Director

Nuyorican director Elaine Del Valle talks new movie ‘Brownsville Bred’

Out in theaters Friday, ‘Brownsville Bred’ is an intimate portrait of the actor, writer and director as a young girl in 1980s New York.

When Elaine Del Valle was in the sixth grade, she starred in the lead role of Sandy in her school’s production of “Grease.”

Decades later, she would return to that same school in Brownsville, Brooklyn, to shoot scenes for her autobiographical film “Brownsville Bred” — which will debut in select theaters nationwide on Friday.

Tethered to the people and places that shaped her into the person she’s become, Del Valle, 54, has been working on this intensely personal project for over 16 years. Now a filmmaker, she began her entertainment career as an actor and later as a casting director.

Before reaching its final cinematic form, “Brownsville Bred” first had other iterations: a one-woman stage show, a novel, and a TV pilot doubling as a short film.

“I knew all along that I wanted to make ‘Brownsville Bred’ into something that people could see visually on screen, and that it could be shared more widely. But I never really had the resources,” she says from her home in New York during a recent video call.

The feature film fictionalizes Del Valle’s childhood and adolescence during the 1980s in the titular underprivileged Brooklyn neighborhood, where crime and drug use were just as quotidian as the sounds of salsa music and memorable family moments.

Central to this heartfelt coming-of-age story is Del Valle’s complicated relationship with her vivacious but troubled Puerto Rican father, a musician struggling with addiction who, after a stint in prison, returned to the island while she was still young.

For the scenes depicting Elaine (played as a teen by Nathalia Lares) visiting her father Manny (Javier Muñoz) in Puerto Rico, the writer-director chose to shoot on location in the town of Cataño where her father, the real-life Manny, was from. Bringing the film there reinforced Del Valle’s sense of belonging in her Boricua identity.

“People say to me, ‘Elaine, you’re so happy all the time. You’re so energetic, you’re so willing, what is that?’ And I would say, ‘I don’t know, that’s just me. And after filming in Puerto Rico, I feel strongly that it is part of the culture there, because I felt that in every single person that was on set with me.”

Still from Elaine Del Valle's Brownsville Bred, opening Sept. 19, 2025.

Still from Elaine Del Valle’s Brownsville Bred, opening Sept. 19, 2025.

(Benjamin Medina)

Growing up in a low-income community, Del Valle couldn’t fathom a path into the performing arts. She married at 18 years old and had a daughter not long after. Around that time, she attended an event put on by the Hispanic Organization of Latino Actors. There, she learned she needed headshots to start reaching out to agents and going out for roles.

“I knew that I wanted more out of life, and I would take my daughter with me in her baby carriage to auditions,” she recalls. A determined Del Valle quickly found success as a bilingual actor for commercials. Eventually, Del Valle also landed the voice role of Val the Octopus, a motherly figure in the now-beloved animated series “Dora the Explorer.”

In the late 2000s, as she studied acting at Carnegie Hall, she started writing down her most significant childhood memories encouraged by her instructor Wynn Handman. She wrote about 10,000 words before deciding to adapt the text into prose that she could speak out loud in front of an audience. Recounting her foundational experiences became a cathartic, healing process. That’s when “Brownsville Bred” took the form of a one-woman stage play.

In 2009, Del Valle started performing the inspirational account numerous times at schools and corporate events; by 2011, it was off-Broadway.

“The audience reception made me understand how important this story was, not just to me and my artistry and my ability to heal as a human, but also to other people who needed those things as well, and to see themselves reflected on screen,” she recalls.

It was thanks to one of those performances that Del Valle got offered a job as a casting director. Her credentials: “I had been to every casting office in New York as an actor.”

To support her intention of one day turning this personal narrative into a film, Del Valle decided to turn it into a book so that she could own it as an intellectual property. These days, that’s become common practice in Hollywood: turn the story into a book, so that the screenplay is no longer an original creation, but an adaptation of an intellectual property.

The audiobook version of the tome, published in 2020, was narrated by Del Valle herself.

Del Valle first stepped behind the camera when she couldn’t find a director to helm her 2013 web series “Reasons Y I’m Single.” She had written the project, cast the actors, scouted locations and was ready to serve as producer — but in the end, “by default,” as she says, she had to direct it.

“That is where I really found my passion to work with actors and to get them to where I thought that they could get to,” she explains. “I do like directing more than acting, because I still get to act,” she says. “I am a scene partner as a director.”

Director Elaine Del Valle poses with her brother, Benjamin Medina, who also worked on set.

Director Elaine Del Valle poses with her brother, Benjamin Medina, who also worked on set.

