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      Terry Hall, a Face of Britain’s Ska Revival, Is Dead at 63

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      The son of Coventry factory workers, he overcame a traumatic childhood to find fame in the Thatcher years as the frontman of the Specials.Terry Hall, the frontman of the Specials, the British ska band that blended pub-fight energy with socially conscious lyrics that explored the political and racial tensions of Britain in the late 1970s and early ’80s, died on Dec. 18. He was 63.The cause was pancreatic cancer, his former bandmate Horace Panter announced on Facebook. The announcement did not say where he died.After enduring a traumatic childhood, Mr. Hall went on to enjoy a chart-topping music career.He forged his most lasting legacy as a face of the revival of ska — the pop genre that emerged in Jamaica in the 1960s, blending Caribbean styles like calypso with rhythm and blues — that shook the British music scene during the early, convulsive Margaret Thatcher years.The Specials were key figures in the movement, along with Madness, the Selecter, Bad Manners and the Beat (or the English Beat, as they were known in the United States to distinguish them from the American band of the same name).Clad in the fashions of Jamaica’s slickly attired rude boys — often with tapered suits, skinny ties and porkpie hats — the Specials sounded off about racial injustice, soaring unemployment and ultra-right-wing violence over a rave-up party sound that left sweaty audiences in a frenzy.Hollow-eyed and phlegmatic, Mr. Hall channeled outrage with a vocal style that often made it sound as if he were spitting weary invective as much as singing.The band released its debut album, produced by Elvis Costello, in 1979, two years before racial unrest rocked cities throughout Britain. With five white members and two Black ones, the Specials “were a celebration of how British culture was invigorated by Caribbean immigration,” Billy Bragg, the British singer-songwriter known for his leftist politics, wrote in a social media post after Mr. Hall’s death.“But the onstage demeanor of their lead singer was a reminder that they were in the serious business of challenging our perception of who we were in the late 1970s,” Mr. Bragg added.Mr. Hall performing with the Specials in London in 1980. He channeled outrage with a vocal style that often made it sound as if he were spitting weary invective as much as singing.David Corio/Redferns, via Getty ImagesMr. Hall believed that England needed a band to vocalize the country’s unease at the time. “What I didn’t realize,” he said in a 2020 interview with the music writer Pete Paphides, “was that it might be us.”The Specials scored seven straight Top 10 singles on the British pop charts, starting in July 1979 with “Gangsters,” which reached No. 6, and concluding in June 1981 with the No. 1 hit “Ghost Town,” a mournful rumination about a lack of opportunity for British youth in a sinking economy against a backdrop of perceived government apathy. Their other hits included “A Message to You Rudy” (No. 10) and “Too Much Too Young” (No. 1).The Specials in Los Angeles in 1980. From left: Horace Panter, Mr. Hall, John Bradbury and Neville Staple.Michael Putland/Getty ImagesEven when topping the charts, Mr. Hall and the band showed little interest in becoming part of the London entertainment machine.Proudly based in Coventry, a rough-and-tumble industrial city in the West Midlands known for its automobile factories and its sizable West Indian population, the Specials scarcely paid lip service to the frothy trends bubbling up from the banks of the Thames.“We’ve got everything we want here,” Mr. Hall said in a television interview in 1980, when he was at the peak of his fame but still living with his parents. “There’s a studio here, there’s a train station, that’s all we need.”As for London, he said: “There’s nothing for me, or for any of us; there’s no point in hanging around trendy London clubs until 4 in the morning. I’d rather stay in and watch telly.”In addition to his star turn with the Specials, Mr. Hall scored four Top 10 hits in Britain with Fun Boy Three, a deadpan and oddly experimental new wave group he formed in 1981 with the Specials’ other vocalists, Lynval Golding and Neville Staple. In 1983, the band hit No. 7 with its cover of “Our Lips Are Sealed,” a 1981 hit for the Go-Go’s that Mr. Hall wrote with that band’s Jane Wiedlin, whom he briefly dated.Terence Edward Hall was born in Coventry on March 19, 1959. His father, Terry Hall, Sr., worked at a Rolls-Royce aeronautics plant, and his mother, Joan, worked at a Chrysler factory.Growing up, Mr. Hall was a standout student and soccer player, but he spent his youth fighting inner demons. In 2019, he revealed a childhood trauma that he said sent him into a spiral of depression and substance abuse that lasted years.In an interview with the British magazine The Spectator, Mr. Hall said that “Well Fancy That!” — a 1983 song by Fun Boy Three about a harrowing sexual encounter — was about the time he was kidnapped and abused by a teacher.“It was about an episode where I was abducted, taken to France and sexually abused for four days,” he said. “And then punched in the face and left on the roadside. At 12, that’s life-changing. I still have that illness today and I will still have it in 10 years’ time, and it’s important for me to talk about that.”Prescribed Valium to deal with the emotional fallout, he soon became addicted. “Which meant I didn’t go to school, I didn’t do anything,” he recalled. “I just sat on my bed rocking for eight months.”Music was an escape. In the late 1970s, Mr. Hall joined a Coventry punk band called Squad, which brought him to the attention of Jerry Dammers, a songwriter and keyboardist who was in a band called the Automatics. That band would evolve into the Specials, with Mr. Hall taking lead vocals.“We didn’t even know who was going to play what,” he later said. “We passed around all the instruments until we found what we were comfortable with. I wasn’t comfortable with any of them, so I became the singer.”The Specials, an unstable collection of members with different backgrounds and agendas, unraveled after “Ghost Town.” The remaining members regrouped without Mr. Hall as the Special AKA and scored a Top 10 hit in 1984 with the up-tempo protest song “Nelson Mandela.”But Mr. Hall’s career was far from over. After Fun Boy Three disbanded, he helped form Colourfield, a pop band based in Manchester, in 1984. The Colourfield’s sunny love song “Thinking of You” hit No. 12 in Britain the next year.In 1990 he formed another band, Terry, Blair & Anouchka, which released one album, “Ultra Modern Nursery Rhymes.” He later formed a band called Vegas, with Dave Stewart of Eurythmics, and also collaborated with the Lightning Seeds, Gorillaz and other acts.Mr. Hall eventually drifted back to his roots with a new incarnation of the Specials, including Mr. Golding and Mr. Panter, that released an album, “Encore,” in 2019, that dealt with contemporary racial issues, including the Black Lives Matter movement. The pandemic interrupted plans for a reggae follow-up in 2020.In 2021, the band detoured from its ska roots with an album of covers called “Protest Songs: 1924-2012,” which included a honky-tonk cover of the Staple Singers’ 1965 civil rights ode “Freedom Highway” and a country-inflected version of Malvina Reynolds’s “I Don’t Mind Failing in This World.”By that year, the band was set to proceed with its delayed reggae album. But in October, The Guardian reported, Steve Blackwell, the band’s manager, disclosed that Mr. Hall had pancreatic cancer that had spread to his liver. Treatment failed to stem the disease.Mr. Hall is survived by his second wife, Lindy Heymann; their son, Orson; and two sons, Theo and Felix, from his first marriage, which ended in divorce.By the end of his life Mr. Hall had not entirely escaped his demons, but he had made a certain peace with himself, and with his role as half-willing pop star.When asked by The Spectator if he derived any pleasure from performing, he responded: “Absolutely none. That’s why I do it.”He quickly amended that. “I actually do enjoy that thing onstage where I turn round and I’ve got Horace and Lynval, who I’ve known most of my life, and we’re sharing something. That’s my night out. Don’t get out much.” More

