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      Golden Globes Winners 2023: The Complete List

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      The winning films, TV shows, actors and production teams at the 2023 Golden Globe Awards.Going into a typical awards show, the big question is, of course, who and what will win the top honors. This year’s Golden Globes ceremony is not a typical awards show.The 80th Golden Globe Awards will be the first edition of the annual spectacle to be on TV since an ethics, finance and diversity scandal involving the Hollywood Foreign Press Association, the group behind the awards, led NBC to decide not to air the 2022 ceremony. So the biggest question is really whether the show’s organizers can win back the trust of viewers, the network and the Hollywood figures whose presence it relies on.Still, there will be formal winners. As in years past, the show will hand out honors in both film and TV categories. Nominees in the top film categories include “The Fabelmans,” “Tár,” “Elvis,” “Everything Everywhere All at Once” and “The Banshees of Inisherin.” TV shows up for multiple awards include “Abbott Elementary,” “House of the Dragon,” “Better Call Saul” and “The Crown.”The ceremony is set to air on Tuesday at 8 p.m. Eastern time (5 p.m. Pacific time) on NBC, and to be streamed on NBCUniversal’s streaming service, Peacock. Follow below for updates as winners are announced. More

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      Ruggero Deodato, Whose ‘Cannibal Holocaust’ Enraged, Dies at 83

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      He directed a variety of movies in a variety of genres. But it was a gruesome found-footage film that brought him both fame and infamy.When you make the most infamous movie ever to come out of a genre sometimes called the cannibal vomitorium, you’ve achieved true cinematic notoriety.That distinction belongs to the Italian director Ruggero Deodato, whose “Cannibal Holocaust” is said to have gotten him briefly accused of murder because of death scenes that seemed a little too real, as well as generating complaints for obscenity and animal cruelty.The film, released in 1980 in Italy and later (sometimes after overcoming bans) in other countries, drew scalding comments from critics and some film scholars. In 1985 the “Phantom of the Movies” column in The Daily News of New York called it “the kind of brain-damaged, stomach-churning cinematic offal that gives junk movies a bad name.”And yet the movie also developed a cult following and is widely credited with influencing later films, especially “The Blair Witch Project” (1999), which, like “Cannibal Holocaust,” used a found-footage conceit intended to leave viewers asking, “Was it real?”Mr. Deodato died on Dec. 29 in Rome. He was 83.Eugenio Ercolani, a filmmaker and film historian who had interviewed Mr. Deodato extensively, confirmed the death. He said Mr. Deodato had pneumonia and had been experiencing kidney and liver failure.Mr. Deodato made a variety of movies in a career that began in the 1960s, as well as directing commercials and episodes of Italian television series. There was, for instance, “Live Like a Cop, Die Like a Man” (1976), a crime thriller that Mr. Deodato said was one of his personal favorites. “Last Feelings” (1978), a romantic drama about a competitive swimmer who learns he has a terminal illness, drew comparisons (usually unfavorable) to “Love Story,” the 1970 American blockbuster.But his horror films of the late 1970s and ’80s overshadowed everything else. He directed in a subgenre that, generally speaking, featured encounters between modern Westerners and jungle dwellers, with the Westerners not faring well. Before “Cannibal Holocaust,” he worked the territory with “The Last Survivor” (1977, also released under assorted other titles), in which oil prospectors whose plane is damaged in a rough landing in the Philippines are greeted by cannibals.“Director Ruggero Deodato’s unselective barrage of torture and bloodletting includes termites eating human flesh, a python eating an iguana and a girl giving birth and tossing her infant to a hungry crocodile,” Linda Gross wrote in a 1978 review in The Los Angeles Times.“Promotion material claims ‘The Last Survivor’ was made among authentic tribes and that one crew member who disappeared during filmmaking is presumed to be a victim of cannibalistic rites,” she added. “Pity the cannibals didn’t eat the film instead.”And then came “Cannibal Holocaust.” Filmed in Leticia, in the rain forest of southern Colombia near the country’s borders with Peru and Brazil, it tells the story of an American professor who travels to the Amazon to investigate the disappearance of four journalists who had gone there to make a documentary on cannibal tribes. He finds their film, which recorded atrocities the journalists themselves committed as well as their brutal deaths.Me Me Lai and Massimo Foschi in Mr. Deodato’s “The Last Survivor” (1977), also released under other names, including “Jungle Holocaust,” which one reviewer called an “unselective barrage of torture and bloodletting.”Erre CinematograficaThough Mr. Deodato used local villagers for much of the cast, he brought in some young actors to play the Westerners and, he said, had them sign agreements to not appear in anything else for a year, to keep up the illusion that parts of the movie were real.That came back to haunt him. He said he was accused of actually murdering the actors — of, essentially, making a snuff film — and had to seek them out and produce them in public to get those charges dropped. Other charges, though, stuck, including ones stemming from the real deaths of several animals during the filming.“To confiscate the film the authorities applied a public health law banning the importing of Spanish bullfighting in Italy, and on the basis of this law they seized the film,” he told Starburst magazine years later. “I was fined millions of lira and given a four months suspended sentence.”Mr. Ercolani, who included an interview with Mr. Deodato in his book “Darkening the Italian Screen: Interviews With Genre and Exploitation Directors Who Debuted in the 1950s and 1960s” (2019) and produced the special features included in a recent rerelease of “Cannibal Holocaust,” said that Mr. Deodato “in many ways composed, rather than directed, ‘Cannibal Holocaust,’ as if in a long improvisational jazz session.”“Ruggero Deodato was a director who put himself at the service of the market’s needs,” Mr. Ercolani said by email. “He wasn’t an intellectual, but he was an acutely instinctive man and director. He loved the process of storytelling, may it be in films, TV series or commercials. He had a great sense of rhythm and could recognize a good story.”“This is not to say he wouldn’t put any thought into what he did,” he added, “but he was a man who gave priority to what he felt rather than what he thought. In many ways you could say he followed his gut right into film history with ‘Cannibal Holocaust.’”Mr. Deodato was born on May 7, 1939, in Potenza, in southern Italy. His family moved to the Parioli neighborhood of Rome when he was a child, and he got a taste of acting.“I participated in the early to mid-’50s in a handful of films,” he said in his interview for Mr. Ercolani’s book, “and I was even called by Federico Fellini to audition for a role — I don’t remember for which film — but in the meantime I had gone through puberty and I had lost my boyish charm. I wore glasses, had bad skin, and was discarded immediately.”As a teenager he befriended Renzo Rossellini, son of the director Roberto Rossellini, which provided him with more connections in the film world. In the 1960s he worked with a number of Italian directors on a variety of movies, including Antonio Margheriti’s horror and fantasy titles (“Horror Castle,” “Anthar l’Invincibile”) and Sergio Corbucci’s westerns (“Django”).“I was lucky enough to have been exposed to many different directors,” he said, “and each one of them has been essential to my growth. Margheriti taught me a lot about special effects, while from Sergio Corbucci I inherited a certain taste for violence and brutality.”Mr. Deodato was married to the actress Silvia Dionisio in the 1970s and since the 1990s had been in a relationship with the actress Valentina Lainati. He is also survived by a son, Saverio, and a daughter, Beatrice.Mr. Deodato’s movies after “Cannibal Holocaust” included “Cut and Run” (1985), which involved a cable news crew, drug smuggling and lots of corpses. “You can wait years for a movie as bad as ‘Cut and Run,’” Bill Cosford wrote in a review in The Miami Herald. He also acted occasionally, in his own movies and those of others; his credits included an appearance in “Hostel: Part II” (2007) by the director Eli Roth, a fan of “Cannibal Holocaust.”Mr. Deodato was still racking up minor directing credits until a few years ago. Throughout his career, he was constantly asked about his most famous creation.“He would at times embellish and build upon the numerous legends and myths that surround the complicated making of the film, often contradicting himself in the process,” Mr. Ercolani said. “What is evident is that ‘Cannibal Holocaust’ ended up being a gilded cage for its director.“I feel a large portion of Deodato’s life has been passed battling his own creature, trying to reason with it, or maybe simply trying to fully understand it, and fending off perceptions the film generated about him over the years while embracing the fame it brought him. Deodato was a fun-loving, womanizing, outrageous, egocentric man, larger than life in so many ways, who found himself living for decades with this dark, fascinatingly twisted creature that he tried to educate and direct but that would not listen.” More