The road to finally bring “Brownsville Bred” to the screen was in motion when Del Valle received funding from WarnerMedia OneFifty, an artist development initiative, to produce a pilot that could serve as proof of concept for an episodic series. With that grant, the filmmaker would shoot the first 15 minutes of narrative, which played at multiple festivals as a short piece.

Del Valle’s experience as a casting director proved an advantage when she needed to cast the young woman who would play her in most of the film. Her search came down to two finalists, and ultimately Lares reminded her more closely of who she was at that age.

“The other girl is who I wanted to be when I was growing up, because she was so cool and tough,” Del Valle says. “And Nathalia was actually who I was growing up, which was very vulnerable.”

Muñoz, in turn, convinced Del Valle he could play Manny because of his musicality and talent for singing, qualities her father had. It was an Instagram video of Muñoz singing inside an empty New York subway car that solidified her belief in the actor. That Muñoz is an HIV activist also made him an ideal candidate, since Del Valle’s father lost his life to AIDS.

For the most part, reliving some of the most painful experiences of her early years while shooting didn’t affect Del Valle. Yet, she still needed to tap into her lived experience to guide the actors as they navigated this fiction constructed from her former reality.

“Leaning into the emotion a lot of the times was for them, always healing, but definitely for them, so that they can feel secure in the choices they were making to honor my story,” she says. “Sometimes they needed that more than I did. But every time I shared with them I was able to grow from that experience as well, to give them what they needed, but also feel it.”

Film still from the movie 'Brownsville Bred,' directed by Elaine Del Valle.

Film still from the movie ‘Brownsville Bred,’ directed by Elaine Del Valle.

To produce the rest of the film, Del Valle invested her own savings, and utilized any cost-effective opportunity. At a party, she met the owner of a disheveled building in Queens, and asked if she could film there before they renovated it. On the corner near that building she found a Latino-owned pizzeria, and after explaining the significance of the story, the owner let her shoot there. She was cleverly frugal to bring it to fruition.

Through all the transformations from one medium to the next, the unchangeable essence of “Brownsville Bred” is “showing the contradictions in who we are, because so many times Latinos are seen as one dimensional,” Del Valle thinks. “This very much shows the layers of who made me who I am. I am urban, I am American, I am Latina, I’m Puerto Rican, I’m a daughter and a mother,” she adds.

“Brownsville Bred” ends with a quote by Del Valle for her father: “I made it mean something, Papa.” For the multihyphenate, the film is the culmination of a lifelong dream to honor him in all his complexity, both the joy and pain that they share in their time together.

“This film made his life mean something,” she says, barely holding back tears. “It made his experience mean something. It made his death mean something. I got to give him a legacy.”

Simultaneously, “Brownsville Bred” bears witness to what she overcame to accomplish this feat. “We all have our struggles and I’ve always believed that it is up to us to turn those struggles into triumph,” she explains. “We don’t have to wallow in the misery that people expect us to be wallowing in. We can use those obstacles and stand on them. And I did.”

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FBI Director Kash Patel fights growing doubts over his competence

Of all the investigations underway by the FBI, the case of Charlie Kirk’s killing is one that President Trump’s allies expect the bureau to get right. Yet its director, Kash Patel, has struggled out of the gate.

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A series of missteps

He posted misleading updates of the manhunt for a suspect on social media, blaming “the heat of the moment” in testimony before a Senate panel on Tuesday. He failed to coordinate his messaging internally with Justice Department leadership. Instead of returning to headquarters, Patel dined at an exclusive restaurant in New York as the search unfolded. And after a suspect was apprehended, Patel joined Fox News to share unprecedented details.

It was a series of missteps viewed in law enforcement circles as rookie errors, reflective of a director in over his head.

Trump has publicly stood by Patel in recent days. But leading voices in the MAGA movement have wondered aloud whether it is time for Patel to be removed, and top officials at the White House and Justice Department are reportedly questioning his future at the bureau. The president has also installed another loyalist in a top deputy position at FBI headquarters, raising questions over his plans.

Kash Patel speaks at a news conference Friday in Orem, Utah.

Kash Patel discusses the hunt for Charlie Kirk’s killer at a news conference Friday in Orem, Utah, joined by Utah Department of Public Safety Commissioner Beau Mason, left, and Utah Gov. Spencer Cox.

(Lindsey Wasson / Associated Press)

The renewed spotlight on Patel comes amid suspicion in right-wing circles the director is suppressing the release of files from the investigation of Jeffrey Epstein, a notorious sex offender, at Trump’s direction. And last week, former bureau officials filed a lawsuit against the administration accusing the White House of exerting extraordinary political influence over the FBI, issuing loyalty tests for agents to determine their support for Trump.

