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      2024 SAG Awards Red Carpet: See the Best Fashion Looks

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      Celebrities from the worlds of film and television arrive for the Screen Actors Guild Awards in Los Angeles, streaming for the first time on Netflix.A few short months ago, members of the Screen Actors Guild wore jeans, shorts and T-shirts while carrying picket signs in the last days of a lengthy strike. On Saturday, they were at their red-carpet best as they arrived at the Shrine Auditorium in Los Angeles for the 30th annual Screen Actors Guild Awards.Before the ceremony, which is streaming on Netflix for the first time, the “Queer Eye” cast member Tan France and the fashion editor Elaine Welteroth hosted a red-carpet preshow. The evening will also honor the actress and filmmaker, Barbra Streisand, with the life achievement award.Here are some of the looks from the red carpet.Elaine Welteroth, a host of Netflix’s red-carpet preshow.Jordan Strauss/Invision, via Associated PressTan France, a host of the red-carpet preshow, and his outrageous bow tie.Jordan Strauss/Invision, via Associated PressAriana Greenblatt of “Barbie,” a nominee for outstanding performance by a cast in a motion picture.Frazer Harrison/Getty ImagesColman Domingo, nominated for outstanding performance by an actor in a leading role for “Rustin.”Frazer Harrison/Getty ImagesSheryl Lee Ralph of “Abbott Elementary,” a nominee for outstanding performance by an ensemble in a comedy series.Frazer Harrison/Getty ImagesSelena Gomez of “Only Murders in the Building,” a nominee for outstanding performance by an ensemble in a comedy series.Frazer Harrison/Getty ImagesGreta Lee of “The Morning Show,” a nominee for outstanding performance by an ensemble in a drama series.Jordan Strauss/Invision, via Associated PressTracee Ellis Ross of “American Fiction,” a nominee for outstanding performance by a cast in a motion picture.Frazer Harrison/Getty ImagesLaverne Cox wore a vintage Alexander McQueen piece as part of her ensemble.Jordan Strauss/Invision, via Associated PressElizabeth Debicki, nominated for outstanding performance by an actress in a drama series for “The Crown,” in Giorgio Armani.Jordan Strauss/Invision, via Associated PressTyler James Williams of “Abbott Elementary,” a nominee for outstanding performance by an ensemble in a comedy series.Frazer Harrison/Getty ImagesChris Perfetti of “Abbott Elementary,” a nominee for outstanding performance by an ensemble in a comedy series.Valerie Macon/Agence France-Presse — Getty ImagesUzo Aduba, nominated for outstanding performance by an actress in a TV movie or limited series for “Painkiller.”Frazer Harrison/Getty ImagesKelley Curran of “The Gilded Age,” a nominee for outstanding performance by an ensemble in a drama series.Valerie Macon/Agence France-Presse — Getty ImagesBen Ahlers, a nominee for outstanding performance by an ensemble in a drama series, wore an outfit beyond the wildest sartorial dreams of the character he plays on “The Gilded Age.”Mike Blake/ReutersKaren Pittman of “The Morning Show,” a nominee for outstanding performance by an ensemble in a drama series.Valerie Macon/Agence France-Presse — Getty ImagesDominic Sessa of “The Holdovers.”Valerie Macon/Agence France-Presse — Getty ImagesMatty Matheson of “The Bear,” a nominee for outstanding performance by an ensemble in a comedy series.Mike Blake/ReutersHannah Leder of “The Morning Show,” a nominee for outstanding performance by an ensemble in a drama series.Jordan Strauss/Invision, via Associated PressEdwin Lee Gibson of “The Bear,” a nominee for outstanding performance by an ensemble in a comedy series.Frazer Harrison/Getty ImagesAlan Ruck of “Succession,” a nominee for outstanding performance by an ensemble in a drama series.Frazer Harrison/Getty ImagesAuliʻi Cravalho of “Mean Girls.”Frazer Harrison/Getty ImagesLinda Emond of “Only Murders in the Building,” a nominee for outstanding performance by an ensemble in a comedy series.Mike Blake/ReutersMichael Cyril Creighton of “Only Murders in the Building,” a nominee for outstanding performance by an ensemble in a comedy series.Valerie Macon/Agence France-Presse — Getty ImagesCorey Hawkins of “The Color Purple,” a nominee for outstanding performance by a cast in a motion picture.Frazer Harrison/Getty ImagesWilliam Belleau of “Killers of the Flower Moon.”Frazer Harrison/Getty ImagesCara Jade Myers of “Killers of the Flower Moon.”Frazer Harrison/Getty ImagesNestor Carbonell of “The Morning Show,” a nominee for outstanding performance by an ensemble in a drama series.Frazer Harrison/Getty ImagesTaissa Farmiga of “The Gilded Age,” a nominee for outstanding performance by an ensemble in a drama series.Frazer Harrison/Getty ImagesZachary Golinger of “Barry,” a nominee for outstanding performance by an ensemble in a comedy series.Jordan Strauss/Invision, via Associated PressJuno Temple of “Ted Lasso,” a nominee for outstanding performance by an ensemble in a comedy series.Valerie Macon/Agence France-Presse — Getty Images More