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      Film Forum Director Karen Cooper to Step Down After 50 Years

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      Karen Cooper, who took over the nonprofit cinema in 1972 and transformed it into a $6 million-a-year operation, will step down in July after five decades.When Karen Cooper took over Film Forum in 1972, the theater was a projector and 50 folding chairs in a loft on Manhattan’s Upper West Side, showing what were then known as underground films. The annual budget was $19,000. Cooper projected the films — sometimes herself — on a single 16-millimeter machine no larger than a microwave.“I’d say to someone, ‘I show independent films,’ and they’d say, ‘You mean pornography?’” Cooper, 74, recalled with a laugh in a recent conversation at the nonprofit art house cinema’s offices, now located across the street from the theater in Greenwich Village.But now, Cooper, who has become synonymous with Film Forum — which has grown into a four-screen space with a $6 million-a-year budget and an influence that reaches far beyond New York City — is stepping down from the director role she’s filled for half a century, the organization announced on Monday.“I’ve thought about this for years,” said Cooper, whose last day will be June 30, though she will remain on staff as an adviser. “I wanted to have a smooth transition.”Succeeding her will be Sonya Chung, 49, the theater’s deputy director, who began working at Film Forum in 2003 as the director of development. Chung, who has a master’s degree in fiction writing from the University of Washington, in Seattle, left in 2007 to write and publish two novels (she also taught literature and writing for three years at Columbia University and for nine years at Skidmore College, both in New York). She returned in 2018 as a programming consultant and a member of the advisory committee, and was hired as deputy director in February 2020.The Projectionist Chronicles a New Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Meet the Newer, Bolder Michelle Williams: Why she made the surprising choice to skip the supporting actress category and run for best actress.Best-Actress Battle Royal: A banner crop of leading ladies like Michelle Yeoh and Cate Blanchett rule the Oscars’ deepest and most dynamic race.‘Glass Onion’ and Rian Johnson: The director explains why he sold the “Knives Out” franchise to Netflix, and how he feels about its theatrical test.Jostling for Best Picture: Weighing voter buzz, box office results and more, here’s an educated guess about the likely nominees for best picture.“Sonya has great taste and a way of articulating it,” Cooper said. “It immediately occurred to me when I met her — unbeknownst to Sonya — that she had the ability to be the director of the theater.”Cooper has been the director of Film Forum since 1972.Emma Howells/The New York TimesCooper was a newly minted 23-year-old Smith College graduate when she took over the theater founded by two film buffs, Peter Feinstein and Sandy Miller, in 1970. Over her 50-year tenure, she built a beloved cultural institution that has introduced the work of now-prominent filmmakers to American audiences, earning the affection of critics and patrons alike.She has led the theater through three relocations — Film Forum moved to its current space on West Houston Street in 1989 — and oversaw a $5 million expansion and renovation in 2018 that upgraded the seating, legroom and sightlines in all screening rooms and added a fourth, which increased the venue’s capacity to nearly 500 seats.Cooper said she was most proud of working to broaden the scope of Film Forum’s programming, introducing audiences to major German filmmakers of the 1970s like Rainer Werner Fassbinder, Werner Herzog and Wim Wenders. She was also honored to have programmed the New York premieres of ambitious documentaries such as “Asylum,” Peter Robinson’s 1972 look inside the psychiatrist R.D. Laing’s therapeutic community of people with schizophrenia living together in a group home in London; and Spike Lee’s “Four Little Girls” (1997), about the children killed in the 1963 bombing of a church in Birmingham, Ala.It’s the meticulously curated slate of new films — which Cooper, Chung and the artistic director Mike Maggiore map out on a dry erase board in the cinema’s offices as far as six months in advance — that serves as part of the draw for Film Forum’s approximately 200,000 visitors each year, along with a robust lineup of classic films programmed by the repertory artistic director Bruce Goldstein, a concession stand menu of decadent baked goods and a robust lineup of talkbacks with filmmakers.Chung says the biggest challenge facing Film Forum, which is one of the few theaters regularly to feature independent movies in New York, is competition from streaming services. It can be tough, she said, to convince people who’ve become used to watching at home to bundle up, take the subway to the theater and pay $15 for a night out.One solution, she said, is creating a memorable experience that people can’t get anywhere else. They recently hosted Q. and A. events with the filmmaker Lizzie Gottlieb, who directed the documentary “Turn Every Page — The Adventures of Robert Caro and Robert Gottlieb,” and the film’s subject, the book editor and her father Robert Gottlieb; as well as with the Polish director Jerzy Skolimowski, whose dark tale about the life of a donkey, “EO,” has been shortlisted for an Academy Award. Both events sold out, she said.“Especially post-pandemic, when we have so much streaming overload, younger people are antsy for an IRL experience,” she said, using the acronym for “in real life.”Chung also wants to cultivate a younger and more diverse audience, with a particular focus on people of color from outside the theater’s white, more affluent neighborhood. For the last several years, she has created a young members program and developed partnerships with cultural and community-based organizations like Girls Write Now, a creative writing and mentoring nonprofit for young people from underserved communities in New York City; and ArteEast, a nonprofit that presents work by contemporary artists from the Middle East, North Africa and their diasporas.And now, starting this month, the theater’s internship program — which places three college students each semester in roles in the theater’s repertory program, outreach and administration departments — will be paid.“We decided we should pay them in order to attract a more diverse group of young people to be able to work here,” Chung said.As for Cooper, a longtime resident of the far West Village who walks to work each day, she will remain an active member of the organization’s programming team. She’ll continue to represent Film Forum at the Berlin and Amsterdam film festivals. She intends to maintain her schedule of watching at least 500 films per year. She’ll continue to focus on fund-raising for the nonprofit, which raises approximately $3 million of its operating budget each year.“I never thought I’d stay here 50 years,” she said. “But where would I go? What do they say — the hedgehog knows one thing, the fox knows many things?“I’m a hedgehog,” she said. “I know one thing — how to run a movie theater.” More

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      Golden Globes: How to Watch, What to Know About the Scandal

