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    ‘Twisters’ Star Glen Powell Intends to Play the Hollywood Game

    In a town littered with would-be superstars, he’s trying to beat the odds by giving studios what they crave. It’s no coincidence he’s everywhere.The cookies weren’t selling.It was a blustery day in suburban Austin, Texas, in 1996, and Lauren and Leslie Powell had a sales quota to meet for their Girl Scout troop. But it was that cookie time of year: Thin Mints and Caramel deLites were seemingly up for grabs everywhere.Glen, their 8-year-old brother, suggested a marketing gambit. “He had us make signs that advertised ‘free gift with every purchase,’ and we put them up around the neighborhood,” Leslie recalled.Glen was the gift.“He would hide in some honeysuckle bushes and pop out after a purchase to perform Elvis songs,” she said, laughing. “That’s my big brother. Ain’t nothin’ but a hound dog.”I confess: Until I heard stories like that one — and spent time with the hound dog himself — I didn’t have high hopes for this profile. Glen Powell? I figured he was a dumb jock who coasted into a movie career on his all-American good looks. Boring.Yes, fine, Powell has been having a bona fide Hollywood moment. He stood nude on a cliff top with Sydney Sweeney in “Anyone but You” at Christmas. He is currently starring on Netflix in “Hit Man,” a comedy-drama-thriller-romance. And in July, Powell will be outrunning big-budget tornadoes in “Twisters.”But a superstar in the making?C’mon.I met Powell, 35, for breakfast in April at the Sunset Tower Hotel in West Hollywood, Calif. He showed up in a tight blue polo accessorized with a chain necklace and chest hair. (Perhaps he was in character, I snarked to myself, as Good-Looking Frat Guy, a bit part he played in “Stuck in Love,” a 2012 romance.) An omelet was ordered. Tabasco sauce was summoned and squirted.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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    Lady Gaga Wipes Off Makeup for Oscars Performance of ‘Hold My Hand’

    After originally not even being set to perform, Lady Gaga made a big impression on Sunday night when she took the stage to sing the Oscar-nominated “Hold My Hand,” which she wrote with BloodPop for “Top Gun: Maverick.”Her red carpet look? Heavy black makeup, bold red lipstick and a see-through black corset gown fresh from the runway.Lady Gaga dressed to the nines before the show.Jutharat Pinyodoonyachet for The New York TimesBut on the Dolby Theater stage? The bright red lipstick and heavy eye makeup had been wiped off, the gown exchanged for a black T-shirt and ripped jeans. All in all, it was a decidedly more natural look. She might have been unrecognizable if not for her hair, which was still in a French braid.“It’s deeply personal for me,” she said before performing her song. “We need a lot of love to walk through this life, and we all need a hero sometimes. There’s heroes all around us in unassuming places, but you might find that you can be your own hero, even if you feel broken inside.”This isn’t the first time Gaga has opted for a minimal makeup look. She took a stripped-down approach for a shoot for T: The New York Times Style Magazine in 2016, around the time she was recording her fifth studio album, “Joanne.” More

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    Producers Guild Awards Nominate Several Blockbusters and Omit Films by Women