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      How to Watch the 2024 SAG Awards: Date, Time and Streaming

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      The awards, which are streaming live on Netflix for the first time, will offer a preview of some key Oscars races. Barbra Streisand will be on hand, too.Cord-cutters rejoice: Normally, watching an awards show involves subscribing to a live TV service (or remembering which of your email addresses you haven’t already used for a free trial).But on Saturday, for the first time, Netflix will be streaming the annual Screen Actors Guild Awards, potentially bringing them to a much wider audience.The 15 awards, which are voted on by actors and other performers who belong to the SAG-AFTRA union, honor the best film and television performances from the past year. They can be a bellwether for the Oscars, happening this year on March 10. (Since 1996, 83 of the 112 stars and films that won Oscars for best picture or acting first won a SAG Award.)This year’s ceremony is shaping up to be a “Barbenheimer” rematch: The two summer blockbusters — “Oppenheimer,” Christopher Nolan’s biopic about the physicist known as the father of the atomic bomb, and “Barbie,” Greta Gerwig’s unique spin on the Mattel doll — each picked up a pack-leading four nominations and will be competing for the guild’s top prize, best ensemble.There’s also intrigue in the best film actress race: Lily Gladstone, who plays an Osage woman married to a white man involved in a murderous conspiracy in “Killers of the Flower Moon,” has blazed a trail through awards season, taking home honors from the Golden Globes, the National Board of Review and the New York Film Critics Circle. But Emma Stone, who plays a grown woman with the mind of a child in the “Frankenstein”-inspired black comedy “Poor Things,” came out on top at the BAFTAs and the Critics Choice Awards (and won her own Globe in the musical or comedy category).Now, on Saturday night, we’ll get our strongest indication yet as to which way academy voters are leaning. We’ll also get an appearance from Barbra Streisand. Here’s how to watch.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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      ‘Mea Culpa’ Review: Who’s Really to Blame, and for What?