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      ‘Loudmouth’ Review: Portrait of Al Sharpton as a Young Man

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      A stirring new biographical documentary about the Rev. Al Sharpton revisits a racially divided New York City and offers a critique of the news media then and now.In the sympathetic documentary “Loudmouth,” the Rev. Al Sharpton recounts the time Coretta Scott King admonished him for his rhetorical excesses. The film’s writer-director, Josh Alexander, cuts between the Sharpton of now — svelte, measured — and, using archival footage, the young man he was in the 1980s: rotund, passionate and plying his skills as a preacher to harness the anger and grief of those African Americans gathered at churches, rallies and marches in a time of heightened racial violence.“Loudmouth” is equal parts time capsule, media critique and authorized biography. Each of those examinations has its own flaws but also offers insights into the man, the moment (the current one but more pointedly New York City of the 1980s and ’90s) and the news media.Thirty years ago, Sharpton’s dramatic tactics earned him (along with the lawyers Alton Maddox and C. Vernon Mason, who was later disbarred) incendiary headlines and a warm seat on the daytime talk circuit. For Sharpton, who sees himself in the tradition of the Rev. Dr. Martin Luther King Jr., Scott King’s chiding invited a reconsideration of that lightning rod approach. Another epiphany came after he was stabbed in 1991 in Bensonhurst, Brooklyn, while preparing to protest the sentences in the case of Yusuf Hawkins, the Black 16-year-old who was and shot and killed by a white mob in the neighborhood two years earlier.One of the documentary’s most salient cautions might be that members of the news media were (and often remain) unwilling to cop to their biases. Sharpton has spent a lifetime calling the storytellers out for their slant — and schooling us to do the same. As straightforward as it appears, “Loudmouth” also invites an engaged but necessarily judicious scrutiny.LoudmouthNot rated. Running time: 2 hours 3 minutes. In theaters. More