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      The group that puts on the ceremony has promised reforms since it plunged into scandal two years ago. On Tuesday, it will try to win back viewers.In 2021, actors accepted Golden Globes remotely at a time when organizers were just beginning to grapple with a growing scandal around finances, ethics and diversity in its ranks.Last year, NBC refused to air the show at all, saying that the Hollywood Foreign Press Association, the troubled organization at the center of the scandal, needed time to make “meaningful reform.”But on Tuesday, the 80th annual Golden Globe Awards are back on NBC with a show that will attempt to win the trust of viewers and participants.What is not yet clear is how many of those viewers will return, after a precipitous drop in ratings during the pandemic, and whether celebrities and other members of the industry will appear en masse.The Globes have long had a reputation for booziness and irreverence. Will the revived ceremony still be seen as a less-staid alternative to the Academy Awards? Or will the Hollywood Foreign Press take the show more seriously?Here’s a brief history of the ceremony’s downfall, how its organizers are trying to rehabilitate it and what to expect from this year’s telecast.What brought down the Golden Globes?Days before the ceremony in 2021, an investigation by The Los Angeles Times took account of financial and ethical lapses at the Hollywood Foreign Press Association and revealed that it had no Black members.Inside the World of ‘Everything Everywhere All at Once’In this mind-expanding, idiosyncratic take on the superhero film, a laundromat owner is the focus of a grand, multiversal showdown.Review: Our film critic called “Everything Everywhere All at Once” an exuberant swirl of genre anarchy.The Protagonist: Over the years, Michelle Yeoh has built her image as a combat expert. For this movie, she drew on her emotional reserves.A Lovelorn Romantic: An ‘80s child star, Ke Huy Quan returns to acting as the husband of Yeoh’s character, a role blending action and drama.The Costume Designer: Shirley Kurata, who defined the look of the movie, has a signature style that mixes vintage, high-end designers and an intense color wheel.Gotham Awards: At the first big show of awards season, which is a spotty Oscar predictor but a great barometer for industry enthusiasm, the film took the top prize.At the time, there were 87 total members in the group, and a lawsuit filed by a Norwegian reporter, Kjersti Flaa, who had thrice been denied admittance to the group, accused members of accepting “thousands of dollars in emoluments” from members of the industry who were campaigning for recognition at the Globes. (A lawyer for the association said the lawsuit was a “a transparent attempt to shake down the H.F.P.A. based on jealousy,” The Los Angeles Times reported.)One story of wooing voters became emblematic of a reputation for accepting lavish perks. The Netflix comedy series “Emily in Paris,” which was the subject of lackluster reviews, received two nominations after dozens of association members flew to Paris to visit the “Emily” set and were put up by the Paramount Network at a five-star hotel.There was also scrutiny over how much members were paid for their involvement. According to filings from the tax year ending in June 2019, the nonprofit paid more than $3 million in salaries and other compensation to members and staff. Serving on one committee, for instance, meant $1,000 a month, a 2021 internal association report shows.How did the H.F.P.A. react?At the ceremony in 2021, the hosts, Tina Fey and Amy Poehler, made repeated jabs at the press association over its lack of Black members, and midway through the program, leaders of the group took the stage and pledged to increase the diversity of its membership.In the two years since, it has recruited new members, overhauled eligibility rules and enacted a stricter code of conduct. All existing members — some of whom have had their journalistic credentials questioned over the years — needed to reapply. The 96-member group now has six Black members — up from zero in 2021 — and has added 103 nonmember voters, a dozen or so of whom are Black.Todd Boehly, the interim chief executive, has moved to end the association’s tax-exempt status and turn it into a for-profit company with a philanthropic arm. (He has been awaiting final governmental approval for that plan, after which he is expected to disband the H.F.P.A.)How has Hollywood responded?The H.F.P.A.’s practices have been scrutinized for decades, but this time, Hollywood couldn’t turn away.Netflix, Amazon and WarnerMedia said they would not work with the association unless changes we made.There were condemnations by A-list stars and producers. Shonda Rhimes called out the organization for its treatment of her shows; Tom Cruise returned his Globe trophies; Scarlett Johansson suggested the industry step back from the H.F.P.A. until it tackled “fundamental reform.”And more than 100 Hollywood publicity firms called on the association to “eradicate the longstanding exclusionary ethos and pervasive practice of discriminatory behavior, unprofessionalism, ethical impropriety and alleged financial corruption.” Until the group made its plans for change public, the firms said, they would not advise their clients to engage with the group’s journalists.Now that the organization has outlined its plans for reform, publicists and agents say that some stars are open to participating, while others want the Globes to be permanently retired. Based on this year’s list of presenters — which include Billy Porter, Natasha Lyonne and Quentin Tarantino — many are planning to show up on Tuesday.When and how do I watch?Wait, aren’t awards shows usually on Sunday? Typically, but this one was bumped to avoid clashing with NBC’s “Sunday Night Football.”Held at the Beverly Hilton in Beverly Hills, Calif., the telecast will air at 8 p.m. Eastern time, 5 p.m. Pacific time on NBC. For the first time, the show will also be available simultaneously online, through NBCUniversal’s streaming service, Peacock.Who is the host?The comedian Jerrod Carmichael will be the master of ceremonies. His HBO special “Rothaniel,” in which he came out as gay, won an Emmy and was considered among the best of 2022. And he may be familiar to NBC viewers from his 2015-17 sitcom, “The Carmichael Show,” or from his turn as host of “Saturday Night Live” last year.Who is expected to attend?The show has announced a list of presenters, including Ana de Armas, who is nominated for her performance as Marilyn Monroe in the Netflix biopic “Blonde”; Jamie Lee Curtis, who is up for a supporting actress award for “Everything Everywhere All at Once”; and Niecy Nash, who is nominated for her role in Netflix’s “Monster: The Jeffrey Dahmer Story.”Also listed as presenters are Ana Gasteyer, Colman Domingo, Michaela Jaé Rodriguez, Nicole Byer and Tracy Morgan. Eddie Murphy and the producer Ryan Murphy are receiving special honors.It is not likely to be clear until Tuesday whether a significant group of celebrities intends to boycott the ceremony.Brendan Fraser, who is nominated for best actor in a drama for his performance as a morbidly obese man in “The Whale,” has said that he would not attend the ceremony, citing the H.F.P.A.’s handling of his accusation that a former leader of the organization, Philip Berk, groped him at a luncheon in 2003. Berk denied the accusation and is no longer a member.Who is up for awards?The film with the most nominations is “The Banshees of Inisherin,” an Irish drama from the writer-director Martin McDonagh about a fractured friendship. It is up for eight awards. “Everything Everywhere All at Once” — the sci-fi comedy about a Chinese immigrant and laundromat owner, which is co-directed by Daniel Kwan and Daniel Scheinert — is up for six.The best film directing category contains some heavyweights — James Cameron for “Avatar: The Way of Water,” Steven Spielberg for “The Fabelmans” and Baz Luhrmann for “Elvis” — as well as McDonagh, Kwan and Scheinert.On the television side, the schoolroom sitcom “Abbott Elementary,” created by Quinta Brunson, is up for the most awards, with five nominations, including best musical or comedy series.In the increasingly prestigious limited series category, the talked-about drama “White Lotus” is up against “Pam & Tommy,” “The Dropout,” “Black Bird” and “Monster.”HBO Max and Netflix are tied with the highest number of nominations, at 14 each.Brooks Barnes contributed reporting. More

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      What’s on TV This Week: ‘The Last of Us’ and the Golden Globes

