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      The Best Movies and TV Shows Coming to Netflix in October

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      “Lupin” returns and the latest literary horror adaptation from Mike Flanagan debuts, just in time for Halloween.Every month, Netflix adds movies and TV shows to its library. Here are our picks for some of October’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)‘The Return of Tanya Tucker: Featuring Brandi Carlile’Started streaming: Oct. 1The country music singer Tanya Tucker was still a teenager when she recorded her first hit songs in the early 1970s; and hitting the top of the charts at a young age soon led to problems like substance abuse, bad relationships and stage fright. The director Kathlyn Horan’s documentary “The Return of Tanya Tucker: Featuring Brandi Carlile” uses the recording and release of a 2019 Tucker comeback album — spearheaded by the modern alt-country stars Carlile and Shooter Jennings — as the frame for a more comprehensive look at the musician’s tumultuous life. This is a touching movie about an artist trying to find her voice and purpose again, helped by two famous fans who sometimes struggle to convince Tucker that they know what they are doing.‘Lupin’ Part 3Starts streaming: Oct. 5After a long layoff, the hit French adventure series “Lupin” is back for seven more episodes of high-stakes heists and sly social commentary. Omar Sy returns as Assane Diop, who has turned his disgust with the rich and powerful — and his love of the author Maurice Leblanc’s gentleman thief character Arsène Lupin — into a lucrative career as a criminal mastermind. The show’s twisty plotting jumps between thrilling caper sequences and scenes that explore Assane’s past as the son of a Senegalese immigrant. The previous set of episodes ended with the hero achieving one of his major goals: exacting revenge on his family’s greatest enemy. The new set begins with Assane on the run and plotting his next moves — which are complicated by his becoming something of a national folk hero.‘Fair Play’Starts streaming: Oct. 6This edgy business-world drama was a sensation at Sundance earlier this year, stirring up audiences with its story of two ambitious young hedge fund analysts — Emily (Phoebe Dynevor from “Bridgerton”) and Luke (Alden Ehrenreich from “Solo”) — whose passionate secret love affair starts going sour after Emily is promoted into a supervisory position at their firm. The writer-director Chloe Domont worked previously on “Billions” and “Ballers,” two TV series that examine how money and power complicate interpersonal relationships. With “Fair Play,” Domont also factors in gender roles, as the couple is pulled apart by the demands of an industry that values macho swagger. The film has the rhythm of a thriller, anchored by the question of whether Emily and Luke’s romance and careers can survive her sudden success.‘The Fall of the House of Usher’Starts streaming: Oct. 12The third of the writer-director Mike Flanagan’s literary horror mini-series for Netflix (after “The Haunting of Hill House” and “The Haunting of Bly Manor”) uses the Edgar Allan Poe short story “The Fall of the House of Usher” as a jumping-off point for a social satire with gothic overtones. Bruce Greenwood plays Roderick Usher, the patriarch of a large and wealthy family that has made much of its fortune peddling dangerous pharmaceuticals. When all of his grown children begin dying, Roderick tells the crusading attorney C. Auguste Dupin (Carl Lumbly) the story of his tragedy scarred, supernaturally plagued life. Flanagan and his writers borrow names and ideas from other Poe books; but they have set their saga and its thematic concerns in the modern day, with a stellar cast that also includes Mark Hamill, Carla Gugino, Mary McDonnell and Henry Thomas.‘Pain Hustlers’Starts streaming: Oct. 27Emily Blunt and Chris Evans play persuasive pharmaceutical salespeople in the drama “Pain Hustlers,” the latest in a recent string of films and TV series that dig into the roots of America’s opioid crisis. The movie is directed by David Yates, who has spent much of the past 15 years at the helm of the Harry Potter movie franchise; and it was scripted by Wells Tower, who has won acclaim as an author of short fiction. These two adapt Evan Hughes’s nonfiction book of the same name, turning it into a fast-paced and fact-filled big business exposé. It is similar to the likes of “The Wolf of Wall Street” and “The Big Short” in the way it uses documentary-style interludes and charismatic antiheroes to tell the story of how greed and lax ethics played a role in the systemic overprescribing of painkillers.Also arriving:Oct. 4“Beckham”“Race to the Summit”Oct. 5“Everything Now” Season 1Oct. 6“Ballerina”“A Deadly Invitation”Oct. 10“Last One Standing” Season 2Oct. 11“Big Vape: The Rise and Fall of Juul”“Once Upon a Star”“Pact of Silence” Season 1Oct. 12“Good Night World” Season 1Oct. 13“The Conference”Oct. 17“The Devil on Trial”Oct. 19“Bodies”“Crypto Boy”“Neon” Season 1Oct. 20“Creature”“Doona!”“Elite” Season 7“Old Dads”“Surviving Paradise”“Vjeran Tomic: The Spider-Man of Paris”Oct. 25“Life on Our Planet” Season 1Oct. 26“Pluto” Season 1Oct. 27“Sister Death”“Tore”“Yellow Door: ’90s Lo-Fi Film Club” More

