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      In the Oscars Audience, Candid Photos From the Ceremony

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      Red carpet photographs are able to convey indelible moments of celebrity magnetism and spectacular glamour. But no step-and-repeat can bottle the crackling anticipation, the eruption of victory, the sting of loss or the quiet exchange between individuals amid a sea of superstars like these candid shots from the audience at Sunday night’s Oscars ceremony.Inside the Dolby Theater in Los Angeles, our photographer captured moments viewers may not have caught otherwise. These images offer a peek at the year’s most celebrated actors and filmmakers interacting with one other, and not the camera, as we usually see them. Whether that be Florence Pugh looking intently at Christopher Nolan as she rests her hand gently on his arm; Messi the Border collie sitting poised and unfazed as a man, who is lying on the floor, claps faux paws in his face; Colman Domingo and Danielle Brooks leaning over a seated Da’Vine Joy Randolph with wowed expressions; or Lily Gladstone, Emma Stone and Ramy Youssef standing inches apart, gripping each other, their faces nearly touching.Clockwise from left: Ted Danson, Paul Giamatti, Da’Vine Joy Randolph, Jennifer Lawrence and Cooke Maroney. Randolph won the best supporting actress Oscar for her role as a cafeteria matriarch in “The Holdovers.”Amir Hamja/The New York TimesEmma Stone and her husband, Dave McCary, celebrated her best actress win for her role in “Poor Things,” along with her co-star Mark Ruffalo at right.Greta Gerwig, facing away, and Billie Eilish embraced, with Finneas O’Connell behind them. Eilish and O’Connell collected the trophy for best song for “What Was I Made For?” from “Barbie.”Clockwise from top left: Martin Scorsese; Carey Mulligan; the “Godzilla Minus One” team with their trophies for best visual effects; and Dominic Sessa, a star of “The Holdovers.”Messi the Border collie, a star from “Anatomy of a Fall,” had fake paws held up in front of him to create the illusion that he was clapping.The Gretas (Lee, standing, and Gerwig) held hands.Florence Pugh with her “Oppenheimer” director Christopher Nolan. Their historical drama triumphed on Sunday, winning seven Oscars, including for best picture.Clockwise from top left: Sandra Hüller and Jonathan Glazer, who directed her in “The Zone of Interest”; Cord Jefferson (facing away), director and writer of “American Fiction,” and Jeffrey Wright, its star; Colman Domingo and Zendaya; Christopher Nolan (facing away) and Cillian Murphy.Power players: Steven Spielberg, left, Christopher Nolan and Emma Thomas. Nolan and Thomas, who are married, produced “Oppenheimer,” along with Charles Roven (not pictured).Robert De Niro, far left. Colman Domingo, who was nominated for the titular role in “Rustin,” and Teo Yoo (in front of him), from “Past Lives,” took a selfie.Colman Domingo and Danielle Brooks chatted with Randolph (seated). Emma Stone leaped from her seat, as John Mulaney presented the award for best sound from the stage.Audience Report is a series that looks at people looking. Produced by Jolie Ruben and Amanda Webster. More

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      Inside the 2024 Oscars Party