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      in Movies

      11 Ways I Escaped Reality This Year

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      Our critic was haunted, in a good way, by the performances she saw in movies, theater and TV that offered glimpses into other worlds.In a year when so much, including our democracy, felt topsy-turvy, I was drawn to entertainment that took me out of our real world to another realm. Be it the supernatural, the surreal, the spirit world, or just a superb performance: Here’s my list of 11 otherworldly movies, TV series, actors and plays that brought me joy and centeredness amid the chaos.‘Macbeth’In Sam Gold’s take on “Macbeth,” I loved the lustful love story between Daniel Craig and Ruth Negga, but is it weird to say that I also really dug the stew? When we entered the theater, the three witches, dressed in sweaters and jeans, were already onstage stirring their pot, and later they utter the lines that seal Macbeth’s fate. But at the end of the play, when everyone in the cast sits together and shares a bowl, this update, along with one of the witches (Bobbi MacKenzie) singing Gaelynn Lea’s ballad “Perfect,” enacted healing. It reminded me that despite the setbacks that befell the cast and our country, being alive and in the community of theater was something to celebrate. (Read our review of “Macbeth.”)‘The Woman King’With “The Old Guard,” the filmmaker Gina Prince-Bythewood proved she had the chops for a feminist superhero flick. But with the Viola Davis-led “Woman King,” she went epic in scale and story. She wove in the history of the Agojie, the all-female army in the West African kingdom of Dahomey; produced brilliant fight scenes with actors who performed their own stunts; and explored war, sexual assault and the trans-Atlantic slave trade. Here, prophecy is protection, and though it is never named as such, the Dahomey religious practice of Vodun is a guide for Davis’s character, General Nanisca, as she prepares to take on enemies, foreign and domestic, and confront her own demons. (Read our review of “The Woman King.”)Viola Davis, center, stars in “The Woman King.”Ilze Kitshoff/Sony Pictures‘P-Valley’Set at a strip club in Mississippi, the Starz series “P-Valley” is a “love letter to all women who are scrapping it out, but particularly for the Black women that I think a lot of people thumb their noses at, even Black folks,” according to its creator, Katori Hall. It is a sentiment channeled through the veteran dancer and aspiring gym owner Mercedes (Brandee Evans) and the up-and-coming Keyshawn (Shannon Thornton), who is trapped in her career and abusive marriage. But it is Hoodoo, the spiritual practice introduced to them by the club’s security guard Diamond (Tyler Lepley), that might save them. Based on the Season 2 cliffhanger, I’m hoping Diamond’s efforts worked or that he will be there to ward off evil spirits and people in the future. (Streaming on Starz.)‘Reservation Dogs’A coming-of-age tale told through four Indigenous teenagers — Elora, Bear, Cheese and Willie Jack — in the fictional town of Okern, Okla., “Reservation Dogs” masterfully pokes fun at Hollywood stereotypes and acknowledges the nuances of Native culture. While William “Spirit” Knifeman (Dallas Goldtooth) is a bumbling spirit guide who gives Bear unsound advice, he is also the counterpoint to ancestral “spirits” such as Elora’s grandmother or Daniel, a friend of the four teens whose suicide prompts them to leave their reservation (or at least attempt to). In the wonderfully rich ninth episode, Willie Jack (Paulina Alexis) seeks advice from her aunt and Daniel’s mother, Hokti, who is incarcerated. After Willie Jack makes an offering of Cheez-Its, Flaming Flamers chips and a Skux energy drink, Hokti (Lily Gladstone) reveals that the many spirits surrounding Willie Jack will help her in time. (Streaming on Hulu.)‘The Piano Lesson’ and ‘Death of a Salesman’Ghosts came in different forms this Broadway season. In her revival of August Wilson’s Pulitzer Prize-winning play, “The Piano Lesson,” LaTanya Richardson Jackson decided to literalize the ghost of the white slave owner, Sutter. Though we never see him, his haunting of the Charles family becomes all too real, making the family’s battles over a piano a deeper allegory of race, property and American history. Equally compelling is Miranda Cromwell’s revival of “Death of a Salesman,” whose all-Black family includes Wendell Pierce as Willy Loman and Sharon D Clarke as his wife, Linda. Willy’s older brother, Ben (André De Shields), is not just a ghost but a griot, too. Sporting a white cane, a white suit and bedazzled shoes, Ben plagues Willy with his success while his spirit beckons his younger brother to the other side. This infuses the play with a new sense of ambiguity, never justifying Willy’s final decision but adding a layer of empathy and compassion. (Read our reviews of “The Piano Lesson” and “Death of a Salesman.”)Wendell Pierce, left, as Willy Loman and Andre De Shields as Ben Loman in “Death of a Salesman.”Sara Krulwich/The New York TimesRegina HallRegina Hall showed her versatility this year with two wildly different performances. In Mariama Diallo’s horror movie “Master,” she plays Gail Bishop, who, as the first Black dean of a residence hall at the elite Ancaster College, must constantly contend with racism and its impact on her and on Black students. In Adamma Ebo’s comedy “Honk for Jesus. Save Your Soul,” she is Trinitie Childs, the wife of a disgraced Southern Baptist pastor (Sterling K. Brown) and a woman obsessed with climbing back to her former state of church glory. The way she evokes Trinitie’s pity, pettiness, petulance and pride gives this film its most memorable and haunting moments. (Read our reviews of “Master” and “Honk for Jesus. Save Your Soul.”)‘Nope’The cinephile in me was pleasantly surprised that Jordan Peele’s “Nope” was a movie about movies. Peele not only pays homage to early film and photography technologies, and the suspense and terror brought on by Steven Spielberg’s “Close Encounters of the Third Kind” and “Jaws,” but he also does so while remembering those African Americans whose early contributions to the motion picture industry have been forgotten or ignored. Thanks to Peele’s clever writing, creative directing and smart casting of his frequent collaborator Daniel Kaluuya (“Get Out”) as well as the magnanimous Keke Palmer, this movie about gentrification, U.F.O.s and racial discrimination ended up being just an old-fashioned, feel-good movie, the kind we still desperately need. (Read our review of “Nope.”)‘The Man Who Fell to Earth’It was a bold move to follow up on a sci-fi classic starring David Bowie as an extraterrestrial. Rather than compete with such memorable casting, Showtime’s 10-episode series “The Man Who Fell to Earth” humanized its protagonist, Faraday (Chiwetel Ejiofor), by doubling his outsiderness: He arrives in the United States as both an alien and a Black man. In an electrifying sixth episode on jazz music, Faraday and other characters discover a sound of their shared humanity and a possible key to salvaging both of their planets. (Streaming on Showtime.)Chiwetel Ejiofor stars in the TV series “The Man Who Fell to Earth.”Showtime‘Everything Everywhere All at Once’I can’t stop raving about this movie — the costumes, the makeup, the editing (oh, the editing!). The fight scenes, the I.R.S. scenes. The marvelous Michelle Yeoh, playing the laundromat owner and cosmic warrior Evelyn Wang, and Stephanie Hsu, playing her disenchanted daughter, Joy. Daniel Kwan and Daniel Scheinert, who work under the name Daniels, have said that this is mostly a film about the confusion that arises when its characters believe they are in different movie genres from one another. I also admire how this genre diversity (thriller, sci-fi, martial arts, domestic drama) perfectly captured expansive cultural identities (immigrant narratives, Asian American families, queer children) and the depth of our earliest love story (between mother and daughter) — all of which still seem to be unmined in Hollywood. (Read our review of “Everything Everywhere All at Once.”)Brian Tyree HenryThe surreal TV series “Atlanta” started off focused on the Princeton dropout (Donald Glover) who became his rapper cousin’s manager, but in its final season it was mainly about the rapper, Alfred a.k.a. Paper Boi (Brian Tyree Henry), and his journey to define himself beyond the trappings of fame, wealth or the music industry. His textured performance gave Alfred more emotional depth as his character confronted feral hogs, white privilege in hip-hop and his own mortality. Henry’s onscreen brilliance led Lila Neugebauer to rewrite and reshoot key scenes in her debut film, “Causeway,” now on Apple+, devoting more time to the friendship between his character and Jennifer Lawrence’s. The result is a moving portrait of grief and hope, in which Henry lights up the film. (Read our review of “Causeway.”) More

