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      ‘Rust’ Production Appeals Fine for Cinematographer’s Death

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      The company, which was fined the maximum penalty allowed under state law, maintained that it did not violate safety protocols.The production company behind the movie “Rust” on Monday contested a fine issued by New Mexico state regulators, who cited the production for “plain indifference to the recognized hazards associated with the use of firearms on set” that resulted in the shooting death of the film’s cinematographer, Halyna Hutchins.The company, Rust Movie Productions, LLC, said in a filing Monday that it “did not ‘willfully’ violate any safety protocol, and in fact enforced all applicable safety protocols.” The producers also denied that the film’s armorer, who was in charge of weapons, had been overburdened with other duties, as her lawyers have claimed.Last month, the state fined the production company the maximum penalty allowed — $136,793 — asserting that the company had demonstrated indifference to firearm safety hazards. In a report, the Occupational Health & Safety Bureau of the New Mexico Environment Department said the production had not properly responded when there were two improper weapons discharges on set involving blank rounds, and that the production did not properly hold safety meetings or distribute safety bulletins.In a filing to the agency, lawyers for the production company wrote that the discharges had been “properly addressed,” including with safety briefings for the cast and crew, and said that none of the discharges involved violations of firearm safety protocols. Assistant directors for “Rust” were told to hold safety meetings on the days in which firearms would be used, the filing said.“In fact, a safety meeting was held the morning of the incident,” it said.On Oct. 21, the actor Alec Baldwin was practicing with an old-fashioned revolver he had been told did not contain live ammunition when the gun discharged a bullet that killed Ms. Hutchins and injured Joel Souza, the movie’s director. Mr. Baldwin has sought protection from financial responsibility in the legal disputes arising from the incident.In its report, the New Mexico agency also faulted the production for “failing to ensure that the handling of deadly weapons was afforded the time and effort needed to keep the cast and crew safe,” citing claims from the movie’s armorer, Hannah Gutierrez-Reed, that her extra duties as a props assistant sometimes took her away from her job overseeing the firearms on set. The agency also said the production did not give its staff enough time to inspect ammunition to make sure that no live rounds were present.The production company denied that Ms. Gutierrez-Reed was overburdened, writing that her armorer duties “always took precedence” over her prop duties and that she was given sufficient time to inspect the ammunition, according to their filing. More