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      An adaptation of a beloved video-game series debuts on HBO. And the Golden Globe Awards air on NBC.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, Jan. 9-15. Details and times are subject to change.MondayA QUIET PLACE (2018) and US (2019) 5 p.m. and 6:50 p.m. on FXM. Why do families make for such rich horror fodder? Because they have complex internal dynamics? Or because family vacations can be naturally hellish? Whatever the reasons, these two modern horror blockbusters make for a nice do-it-yourself double feature. First, at 5 p.m., “A Quiet Place,” from John Krasinski, which centers on a mother (Emily Blunt) and father (Krasinski) raising their children (Millicent Simmonds and Noah Jupe) in a post-apocalyptic world where sightless aliens hunt for humans by ear. Then, at 6:50 p.m., is Jordan Peele’s “Us,” about a mother and father (Lupita Nyong’o and Winston Duke) and their two children (Shahadi Wright Joseph and Evan Alex) who are stalked by their psychotic doppelgängers while on a seaside vacation.TuesdayA statue on display at the announcement of Golden Globe nominations in December.Michael Tran/Agence France-Presse — Getty Images80TH GOLDEN GLOBE AWARDS 8 p.m. on NBC. The Golden Globes return Tuesday night after an ethics, finance and diversity scandal involving the Hollywood Foreign Press Association, the group behind the awards, led to the cancellation of the 2022 telecast — and an ongoing debate about whether the Globes should exist at all. It’s unclear whether Tuesday’s ceremony, hosted by the comic and filmmaker Jerrod Carmichael, will be anything like the movie-awards-season bellwether the Globes have traditionally been. But the top categories include many films and shows of note: Nominees in the best picture, drama, category are “Avatar: The Way of Water,” “Elvis,” “The Fabelmans,” “Tár” and “Top Gun: Maverick.” Best picture, musical or comedy, nominees are “Babylon,” “The Banshees of Inisherin,” “Everything Everywhere All at Once,” “Glass Onion: A Knives Out Mystery” and “Triangle of Sadness.” And TV shows up for multiple awards include “Abbott Elementary,” “House of the Dragon,” “Better Call Saul” and “The Crown.”WednesdayAnya Taylor-Joy and Ralph Fiennes in “The Menu.” Eric Zachanowich/20th Century Studios, via Associated PressTHE MENU (2022) 9 p.m. on HBO Signature. Snootiness smells like caviar in this dark satire of fancy dining from the director Mark Mylod ( “Succession”). The story centers on a young couple, Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult), dining at a luxe island restaurant run by a famous chef (Ralph Fiennes). As courses are served, the night grows ever more chaotic — and, eventually, violent. The movie is far from subtle, taking on its satire “more often with cleaver than paring knife,” Jeannette Catsoulis wrote in her review for The New York Times. “Yet everyone is having such a good time, it’s impossible not to join them,” she added. “The movie’s eye might be on haute cuisine, but its heart is pure fish and chips.”ThursdayWILLIE NELSON: LIVE AT BUDOKAN 8:30 p.m. on PBS (check local listings). This 1984 concert from Willie Nelson was filmed in Japan, but, watching it, you’d be forgiven for thinking otherwise: The stage is backed by an enormous Texas flag. See Nelson perform some of his biggest songs, including “Whiskey River” and “On the Road Again,” during an era that was arguably his peak.FridayDAYS OF THUNDER (1990) 8 p.m. on AMC. Four years after “Top Gun,” the director Tony Scott released another Tom-Cruise-in-a-dangerous-vehicle movie with this drama about the escapades of a NASCAR newcomer (Cruise). You won’t hear Kenny Loggins sing “Danger Zone” here, for better or worse, though you will experience a relatively early score from Hans Zimmer.SaturdayWHITE HEAT (1949) 4:15 p.m. on TCM. James Cagney, Virginia Mayo and Edmond O’Brien star in this classic film noir about a gangster (Cagney) who unknowingly brings an F.B.I. agent into his crew. When the movie debuted in 1949, the critic Bosley Crowther pointed to its “thermal intensity” in his review for The Times. “There is no blinking the obvious,” he wrote, “the Warners have pulled all the stops in making this picture the acme of the gangster-prison film.”SundayBryan Cranston in “Your Honor.”Andrew Cooper/ShowtimeYOUR HONOR 9 p.m. on Showtime. Bryan Cranston returns as a former New Orleans judge on a downward spiral in the second season of this drama, adapted from the Israeli TV series “Kvodo.” Its grim story follows Cranston’s character, Michael Desiato, in the aftermath of his son’s involvement in a hit-and-run collision that killed the son of a prominent crime-family kingpin. The new season picks up where the first left off, in the wake of a grisly accident.THE LAST OF US 9 p.m. on HBO. “The Last of Us,” a post-apocalyptic PlayStation series, became one of the most highly regarded video games of the past decade through cinematic gameplay and strong writing. Whether that makes adapting it for TV easier (the games have a first-rate story) or harder (they already play like movies, why bother?) is an open question. Sunday’s debut episode introduces the flesh-and-blood versions of Joel (Pedro Pascal), a seasoned survivor, and Ellie (Bella Ramsey), a teenager whom Joel is hired to smuggle out of a dangerous quarantine zone. The show is a creation of Neil Druckmann, who was behind the original game series, and the screenwriter Craig Mazin, who created the 2019 HBO mini-series “Chernobyl.” More

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      Movie Trailers Keep Tweaking Well-Known Songs. The Tactic Is Working.