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      in Movies

      Alien Superstar

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      Listen and follow Still ProcessingApple Podcasts | Spotify | Stitcher | Amazon MusicWesley Morris and Elyssa Dudley, Hans Buetow and J Wortham and Wesley Morris are back, just in time for Scorpio season. Ever since they watched Jordan Peele’s latest film, “Nope,” together over the summer, they haven’t been able to stop talking about it. The film stars Daniel Kaluuya and Keke Palmer as siblings whose family horse ranch is threatened by an otherworldly creature. But instead of escaping or destroying the monster, they are determined to take a picture of it. Why is proof so important? And why do they assume no one will believe their lived experience?Today: The unresolved questions of “Nope” (some of them, anyway) and what the film says about the grimmer aspects of living in America. (Beware: Spoilers ahead!)From left, Daniel Kaluuya, Keke Palmer and Brandon Perea in “Nope,” the third feature film from the director Jordan Peele.Universal PicturesA new season of ‘Still Processing’Hosts Wesley Morris and J Wortham are reuniting for a mini-season before 2022 comes to a close. Join them for deep chats and incisive takes on the cultural landscape — from the revival of disco to the return to office life. Plus an episode on the gift that keeps on giving: Beyoncé.New episodes drop Tuesdays. Follow the show on Apple, Spotify, Stitcher, Amazon Music or wherever you get your podcasts.Hosted by: Wesley Morris and J WorthamProduced by: Elyssa Dudley, Hans Buetow and Christina DjossaEdited by: Sara Sarasohn and Sasha WeissEngineered by: Marion LozanoExecutive Producer, Shows: Wendy DorrSpecial thanks: Paula Szuchman, Sam Dolnick, Mahima Chablani, Jeffrey Miranda, Eslah Attar and Julia Moburg. More