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      in Television

      How Elizabeth Olsen Came Into Her Powers

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      The actress started as an indie darling and never expected to become a Marvel linchpin as Wanda Maximoff. But she’s now so invested in the role, she’s open to a solo film.Elizabeth Olsen is used to waiting in the wings. When she was an acting student at New York University, she landed an understudy role in the Broadway play “Impressionism,” starring Jeremy Irons. The show ran for 56 performances. Olsen didn’t take the stage a single time.That sort of lost opportunity could mess with an actress’s mind, but Olsen was never in any hurry to seize the spotlight. Years later, when she was cast as the reality-bending witch Wanda Maximoff in “Avengers: Age of Ultron,” her character was more of an ancillary Avenger than the main event, and in three subsequent Marvel films — each with a more overstuffed ensemble of superheroes than the last — Olsen never rose higher than 10th billing.But a funny thing happened after biding all of that time: “WandaVision,” a sitcom spoof about Wanda and her android husband, became an unexpected phenomenon when it made its debut early last year on Disney+. This month, “Doctor Strange in the Multiverse of Madness,” which counts Olsen as its co-lead and pits her troubled witch against Benedict Cumberbatch’s goateed sorcerer, has proved even more major. The movie collected $185 million in its first three days of release, ranking 11th among the biggest domestic opening weekends of all time.For Olsen, who initially made her mark in independent films, this is the equivalent of turning a comic-book page to find yourself the subject of a massive splash panel. During a video call last week, I asked how it felt to come to the fore as a blockbuster leading lady.“I’m totally mortified!” she said. “I won’t watch it.”Hours after we spoke, Olsen would walk the red carpet at the Hollywood premiere of “Doctor Strange in the Multiverse of Madness,” but she planned to flee the theater as soon as the movie began. “This is pressure I’m feeling for the first time,” she explained. “I have a lot of anxiety with ‘Doctor Strange’ coming out because I’ve never really had to lead a commercial film by myself.”Olsen wanted to act since she was a child, but she was willing to wait after watching the experience of her sisters Mary-Kate and Ashley.Rosie Marks for The New York TimesShe coughed, unwrapping a foil package: “Sorry, I have a lozenge.”Olsen, 33, is casual and friendly, exuding a California glow so powerful that you would hardly know she had been sick for days. “It’s just annoying,” she said, swigging water from a Mason jar. “I think my body really wants to chill out.” She embarked on this global press tour the day after wrapping a seven-and-a-half-month shoot for the HBO limited series “Love and Death,” the sort of packed schedule that also required her to film “WandaVision” and “Doctor Strange” back to back.Because her “Doctor Strange” director, Sam Raimi, had not yet watched all of “WandaVision” when shooting began, it fell to Olsen to thread the tricky line through the two projects. In the Disney+ series, Wanda is so bereft after the death of her true love, Vision (Paul Bettany), that she invents an elaborate sitcom reality where he’s still alive, then adds two kids to complete the illusion. But in “Doctor Strange in the Multiverse of Madness,” she takes a much harder turn: Corrupted by a demonic book of spells, Wanda breaks bad and throttles a cast of good guys while on a multiverse-spanning trip to find her children.Olsen “is scary not because of her destructive powers or her diabolical ambitions, but because she is so sad,” our critic A.O. Scott wrote. And if you still feel sympathetic to Wanda as she makes mincemeat of our heroes, it’s because of Olsen’s efforts to ground the character in something that feels specific and intimate. When Wanda issues a deadly threat, Olsen lets her voice go soft, and her eyes fill with tears and regret: There’s a real person in there. (Though other actresses in the supervillain realm tilt toward camp, Olsen understands that when you’re hovering in midair and wearing a red tiara, things are already arch enough.)But six Marvel projects in, is this the kind of big-screen career she expected? Not exactly.“It took me away from the physical ability to do certain jobs that I thought were more aligned with the things I enjoyed as an audience member,” Olsen said. “And this is me being the most honest.”Olsen in “Doctor Strange in the Multiverse of Madness.” She had fullfilled her contractual obligations to Marvel in 2018 with “Avengers: Infinity War,” and “the power to choose to continue was important to me.”Marvel StudiosOLSEN HAD KNOWN she wanted to act since she was a child, but she also knew she didn’t want to act as a child. Any curiosity she might have had about fame was quieted by growing up alongside her sisters Mary-Kate and Ashley, who were cast in “Full House” before they were even a year old. The life-warping scrutiny of stardom could wait.Anyway, she felt far more comfortable in a group. Olsen played high school volleyball and sparked to the team’s camaraderie: Everyone could have their solo moment, but they had to work together to succeed. Even in college, when she started to audition for movies, she was in no rush to leave the theatrical ensemble she had come through school with.But film acting isn’t always as egalitarian. In 2011, Olsen stormed the Sundance Film Festival with a pair of star vehicles: “Silent House,” a single-take thriller that keeps its lens trained on her for 87 minutes, and “Martha Marcy May Marlene,” which cast her as an ex-cult member struggling to move on. That one-two punch led people to dub her the “it girl” of Park City, but as movers and shakers queued up in the snow to meet her, Olsen didn’t trust a thing they said.“It really felt like everyone was speaking through both sides of their mouth,” she said. “I was like, ‘This is a bubble.’ It felt like I was literally in a snow globe.”She came out of that experience knowing just two things: She didn’t want to be typecast as the crying indie girl, but she didn’t want to be thrust right into big-budget movies, either. “That looked scary to me, that kind of pressure,” she said.Still, sometimes it’s nice to be invited to the party. A few years into her acting career, after a streak of low-key indies, she asked her agent why she was never in the running for higher-profile movies. The reply: “People don’t think that you want to do them.”Did she? That’s a question Olsen had to ask herself then — and still does, from time to time. She decided she needed to put herself out there more, and signed on to a 2014 remake of “Godzilla,” reasoning that at least it was directed by Gareth Edwards, who until then had been an independent filmmaker.And then came the role of Wanda, and with her, entrée into Hollywood’s biggest franchise. As Olsen mulled Marvel’s offer to star in “Avengers: Age of Ultron,” she listed the pros: It would defy her indie typecasting. She’d once again be part of an ensemble, albeit a superpowered one. And her “Godzilla” co-star Aaron Taylor-Johnson was willing to come aboard as Wanda’s brother, Pietro, ensuring she wouldn’t go it alone. They signed on to “Ultron” as a pair.But Pietro was killed off at the end of that film, and as a shaken Wanda continued on through the Marvel Cinematic Universe, wondering if she really fit in, Olsen pondered the same question. Because of her Marvel commitments, she had to turn down a starring role in the Yorgos Lanthimos dark comedy “The Lobster,” and it didn’t take a multiverse for Olsen to imagine how that film would have propelled her down an entirely different path as an actress.“I started to feel frustrated,” she said. “I had this job security but I was losing these pieces that I felt were more part of my being. And the further I got away from that, the less I became considered for it.” “WandaVision” wasn’t expected to be a major Disney+ series. Consequently, Olsen said, “there was no pressure, no fear. It was a really healthy experience.”Rosie Marks for The New York TimesHer initial contract with Marvel covered two starring roles and a cameo, though Marvel movies are so mammoth that the studio could have deemed the five weeks Olsen spent filming “Captain America: Civil War” a brief appearance. And while her rising profile helped get indie films like “Wind River” and “Ingrid Goes West” financed, she still wondered whether Wanda’s spell-casting was worth it in the end. Had she become typecast in a totally different way? And was it all building to something that mattered?Wanda was killed off at the end of “Avengers: Infinity War,” satisfying Olsen’s three-film contract. “The power to choose to continue was important to me,” she said. And around the time the Marvel Studios head, Kevin Feige, brought Olsen in to discuss a resurrection for “Avengers: Endgame,” he pitched “WandaVision” to her. At first, she wondered if it was a demotion: TV, really? But the more she wrapped her head around it, the more she realized it was her wildest screen opportunity yet.“The Falcon and the Winter Soldier” was supposed to be Marvel’s first Disney+ series, an old-fashioned, down-the-middle action show in which the superheroes punch evildoers in every hourlong episode. “WandaVision,” by contrast, was a half-hour sitcom parody; the most significant fights of the show were marital squabbles, leavened by an eerie laugh track.“We thought what we were doing was so weird and didn’t know if we had an audience for it, so there was a freedom to it,” Olsen said. “There was no pressure, no fear. It was a really healthy experience.”But after the pandemic pushed Marvel to rejigger the order of its Disney+ series, “WandaVision” went first and became the unlikely standard-bearer. The show spawned countless memes, crashed the streaming service multiple times, and earned 23 Emmy nominations, including a best actress nod for Olsen.More important, “WandaVision” helped her fall in love with Wanda — a character she had played for years — for the very first time. The show offered a dizzying array of variations on the role — some sitcom-sparkly, others modern and morose — and the first episode, shot in front of a live audience, required all of Olsen’s theatrical training to succeed. She wasn’t sure it would resonate with a wider audience until friends sent her video clips of a Minneapolis brunch where drag queens had dressed as all of Wanda’s alter egos. “If you make it to that stage,” Olsen said with a laugh, “then you actually are part of culture.”Olsen admitted to feeling anxiety about “Doctor Strange”: “I’ve never really had to lead a commercial film by myself.”Rosie Marks for The New York TimesWith Scarlett Johansson’s Black Widow out of the picture, Olsen is now the Marvel actress with the most hours clocked. Does she feel reinvigorated enough, after “WandaVision” and “Doctor Strange,” that she’d be willing to star in a solo film about her character?“I think I would,” she said. “But it really needs to be a good story. I think these films are best when it’s not about creating content, but about having a very strong point of view — not because you need to have a three-picture plan.”Now that she feels more comfortable in her signature role and in her own skin, Olsen wants to be more deliberate in her choice of roles and what she does with them. But she also told me a story from her understudy days about Jeremy Irons, who didn’t fully learn his lines until opening night of “Impressionism”; even through previews, he would muck around in front of the audience, exit the stage to peruse his pages, then come back on to muck some more. Maybe acting wasn’t something you trapped, pinned down and obsessively studied, Olsen realized then. Maybe you could embrace it as a fluid thing with an unknown destination.Olsen knows now that a Hollywood career can take turns that you never could have predicted, so you might as well enjoy where it goes. Over the weekend, she popped up on “Saturday Night Live” to support her co-star Benedict Cumberbatch; she played herself in the sketch, while the show’s Chloe Fineman played Olsen’s understudy. Sometimes, things happen to come full circle like that. Sometimes, it even feels like magic. More