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      The tagline of Tyler Perry’s new movie is “everyone’s guilty of something,” but the responsibility for this willfully steamy, decidedly silly thriller is all his.Is creating a guilty pleasure something a director can — or even should — aim for? That’s one of the questions wafting over the writer-director Tyler Perry’s willfully steamy thriller “Mea Culpa.”Cast for sizzle, the movie stars the singer-actor Kelly Rowland as Mea Harper, a Chicago defense attorney, and Trevante Rhodes (“Moonlight”) as a successful painter accused of killing his girlfriend. Her body has yet to been found, but there were skull fragments in one of his paintings.The assistant district attorney Ray Hawthorne (Nick Sagar) hopes to leverage the case for a mayoral run. He’s also Mea’s brother-in-law. In the firm clutches of the matriarch Azalia (Kerry O’Malley), the Hawthornes are an ambitious clan who appear to have borrowed much of their dialogue from the daytime soaps of yore. Among Mea’s reasons for taking this case is the Hawthorne family’s condescension and the excessive deference her husband, Kal, (Sean Sagar) shows his mother. (In case the family isn’t close enough, the actors Sean and Nick Sagar are brothers).Rowland commits to the thankless task of playing a smart woman gone stupid. Rhodes can’t do much with Zyair, whose affect is more flat than seductive. Or, as Mea’s private investigator and friend Jimmy (RonReaco Lee, a bright spot) quips: Zyair’s either a great liar or a psychopath.While the movie teases with its “is he or isn’t he a murderer?” quandary, the soundtrack boasts killer tunes, including Isaac Hayes’s cover of “Walk on By,” playing like a caution the first time Mea visits Zyair’s loft. The warning goes unheeded, and the two embark on a possibly dangerous and decidedly silly liaison, one that taps into spousal angst and features plenty of soft-core intrigue.Mea CulpaRated R for strong sexual content, graphic nudity, language, some violence and drug use. Running time: 2 hours. Watch on Netflix. More

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      in Television

      Netflix’s ‘Avatar: The Last Airbender’ Can’t Match the Original

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      Netflix’s latest attempt to capture the magic of a beloved animated series has some strong performances but falls well short of the original.Nickelodeon’s 2005 series “Avatar: The Last Airbender” was a sprawling odyssey that combined intricate world-building, meticulous references to Asian and Native cultures, lively humor and sharply plotted drama, all animated in a charming, anime-inspired style. It was an unqualified success, attracting millions of viewers and heaps of critical praise. The series introduced a world so rich, complete and full of its own histories and myths and traditions that it never needed a follow-up.But we know that’s not how things work.In 2010 there was the famously whitewashed live-action film “The Last Airbender,” which was, deservedly, met with a ferocious torrent of fan-fury. The sequel series, “Avatar: The Legend of Korra,” was more in touch with the original, but still unnecessary. And the same can be said for Netflix’s “Avatar: The Last Airbender,” the streamer’s latest big money, live-action adaptation that proves just how difficult it is to capture the magic of a beloved original.Like the original series, Netflix’s “Avatar: The Last Airbender” also takes place in a fictional Eastern world of four nations: Air Nomads, Water Tribe, Earth Kingdom and Fire Nation. In this world a select group of people from each nation are “benders,” able to manipulate their element. For a century the Fire Nation has waged a winning war against the others — during which time the only hope for peace, the avatar, the sole master of all four elements, disappeared. When two Water Tribe siblings, Katara (Kiawentiio) and Sokka (Ian Ousley), discover the prodigal avatar, a 12-year-old Air Nomad named Aang (Gordon Cormier), the three embark on a journey to complete Aang’s training so they can save the world from the threat of the Fire Nation.This “Avatar” attempts to condense several story lines, many of which are spread out across dozens of episodes in the robust sprawl of the original, into a tight eight episodes. Some of the economies the adaptation uses in fusing certain narratives — making new connections and throughlines among stories that were originally set in different locales, for example — are neatly done. And thanks to the involvement of the creators, Michael Dante DiMartino and Bryan Konietzko, each subplot, even when moved or modified, remains faithful, if not exactly in detail then absolutely in spirit, to that of its animated counterpart. The show is also full of carefully placed Easter eggs from the original. Something as minor as a background character’s passing mention of the Avatar encountering some “canyon crawlers” in an episode will immediately clue fans in to the dangerous beasts Team Avatar faced in Episode 11 of the Nickelodeon version.But “Avatar” also tries so desperately to rework its stories that the pacing often suffers; adventures become a bit too convoluted, and there’s so much stacked action that it’s easy to lose track of the stakes and sense of urgency in any one plotline.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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      In ‘Ready to Sell Out,’ Mike Epps Moves Past the Beefs