    ‘Avatar: The Way of Water,” “Black Panther: Wakanda Forever” and “Top Gun: Maverick” made the cut. “The Woman King” and “Women Talking” were snubbed.After a hectic few days of guild nominations and awards shows, the Producers Guild of America announced the 10 nominees for its best feature film award on Thursday, and this list may be the most consequential yet when it comes to predicting the strongest Oscar contenders: Over the last four years, only three movies made it into the Oscars’ best-picture lineup without first being nominated for the PGAs.Here is the producers’ list of feature-film nominees:“Avatar: The Way of Water”“The Banshees of Inisherin”“Black Panther: Wakanda Forever”“Elvis”“Everything Everywhere All at Once”“The Fabelmans”“Glass Onion: A Knives Out Mystery”“Tár”“Top Gun: Maverick”“The Whale”The producers guild has historically been inclined toward blockbuster product, and this list includes several big-screen success stories, including three of the highest-grossing films of 2022 — “Top Gun: Maverick,” “Avatar: The Way of Water” and “Black Panther: Wakanda Forever” — and two other box-office hits, “Elvis” and “Everything Everywhere All at Once.”But the exclusion of epic-scaled projects like the glitzy “Babylon” and Gina Prince-Bythewood’s action drama “The Woman King” may doom those films’ chances at making the Oscars’ best-picture lineup: When academy voters replace a PGA pick with one of their own choices, they typically substitute an indie or international film instead.Another notable snub was the Sarah Polley-directed drama “Women Talking,” which debuted at the fall film festivals with plenty of buzz but has struggled since its theatrical bow during the crowded Christmas holiday. None of the films on the PGA list were directed by women, and if “Women Talking,” “The Woman King” and Charlotte Wells’s acclaimed “Aftersun” fail to make the Oscars best-picture list, it will be the first time the category has excluded female filmmakers in four years.Only three films earned nominations from the producers, directors and actors guild this week: Steven Spielberg’s autobiographical “The Fabelmans,” the sci-fi hit “Everything Everywhere All at Once,” and the dark feuding-friends comedy “The Banshees of Inisherin.” That trio should be considered the strongest Oscar contenders as voting for the Academy Awards begins Thursday.The winners will be announced in a ceremony on Feb. 25. Here is the rest of the Producers Guild list:FilmAnimated Feature“Guillermo del Toro’s Pinocchio”“Marcel the Shell with Shoes On”“Minions: The Rise of Gru”“Puss in Boots: The Last Wish”“Turning Red”Documentary“All That Breathes”“Descendant”“Fire of Love”“Navalny”“Nothing Compares”“Retrograde”“The Territory”TelevisionEpisodic Drama“Andor”“Better Call Saul”“Ozark”“Severance”“The White Lotus”Episodic Comedy“Abbott Elementary”“Barry”“The Bear”“Hacks”“Only Murders in the Building”Limited Anthology Series“Monster: The Jeffrey Dahmer Story”“The Dropout”“Inventing Anna”“Obi-Wan Kenobi”“Pam & Tommy”Television Movie“Fire Island”“Hocus Pocus 2”“Pinocchio”“Prey”“Weird: The Al Yankovic Story”Nonfiction Television“30 for 30”“60 Minutes”“George Carlin’s American Dream”“Lucy and Desi”“Stanley Tucci: Searching for Italy”Live, Variety, Sketch, Standup and Talk Show“The Daily Show With Trevor Noah”“Jimmy Kimmel Live!”“Last Week Tonight With John Oliver”“The Late Show With Stephen Colbert”“Saturday Night Live”Game and Competition Television“The Amazing Race”“Lizzo’s Watch Out for the Big Grrrls”“RuPaul’s Drag Race All Stars”“Top Chef”“The Voice”Sports Program“Formula 1: Drive to Survive”“Hard Knocks: Training Camp with the Detroit Lions”“Legacy: The True Story of the LA Lakers”“McEnroe”“Tony Hawk: Until the Wheels Come Off”Children’s Program“Fraggle Rock: Back to the Rock”“Green Eggs and Ham”“Sesame Street”“Snoopy Presents: It’s the Small Things, Charlie Brown”“Waffles + Mochi’s Restaurant”Short-Form Program“Better Call Saul: Filmmaker Training”“Love, Death + Robots”“Only Murders in the Building: One Killer Question”“Sesame Street’s #ComingTogether Word of the Day Series”“Tales of the Jedi” More

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    Will These Be the 10 Best Picture Oscar Nominees?

