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      Treat Williams, Actor Known for ‘Hair’ and ‘Everwood,’ Dies at 71

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      The veteran actor also starred in the movie “Deep Rising.” He died after a motorcycle accident in Vermont.Treat Williams, the actor known for his roles in the movies “Hair” and “Deep Rising” and the TV show “Everwood,” has died. He was 71.Mr. Williams died on Monday after an S.U.V. crashed into his motorcycle in Dorset, Vt., the Vermont State Police said in a statement.The crash occurred in the late afternoon near the Vermont-New York State border.The Vermont State Police said that a southbound S.U.V. attempting to turn left into a parking lot drove into the path of Mr. Williams’s northbound Honda motorcycle, adding that Mr. Williams was “unable to avoid a collision and was thrown from his motorcycle.”Mr. Williams, who was wearing a helmet at the time of the accident, suffered critical injuries and was pronounced dead at a medical center in Albany, N.Y., after being airlifted there, the state police said. The 35-year-old man whose vehicle hit Mr. Williams was not hospitalized.The police said an investigation was underway. No other details were immediately available.Richard Treat Williams was born in Stamford, Conn., in 1951. “Treat” is a Welsh name that has been in his family for generations.Mr. Williams moved with his family to Rowayton, Conn., as a young child, he told Vermont Magazine in a 2021 interview. His father was a World War II veteran who later worked for the Merck pharmaceutical company. His mother owned a sailing and swimming school on Long Island Sound.“Looking back on my younger years, I had an idyllic childhood, but I didn’t initially realize how idyllic it truly was until I grew older,” he told the magazine.Mr. Williams began acting in seventh grade, he told Vermont Magazine. Later, at Franklin and Marshall College in Pennsylvania, he quit the football team to focus on acting.Within a few years, he was on Broadway as the understudy to four of the male leads in “Grease,” including John Travolta. Then he began picking up roles in films starring James Earl Jones, Michael Caine and other A-list stars. One of his highest-profile roles was playing a hippie in the 1979 film version of “Hair,” directed by Milos Foreman.But his success wasn’t always assured. After a movie he starred in flopped in 1980 — the comedy “Why Would I Lie?” — Mr. Williams started flying planes for a company in Los Angeles.“I’d done eight films, none of which had been successful,” he told The New York Times in 1981. “I felt so out of control. I wasn’t working with people I wanted to work with. I was very frustrated.”Mr. Williams eventually came back to show business and racked up four more decades of roles in a wide variety of film and television projects.Among other highlights, he played the lead roles of a police officer-turned-informant in the 1981 film “Prince of the City” and a boat captain in the 1998 action movie “Deep Rising.”He also starred in “Everwood,” a WB television series about a New York neurosurgeon who starts a new life with his family in the mountains of Colorado after his wife dies in a car accident. The show debuted in 2002 and ran for four seasons.More recently, Mr. Williams played the impossibly single old flame of a woman who tries to sell her hometown in the 2020 Netflix musical “Dolly Parton’s Christmas on the Square.” He also played a retired detective in the 2022 HBO series “We Own This City.”Information about Mr. Williams’s survivors was not immediately available.Hours before he died, Mr. Williams, who lived in Manchester Center, Vt., posted a photo on Twitter that he appeared to have taken from the seat of his lawn mower.“Mowing today,” he wrote. “Wish I could bottle the scent.”Jesus Jiménez More

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      Golden Globes Are Sold and Hollywood Foreign Press Is No More