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      At the Governors Ball after the Oscars on Sunday evening, the writer-director Christopher Nolan and the producer Emma Thomas stepped off a raised dais after having their multiple Oscars engraved and were greeted by the party’s chef, Wolfgang Puck. In honor of the night’s biggest prizewinners, Puck was serving a selection of British food: Roast beef with Yorkshire pudding and fish and chips were presented to the couple, who were both delighted by a taste of home.Onstage at the ceremony, Thomas said she had dreamed her whole life about winning an Oscar. When Nolan was asked at the party if he had held the same dream, he exclaimed, “Absolutely.”The normally reserved Nolan said he had felt emotional up on that stage, even though he maintained his composure. “The people that know me know when I get emotional,” he said. “Just ask Emma.”Christopher Nolan with two of the seven statuettes awarded for “Oppenheimer” on Sunday.True to form, Thomas added, “If he didn’t leave right when he did he would have started ugly crying.”“And we will leave it there,” said Nolan, before he was whisked away to greet more well-wishers.America Ferrera was still vibrating from Ryan Gosling’s “I’m Just Ken” performance and Billie Eilish and her brother, Finneas O’Connell’s rendition of “What Was I Made For.” Both of those performances “were just simply stunning,” she said. “I think Ryan is so brilliant and really created something so unique and special with his performance.”Robert Downey Jr. with his best supporting actor Oscar, also for “Oppenheimer.”The Governors Ball, held at the Dolby Theater, is the official post-Oscars celebration.Simu Liu, who took part in the number, said: “It was an incredible, surreal moment to be onstage. And also, this came together extremely quickly.” When he got the call from the interlude’s choreographer, Mandy Moore, he said, he and his fellow performers Ncuti Gatwa, Scott Evans and Kingsley Ben-Adir hit the group chats, “and were like, ‘Oh my God, are you doing this? We have to do this.’”On the night, Liu added, “we were so nervous. Doing any sort of live TV is nerve-wracking, and then to do it in that room? There’s not many rooms that are more intimidating.”“There was such a moment of elation when we were done,” Liu said. “I think we pulled it off.”Da’vine Joy Randolph, left, who won for best supporting actress.The French director Justine Triet, with the Oscar for best original screenplay that she won with her husband, Arthur Harari.Anita Hill, for one, won’t forget the movie that inspired it anytime soon. Hill stopped Greta Gerwig on Gerwig’s way to find her husband, Noah Baumbach, to tell her how important “Barbie” was to her. Gerwig, embarrassed by the attention, said with a smile, “We are just making movies over here.”Yet Hill had more to say on the subject. “Clearly she has done an outstanding job and I hope that’ll be an indication to the industry to open up more opportunity to women and people of color,” she said, also mentioning the screenplay win for “American Fiction.” “There’s still not enough,” she said, “but I think this is an important time.”Sterling K. Brown, left, holds the statue that Cord Jefferson, right, won for best adapted screenplay.The party’s menu was overseen by the Austrian chef Wolfgang Puck.The four-time Academy Award nominee Willem Dafoe.The celebration on Sunday was the 65th edition of the Governors Ball.According to the Academy, 1,500 guests were invited.Eugene Lee Yang, who voiced one of the characters in “Nimona,” a best animated feature nominee.Winners and nominees in each category, as well as presenters and other participants in the ceremony, get invited to the party.Billie Eilish with the only Oscar for “Barbie”: best original song, awarded to Eilish and Finneas O’Connell for “What Was I Made For?”Cillian Murphy, left, who won best actor for his performance in “Oppenheimer.”Charlotte Kemp Muhl, at the after party.The Swedish composer Ludwig Goransson, left, who won best original score for “Oppenheimer.” More

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      Our Favorite Photos From the Oscars Red Carpet

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      The 96th Academy Awards bowed on Sunday with a return to tradition: The red carpet was, well, red. A year after Hollywood’s stars made their way across a champagne-colored rug, and several months after work stoppages led by actors’ and writers’ unions came to an end, they were greeted once again by the familiar décor.And judging by the bright smiles captured by our photographer, Sinna Nasseri, who was on hand at the Dolby Theater in Los Angeles, those in attendance were in the mood to celebrate. The starry arrivals included cast and crew of the year’s most-talked-about films, from “Barbie” to “Oppenheimer” (the night’s big winner with seven Oscars) to “Poor Things.” A few of our favorite Oscars snaps are below for your scrolling pleasure. — REBECCA THOMASColman Domingo, joined by Steven Spielberg, was one of several first-time Oscar nominees. Kirsten Dunst and Jesse Plemons arrive at the ceremony.On Oscar night, the arrivals are often as closely watched as the show.Paul Giamatti, a best actor nominee this year.Dominic Sessa, a star of “The Holdovers,” has his photo snapped.Jamie Lee Curtis greeted Yi Yan Fuei, a star of the documentary short “Nǎi Nai & Wài Pó,” as her director and grandson Sean Wang looked on. Bradley Cooper with his mother, Gloria Campano, at left.Sandra Hüller. The best actress nominee had two films in contention for awards: “Anatomy of a Fall” and “The Zone of Interest.”Emily Blunt and John Krasinski, hand in hand.At center, Milo Machado-Graner and Swann Arlaud, stars of “Anatomy of a Fall.”Emma Stone was honored for her performance in Yorgos Lanthimos’s “Poor Things.”Anya Taylor-Joy makes an arrival.Danielle Brooks, nominated for supporting actress in “The Color Purple,” has said she spent six months auditioning for the part of Sofia.Cillian Murphy, the star of “Oppenheimer,” and his wife, Yvonne McGuinness. The film won seven Oscars, including a best actor statue for Murphy.Billie Eilish became a two-time winner in the best original song category with her win for “What Was I Made For?” from “Barbie.”Lily Gladstone, who has Blackfeet and Nez Percé heritage, made history with her best actress nomination for Martin Scorsese’s “Killers of the Flower Moon.”Ariana Grande makes a grand entrance.Greta Gerwig with her partner and “Barbie” collaborator, Noah Baumbach.Jeffrey Wright, at right, the Oscar-nominated star of “American Fiction,” strikes a pose.Martin Scorsese with his daughter Francesca Scorsese.Nicolas Cage hit the red carpet.Florence Pugh sparkled.Robert Downey Jr., the winner for best supporting actor for his role in the much-celebrated “Oppenheimer.” More