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      in Music

      A Violin From Hollywood’s Golden Age Aims at an Auction Record

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      Played in “The Wizard of Oz” and other classic films, Toscha Seidel’s Stradivarius could sell for almost $20 million.Rare violins once owned by famed virtuosos like Fritz Kreisler, Jascha Heifetz and Yehudi Menuhin have sold privately in recent years for up to $20 million. The instruments they played typically bear their names, like the “Earl of Plymouth” Stradivarius, which to burnish its reputation, mystique and market value is now also referred to as the “ex-Kreisler.”Can Toscha Seidel work the same marketing magic — even though his fame came mostly from Hollywood rather than the concert hall?Musicians and collectors will know soon. After a global tour currently underway, the violin Seidel owned and played, the “da Vinci” Stradivarius from 1714, will be sold by the online auction house Tarisio, from May 18 through June 9. It is the first Stradivarius from the so-called golden age of violin making to be auctioned in decades.Unlike most musical instruments, over time all Stradivarius violins have acquired names, some rather fanciful, like “the Sleeping Beauty.” The famed virtuoso Paganini called his “Il Canone.” The “da Vinci” has no connection to Leonardo. As a marketing tactic, a dealer who sold three Stradivarius violins in the 1920s named them all after famous Renaissance painters: in addition to the “da Vinci,” the “Titian” and the “Michaelangelo.”The violin itself is naturally the most important factor in determining its value, with instruments made by the Stradivari, Amati and Guarneri families of Renaissance Italy commanding the highest prices. Condition is another crucial consideration. But so, too, is the identity of its prior owners — its provenance.Toscha Seidel, right, in 1918.Genthe photograph collection/Library of Congress, Prints and Photographs DivisionFew may recognize Seidel’s name today. But he was so successful by the 1920s that he was able to buy the “da Vinci” for $25,000 (over $400,000 today), a sale featured on the front page of The New York Times on April 27, 1924. Seidel said at the time he wouldn’t trade the violin “for a million dollars” and considered it his most treasured possession, adding, “The tone is of outstanding power and beauty.”Seidel was so well known in his heyday that George and Ira Gershwin wrote a comic song about him and three of his Russian Jewish peers: “Mischa, Sasha, Toscha, Jascha.” (“We are four fiddlers three.”) Seidel and Heifetz were both born in Ukraine; both studied in St. Petersburg with the eminent teacher Leopold Auer; and both emigrated to the United States after the upheavals of the Russian Revolution. They made their concert debuts at Carnegie Hall within months of each other, to critical acclaim.Albert Einstein took violin lessons from Seidel, and together they performed Bach’s Double Concerto for a fund-raiser. They sported thick shocks of unruly hair that reinforced the caricature of the long-haired musician, like Liszt.Both Seidel and Heifetz settled in Los Angeles, where the burgeoning movie industry paved the way for Seidel’s success. By the 1930s, he was surrounded there by a crowd of mostly Jewish exiles from Nazi Germany and war-torn Europe. Among them were the composers Igor Stravinsky, Arnold Schoenberg and Erich Wolfgang Korngold.Seidel played the principal violin part in many of Korngold’s celebrated film scores, which included “A Midsummer Night’s Dream,” “The Adventures of Robin Hood” (for which Korngold won an Academy Award) and “Anthony Adverse” (ditto). The two men recorded a violin and piano arrangement of Korngold’s suite for “Much Ado About Nothing,” with the composer at the piano.Music directors and composers sought out Seidel’s warm, rich tone. He was the concertmaster for the Paramount Studio Orchestra and played the violin solos for MGM’s “The Wizard of Oz” and David Selznick’s “Intermezzo,” in which a famed violinist (played by Leslie Howard) falls in love with his accompanist (Ingrid Bergman).