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      After a series of ethics, finance and diversity scandals, the embattled awards show will continue but the group that was behind it for decades will not.The Hollywood Foreign Press Association, a group of entertainment journalists from overseas that, despite frequent missteps, built the Golden Globe Awards into a marquee event, died on Monday after a series of scandals. It was 80.The end of the embattled H.F.P.A. was announced after California officials agreed to a complicated reorganization plan that will allow the Golden Globe Awards to continue.Eldridge Industries, a holding company owned by the billionaire investor Todd Boehly, and Dick Clark Productions, which is part of Penske Media, agreed to buy the foreign press association’s Golden Globe assets for an undisclosed price. The proceeds will go to a new nonprofit, the Golden Globe Foundation, which will continue the H.F.P.A.’s philanthropic efforts; it gave more than $50 million to entertainment-related charities over the last three decades.Members of the foreign press association — primarily freelance entertainment journalists — will become employees of a yet-to-be-named for-profit entity that will try to expand the Golden Globes as a brand, according to an Eldridge spokesman. The former members (there are fewer than 100) will earn $75,000 annually for five years, with duties that include watching films and television shows and voting for the awards; and producing promotional materials, including writing articles for a Golden Globes website. It was unclear if the members could continue freelancing (mostly celebrity interviews) for publications overseas.The Los Angeles Times discovered in 2021 that the H.F.P.A. had no Black members, setting off an outcry in the entertainment industry that resulted in NBC canceling the 2022 Globes telecast. The ceremony returned to NBC in January under a one-year agreement. Eldridge and Dick Clark Productions, which has produced the Globes telecast for decades, have since been looking for a new broadcast network or streaming service partner.The 81st Golden Globe Awards ceremony has been scheduled for Jan. 7.In a statement, Mr. Boehly called the dissolution of the H.F.P.A. a “significant milestone in the evolution of the Golden Globes.” He thanked the association’s former president, Helen Hoehne, for helping push through reforms, including “a robust approach to governance” that had helped professionalize an awards entity long known for infighting and scandal.“We have a great team in place to grow this iconic brand,” Jay Penske, the chief executive of Penske Media, said in a statement.The foreign press association had long been viewed as unserious and slippery. In the late 1960s, the Federal Communications Commission had the Globes temporarily booted from the airwaves, saying it “misled the public as to how the winners were determined.” In the 1990s and 2000s, Harvey Weinstein, the since-imprisoned Miramax co-founder, manipulated the organization in ways big and small — expensive gifts and special access to stars and his own time, at a moment when other studio chiefs could barely hide their derision. He was often rewarded with a stunning number of nominations.Hollywood stopped turning a blind eye to the organization’s failings in 2021, after the killing of George Floyd in police custody in 2020 prompted a national conversation about racism and inequity. More than 100 publicists closed ranks, refusing to make stars available for Golden Globe appearances and contributing to NBC’s cancellation of the 2022 telecast. More

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      Netanyahu Trial Gets a Hollywood Mention From a Political Rival