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      Composers are increasingly in demand for trailerization — reworking existing tracks by artists including Kate Bush, Nirvana and Kendrick Lamar to maximize their impact in film and TV previews.David James Rosen’s work has been streamed on YouTube hundreds of millions of times. He’s played a crucial role in some of pop culture’s biggest recent moments. But few people outside of the space where the entertainment and marketing industries overlap know his name.As a composer, Rosen is at the forefront of the trailerization movement: He’s in demand for his ability to rework existing songs to maximize their impact in trailers for films and TV shows.He married vocals and motifs from Kate Bush’s “Running Up That Hill” to a thunderous version of the “Stranger Things” theme in the lead-up to the second volume of the show’s fourth season. He intertwined the Nigerian singer Tems’s cover of “No Woman No Cry” with Kendrick Lamar’s “Alright” in the teaser for “Black Panther: Wakanda Forever,” symbolizing the meeting of the franchise’s future and its legacy. He put a sinister singe on Taylor Swift’s “It’s Nice to Have a Friend” for the diabolical doll thriller “M3GAN.” He added cosmic drama to Elton John’s classic rock staple “Goodbye Yellow Brick Road” for the upcoming “Ant-Man and the Wasp: Quantumania.”As potential viewers are inundated with an ever-growing number of options, studios have limited chances to build anticipation for their projects. At the same time, technological advances have made it easier than ever for products to stand out. “People want their film to have its own identity,” Rosen said in an interview at a Los Angeles coffee shop. “The genie’s out of the bottle as far as the limitless ability to customize something for your film. Clients, studios, agencies, whatever, they all know that and like to take advantage of it.”Rosen spent his 20s playing guitar in the New Jersey band the Parlor Mob. After moving to L.A. in 2014, he got a job as the in-house composer at a trailer house — the specialized production companies behind these promos. Three years later, he co-founded Totem, a music library that creates custom tracks for trailers. Much of Rosen’s output is original compositions, but the ones that get the most attention are his overhauls.“Almost never does a song just drop into a trailer and work,” he said. “Maybe it needs to feel more epic or more emotional, or maybe it needs to feel subtler with things pulled away.”“I view it as a new life for a lot of these artists’ songs,” Rosen said of his custom work for trailers.Michael Tyrone Delaney for The New York TimesTrailerization is a relatively new term and the distinctions within it are malleable. There are reimaginations, which are usually instrumental covers by composers. There are overlays, where elements are added to a song in varying degrees. Then there are remixes, where the source material is distinctly altered, often to shift the context.Some distinguish between remixes and overlays by what the composer has to play with. If there’s a full set of stems — the separated digital parts that comprise a song — it’s a remix. If stems aren’t available, it’s an overlay.Occasionally composers will be asked to create “invisible overlays,” where they make adjustments that are imperceptible to most listeners but nudge a song toward a more wide-screen sound.The trailerization process is now so common that even when a trailer uses the film’s original score, it too will be adjusted. “Trailers are a mini version of the movie,” said Cato, the one-named composer whose credits include performing a system update on Vangelis for the “Blade Runner 2049” trailer and giving Guns N’ Roses an anguished-turned-pulverizing remix for Jason Momoa’s Netflix revenge film “Sweet Girl.”“You have to suck people into the theater and tell a story in two-and-a-half minutes,” Cato added. “That is so intense and builds so quickly that most music written for the actual movie will be way too long and drawn out.”IN THE PAST, trailers often relied on the scores of previously released films, but that practice has basically become verboten. Starting in the late 1970s, the composer John Beal pioneered original scores for trailers, but that required a recording studio full of musicians, making it a costly, resource-heavy endeavor. Today, with developments in software, it’s easier than ever to simulate those sounds.“I could sit at my computer at home and you wouldn’t know that there wasn’t a 100-piece orchestra there,” Rosen said. “You couldn’t do that 10 years ago.”Many point to the trailer for “The Social Network,” from 2010 — which featured a Belgian women’s choir singing Radiohead’s “Creep” — as the origin of what became the trailerization trend. Its success incited a deluge of trailers using slow and sad covers of well-known songs, usually featuring female vocalists. Recent examples include Liza Anne’s version of “Dreams” by the Cranberries for “Aftersun” and Bellsaint’s interpretation of R.E.M.’s “Losing My Religion” for the second season of the “Chucky” TV series.Sanaz Lavaedian, the senior vice president of music for the trailer house Mocean, said that when she entered the industry in 2011, there was still a lot of resistance from artists who didn’t want their music used for commercial purposes. Covers provided a workaround. Now, as more musicians are struggling to make a living, they’re often more open to trailers not just using their music but modifying it.“There were so many bands that didn’t think licensing was cool, so they never let us do it,” Lavaedian said. “Now they’re like, ‘Oh, we’re going to make half a million dollars on this? Nevermind.’”Many high profile trailerizations are applied to songs that are decades old: Remixes and overlays allow the trailers to tap into the nostalgia evoked by the original. “If we were able to remix an Elton John song or a Beatles song, these are iconic artists,” Lavaedian said. “The second you hear their voice, you know who it is, and there’s a lot of weight in that. More weight than if it were a cover.”The composer Bryce Miller’s big breakthrough came in 2019 with the “Godzilla: King of the Monsters” trailer, which featured his custom orchestral rendition of “Somewhere Over the Rainbow” atop images of kaiju carnage. His subsequent credits include a modernization of Blondie’s “Heart of Glass” for “House of Gucci,” an orchestral blend of the Rolling Stones’ “Paint It Black” and the “Addams Family Theme” for “Wednesday” and a haunting overlay for Nirvana’s “Something in the Way” in “The Batman” trailer.