“That we largely associate love scenes or depictions of the less fortunate in films — or any scene evoking tears or strong emotions — with the sound of the violin is largely due to Seidel,” Adam Baer, a violinist and journalist, in a 2017 article for The American Scholar. (Baer’s violin teacher studied with Seidel and insisted that his pupils listen to recordings of Seidel performances.)Seidel’s violin playing was sought out for its warm, rich tone.Andrew White for The New York TimesThough best known for his movie work, Seidel also played standard classical repertoire, soloing with orchestras and touring in recital. In the 1930s, he was heard by millions of radio listeners as the musical director and a frequent soloist with CBS’s symphony orchestra. In 1934 he had his own weekly broadcast on the network, “The Toscha Seidel Program.” (Several recordings showcasing his lush sound are on YouTube, including a 1945 recording of Chausson’s “Poème” with the Hollywood Bowl Orchestra led by Leopold Stokowski.)“He was a singing violinist, influenced by the cantorial tradition,” Baer said in an interview. “He played with as much depth of tone and emotional intensity as anyone I’ve heard on disk.”But Seidel never achieved Heifetz’s enduring international fame. In Los Angeles, Heifetz often called on Seidel to play with him in string quartets, literally assuming the role of second fiddle.As the golden age of Hollywood faded, the studios abandoned their in-house orchestras, relying instead on freelancers. And as he aged, Seidel developed a neurological condition that gradually diminished his playing. This once-eminent violinist ended up in a pit orchestra in Las Vegas before retiring to an avocado farm in California. He died in 1962, at 62, with his violin by far his most valuable possession.That violin last sold at auction in London in 1974 for 34,000 pounds (over $3 million today). It is currently owned by the Japanese restaurant chain magnate Tokuji Munetsugu, who has amassed a collection of rare string instruments and sponsors an international violin competition in Japan. (Munetsugu, 73, has not said why he is selling it.)Film music has been making its way into concert halls, and the “Star Wars” and “Jaws” composer John Williams is arguably the most popular living American composer. But movie scores and their mostly anonymous players have long been largely shunned by the classical music elite.Could the “da Vinci” sale nevertheless set a record?The “Lady Blunt” Stradivarius, once owned by the granddaughter of Lord Byron, holds the current record for a violin sold at auction. (Its 2011 sale, for $15.9 million, was also handled by Tarisio.) Like the “Messiah” Stradivarius now owned by the British Museum, the “Lady Blunt” was hardly ever played, and remains in pristine condition.Carlos Tome, a violinist and a co-owner of Tarisio, said the auction house has not published an estimate for the “da Vinci.” Citing its rarity — a Stradivarius from the golden period — its fine condition and its “unique Hollywood provenance,” he said he expects it to sell in the $15 million to $20 million range.“It could set a record,” he said, noting the emergence of a class of wealthy collectors since the sale of the “Lady Blunt” a decade ago. (Other dealers say there have since been multiple private sales at prices over $20 million.)Baer dismissed the notion that the Hollywood pedigree of the “da Vinci” might curb its value at auction. While he conceded Seidel did not record the most intellectually rigorous music, he added that “the fact he was a Hollywood performer shouldn’t diminish the value at all.”“He was a great classical musician before he came to Hollywood,” Baer added. “And ‘The Wizard of Oz’ is a pretty big deal.” More