    Now that critics’ laurels and box office results are in, the race for the top honor is clearer. But there’s still room for an outside contender to slip in.Earlier this week, I got a text from a harried colleague. “I’m not ready for Oscar season,” she wrote.I blinked for a second before responding. Ready? This season has been going for months!Of course, I took her point: January ramps things up considerably, since we’re about to get televised awards shows (the Golden Globes on Tuesday followed by the Critics Choice Awards the following Sunday), nominations from the acting, directing and producing guilds, and then the all-important Oscar nominations, which will be announced Jan. 24.But we can already make an educated guess about the titles we’ll hear that day, since your Projectionist has spent the last few months weighing valuable factors like voter buzz, box office battles, laurels from critics groups, below-the-line Oscar shortlists, and influential citations like the Gothams and the American Film Institute Awards. With all that in mind, I’ve arrived at a list of 10 movies that I think currently have the greatest shot at making the best picture lineup.Still, this is an unusual year when even the strongest movies come with significant debits, which means there’s still room for big-budget entertainments (like “Babylon,” “Nope,” “Glass Onion: A Knives Out Mystery” and “Black Panther: Wakanda Forever”), foreign-language films (including “RRR,” “Decision to Leave” and “All Quiet on the Western Front”), and indie films with strong performances (like “The Whale,” “Till,” “She Said” and “Aftersun”) to pull through. At this time last year, “CODA” looked like a middle-of-the-road contender, but a few consequential weeks later, it won enough hearts to clinch the best picture Oscar.So consider these 10 films to merely be the starting lineup, ranked in descending order according to their certainty.Steven Spielberg Gets Personal in ‘The Fabelmans’The director’s latest movie, starring Michelle Williams, focuses on Sammy Fabelman, a budding filmmaker who is a lot like Spielberg himself.Review: “The Fabelmans” is “wonderful in both large and small ways, even if Spielberg can’t help but soften the rougher, potentially lacerating edges,” our critic writes.Michelle Williams: With her portrayal of Mitzi, Sammy’s mother, the actress moves from minor-key naturalism to more stylized performances.Judd Hirsch: The actor has been singled out for his rousing performance in the film. It’s the latest chapter in a career full of anecdotes.Making ‘The Fabelmans’: In working on this semi-autobiographical movie, Spielberg confronted painful family secrets and what it means to be Jewish in America today.‘Everything Everywhere All at Once’Ke Huy Quan and Michelle Yeoh in “Everything Everywhere All at Once.”Allyson Riggs/A24After making a film with sci-fi trappings and outlandish dildo fight scenes, the directors of “Everything Everywhere” never expected it to become an awards-season sensation. Still, if you look under the hood, this movie has everything Oscar voters typically spark to: It’s a critically acclaimed box office hit with a veteran star in a showcase role (Michelle Yeoh), a wildly rootable actor making his long-awaited comeback (Ke Huy Quan), and an original, inventive story that concludes with a series of heartwarming scenes. The only downside (and it could prove to be a potent one) is that many older voters just can’t get past the aforementioned sci-fi trappings and dildo fight scenes, and the film’s appeal is therefore lost on them. Will the passion of the academy’s younger and hipper voters be enough to make up that shortfall and push “Everything Everywhere” to the top?‘The Fabelmans’Though we may think of Steven Spielberg as an Oscar staple, it’s been more than two decades since he won his last statuette, for “Saving Private Ryan” (1998). If voters consider the most successful director of all time to be overdue for another little gold man, they might think it fitting to reward him for “The Fabelmans,” the most personal project he’s ever made. This semi-autobiographical family drama was hobbled by headlines about its meager box office take, but it’s hardly the only prestige drama to struggle in theaters this year. And once the nominations are sorted, the film should fare very well on the preferential ballot for best picture, which favors consensus crowd-pleasers.