Schultz, said he was drugged and assaulted by the couple, according to charging documents filed at the time by the Harris County District Attorney’s Office in Texas. Mr. Daniels and Mr. Walters have denied the accusations, saying they had consensual sex with Mr. Schultz.Mr. Daniels is one of the most prominent classical stars to face criminal charges during the national #MeToo reckoning. His performing career has suffered since the arrest, and he was fired from his position as a tenured professor of voice at the University of Michigan in 2020.Opening arguments are scheduled to begin in Houston on Friday morning. Mr. Daniels, 57, and Mr. Walters, 40, each face one felony count of aggravated sexual assault.Here’s what you need to know.Who is David Daniels?Mr. Daniels rose to fame as a countertenor, singing high parts that were once the province of castratos or mezzo-sopranos. He appeared on many of the world’s leading stages, including the Metropolitan Opera in New York and the Royal Opera House in London.He was featured on the cover of music magazines and released numerous recordings, and was known in particular for his performances of Handel, starring in productions of his operas “Rinaldo,” “Giulio Cesare,” “Rodelinda,” “Radamisto” and others. His success helped propel new interest in countertenors, and when he and Mr. Walters were married in 2014, Justice Ruth Bader Ginsburg, an avid opera fan, officiated.Who is Samuel Schultz?Mr. Schultz, a baritone who is now 36, was a 23-year-old graduate student at Rice University, in Houston, at the time of the encounter with Mr. Daniels. He went public with an accusation of rape in 2018 amid the #MeToo movement — first anonymously, in an online post, and then naming Mr. Daniels and Mr. Walters as his attackers in an interview with The New York Daily News.Mr. Schultz later became an officer at the American Guild of Musical Artists, the union representing American opera performers, but he resigned in 2020, citing concerns that the union had kept details of its sexual harassment investigation of the opera star Plácido Domingo confidential as part of negotiations for a $500,000 settlement from Domingo.What is Mr. Daniels accused of?Mr. Schultz has accused the two men of assaulting him in May 2010 after he went to hear Mr. Daniels in Handel’s “Xerxes” at Houston Grand Opera.Mr. Schultz has said he was introduced to Mr. Daniels and Mr. Walters by a friend. After attending the performance and cast party, Mr. Schultz has said he was invited to Mr. Daniels and Mr. Walters’s apartment. There, he said, he was given a drink that caused him to lose consciousness. He has said that he awoke alone, naked and bleeding from the rectum.What has each side said about the accusations?Mr. Daniels and Mr. Walters have repeatedly described the encounter as consensual. They say Mr. Schultz drove himself to their apartment after they attended several parties together.“David and Scott are innocent of any wrongdoing,” their lawyer, Matt Hennessy, said in a statement in 2019. “Sam Schultz is not a victim. He never would have gotten this much attention from his singing, and he knows and resents that fact. He waited eight years to complain about adult, consensual sex to ride the #MeToo movement to unearned celebrity. We will fight this.”Mr. Hennessy did not respond to a request for comment.Mr. Schultz has said that he had been afraid to come forward with the accusations, worried it would hurt his career, and that he had told his family, his therapist and some friends about what happened at the time.“I am pleased that finally, after several lengthy delays, I will get my day in court and hope that justice will be served,” Mr. Schultz said in a statement this week. “I look forward to testifying and having a jury hear the evidence of the case.”What have the authorities said about the case?A Houston police officer, D.H. Escobar, wrote in the charging documents that he had found Mr. Schultz to be “credible and reliable.” The officer said that he had met with a therapist Mr. Schultz consulted in 2010, and that her notes were consistent with what Mr. Schultz had told the police. The officer said he had also reviewed medical records that showed that Mr. Schultz had sought medical attention “as a result of the sexual assault” on June 1, 2010.John Donnelly, a spokesman for the Harris County District Attorney’s Office, declined to comment on the case.Dianna Wray contributed reporting from Houston. More