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      in Television

      What’s on TV This Week: ‘Breeders’ and ‘The Time Traveler’s Wife’

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      The third season of a dark comedy with Martin Freeman and Daisy Haggard begins on FX, and HBO debuts a new adaptation of a best-selling novel.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, May 9-15. Details and times are subject to change.MondayBREEDERS 10 p.m. on FX. “Sometimes the bad guy is sexier” is not a sentence you want to hear if you’re a character played by Martin Freeman. Alas, it’s a sentence that Ally (Daisy Haggard) says to her husband, Paul (Freeman), in a trailer for the new season of this dark comedy. The show’s previous two seasons established it as a series unafraid to show parenting as an often messy, sometimes frustrating enterprise. The third season, which debuts Monday, is no different. It picks up with Paul living separately from the rest of the family, an aftereffect of an anxious Season 2 finale in which the couple’s older son, Luke (Alex Eastwood), punched Paul.TuesdayBREATHLESS (1961) 10:15 p.m. on TCM. When Jean-Luc Godard’s debut feature came to the United States in 1961, the New York Times critic Bosley Crowther wrote that it was a “sordid” movie, then added a qualifier: “sordid is really a mild word for its pile-up of gross indecencies.” But the film’s ability to jolt viewers helped make it a touchstone, and its story of a French criminal (Jean-Paul Belmondo) and an American student (Jean Seberg) in Paris remains potent. A.O. Scott, writing in The Times five decades after Crowther, was kinder to the movie. “Much as it may have influenced what was to come later, there is still nothing else quite like it,” Scott said. “Its sexual candor is still surprising, and even now, at 50, it is still cool, still new, still — after all this time! — a bulletin from the future of movies.”WednesdayRobin Wright in “Land.”Daniel Power/Focus FeaturesLAND (2021) 7:30 p.m. on HBO Signature. A woman goes on a healing journey that nearly kills her in “Land,” Robin Wright’s feature directing debut. After a tragedy, Wright’s character, Edee, leaves her city home and moves to an isolated cabin in Wyoming. While struggling to live off the land, she meets a hunter (Demián Bichir) who is an old hand at surviving both in the wild and in the aftermath of a trauma. The film, which was actually shot in Alberta, Canada, captures natural landscapes in ways that are “lush and piercingly sharp,” Glenn Kenny wrote in his review for The Times. “Wright’s movie is ambitious (that location! that weather!), but not grandiose,” Kenny said. “Its storytelling economy helps make it credible and eventually moving.”ThursdayFURY (2014) 9 p.m. on BBC America and JOJO RABBIT 9:40 p.m. on FXM. It would be difficult to find two movies that take on the same difficult subject in more contrasting ways than “Fury” and “Jojo Rabbit.” Both are World War II movies, but that’s about where the similarities end. In “Fury,” Brad Pitt plays the leader of an American tank crew sent on a long-shot mission in Germany in 1945. The movie, directed by David Ayer (“End of Watch”), is as bluntly brutal as its title might suggest. “Jojo Rabbit,” on the other hand, is a farce. Written and directed by Taika Waititi, whose screenplay was adapted from the novel “Caging Skies” by Christine Leunens, it follows a German boy, Johannes (Roman Griffin Davis), living in an elevated version of the same time period. Johannes’s imaginary friend is Adolf Hitler; he’s sent to a Hitler Youth day camp. Yet Johannes’s mother, Rosie (Scarlett Johansson), doesn’t buy into Nazi propaganda — and, to his surprise, Johannes connects with a Jewish teenager, Elsa (Thomasin McKenzie), whom his mother is secretly housing.FridayA scene from “Couples Therapy.”ShowtimeCOUPLES THERAPY 8 p.m. on Showtime. The third season of this documentary series — which lets viewers act like a fly on the wall of couples’ therapy sessions — introduces a new set of partners who work through issues with Dr. Orna Guralnik, a therapist in New York. The new couples come in with issues relating to old traumas, parenting and open relationships.GREAT PERFORMANCES: ANYTHING GOES 9 p.m. on PBS (check local listings). Sutton Foster, who is now starring opposite Hugh Jackman in “The Music Man” on Broadway, leads this recorded stage performance of “Anything Goes,” the musical comedy that pairs at-sea romance with Cole Porter songs. This production, from Kathleen Marshall, leans into the musical’s age (its first Broadway production was in 1934), with throwback Art Deco sets and costumes — and words to match. It’s “a farrago of zinger-stocked dialogue, vaudeville-style antics and musical numbers only pretending to co-exist as a coherent plot,” Ben Brantley wrote in his review for The Times. Foster, Brantley wrote, acts as “an evangelist of musical-comedy joy.”SaturdayTHE MATRIX: RESURRECTIONS (2021) 8 p.m. on HBO. Nostalgia is sometimes subverted and sometimes leaned into in this “Matrix” sequel from Lana Wachowski. Keanu Reeves and Carrie-Anne Moss, the stars of the first movies, return as versions of their original characters living in a new future reality where Neo (Reeves) is a video-game designer who frequents the same coffee shop as Trinity (Moss). Their memories of each other are suppressed, but their fates remain tied. It “plays like a loving, narratively clotted tribute video to the ‘Matrix’ cycle itself,” Manohla Dargis wrote in her review for The Times, “complete with innumerable bullets and almost as many flashbacks to the younger Neo.”SundayRose Leslie in “The Time Traveler’s Wife.”Macall B. Polay/HBOTHE TIME TRAVELER’S WIFE 9 p.m. on HBO. The last time Audrey Niffenegger’s extremely popular 2003 debut novel was adapted for the screen, it was through a 2009 movie with Rachel McAdams and Eric Bana that was poorly received. The extended, episodic structure of this new TV adaptation might be an advantage, given that the plot of the book hinges on long periods of time: It centers on an artist, Clare (played this time by Rose Leslie), and a librarian, Henry (Theo James), in a relationship made complicated by a disorder that sends Henry jumping through time. More

