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    William Cran, ‘Frontline’ Documentarian, Is Dead at 79

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    Producing or directing, he made more than 50 films over 50 years, including a series on the English language and an exploration of J. Edgar Hoover’s secret life.William Cran, an Emmy-winning master of the television documentary whose expansive body of work, primarily for the BBC and the PBS program “Frontline,” delved into complex subjects like the history of the English language and the private life of the F.B.I. director J. Edgar Hoover, died on June 4 in London. He was 79.His wife, Vicki Barker-Cran, said cause was complications of Parkinson’s disease. He died in a hospital.Mr. Cran produced more than 50 documentaries over 50 years and directed many of them.He began his career with the BBC, but he mostly worked as an independent producer, toggling between jobs on both sides of the Atlantic.He was most closely associated with “Frontline,” for which he produced 20 documentaries on a wide range of subjects — some historical, like the four-part series “From Jesus to Christ” (1998) and “The Secret Life of J. Edgar Hoover” (1993), and some focused on current events, like “Who’s Afraid of Rupert Murdoch” (1995).Some of Mr. Cran’s documentaries were historical, like the four-part series “From Jesus to Christ” (1998).PBSHe won a slew of honors, including four Emmys, four duPont-Columbia University awards, two Peabodys and an Overseas Press Club Award.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

      Philippe Labro Dies at 88; Restless Chronicler of the French Condition

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      As an author (often blurring the boundaries between fiction and nonfiction), a film director, a lyricist and a host of TV and radio shows, he sought to capture his epoch.Philippe Labro, a prolific journalist, author, movie director and songwriter whose lyrical prose, boundless curiosity and oft-repeated determination to “forage in deep waters” offered France a sweeping image of itself over several decades, died on Monday in Paris. He was 88.His death, in the Pitié Salpêtrière hospital, was caused by lymphoma of the brain, which was diagnosed in April, said Anne Boy, his longtime assistant. Mr. Labro lived in Paris.A restless spirit, notebook always at his side, convinced that journalism was an exercise in unrelenting observation, Mr. Labro pursued a lifelong quest to capture his epoch by any means. “He wrote our popular, French, and universal history,” President Emmanuel Macron said in a tribute on X, “from Algeria to America” and from Herman Melville to Johnny Hallyday, the French rock ’n’ roll superstar.In 24 books, including novels and essays; seven movies; lyrics to popular songs; and several television and radio shows, Mr. Labro probed the enigma of existence. No one medium sufficed. Truth, he believed, lurked between fact and fiction, and so he refused to be confined by one or the other. Quoting Einstein, he called life a “dance to a mysterious tune, intoned in the distance by an invisible piper.” That piper was his muse.Mr. Labro arrived as a guest for an official state dinner with President Joseph R. Biden Jr. and the first lady, Jill Biden, at the Élysée Palace in Paris in June 2024.Christophe Petit Tesson/EPA, via ShutterstockMr. Labro also liked Victor Hugo’s observation that “nothing is more imminent than the impossible.” He had good reason. It was in the United States, on Nov. 22, 1963, that Mr. Labro, then 27, achieved fame as the first French newspaper correspondent on the scene in the immediate aftermath of President John F. Kennedy’s assassination in Dallas.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

      Did That Clint Eastwood Interview Happen? Yes, Kind Of.