‘The Banshees of Inisherin’Could nearly half of the 20 acting nominations be sewn up by just two movies? If “Everything Everywhere” overperforms, Yeoh, Quan, and supporting actresses Stephanie Hsu and Jamie Lee Curtis could all be nominated. Ditto Martin McDonagh’s “The Banshees of Inisherin,” which I think has an even better shot at earning nominations for all four of its principal actors: leading man Colin Farrell and his supporting co-stars Brendan Gleeson, Barry Keoghan and Kerry Condon. (Sadly, Jenny the donkey was not eligible last time I checked.) And though McDonagh failed to make it into the best director lineup for his last film, “Three Billboards Outside Ebbing, Missouri,” the stunningly photographed vistas of “Inisherin” ought to put him over the top this time.‘Tár’Don’t be fooled by the recent best picture wins for simple-pleasure dramedies like “CODA” and “Green Book”: There is still a significant bloc of highbrow voters within the academy, and I suspect “Tár” will serve as their standard-bearer. Todd Field’s ruthlessly contemporary drama about a disgraced conductor has already entranced critics: The New York Film Critics Circle and Los Angeles Film Critics Association both awarded Cate Blanchett’s lead performance and voted “Tár” the best film of the year (though the West Coast group split the difference on the latter, claiming a tie between “Tár” and “Everything Everywhere”). Field made the best picture lineup back in 2002 for his first film, “In the Bedroom,” and voters will be pleased to see that their early bet on him has more than paid off.‘Avatar: The Way of Water’From left, Tsireya (Bailey Bass), Neytiri (Zoe Saldaña), Neteyam (Jamie Flatters), Lo’ak (Britain Dalton) and Jake Sully (Sam Worthington) in “Avatar: The Way of Water.”20th Century StudiosJames Cameron’s first “Avatar” was presumed to be the runner-up in 2010’s best picture race, which ultimately crowned his ex-wife Kathryn Bigelow’s military drama “The Hurt Locker.” Can “The Way of Water” succeed where the first film failed? I don’t think it’s got much of a chance at actually winning best picture, since Cameron has often said that the franchise is mapped out over five movies, and voters will probably wait until the far-off denouement to decide the ultimate worth of the series, as they did with the “Lord of the Rings” trilogy. Still, a long list of nominations is all but certain, since the movie is both a blockbuster triumph and a dazzling auteurist work that only Cameron could have pulled off.‘Elvis’It’s been 21 years since director Baz Luhrmann scored an Oscar breakthrough with the musical “Moulin Rouge” — which was nominated for eight Oscars and won two — and I expect he’ll be welcomed back in a big way for this glittery biopic of the iconic singer, played by surefire best actor nominee Austin Butler. One of the year’s only adult dramas to succeed in theaters, “Elvis” plays as though “Bohemian Rhapsody” were executed with actual panache, and Luhrmann’s maximalist aesthetic could even push him into the best director lineup, since that branch goes gaga for technical audacity.‘Top Gun: Maverick’If a well-reviewed action sequel becomes the biggest movie of the year and helps bolster struggling theaters, shouldn’t that be enough to cram it into the best picture race? Well, that argument didn’t get “Spider-Man: No Way Home” into last year’s lineup, but domestic box office champ “Top Gun: Maverick” is already off to a better start, picking up best film nominations from the Golden Globes and Critics Choice Awards that eluded Marvel’s web-slinger. But is this Tom Cruise star vehicle actually about something, or is it just a high-flying entertainment? Oscar voters tend to turn their nose up at action sequels — the only one nominated for best picture in the last 15 years was George Miller’s astonishing “Mad Max: Fury Road” — and the next phase of this awards campaign will have to convince them that there’s more to “Top Gun: Maverick” than meets the eye.‘Triangle of Sadness’After “Parasite” won the Palme d’Or at the Cannes Film Festival nearly four years ago, the upstart film studio Neon successfully leveraged the movie’s international appeal and turned it into an awards-season darling. Can the studio pull off the same feat for Ruben Ostlund’s social satire “Triangle of Sadness,” which also took the Palme and similarly mines class warfare for big laughs and shocking set pieces? It helps that this cruise-ship comedy has a secret weapon in supporting-actress contender Dolly de Leon, who plays a maid-turned-despot: At a time when most contenders are still wary of ascribing too much weight to the controversial Golden Globes, the Filipina actress has drawn headlines for discussing how much the Globe nomination means to her, and many Oscar voters will be eager to extend her awards-season moment.