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    How Meryl Streep Prepared to Play the President in ‘Don’t Look Up’

    Meryl Streep explains how she prepared to play a fictional (and not especially competent) U.S. president in Adam McKay’s apocalyptic satire “Don’t Look Up.”Who would you turn to if you learned a comet was on a collision course with Earth and decisive action was required to prevent the extinction of all life on this planet? If your first thought was Meryl Streep, you have made both an excellent and terrible choice.In “Don’t Look Up,” from the writer-director Adam McKay (“The Big Short,” “Vice”), two scientists played by Leonardo DiCaprio and Jennifer Lawrence find themselves facing this end-of-the-world scenario and must turn to a United States government led by the fictional President Orlean for assistance.The good news (for the movie, which will reach theaters on Dec. 10 and Netflix on Dec. 24) is that Orlean is played by Streep, the venerated film and TV star; the bad news (for humanity) is that Orlean is a self-centered scoundrel who cares a great deal about her public image but little to nothing about running the country.Orlean is one of several malefactors in “Don’t Look Up,” a social satire that McKay wrote about climate change but that he fully expects will be interpreted as a commentary on the pandemic. The president is also a character whose many faults and shortcomings Streep delighted in bringing to life, and she credits McKay for giving her and her co-stars the latitude to indulge in awfulness.As Streep explained in a recent phone interview, “He never lost heart or confidence in this vision that he had for this thing, which was to make an atmosphere as free as possible for everybody — just go nuts and do what you want. But with a deadly serious intent.”Here, Streep and McKay explained the steps they followed to put President Orlean in the Oval Office.Create a back story.Based on what she’d read in McKay’s screenplay, Streep said she was already envisioning how President Orlean could have won office. “You could imagine a group of various miscreants was pulled together, and she was the least bad of a lot of other candidates that they could have put out there,” Streep said, adding that she thought of Orlean “as someone whose elderly husband had a lot of money, and she got rid of him, and it was in California so she got half. She had no real agenda except to have and retain power, and when she got there, she just realized that the job was pretty easy.”McKay said that in naming the character, he was thinking of New Orleans — “It’s a fun city, but it’s kind of in jeopardy” — and not the fact that Streep played the author Susan Orlean in “Adaptation.” (The notion that he manifested Streep in the role by naming it for her, McKay said, is “definitely not the case.”)Draw on real-life inspiration.McKay said he thought of President Orlean as “a goulash” of recent chief executives. That meant “the self-serving con man aspects of the last president, the dangerous inexperience of George W. Bush, the slick polish of Bill Clinton, the celebrity of Barack Obama and the coziness with big money,” McKay said. Another inspiration was the finance expert Suze Orman, whom McKay described as “a brash populist with a strong fashion statement.”To that recipe, Streep said she added a dash of the “Real Housewives,” whose televised squabbles often play in her house when her daughters come to visit. Though Streep won an Oscar for playing Margaret Thatcher in “The Iron Lady,” she said that performance was instructive only up to a point. Thatcher, she said, “wielded a kind of femininity that was intimidating to men, and part of her power was how she could pull it together — it was very specific to the ladder she climbed there.” Orlean, she said, is “more of our time — algorithmically put together.”Streep on the set. Her look was modeled on that of news anchors.Niko Tavernise/NetflixLook the part.Streep had a hand in devising Orlean’s fashion sensibility, which she said communicated something essential about the character: “So what if she’s 70 years old and dresses like she’s 35?” she explained. “No one told her you can’t be 35 forever.” That meant attire modeled after TV news anchors who, Streep said, “tend to pick these broad swaths of bright, happy colors to put on themselves — no prints, no polka dots or plaids or, God forbid, florals. None of the things that other people wear. Just these power suits and pencil skirts.” It also called for a specific hair regimen: “When I was in high school, you’d set your hair in rollers, then take it out and brush it 100 times,” Streep said. “This is the kind of hair where you take it out of rollers and just leave it like that — the longer the better. And then those are sprayed and crisped and the ends curl out in weird ways. And that’s a thing. It has always escaped me why this was good. So I thought, well, I’m going to try to that — God knows I won’t do it in my real life.”Get ready to face the crowds.All that advance planning may still not fully prepare you for the demands of the presidency, as Streep discovered on her first day of shooting. She had spent several weeks in isolation, as screen actors have been required to do during the pandemic. Then, on the appointed day, she said, “I bundled up in my big down coat, put the dog in the back of my car, drove through a snowstorm to Worcester, Mass., and got out at a stadium and parked.” Once there, Streep said, “They tried to turn me away at several points to get into the set. I said no, I’m in it.” After getting into hair, makeup and costume, Streep took to the stage where she saw her face on a Jumbotron and heard the delayed echo of her voice as she spoke to a crowd of several hundred extras. “And I just lost it,” she said. “I thought, well, I clearly have to retire. I can’t do this. I actually can’t do this. It was really a crisis of confidence.” Needless to say, Streep did find her bearings, but, she said, “it took a while.”Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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    ‘The Prom’ Review: Showbiz Sanctimony, and All That Zazz

