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      ‘Happy Clothes’ Review: Patricia Field Doc Is Pleasantly Chaotic

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      “Happy Clothes” covers her work on “Emily in Paris” and “Sex and the City,” as well as her time as a tastemaker in the 1970s and ’80s underground.Patricia Field likes, as she puts it, “happy clothes.” If you’ve seen her work, you get it; if you’ve watched TV, you have probably seen her work. The fashion maven is one of the most celebrated and influential costume designers of the past three decades, with “Emily in Paris,” “The Devil Wears Prada” and “Sex and the City” among her credits. Michael Selditch’s new documentary, “Happy Clothes: A Film About Patricia Field” (in theaters and on demand), follows Field as she works on the second season of the Starz comedy “Run the World,” but the feature is really a celebration of her long career.A movie like this can head in a lot of directions, and a possible weakness of “Happy Clothes” is that it tries to go in all of them. There are conversations with Field’s friends and collaborators, including the “Devil Wears Prada” director David Frankel, the “Sex and the City and “Emily in Paris” creator Darren Star, and the actresses Sarah Jessica Parker, Kim Cattrall and Lily Collins. Field’s work in the past as the owner of a well-known boutique that bears her name comes to life through archival footage and interviews, while observational images show her working with assistants, shopping for pieces and going to sets.There’s just a lot here. But with a subject like Field, the mild chaos feels pleasantly appropriate. Her taste runs toward the conspicuous and bold, and several interviewees — particularly Parker, who became a fashion icon partly because of her willingness to wear anything Field selected — note that her choices can be shocking at first. Prints and patterns, gems and silhouettes, neons and bold accessories: You never really know what you’ll get when you work with Field.But that’s why people love her. Her style, as she says, is happy. “I like clothes that don’t die,” she explains, a statement that reveals she’s always thinking about longevity. Field is amazingly energetic — her 80th birthday approaches as the film begins — and she’s interested only in the future, telling someone at one point that she doesn’t keep an archive because she’s always looking forward.It’s probably ironic, then, that the most illuminating element of “Happy Clothes” is a sequence in which her taste now is linked to her history as a central figure in New York’s underground culture of the 1970s and 1980s. Former employees and customers attest to what it meant to have a place — her store — where they could be unapologetically queer or trans or just interested in fashion, where they didn’t have to hide their identities. Field was ahead of her time in more ways than one, and this history suggests that she has been practicing an exuberant joy her whole career. That, “Happy Clothes” says, is her real legacy. More

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      in Music

      A Concert Celebrates Jimmy Carter’s 100th Birthday, With Music and Thanks

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      The night included gospel hymns and “America the Beautiful” and the B-52s lighting up the Fox Theater, one of the oldest auditoriums in Atlanta, with a performance of “Love Shack.” In one moment, the crowd was on its feet as Angélique Kidjo, the acclaimed Beninese musician, sang and danced. In another, they shimmied and sang along to a cover of “Ramblin’ Man.”The collection of artists and performances transcended generations, genres and geography. But one thread bound them together on Tuesday night: affection for former President Jimmy Carter, which they were eager to express in celebration of his coming 100th birthday.“You can see he had a relationship to music — look at how we gathered here together tonight,” said the country singer Carlene Carter, who is not related to the former president but said he still feels like kin. “He used it as a powerful tool to bring people together.”The civil rights leader Andrew Young, seated, and his wife, Carolyn, standing, share a laugh with, from left, Thomas and Henry Carter, great-grandchildren of Jimmy Carter and Jason Carter, his grandson.Dustin Chambers for The New York TimesCarter’s actual birthday was still almost a couple of weeks away, and Carter himself was 160 miles away, at home in Plains, Ga., where he has been in hospice care for the past 19 months. But the concert was intended as a gift, one that will be broadcast as a special on Georgia Public Television on Oct. 1. The family said he plans to watch as part of his birthday festivities.The concert in many ways mirrored the scope and ambitions of the man it was celebrating: Global and idealistic in its reach, but firmly planted in Georgia, molded by religious and cultural traditions as well as the rich but complicated history of the rural South.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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      ‘La Maison’: Like ‘Succession,’ but Better Dressed (and French)