‘Women Talking’Judith Ivey, left, and Claire Foy in “Women Talking.” Michael Gibson/Orion PicturesAfter a big fall-festival launch, Sarah Polley’s well-reviewed Mennonite drama may have waited a little too long to come out in theaters: It was swallowed in limited release over the Christmas weekend, and will have a rough go expanding into new locations until the Oscar nominations are announced. Still, Polley is a respected actress-turned-director, the ensemble is filled with awards-friendly ringers like Claire Foy, Jessie Buckley and Frances McDormand, and the film’s bracing conversations about gender and sexual assault make a strong case for its relevance.‘The Woman King’Gina Prince-Bythewood’s well-mounted action epic about female warriors in 19th-century Africa has an Oscar-winning star in Viola Davis and a lot of handsome tech elements, though I’m concerned that it didn’t manage to make the Oscar shortlists for its superlative costume design and hair and makeup. (At least Terence Blanchard’s thundering score made the cut in its category.) Next week’s Producers Guild nominations could foretell the film’s ultimate fate, since that group likes to recognize rousing theatrical successes and “The Woman King,” which earned a worldwide gross nearly double its $50 million budget, will almost certainly show up there if it’s got the mettle to impress awards voters. More

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    Songs from Rihanna, Taylor Swift and Lady Gaga Make the Oscar Shortlist

    The academy also released shortlists for documentary, international feature and seven other categories.Will pop superstars like Rihanna, Taylor Swift and Lady Gaga take the stage at the Oscars next year? That possibility became more likely when the Academy of Motion Picture Arts and Sciences released its shortlist for best original song on Wednesday.The Rihanna song “Lift Me Up” (from “Black Panther: Wakanda Forever”) made the cut, as did Swift’s “Carolina” (“Where the Crawdads Sing”) and Lady Gaga’s anthem “Hold My Hand” (“Top Gun: Maverick”).Other songs on the short list include Selena Gomez’s “My Mind & Me” from the documentary about her; the Weeknd tune “Nothing Is Lost (You Give Me Strength)” from the new “Avatar” sequel; and “New Body Rhumba,” the tune that LCD Soundsystem’s James Murphy wrote for “White Noise.”Also on the list is the “Spirited” ditty “Good Afternoon” from the songwriting team of Benj Pasek and Justin Paul. They’re familiar names to Oscar voters: In 2017, they won best original song for “City of Stars” from “La La Land.” A nomination next month would be their fourth in this category.The shortlist for documentary feature included biographical studies like “All the Bloodshed and the Beauty” (about the photographer Nan Goldin) and “Moonage Daydream” (David Bowie), as well as historical examinations like “Descendant” (focused on the Clotilda, the last known ship to bring enslaved Africans to the United States) and “The Janes” (named after a collective that provided abortions in the years before Roe v. Wade).Meanwhile. the international feature shortlist is stacked with festival favorites from around the world, including “Decision to Leave,” the South Korean noir from Park Chan-wook; “Bardo” (Mexico), directed by Alejandro G. Iñárritu; and Alice Diop’s “Saint Omer” (France), based on a true story. Pakistan’s “Joyland” also made the cut: It features a relationship involving a transgender woman and was temporarily banned in that country.In all, the academy released shortlists for 10 categories — including visual effects, score, sound, and hair and makeup — in advance of the nominations on Jan. 24. Here are the shortlists for song, documentary feature and international feature. For the rest of the categories, go to oscars.org.Original Song“Time” from “Amsterdam”“Nothing Is Lost (You Give Me Strength)” from “Avatar: The Way of Water”“Lift Me Up” from “Black Panther: Wakanda Forever”“This Is a Life” from “Everything Everywhere All at Once”“Ciao Papa” from “Guillermo del Toro’s Pinocchio”“Til You’re Home” from “A Man Called Otto”“Naatu Naatu” from “RRR”“My Mind & Me” from “Selena Gomez: My Mind & Me”“Good Afternoon” from “Spirited”“Applause” from “Tell It like a Woman”“Stand Up” from “Till”“Hold My Hand” from “Top Gun: Maverick”“Dust & Ash” from “The Voice of Dust and