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      His new special nods at his past resentment of Kevin Hart and others. It’s part of a stand-up tradition of feuds like the ones fueled by Katt Williams.Mike Epps may be the only stand-up comic alive who’s upset that Katt Williams didn’t insult him.In a now notorious, wildly viral three-hour interview with Shannon Sharpe (59 million views and counting) last month, the comic Katt Williams fired salvos at a festival’s worth of comics including Kevin Hart, Steve Harvey and Cedric the Entertainer. Then came the response videos, the counterattacks, the commentary. Epps, unmentioned by Williams, said he was jealous. “Say something bad about me,” he pleaded in a video. “I need the press.”Of all the gifted stand-ups to emerge from the “Def Comedy Jam” scene of the 1990s, Epps is the one most likely to find humor in failure, minor humiliation, missing the boat. He understands that comedy is more about losing than winning. “I know you guys see me in the movies, but the money’s gone,” he tells an Arizona crowd in his new Netflix special, “Ready to Sell Out,” released Tuesday. Then he jokes: Why else would he be in Phoenix?Pacing the stage in a brown leather jacket and new sneakers, Epps is unquestionably a star, with credits in film (“Next Friday”) and television (“The Upshaws”), not to mention three previous specials on Netflix. But part of his persona is that he makes poor decisions. “I tried to be Muslim but got caught with a ham sandwich three days in,” he once joked.Hailing from Indianapolis, Epps is quick to tell you that he dropped out of high school and spent time in jail. He explains to the crowd in his new hour that he made all his movies on cocaine, and while he is not boasting, the way he relates his drug stories make a mockery of righteousness about addiction. “When I be doing coke,” he says, then slightly stammers and starts again: “When I used to do coke.” Then his eyebrows dance.Onstage, Epps convincingly plays that rascal who has charmed his way out of trouble. Sometimes, his charisma is a crutch. His writing can coast, especially early in this hour when he seems to be at his most generic, doing pandering or familiar jokes about prison rape, fat girls and code-switching. His most surprising moments are not punchlines, but when he says something that could in different hands come off as serious, like when he mentions he’s been pretending to dislike white people for 40 years. There’s also a moodier side to him that you get peeks of in his stand-up but that probably deserves fuller expression.His personal material is where this is most evident, especially in his commitment to digging into his own flaws, to celebrating the screw-ups in life. He pulls this off with an unexpected, even religious conviction. How is this for a comically counterintuitive defense of doing the wrong thing: “Give God a chance to keep working with you.”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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      Review: ‘The Vince Staples Show’ Is a Hip-Hop Head Trip

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      Netflix adds to the rap-comedy canon with five episodes that showcase the star’s absurdist, deadpan sensibility.There have been enough offbeat comedies about rappers and hip-hop lately to make up their own genre — the shape-shifting surreality of “Atlanta,” the scatological farce of “Dave,” the social-media savvy of “Rap Sh!t” — not to mention a list of dramas and docu-series from “Empire” to “Wu-Tang: An American Saga.”On Thursday, Netflix adds “The Vince Staples Show,” an impressionistic alt-comedy built around the deadpan sensibility of its star. It is mordantly funny and visually arresting, although at five brief episodes, it’s more of an EP than a magnum opus.Staples, once affiliated with the alternative hip-hop collective Odd Future, is known not just for his music but for a self-aware sense of humor that’s made him a sharp presence on social media. In the series, whose executive producers include Staples and Kenya Barris (“black-ish”), he plays a version of himself, flexing his sardonic voice while playing with the sense of danger that informs many of his lyrics.In the first episode, Vince is pulled over after making a U-turn in his home town of Long Beach, Calif. The experience is part nightmare (he’s locked up with a white man with Nazi tattoos and a behemoth with a reputation for knifework); part satire (when he picks up the communal phone, a voice says, “Hello, and welcome to jail!” followed by the sound of children cheering); part hallucination (for his meal, he’s handed a sandwich topped with a Draw Two Uno card).Outside jail, Vince’s world is just as much of a comic dystopia. A bank visit turns into a combination heist flick and Jordan Peele horror story. On a trip to a water park, the loudspeaker announcements are cryptically menacing (“All children must be accompanied by adults of the same ethnic background”), and the cartoony park mascot glares at Vince with ill intent.Unlike other recent hip-hop comedies, the rap-business part of “Vince Staples” stays largely offscreen. We don’t see Vince recording or performing, though he does run into the megastar Rick Ross. Instead, his fame is the backdrop and premise. It gets him recognized in lockup (an admiring guard quotes his song “Norf Norf” at him); it gets him an invitation to speak at his old school that goes bizarrely south; it gets him targeted by relatives looking for loans.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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      ‘The Vince Staples Show’ Is Part Art House, Part ‘Home Improvement’

