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    Karen Durbin, 80, Dies; ‘Fearless’ Feminist Who Edited The Village Voice

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    A fierce advocate of sexual liberation, she pushed the alternative weekly to cover women’s issues, as well as gay rights and avant-garde culture.Karen Durbin, a fierce feminist who championed sexual liberation and fulfillment as a journalist, served as the second female editor in chief of The Village Voice and then went on to become a virtuoso film critic for The New York Times and other publications, died on April 15 in Brooklyn. She was 80.Her death, in a health care facility, was caused by complications of dementia, her friend and former colleague Cynthia Carr said.Appointed in 1994 as The Voice’s editor in chief — she was only the second woman in that job in the paper’s history, and the first in nearly two decades — Ms. Durbin waged a fervent campaign to attract young readers. Part of that effort involved tilting toward often incendiary coverage of feminism, gay rights and avant-garde culture, and away from muckraking about corrupt and incompetent landlords, judges and politicians.Not that she abandoned covering corruption and crime: In 1996, she overruled the paper’s lawyers and published an article that all but accused the nightclub promoter Michael Alig of “A Murder in Clubhand,” as the headline proclaimed, after the reporter, Frank Owen, produced an on-the-record source. (Mr. Alig later pleaded guilty to manslaughter.)An assortment of Ms. Durbin’s press credentials. After her stint as editor in chief at The Village Voice, she wrote about film for The New York Times and other publications.Karen Durbin Papers, Barnard Archives and Special CollectionsBut even before she was editor in chief, she had set a tone that outraged traditionalists, mostly the older, white male staffers — or “the boys club,” as she put it. When she was the senior arts editor, they took issue with some of her editorial choices, including an assignment she made in 1986: Ms. Carr’s profile of the performance artist Karen Finley, whose act included the sexually explicit use of canned yams as part of a sendup of female objectification.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 Theater

      Anne Kaufman Schneider, 99, Ardent Keeper of Her Father’s Plays, Dies

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      She shepherded the works of George S. Kaufman from the 20th century into the next, encouraging regional theater productions and helping to steer two of them to Broadway.Anne Kaufman Schneider, who shepherded the plays of her father, George S. Kaufman, a titan of 20th-century American theatrical wit, into the 21st century with an acerbic sagacity all her own, died on Thursday at her home in Manhattan. She was 99.Her executor, Laurence Maslon, confirmed her death.“Headstrong girls are difficult,” Ms. Kaufman Schneider once told The New York Times, “but that was the source of my good relationship with my father. And it started early. Because there wasn’t any baby talk. We went to the theater together starting when I was 4. Now I have made his work my agenda in life.”George Kaufman’s stellar career as a hit-making playwright and stage director included winning two Pulitzer Prizes — one, in 1937, for “You Can’t Take It With You,” a comedy he created with his most constant collaborator, Moss Hart; the other, in 1932, for “Of Thee I Sing,” a satirical political musical co-written with Morrie Ryskind to a score by George and Ira Gershwin.George S. Kaufman, left, with Moss Hart, his most constant collaborator, in 1937, the year their play “You Can’t Take It With You” won the Pulitzer Prize.Underwood Archives/Getty ImagesEven so, after his death in 1961 at the age of 71, Kaufman was a hard sell for theatrical revivals.“Very little happened at all,” Ms. Kaufman Schneider once recalled, “until Ellis Rabb revived ‘You Can’t Take It With You’ for the A.P.A./Phoenix Theater in 1965. Ellis proved that these are classic American plays.” (Founded by Mr. Rabb, an actor and director, the A.P.A., formally the Association of Producing Artists, was a Broadway entity notable for mounting revivals after it merged with the Phoenix Theater, another Broadway house.)Ms. Kaufman Schneider proceeded to oversee her father’s renaissance over the next 50-plus years — a term of service that outdistanced his own living stewardship of his career.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 Music