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      in Theater

      Introducing Nathan Lane, the Hip New Face of A24

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      When you’re pondering actors associated with the indie-film company A24, your thoughts may run to the young, hot and impossibly tousled.In years past, this stable of dewy ingénues has included the likes of Robert Pattinson (“Good Time,” “The Lighthouse”), Riley Keough (“American Honey,” “Zola”) and Lucas Hedges (“Lady Bird,” “Waves”). But it’s time to make way for the studio’s newest muse, a three-time Tony winner whose key roles this year in a pair of A24 films — Ari Aster’s trippy “Beau Is Afraid” and the gleefully silly “Dicks: The Musical” (opening Friday) — offer the delightful opportunity to turn to your cool nephew and exclaim, “Oh, he’s in this?”Rest assured, the he in question is just as surprised. “I’m now the poster boy for A24,” said Nathan Lane, 67, over a recent morning coffee date in Los Angeles. “Who would have guessed?”One of Broadway’s most beloved actors, Lane had his breakout moment on the big screen in 1990s studio fare like “The Lion King” and “The Birdcage,” which mined his musical-theater talents and expansive comic sensibility for all they were worth. But though Lane has worked continually in the theater and on TV ever since, the film industry hasn’t always known what to do with him, which makes his current renaissance all the sweeter: He was the first choice for his roles in both of those A24 envelope-pushers, even though they’re utterly unlike anything he’s done before.Take “Beau Is Afraid,” released in April, a three-hour mind-bender about filial anxiety that had Lane come in for a midmovie face-off with an intense Joaquin Phoenix. (SAG-AFTRA strike rules prohibit Lane from talking about it, but the guild gave him a waiver for the new film.) Or sample “Dicks,” a proudly filthy queer musical that asks Lane to spit deli meat at puppets and ensures that for the rest of his life, he will share an IMDb page with the rapper Megan Thee Stallion.“Don’t you love show business, when these things can happen to a little boy from Jersey City?” Lane quipped.Lane’s co-star Aaron Jackson said, “Now that people like us are coming of age and getting to write stuff, it’s like, what about casting one of the most brilliant actors we’ve ever had?”Erik Tanner for The New York TimesThe Lane-aissance could either be a feat of timing or the beginning of a trend. But it’s also a reminder, not long after Michelle Yeoh found Oscar-winning acclaim in A24’s “Everything Everywhere All At Once,” that the studio’s coolness can come from more than the minting of new stars: It can be just as rewarding to pluck well-known veterans and toss them into a world that’s unexpected and wild.“To me, he’s the foundation,” said Aaron Jackson, who co-wrote and co-stars in Lane’s new film musical with his comedy partner, Josh Sharp. As a child, Jackson would do an impression of Lane as the “Lion King” meerkat Timon to make his grandfather laugh; when he was older, he got a DVD of Lane in a filmed version of the 2000 play “The Man Who Came to Dinner” and watched it on a near loop. “Now that people like us are coming of age and getting to write stuff, it’s like, what about casting one of the most brilliant actors we’ve ever had?”Though Jackson, Sharp and the director Larry Charles were eager to get Lane into their movie, the actor wasn’t initially sure what to make of the project. A hard-R spin on “The Parent Trap” that Jackson and Sharp based on a play they used to perform in the basement of a Gristedes, their film casts the New York comedians as long-lost twins who conspire to reunite their daffy parents. Hayley Mills never had it so hard, though: Here, dear old Mom (Megan Mullally) is an eccentric shut-in with a detached vagina, while Dad (Lane) is a newly out bon vivant who’s uncomfortably devoted to the two disgusting sewer creatures he keeps caged in his living room.“When I read it, I said to my agent and manager, ‘Are you serious with this?’” Lane recalled. The script had made him laugh, but he worried the comic situations were too outrageous, even for him. To assuage his fears, Lane met Sharp and Jackson at an Indian restaurant near his house, where their comic sensibilities clicked and cosmopolitans were served until the house lights came on.“It went on for four hours, and I fell in love with them and wanted to adopt them,” said Lane, who was ultimately won over by the eagerness of Jackson and Sharp to fly in the face of decorum at a time when “Don’t Say Gay” bills were being written into law. “We’re going to say whatever we want,” Lane said, channeling the duo’s brio. “And you’ll have to live with it.”Still, it’s one thing to read those out-there scenes and quite another to actually perform them, as Lane found when he showed up on set. Many of his big moments revolve around those unnerving sewer creatures, a pair of diapered reptilians that his character dotes on like an attentive mama bird. (Hence the regurgitated deli meats.) Though the filmmakers considered hiring Cirque du Soleil gymnasts to play the sewer boys, they ultimately settled on two puppets, which may be an even creepier touch.Lane, left, with Joaquin Phoenix and Amy Ryan in “Beau Is Afraid.”Takashi Seida/A24Lane with, clockwise from top right, Josh Sharp, Aaron Jackson and Megan Mullally in the new film. “When I read it, I said to my agent and manager, ‘Are you serious with this?’” Lane said.Justin Lubin/A24“I’m not crazy about puppets — I’ve worked with them in the past, it’s nothing but trouble,” Lane said, adding under his breath, “I’ll be getting hostile letters from Basil Twist.” In order to play the scenes with true affection despite the twisted context, Lane endeavored to think about the sewer creatures as though they were his character’s pet corgis.“It has to be very grounded and it has to be subtle,” Lane explained, “even when you’re spitting cold cuts at two ugly puppets in a cage.”The closing-credits blooper reel suggests that was a tough task: In more than a few blown takes, Lane wonders aloud how the hell he ended up in such a surreal situation. (Asked by the director to spit more deli meats into the puppets’ mouths, Lane playfully pronounces it the worst of “all the humiliations I’ve experienced in my years of show business, and they are legion.”) Even during our coffee, Lane was unable to describe an emotional clinch with the sewer creatures without bursting into laughter.“You can’t even explain it!” he said. “I was crying and holding these puppets and kissing them goodbye, thinking, I can’t believe this is happening.”Sharp praised Lane’s ability to still dial into those scenes and commit to something real. “There’s two or three sneaky little heart moments in the movie and Nathan drives all of them,” he said. “He’s a fabulous actor.”Lane just hopes people will notice. “I mean, this may have killed it,” he joked, “but if it led to other things in film, interesting stuff, that would be great.” A more robust movie career is something Lane wants but has always been wary of: Wouldn’t you feel skittish if you gave one of the most finely calibrated comic performances of the ’90s in “The Birdcage” and the only two film scripts you received afterward were for “Mouse Hunt” and “Mr. Magoo”?Though Lane felt the stage could offer him a more expansive suite of roles, including his most famous part, as Max Bialystock in “The Producers,” even there, the appearance of typecasting could make him bristle. In 2010, while playing Gomez Addams in a Broadway musical version of “The Addams Family,” Lane read an article in this paper by Charles Isherwood that deemed him the greatest entertainer to appear on Broadway over the past decade. While it was meant as high praise, the description rankled him.“Amy Sedaris likes to call herself an entertainer, but for some reason it really bothered me,” Lane said. “It’s not like I spent 48 years in Ringling Bros. — I had done plenty of plays, the work of Terrence McNally or Jon Robin Baitz or Simon Gray. I felt like I had shown a lot of different colors along the way, but you become known for a handful of things.”Determined to shake things up, Lane emailed his friend, the actor Brian Dennehy, who was mulling a new adaptation of Eugene O’Neill’s “The Iceman Cometh.” Though that shattering drama wasn’t the sort of production he would immediately come to mind for, Lane pitched himself for the tricky role of Hickey, the salesman who forces his fellow bar mates to confront dreams long deferred.Despite acclaimed performances in the ’90s in “The Birdcage” and “The Lion King,” Lane had trouble getting traction in Hollywood films.Erik Tanner for The New York TimesDennehy was intrigued, and the two men signed on for a production that played at BAM in 2015. “It changed the way I approach everything now,” Lane said. “I wanted to be scared again. I wanted to think, I don’t know if I can do this.” From Isherwood, Lane earned a “lusty bravo,” though the review that mattered most was the kind one he received from Dennehy, who died in 2020. “He was a very loving and supportive mentor, and I miss him very much,” Lane said, tearing up.He hopes more roles akin to Hickey are in his theatrical future, though he noted, “I don’t think they would be handing me that part in a film.” So why is it that Lane can be widely recognized as an unparalleled multitalent and yet good movie offers can be so hard to come by? I asked his new co-star Jackson, who replied with a mordant chuckle.“Well, Hollywood does hate gay people, even still,” he said. “I mean, they pretend that they don’t, but they do.”Still, he hoped that Lane’s A24 hot streak indicates that a younger generation of people, raised on Lane’s performances, have more exciting ideas of what do with him than the old guard Lane initially encountered: “He’s so good at acting that now they’re like, ‘Maybe we should let a gay person be a star.’”In the meantime, there’s “Dicks.” “Our little baby is going out to the real world where people can’t wait to be offended,” Lane said. “When I saw it, I just said, ‘Well, either it’s going to be this cult hit, or we’ll all be deported.’”Though he isn’t sure how the film will be received — “I’d like to show this to Mitch McConnell, then he’d really freeze” — Lane still offered some marketing suggestions. He told Sharp and Jackson they should record a video to warn that watching the film in a theater could make the audience gay, then ask a few willing football players to serve as the guinea pigs: “You send in Aaron Rodgers and a couple of others, and then they come out of there in caftans.”The idea was vetoed when they heard that the recent comedy “Bottoms” might also be planning a turn-you-gay marketing angle, but Lane was just happy to have the company. “If you can get away with ‘Bottoms’ — if you can have a high-school comedy about teenage lesbians starting a fight club — you certainly can have ‘Dicks: The Musical,’” he said.With that remark, our coffee date was over. And though we had met in the early morning, at an hour when some party-hearty A24 stars might finally be crawling into bed, Lane assured me it was no trouble at all.“This was like therapy,” he said. “I cried, I laughed, I talked about ‘Dicks.’” More

