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      Martin Starger, Influential Shaper of TV and Movies, Dies at 92

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      In his decade at ABC, long the doormat network in prime time, he helped guide it toward the No. 1 spot. He later produced “Nashville” and won an Emmy for “Friendly Fire.”Martin Starger, who as a senior executive at ABC in the 1970s helped bring “Happy Days,” “Roots,” “Rich Man, Poor Man” and other shows to the small screen — and the network nearly to the brink of No. 1 in prime time — before turning to producing movies, most notably Robert Altman’s “Nashville,” died on May 31 at his home in Los Angeles. He was 92.His death was confirmed by his niece, Ilene Starger, a casting director.Mr. Starger joined ABC in the mid-1960s and rose to positions of increasing importance, culminating in his promotion to president of ABC Entertainment in 1972. The entertainment mogul Barry Diller, who was one of his protégés at ABC, described Mr. Starger in an email as “the quintessential television executive of the 1970s.” He was, Mr. Diller said, the “essence of N.Y. smarts: suave, sophisticated and funny. He was culturally ahead of his audience but was pragmatic in his programming choices, but ever striving for better.”From left, Anson Williams, Donny Most, Ron Howard and Henry Winkler in an episode of “Happy Days,” one of the shows Mr. Starger helped bring to the air as an ABC executive.ABC Photo Archives/Disney, via Getty ImagesMr. Starger’s time at ABC was characterized by the network’s long struggle to break out of last place in prime time, behind CBS and NBC, in what was then a three-network universe.Mr. Starger and other executives balanced middlebrow programs, including “Marcus Welby, M.D.” and “The Six Million Dollar Man,” with TV movies like “The Missiles of October” (1974), which dramatized the Cuban missile crisis, and prestigious mini-series like “Roots,” based on Alex Haley’s book about his family history.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      What ‘Inside Out 2’ Teaches Us About Anxiety

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      A new emotion has taken over Riley’s teenage mind. And she has lessons for us all.At the end of “Inside Out,” the 2015 Pixar movie about the emotional life of a girl named Riley, a new button appears on the console used to control Riley’s mood. It’s emblazoned with one word: Puberty.Joy, one of the main characters who embodies Riley’s emotions, shrugs it off.“Things couldn’t be better!” Joy says. “After all, Riley’s 12 now. What could happen?”The answer has finally arrived, nearly a decade later, in the sequel “Inside Out 2.” Riley is now a teenager attending a three-day hockey camp as new, more complex feelings take root in her mind.There’s Embarrassment, a lumbering fellow who unsuccessfully attempts to hide in his hoodie; the noodle-like Ennui, who lounges listlessly on a couch; and Envy, with her wide, longing eyes.But it is Anxiety who takes center stage, entering Riley’s mind with literal baggage (no less than six suitcases).“OK, how can I help?” she asks. “I can take notes, get coffee, manage your calendar, walk your dog, carry your things — watch you sleep?”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      9 New Movies Our Critics Are Talking About This Week