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      The new Apple TV+’s new series takes the viewer inside two rival Paris fashion houses, with gorgeous people in gorgeous clothes who will do anything for power.“Does she know our favorite dish is eating each other alive?”So one family member asks another in an early scene of “La Maison,” a glossy new drama from Apple TV+, about two rival high-end, family-owned French fashion houses: Ledu and Rovel.The show, which premieres on Friday, is filled with gorgeous people living in fabulous homes, fighting, scheming, flirting, plotting and betraying one another as they attempt to gain control of — everything!Yes, like “Succession,” but with more glamorous outfits and, well, Paris.Or akin to “a Shakespearean drama,” said Lambert Wilson, who plays Vincent Ledu, the longtime designer of the Ledu house, whose fall from power is fast and devastating when an unbridled rant about Asian clients goes viral, leading to his cancellation and unwilling resignation. Enter Paloma Castel (Zita Hanrot), a young, edgy designer with ideas about waste and sustainability, who is recruited by Perle Foster (Amira Casar), Vincent’s right-hand woman and former muse. (Amping up the tension and resentment, it turns out that Paloma’s dead father was Vincent’s lover.)Zita Hanrot as Paloma Castel, a young designer who comes onto the scene after Vincent Ledu’s fall from grace.Apple TV+In the other camp, the terrifying chief executive Diane Rovel (Carole Bouquet) schemes to have her company take over Ledu, helped by Vincent’s brother, Victor (Pierre Deladonchamps), who is married to Diane’s daughter (Florence Loiret Caille).“All the characters have scar tissue,” said Casar, “they are all damaged and lonely.” Her own character, Perle, is a watchful, lonely outsider. “On the one side, there is this old aristocratic family, the Ledus, who are hanging on to craft and tradition, on the other this nouveau riche bourgeoisie, the Rovels, who will destroy to have it all,” Casar 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

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      Late Night Thinks It’s Unlikely That Neighbors Ate Your Cat

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      Before starting rumors about Haitians, please make sure your cat is actually missing, Ronnie Chieng implored on “The Daily Show.” Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.‘My Bad!’Erika Lee, a resident of Springfield, Ohio, who spread a rumor on Facebook that a Haitian neighbor had eaten a missing cat, deleted her post and expressed regret (but not before Donald Trump and his running mate, JD Vance, made “cat-eating Haitians in Ohio” a campaign issue).“Oopsie doopsie! Sorry, I set off a race war in the middle of a presidential election,” Ronny Chieng mimicked on Thursday’s “Daily Show.” “That’s totally my bad!”Another Springfield resident, Anna Kilgore, who told the police that Haitians might have taken her cat Miss Sassy, later apologized to her Haitian neighbors after the animal turned up safe and sound.“Turned out, Miss Sassy — which is also my nickname for JD Vance — was in her basement.” — JIMMY KIMMEL“Well if that isn’t the most Miss Sassy move I could possibly — [imitating Miss Sassy] ‘I’m gonna go hide in the basement to start some rumors. You know why? ‘Cause I’m sassy.’” — SETH MEYERS“By the way, if your cat goes missing, why would your first guess be someone ate it?” — SETH MEYERS“Here’s a little tip for anyone out there with a missing pet, OK? Before you accuse your Haitian neighbors of stealing them, maybe you could first try looking around your house.” — RONNY CHIENGThe Punchiest Punchlines (Rudy Rudy Rudy Edition)“At the rally, Trump did his usual rant about how New York has turned into a third-world hellhole. And to prove his point, he brought out a New York icon that has decayed beyond all recognition, Rudy Giuliani.” — RONNY CHIENG“Yeah, Rudy wasn’t actually invited — someone just said his name three times and he appeared.” — JIMMY FALLON“Rudy is so feral, I’m worried R.F.K. Jr. will put him in his trunk.” — RONNY CHIENG“He’s going to get you, and good luck trying to outrun Rudy Giuliani on three whiskeys.” — RONNY CHIENG, on Giuliani’s threat to anyone “behind” attacks on Trump: “I’m going to get you.”“That’s right, the guy who can’t differentiate a Four Seasons from a dildo store is gonna find you. You’ve been warned.” — JIMMY KIMMELThe Bits Worth WatchingSting performed his new song “I Wrote Your Name (Upon My Heart)” on Thursday’s “Late Show.”Also, Check This OutDemi Moore in “The Substance.”MubiIn “The Substance,” Demi Moore stars as an aging actress who discovers a deadly cure for obscurity. More