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      in Theater

      What to Know About Kevin Spacey’s UK Sexual Offenses Trial

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      The actor will appear in a London courtroom on Wednesday to face a four-week trial over allegations of sexual assault.The Oscar-winning actor Kevin Spacey is scheduled to go on trial in London on Wednesday, facing multiple allegations of sexual assault.Since the #MeToo movement came to prominence six years ago, a number of high-profile men have been accused of misconduct, yet Mr. Spacey’s case is one of only a few to reach a British courtroom.The actor, 63, has already pleaded not guilty to all charges. This month, in an interview with Zeit Magazin, a German magazine, he said he expected to be found innocent, after which he would resume acting.The trial at Southwark Crown Court is scheduled to last four weeks. During that time, the courthouse is likely to be filled with reporters and celebrity watchers following the case.Here’s what you need to know.Why is Kevin Spacey on trial in Britain?Mr. Spacey is accused of sexually assaulting four men in England between 2001 and 2013. For much of that period, Mr. Spacey was the artistic director of the Old Vic theater, one of London’s most acclaimed playhouses.Last June, Britain’s Crown Prosecution Service charged Mr. Spacey with four counts of sexual assault against three men, as well as another of causing a person to engage in penetrative sexual activity without their consent.A few months later, in November, the prosecutors authorized seven further charges against Mr. Spacey related to another complainant. Those included three counts of sexual assault, three of indecent assault and one count of causing a person to engage in sexual activity without consent.Both sets of charges will be considered in this month’s trial.How will the trial work?Anna Bradshaw, a British criminal lawyer, said in a telephone interview that the case will look different from an American trial. In Britain, legal professionals called barristers argue cases in court while wearing the traditional garb of white wigs and black gowns.The trial will not be televised, Ms. Bradshaw added, because cameras are rarely allowed in British courts. (Instead, specialist artists sketch the scene.)The complainants will also not be publicly identified, Ms. Bradshaw said, adding that this rule was in place to protect accusers’ privacy and encourage victims of sexual assault to report incidents to the police. They will likely give evidence, and be cross-examined, “via a video-link, or, in court, possibly from behind a screen or curtain,” Ms. Bradshaw said.During the four-week trial, the prosecutors will first outline their case to the 12-person jury, then Mr. Spacey’s team will make its defense.What penalty does Mr. Spacey potentially face?One of the offenses carries a maximum sentence of life imprisonment. Others also come with potential jail terms. Under British law, judges have some flexibility to alter sentences.If there is a guilty verdict, the judge would normally hold a separate hearing to announce the sentence at a later date, Ms. Bradshaw added.What has Mr. Spacey said about the accusations?In two hearings over the past year, Mr. Spacey pleaded not guilty to the charges against him. Last June, Patrick Gibbs, Mr. Spacey’s legal representative, told a courtroom that the actor was determined to establish his innocence.In Britain, where it is an offense to publish information that may bias a jury, defendants like Mr. Spacey face some restrictions in using the news media to make their case before a trial.To avoid breaking British law, Mr. Spacey did not discuss the case in the Zeit Magazin article, apart from stressing his innocence. But he said he knew of directors who wanted to work with him once the trial ended. “I know that there are people right now who are ready to hire me the moment I am cleared of these charges,” he said. More

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      in Movies

      Can HBO’s ‘The Idol’ Revive 1980s Erotic Thriller Sleaze?