“As soon as I can get rid of dated-sounding guitars and drums, I can build a more contemporary production that is pulling from more pop music sounds,” Miller said. “Older recordings sonically are a little thin and lack the heft that so many contemporary songs have.”Unique remixes began appearing in trailers going back to the mid-2010s, but it wasn’t until the one for Jordan Peele’s 2019 film “Us” that studios and audiences began to really take notice. In the fresh interpretation, with its piercing strings and moody atmospherics, a celebratory weed rap by the Oakland duo Luniz became deeply unsettling.“Every once in a while we get one of those game-changer trailers,” Lavaedian said. The “Us” trailer “is taking a song and deconstructing it down to its bones and then constructing it again to do what that film needed it to do. It was kind of groundbreaking.”MARK WOOLLEN, THE founder of the trailer house Mark Woollen & Associates, specializes in award-season films and was responsible for that transformative “Social Network” trailer. New York magazine once called him “the uncontested auteur of the trailer era.”In a phone interview, Woollen noted that in contemporary trailers, omniscient narration has largely disappeared (that means no more hackneyed “In a world …” setups) and there’s less dialogue from the film. Trailers “can be more impressionistic and elliptical in their storytelling,” he said. “It’s more about creating a feeling in a lot of the work.”As a result, the trailer’s soundtrack has become increasingly crucial. “Music is sometimes 80 to 90 percent of the process to us,” Woollen said. “It’s trying to cast that right piece of music that’s going to inspire and dictate rhythm and set tone and inform character and story, and hopefully make an impression.”For Amazon’s recent love triangle “My Policeman,” Woollen used Cat Power’s “Sea of Love,” which has become a romantic favorite among aging millennials. Though Cat Power’s original interpretation was stripped down to just the singer Chan Marshall’s voice and strums on an autoharp, Woollen had a composer overlay swelling strings as the drama became more fraught.Rosen with two of his semi-modular analog synths. “Almost never does a song just drop into a trailer and work,” he said.Michael Tyrone Delaney for The New York TimesBeyond providing the vibes, a song is often selected for a trailer because the lyrics convey the film’s narrative themes. Woollen didn’t just select “Sea of Love” because it is mysterious and seductive. He was equally guided by the refrain “I want to tell you how much I love you” and the ambiguousness of who that “you” might be.In Marvel’s “The Ant-Man and the Wasp: Quantumania” trailer, as the heroes realize the size of the predicament they’ve gotten themselves into, the sound design emphasizes Elton John singing, “I should have stayed on the farm/I should have listened to my old man.”Deciding which song a trailer uses and how it’s employed can involve studio marketing executives, the filmmakers, the team at the trailer house and the composer. A trailer’s creation can take years and is often covered by restrictive nondisclosure agreements, preventing the people behind it from discussing the details of making it, even after it has been released.Because the material is so protected, the musicians rarely see the images that will be included in the trailer. Instead they have to rely on a music supervisor or creative director at a trailer house to guide them through inception and multiple rounds of revisions. “We’re literally dealing with billions of dollars in unreleased assets,” Lavaedian said of the footage from the films. “There’s no way we can send that to a composer.”UNLESS YOU KNOW where to look on the internet, the pieces made by trailer composers are largely uncredited, and sometimes contractually so. Trailerizations are created “to live exclusively in the trailer,” Rosen said. “They serve as a piece of marketing.”But that may be changing.When the agency Trailer Park approached Miller about doing a trailerization for the first volume of the fourth season of “Stranger Things,” he was told the general plot and tone of the episodes. He’d long wanted to do something with Journey’s “Separate Ways (Worlds Apart)” and it turned out the song was on the agency’s shortlist as well.After spending months on his ominous remix, it made it to the final stages of the approval process where the original musicians had to sign off. Steve Perry, the song’s singer, loved it and came to Miller’s studio to help construct an extended remix. Then he got Netflix to release both versions on the official soundtrack, with Miller’s name attached.Miller called Perry inspiring and a joy to work with. “He’s also like a runaway train. As soon as we finished ‘Stranger Things,’ he’s like, ‘What are we doing next?’” The pair collaborated again on a trailerization of Journey’s “Any Way You Want It” for the Hulu series “Welcome to Chippendales.”Where will trailerization at large head next? Recently, there’s been an interest in 1990s alternative rock hits, with remixes of Spacehog and the Toadies appearing in trailers for “Guardian of the Galaxy Volume 3” and “The Midnight Club.” In the promo for “Babylon,” the team of composers known as Superhuman created a Jazz Age-influenced interpretation of David Bowie’s “Fame” that’s almost as nutty as the film itself.With decades of material to work with, Rosen hopes the trend continues. “There’s more opportunity for creativity from me and other people,” he said. “I view it as a new life for a lot of these artists’ songs.” More