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      Yair Lapid, a former colleague and now nemesis of Prime Minister Benjamin Netanyahu, testified that he had been asked to help a wealthy film producer with a tax break.The leader of Israel’s political opposition, Yair Lapid, testified on Monday in the long-running corruption trial of Prime Minister Benjamin Netanyahu, recounting how Mr. Netanyahu had lobbied him nearly a decade ago to back tax breaks favoring an influential Israeli film producer.The claim is a small part of a yearslong prosecution in which Mr. Netanyahu is accused of granting political favors to several businessmen and media moguls in exchange for expensive gifts and positive news coverage, charges that he denies.The appearance of Mr. Lapid — once a colleague of Mr. Netanyahu’s and now his nemesis — enlivened a slow-moving courtroom process that has largely receded into the background of Israeli public life since it began with great fanfare more than three years ago.Mr. Lapid served as prime minister for several months last year, before losing power to Mr. Netanyahu, Israel’s longest-serving leader, in December.Mr. Lapid briefly gave evidence about two short conversations with Mr. Netanyahu in 2013 and 2014, when he served as Mr. Netanyahu’s finance minister in a coalition government. Mr. Lapid said that Mr. Netanyahu twice had raised the possibility of extending tax exemptions for Israeli citizens who had returned to the country after living abroad, a mechanism that Mr. Lapid opposed.The extension would have benefited Arnon Milchan, a producer of scores of major Hollywood films including “Fight Club” and “Pretty Woman.” Prosecutors say Mr. Milchan gave Mr. Netanyahu’s family expensive gifts, including cigars and Champagne, in exchange for political favors.According to Mr. Lapid, Mr. Netanyahu twice described the tax exemption as “a good law.” But Mr. Netanyahu did not pursue the matter beyond those two exchanges, Mr. Lapid said. The prime minister gave the impression that he simply wanted to go through the motions of asking about it so that he could tell Mr. Milchan that he had tried, Mr. Lapid added.“The whole issue was marginal in real time,” Mr. Lapid said, according to Kan, the Israeli public broadcaster. “It’s hard to remember all the details.”Mr. Netanyahu has been accused of granting political favors to businessmen and media moguls in exchange for expensive gifts and positive news coverage, charges that he denies.Pool photo by Menahem KahanaThe trial began in 2020 and will most likely not hinge on Mr. Lapid’s evidence: It is expected to last several more years and features several more accusations. Among other claims, prosecutors accuse Mr. Netanyahu of promising to pursue legislation that would create unfavorable business conditions for a newspaper owned by Sheldon Adelson, a billionaire supporter of Mr. Netanyahu and President Donald J. Trump, in exchange for positive coverage from one of the newspaper’s competitors.Many Israelis have tuned out of the day-to-day proceedings, with a large proportion having already made up their minds about Mr. Netanyahu. His supporters view the trial as a trumped-up effort to delegitimize an elected prime minister, while his critics say it should disqualify him from office.But regardless of its outcome, the trial has already caused unusual political instability. It has divided Israeli society almost equally between Mr. Netanyahu’s supporters and critics, making it difficult for either Mr. Netanyahu or opponents like Mr. Lapid to win a stable majority in Parliament. That has caused several successive governments to collapse prematurely, leading to five elections in less than four years.The trial is also at the center of an ongoing dispute about the future of the Israeli judiciary.Mr. Netanyahu’s coalition seeks to overhaul the court system, giving the government greater control over the selection of Supreme Court judges and diminishing the court’s power over Parliament. Mr. Netanyahu says the overhaul is necessary to reduce the influence of unelected judges over elected lawmakers, but his critics fear that the plan will ultimately allow him to end his trial. Mr. Netanyahu denies any such intention.Mr. Lapid’s appearance highlighted the nuances beneath the surface of Israeli politics: Though he now seeks Mr. Netanyahu’s political downfall, Mr. Lapid was once his political ally — and socialized with and briefly worked for Mr. Milchan. Under cross-examination, Mr. Lapid recounted how he interviewed Mr. Milchan in the 1990s, during his previous career as a journalist, and even joined Mr. Milchan’s production company for several months.“We remained friends after that,” Mr. Lapid said, according to Kan. “When he would come to Israel, we would meet for dinners. He is a charming man and I liked him.”But that friendship did not extend to helping Mr. Milchan with his tax, Mr. Lapid said.Gabby Sobelman More