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      Oscar Nominees Luncheon 2024: Best Looks and the ‘Anatomy of a Fall’ Dog

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      At the annual Oscar nominees luncheon, there is always a top dog that even a ballroom full of A-listers will clamor to meet. Last year, that honor went to the “Top Gun: Maverick” producer Tom Cruise, a star so huge that the other nominees began to orbit him, biding time until they could dart in to kiss the ring.The luncheon held Monday afternoon at the Beverly Hilton in Beverly Hills, Calif., initially seemed to lack that supernova presence, even though there were plenty of famous names including Robert Downey Jr., Emma Stone and Martin Scorsese. Still, they’ve all grown too used to each other to engage in much genuflection: When you treat an awards campaign like a full-time job, the other contenders might as well be your co-workers.From left, Emma Stone, Yorgos Lanthimos and Margot Robbie at the nominees luncheon on Monday in Beverly Hills.Sinna Nasseri for The New York TimesSterling K. Brown (“American Fiction”), left, with the producer Nicky Bentham and the director Misan Harriman of the nominated live-action short “The After.”Sinna Nasseri for The New York TimesMartin Scorsese, whose best director nomination for “Killers of the Flower Moon” is his 10th, the most for a living director.Sinna Nasseri for The New York TimesWas there anyone who could jump-start this starry but sleepy scene? I didn’t think so, until I saw supporting actress nominee America Ferrera turn to her left, look down and gasp.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      Chita Rivera: A Life in Photos

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      The dancer Chita Rivera, who “dazzled audiences for nearly seven decades as a Puerto Rican lodestar of the American musical theater,” has died at 91. Her influence can be seen in many Broadway productions over the years, including “West Side Story” (1957), “Bye Bye Birdie” (1960), “Chicago” (1975) and “Kiss of the Spider Woman” (1993).As Anita in “West Side Story,” she took “a part equivalent to the nurse in the Shakespeare play,” Brooks Atkinson wrote in his review for The New York Times.She worked with the choreographers Bob Fosse and Jerome Robbins, the composer Leonard Bernstein, the songwriting team of John Kander and Fred Ebb, and the playwright Terrence McNally, among others.Born Dolores Conchita Figueroa del Rivero in Washington, D.C., on Jan. 23, 1933, she was a quick study. After auditioning, she won a scholarship to George Balanchine’s School of American Ballet in Manhattan, and lived with family in the Bronx. She wrote in her autobiography, “Chita: A Memoir,” that she dealt with the overwhelmingly white spaces she found herself in by becoming a class clown. Her feelings of being an outsider lessened on Broadway but persisted.Her ballet training stayed with her. “Her finesse comes in the gracious way she shows every angle of her body, the attention to épaulement — the carriage of the arms and shoulders — all the while talking up space,” Gia Kourlas writes. “Dancing big and with intention.”Here are a selection of images from her remarkable life onstage.Rivera and company in “Chita & All That Jazz,” a musical celebration of her life in theater, in Philadelphia in 1988.Joan MarcusRivera, left, and Gwen Verdon during a rehearsal of the musical “Chicago” in Philadelphia in 1975.Associated PressRivera, third from left, in a scene from the Broadway musical “West Side Story,” with Carmen Gutierrez and Lynn Ross. John Springer Collection/Corbis, via Getty ImagesRivera accepts a special Tony award for lifetime achievement in the theater in 2018 at Radio City Music Hall.Sara Krulwich/The New York TimesLiza Minnelli, left, and Rivera attend the 38th Annual Tony Awards in 1984 at the Gershwin Theater in Manhattan.Ron Galella Collection via Getty ImagesRivera gets a standing ovation at the 10th Anniversary celebration of the musical “Chicago” at the Ambassador Theater in Manhattan in 2006. Sara Krulwich/The New York TimesThe musical revue “Chita Rivera: The Dancer’s Life,” was created by Mark Hummel, written by Terrence McNally, with direction and choreography by Graciela Daniele.Sara Krulwich/The New York TimesThe choreographer Jerome Robbins, second from left, goes through rehearsals for “West Side Story” in 1957. Rivera, center, played the role of Anita.Associated PressRivera at the Laurie Beechman Theater in Manhattan in 2023.Philip Montgomery for The New York Times More