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      ‘M3gan’ Review: Wherever I Go, She Goes

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      A state-of-the-art robot doll becomes a girl’s best friend, and dangerously more, in this over-the-top horror film.Allison Williams has a knack for playing it straight. She brings a convincing realism to the most preposterous situations or maybe she’s just an actor with limited range. Whatever the reason, it works, especially in the tricky genre where comedy meets horror. She excelled in a critical role in “Get Out,” and now in “M3gan,” a ludicrous, derivative and irresistible killer-doll movie.Williams plays Gemma, a robotics engineer with no maternal instincts who suddenly must take care of her young niece, Cady (Violet McGraw), after a car accident turned her into an orphan. The synthetic skin of this movie is about how Gemma learns to take care of a child. Thankfully, its bloody heart is far sillier. It’s the comedy of a primly composed mean-girl android turning into The Terminator.This is the kind of scary movie that needs a lead performance that is strong not fragile, deadpan not showy. Williams capably updates the mad-scientist archetype, refusing to pause and ask questions while inventing a doll of the future, one who pairs with a child and adjusts to their needs, filling in as best friend and big sister. Gemma uses Cady as her test case.In a headier movie, there might be some misdirection. But M3gan (performed by Amie Donald) is clearly pure evil from the start. She’s a great heavy: stylish, archly wry, intensely watchful. Her wanton violence never gets graphic enough to lose a PG-13 rating. In early January, when prestige holiday fare tends to give way to trashier pleasures, a good monster and a sense of humor can be enough. This movie has both, and it makes up for a slow start, some absurd dialogue (“You didn’t code in parental controls?”) and a by-the-book conclusion.While the trailer invited comparisons to “Child’s Play,” the slasher film featuring the doll Chucky, that movie had a much grimier, disreputable undercurrent before the sequels and reboots turned goofy. “M3gan” moves with a lighter touch. There’s a scene where a police officer who is investigating the disappearance of a dog blurts out a chuckle, then apologizes, saying, “I shouldn’t have laughed.”I would have preferred a handful more guilty guffaws, though there are a few, including one where M3gan treats a real bully like a doll, with disposable parts. But the tone here sticks to just enough camp to keep the crowd smirking. The director Gerard Johnstone doesn’t go for elaborate suspense sequences or truly intense scares. He wants to please, not rattle. And while there are some hints at social commentary on how modern mothers and fathers use technology to outsource parenting, this movie is smart enough to never take itself too seriously.It’s helped by the comic Ronny Chieng playing Gemma’s boss, a forever annoyed toy manufacturer who, at a rare moment of contentment, trash-talks Hasbro. Any horror fan knows that his jerkiness is as much a sign of impending doom as coeds having sex at a summer camp. When the moment arrives, it does not disappoint. M3gan struts, cartwheels, dances, makes no sense at all. What a doll.M3ganRated PG-13 for cursing, a ripped ear, ruining your childhood. Running time: 1 hour 42 minutes. In theaters. More