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      Book Review: ‘Wannabe,’ by Aisha Harris

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      In her essay collection “Wannabe,” Aisha Harris argues that Black critics can both appreciate, and demand more from, shifts in popular culture.WANNABE: Reckonings With the Pop Culture That Shapes Me, by Aisha HarrisBeing a Black critic in a time of exceptional art made by Black people has immense rewards and myriad risks. “Wannabe,” the debut essay collection from Aisha Harris, a co-host of NPR’s “Pop Culture Happy Hour,” is at its best when engaging with those risks and the thorny questions of her profession. In what ways does identity inform a critic’s work? And should it?Harris can laugh about the demands of endorsing positive representations of Blackness, no matter how trite (“When encountering Black art out in the wild, be on the lookout for Black Girl Magic, Black Love, Black Excellence and the direct involvement of Common and/or John Legend”). She cheekily pushes Issa Rae’s now-famous awards show proclamation — “I’m rooting for everybody Black” — to its most absurd extent: “It’s only right we take her at her literal word and support all Black artists and art, no matter how questionable, incompetent or just plain offensive they might be.” But when a podcast listener chastises Harris for finding the Will Smith movie “King Richard” middling, she roars back. “I don’t want to ‘just be happy’ about ‘King Richard,’” she insists. “I want interiority and surprise and characters who feel as though they have a reason to exist beyond retelling history.”It’s complicated, though. Harris recounts conflictedness about being disappointed by “A Wrinkle in Time,” which was directed by Ava DuVernay, whose film career was firmly on the rise. Harris, who wrote movie reviews for Slate and is a former editor at The New York Times, worried that a lukewarm piece could mean it would “be decades before another studio handed a movie of this stature to a woman of color.” Looking back, she arrived at a place that was “true to my own reactions to the movie without being scathing.”“Wannabe” is a blend of memoir and cultural analysis, framed as “reckonings with the pop culture that shapes me.” Harris flaunts a wide range of references, moving easily between decades and arenas. She makes smart use of Roger Ebert on Fellini, revisits “Key & Peele” sketches and dissects bell hooks’s analysis of the experimental film hero Stan Brakhage. The book is especially effective when its author leans on her personal experience. Harris grew up in Connecticut, in “predominantly white and suburban circles,” and she tenderly illustrates the trials of growing up “The Black Friend” in white environments.“These Black Friends,” Harris offers, “were a reminder of my isolation and the fact that I often felt as if I was a blip on the radar of the many white peers I attempted to befriend.”Harris braids her personal pain with incisive critiques of the trope and its limitations, constructing internal monologues for famous pop culture examples, like Gabrielle Union’s Katie in “She’s All That” and Lamorne Morris’s Winston in “New Girl.” She deftly connects the rise of the personal brand and the toxic cultures of online fandom (“The overpersonalization of pop culture begets acrimony and pathological obsession”); confronts her decision to not have kids through the prism of “The Brady Bunch” and Judd Apatow’s “Knocked Up”; and quotes from her own LiveJournal about a hurtful memory involving an oft-forgotten scene in Tina Fey’s “Mean Girls.”Still, for all its range, “Wannabe” contains occasions that demand more rigorous engagement. Contending with Dave Chappelle’s thorny legacy is limited to an aside: “While I recognize that present-day Dave Chappelle suffers from transphobic diarrhea of the mouth,” Harris writes, “I cannot pretend as though some of his old jokes no longer slap.” (She goes on to quote several of them.)And the recency of the pop references in “Wannabe” is both a strength and a weakness, and risks dating the book.The groundbreaking success of Disney’s “Encanto” and the multiple Oscar winner “Everything Everywhere All at Once” is likely to matter for a long time; Warner Bros. Discovery’s cancellation of the “Batgirl” film or the Harper’s letter on “Justice and Open Debate” might lose potency for the reader not engaged with the mostly-online #discourse.But enlisting movies and TV to explain the world is Harris’s expertise, arriving at “inadvertent self-formation by way of popular culture.” For readers already inclined to read culture to understand themselves, “Wannabe” is a compelling affirmation that they’re looking in the right place.Elamin Abdelmahmoud is a podcaster and the author of “Son of Elsewhere: A Memoir in Pieces,” a New York Times Notable Book in 2022.WANNABE: Reckonings With the Pop Culture That Shapes Me | By Aisha Harris | 280 pp. | HarperOne | $29.99 More