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      Over-the-top locations and characters bathed in red light recall an all but dead genre that was once a staple of late-night cable: the erotic thriller.A slick executive drives a cherry red convertible.A nightclub owner carries a coke spoon and wears his hair in a rat tail.A troubled pop star masturbates while choking herself.Those images might have come from an erotic thriller made by Brian De Palma, Paul Verhoeven or Adrian Lyne, directors who were prominent in the 1980s and 1990s thanks to movies like “Body Double” (Mr. De Palma), “Basic Instinct” (Mr. Verhoeven) and “9 ½ Weeks” (Mr. Lyne).But those scenes were actually part of “The Idol,” the HBO series that made its debut on Sunday with the apparent intention of reviving an all but dead genre.Filled with close-up shots of luxury goods and body parts, “The Idol” also recalled the works of lesser filmmakers whose R-rated creations populated the late-night lineups of HBO and its rivals long before the advent of prestige television.It was a style that died out over the years — the death blow might have been Mr. Verhoeven’s infamous “Showgirls,” an expensive 1995 flop — and seemed highly unlikely to make a return to the cultural stage amid the #MeToo movement.As Karina Longworth, the creator of the film-history podcast “You Must Remember This,” recently observed, today’s films are so devoid of steamy sex scenes that they “would pass the sexual standard set by the strict censorship of the Production Code of the 1930s.”Gina Gershon, left, and Elizabeth Berkley, who is in the cast of “The Idol,” in the much-maligned 1995 film “Showgirls.”Murray Close/United ArtistsSharon Stone in “Basic Instinct,” a film referred to in “The Idol.”Rialto PicturesThe old aesthetic was on full display in the first moments of “The Idol,” a series created by Sam Levinson, Abel Tesfaye (known as the Weeknd) and Reza Fahim, three men who came of age when flipping through cable channels late at night was a frequent pastime for adolescent boys.The first episode begins with the pop star Jocelyn, played by Lily-Rose Depp, baring her breasts during a photo shoot as a team of handlers, crew members and an ineffectual intimacy coordinator look on.Later, Ms. Depp’s character smokes in a sauna, rides in the back of a Rolls-Royce convertible and rubs up against a man she has just met (a club owner portrayed by Mr. Tesfaye) on a dance floor bathed in smoky red light. There will be no flannel PJs for Joss; a pair of wake-up scenes make it clear to viewers that she sleeps in a thong.It isn’t only the show’s gratuitous nudity that harks back to Mr. Lyne and company, but the overall look and mood, which recall a louche glamour from the time of boxy Armani suits and cocaine nights. A main setting is a $70 million mansion in Bel Air that looks like something out of Mr. De Palma’s “Scarface” but is in fact Mr. Tesfaye’s real-life home.A number of young viewers have said they find sex scenes embarrassing, but Mr. Levinson, who created the HBO drama “Euphoria,” and his fellow producers have made no secret of their desire to pay homage to the heyday of Cinemax (when it had the nickname Skinemax).A wink to viewers comes when Joss, in the darkness of her private screening room, watches “Basic Instinct.” And then there is the pulsating score, which seems to conjure Tangerine Dream, the German electronic group who scored the sex scene on a train in “Risky Business.” In another nod to the show’s influences, the cast includes Elizabeth Berkley, the star of “Showgirls.”While it may seem like an outlier, “The Idol” has seemingly tapped into a cultural moment that would have seemed unthinkable just a few years ago: Ms. Longworth recently devoted a season of her film-history podcast to the “Erotic ’80s”; no less a tastemaker than the Criterion Channel has recently presented a series on erotic thrillers from the same time period; and last month in Los Angeles, the American Cinematheque held a screening of “Basic Instinct.”“The Idol” also has a close competitor in the world of streaming: “Fatal Attraction,” a 1987 hit for Mr. Lyne, has been rebooted as a series on Paramount+.Mr. Tesfaye and Lily-Rose Depp in a scene from the first episode of “The Idol.”Eddy Chen/HBOStephanie Zacharek, the film critic for Time, suggested that the return of such fare may have arisen from the yearslong glut of comic book movies, along with the lack of a certain kind of R-rated film that was once all the rage for adult viewers.“In the ’80s, that’s almost all there was in the multiplex,” Ms. Zacharek said. “Grown-ups went to see those movies. Now we don’t even have that many movies for grown-ups, period.”Ms. Zacharek slammed “The Idol” in her review and in a phone interview — “It feels like it was made by someone who has never had sex,” she said — but she said she was a fan of “Body Double” (and even “Showgirls”) and laments the disappearance of that kind of thing.“I always enjoyed those films, even when I thought they were sexist or ridiculous,” Ms. Zacharek said. “They do have a certain element of glamour to them.”It is a distinct possibility that the idea of reviving this particular genre may appeal more to Mr. Levinson and his colleagues than audiences and critics.After a two-decade absence from big-budget productions, Mr. Lyne attempted a comeback last year with “Deep Water,” an erotic thriller starring Ana de Armas and Ben Affleck. Mr. Levinson was one of the film’s writers.“Deep Water,” which streamed on Hulu upon its release, was never shown in theaters. It drew a 36 percent approval score from critics and a 24 percent audience score on the review aggregation site Rotten Tomatoes.“The Idol” has fared both better and worse: A mere 24 percent of critics have given it a thumbs-up, and 63 percent of audience members have weighed in favorably. More