      How The Times’s Fall Culture Preview Comes Together

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      Arts & Leisure’s fall preview connects readers with the season’s noteworthy cultural works. And there are many.Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.In the spring, Andrew LaVallee starts planning for fall.As the editor of The New York Times’s Arts & Leisure section, he is constantly considering the cool, crisp season, when Broadway stages new performances, galleries open much-anticipated exhibitions and new TV series are released on streaming services, all shaping cultural conversation and impassioned debate.Months of planning culminate in the Arts & Leisure fall preview, an annual section that shares with readers the can’t-miss cultural works of the season.This year’s section, which appears in print on Sunday, includes the work of about 70 journalists. Across 92 pages, 45 articles, five covers and 11 art forms, including theater, film, dance, podcasts, books and video games, The Times shares the best of what fall has to offer.Planning begins in earnest in April. But for LaVallee, the content is “on my mind all year round.”“Really early in the year, or even the year before, you’re starting to hear about, say, Robert Downey Jr. is going to be in his first Broadway show in the fall,” LaVallee added. “I’m starting to bookmark things like that in my brain.”In this year’s preview, there’s an article on a Broadway revival of “Romeo and Juliet,” a discussion with the filmmaker Pedro Almodóvar and a piece on the actor Daniel Dae Kim and his long-anticipated return to the stage.Readers will also find music critics’ picks from pop (Chappell Roan) to classical (Wagner’s “Ring” cycle) to rap (Sexyy Red). There’s a panoply of exciting upcoming releases to write about, too, including art exhibitions, TV shows, even video games. (In the new Legend of Zelda, Princess Zelda is finally a playable protagonist.)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 Movies

      George Clooney Talks About Biden and ‘Wolfs’ With Brad Pitt

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      He also addressed the release plan for his new movie, “Wolfs,” co-starring Brad Pitt.Midway through a Venice news conference for the crime caper “Wolfs,” one reporter told George Clooney that she would ask the question on everyone’s minds.“That I look so good up close?” Clooney quipped.Though the 63-year-old was certainly sporting a nice tan, the big question wasn’t about his movie-star looks or even about “Wolfs,” which premiered Sunday evening at the Venice Film Festival. Instead, Clooney was asked about the effect of a July 10 guest essay he wrote for The New York Times Opinion section that called on President Joseph R. Biden Jr. to step down as the Democratic nominee.At the time, it was considered one of the most high-profile examples of Hollywood’s big-donor class losing confidence in President Biden after his debate against Donald J. Trump in June. Some journalists in the Venice press room applauded Clooney at the mention of his influential essay, but the star demurred. “The person who should be applauded is the president, who did the most selfless thing that anybody’s done since George Washington,” Clooney said about President Biden, who endorsed Vice President Kamala Harris as the nominee for the Democratic Party in late July. “All the machinations that got us there, none of that’s going to be remembered and it shouldn’t be. What should be remembered is the selfless act.”Alluding to the ascension of Harris, Clooney continued, “I’m very proud of where we are in the state of the world right now, which I think many people are surprised by. And we’re all very excited for the future.”Still, that wasn’t the only tricky question Clooney had to field during the news conference. Co-starring Brad Pitt, “Wolfs” is an old-fashioned crowd-pleaser — the two actors play rival fixers who must reluctantly work together to cover up a crime scene. The movie was originally earmarked for a wide release in theaters before debuting on Apple TV+. But after the streamer endured a recent run of theatrically released flops like “Argylle” and “Fly Me to the Moon,” that plan was significantly cut back.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

    • 113 Shares149 Views

      in Television

      ‘Saturday Night Live’ Is Already Looking Toward the Election

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      In its opening sketch, “S.N.L.” offered a parody of a CNN political show.A new poll conducted by The New York Times and Siena College indicated that voters have a wide range of concerns about President Biden in the months before the 2024 presidential election. But “Saturday Night Live” gave some of Biden’s advocates — or, at least, the cast members impersonating them — the opportunity to dispel these anxieties and argue that he isn’t too old to continue in the job.In its opening sketch, “S.N.L.,” which was hosted this week by the actress Sydney Sweeney and featured the musical guest Kasey Musgraves, offered a parody of CNN’s “Inside Politics” with Dana Bash.Heidi Gardner, playing Bash, began her program with Michael Longfellow, who was playing Gov. Gavin Newsom of California.“I understand that people care about the president’s age, but what they should care about is his record,” Longfellow said. “Look at what Joe Biden has done for America. He’s created more jobs than any president in history. Inflation is down. The Shamrock Shake is back and Beyoncé has gone country. Thank you, Joe.”When Gardner suggested that Biden might lack youthful vigor, Longfellow countered that he had just come from a meeting with him about the border.“He had charts, tables, PowerPoints,” Longfellow said. “He had an interactive AR display on the Apple Vision Pro that he programmed himself. The software might be in beta, but the man, he’s in alpha.”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