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      What’s on TV This Week: ‘How Do You Measure a Year?’ and ‘Project Runway’

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      HBO airs a documentary about a father and daughter. And the fashion competition show is back for its 20th season.Between 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, June 12-18. Details and times are subject to change.MondayFrom left, Adam Devine, Aubrey Plaza, Anna Kendrick and Zac Efron in “Mike and Dave Need Wedding Dates.”Gemma LaMana/Twentieth Century Fox Film CorporationMIKE AND DAVE NEED WEDDING DATES (2016) 7 p.m. on E!. If you’re looking for something goofy with a hint of escapism and a whisper of romance to start the week, this could be the movie for you. The story follows Mike and Dave (Adam Devine and Zac Efron), brothers who have been known to ruin family events with their antics. With the wedding of their sister, Jeanie (Sugar Lyn Beard), coming up, their parents tell them that they have to show up with dates. The brothers end up finding Tatiana and Alice (Aubrey Plaza and Anna Kendrick), who are trying to scam their way to a free vacation. Chaos ensues.TuesdayREAL HOUSEWIVES OF NEW JERSEY: REUNION 8 p.m. on Bravo. The ladies in New Jersey seem to have a lot to discuss this season, because the usual sit-down reunion with the Bravo producer and host Andy Cohen has been divided into three parts, with this being the final installment. Teresa Giudice, Melissa Gorga and Dolores Catania are just a few of the housewives who will be there, exposing texts and airing dirty laundry.WednesdayHOW DO YOU MEASURE A YEAR? 9 p.m. on HBO. If you were watching the musical “Rent,” that question would be answered, “In daylights, in sunsets, in midnights, in cups of coffee,” but for the filmmaker Jay Rosenblatt, he is asking the question perhaps more literally. Over the course of 17 years, Rosenblatt captured moments with his daughter, Ella, on her birthdays. From the ages of 2 to 18, Jay would sit Ella down and ask the same couple of questions — including how she would describe herself and how she would define the word “power.” The film earned an Oscar nomination this year.TEMPTATION ISLAND 9 p.m. on USA. Unlike reality dating shows like “Love Island” or “Bachelor in Paradise,” which send a bunch of singles to a beach to try to find love, this show sends already established couples to a beach in Hawaii. When they arrive, they are split up into different houses, each of which has singles who are ready to mingle. The object of the show is to see if the original couples are going to leave together or leave with someone else.Jordan Rodgers and JoJo Fletcher, the hosts of “The Big D.”Rebecca Smeyne for The New York TimesTHE BIG D 10 p.m. on E!. The “D” in this title refers to a not-so-fun word: divorce. JoJo Fletcher and Jordan Rodgers (of “Bachelor” franchise fame) host this reality show that brings together divorced couples who are looking for another shot at love. On the beaches of Costa Rica, the contestants can choose to try to rekindle things with their ex or find a new spark. The hosts, who are married, are also joined each episode by a relationship coach who tries to help the new couples and former couples through their new and old romances, and tries to set them up for relationship success in the future.ThursdayGUESS WHO’S COMING TO DINNER (1967) 8 p.m. on TCM. Katharine Houghton and Sidney Poitier star in this film about an engaged interracial couple who visit the woman’s liberal white parents, prompting her parents to confront their feelings of racism toward her Black partner. The film’s box office success had an impact on future film marketing as it related to race issues. It “is a most delightfully acted and gracefully entertaining film, fashioned much in the manner of a stage drawing-room comedy, that seems to be about something much more serious and challenging than it actually is,” Bosley Crowther wrote in his review for The New York Times.PROJECT RUNWAY 8 p.m. on Bravo. For its 20th season, this reality competition show is bringing back 14 memorable past contestants to again grind away on their sewing machines in the hopes of showing what they can bring to the world of fashion. Christian Siriano will return as a mentor, and judges for this season are Nina Garcia, Elaine Welteroth and Brandon Maxwell, with a list of celebrity guest judges lined up.FridayStacey Dash and Alicia Silverstone in “Clueless.”Paramount PicturesCLUELESS (1995) 8 p.m. on Pop TV. As IF you could miss the airing of this ’90s cult favorite. Follow Cher (Alicia Silverstone) as she navigates her crushes, tries to pass her driver’s test and schemes with her friends Dionne (Stacey Dash) and Tai (Brittany Murphy). The film, which is loosely based on “Emma” by Jane Austen, “is best enjoyed as an extended fashion show (kudos to the costume designer, Mona May) peppered with amusing one-liners, most of which Ms. Silverstone gets to deliver,” Janet Maslin wrote in her 1995 review of the film for The Times.SaturdayJOHN EARLY: NOW MORE THAN EVER 10 p.m. on HBO. The comedian John Early, probably most known for his role in “Search Party,” now has a televised special on HBO that is part stand-up comedy, part rock show. In it, he tells jokes, performs covers of songs and puts on behind-the-scenes-type skits.SundayRIDLEY: THE PEACEFUL GARDEN 8 p.m. on PBS (check local listings). This British police procedural stars Adrian Dunbar as the titular role — Alex Ridley, a former detective who had to take a leave of absence after losing his wife and daughter in a house fire and suffering a subsequent nervous breakdown. He comes back to the job to investigate the murder of a sheep farmer. Though the show can currently be found on BritBox, it is airing in the United States for the first time. More