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      in Music

      ‘Flora and Son’ and the Unspoken Truth About Songwriting

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      To one musician, John Carney’s films about budding artists mirror the joys and pitfalls of crafting tunes.The revered record producer Rick Rubin once asked me if I was ready for a change. My band Thursday was coming off our third album, “War All the Time.” We had just cracked the Top 10 on the Billboard album chart by producing anthems for the very same post-hardcore genre that we had helped to shape, but Rubin was clear: The creative clock was already ticking. At a certain point, staying the same meant fading away.With “Flora and Son” (streaming on Apple TV+), the writer-director John Carney arrives at a similar question. His scrappy debut, “Once” (2007), had been an unexpected sleeper hit: a no-budget, boy-loses-girl story familiar to every musician who’s ever picked up a guitar to try to win someone back. His second, “Begin Again” (2014), was a disappointing sophomore slump at the hands of the Hollywood movie machine, a situation that songwriters face at the hands of the major label machine. Think U2’s “October” or Bad Religion’s “Into the Unknown.” Where “Once” trusted the audience, “Begin Again” spoke every subtext aloud. Was the success of “Once” beginner’s luck or simply sparks cast off by one of its leads, Glen Hansard, Carney’s longtime bandmate in the Frames?A critical success, “Sing Street” (2016) answered one question by posing another: yes, Carney could successfully make movies about lovelorn boys with guitars, but was that all he was capable of? Would his next film be a total reinvention, or would the song remain the same? When Rick Rubin posed that similar question to me, I told him that I wanted our next record to be “less real and more true.” Indeed, much to the dismay of our audience, we abandoned our own realism and shot to the moon with “A City by the Light Divided,” produced by Dave Fridmann.Carney, for his part, wisely chooses to edit weakness and lean into strength with “Flora and Son,” delivering characters both real and true. Each has their own music motivations. Ian (Jack Reynor), Flora’s arrogant ex, sees musical stardom as a means to put his own interests above everyone around him. Even though his own quest for fame has been stunted, his faith is as bright as the image in the mirror. Flora’s son, Max (played by the relative newcomer Oren Kinlan), is a quick study. Watching more popular classmates get the attention of his crush through their YouTube rap videos, Max teaches himself GarageBand. Carney knows that we start on our own musical paths for external reasons — get the girl, make the money, tell the ex to shove it — but he also understands that the ones who stay with music must eventually find its home within our souls. Flora’s guitar teacher, Jeff (Joseph Gordon-Levitt), has internalized music as a sacred spiritual path, and Gordon-Levitt fills him with both the generosity of a devotee and the quiet pretension of a prematurely enlightened monk.Having produced several bands’ first albums, I hear enough of my own voice in Gordon-Levitt’s well, actuallys to want to pick up the phone and apologize for all the bad advice I’ve ever given (like telling My Chemical Romance that its breakout single, “I’m Not Okay,” was too pop). Still, Jeff is likable enough and provides contrast with Ian. Both men see themselves as has-beens, but Gordon-Levitt gives Jeff a hint of humility and a willingness to listen that separates him from Ian’s showy obstinance, suggesting that maybe we only become failed musicians once we stop learning to grow.Marketa Irglova and Glen Hansard in “Once,” Carney’s initial hit.Searchlight PicturesCarney, too, has been willing to grow. After drawing fire for the lack of three-dimensional female characters in his movies (even when they are the leads), Eve Hewson’s Flora is a character for the ages. Within her first 10 minutes onscreen, she forgets her son’s birthday, hits on another woman’s boyfriend and alienates the one sympathetic friend in her orbit. She’s petty, selfish and entirely magnetic. Being the daughter of U2’s Bono — a heritage from which she takes none of the musicality and 110 percent of the rock star strut — Hewson is in the perfect position to point out musicians’ many absurdities, an eye roll at a time. I imagine she’s had good practice. So how does a cynical character like Flora find herself putting faith in music? For the most fundamental reason: What else does she have to believe in?Neither wholly good or bad, Flora is something better. She’s interesting, far too interesting to be stuck in a film whose whole plot hinges on the premise that an acoustic guitar found in a dumpster could change the lives of both a mother and child. So it’s a giant relief, at least, to watch Max dismiss the guitar out of hand. Later Flora, in a bout of drunken curiosity, scours YouTube to try to learn the instrument herself.Pitch is not a native language and the learning curve can be steep. I was worried that Carney and his songwriting partner, Gary Clark, would aim their songs at the wide open Irish sky as they did with “Sing Street,” but for Flora, they keep the songs as small as the escape key on her laptop. I never get the sense that Flora, a single mother with a bad attitude and a washed-up guitar teacher, is about to accidentally write “Hey Jude.” Instead, in a beautiful turn, Jeff shows an unimpressed Flora his own songs and she gives an unvarnished critique: The chorus is wrong, she tells him, and suggests alternate notes, better phrasing.Carney taps into a truth that most songwriters never pay heed to: Learn too much about music and you forget where the magic is. It’s in the listening, after all, not the playing; the singing of the chorus, not the turn of phrase on the notebook page. It’s easy to forget that a professional is one who does something for money, while an amateur is one who does that same thing for love. Flora never rises above amateur status as a singer, a mother, or even a friend. For all its fairy-tale golden guitar premise, “Flora and Son” delivers a message that’s much closer to the ground: We should all be so lucky as to remain amateurs in our own lives. More