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      How Geena Davis Continues to Tackle Gender Bias in Hollywood

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      “Transforming Spaces” is a series about women driving change in sometimes unexpected places.Geena Davis and her family were returning from dinner in their small Massachusetts town when her great-uncle Jack, 99, began drifting into the oncoming lane of traffic. Ms. Davis was about 8, flanked by her parents in the back seat. Politeness suffused the car, the family, maybe the era, and nobody remarked on what was happening, even when another car appeared in the distance, speeding toward them.Finally, moments before impact, Ms. Davis’s grandmother issued a gentle suggestion from the passenger seat: “A little to the right, Jack.” They missed by inches.Ms. Davis, 67, relayed this story in her 2022 memoir, “Dying of Politeness,” an encapsulation of the genially stultifying values that she had absorbed as a child — and that a great many other girls absorb, too: Defer. Go along to get along. Everything’s fine.Of course the two-time Academy Award-winning actress ditched that pliability long ago. From “Thelma & Louise” and “A League of Their Own” to this year’s coming-of-age drama, “Fairyland,” back-seat docility just wasn’t an option. Indeed, self-possession was her thing. (Or one of her things. Few profiles have failed to mention her Mensa membership, her fluency in Swedish or her Olympic-caliber archery prowess.) But cultivating her own audaciousness was only Phase 1.Next year will mark two decades since the creation of the Geena Davis Institute on Gender in Media. When her daughter was a toddler, Ms. Davis couldn’t help noticing that male characters vastly outnumbered female characters in children’s TV and movies.“I knew everything is completely imbalanced in the world,” she said recently. But this was the realm of make-believe; why shouldn’t it be 50/50?It wasn’t just the numbers. How the women were represented, their aspirations, the way young girls were sexualized: Across children’s programming, Ms. Davis saw a bewilderingly warped vision of reality being beamed into impressionable minds. Long before “diversity, equity and inclusion” would enter the lexicon, she began mentioning this gender schism whenever she had an industry meeting.“Everyone said, ‘No, no, no — it used to be like that, but it’s been fixed,’” she said. “I started to wonder, What if I got the data to prove that I’m right about this?”Amid Hollywood’s trumpeted causes, Ms. Davis made it her mission to quietly harvest data. Exactly how bad is that schism? In what other ways does it play out? Beyond gender, who else is being marginalized? In lieu of speechifying and ribbons, and with sponsors ranging from Google to Hulu, Ms. Davis’s team of researchers began producing receipts.Ms. Davis wasn’t the first to highlight disparities in popular entertainment. But by leveraging her reputation and resources — and by blasting technology at the problem — she made a hazy truth concrete and offered offenders a discreet path toward redemption. (While the institute first focused on gender data, its analyses now extend to race/ethnicity, L.G.B.T.Q.I.A.+, disability, age 50-plus and body type. Random awful finding: Overweight characters are more than twice as likely to be violent.)Geena Davis accepting the Governors Award for her institute during the Primetime Emmy Awards last year. At her left are the screenwriter Shonda Rhimes and the actor Sarah Paulson.Kevin Mazur/WireImage, via Getty ImagesEven when braced for it, the institute’s findings are staggering: In the 101 top-grossing G-rated films from 1990 to 2005, just 28 percent of speaking characters were female. Even in crowd scenes — even in animated crowd scenes — male characters vastly outnumber female ones. In the 56 top grossing films of 2018, women portrayed in positions of leadership were four times more likely than men to be shown naked. (The bodies of 15 percent of them were filmed in slow motion.) Where a century ago women had been fully central to the budding film industry, they were now a quantifiable, if sexy, afterthought.“When she started to collect the data, it was kind of incredible,” said Hillary Hallett, a professor of American studies at Columbia University and the author of “Go West, Young Women! The Rise of Early Hollywood.” “This wasn’t a vague feeling anymore. You couldn’t claim this was just some feminist rant. It was like, ‘Look at these numbers.’”Ms. Davis is by turns reserved and goofy offscreen — a thoughtful responder, an unbridled guffawer. (At one point she enunciated the word “acting” so theatrically that she feared it would be hard to spell in this article.) On a recent afternoon in Los Angeles, she took a break from illustrating the children’s book she had written, “The Girl Who Was Too Big for the Page.”