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      in Television

      After Hollywood’s #MeToo Reckoning, a Fear It Was Only Short-Lived

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      Harvey Weinstein’s second sex crimes trial began Monday in Los Angeles. “She Said,” about the journalistic investigation that took him down and helped ignite the #MeToo movement, arrives in theaters on Nov. 18. “The Woman King” opened to strong ticket sales last month, with Viola Davis saying she thought about the man who sexually assaulted her to power her visceral performance as the leader of an all-female group of African warriors.The convergence is a reminder of just how earthshaking #MeToo was for Hollywood.It helped touch off a broader reckoning in the entertainment industry around diversity, equity and inclusion on both sides of the camera — who gets to make movies, who gets to be the subject of them. Activists say that studios and sets have been permanently changed for the better. Zero tolerance for workplace sexual harassment and discrimination is real.In recent months, however, Hollywood’s business culture has started to regress in subtle ways.New problems — widespread cost-cutting as the box office continues to struggle, coming union contract negotiations that producers worry will result in a filming shutdown — have become a higher priority. Fearing blowback, media companies that were vocal about #MeToo and Black Lives Matter have been quieter on more recent political debates over cultural issues.Diversity, equity and inclusion executives say they are exhausted by an old-boy network that is continuously trying to reconstitute itself: Women who were hired for big jobs and held up as triumphant examples of a new era have been pushed aside, while some of the men who were sidelined by misconduct accusations are working again.“The Woman King,” starring Viola Davis as the leader of an all-female group of African warriors, opened to strong ticket sales last month.Ilze Kitshoff/Sony PicturesIf asked to speak on the record about their continued dedication to change, Hollywood executives refuse or scramble in terror toward the “we remain staunchly committed” talking points written by publicists. But what they say privately is a different story. Some revert to sexist and racist language. Certainly, much of the fervor is gone.This article is based on interviews with more than two dozen industry leaders — including top studio executives, agents, activists, marketers and producers — who spoke on condition of anonymity to candidly discuss the current state of the entertainment business. They varied in age, race, ethnicity and gender.“For three years, we hired nothing but women and people of color,” said a senior film executive, who like many leaders in the industry is a white male. He added that he did not think some of them were able to do the jobs they got.In hushed conversations over lunch at Toscana Brentwood and cocktails at the San Vicente Inn, some powerful producers and agents have started to question the commercial viability of inclusion-minded films and shows.They point to terrible ticket sales for films like “Bros,” the first gay rom-com from a major studio, and “Easter Sunday,” a comedy positioned as a watershed moment for Filipino representation. “Ms. Marvel,” a critically adored Disney+ series about a teenage Muslim superhero, was lightly viewed, according to Nielsen’s measurements.“There was an overcorrection,” one studio head said.At another major studio, a top production executive pointed to the implosion of Time’s Up, the anti-harassment organization founded by influential Hollywood women, as a turning point. “For a while, we all lived in complete fear,” he said. “That fear remains, but it has lessened. There is more room for gray and more benefit of the doubt and a bit of cringing about the rush-to-judgment that went on at the height of #MeToo.”“Bros,” the first gay rom-com from a major studio, had disappointing box office results.Nicole Rivelli/Universal PicturesIs this a pendulum swing back to the bad old days?“Amazing progress has been made that is not going away, and that should not be discounted or overlooked,” said Amy Baer, a producer, former studio executive and the board president of Women in Film, an advocacy organization. “But there is fatigue. It is hard to maintain momentum.”Entertainment companies are not backing off the tough sexual harassment policies that have been introduced in recent years, in part because board members are worried they will face shareholder lawsuits. The Academy of Motion Picture Arts and Sciences recently recommitted to its diversification campaign. Despite years of aggressive efforts to invite women and people of color to become members, the academy is currently 66 percent male and 81 percent white..css-1v2n82w{max-width:600px;width:calc(100% – 40px);margin-top:20px;margin-bottom:25px;height:auto;margin-left:auto;margin-right:auto;font-family:nyt-franklin;color:var(–color-content-secondary,#363636);}@media only screen and (max-width:480px){.css-1v2n82w{margin-left:20px;margin-right:20px;}}@media only screen and (min-width:1024px){.css-1v2n82w{width:600px;}}.css-161d8zr{width:40px;margin-bottom:18px;text-align:left;margin-left:0;color:var(–color-content-primary,#121212);border:1px solid var(–color-content-primary,#121212);}@media only screen and (max-width:480px){.css-161d8zr{width:30px;margin-bottom:15px;}}.css-tjtq43{line-height:25px;}@media only screen and (max-width:480px){.css-tjtq43{line-height:24px;}}.css-x1k33h{font-family:nyt-cheltenham;font-size:19px;font-weight:700;line-height:25px;}.css-1hvpcve{font-size:17px;font-weight:300;line-height:25px;}.css-1hvpcve em{font-style:italic;}.css-1hvpcve strong{font-weight:bold;}.css-1hvpcve a{font-weight:500;color:var(–color-content-secondary,#363636);}.css-1c013uz{margin-top:18px;margin-bottom:22px;}@media only screen and (max-width:480px){.css-1c013uz{font-size:14px;margin-top:15px;margin-bottom:20px;}}.css-1c013uz a{color:var(–color-signal-editorial,#326891);-webkit-text-decoration:underline;text-decoration:underline;font-weight:500;font-size:16px;}@media