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      in Movies

      Horace Ové, Pioneering Black Filmmaker in Britain, Dies at 86

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      His feature-length film, “Pressure,” mapped the struggles of Black Britons in an era of unyielding racism. He was knighted in 2022.Horace Ové, a prolific and groundbreaking Trinidad-born filmmaker and photographer whose 1975 film, “Pressure,” explored the fraught experience of Black Britons and is considered the first feature film by a Black British director, died on Sept. 16 in London. He was 86.The cause was Alzheimer’s disease, said his son, Zak.“Pressure” was made on a shoestring, shot in West London with neighborhood characters and Mr. Ové’s friends from film school volunteering their expertise. It was written with Samuel Selvon, a novelist from Trinidad, and it tells the story of Tony, a first-generation Briton and top student who has just graduated from school shouldering the expectations of his traditional West Indian parents and his own ambition, and navigating a community on the boil.As he looks for a job to match his talents, he slowly realizes his is a fool’s errand in racist London. Tony’s older brother is a Black militant — born in the West Indies, he has no illusions about the limitations of the society he has landed in — and he exhorts Tony to join his activist struggle.“Pressure” won awards and critical accolades when it was shown in film festivals in 1975, but it would take three more years to be widely released, as the British Film Institute, which had partly funded the movie, felt its depictions of police racism were incendiary. But Mr. Ové was documenting the climate of the times, and his own experience.“The English ‘Deep South’ has always been the West Indies and Africa,” he told The San Francisco Examiner in 1971. “Until recently, they managed to keep it out of the country. The problem is more complicated in England than in America. In America it’s a visible thing. In England, it’s more of a mental violence.”When “Pressure” was finally released in 1978, critics celebrated Mr. Ové as a significant Black filmmaker — “a talent with which we should reckon,” wrote The Sunday Telegraph — and roundly upbraided the British Film Institute.“It seems palpably absurd to be welcoming Horace Ové’s ‘Pressure’ when the film, one of the most important and relevant the British Film Institute’s Production Board has ever made, was actually shot in 1974 and completed in 1975,” Derek Malcolm wrote in The Guardian. “The BFI should hang its head in corporate shame.”In “Pressure,” Herbert Norville played the lead role of Tony, a recent graduate shouldering the expectations of his traditional West Indian parents and his own ambition.BFI National Archive & The Film FoundationMr. Ové had came of age as an artist in West London in the 1960s. It was a dynamic neighborhood, the heart of the British counterculture and also the Black Power Movement, of which Mr. Ové was an ardent participant.He was a skilled photographer who captured the movement’s leaders and events, as well as his artist peers and Carnival, the ebullient multicultural Caribbean festival that had been exported to Notting Hill in the late 1960s by community activists as a way to celebrate their heritage and ease cultural tensions.He met his second wife, Mary Irvine, at a socialist worker’s meeting; she was the fiercely political owner of a hip women’s clothing boutique called Dudu’s. (It sold no polyester or high-heeled shoes because she felt they were bad for women.)They were a formidable duo. Their West Hampstead apartment became a hub for artists and radicals of all stripes. Michael X, the civil rights activist born Michael de Freitas in Trinidad, lived upstairs. Mealtimes began with the family raising their fists and declaring “Power to the people,” Zak Ové recalled.James Baldwin was a family friend, and when he lectured at a West Indian student center with Dick Gregory, the comedian and activist, Mr. Ové made a compelling short documentary about it.A 1967 photograph by Mr. Ové of Michael X, a civil rights activist, and the Black Power boys in Paddington Station.Horace Ové, via the Estate of Horace OvéMr. Ové was a documentarian at heart — his aesthetic was naturalistic — and he made a number of films for the BBC. “Reggae” (1971) was live footage and interviews that some critics described as that culture’s “Woodstock” movie. “King Carnival” (1973) was a critically acclaimed history of the Trinidad and Tobago Carnival. Skateboard Kings” (1978) chronicled the star skateboarders — the Dogtown crew — of Southern California.“You can imagine Horace showing up in Venice Beach in a massive caftan swathed in African jewelry,” said Zak Ové. “Those kids looked at him and just fell in love.”And then there’s “Black Safari” (1972). It’s a Pythonesque mockumentary about a group of African explorers searching “darkest Lancashire” for the heart of England along the Leeds and Liverpool canal, a good-humored spoof of the traditional colonial narratives.Their boat is called the Queen of Spades, and Mr. Ové is its captain, a character named Horace Ové. Along the way, he and his crew mates have all sorts of adventures, like getting stuck in a lock, coming down with the flu and losing their tempers, witnessing the mysteries of clog dancing and suffering the noise of an oompah band.Mr. Ové in 1979 on the set of “The Latch Key Children,” a television series he directed. via the Estate of Horace Ové“For me, a director is a director no matter what color he is,” Mr. Ové told an interviewer in 2020. “Here in England there is a danger, if you are Black, that all you are allowed to make is films about Black people and their problems. White filmmakers, on the other hand, have a right to make films about whatever they like. People miss out by not asking us or allowing us to do this. We know you, we have to study you in order to survive.”Horace Courtenay Jones was born on Dec. 3, 1936, in Belmont, a suburb in Port of Spain, Trinidad. His parents, Lawrence and Lorna (Rocke) Jones, ran a cafe and hardware store that sold basically everything, including goods for Carnival makers.Horace