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      Eastwood, 95, accused a small Austrian publication of running a “phony” Q. and A. with him. It turns out the quotes were aggregated from previous interviews.Clint Eastwood had a lot to say in the interview with Kurier, a small Austrian publication.Or did he?The truth seems to be somewhere in the middle after Eastwood, the 95-year-old actor and director, accused the paper of running a “phony” question-and-answer featuring a conversation he did not have.The interview, first published on May 30, included Eastwood’s thoughts on the state of Hollywood, his age and his drive to continue working.On Monday, Eastwood disputed the interview all together.And on Tuesday, the publication responded by saying that while the quotes were real, they were not from a continuous Q. and A. interview, but rather aggregated from a series of interviews conducted in front of a group of reporters. It said that the reporter should have made that clear.The conclusion to the confusing saga came after a few choice quotes ricocheted around the internet.Eastwood said in the interview that “there’s no reason why a man can’t improve with age.”When asked about the women in his life, he said he was not concerned with age differences.“Although I’ve always been older than my wives at some point, I feel just as young as they do, at least mentally,” he said. “And physically, I’m still doing well, so hopefully no one will have to worry about me in that regard for a long time to come.”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

      ‘Good Night, and Good Luck’ Remembers When TV Had a Conscience, and a Spine

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      A TV critic looks at George Clooney’s play about CBS News standing up to political pressure, even as its current ownership might succumb to it.In the Broadway play “Good Night, and Good Luck,” the CBS newscaster Edward R. Murrow (George Clooney) allows himself a moment of doubt, as his program “See It Now” embarks on a series of reports on the anti-communist witch hunts of the 1950s.“It occurs to me,” he says, “that we might not get away with this one.”It is a small but important line. We know Murrow’s story — exposing the red-baiting demagoguery of Senator Joseph McCarthy — as history. And history, once set down on the page and stage, can seem inevitable.But Murrow’s success was not preordained. It required hard, exacting work. It required guts. It required journalists to risk personal ruin and some of them to experience it.It’s a point worth remembering. And it hits especially hard at this moment, when CBS News, headquartered just blocks away from the Winter Garden Theater, is again under political and financial pressure to rein in its coverage of the powerful. History is repeating, this time perhaps as tragedy. (CNN is airing the play’s June 7 evening performance live, as if to give the news business a shot in the arm.)In “Good Night, and Good Luck,” adapted from the 2005 screenplay by Clooney and Grant Heslov, all ends well, more or less. (The “less” is implied in the stage production by a “We Didn’t Start the Fire”-like closing montage that ties the division and chaos of the past several decades to the cacophony of media.)Murrow ultimately received support — however nervous and limited — from his network. Its chief, William S. Paley (Paul Gross), fretted about pressure from politicians and from the “See It Now” sponsor, the aluminum company Alcoa. But while Paley complained about the agita Murrow brought him, he did not pull the plug on the McCarthy investigation.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

      Sean ‘Diddy’ Combs Trial Draws Long Lines and Limited Seating

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      Without any livestreaming of the often graphic testimony, securing space inside the federal courtroom has meant long lines and long waits.Hours before sunset, the line begins to form outside the Daniel Patrick Moynihan United States Courthouse in Lower Manhattan. By the time the sun has risen again, some 13 hours later, the sidewalk is quite full.Queue psychologists, who study things like how to keep the hordes happy in lines at Disney World, would have a field day at the trial of Sean Combs.Since the trial started two weeks ago, folks have been showing up at ungodly hours to wait for a seat in the room where the music mogul is facing racketeering conspiracy and sex-trafficking charges, to which he has pleaded not guilty.News reporters assigned to cover the trial are joined in equal numbers by vloggers who have made the case their subject of the moment and members of the public who are simply interested in hearing the courtroom testimony.During the first two days of the trial, when the crowds were bigger, one YouTuber, Mel Smith, said he would leave his house in Beacon, N.Y., at about 3:30 p.m. to get a seat for the next morning’s testimony. When he arrived at about 5 p.m., he said, there were already a half-dozen people waiting in front of him.“Everybody knows P. Diddy — he’s a household brand — and everybody’s clicking all day to see what’s the latest updates,” he said.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