On Saturday, Trump told Fox News that he was “very proud of the FBI,” praising the agency for ultimately catching the suspected killer. “Kash — and everyone else — they have done a great job,” he added.

“In normal times, any run-of-the-mill president of either party would certainly have serious concerns with keeping Patel around,” said Douglas M. Charles, a professor and FBI historian at Penn State Greater Allegheny, characterizing Patel as historically unqualified for the role. “Of course, we are not living in normal political times.”

Patel’s job sustainability, Charles said, “rests not on whether he is competent, but exclusively on whether President Trump is satisfied with him.”

“Patel is not acting as an independent FBI director,” Charles added, “the standard we have historically had since 1973.”

Jeopardizing the Kirk case?

Justice Department officials reacted with alarm after Patel shared the content of text messages from the suspect in Kirk’s shooting, revelations that got out front of official court filings.

“Why are we reluctant to share the details of the investigation itself, and comment on the case?” Jeff Gray, the Utah County attorney, said Tuesday, outlining state charges against the murder suspect. “Because I want to ensure a fair and impartial trial.”

“I can’t talk about details at all,” said Pam Bondi, the U.S. attorney general, asked for insight into the case in a Fox News interview on Monday.

The episode drew harsh rebuke from Democrats on Capitol Hill this week, where Patel was scheduled for hearings with the House and Senate judiciary committees. “Could I have been more careful in my verbiage?” he mused, before facing a slew of questions from lawmakers.

But Patel fiercely defended himself, repeatedly citing his experience as a prosecutor in the national security division of the Justice Department, and later at the Office of the Director of National Intelligence and at the Defense Department.

“I’m not going anywhere,” Patel told the Senate. “If you want to criticize my 16 years of service, please bring it on.”

Rhodri Jeffreys-Jones, a professor emeritus and FBI historian at the University of Edinburgh, said that precedent exists of public officials undermining the prosecution of high-profile cases, sometimes with devastating consequences. “The Patel remarks and actions may well prejudice the trial of Tyler Robinson,” he said, referencing Kirk’s murder suspect.

On Capitol Hill, Patel said his social posts and media appearances were in service of transparency with the American people. But the charges, trial, and evidence in the case are all public, said Norm Eisen, co-founder of the States United Democracy Center and counsel for the House Judiciary Committee during Trump’s first impeachment trial.

“Patel’s appointment as FBI director raised red flags from the start, mainly because of his lack of relevant experience and his partisan background. What we’ve seen in recent days has only reinforced those concerns,” Eisen said.

“The Utah County attorney leading the prosecution knew better than to comment on Patel’s speculative claims, correctly pointing out that it was necessary to preserve an impartial jury,” he added. “Making political speeches about the case undermines the integrity of the process and jeopardizes the prosecution.”

Political litmus tests

In a heated exchange with Patel this week, Sen. Adam Schiff, a Democrat from California, asked the director whether anyone from the bureau had been terminated or disciplined “in whole or in part” for being assigned to work on investigations of Trump in recent years. Trump was ultimately charged with federal crimes over his efforts to overturn the 2020 presidential election and his handling of highly classified documents.

“Anyone that was terminated at the FBI was done so for failing to meet their standards, uphold their constitutional oath, and effectuate the mission,” Patel replied, adding: “No one at the FBI is terminated for case assignments alone.”

The line of questioning came amid reports and a lawsuit alleging Patel has taken direct instructions from the White House to fire individuals involved in the Trump investigations.

Three former senior FBI officials — Spencer L. Evans, Brian J. Driscoll Jr. and Steven J. Jensen — brought the lawsuit after being fired from their jobs in a “campaign of retribution,” according to the filing, a 68-page document that paints Patel as a vassal of Trump prioritizing his social media image over the work of the bureau.

“Patel not only acted unlawfully, but deliberately chose to prioritize politicizing the FBI over protecting the American people,” the lawsuit reads.

But it was questioning over the Epstein case that set off Patel’s patience.

At the end of their exchange, Schiff asked the director how he could possibly be in the dark over the circumstances of a prison transfer for Ghislaine Maxwell, Epstein’s close confidante serving 20 years in prison for aiding his abuse of hundreds of women and girls, to one of the most comfortable facilities in the federal penitentiary system. Patel erupted, calling Schiff a “buffoon” over his investigations of the president.

“Here’s the thing, Mr Patel,” Sen. Cory Booker, a Democrat from New Jersey, told Patel, ending a similarly heated exchange. “I think you’re not gonna be around long. I think this might be your last oversight hearing.”