changed his name to Horace Shango Ové when he emigrated to Britain in 1960. Like many who were involved in the Black Power movement, he wanted to shed his so-called slave name for one that reflected his African heritage. Shango is the Yoruba god of thunder, lightning and justice. But the meaning of “Ové” is still a mystery, Zak Ové said. “It’s a bit like Rosebud,” he said. “I never got a proper answer.”Mr. Ové in the early 1940s in Belmont, Trinidad, with his grandmother, Imelda. The Estate of Horace OveHorace Ové was 24 when he left for England to pursue a career as an artist or an interior designer. He lived in Brixton and West Hampstead, communities populated by West Indian immigrants who had been lured to Britain in the post World War II years by the promise of good jobs, only to be met by offers of menial work and abject racism; Mr. Ové recalled the “No Blacks” signs in the windows of boardinghouses there.He worked as a porter in a hotel, on a fishing boat in the North Sea and as a film extra. When he was cast as a slave in the 1963 film “Cleopatra,” starring Elizabeth Taylor and Richard Burton, the production moved to Rome. He stayed three years, working as a painter and a photographer, and he returned to London determined to make movies, having been deeply influenced by the Italian naturalist approach to filmmaking.Back in London in 1965, Mr. Ové studied at the London School of Film Technique (now the London Film School).Over his long career he worked extensively in film and television. His documentary about the Bhopal gas leak in India that killed at least 2,000 people, “Who Shall We Tell,” aired in 1985.A feature film, “Playing Away” (1987), is an amiable comedy of cultures gently clashing when a West Indian cricket team from London is invited to a match in a quaint and insular fictional Suffolk village. Vincent Canby of The New York Times called it a “movie about the comic pretensions of social and political organisms — the kind of community-comedy at which British moviemakers have excelled.”In addition to his son Zak, from his second marriage, Mr. Ové is survived by his daughter Genieve Sweeney, from his first marriage, to Jean Balosingh; a daughter, Indra, from his second marriage; and a daughter, Ezana, and a son, Kaz, from his third marriage, to Annabelle Alcazar, a producer of “Pressure” and many of Mr. Ové’s films. All three marriages ended in divorce.Mr. Ové, left, with the writer James Baldwin in 1984 at the opening of the exhibition “Breaking Loose,” a retrospective of Mr. Ové’s photographic work. via the Estate of Horace OvéIn 2022, Mr. Ové was knighted for his “services to media.” In 2007, he was made a commander of the British Empire; while he was in a taxi on the way to the palace for the ceremony, Mr. Ové pulled out a CD of James Brown’s funk anthem “Say It Loud — I’m Black and I’m Proud,” and asked the African cabby to play it at full volume, which he was delighted to do.“I’m always interested in characters,” Mr. Ové told the Black Film Bulletin in 1996. “I’m interested in people that are trapped, Black, white, whatever race: That is what attracts me to the dramatic film, the trap that we are all in and how we try to get out of it, how we survive and the effects of that trap.” More

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      in Music

      Beyoncé’s ‘Renaissance’ Film Coming to Movie Theaters

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      The singer’s blockbuster tour ended over the weekend without the release of a visual component. But a “Renaissance” film will be released in December, she announced on Monday.Beyoncé’s 56-show Renaissance World Tour ended over the weekend without the release of any much-anticipated visual component tied to the singer’s shimmering 2022 dance album. Beyoncé, however, may have had a plan all along: “Renaissance: A Film by Beyoncé” will be released in movie theaters on Dec. 1, the singer announced on Monday, immediately following the tour’s final show in Kansas City, Mo.“Be careful what you ask for, ’cause I just might comply,” Beyoncé — whose two previous solo releases, her 2013 self-titled album and “Lemonade,” from 2016, were billed as “visual albums” — wrote on Instagram, quoting the “Renaissance” song “All Up in Your Mind.”The singer has previously released concert films, documentaries and extravagant music video collections via DVD (“I Am…Yours,” 2009), HBO (“Life Is but a Dream,” 2013, and “Lemonade,” 2016) and Netflix’s streaming service (“Homecoming,” 2019). But the release of the “Renaissance” film to theaters around the country follows a similar strategy deployed by Taylor Swift, who headlined the summer’s other culture-dominating blockbuster tour, and whose Eras Tour concert film is due out in theaters on Oct. 13.The two headliners are estimated to have generated more than $9 billion in economic activity combined, with each tour nearly matching the revenues of the Beijing Olympics in 2008, after adjusting for inflation.The “Renaissance” film will track the tour’s journey from its opening in Stockholm in May to its finale on Oct. 1. “It is about Beyoncé’s intention, hard work, involvement in every aspect of the production, her creative mind and purpose to create her legacy and master her craft,” according to an announcement. Tickets are on sale now.“When I am performing, I am nothing but free,” Beyoncé says in the trailer. “My goal for this tour was to create a place where everyone is free, and no one is judged.” The preview also includes behind-the-scenes footage of the singer rehearsing with her daughter Blue Ivy Carter, who performed on the tour, and interacting with her husband, Jay-Z, and the couple’s young twins.Writing in The New York Times upon the tour’s North American beginning, the critic Lindsay Zoladz said, “The show’s look — as projected in diamond-sharp definition onto a panoramic screen — conjured Fritz Lang’s ‘Metropolis’ by way of the 1990 drag ball documentary ‘Paris Is Burning.’” The critic Wesley Morris, writing about the album, a tribute to Black and queer dance music, said of Beyoncé: “The range of her voice nears the galactic; the imagination powering it qualifies as cinema.” More