    • 163 Shares189 Views

      in Music

      If You Want a Seat at the Trial of Sean Combs, Leave Yesterday

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      Without any livestreaming of the often graphic testimony, securing space inside the federal courtroom has meant long lines and long waits.Hours before sunset, the line begins to form outside the Daniel Patrick Moynihan United States Courthouse in Lower Manhattan. By the time the sun has risen again, some 13 hours later, the sidewalk is quite full.Queue psychologists, who study things like how to keep the hordes happy in lines at Disney World, would have a field day at the trial of Sean Combs.Since the trial started two weeks ago, folks have been showing up at ungodly hours to wait for a seat in the room where the music mogul is facing racketeering conspiracy and sex-trafficking charges, to which he has pleaded not guilty.News reporters assigned to cover the trial are joined in equal numbers by vloggers who have made the case their subject of the moment and members of the public who are simply interested in hearing the courtroom testimony.During the first two days of the trial, when the crowds were bigger, one YouTuber, Mel Smith, said he would leave his house in Beacon, N.Y., at about 3:30 p.m. to get a seat for the next morning’s testimony. When he arrived at about 5 p.m., he said, there were already a half-dozen people waiting in front of him.“Everybody knows P. Diddy — he’s a household brand — and everybody’s clicking all day to see what’s the latest updates,” he said.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

    • 88 Shares189 Views

      in Television

      What Is … an Editing Game Show?

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      The newsroom recently hosted an internal game show to quiz editors on grammar rules and Times style. It was educational, exciting and all-around geeky.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.The clue appeared on a large blue screen: “In news writing, this punctuation mark is rarely needed except in quotations of shouted or deeply emotional phrases.”A buzzer went off and an editor answered: What is an exclamation point?“Yes!” Peter Blair responded. (The exclamation point is appropriate here. Mr. Blair did indeed shout.)“Reporters in the room,” he added, “take notice.”Perhaps Mr. Blair was excited because he was fulfilling something of a childhood dream by hosting a game show in the newsroom, to test contestants on their knowledge of The Times’s Manual of Style and Usage.The manual, known in the newsroom as the stylebook, helps journalists keep track of grammar rules and Times style. Entries cover guidance on punctuation and semantics, but also offer instruction around The Times’s specific practices, such as the paper’s stance on courtesy titles and how numbers should be rendered in headlines.The game was in the style of “Jeopardy!,” with categories such as “Quirks of The Times” and “Punctuation!” The contestants, the editors Danial Adkison, Christine Chun and Danielle Dowling, sat near the front of the room, buzzers in hand, and three other editors sat across from them, serving as the judges.No real money was wagered; on the line were Starbucks gift cards.Nonetheless, the pressure was on. The room was packed with a live audience, and about 170 Times staff members were watching the show via livestream.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

      Bill Belichick’s Girlfriend, Jordon Hudson, Shuts Down Question About Their Relationship

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      The legendary football coach has never shared much with the news media, but on Sunday it was Jordon Hudson who shut down a line of questioning.When Bill Belichick, one of the country’s most famous football coaches, appeared on “CBS Sunday Morning” over the weekend to promote his new book, “The Art of Winning: Lessons From My Life in Football,” he touched on a number of topics, including his apparent disdain for inspirational halftime speeches.Football, Mr. Belichick said in his interview with Tony Dokoupil of CBS, is really about strategy: What is his opponent doing? How does his team need to adjust?“Identifying a problem,” he went on, “figuring a solution and then executing that plan to make it work.”Jordon Hudson, Mr. Belichick’s 24-year-old girlfriend, tried to do exactly that at one point in the interview, when Mr. Dokoupil asked Mr. Belichick, 73, how they had met.“We’re not talking about this,” Ms. Hudson interjected off camera from the producer’s table.“No?” Mr. Dokoupil asked her.“No,” Ms. Hudson said.A spokesman for Mr. Belichick and the University of North Carolina’s football team declined to comment on the interview, but Mr. Belichick’s relationship with Ms. Hudson — and, of course, their nearly 49-year age difference — has been a source of intrigue since the couple went public last year.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

    • 138 Shares169 Views

      in Movies

      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