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      Jessie Maple, Pathbreaking Filmmaker, Is Dead at 86

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      She was believed to be the first Black woman to produce, write and direct an independent feature film. She also broke ground as a union cinematographer.Jessie Maple, who built careers as a camerawoman and an independent filmmaker when Black women were almost nonexistent in those fields, and who then left meticulous instructions for later generations to follow in her footsteps, died on May 30 at her home in Atlanta. She was 86.Her death was confirmed by E. Danielle Butler, her longtime assistant and the co-author of her self-published 2019 memoir, “The Maple Crew.”Director and camerawoman were just two of Ms. Maple’s many jobs. She also worked as a bacteriologist; wrote a newspaper column; owned coffee shops; baked vegan cookies; and ran a 50-seat theater in the basement of her Harlem brownstone.Ms. Maple had been writing a column called Jessie’s Grapevine for The New York Courier, a Harlem newspaper, when she moved to broadcast journalism from print in the early 1970s because she wanted to reach more people.After studying film editing in programs at WNET, New York’s public television station, and Third World Cinema, the actor Ossie Davis’s film company, and working as an apprentice editor on the Gordon Parks films “Shaft’s Big Score!” (1972) and “The Super Cops” (1974), Ms. Maple realized that she yearned to be behind the camera.In 1975 she became the first African American woman to join New York’s cinematographers union (now called the International Cinematographers Guild), according to Indiana University’s Black Film Center and Archive, which holds a collection of her papers and films. But, she said, the union banned her after she fought to change rules that required her to complete a lengthy apprenticeship.“If I had waited, I never would have become a cameraperson,” Ms. Maple told The New York Times for a 2016 article about women who broke barriers to work on film crews. “So I took ’em to court.”Ms. Maple with cast members on the set of her second feature film, “Twice as Nice,” the story of twin sisters who are college basketball stars.Black Film Center Archive, Indiana University, BloomingtonShe sued several New York television stations for gender and racial discrimination in the mid-1970s, and she won a lawsuit against WCBS in 1977 that earned her a trial period with the station. That blossomed into a freelance career there and at the local ABC and NBC stations.Ms. Maple wrote that she faced crew members who did not want to work with her and nasty whispers, sometimes quite audible, behind her back. But she persevered, even when she got assignments that felt especially difficult — for example, flying in a helicopter to get aerial footage on a near-daily basis even though she had motion sickness.In 1977 Ms. Maple wrote about her experiences in “How to Become a Union Camerawoman,” a detailed guide to succeeding in a forbidding industry.But as TV news moved from film to video, Ms. Maple decided that she would rather become an independent filmmaker, with complete control of her work. She made short documentaries with Leroy Patton, her husband, including “Methadone: Wonder Drug or Evil Spirit?,” before turning to features.Ms. Maple said she wanted to shoot films about issues that were important to her community.“I want to tell the stories about things that bother me which may not otherwise be told,” she wrote in her memoir. “I strive to use the resources that are around me. Most importantly, I work to give voice to my people and the challenges we face.”According to the Black Film Center and Archive, Ms. Maple was the first known African American woman to produce, write and direct an independent feature film. That film, “Will” (1981), followed a former college basketball player struggling with addiction (played by Obaka Adedunyo) who takes in a 12-year-old boy to prevent him from developing a habit of his own. Loretta Devine, in her first film role, played Will’s significant other.Ms. Maple said she wanted to shoot films in her community about issues that were important to it. “I work, she said, “to give voice to my people and the challenges we face.”Black Film Center Archive, Indiana University, BloomingtonMs. Maple’s second feature, “Twice as Nice” (1989), was the story of twin sisters, both college basketball standouts, who are preparing to take part in a professional draft. The movie starred Pamela and Paula McGee, twins who won back-to-back N.C.A.A. basketball championships at the University of Southern California but were not professional actors.In 1982 Ms. Maple and Mr. Patton opened a theater to show “Will” and other independent films in the basement of their brownstone on 120th Street in Harlem. They called it 20 West, billed it as “the home of Black cinema” and featured movies by up-and-comers like Spike Lee. They closed it about a decade later — because, she said, she wanted to focus more on her own films.Ms. Maple’s films have achieved greater recognition in recent years than they did when they were released. In 2015 the Museum of Modern Art screened “Will”; that same year, the Film Society of Lincoln Center (now Film at Lincoln Center) showed both her features as part of a series called “Tell It Like It Is: Black Independents in New York, 1968-1986.”Ms. Maple in 2016. A year earlier, her films had been shown at both the Museum of Modern Art and Lincoln Center.Dustin Chambers for The New York TimesMs. Maple was born on Feb. 14, 1937, in McComb, Miss., about 80 miles south of Jackson, the second oldest of 12 children. Her father was a farmer, her mother a teacher and dietitian.Her father died when she was 13, and her mother sent her and many of her siblings to the Northeast, where she went to high school.After high school she studied medical technology and then started working in bacteriology. She eventually ran a lab at the Hospital for Joint Diseases and Medical Center (now part of New York University’s hospital system) in Manhattan while the hospital administration searched for a permanent replacement because, she wrote, she did not have a Ph.D. She was credited with leading the preliminary identification of a new strain of bacteria; on her lunch breaks, she joined other, lower-paid workers who were trying to organize.It was a steady, well-paying job, but Ms. Maple, who was married and had a young daughter, tired of the work and left bacteriology in 1968 to pursue journalism. She was on assignment for a magazine in Texas when she met Mr. Patton, a photographer for Jet and Ebony magazines who lived in Los Angeles, and they developed a bicoastal relationship.Ms. Maple had separated from her husband; Mr. Patton was still living with his wife. In time they divorced their spouses and married, and Mr. Patton moved to Manhattan. (Ms. Maple was sometimes billed as Jessie Maple Patton in her film work.)Ms. Maple is survived by her husband; her daughter, Audrey Snipes; five sisters, Lorrain Crosby, Peggy Lincoln, Debbie Reed, Camilla Clarke Doremus and Stephanie Robinson; and a grandson.Ms. Maple worked relentlessly to accomplish her dreams. She supplemented her income through ventures including two Harlem coffee shops she ran with Mr. Patton and a line of vegan cookies she made in the 1990s, which were eventually available at retailers on the East Coast.“I was too busy doing the work to slow down,” she wrote in her memoir. “I’d like to believe that my efforts have paved the way for the people behind me to work just as hard but struggle a little less.” More

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      How It Takes an Old ‘Beast Wars’ to Make a New ‘Transformers’