Ash”“Carolina” from “Where the Crawdads Sing”“New Body Rhumba” from “White Noise”Documentary Feature“All That Breathes”“All the Beauty and the Bloodshed”“Bad Axe”“Children of the Mist”“Descendant”“Fire of Love”“Hallelujah: Leonard Cohen, a Journey, a Song”“Hidden Letters”“A House Made of Splinters”“The Janes”“Last Flight Home”“Moonage Daydream”“Navalny”“Retrograde”“The Territory”International FeatureArgentina, “Argentina, 1985”Austria, “Corsage”Belgium, “Close”Cambodia, “Return to Seoul”Denmark, “Holy Spider”France, “Saint Omer”Germany, “All Quiet on the Western Front”India, “Last Film Show”Ireland, “The Quiet Girl”Mexico, “Bardo, False Chronicle of a Handful of Truths”Morocco, “The Blue Caftan”Pakistan, “Joyland”Poland, “EO”South Korea, “Decision to Leave”Sweden, “Cairo Conspiracy” More

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    ‘Top Gun: Maverick’ Enters the Pantheon of Conservative Fan Fiction

    The American right has embraced Tom Cruise’s latest blockbuster, hailing the movie as a patriotic gesture produced in defiance of “woke” liberal elites and the Chinese Communist Party.Today’s newsletter is a guest dispatch from the Culture desk of The New York Times. Marc Tracy, who regularly covers the intersection of culture and politics, writes about Tom Cruise’s latest blockbuster — and the conservatives who are singing its praises.“Top Gun: Maverick,” the inescapable Tom Cruise blockbuster sequel, has been hailed as a cinematic throwback.Many critics have interpreted its story of an increasingly obsolete pilot being called back to teach today’s young people a thing or two for one last mission as a not-so-subtle allegory for the film itself. The movie uses relatively few computer-generated effects, stars the now-60-year-old Cruise and still managed to rake in more than $1 billion globally.But amid praise from filmgoers who enjoyed the realistic dogfights, filmed with real planes that the real actors rode in, another community has embraced the movie for representing its values and vindicating its outlook: conservatives.A sampling:Gov. Ron DeSantis of Florida: “Any movie that’s not, like, overwhelmingly woke can actually appeal to normal people.” (DeSantis had not seen the movie at the time; he later saw it with his wife for her birthday, he said.)The Fox News host Jesse Watters: “We’ve been longing to see a movie that’s unapologetically American, and we finally got it.”Tomi Lahren, of the conservative sports outlet OutKick and Fox: “The undeniable success of Top Gun is proof Americans are sick of WOKE and just want to watch good movies without a grandstanding social justice message!!”The right vs. HollywoodWhat’s going on here?There is a long tradition in which conservatives seize upon a cultural artifact produced by the entertainment industry, which is generally seen as left-leaning, and claim it for themselves.“This goes back years,” said Doug Heye, a Republican consultant, “and included when we had a Hollywood actor or a reality TV star for president. They feel besieged by the culture. That feeling has only increased, and it’s increased because there’s even more substance behind it today.”In a recent essay that discussed movies including “Top Gun: Maverick,” A.O. Scott, The Times’s co-chief film critic, argued that one notable aspect of the conservative movement is its antagonism toward the entertainment industry.“The modern right,” Scott wrote, “defines itself against the cultural elites who supposedly cluster on the coasts and conspire to impose their values on an unsuspecting public. In this account, Hollywood acts in functional cahoots with academia and the news media.”And conservative activists’ enmity toward Hollywood and other cultural tastemakers has perhaps never been more conspicuous.DeSantis, whose ability to channel the movement might outstrip any other politician’s (including, arguably, Donald Trump’s), made waves this spring by revoking special tax and self-governing privileges that Disney had enjoyed for its enormous theme park in his state. The governor and the company had clashed over a newly passed state law that bars instruction about sexual orientation and gender identity in some grades.