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      Whether you’re a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about.Critic’s PickAll the emotions!Joy (Amy Poehler) and Anxiety (Maya Hawke) are two of the voices in the head of Riley, who is turning 13 and acquiring the feelings that come with it.Pixar/Disney/Pixar, via Associated Press‘Inside Out 2’In the sequel to the Pixar charmer “Inside Out,” Riley (voiced by Kensington Tallman) develops a new range of (anthropomorphized) emotions like Anxiety (Maya Hawke) and Envy (Ayo Edebiri) when she reaches puberty.From our review:Franchises often bank on nostalgia, so it’s easy to fall for “Inside Out 2,” which works largely because the first one does wonderfully well. The new movie conforms to the original’s ethos as well as inventive template, its conceit and visual design, so its pleasures are agreeably familiar.In theaters. Read the full review.Putting the “community” in community theater.Dan (Keith Kupferer) in “Ghostlight.”Luke Dyra/IFC Films‘Ghostlight’This family drama directed by Kelly O’Sullivan and Alex Thompson follows Dan (Keith Kupferer) as he struggles to navigate relationships with his wife, Sharon (Tara Mallen), and daughter, Daisy (Katherine May Kupferer), after tragedy strikes. He finds solace in joining a local production of “Romeo and Juliet.”From our review:It’s a gentle story, full of tender moments, and knowing that the parents and daughter in the main cast are a family in real life increases the warmth. There’s a complexity to their conversations, the way their interactions are never one-note (as parents and teens often are in films), that you can sense has its roots in real life. By the end of the film, their emotional bond carries the story.In theaters. Read the full review.Critic’s PickMore like coming-of-rage.From left, Deena Ezral, Zafreen Zairizal, and Piqa in “Tiger Stripes.”Dark Star Pictures‘Tiger Stripes’After she gets her first period, Zaffan (Zafreen Zairizal) begins to experience strange and supernatural changes to her body in this feature debut from Amanda Nell Eu.From our review:Anyone who has gone through adolescence — in other words, everyone — knows the kind of myths, silences and shame that often accompany a maturing body. Eu smartly weaves that universality together with local myths and legends, and the result is a little eerie and unsettling, a film about dark things we’re afraid to speak about.In theaters. Read the full review.A swing and a miss.Ted (Logan Marshall-Green), left, makes his living as a stadium peanut vendor and Marty (David Duchovny) plays his father, a Red Sox fan, in “Reverse the Curse.”VerticalWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How ‘Inside Out 2’ Battles Anxiety

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      The director Kelsey Mann narrates a sequence from his film, which pits Joy (voiced by Amy Poehler) against Anxiety (Maya Hawke).In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.It’s a battle inside the mind to prevent one young girl’s thoughts from being overrun by anxiety in this scene from “Inside Out 2.”The sequel once again sets the bulk of its action inside the mind of Riley, who this time around is contending with the onset of puberty. Her emotions are still anthropomorphized by a colorful collection of characters, but with a new stage of adolescence comes an additional cast of emotions. Anxiety (voiced by Maya Hawke) arrives in the form of a wild-looking orange creature with a busy plume and a tendency to overreact.In this scene, Anxiety is directing a room full of mind workers to draw up projections of everything that could go wrong in Riley’s big hockey match the next day, keeping the girl tossing in her sleep at each negative thought.Narrating the scene, the film’s director, Kelsey Mann, says, “I always envisioned this being a movie about anxiety taking over, and was reflecting on my own life and how my anxiety does that in me.”As things become overwhelming, Joy (voiced by Amy Poehler) infiltrates Anxiety’s plan and begins to draw up positive projections to send to Riley to make her feel better. As she tries to get the mind workers to rise up against Anxiety, a number of film references come into play, from “Norma Rae” to “Jerry Maguire,” with a little bit of “Network” thrown in.Read the “Inside Out 2” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      Remo Saraceni, 89, Dies; Inventor of the Walking Piano Seen in ‘Big’

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      His keyboard, which became famous after Tom Hanks melodiously hopped on it, displayed Mr. Saraceni’s vision of technology powered by “people energy.”Remo Saraceni, a sculptor, toy inventor and technological fantasist best known for creating the Walking Piano that Tom Hanks and Robert Loggia danced on in a beloved scene of the hit 1988 movie “Big,” died on June 3 in Swarthmore, Pa. He was 89.The cause was heart failure, said Benjamin Medaugh, his assistant and caretaker. Mr. Saraceni died at Mr. Medaugh’s home, where he had been living in recent years.Mr. Saraceni’s specialty was “interactive electronics,” he told New York magazine in 1976. His other inventions included a clock that could reply aloud when you asked it the time, a stethoscope stereo system that could boom out your heartbeat, and Plexiglas clouds that lit up at the sound of a whistle with a pastel color appropriate for a room’s lighting. All were powered by what Mr. Saraceni (pronounced SAR-ah-SAY-nee) called “people energy”: the voice, touch and heat of the human body.The power of this sort of technology to enchant its users became a pivotal plot element of “Big,” and in turn the central prop in one of the most fondly recalled scenes in recent movie history.After wishing to be “big” at a magical Zoltar fortunetelling machine, the movie’s main character, Josh Baskin, transforms from a 12-year-old boy into a young adult (played by Mr. Hanks). He gets a clerical job at a toy company whose owner, Mac (Robert Loggia), recognizes Josh as his employee one Saturday at F.A.O. Schwarz. Mac is a shrewd capitalist surveying his industry in action; Josh is a boy exulting in the world of toys (albeit in a man’s body).As Josh impresses Mac with his close knowledge of F.A.O. Schwarz’s wares, they happen upon Mr. Saraceni’s nearly 16-foot-long Walking Piano. With childlike absorption, Josh begins hopping on it to the tune of “Heart and Soul.” Mac, inspired by Josh’s un-self-conscious delight, joins him, making the performance a duet. To an awe-struck crowd, the two of them then do a rendition of “Chopsticks.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Brats’: What to Know About the Brat Pack Documentary