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      in Movies

      Ric Parnell, Real Drummer in a Famous Fake Band, Dies at 70

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      The central characters in the mockumentary “This Is Spinal Tap” were comic actors, but Mr. Parnell was an actual professional musician.Ric Parnell, a real drummer best known for playing in a fake band, the one chronicled in Rob Reiner’s fabled 1984 mockumentary, “This Is Spinal Tap,” died on May 1 in Missoula, Mont., where he had lived for some two decades. He was 70.His partner, McKenzie Sweeney, confirmed the death. She said a blood clot in his lungs led to organ failure.Mr. Parnell had been in several bands, including the British prog-rock outfit Atomic Rooster, when he auditioned for “This Is Spinal Tap,” a deadpan sendup of rock clichés, and got the role of the drummer, Mick Shrimpton. The central band members, though, weren’t primarily musicians, though they had musical ability; they were comic actors — Michael McKean, Christopher Guest and Harry Shearer. Mr. Reiner played the role of Marty DiBergi, a documentarian recording what turns out to be a disastrous tour by Spinal Tap, a heavy metal band that is past its prime and poorly managed.Mr. McKean said Mr. Parnell fit in seamlessly.“He looked perfect, all hair and cheekbones, but he also got the joke and knew to play the reality without comment,” he said by email. “And he was a great drummer in the tradition of his hero, John Bonham” — the drummer for Led Zeppelin.“Onstage,” Mr. McKean added, “he was the best kind of monster; offstage, a very nice, very funny guy.”Mr. Parnell had only a few lines in the movie, but he was pivotal to one of its funniest gags: Drummers for the band had a habit of dying in bizarre and unpleasant ways. In one scene, he lounges in a bathtub while Marty DiBergi asks him if he’s bothered by that history.“It did kind of freak me out a bit, but it can’t always happen,” Mick says, and Marty agrees, telling him, “The law of averages says you will survive.”The law of averages, alas, was wrong — near the end of the film, Mick spontaneously combusts onstage. When the film developed such a cult following that the fake band went on tour in the early 1990s, playing actual shows, that necessitated a tweaking of Mr. Parnell’s persona — he was now Rick Shrimpton, the twin brother of the deceased Mick.Life almost imitated art in mid-1992, when Mr. Parnell fell down some stairs while hurrying to a sound check as the band was rehearsing in Los Angeles. He injured an ankle.“Despite the odds of meeting with death by remaining with Spinal Tap,” a publicist for the band said at the time, “he’s looking forward to continuing the tour.”That “Return of Spinal Tap” tour eventually took the group to the Royal Albert Hall in London, a pinch-me moment for the British-born Mr. Parnell as he waited to go on alongside Mr. Shearer.“I remember during ‘The Return of Spinal Tap’ standing backstage with Harry and hearing the Albert Hall crowd just chanting, ‘Tap!’ ‘Tap!’ ‘Tap!’ ‘Tap!,’” Mr. Parnell told The Missoula Independent in 2006. “I turned to Harry and I said, ‘Come on, now. We’re a joke! Don’t they know that?’ It was just amazing how quite massive it all became.”The members of Spinal Tap, from left: Christopher Guest, Mr. Parnell, David Kaff, Harry Shearer and Michael McKean.Aaron Rapoport/Corbis/Getty ImagesAbout two decades ago, Mr. Parnell settled into a much quieter sort of life in Missoula, where for a time he had a radio show called “Spontaneous Combustion” on KDTR-FM, on which he told stories and indulged his eclectic musical tastes. For one show he played only artists who were alumni of Antelope Valley High School in California, among them Frank Zappa and Captain Beefheart.“I get to play what I want, do whatever I want — all as long as I don’t swear,” he told The Independent. “That’s the only hard part.”Richard John Parnell was born on Aug. 13, 1951, in London to Jack and Monique (Bonneau) Parnell. His father was a composer, conductor and drummer, and he said that drumming came naturally from a young age.“I got it from my dad,” he told The Missoulian in 2007. “I could sit down at the drum kit and play a beat straight away.”Lessons, he said, were not his thing; he learned by playing in groups.“Over the years, I’ve built up a technique,” he told the newspaper. “I get drummers saying, ‘How did you do that?’ I say, ‘I have no idea. I’m just hitting.’ I wouldn’t know a paradiddle from a flam-doodlehead.”His father, who worked as musical director or in other capacities on numerous television shows, sometimes added to his education by taking him to the set. He recalled sitting at the feet of Jimi Hendrix when he performed on the singer Dusty Springfield’s British TV series in 1968.Mr. Parnell’s own career was starting about the same time. He recalled touring with Engelbert Humperdinck as a teenager. He joined Atomic Rooster in 1970, and then came a stint with an Italian group, Ibis. In 1977 he moved to the United States with a band called Nova, which settled in Boulder, Colo.He played numerous studio sessions over the years and can be heard on records by Beck, Toni Basil and others. For a time he toured with the R&B saxophonist Joe Houston. They would stop every year for a few shows in Missoula before heading into Canada to tour there. But, as Mr. Parnell often told the story, one year the group didn’t have the right paperwork to cross the border and had to extend its stay in Missoula.“I basically got stuck here and then didn’t want to leave,” he told The Independent. “I’d always liked this place — it’s like Boulder in the 1970s, when I first came to the states. I became a Missoulian instantly.”Mr. Parnell was married and divorced four times. In addition to Ms. Sweeney, he is survived by two brothers, Will and Marc, and two stepsisters, Emma Parnell and Sarah Currie.Over the last two decades he could often be found playing with one group or another at local spots in Missoula. In 2004, a writer for The Missoulian asked if he, as an accomplished musician, ever got tired of being recognized only for his joke band.“No, not really,” he said. “Really it’s quite nice to be a part of such a legendary thing.” More

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      ‘The Takedown’ Review: Mismatched Detectives on the Case