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      See Golden Globes Winners Celebrate Their Big Moment

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      What Winning a Golden Globe Looks LikeLily Gladstone, Paul Giamatti, Billie Eilish and stars from “Succession,” “Beef” and “The Bear” are captured in their moments of glory.The Los Angeles-based photographer Erik Carter was backstage at the Beverly Hilton Hotel on Sunday, where he photographed Golden Globes winners for The Times.Best Performance by an Actress in a Supporting Role in any Motion PictureDa’Vine Joy Randolph, ‘The Holdovers’“I hope I’ve helped you all find your inner Mary. Because there’s a little bit of her in all of us.” — Da’Vine Joy Randolph, in her acceptance speech. She played Mary, the mourning mother, in Alexander Payne’s “The Holdovers.”Best Television Series, Musical or Comedy‘The Bear’From left: Abby Elliott, Jeremy Allen White, Lionel Boyce, Ayo Edebiri, Liza Colón-Zayas (foreground), Ebon Moss-Bachrach, Matty Matheson and Edwin Lee Gibson.“There are so many people I probably forgot to thank. Oh, my God, all of my agents’ and managers’ assistants! To the people who answer my emails. Y’all are real ones. Thank you for answering my crazy, crazy emails.” — Ayo Edebiri, in her acceptance speech for best actress in a TV comedy.Best Original Song, Motion PictureBillie Eilish and Finneas, ‘What Was I Made For?,’ from ‘Barbie’“It was exactly a year ago, almost, that we were shown the movie and I was very, very miserable and depressed at the time. Writing that song kind of saved me a little bit. A year later and here we are, and it’s really surreal. I feel incredibly, incredibly lucky and grateful.” — Billie Eilish, in her acceptance speech.Best Performance by an Actress in a Motion Picture, DramaLily Gladstone, ‘Killers of the Flower Moon’“This is for every little rez kid, every little urban kid, every little Native kid who has a dream, who is seeing themselves represented.” — Lily Gladstone, in her acceptance speech.Best Performance by an Actor in a Limited Series, Anthology Series or Motion Picture Made for TelevisionSteven Yeun, ‘Beef’Best Motion Picture, Musical or Comedy‘Poor Things’From left, the director Yorgos Lanthimos, Emma Stone, Willem Dafoe, Ramy Youssef and Mark Ruffalo.Best Performance by an Actor in a Motion Picture, Musical or ComedyPaul Giamatti, ‘The Holdovers’Best Performance by an Actress in a Limited Series, Anthology Series or Motion Picture Made for TelevisionAli Wong, ‘Beef’“I really need to thank the father of my children and my best friend, Justin, for all of your love and support. It’s because of you that I’m able to be a working mother.” — Ali Wong, in her acceptance speech.Best Performance by an Actress in a Television Supporting RoleElizabeth Debicki, ‘The Crown’Best Performance by an Actor in a Television Series, DramaKieran Culkin, ‘Succession’“Thanks to ‘Succession,’ I’ve been in here a couple of times. It’s nice, but I sort of accepted I’m never going to be onstage, so this is a nice moment.” — Kieran Culkin, in his acceptance speech. More

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      12 African Artists Leading a Culture Renaissance Around the World

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      In one of his famed self-portraits, Omar Victor Diop, a Senegalese photographer and artist, wears a three-piece suit and an extravagant paisley bow tie, preparing to blow a yellow, plastic whistle. The elaborately staged photograph evokes the memory of Frederick Douglass, the one-time fugitive slave who in the 19th century rose to become a leading […] More