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      in Television

      What’s on TV This Week: ‘Catfish’ and ‘Sullivan’s Crossing’

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      The MTV show is back for a ninth season. The CW premieres a new show based on a novel of the same name.With network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Oct. 2-8. Details and times are subject to change.MondayJaime Camil on “Lotería Loca.”Fernando Marrero/CBSLOTERÍA LOCA 9 p.m. on CBS. Rogelio, what are you doing here? Jaime Camil, of “Jane the Virgin” fame is stepping out of his telenovela role and into a hosting role on this new game show. Based on a Mexican game, similar to bingo, each episode will feature two players — the first place player will get to move up for a chance to win the cash prize at the end.TuesdayCATFISH 8 p.m. on MTV. Nev Shulman and Kamie Crawford are back to bust people on their lies and (very occasionally) make a great love story happen. This long running show centers on online dating and figuring out if people really are who they say they are. Even though the episodes are almost formulaic at this point (someone reaches out to say that the person they are talking to online won’t meet them, Nev and Kamie investigate, they all fly to find the person, and finally they have a sit down emotional conversation about why the “catfish” lied) it somehow never gets old to see Nev put people in their place.From left: Kelli Williams, Shanola Hampton, Gabrielle Walsh and Karan Oberoi in “Found.”Matt Miller/NBCFOUND 10 p.m. on NBC. Like I said last week, crime procedural shows are making their big comeback in 2023, and this new show further proves that. The show follows Gabi Mosely (Shanola Hampton) and her team as they try to solve cases of missing people. The twist? Gabi is keeping her childhood kidnapper in her basement and getting their help to figure out each clue and resolve the cases.WednesdaySULLIVAN’S CROSSING 8 p.m. on The CW. With “Riverdale” and “Nancy Drew” off the air, The CW is lining up a whole new roster of shows, starting with a story based on a novel by Robyn Carr of the same name. Maggie Sullivan (Morgan Kohan) moves back to her hometown, a campground in Nova Scotia, that is run by her estranged father after she finds herself in legal trouble. The part I’m most excited about? Maggie’s father is played by Scott Patterson who is making his CW re-debut after playing the grumpy but lovable Luke Danes on seven seasons of “Gilmore Girls.” The show also stars another “Gilmore Girls” alum: Chad Michael Murray.THE SPENCER SISTERS 9 p.m. on The CW. If you are a daughter with a mother of any age, you have certainly eye-rolled before at “you look like you could be sisters” from random men on the street. But this show has taken that concept and run with it. The mother/daughter duo, who are often mistaken for sisters, investigate crimes together in their hometown, Alder Bluffs. Like lots of CW shows, this first premiered in Canada earlier this year.ThursdayTHIS IS ELVIS (1981) 6 p.m. on TCM. Long before Baz Luhrmann used archival footage of Elvis Presley mixed with shots of Austin Butler in the role for the final scene of “Elvis,” this documentary did the same thing. It combines footage of Presley along with reconstruction of some moments of his life with actors and voice-overs for Vernon Presley, Gladys Presley and Priscilla Presley.FridayAlicia Silverstone and Stacey Dash in “Clueless.”Paramount PicturesCLUELESS (1995) 8 p.m. on CMT. To me, Cher Horowitz (played by Alicia Silverstone) will always be the No. 1 It Girl. From the incredible outfits (the yellow two-piece set lives in my mind rent free), to her rousing speech on immigration (“may I please remind you that it does not say R.S.V.P. on the Statue of Liberty”) you can’t help be fascinated by her. Come for the notorious one liners (“you’re a virgin who can’t drive”) and stay for the jarring reminder that though this movie came out nearly 30 years ago, Paul Rudd still looks almost exactly the same.SaturdayGREAT CHOCOLATE SHOWDOWN 8 p.m. on The CW. This show is what “The Great British Bake Off” would be like if it focused on only one ingredient: chocolate. The finale will feature the three remaining bakers as they create a four-part chocolate dessert meant to embody their baking history. The winner will walk away with $50,000 and a potential stomach ache.SundayTHE CIRCUS 7 p.m. on Showtime. Whether we are ready or not, we are officially entering into campaign season for the 2024 presidential election. As you watch the debates and read up on the candidates, this show can act as a companion guide. Hosted by John Heilemann, Mark McKinnon and Jenn Palmieri (who have all acted as political strategists and communication directors on the national level in some capacity), this show is returning for its eighth season to home in on President Joe Biden’s re-election campaign and former President Donald Trump’s campaign amid criminal proceedings.LAST STOP LARRIMAH (2023) 9 p.m. on HBO. Deep in the Australian outback there is a town with 11 residents. In December of 2017, Paddy Moriarty and his dog disappeared. What was once a tight knit community turned into a crime scene and an investigation began into whether someone in town was to blame. This documentary explores the town’s history and how everyone in the small community became a suspect. More