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      The hip-hop star’s wit has long shone in his critically acclaimed music and on social media. Now, it is the center of his new Netflix sitcom.Vince Staples is not someone you would describe as “excitable.” During a recent conversation about his new Netflix sitcom, “The Vince Staples Show,” his deliberate drawl remained steady throughout. But his clear pride in the series, out Thursday, broke through his placid exterior a few times, such as when he talked about the cameo by the high-living rapper Rick Ross or the show’s Swedish film influences. He also knows that the mere fact of its existence is exceptional.“I don’t think there are many people who have been able to write and produce and star in their first television show, on a network that’s this big, that comes from where I come from,” Staples, 30, said in a video interview from his home in Los Angeles.Staples said he had ambitions to make his own show since he released his debut album, “Summertime ’06,” in 2015. On that LP and the four that followed, Staples wove stories about his upbringing in Long Beach with a sardonic delivery — a perspective that proved to be his through line between multiple mediums. His interviews and social media posts, in which he casts off irreverent one-liners and blunt social critique, have generated enough material for greatest hits collections.Staples made his acting debut in 2015 playing an inept sidekick in the comic coming-of-age film “Dope”; he has since starred in other movies, including the 2023 “White Men Can’t Jump” reboot, and in series like “Lazor Wulf,” an animated comedy on Adult Swim. He’s been able to incorporate some of his wit and other aspects of his personality in more recent roles, like the deadpan but well-meaning romantic interest he plays in “Abbott Elementary,” opposite the show’s creator Quinta Brunson.Staples, right, has acted in films including the 2023 reboot of “White Men Can’t Jump.”Hulu“The Vince Staples Show,” which counts Staples and Kenya Barris (“black-ish”) among its executive producers, is a more idiosyncratic kind of sitcom. In the world of the series, in which Staples plays a fictionalized version of himself wiggling through day-in-the-life predicaments, a trip to the amusement park becomes a treacherous sojourn and gun-culture satire runs alongside physical comedy. It’s part art house, but Staples insists it’s also just him.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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      in Television

      How Taylor Tomlinson Nailed the Closing Joke in her Netflix Special

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      Images: The New York Times (Taylor Tomlinson in Boston, Dallas, Tucson and Seattle); Margaret Norton/NBCUniversal, via Getty Images (Bob Newhart); Martin Mills/Getty Images (Shelley Berman); Cable Stuff Productions (George Carlin “Complaints and Grievances”); Columbia Pictures (Richard Pryor “Live on the Sunset Strip”); Netflix (Taylor Tomlinson “Have It All”).Produced by: Tala Safie and Josephine Sedgwick. Video editor: Caroline Kim. Senior video producer: Jeesoo K. Park. Production manager: Caterina Clerici. Additional production: Shane O’Neill, Rumsey Taylor, Josh Williams and Lucky Benson. Cinematography: Allie Humenuk, April Kirby, Stephanie Rose and Emily Rhyne. Additional cinematography: Manuel López Cano and Alex Miller. Additional editing: Stephanie Goodman and Alicia Desantis. More