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      Anna Delvey’s Ankle Monitor Shines on Dancing With the Stars

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      The former fake heiress let her tracking device steal the show in her “Dancing With the Stars” debut. To survive another week, she may need to show some emotion.The ankle monitor finally had its moment to shine.In the opening seconds of Anna Delvey’s debut on “Dancing With the Stars” on Tuesday night, the cameras pulled in tight on the tracking device strapped to her ankle. Normally a staid black box, the monitor had clearly been through the show’s wardrobe department and was encrusted with a rainbow mix of crystals that perfectly matched Ms. Delvey’s fringed dress.Ms. Delvey, of course, is the former fake heiress whose legal name is Anna Sorokin. She served almost four years in prison after being convicted of stealing more than $200,000 from multiple businesses, and was then arrested by U.S. immigration authorities for overstaying her visa and put on house arrest (hence the ankle monitor).She is also the latest in a long line of contestants on the dance show who were seemingly picked for the controversy they were likely to inspire.The focus on Ms. Delvey’s ankle monitor helped her lackluster performance stand out on social media among more ambitious routines from contestants like the actress Chandler Kinney and the former N.B.A. star Dwight Howard (even if her dancing placed her in the bottom-third of the pack).But if Ms. Delvey was happy about having been allowed to travel to Los Angeles for the show, you wouldn’t know it from her cha-cha.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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      ‘A Very Royal Scandal’ Is a Juicy British Drama

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      This taut and serious Amazon series chronicles the time when Prince Andrew was interviewed on TV about his relationship with Jeffrey Epstein.Ruth Wilson, left, and Michael Sheen in a scene from “A Very Royal Scandal.”Christopher Raphael/Blueprint, via Sony“A Very Royal Scandal,” available now on Amazon Prime Video, tells — retells — the story of when the BBC journalist Emily Maitlis interviewed Prince Andrew on television in 2019 about his relationship to Jeffrey Epstein. The very first thing he says in the interview is that “there is no good time to talk about Mr. Epstein and all things associated.” Welp …The mini-series is tightly focused — its three episodes cover the period just before the interview, the interview itself and the immediate aftermath, with a few key flashbacks — but the show exists in a hall of mirrors of real-world scandals and media. “Royal” lives in the shadow of the crown, and in the shadow of “The Crown,” and is part of a prestige-laundering industry that refashions tabloid ignominy and wretchedness into cool-toned, highbrow drama. And it follows the movie “Scoop,” starring Gillian Anderson and Rufus Sewell, which premiered in April and is about the same interview.Michael Sheen stars as Prince Andrew, depicted here as stuffy and frustrated, unappreciated by his brother and devoted to his mother, neither of whom we see. His daughters adore him, as does his ex-wife, but he insists that the happiest time in his life was fighting in the Falklands War. Royal staffers whisper that he is so insulated from the world that he’s incapable of understanding it.Ruth Wilson plays Maitlis (herself an executive producer of the mini-series), a harried mom devoted to Velcro rollers and late night Google sessions. Wilson drops her voice to more closely resemble Maitlis’s, but it’s so unconvincing that it makes the fictionalized Maitlis seem phony, as if she were stealing a move from the Elizabeth Holmes playbook.The show plays out as a slow-motion car crash, a what-not-to-do case study for media relations — or perhaps a what-to-do guide for interviewing the terminally hubristic. Anyone who watches the full interview could rightly wonder, “How could you be so stupid to sit for an interview like this and say things like that?” “Royal” does a thorough, energetic, juicy-but-serious job of answering.And yet, the show can’t escape its own admission that there are much bigger questions one could ask about rape, misogyny, money, secrecy and power. Maitlis has a pat monologue about the injustice of it all, but the call is coming from inside the mini-series. More

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      ‘The Rings of Power’ Season 2, Episode 6 Recap: Go Fish