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      The Canadian-made computer animated series “Beast Wars: Transformers” serves as the unlikely basis for the latest film in the popular franchise.This summer’s “Transformers: Rise of the Beasts” is the latest of seven films in the long-running series of live-action films based on Hasbro’s hugely popular toy franchise; the first since the critically acclaimed 2018 spinoff, “Bumblebee”; and the first mainline installment since the Michael Bay-directed “Transformers: The Last Knight” (2017). Like all of the films in the series to date, “Rise of the Beasts” is based on characters first designed in 1984 as a line of children’s action figures, much like Mattel’s Masters of the Universe or Hasbro’s own G.I. Joe. But this new chapter also pulls from an unusual source: “Beast Wars: Transformers,” a somewhat obscure Canadian television show that ran from 1996 to 1999.A scene from “Beast Wars: Transformers.”Alliance Atlantis Communications“Rise of the Beasts” takes place largely in New York in the 1990s, and follows the action-packed exploits of a race of powerful robots who live in disguise as cars and trucks, including the series hero Optimus Prime (Peter Cullen, reprising his role as voice actor from all of the previous films). This time around, Prime and his allies are joined by the Maximals, time-traveling Transformers from the distant future who turn into animals rather than vehicles: They include the rhinoceros Rhinox (David Sobolov), the falcon Airazor (Michelle Yeoh), the cheetah Cheetor (Tongayi Chirisa) and the gorilla Optimus Primal (Ron Perlman), a descendant of Prime. All of the new animal Transformers have been faithfully lifted from “Beast Wars,” which featured these characters living on a barren alien planet and doing battle with the nefarious Blackarachnia (a spider) and Scorponok (a scorpion), among other foes with similarly literal names.“Beast Wars” was produced in Vancouver, British Columbia, by the animation company Mainframe Studios, which had previously developed “ReBoot,” a pioneering computer-animated series from the ’90s, for the popular Canadian children’s entertainment network YTV. Also fully computer-animated — at a time when that technology was still in its infancy — “Beast Wars” looked a little like a starker, more rudimentary version of “Toy Story,” with colorful, bulbous character models moving simply around sparse environments. The series ran for three seasons on YTV (under the more kid-friendly title “Beasties”) and in syndication across the United States, winning a Daytime Emmy for outstanding achievement in animation in 1998 and inspiring a TV sequel, several comic books and two video games — and now, almost three decades after its debut, a feature film (sort of).Were it not for some of its characters and designs resurfacing this month in “Rise of the Beasts,” it seems likely that “Beast Wars” would have continued to recede into a lasting obsolescence, forgotten to all but the most nostalgic ’90s kids and most dedicated “Transformers” fans. And while the somewhat tangential connection to the source material may prevent the movie from kicking off a sudden torrent of interest in the Canadian series — “Rise of the Beasts” has not been especially billed as a “Beast Wars” movie, and the show has scarcely come up during press for the film — it’s still a good occasion to give the series its long-awaited due. Happily, the entire original run of “Beast Wars” was released on home video by Shout Factory in 2011 and is now available for purchase on Amazon Prime Video. More

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      Who Created Flamin’ Hot Cheetos? A New Movie Seeks Answers