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      This film from Louis Leterrier tries to pay tribute to classic 1980s buddy-cop movies, but not even Omar Sy can’t salvage it.Ousmane Diakité and François Monge may be French, but they will be instantly familiar to American audiences: mismatched detectives thrown together by a case, they bicker all the time, only to eventually grudgingly broker a truce. They complement each other, you see.As you might have guessed, “The Takedown” is a Gallic spin on buddy-cop movies, especially those from the 1980s and ’90s. Unfortunately much of the humor, which includes several moldy gay-panic jokes, belongs to that era, too. Imagine, our two heroes must share a bed after a hotel runs out of rooms — the horror!A sequel to the marginally superior “On the Other Side of the Tracks,” from 2012, “The Takedown” finds the shrewd, hotheaded Ousmane (the “Lupin” star Omar Sy) and the idiotic, arrogant François (Laurent Lafitte, “Elle”) investigating a small mountain town crawling with white-supremacist thugs hopped up on potent meth — and the local authorities, which belong to a far-right party not unlike Marine Le Pen’s, more than tolerate them. At least a local policewoman (Izïa Higelin) appears keen to help our odd couple.The project must have felt like a gimme for both Sy, whose easygoing charm helped turn “Lupin” into a global hit, and Louis Leterrier, who made his mark directing the excellent first two “Transporter” movies as well as the best “Lupin” episodes. But even the sight of the two frenemies wiping out racist goons is not enough to make up for the desperately frantic action scenes (hope you like interminable car chases), joyless jokes and hackneyed clichés.The TakedownNot rated. In French, with subtitles. Running time: 1 hour 59 minutes. Watch on Netflix. More

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      ‘Along for the Ride’ Review: Becoming a Kid Again

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      A Netflix adaptation turns a best-selling novel by Sarah Dessen about a perfectionist teenage girl into a slick and breezy, Instagram-friendly story.Teenage girls have been gobbling up Sarah Dessen’s books for years, so fans are no doubt breathlessly awaiting a Netflix adaptation of “Along for the Ride,” her best-selling 2009 novel. Unfortunately for them, the movie is lacking much of Dessen’s trademark depth.The story follows Auden West (Emma Pasarow), a studious introvert whose divorced, academic parents (played by Dermot Mulroney and Andie MacDowell) raised her like a small adult, scorning childhood frivolity.As she spends the summer before college with her father, stepmother (Kate Bosworth) and newborn half sister, some unexpected new friends teach Auden the value of fun. Chief among them is Eli (Belmont Cameli), a boy who works at the local bike shop and, like Auden, has a troubled past and a penchant for staying up all night.This film, written and directed by the “To All the Boys I’ve Loved Before” screenwriter Sofia Alvarez, has the same basic plot as Dessen’s book, plus some injections of teenage indie appeal like Luca Del Puppo’s warmly lit cinematography, several Vans product placements and music by Beach House. But such a breezy, Instagram-friendly adaptation feels like a betrayal to Dessen’s original, neurotic protagonist, who has a more difficult journey from self-induced solitude to romance. Where book-Auden avoided friendship, femininity and emotion with frustrating frequency because of her restrictive upbringing, movie-Auden is basically a chill girl with a smidgen of baggage.The other characters — especially Auden’s parents — are similarly underwritten, so the film is left grasping for conflict or clear stakes. Dessen’s novel offered a main character paralyzed by perfectionism. This film makes her ironically, boringly, perfect.Along for the RideNot rated. Running time: 1 hour 46 minutes. Watch on Netflix. More

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      ‘Fatal Attraction’ and the Disappearance of Erotic Thrillers

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      Elyssa Dudley and Listen and follow Still ProcessingApple Podcasts | Spotify | Stitcher | Amazon Music“Fatal Attraction” came out when Wesley Morris was 11, and it’s made a permanent impression on the way he thinks about certain aspects of lust and suspense. “There’s a lot wrong with this movie, and yet — and yet! — it’s such a good movie,” he said. Wesley invited Parul Sehgal, a staff writer at The New Yorker, to discuss the movie, starring Glenn Close and Michael Douglas.Both Wesley and Parul watched “Fatal Attraction” over and over as preteens, and they’ve rewatched it multiple times since. “Every time I see this movie, I identify with a different character,” Parul said. “I have a different sense of what this movie is about.”As Wesley and Parul break down the most powerful scenes, they are reminded of the loss of high-stakes sex onscreen today. They discuss why the erotic thriller genre has disappeared — and what they could gain from seeing more genuine, grown-up sex in movies.Michael Douglas and Glenn Close star in “Fatal Attraction,” directed by Adrian Lyne.Ullstein Bild via Getty ImagesHosted by: Wesley Morris and Jenna WorthamProduced by: Elyssa Dudley and Hans BuetowEdited by: Sara Sarasohn and Sasha WeissEngineered by: Marion LozanoExecutive Producer, Shows: Wendy Dorr More