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      A new documentary revisits the group of young actors that helped define the decade. Here are some of its most interesting moments.In the documentary “Brats,” Andrew McCarthy attempts to come to terms with being part of the Brat Pack, the group of young actors who were ascendant in ’80s movies. Turns out, many of them didn’t like the nickname, or the association. “I lost control of the narrative of my career overnight,” McCarthy said of the period after the writer David Blum coined the immediately catchy term, in a 1985 New York Magazine profile of Emilio Estevez.He and other actors, like Estevez and Rob Lowe, who had been frequently cast together in ensemble coming-of-age dramedies (“St. Elmo’s Fire”), scattered, fearful that appearing together would be a career liability. In the documentary, streaming on Hulu, McCarthy, an actor, director and travel writer, checks in, after many years of absence, to see how they processed this pop culture twist.Some — like Demi Moore, a “St. Elmo’s” co-star — handled it all a lot better than others.In a phone interview from his Manhattan home, McCarthy, 61, said his impulse was not nostalgia — though he knows that’s what might draw an audience — but an excavation of how time and memory collide with youthful expectations. It was a leap: He walked around New York and cold-called Brat Packers he hadn’t seen in decades, with a camera crew trailing. “I thought, if anyone calls me back, I have a movie,” he said.Prompted by McCarthy’s low-key, conversational style, Moore, Lowe, Estevez and others turned up; Judd Nelson and Molly Ringwald did not. In kitchen table and couch-side interviews that also serve as a kind of celebrity home tour — Ally Sheedy’s Upper West Side apartment ranks as the most relatable — the movie cracks the time capsule of the Brat Pack’s appeal. Here, some takeaways.McCarthy, right, with Emilio Estevez, who was the main subject of the original article that gave the Brat Pack its name. ABC News StudiosWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Treasure’ Review: Unearthing the Past

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      Lena Dunham and Stephen Fry star in a Holocaust-memory drama that uneasily doubles as a father-daughter road movie.Along with Jesse Eisenberg’s “A Real Pain,” scheduled for release this fall, Julia von Heinz’s “Treasure” is one of at least two dramas this year to follow the American descendants of Holocaust survivors on travels across Poland. Von Heinz’s film is based on a novel by the Australia-raised author Lily Brett, herself the daughter of survivors. But whatever complexities might come across in the book don’t register in a film that has been fashioned, sometimes uneasily, into a sentimental father-daughter road movie.It is 1991, and Ruth (Lena Dunham, asked to do the most serious acting of her career), a journalist, has planned a trip to Poland. Her father, Edek (Stephen Fry), who, along with Ruth’s mother, survived Auschwitz, has insisted on joining her. He says he couldn’t let his daughter visit Poland alone.Initially, “Treasure” presents Edek as a goofy lug, jocular and uninhibited. But his carefree attitude masks repressed trauma, to an extent that Fry never manages to make visceral. Unnerved by train travel, Edek hires a driver (Zbigniew Zamachowski, from Krzysztof Kieslowski’s “White”) to take them from site to site. “Treasure” builds to their trip to Auschwitz, where Edek quickly takes over from the tour guide with an outpouring of memories.The crux of the film involves their visits to the Lodz apartment from which Edek and his family were exiled in 1940. Ruth wants to reclaim what was stolen from her family; Edek has a learned fear of not moving on from the past. Their difference in outlooks is a potentially powerful subject, but miscasting has blunted its impact.TreasureRated R. Intense descriptions of survival in Auschwitz. Running time: 1 hour 52 minutes. In theaters. More