‘Top Gun’: The Return of MaverickTom Cruise takes to the air once more in “Top Gun: Maverick,” the long-awaited sequel to a much-loved ’80s action blockbuster.A Triumphant Return: At a time when superheroes dominate the box office, the film industry betis betting on the daredevil actor to bring grown-ups back to theaters. It paid off.The Secret Ingredient: Cruise’s potent mix of athleticism and charisma goes a long way to explain why “Top Gun: Maverick” is a hit.Review: The central question posed by the movie has less to do with the need for combat pilots in the age of drones than with the relevance of movie stars, our critic writes.Your Burning Questions: How similar is it to the original? Who’s back? Who’s absent? We have answers.So when “Top Gun: Maverick” entered this culture war with its uncomplicated, feel-good patriotism — it is, among other things, a movie about how awesome U.S. Navy pilots can be, particularly when fighting America’s enemies — conservatives’ sense of alignment arrived naturally.“When something comes out,” Heye said, “and it’s another version of ‘Rocky IV’” — the 1985 movie in which Sylvester Stallone’s working-class boxer enters the ring with a Soviet fighter named Ivan Drago — “that becomes something that, for the activist part of the base that is looking for something that isn’t critical of their values, they’re going to grab onto.”This is not to say that Maverick, Hangman and the other pilots in the new “Top Gun” film face off against today’s equivalent of the Soviet Union, whatever country that might be. As in the first “Top Gun,” which came out in 1986, the enemy is not explicitly identified.Nor are conservative politicians and media personalities claiming that the movie makes a compelling case for policies like tax cuts or gun rights. Their argument has less to do with what the film is than what it is not; less to do with its specific plot or characters than with its vibe.“It’s political in being apolitical,” said Christian Toto, a conservative film critic and the proprietor of the website Hollywood in Toto.He contrasted “Top Gun: Maverick” with some films in the Marvel Cinematic Universe and the gender-swapped “Ghostbusters” reboot. Their efforts at inclusivity — diverse casting, same-sex relationships — could come across, he said, as ham-handed, particularly to conservative audiences whose antennae are already on alert for filmmakers they see as trying to sneak some spinach in with the cinematic candy.The conservative allergy to such moviemaking decisions flares up, Toto said, “when the audience gets a sense it’s being put in there awkwardly or there’s a message being sent as opposed to organically woven into the story.”That the pilots training for the daring raid in “Top Gun: Maverick” appear to come from a variety of backgrounds seems not like liberal messaging but realistic detail, Toto said.“The cast is moderately diverse; there are women as pilots,” he said. “But they don’t comment on it; they don’t base the script around it. It’s assumed these are just very talented people willing to risk their lives for the mission.”Cruise at the new movie’s global premiere in San Diego. The film has made more money in the United States and Canada than in the rest of the world.Vivien Killilea/Getty Images Paramount PicturesAn All-American hitBox-office information does not contradict conservatives’ case. About 55 percent of the opening weekend sales, an unusually high proportion, came from ticket-buyers over 35, according to Paramount.And — atypically for big box-office hits in this era — “Top Gun: Maverick” has made more money in the United States and Canada than in the rest of the world, according to Box Office Mojo.Which is itself a point of pride for some of the film’s conservative backers: “‘Top Gun: Maverick’ Reaches $1 Billion Worldwide — Without China,” read a Breitbart headline last month. (The film was not released in China; earlier, a Chinese company withdrew its share of financing for the film because of its pro-American message, according to a Wall Street Journal report.)Ben Shapiro, a popular conservative pundit who co-founded the website The Daily Wire, had predicted in his rave review that the movie would do better domestically than abroad. “The film itself is pretty red, white and blue,” he said. “That’s just assumed as the backdrop. Which is the way movies used to be.”Stanley Rosen, a professor of political science at the University of Southern California who studies China’s film industry, said in an interview that “Top Gun: Maverick” represented an emerging idea that “Hollywood doesn’t need China the way it used to.”The film’s success could signal that the days of Hollywood studios altering story lines to make their releases more palatable to Chinese censors and audiences — a trend documented in a recent book, “Red Carpet” by Erich Schwartzel — might slowly be on their way out.And, Rosen added, whatever the film’s actual political message, the argument that it has one at all might have its own uses.