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      in Theater

      When the Wig Is a Character: Backstage at Jocelyn Bioh’s New Play

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      The styles in “Jaja’s African Hair Braiding,” in previews on Broadway, require a wig designer, several braiders, some synthetic hair and lots of patience.Known for her amusing scripts and plaited hairstyles, Jocelyn Bioh can count only three times when she was without braids. “There’s a real freedom in getting your braids done,” she said. “Then you don’t have to worry about your hair for the next few weeks.”The playwright’s lifelong commitment to interwoven hairdos inspired “Jaja’s African Hair Braiding,” a Broadway comedy about a day in the life of a hair braiding salon. It’s most likely the first Broadway play to shine a spotlight on Black women’s hair, and what it takes to style it.Set in Central Harlem, around 125th Street and St. Nicholas Avenue (where many of these salons are clustered), “Jaja’s” presents a spirited group of West African hair stylists as their designs take shape and they juggle the uncertainties and perplexities of their new lives here. Because these women are rarely part of conversations about immigration, Bioh felt it was important for audiences to hear their stories.In writing the play, Bioh (“Nollywood Dreams,” “School Girls; Or, The African Mean Girls Play”) sought to put a face to something that was likely to be unfamiliar to many theatergoers. “I want to take them into this really unique, funny, crazy, exciting, in some ways mundane space that holds women who all have incredible stories,” said Bioh, a native New Yorker whose parents emigrated from Ghana. “That’s what I’m trying to unpack in my play. What’s the other? What’s in the other?”A mock-up of the wig, one of the play’s more colorful hair designs.Alongside the comedy and drama, “Jaja’s” features a multitude of strand mastery, as Bioh and the director Whitney White (“Our Dear Dead Drug Lord”) were determined to show a range of hairdos coming to life onstage. To pull this off, most of these styles are executed in real time with a little stage magic courtesy of wigs constructed by the hair and wig designer Nikiya Mathis. Cast members, who braid hair onstage, practiced during rehearsals on wigs she designed for the performance.“There are so many moving pieces to the show that involve hair, and it’s not just me backstage,” Mathis said. “It’s also the actors onstage, it’s what Jocelyn has written, and it’s what Whitney will be helping us to reveal.”“Part of that,” she continued, “is going to be the magic of figuring out how we’re going to construct the wigs and how to potentially take them apart.”The show is running about 90 minutes, without an intermission, yet these hairstyles can take anywhere from a couple of hours to a whole day to complete. There’s also the art of the craft. Creating a single braid starts with a cluster of hair: fingertips planted against the scalp, grasped at the roots of three sectioned tufts, deftly and repeatedly crocheted until a pattern emerges. The options are endless. The humble braid can stand alone, of course, but when woven loosely, it becomes the box braid. Woven against the scalp, it becomes the cornrow. Woven infinitesimally, it becomes the micro.Building wigs that mimic these looks is labor intensive, and audiences are just beginning to see how the production, in previews at the Samuel J. Friedman Theater, pulls it off. This summer we followed along on the assembly and design of one of the flashier styles, a wig known as Jaja’s Strawberry-Swirl Knotless Afro-Pop Bob, worn by the actress Kalyne Coleman in the show.Sew, Braid, Dye: One Wig, Many HandsThe wig-making process begins when a gallon-size poly bag is fitted on the actor’s head to make a mold. Once the measurements are taken and the hairline is drawn, the bag is removed, and the mold is filled with polyester fiber and placed on a canvas wig block. Lace is secured to the frame, which serves as the wig’s foundation, and finally strands of hair are sewn in one by one.The show’s hair and wig designer, Nikiya Mathis, dyes the wigs in a solution of water and semi-permanent color. The more saturated the water is with dye, the deeper the pigment. She then agitates the hair to ensure all the strands attain the desired hue.The hair design team builds the look together, with each stylist completing one braid at a time. Human hair is woven into the lace infrastructure, then small pieces of synthetic hair are added to give each braid length and fullness. More synthetic hair is bunched and teased at the ends of each braid to create volume for the puff.Before the fitting, Kalyne Coleman’s real hair was braided into cornrows, which sit close to her head, so that the wig would fit over it easily. Then a stocking cap is placed over her head and secured with pins. The wig is then applied, and baby hair is pulled out. The edges are curled with gel to complete the look. More