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      The film, now streaming on Hulu and Disney Plus, was adapted from a debunked memoir, but it does reveal how food brands want to be seen.Like Oscar Isaac, I occasionally use chopsticks to eat hot Cheetos, a technique that keeps their red dust from sticking to my fingers. It’s the neatest way to keep pace with a perfectly engineered snack, designed both to satisfy the desire for its prickly heat and violent crunch, its convincing tang and mellow sweetness, and to fuel an immediate need to revisit it.There are films this year celebrating (and satirizing) the invention of all kinds of consumer products, including the BlackBerry, Air Jordans and Tetris, but I never imagined that this spicy little snack produced by a multinational corporation could be the hero of a late-capitalist uplift saga.“Flamin’ Hot,” directed by Eva Longoria and streaming now on Hulu and Disney Plus, is a frothy, optimistic, very American film about Richard Montañez, a Mexican American kid from San Bernardino County who grows up to work at a Frito-Lay plant and dreams up a billion-dollar idea: Flamin’ Hot Cheetos.Through Montañez, the rise of the fingertip-staining, habit-forming, spicy corn-based snack becomes a story of the American dream — a ’90s-style janitor-to-executive tale fueled by pure grit and guts. Is it Montañez’s biopic, or the snack’s? In the film, there’s no difference, and success is a blurry, feverish longing. Montañez imagines his personal triumph as tangled up with the product’s, and seems convinced that corporate approval of hot Cheetos will somehow translate to respect and representation for working-class Mexican Americans. If that all seems a bit too tidy, a bit too good to be true, well, it’s because it is.“Flamin’ Hot” was adapted from the memoir-ish self-help book of the real-life Richard Montañez. (One example of its guidance: “You can start your journey by putting your hunger to work for you so you can move past your fears.”). Though Mr. Montañez did work his way up from janitor to marketing executive at Frito-Lay, a Los Angeles Times investigation in 2021 thoroughly debunked the story of his inventing hot Cheetos.Jesse Garcia plays Mr. Montañez as a charming and somewhat unreliable narrator of his own story.Searchlight Pictures/20th Century StudiosIn fact, in the late 1980s, Frito-Lay was losing on small-bag snack sales and getting desperate. Testing a spicy flavor line was a coordinated corporate strategy, and hot Cheetos were first released to the company’s test markets in Chicago, Detroit, Cleveland and Houston, not Southern California, where the film is set.Mr. Montañez’s version was admittedly way more fun than the truth, but adapting it was also an opportunity to revise, reshape and ultimately align the story of hot Cheetos with consumers.In the film, getting ready for his pitch to the executives, he practices his lines with a co-worker at the factory: “The Hispanic market will not be ignored!” But in the big meeting, he softens, admitting both his strategy and his vulnerability: “I want to know that I matter to you, to this company, to the world.”In the years since they were introduced, Flamin’ Hot Cheetos have become a billion-dollar product for Frito-Lay.The Image Party/ShutterstockHot Cheetos are great, but I don’t know — does anyone think a snack can do all that? Gushers can tweet about #BlackLivesMatter, M&M’s green mascot can switch from heels to flats and Skittles can print new packaging for Pride, but we all know that gestures from food brands tend to be hollow.In “Flamin’ Hot,” the PepsiCo chief executive Roger Enrico gives away the game: “You still think I’m investing in a janitor?” he says. “The Hispanic market is the future and this man is going to lead us there.”It sounds like a betrayal, but it’s not. It’s exactly what Montañez, who would later become known as the “godfather of Hispanic marketing” has been fighting for from the start — not for people, but for consumers — and the film exalts it.A murky and heartbreaking impulse drives Montañez from the start of the film, when he realizes that the elementary school bullies making fun of his lunch actually kind of like it. He starts charging them 25 cents per foil-wrapped bean burrito, converting his humiliation into cold, hard cash. Maybe he can’t get his haters to like him, but at least they like his food. Later, at the Frito-Lay factory, Montañez and his co-workers “fight” corporate, which refuses to invest in marketing hot Cheetos properly, setting up the product — and by extension, Montañez and his crew — to fail. They find their own ingenious, dodgy ways to get the product off the shelves in Rancho Cucamonga. And Enrico, ultimately impressed by the numbers, calls Montañez to say he’d like the factory to produce five million cases.Mr. Garcia, left, and the director, Eva Longoria, on the set of “Flamin’ Hot.”Searchlight Pictures/20th Century StudiosThe demand for more hot Cheetos is framed as our hero’s great victory, but the terms of the battle are a little flimsy, and its setup is insincere. Let’s rewind: Factory workers faced up against corporate suits to … do what exactly? To help those suits. To help Frito-Lay claim the Hispanic market in Southern California and to make the company more money.Though that isn’t how things went down, the Flamin’ Hot flavor line is in fact a wild success story tied to its fans, who constantly expand on the brand’s reach with viral recipes like hot Cheetos salads, elotes and fried chicken, until the dishes become canon. In an interview, Ms. Longoria emphasized the sense of collective ownership over the snack: “I like to say, this isn’t PepsiCo’s product, this is our product. The Hispanic community made this product popular, we made it a pop-culture phenomenon.”Much like the “Flamin’ Hot” origin story, that’s not entirely true. Though the film romanticizes labor on the production line, factories that produce hot Cheetos also employ underage migrant workers, mostly from Central America, whose lungs sting from all the spicy dust in the air. The billion-dollar brand belongs totally and patently to PepsiCo, not the people who buy or make the snacks.What “Flamin’ Hot” does get right, in a glossy fictional origin story, is showing us exactly how food brands wish we would see them — wholesome and harmless and completely essential to our lives, their wins and successes so tangled up with our own, it’s impossible to tell the difference.Follow New York Times Cooking on Instagram, Facebook, YouTube, TikTok and Pinterest. Get regular updates from New York Times Cooking, with recipe suggestions, cooking tips and shopping advice. More