only screen and (max-width:480px){.css-1c013uz a{font-size:13px;}}.css-1c013uz a:hover{-webkit-text-decoration:none;text-decoration:none;}What we consider before using anonymous sources. Do the sources know the information? What’s their motivation for telling us? Have they proved reliable in the past? Can we corroborate the information? Even with these questions satisfied, The Times uses anonymous sources as a last resort. The reporter and at least one editor know the identity of the source.Learn more about our process.Studios remain focused on inclusive casting, most notably Disney, which has a live-action “Little Mermaid” movie on the way with a Black actress playing the title role, and a “Snow White” movie in production with a Latina lead.The moment is nonetheless unnerving, said Sarah Ann Masse, an actress who appears in “She Said” — which is based on a book by The New York Times reporters Jodi Kantor and Megan Twohey — and who serves on two sexual harassment prevention committees for SAG-AFTRA, the omnipotent actors union. In 2017, Ms. Masse accused Mr. Weinstein of sexually assaulting her in 2008. He has denied wrongdoing.“I’m not naïve enough to think that a system that is unequal and oftentimes oppressive — yes, still, very much so — is going to change overnight,” Ms. Masse said. “At the same time, I find it incredibly frustrating. People at the top of the food chain, in particular, seem to have gotten distracted by new concerns.”In August, Warner Bros. Discovery shelved “Batgirl,” a nearly finished movie starring a Latina actress, featuring a transgender actress in a supporting role, written by a woman, produced by women and directed by two Muslim men. Warner Bros. Discovery never publicly explained its decision, but signaled that it found “Batgirl” to be creatively lacking.Dan Lin, a producer whose credits include “Aladdin” (2019) and “The Lego Movie,” was among those who inferred something else.“It’s no longer about optics,” Mr. Lin said. “A recession is coming, budgets are tightening and I’m really worried that diversity is going to be the first thing that goes.”The producer Dan Lin recently started a nonprofit that aims to help budding minority filmmakers and writers.Todd Williamson/Invision, via APLast week, Warner Bros. Television, as part of wider cost cutting, shut down “new voices” programs for emerging writers and directors, prompting a fiery reaction from the Directors Guild of America. “The D.G.A. will not stand idly by while WB/Discovery seeks to roll back decades of advancement for women and directors of color,” the guild said in a statement.Within a day, Warner Bros. Discovery had scrambled to clarify that, while the “new voices” programs would indeed end, it had planned all along to expand talent pipeline programs in its diversity, equity and inclusion department.“The resolve is still there to have more women and people of color in writers’ rooms and directing and up on the screen” Mr. Lin said. “The problem is that there is so little training and support. Those things cost money.” To help, Mr. Lin recently started a nonprofit accelerator called Rideback Rise that focuses on budding minority filmmakers and writers.There is no longer across-the-board banishment for men who have been accused of misconduct. Johnny Depp is directing a film, having largely won a court case in which his former spouse, the actress Amber Heard, accused him of sexual and domestic violence. John Lasseter, the animation titan at Disney and Pixar, was toppled in 2018 by allegations about his behavior and unwanted hugging and apologized for “missteps” that made some staff members feel “disrespected or uncomfortable.” He is now making big-budget films for Apple TV+. James Franco’s acting career imploded in 2018 amid sexual misconduct allegations. Four years later, after a $2.2 million settlement in which he admitted no wrongdoing, he has at least three movies lined up.Johnny Depp largely won a court case in which his former spouse, the actress Amber Heard, accused him of sexual and domestic violence.Craig Hudson/Associated PressStudios have also started to take more risks with content — backing scripts, for instance, that would have been radioactive in 2018, at the height of #MeToo, or in 2020, when Black Lives Matter was at the forefront of the culture.Examples include “Blonde,” the Netflix drama about Marilyn Monroe that has been derided by critics as exploitative and misogynistic. (It features an aborted fetus that talks.) Paramount Pictures is working on a live-action musical comedy about slave trade reparations; it comes from Trey Parker and Matt Stone, the politically incorrect creative forces behind “South Park” and “The Book of Mormon.”Two ride-along reality shows that glorified the police, “Cops” and “Live PD,” and were canceled in the aftermath of George Floyd’s killing in police custody have both been reconstituted. “Cops” was picked up by Fox Nation, a streaming service from Fox News, and “On Patrol: Live,” a thinly disguised copy of “Live PD,” debuted over the summer on Reelz, a cable network.At the same time, some movies and shows that overtly showcase diversity and inclusion have either struggled in the marketplace or failed to get off the runway. The takeaway, at least to some agents and studio executives: We tried — these “woke” projects don’t work.Of course, most of what Hollywood makes struggles to get noticed, and almost never for a single reason; nobody looks at poor ticket sales for a Brad Pitt movie and concludes that no one wants to see older white men onscreen. But entertainment is a reactive business — chase whatever worked over the weekend — and there is a risk that “go woke, go broke” jokes could calcify into conventional Hollywood wisdom.“When the real question should be whether comedies generally can succeed at the box office, my concern is that the question is becoming ‘can a Filipino comedy work’ or ‘can a gay comedy work,’” said Mr. Lin, who produced “Easter Sunday,” which starred Jo Koy and collected $13 million in theaters before stalling out. “If you are a woman or a minority, you still do not get repeated chances.” More