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      in Movies

      SAG-AFTRA Negotiator a Key Player as Talks Set to Resume in Actors Strike

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      Duncan Crabtree-Ireland, the lead negotiator for SAG-AFTRA, will be a key player as the guild begins talks with the studios again on Monday.Duncan Crabtree-Ireland, the executive director and chief negotiator for the actors’ union, has spent the past two decades toiling behind the scenes during contract talks. The spotlight, he knows, is for the SAG-AFTRA president, usually a well-known performer like the current office holder, Fran Drescher.But ever since the guild went on strike on July 14 for the first time in 40 years, things have been different.In the past three months, Mr. Crabtree-Ireland, 51, has stepped out from behind the negotiating table and made fiery speeches, walked film festival red carpets and reached out to the union’s younger members via Instagram reels. His more frequent appearances have given people ample opportunity to see the tattoos on his forearms, a visual clue to how much the professional and the personal are intertwined for him. On the right are five symbols — a record, a play button, a film reel, a megaphone and a radio antenna — representing the contracts he’s negotiated for union members in the music, film/TV, radio, commercial, video and broadcast industries. On his left arm is a coil with five loops that represent the five children he has adopted with his husband, John.“It’s not just a job for me,” he said in an interview. “This is where I’ve spent the vast majority of my professional career, and I really care about what happens to our members.”Now, however, Mr. Crabtree-Ireland is facing his most challenging public moment. Come Monday, when the union returns to the negotiating table with the studios in an attempt to resolve the strike that has much of Hollywood at a standstill, all eyes will be on him.(Ted Sarandos, a co-chairman of Netflix; David Zaslav, the chief executive of Warner Bros. Discovery; Donna Langley, the chief content officer of Universal Pictures; and Robert A. Iger, Disney’s chief executive, will also be in attendance, along with the chief negotiator for the studios, Carol Lombardini.)When the Writers Guild of America agreed to a tentative deal for its 11,500 members last Sunday, that left SAG-AFTRA as the lone union holding out for a new deal. How this week’s negotiations go will therefore affect not just the tens of thousands of people in Mr. Crabtree-Ireland’s guild, but everyone in the entertainment industry.The dual strikes have been devastating financially, with more than 100,000 behind-the-scenes workers like location scouts, makeup artists and lighting technicians out of work. The California economy has lost an estimated $5 billion. Major studios like Disney, Warner Bros. Discovery and Paramount Global have seen their stock prices drop. Analysts have estimated that the global box office will lose as much as $1.6 billion in ticket sales because of movies whose releases were pushed back to next year.“I’m 100 percent sure that he’s a deal maker, a realist and that he understands the horse trade,” Bryan Lourd, chief executive of Creative Artists Agency, said of Mr. Crabtree-Ireland. “He has the list of what he’s got to get and what he can lose.”Mr. Crabtree-Ireland said that he was encouraged by the tentative deal reached by the writers and that he was anxious to get a deal done for the actors. But he added that he did not feel pressure because the actors were the only ones on strike. The push he feels, he said, was “because of the economic impact and the impact on our members and others.”The negotiations on Monday will be the first time that the union and the Alliance of Motion Picture and Television Producers, which bargains on behalf of the studios, have talked since the actors went on strike. At the time SAG-AFTRA walked out, the dialogue between the sides had reached a boiling point.Mr. Iger, of Disney, elicited the ire of many writers and actors by saying that those on strike were not being “realistic” in their demands. Ms. Drescher responded by saying Disney should put Mr. Iger “behind doors and never let him talk to anybody” and compared him and the other studio chiefs to “land barons of a medieval time.”Mr. Crabtree-Ireland was traditionally seen as a voice of reason by several studio executives, but at a news conference on July 13 announcing the strike, he appeared beside Ms. Drescher and spoke passionately about the studios’ intentions to replace background actors with artificial intelligence technology in perpetuity.The studios issued a statement, arguing that A.I. agreements could only be made for a specific project — but by then, A.I. had become a rallying cry for striking actors. The actors, like the writers, have also said that the streaming era has worsened their compensation and overall working conditions.Mr. Crabtree-Ireland played down the volatile nature of the rhetoric in the interview, and said Ms. Drescher’s comments about Mr. Iger were just a response to a statement that had angered “a very wide swath of our members.”“She was elected by the members to do this job,” he added. “So I feel very confident walking into a room with Fran and the rest of our negotiating team who have had extraordinary unity throughout this entire process.”The studio alliance declined to comment for this article.While the writers’ deal would seem to give the actors and studios a blueprint for their negotiations, Mr. Crabtree-Ireland pointed out that SAG-AFTRA has different asks. For instance, he noted the new level of transparency reached between writers and the streaming companies regarding residual payments was “huge.” But the actors are looking to secure a revenue-sharing deal with the studios, a proposal the alliance has deemed a non-starter.“We really feel that the companies need to share a share of the revenue that’s coming from streaming,” Mr. Crabtree-Ireland said. “And we are not presently considering an approach that doesn’t attach in that way.”Mr. Crabtree-Ireland joined SAG-AFTRA in 2000, a Georgetown graduate with a law degree from the University of California, Davis, who spent the first two years of his career in the Los Angeles County District Attorney’s Office.He rose quickly at the union, first to general counsel, then adding chief operating officer to his title. In 2021, he was named national executive director and chief negotiator, a job that pays $989,700 annually.Outside of the office, Mr. Crabtree-Ireland raises his children ranging in age from 4 to 18 with his husband. The two were first married in 2004, one of the first 100 same-sex couples to wed in San Francisco before the California Supreme Court annulled the unions.While well-liked by both his colleagues and his adversaries, his performance during the strike has earned some critiques from his own membership. Despite the loyalty exhibited on the picket lines, many who have dealt with the union behind the scenes describe a messy, disorganized approach — specifically when it comes to the rules about what its members can and can’t do during the strike.One point of contention was the issue of interim agreements, which essentially allowed actors to work on and publicize projects that were not backed by the studios the union was striking against.The rules were fuzzy, however, and many actors were confused about what was permissible. The comedic actress Sarah Silverman blasted SAG-AFTRA on her Instagram account, and Viola Davis declined to begin production on a film granted an interim agreement. Soon, publicists began hounding the union to clarify whether actors could promote independent films without worrying that they were crossing the picket line.On Aug. 24, less than a week before the start of the Venice and Telluride Film Festivals, Mr. Crabtree-Ireland issued a statement that read in part, “Whether it’s walking a picket line, working on approved Interim Agreement productions, or maintaining employment on one of our other permissible, non-struck contracts, our members’ support for their union is empowering and inspiring.”Mr. Crabtree-Ireland also talked to many actors who had concerns.“I underestimated how quickly our members were going to need that information,” Mr. Crabtree-Ireland said. “That is one of the few things that I would do differently.”It was a pragmatic response, in keeping with the reputation Mr. Crabtree-Ireland has built throughout his career. And many in the entertainment industry are hoping that same style will be a key in the negotiations that could get Hollywood back to business.“It’s tricky to navigate because he’s trying to please his members and fight for their issues and a lot of them have different issues,” said Lindsay Dougherty, lead organizer for Teamsters Local 399, the union that represents Hollywood workers like truck drivers, casting directors and animal trainers. “It’s obviously not all on him, but I’m sure he feels the pressure.”Brooks Barnes More