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘The Prom’ Review: Showbiz Sanctimony, and All That ZazzRyan Murphy takes on the Broadway hit “The Prom,” with help from Meryl Streep, Nicole Kidman and Keegan-Michael Key.The bright (small) lights of Indiana meet Angie Dickinson glam: Nicole Kidman and Jo Ellen Pellman in “The Prom.”Credit…Melinda Sue Gordon/NetflixDec. 10, 2020, 7:00 a.m. ETThe PromDirected by Ryan MurphyComedy, Drama, MusicalPG-132h 10mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Early in Ryan Murphy’s “The Prom,” a Broadway flack starts reading the reviews of a newly opened show about Eleanor Roosevelt, “Eleanor!” The gang’s all here, including the self-adoring stars, Dee Dee Allen (Meryl Streep) and Barry Glickman (James Corden). The drinks and laughs are flowing, and everyone is as lit as their bedazzled outfits. And then the flack starts reading the notice from The New York Times (hiss, boo). “This is not a review you want when you have crappy advance sales,” he bleats. “This is going to close us.”In his review of “The Prom” on Broadway, my Times colleague Jesse Green amusingly reassured readers that this wouldn’t happen, deeming it “a joyful hoot.” It won’t happen with the movie, which is based on the show, for other reasons. “The Prom” starts streaming on Netflix on Friday, which means no amount of cheers or jeers will matter. On Netflix, the movie will sit alongside thousands of other titles, subject only to mysterious algorithms and sheltered from both critics and the box office. Its canny mix of nostalgia and idealism, old-fashioned conservatism and new-age liberalism will hit the spot for some, even if its vision of American unity is hard to recognize right now.In its broad outlines, the story — a show-people lark wed to a morality tale about a teenage lesbian’s triumph — seems unchanged. Called out as unlikable narcissists (who can’t even make a hit), Dee Dee and Barry decide to rehabilitate their tainted reputations with celebrity activism. With their overripe second bananas, the archly named Angie Dickinson and Trent Oliver (Nicole Kidman and Andrew Rannells), they travel to an Indiana town, intent on taking up (uninvited) the cause of the heroine, Emma (Jo Ellen Pellman), a high schooler who’s been barred from bringing her girlfriend to the prom.The theme and the story’s arc emerge when Dee Dee et al. descend on the town, waving placards and trumpeting indignation. “We are here from New York City and we are going to save you,” Barry announces to Emma, who’s embedded in a meeting filled with parents and other students. This joke is soon repeated, as often happens in this movie, where every rose is gilded and every laugh squeezed until it’s dry. “Who are you people?” asks the mother (a misused Kerry Washington) leading the homophobic charge. “We are liberals from Broadway,” Trent says, assuring that Team New York will fall on its smug face while securing its own redemption.The tolerance message in “The Prom” is sincere, no matter how satirically delivered. And it’s easy to imagine that onstage the whole thing came off as charming (as a friend insisted), a quality not in Murphy’s paint box. (The charm of his TV series “Glee” sprang from the youth of his cast and the musical genre itself.) Murphy likes to go big and lightly bonkers, and his aesthetic is best described as Showbiz Expressionism: it’s splashy and ostensibly excessive without being threatening. In contrast to, say, the shocks of John Waters, for whom tastelessness is a revolt (aesthetic, political), Murphy’s excesses are tastefully vulgar strokes rather than a value.The story unwinds with histrionics and homilies, jazz hands and twinkle toes, overly busy camerawork and hookless lung bursters. (Matthew Sklar wrote the music and Chad Beguelin wrote the lyrics and, with Bob Martin, the screenplay.) Some of the songs are cheeky (“we’re gonna help that little lesbian/whether she likes it or not”); others are as earnest as a daily affirmation (“life’s no dress rehearsal”). Taken together, they create a parallel narration that makes swathes of dialogue superfluous. “If you’re not straight,” Emma sings early on, “then guess what’s bound to hit the fan.” Later, she sings “nobody out there ever gets to define/the life I’m meant to lead.”Pellman doesn’t look remotely like a teenager, but her melancholic sweetness is appealing and she has a quality of stillness that creates a much-needed oasis amid Murphy’s insistent din. It helps that, in contrast to her famous co-stars, she hasn’t been directed to oversell every note, whether musical or emotional. With her open face and pretty soprano, she turns her character into a recognizable adolescent and lets you see — and feel — Emma’s yearning, her hurt and belief that something better, more soul-nurturing, waits beyond the prejudices and provincialism of her town. Like Dorothy and countless others, Emma dreams of her place over the rainbow.She gets it, with assistance from her soon humbled, ultimately victorious New York helpers (and the warm presence of Keegan-Michael Key as the principal). How this all goes down is as predictable as expected except that, in the year 2020, it’s also more fantastical than “The Wizard of Oz” at its trippiest. Here, all it takes for bigots to accept Emma and L.G.B.T.Q. rights is for Trent to call them out as hypocrites who should — in a sublimely narcissistic move — be more like their fabulous, righteous interlopers. In other words, if the haters would open their tiny, hard hearts, everything would be fine. You don’t have to be a cynic to know that is a crock. You just need to be an American.The PromRated PG-13 for who knows? Musical theater? Glitter? Running time: 2 hours 10 minutes. Watch on Netflix.AdvertisementContinue reading the main story More

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    ‘Let Them All Talk’ Review: That Ship Has Sailed

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story‘Let Them All Talk’ Review: That Ship Has SailedMeryl Streep plays an author trying to reconnect with college friends in Steven Soderbergh’s film.Meryl Streep and Lucas Hedges in “Let Them All Talk.”Credit…Peter Andrews/HBO MaxBy More