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      in Theater

      For Broadway’s ‘1776’ Revival, the Drama Is Offstage

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      A cast member criticized the consciously progressive revival for its handling of race in rehearsals, saying there had been “harm done.” She later apologized for her comments.The current Broadway revival of “1776” was hoping to spark a conversation about power and representation. And it has, if not quite in the way it intended.It assembled a diverse cast of women, nonbinary and transgender actors to play the white men who signed the Declaration of Independence, as a way of highlighting those whose perspectives were not considered.The show, which has been in the works for several years, made adjustments after the police murder of George Floyd prompted intense debates over race, justice and hierarchy in the theater business. A new co-director, Jeffrey L. Page, who is Black, was added to shape the work alongside its original director, Diane Paulus, who is Asian American.But now, just two weeks after opening on Broadway to mixed reviews and soft sales, “1776” has become the talk of the industry — not because of its contemporary dramaturgy, but because of a cast member’s criticisms.One of the show’s standout performers, Sara Porkalob, who is making her Broadway debut, was quoted in an interview with Vulture on Friday saying “there was harm done” during the rehearsal process, and calling some of the staging decisions “cringey.”She was referring to her big second-act number, “Molasses to Rum,” in which her character, a South Carolina delegate named Edward Rutledge, calls out the “hypocrisy” of Northern delegates who criticized slavery while their states profited from it.Porkalob, who is Filipino American, told Vulture that during the rehearsal process the directors had sought “consent from the Black folks in the play” to carry out its vision for the staging, which includes an evocation of a slave auction — but not from the rest of the cast, including the non-Black actors of color. This decision, she said, using an acronym for people of color, “unconsciously held up a false narrative by assimilating non-Black POC folks into whiteness.”Porkalob said that while she liked her fellow cast members, the experience was artistically unsatisfying, and that she was giving the show “75 percent.”“The social aspect and the salary aspect are fulfilling,” she said. “The creative aspect, not so much.”The interview quickly drew attention on social media, where some hailed Porkalob for speaking her truth while others denounced her for undermining her own collaborators.Page, who is the show’s choreographer as well as one of its directors, posted an apparent rejoinder on Facebook, which he addressed to a “nameless person” whom he called “fake-woke” and “rotten to the core.”“You are ungrateful and unwise,” Page wrote in the post, which was later taken down. “You claim that you want to dismantle white supremacist ideology … I think that you are the very example of the thing that you claim to be most interested in dismantling.”Page, Paulus and Porkalob all declined to comment. But over the weekend, Porkalob emailed an apology to the show’s company, writing that she was “reaching out in an attempt to repair harm I’ve caused.”“I see how my opinions and the tone of the article have hurt, offended and upset some of the folks internal to this process,” she wrote in the email, which was obtained by The New York Times. “I’m sorry for that.”In the email she apologized for violating what she described as the “‘What’s said in the room, stays in the room’ agreement.”“My intention was to share an important moment of learning I had in the piece, specifically how I was proud to be a part of an ensemble that was able to deftly handle these complex issues, rather than not saying anything and pretending things didn’t happen,” she wrote. “But it is clear that the impact was me breaking the above community agreement and I’m sorry.”Reviving “1776,” with its dated humor and all-white cast of historical characters, was always going to be a delicate task, even before the 2020 racial justice protests. (The show is a joint production of two nonprofits, New York’s Roundabout Theater Company and the American Repertory Theater of Cambridge, Mass.)In an interview with The Times in August, Paulus said one of the things that drew her to the 1969 show was the startling bluntness of “Molasses to Rum,” which might surprise anyone who assumed the musical (by Sherman Edwards and Peter Stone) was a whitewashed Bicentennial-era relic.Performing that song is emotionally taxing, particularly for Black cast members, even after the show’s team created a Black “affinity space” to help guide the show’s explorations of race.“There’s not a night where it doesn’t hit me,” Crystal Lucas-Perry, who plays John Adams, told The Times before the production opened. (Lucas-Perry is leaving the show on Sunday to join the cast of the new Broadway play “Ain’t No Mo’.”)Porkalob is a fixture of the Seattle theater scene, known for “Dragon Cycle,” her trilogy about three generations of her family. Paulus, who won a Tony Award directing the 2013 revival of “Pippin,” saw Porkalob in a production of one of the installments at the American Repertory Theater in Cambridge, where Paulus is artistic director, and cast her in “1776.” Porkalob chose the role of Rutledge, a baddie with a big number.In the interview with Vulture, Porkalob described the in-between position of actors of color who are not Black. “I have certain privileges that Black folks don’t have, but I’m also not white, so I don’t have certain privileges that other people have,” she said.But she criticized the directors’ “binary” approach to race, which she said caused harm.After the show’s initial run in Cambridge, she said, there had been an affinity group for the non-Black performers of color “to talk more about what that harm felt like, and to give our consent to the enactment.”Porkalob, who uses she/they pronouns, also said the directors had paid insufficient attention to gender identity, considering it secondary to questions of race. “When we were all in the room together, there wasn’t any conversation about how we marry our queer identities with these characters, which is disappointing,” she said.The interview drew strong criticism, including from some Black performers and writers. Among those who responded to her on Twitter was the playwright Douglas Lyons, whose “Chicken & Biscuits” was staged on Broadway last year. He asked to talk with Porkalob, saying: “BIPOC artists were hurt by that article. Harm has now inflicted harm. But we can heal.”Ashley Blanchet, an actor whose Broadway credits include “Frozen,” “Beautiful” and “Memphis,” also said Porkalob had harmed colleagues. “Being a person of color does not excuse you from arrogance,” she wrote on Twitter. Porkalob, she suggested, was “messing with the livelihood of your peers to get ur 15 minutes of fame.”In a Twitter thread early Monday morning, Porkalob publicly apologized for “the pain I’ve caused my team.”But Porkalob also stood by the substance of her comments. “I’m not afraid of the great White Way,” she wrote. “I’d be sad to lose the job but my termination would only be further proof of this industry’s inability to adapt & change for the better. The work I care about can be done on Broadway or off.” More

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      Two Black Comedians Sue Police Over Search at Atlanta Airport