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      in Movies

      How ‘No One Will Save You’ Terrifies Us With Hardly a Word

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      For the Hulu hit, the director relied on visual and sound cues to create both the scares and the plot. Stephen King and Guillermo del Toro are fans.The nail-biter “No One Will Save You” quietly materialized on Hulu Sept. 22 and became a streaming darling overnight, an apt entrance for a largely dialogue-free chiller about an alien invasion.Because the heroine, Brynn (Kaitlyn Dever), is a trauma-ridden outcast living in solitude, the film’s writer-director, Brian Duffield, always knew that talking would be minimal in his sophomore feature. But he didn’t realize until later just how sparse it would be.“I got about halfway through the script and thought Brynn won’t see another person for the rest of the movie,” Duffield, whose writing credits include “Love and Monsters,” said in a recent interview. “So it was a happy accident.”“No One Will Save You” economically establishes Brynn’s world at the start: she lives alone in a lovely but remote house and sells handmade dresses online for a living. The townspeople seems to hate her, but Brynn braves their animosity until, just a few minutes in, a nighttime alien invasion threatens her existence.It’s a relentless, unsettling and wildly entertaining cat-and-mouse game from there, with Duffield revealing the details of Brynn’s harrowing past in measured drips, while giving the aliens their own dimension. Fans include the author Stephen King, who called it “brilliant, daring, involving, scary” on X, the platform formerly known as Twitter, while the director Guillermo del Toro posted, “I couldn’t think of a more perfect movie for your weekend,” later adding threads about the film’s religious themes and skillful wordlessness.Duffield was intent on keeping that quietness non-gimmicky, so he encouraged Dever to mutter to herself freely if it felt right. “There was never a moment where I was like, ‘Let’s do a take where you don’t talk.’ But she didn’t need to talk, because she’s Kaitlyn Dever,” he said, describing her as the movie’s biggest special effect. “She can monologue with her eyes.” (Dever couldn’t be interviewed because of the actors’ strike.)The job of articulating as much of the narrative as possible fell to the skilled artisans behind the scenes. The production designer Ramsey Avery filled Brynn’s Louisiana home with clues about her back story. One objective was layering the décor with pieces that suggested generations of her family once lived there. So the rooms were dressed with childhood photos, hand-sewn pillows and window treatments, and little signs about the importance of family — a cottage-core aesthetic augmented by romantic, Sirkian touches that Brynn inherited a taste for. “Since she has nothing else to do,” Avery said, “she finds affordable things online, Etsy shopping and bargain hunting.”Avery also had the idea for the quaint birdhouse village that Brynn gradually builds — a hobby she presumably shared with her mother once, now a perfect metaphor for her caged isolation.The house was made to look as if generations of a family had lived there.Sam Lothridge/20th Century StudiosThe real house was built in the late 19th century and moved to its present location in the ’70s— a history that thematically echoed Brynn’s world. “But the interiors didn’t work, so we had to design our own based on specific action needs,” Avery said. That meant building a set where they could rearrange windows to allow alien light in, conceive a bedroom where the ceiling could press down on Brynn and create an environment that would allow the cinematographer Aaron Morton to fluidly capture all these visual details to advance our understanding of Brynn.For Morton, working on a wordless film felt like a heightened version of his usual trade. “My whole job is the pictures,” he said. “But this put even more pressure on the planning.” Because the film is propelled by set pieces that pit Brynn against the aliens, Morton had to consider how much she or the audience would be allowed to see. “It was about elevating the tension by showing, not telling, things.”To create that alien light, Morton used multiple 50-foot cranes, some with lights attached, others with cameras, all choreographed together while Brynn runs between the house, car and forest. “That gave us an opportunity to show the audience things that Brynn couldn’t see. We’d wash the light over a window in the background to remind people that the threat is still there.”That threat is an extraterrestrial species derived from the archetypal Grays, the elongated aliens familiar from pop culture that Duffield has always loved. “It felt like they had gone missing, so I wanted to bring back what’s become like the emoji alien,” Duffield said. “It never felt like someone did a horror movie with them.” In creating the Grays, the visual effects producer Sarah Miesen took special care to infuse them with consistent but distinctive features and expressions to help the audience both differentiate and feel for them.A sense of alien light was created by mounting beams on 50-foot cranes. 20th Century Studios“We had the main Gray and three different versions of it,” she explained. “We added some blue tattooing on one head and did a crown on another. They all had different personalities.” Wordlessness also meant additional time spent creating alien movements that conveyed their emotions and relatable qualities, like a sense of curiosity, while seeming both scary and realistic. “But not funny, because you don’t want people to laugh when they’re supposed to be afraid.”Varying the Grays’ individual sounds was just as essential. “Not only were we creating a voice for these aliens, but also multiple ones that felt related but unique,” said William Files, a supervising sound editor and rerecording mixer. “They are clearly from a similar species. We wanted to expand on that sonically. If we got the characterizations right, you hopefully have some idea of not only how they’re making Brynn feel, but how they feel as well.”“We were keeping some vulnerability in their language, especially towards the end where they’re feeling for Brynn,” added the sound designer Chris Terhune, who also did sound mixing and editing alongside Files.The duo knew no dialogue didn’t mean no audible feeling from Brynn. “A lot of it is in the little sounds she makes,” Files said. “We did a whole pass with her in the studio, adding little emotional breaths from her.” Mundane sounds like creaky floorboards and chirping crickets were meant to help the audience hear what Brynn is hearing.The sound team collaborated closely with the composer Joseph Trapanese. The three often had to define what would be the more prominent audio element in certain acts: the score or the sound. Trapanese avoided anything too sci-fi, leaning into the idea that Brynn herself was a lonesome alien in her town: “There’s actually more synthesized electronic material in her music than there is for the aliens.” More