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      Teen Stars of ‘Romeo and Juliet’ Sue Over Nudity in 1968 Film

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      Olivia Hussey and Leonard Whiting assert in a lawsuit that Paramount Pictures should have known nude images of them in their teens were “secretly and unlawfully obtained.”When Franco Zeffirelli’s film “Romeo and Juliet” was first released in 1968, a brief scene of its teenage star-crossed lovers waking up in bed together nude caused what the film critic Roger Ebert described as “a lot of fuss,” including blaring headlines that Queen Elizabeth II had witnessed the scene at the London premiere.Earning two Oscars and critical acclaim, the film became a classic adaptation of the Shakespearean tragedy and a staple of many English classrooms for decades.But now, more than 50 years later, the two actors who portrayed the titular characters, Olivia Hussey and Leonard Whiting, have filed a lawsuit against the film’s distributor, Paramount Pictures, claiming that the bedroom scene was deceptively filmed when they were underage and that they had been assured that no nudity would be included in the final product.The lawsuit, filed on Friday in Los Angeles Superior Court, lays much of the blame for the deception at the feet of Mr. Zeffirelli, who died in 2019, but it asserts that Paramount Pictures “knew or should have known images of plaintiffs’ nude bodies were secretly and unlawfully obtained during the performance.”The company is “repackaging what is essentially pornography,” the complaint said.Representatives for Paramount did not respond to requests for comment about the lawsuit.In the scene, Mr. Whiting’s Romeo rises from bed and basks in the Veronese sunshine, his bare backside onscreen for several seconds. Juliet remains mostly tucked under the sheet, before leaping out of bed — her bare chest showing briefly.Ms. Hussey was 16 years old when the scene was filmed, and Mr. Whiting was 17, said Tony Marinozzi, a manager for both of the actors, who are now 71 and 72. (The scene was filmed in September 1967, he said, though the lawsuit that was filed contains an inaccurate date.)According to the lawsuit, Mr. Zeffirelli told the actors that no nudity would be filmed and that they would be wearing flesh-colored undergarments during the bedroom scene, but on the morning of the shoot, he told them that “they must act in the nude or the picture would fail.”The director “showed them where the cameras would be set so that no nudity would be filmed or photographed for use in ‘Romeo & Juliet’ or anywhere else,” the lawsuit said.The actors sued just before the end of a three-year window in California that temporarily lifted the statute of limitations so people who said they were sexually abused as children could file civil cases. In recent days, the state has seen a flood of litigation under the statute, called the California Child Victims Act, before the window expired on Saturday.The lawsuit alleges sexual harassment and childhood sexual abuse, among other claims.Giuseppe Zeffirelli, one of the director’s sons whom he adopted as an adult, said in a statement on Thursday that the scene was “as far from pornography as you can imagine,” noting that his father was an outspoken critic of pornography.“It is embarrassing to hear that today, 55 years after filming, two elderly actors who owe their notoriety essentially to this film wake up to declare that they have suffered an abuse that has caused them years of anxiety and emotional distress,” Giuseppe Zeffirelli, who is known as Pippo, said in the statement.He said that over the years, the actors had maintained a “relationship of profound gratitude and friendship” with Mr. Zeffirelli, noting that Ms. Hussey had worked with the director again in the 1977 mini-series “Jesus of Nazareth,” playing the Virgin Mary.In her 2018 memoir, “The Girl on the Balcony,” Ms. Hussey recalls the filming of the scene, writing that after a makeup artist approached her to apply full body makeup, she confronted Mr. Zeffirelli following a “small panic attack,” and he assured her that she would be wearing a nightgown in the scene.“‘Although should things, you know, flow in another direction, I want you to be ready,’” Ms. Hussey recalled the director saying.The scene was filmed on a closed set, Ms. Hussey recalled in the memoir, meaning that only essential crew members were allowed to be present, but there was one incident in which a “dirty old man” on the crew had to be removed, she wrote.In interviews from around the time of the memoir’s publication, Ms. Hussey had expressed some approval of how the scene was filmed, telling Variety that it was tastefully shot. She told Fox News that “it wasn’t that big of a deal” and that the film’s production crew had become a “big family.”John C. Manly, a lawyer who has long represented plaintiffs alleging sexual abuse, said that Ms. Hussey’s statements as an adult would likely make the case more difficult for her to win.Mr. Marinozzi said that Ms. Hussey’s interviews about the scene showed her trying to “come to grips” with the situation and express her pride for the film and her performance, although, he said, she was never proud of that scene.“They did what they were directed to do because they were professionals,” he said.Sheelagh McNeill contributed research. More