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      Eric André and Clayton English said they were two of hundreds of Black travelers who have been stopped and questioned by officers just as they were about to board flights.Eric André cleared security at the Hartsfield-Jackson Atlanta International Airport, gave the gate agent his boarding pass and was moments away from stepping onto a plane when he was stopped by officers with the Clayton County Police Department.The officers questioned Mr. André, who is Black, about whether he was selling drugs and what drugs he had in his possession, he said in an interview and a court complaint.They asked to inspect his bag. When he asked if he had to comply, the officers said no, and Mr. André was eventually cleared to board, he said.During the interaction with the police, other passengers had to squeeze past Mr. André and the officers on the jet bridge, the narrow passageway that connects the gate to the airplane during boarding. He said he was allowed onto the plane but left shaken by the interaction.“I knew it was wrong,” said Mr. André, the creator of “The Eric André Show,” a stand-up comedian, actor, producer and writer. “It was humiliating, dehumanizing, traumatizing. Passengers are gawking at me like I’m a perpetrator as they’re like squeezing past me on this claustrophobic jet bridge.”Mr. André’s encounter in April 2021 echoed another one in October 2020 by Clayton English, another Black comedian, at the same airport.Mr. André and Mr. English filed a lawsuit this month against the Police Department, saying they were unfairly targeted for drug checks, according to the complaint. Their lawyers said the department’s practice discriminated against Black travelers who had already been cleared by Transportation Security Administration agents.The Clayton County Police Department runs a jet bridge interdiction program at the airport and made stops between Aug. 30, 2020, and April 30, 2021, according to the suit.Court papers say the stops resulted in a total of three seizures: “roughly 10 grams (less than the weight of one AAA alkaline battery) of drugs from one passenger, 26 grams (the weight of about 4 grapes) of ‘suspected THC gummies’ from another, and 6 prescription pills (for which no valid prescription allegedly existed) from a third.”Two passengers — those who had the roughly 10 grams of drugs and the pills — were charged, the suit said.In that time, a total of 402 stops were made. In cases where race was recorded, more than half of the 378 passengers who were stopped were Black.The Clayton County Police Department declined to comment, citing pending litigation. In April 2021, when Mr. André shared his experience on Twitter, the department denied wrongdoing.“This type of interaction occurs frequently during our officers’ course of duties, and is supported by Georgia law and the U.S. Constitution,” a 2021 department statement said. The department added, “Our preliminary findings have revealed that Mr. Andre was not racially profiled.”The Atlanta Police Department — not the Clayton County Police Department — is the primary law enforcement agency at the airport, the airport said in a statement. “APD has a robust drug interdiction program but, unless otherwise required, does not engage in jet-bridge stops of passengers,” the statement said.From September 2020 to April 2021, the police seized about $1 million from passengers, according to the lawsuit, which was filed in the U.S. District Court for the Northern District of Georgia.Richard Deane, a lawyer involved in the suit, said the purpose of the stops appeared to be to seize money and that the stops were made largely, if not solely, based on race.The suit maintains the police violated the constitutional protection against unreasonable searches and seizures and the equal protection clause, which guarantees racial equality and prohibits racial discrimination, said Barry Friedman, founding director of New York University’s Policing Project, and another lawyer on the case.“We have a great concern about police acting when there’s no policy in place, particularly democratically accountable policy that guides the discretion of police officers,” he said at a news conference this month. “When there’s undue discretion, we get what you have here, which is severe racial discrimination.”Drug interdiction programs at airports started in 1975 with a U.S. Drug Enforcement Administration operation in Detroit and expanded to other airports, said Beth A. Colgan, a law professor at the University of California, Los Angeles.“I think it’s a strong suit,” she said. “In terms of the Fourth Amendment claims, it seems clear that they were seized and that searches did occur and it would be difficult to describe these as consent searches.”Civil asset forfeiture allows law enforcement to seize cash, property or vehicles based on probable cause that those involved are associated with criminal activity, Professor Colgan said. This is a low standard, she said, and people often do not challenge forfeitures because the process to get the money back is costly and time-consuming.Courts have favored law enforcement in cases of consent versus coercion, said Gloria J. Browne-Marshall, a fellow and visiting professor at Harvard Kennedy School.“People may feel the need to say yes, and it’s a coerced sense of giving consent as opposed to a freedom of saying no and then feeling like everyone is going to suspect they had drugs on them,” she said.Mr. English, who lives in Atlanta, was the winner of NBC’s “Last Comic Standing” competition in 2015 and has headlined in clubs, colleges and festivals.He said he spent his three-and-a-half-hour flight in 2020 wondering what he had done wrong and whether he would be arrested upon landing. When the police took his boarding pass and identification and searched his bag, he felt he had no choice but to comply.“I felt completely powerless,” he said at the news conference. “I felt violated. I felt cornered. I felt like I couldn’t, you know, continue to get on the plane. I felt like I had to comply if I wanted everything to go smoothly.”Mr. André lives in Los Angeles but travels through the Atlanta airport often for work and has recently taken to hiring a service that brings passengers directly to the plane after they’ve cleared security because he’s afraid of repeating his experience from last year.“It’s not just about me or what I went through,” he said. “It’s about the community I identify with. It’s about Black and brown people being discriminated against and being treated like second-class citizens, being treated as if they’re already suspicious and they don’t belong in this country by their own government and the trauma that comes with that.” More