“I grew up very self-conscious about being the tallest kid — not just the tallest girl — in my class,” she said. “I had this childhood-long wish to take up less space in the world.”In time she began to look beyond her height — six feet — to the insidious messages reinforcing such insecurity.“Hollywood creates our cultural narrative — its biases trickle down to the rest of the world,” she said in “This Changes Everything,” the 2018 documentary she produced about gender inequity in the film industry. The documentary takes its name from the incessant refrain she kept hearing after the success of “Thelma & Louise,” and later “A League of Their Own.” Finally the power and profitability of female-centric movies had been proven — this changes everything! And then, year after year, nothing.Geena Davis, right, with the director Penny Marshall on the set of “A League of Their Own” in 1992.Columbia Pictures, via Everett CollectionIt was here that Ms. Davis planted her stake in the ground — a contention around why certain injustices persist, and how best to combat them. Where movements like #MeToo and Times Up target deliberate acts of monstrosity, hers would be the squishier universe of unconscious bias. Did you unthinkingly cast that doctor as a male? Hire that straight white director because he shares your background? Thought you were diversifying your film, only to reinforce old stereotypes? (Fiery Latina, anyone?)It’s a dogged optimism that powers Ms. Davis’s activism — a faith that Hollywood can reform voluntarily. When she goes to a meeting now, she’s armed with her team’s latest research, and with conviction that improvement will follow.“Our theory of change relies on the content creators to do good,” said Madeline Di Donno, the president and the chief executive of the institute. “As Geena says, we never shame and blame. You have to pick your lane, and ours has always been, ‘We collaborate with you and want you to do better.’”If a car full of polite Davises can awaken to oncoming danger, perhaps filmmakers can come to see the harm they’re perpetuating.“Everyone isn’t out there necessarily trying to screw women or screw Black people,” said Franklin Leonard, a film and television producer and founder of the Black List, a popular platform for screenplays that have not been produced. “But the choices they make definitely have that consequence, regardless of what they believe about their intent.”He added: “It’s not something people are necessarily aware of. And there’s no paper trail — it can only be revealed in aggregate. Which gets to the value of Geena’s work.”“Hollywood creates our cultural narrative — its biases trickle down to the rest of the world,” Ms. Davis said in “This Changes Everything,” the 2018 documentary she produced about gender inequity in the film industry.Magdalena Wosinska for The New York TimesUnique to the institute’s efforts is its partnership with the University of Southern California’s Signal Analysis and Interpretation Laboratory, which uses software and machine learning to analyze scripts and other media. One tool born of that collaboration, Spellcheck for Bias, employs AI to scan scripts for stereotypes and other problematic choices. (Janine Jones-Clark, the executive vice president for inclusion for NBCUniversal’s global talent development and inclusion team, recalled a scene in a television show in which a person of color seemed to be acting in a threatening manner toward another character. Once flagged by the software, the scene was reshot.)Still, progress has been mixed. In 2019 and 2020, the institute reported that gender parity for female lead characters had been achieved in the 100 highest-grossing family films and in the top Nielsen-rated children’s television shows. Nearly 70 percent of industry executives familiar with the institute’s research made changes to at least two projects.But women represented just 18 percent of directors working on the top 250 films of 2022, up only 1 percent from 2021, according to the Center for the Study of Women in Television and Film; the percentage of major Asian and Asian American female characters fell from 10 percent in 2021 to under 7 percent in 2022. A 2021 McKinsey report showed that 92 percent of film executives were white — less diverse than Donald Trump’s cabinet at the time, as Mr. Leonard of the Black List noted.“I think the industry is more resistant to change than anybody realizes,” he added. “So I’m incredibly appreciative of anyone — and especially someone with Geena’s background — doing the non-glamorous stuff of trying to change it, being in the trenches with Excel spreadsheets.”Ms. Davis has not quit her day job. (Coming soon: a role in “Pussy Island,” a thriller from Zoe Kravitz in her directorial debut.) But acting shares a billing with her books, the diversity-focused Bentonville Film Festival she started in Arkansas in 2015 — even the roller coasters she rides for equity. (Yes, Thelma is now Disney’s gender consultant for its theme parks and resorts.)“We’re definitely heading in the right direction,” she said. “Bill Gates called himself an impatient optimist, and that feels pretty good for what I am.” More