    • 150 Shares99 Views

      in Television

      Tom Sandoval’s Interview Shows the Perils of Doing PR for Reality TV

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      Publicists who work with “unscripted” people say it presents several challenges.Tom Sandoval, a star of “Vanderpump Rules,” has shared a lot in the decade that he has appeared on that reality TV show, the 11th season of which began airing on Bravo in January. But in a recent interview with The New York Times Magazine, Mr. Sandoval, 41, said things that surprised even people who were well familiar with his penchant for shocking behavior.Speaking about the public interest in an affair he had with a co-star while he was dating another co-star, a tryst known as “Scandoval,” Mr. Sandoval said that he was not a historian of pop culture, but that he “witnessed the O.J. Simpson thing and George Floyd and all these big things, which is really weird to compare this to that, I think, but do you think in a weird way it’s a little bit the same?”Mr. Sandoval also said he felt that he received more hate for his affair than the actor “Danny Masterson, and he’s a convicted rapist.” He spoke in the presence of a member of his publicity team, which to some was as astonishing as his comments.The writer who interviewed Mr. Sandoval for The Times Magazine wrote that a representative for Bravo contacted her after their conversation took place and before it was published to relay concerns about what he had said.Alyx Sealy, a publicist for Mr. Sandoval, declined to comment for this article. Bravo declined to participate. Adam Ambrose, a publicist who represents reality stars and who has represented Mr. Sandoval in the past, said in an emailed statement that working with people on reality TV could present unique challenges because of the nature of that genre.“Unscripted stars portray and are their authentic selves, so at times the lines can be blurred for them to discern between being in front of the camera and speaking to the media,” said Mr. Ambrose, the founder of Brand Influential, a public relations company in Los Angeles, who emphasized that he was speaking generally and not about any specific client, past or present. “Sometimes they may be perceived as uncoachable, making it more challenging to manage their media presence from a P.R. perspective.”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

    • 125 Shares169 Views

      in Movies

      Cold Plunges and Cuddling With Cats: Photographing the ‘Great Performers’

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      What do celebrities do in their downtime? A new project by The New York Times Magazine captures the awards season’s buzziest actors in their element.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.The photographer James Nachtwey showed up at Bradley Cooper’s farmhouse in Pennsylvania one freezing morning in January, armed with a coat and a camera.“Let’s take a walk,” an affable Mr. Cooper suggested, leading Mr. Nachtwey through his 33-acre property until they arrived at an ice-crusted stream.After sharing that he practiced mindfulness by taking cold plunges — immersing himself in freezing water for minutes at a time — Mr. Cooper proceeded to strip down to his black briefs and dive in, flipping over onto his back and closing his eyes.“I thought I’d have 30 seconds to take the picture,” Mr. Nachtwey said in a recent phone conversation from his home in New Hampshire. “But he stayed in for at least 10 minutes.”The resulting photo of Mr. Cooper, which appears on the cover of this month’s Great Performers issue of The New York Times Magazine, is one of 12 portraits of this award season’s buzziest actors. Mr. Nachtwey captured the images over a three-week period in January in Los Angeles, New York, Pennsylvania and Atlanta.Among them: Mark Ruffalo training his own camera on street pigeons, Paul Giamatti curled up on a couch with cats at his favorite used bookstore and Emma Stone wandering through steamy Manhattan streets.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

    • 113 Shares159 Views

      in Music

      A Critic Who Strives to Hit the Right Note

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      Zachary Woolfe, the classical music critic for The New York Times, shared how he endeavors to make his writing accessible to both neophytes and experts.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.Zachary Woolfe grew up in a musical household. His parents were big fans of Bob Dylan and Joni Mitchell, and often played their music throughout their Long Island, N.Y., home.So when he, as a teenager, hung a picture of the dramatic soprano Birgit Nilsson above his bed, they were supportive, he said, if a bit confused.“I was a serious cellist from elementary school through high school,” said Mr. Woolfe, 39, the classical music critic for The New York Times. He began taking private lessons when he was about 9 and played in all-county and all-Long Island orchestras, and his love of the genre has only grown.Now, 13 years into a career as a music critic at The Times — he began as a freelance critic in 2011 — Mr. Woolfe has carved out a niche among classical music critics. His goal is to make the genre accessible to readers new to the art form, as well as interesting to aficionados who may be attending their 25th performance of Mahler’s Fifth Symphony.“I think what people are interested in is passion,” Mr. Woolfe said. “Even if you didn’t understand every word, my goal is for you to be drawn into my pieces because you can tell that I really care about what I’m writing about.”In a recent phone conversation, shortly before he attended a performance by the Boston Symphony Orchestra at New York City’s Carnegie Hall, Mr. Woolfe reflected on the importance of covering classical music across the globe and the future of the genre. These are edited excerpts from the conversation.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