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      Miriel tests the waters. Sauron tests everyone’s sanity.Season 2, Episode 6: ‘Where Is He?’By the end of this week’s episode of “The Rings of Power,” Adar’s Orc army is fully besieging Eregion, beginning a battle that will play out in the next episode. But before the show shifts into military mode for a while, the show’s creators, J.D. Payne and Patrick McKay (along with this episode’s credited writer, Justin Doble, and director, Sanaa Hamri), reset the stage across Middle-earth and far away in Numenor, to make sure we know exactly where all the players are, as Season 2 enters its endgame.The result is an unusually busy hour for this series. Every major character makes an appearance, in scenes that run a bit shorter than usual. This is a welcome change of pace from last week’s sometimes interminable conversations, which kept circling topics long after they had been exhausted. Granted, some of this episode’s segments — like most anything involving the Durin family or Annatar — do hit familiar beats, dredging up those old arguments for another round. But there is some forward progress here, even if everyone is now racing headlong into various bloody melees.Here are five takeaways and observations from Episode 6:The Valar decidesIn a startling turnaround, the Numenor sequences in this episode are responsible for one of the most thrilling moments of the season — although, typical of the Numenorians, we have to get a few speeches out of the way first.The matter before the island’s leadership is whether Elendil will apologize for the crime of sedition, bend the knee to Pharazon and be spared a death sentence. When he refuses to comply fully, Miriel comes to her loyal subject’s aid, claiming an ancient legal right to face the judgment of the Valar in his place. This requires Miriel to wade into the surrounding seas and wait for an enormous underwater beast — “the sea worm” — to swim up to her, at which point this slimy thing will either swallow her up or deem her worthy.The buildup to the big plunge takes a while. But the payoff is sublime, in a terrifying sequence of the sea worm yanking Miriel into the deep, staring her down, surrounding her with giant tendrils and then letting her live. The assembled crowd — with the exception of the new king’s partisans — erupts into jubilant shouts, dubbing her “queen of the sea.” Pharazon tries to recover from this setback by scrambling into his chambers to consult the palantir.What does he see? A dark, fiery future. And a face familiar to us: Sauron’s.Going battyI don’t want to dwell too much on what goes down in Khazad-dum this week, because frankly the dwarf story line has fallen into a deep, deep rut. The underground sets remain amazing, and the performances by the actors — some of them sporting thick beards, no less — remain impressive. But the plot is going nowhere new. King Durin III is still being driven mad with greed by his ring and making decisions that endanger his people, while Prince Durin IV keeps arguing with Disa about how they should handle the situation. There are some strong emotional underpinnings to the father-son relationship; but those bonds have been well-established and don’t need as much screen time as they get.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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      Aaron Sorkin Thinks Life Still Imitates ‘The West Wing’

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      When it premiered on NBC on Sept. 22, 1999, “The West Wing” contained elements of both what great television had been and what great television would become.It had the strict structure, self-contained episodes and PG-13 language of esteemed network contemporaries like “NYPD Blue” and “ER.” (John Wells was an executive producer of both “ER” and “The West Wing.”)But the show’s sophisticated content, idiosyncratic sensibility and season-long story lines anticipated the prestige-television boom of cable and eventually streaming. It was a ratings hit and won the Emmy for outstanding drama series four times, one of only five programs to do so. (The others: “Hill Street Blues,” “L.A. Law,” “Mad Men” and “Game of Thrones.”)Twenty-five years later, “The West Wing” is a cultural touchstone: dissected by podcasts, parodied for its trademark style, still viewed regularly on Max — more than 212 million viewing hours’ worth since 2020, according to Nielsen. Several cast members were feted at the Emmy Awards last Sunday, and on Friday, the first lady, Jill Biden, will honor the series at the real White House.“It is particularly gratifying that a whole new generation of people, thanks to streaming, are watching the show,” Aaron Sorkin, the show’s creator, said in an interview last week. Sorkin wrote or co-wrote nearly every episode of the first four seasons and then left the series, which continued for three more seasons without him and ended in 2006.Although it took place in an alternative universe, “The West Wing” initially resembled the late Clinton era in Washington (minus the sex scandal). Played by Martin Sheen, President Josiah Bartlet — economist, Nobel laureate and descendant of a delegate sent to the Continental Congress in 1776 — strove to balance progressive principles with the realities of governing, all while combating the small-government conservatism of the Republicans who controlled Congress.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