“The controversy over wokeness or whether this is Reagan-era nostalgia,” he said, is “very good for the box office.”What to readDepartment of Never Tweet: The Securities and Exchange Commission is broadening its inquiry into Elon Musk’s disclosures about Twitter, Kate Conger reports. The agency questioned whether a tweet Musk sent in May about the acquisition of Twitter should have been disclosed to the agency and investors.Natalia Winkelman reviews “Gabby Giffords Won’t Back Down,” a new documentary about the former Democratic congresswoman from Arizona who was shot in the head at a political event in 2011.Follow the latest news from President Biden’s trip to Israel and Saudi Arabia.HOW THEY RUNVice President Kamala Harris and Gov. Gavin Newsom of California are longtime allies and possible future in-state rivals.Lucy Nicholson/ReutersTable for twoGavin Newsom, the governor of California, is sitting down for lunch on Friday in Washington with Vice President Kamala Harris, two of his aides have confirmed.For Newsom, the trip, officially made so he could accept an award and discuss policy issues with lawmakers and Biden administration officials, has doubled as something of a cleanup tour.On Thursday, Newsom said clearly that he supported President Biden to be the Democratic Party’s nominee in 2024, amid a swirl of reporting by my Times colleagues and others suggesting that liberal voters are not especially enthused about another term for the 79-year-old commander in chief.News reports, including in this humble newsletter, have noted that Newsom’s rise as a leader in the Democratic Party could put him in competition with Harris, a longtime ally and possible future in-state opponent, in a hypothetical Biden-free presidential primary.Those stories have gotten the attention of the vice president’s office, while amusing the governor’s staff back home in California. Both camps insist there’s no rivalry between the two leaders.Speaking to reporters on Thursday, Newsom volunteered that Harris had been “wonderful” as vice president and said they were just going to “check in, as we do constantly.” He alluded, however, to unspecified “constraints” Harris had faced in office and said it was “a difficult time for all of us in public life.”Asked what was on the lunch menu, a Newsom aide joked in a text: “Arsenic and arm wrestling. The usual.”Thanks for reading. — BlakeIs there anything you think we’re missing? Anything you want to see more of? We’d love to hear from you. Email us at onpolitics@nytimes.com. More

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    ‘Top Gun: Maverick’ | Anatomy of a Scene

    Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More

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    Watch Tom Cruise Go Hypersonic in ‘Top Gun: Maverick’

    The director Joseph Kosinski narrates a sequence from the film.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.“Want Mach 10? Let’s give ’em Mach 10.”That line, delivered by Maverick (Tom Cruise) in the long-anticipated, and already quite popular, sequel to “Top Gun,” may help to prepare audiences for the fact that things have become a little bit more updated in the sky since the 1986 original.This early sequence has Maverick arriving to discover that the hypersonic flight test he was meant to perform has been canceled by an admiral (Ed Harris), who would prefer to spend on drones.But “canceled” is not in Maverick’s vocabulary, and he proceeds with the test as planned, aiming to reach Mach 10 speeds.Discussing the scene, the director Joseph Kosinski said that he and his crew designed the sleek aircraft in conjunction with Skunk Works, a division of Lockheed Martin.It is based on an aircraft “that may or may not exist,” he said. The shots of it in the hangar are “a full-scale mock-up that we built with their cooperation.”Kosinski said the scene was meant to “take a turn and take ‘Top Gun’ into the future. Here we see Maverick on the very cutting edge of aviation.”Pay close attention to the final shot of the scene, where Maverick takes off. It had to be done by one of the few Navy pilots cleared to fly what is called a low-altitude transition maneuver. The pressure wave the maneuver created destroyed a piece of the set, which meant the crew was only able to do the shot once.Read the “Top Gun: Maverick” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More