“Because as much as you supplicate yourself to the will of Donald Trump and not the Constitution,” Booker added, “Donald Trump has shown us he is not loyal to people like you.”

What else you should be reading

The must-read: L.A.’s online ‘hood’ culture turns real-world violence into viral content
The deep dive: Primm was once an affordable casino mecca for L.A. Now it has become a ghost town
The L.A. Times Special: White supremacists, death threats and ‘disgust’: Charlie Kirk’s killing roils Huntington Beach

More to come,
Michael Wilner

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Robert Redford’s influence on independent movie production is incalculable

It all started with a purchase of land in the 1960s. Then, from that small slice of Utah and the founding of the Sundance Institute in 1981 and, later, its expansion into the Sundance Film Festival, Robert Redford developed a vision that would reshape on-screen storytelling as we know it. Sundance opened doors for multiple generations of filmmakers who might not otherwise have gained entry to the movie business.

Redford, who died Tuesday at age 89, was already a hugely successful actor, producer and director, having just won an Oscar for his directorial debut “Ordinary People,” when he founded the Sundance Institute as a support system for independent filmmakers. His Utah property, named after his role in “Butch Cassidy and the Sundance Kid,” would become a haven for creativity in an idyllic setting.

Evincing a rugged, hands-on attitude marked by curiosity and enthusiasm about the work, Redford embodied a philosophy for Sundance that was clear from its earliest days.

“When I started the Institute, the major studios dominated the game, which I was a part of,” Redford said to The Times via email in 2021. “I wanted to focus on the word ‘independence’ and those sidelined by the majors — supporting those sidelined by the dominant voices. To give them a voice. The intent was not to cancel or go against the studios. It wasn’t about going against the mainstream. It was about providing another avenue and more opportunity.”

The first of the Sundance Lab programs, which continue today, also launched in 1981, bringing emerging filmmakers together in the mountains to develop projects with the support of more established advisers.

The Institute would take over a small film festival in Utah, the U.S. Film Festival, for its 1985 edition and eventually rename it the Sundance Film Festival, a showcase that would go on to introduce directors such as Quentin Tarantino, Paul Thomas Anderson, Nia DaCosta, Taika Waititi, Gregg Araki, Damien Chazelle and countless others while refashioning independent filmmaking into a viable career path.

Before directing “Black Panther” and “Sinners,” Ryan Coogler went through the Sundance Lab at the beginning of his career and saw his debut feature “Fruitvale Station” premiere at Sundance in 2013 where it won both the grand jury and audience awards.

“Mr. Redford was a shining example of how to leverage success into community building, discovery, and empowerment,” Coogler said in a statement to The Times on Tuesday. “I’ll be forever grateful for what he did when he empowered and supported Michelle Satter in developing the Sundance Labs. In these trying times it hurts to lose an elder like Mr. Redford — someone who through their words, their actions and their commitment left their industry in a better place than they found it.”

Chloé Zhao’s debut feature “Songs My Brothers Taught Me” premiered at the festival in 2015 after she took the project through the labs. With her later effort “Nomadland,” Zhao would go on to become the second woman — and still the only woman of color — to win the Academy Award for directing.

“Sundance changed my life,” Zhao said in a statement on Tuesday. “I didn’t know anyone in the industry or how to get my first film made. Being accepted into the Sundance Labs was like entering a lush and nurturing garden holding my tiny fragile seedling and watching it take root and grow. It was there I found my voice, became a part of a community I still treasure deeply today.”

Satter, Sundance Institute‘s founding senior director of artist programs, was involved since the organization’s earliest days. Even from relatively humble origins, Satter could already feel there was something powerful and unique happening under Redford’s guidance.

“He made us all feel like we were part of the conversation, part of building Sundance, right from the beginning,” Satter said of Redford in a 2021 interview. “He was really interested in others’ point of view, all perspectives. At the same time, he had a real clarity of vision and what he wanted this to be.”

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For many years Redford was indeed the face of the film festival, making frequent appearances and regularly speaking at the opening press conference. Starting in 2019 he reduced his public role at the festival, in tandem with the moment he stepped back from acting.

The festival has gone through many different eras over the years, with festival directors handing off leadership from Geoffrey Gilmore to John Cooper to Tabitha Jackson and current fest director Eugene Hernandez.

The festival has also weathered changes in the industry, as streaming platforms have upended distribution models. Steven Soderbergh’s 1989 drama “sex, lies and videotape” is often cited as a key title in the industry’s discovery of the Utah event as a must-attend spot on their calendars, a place where buyers could acquire movies for distribution and scout new talent.

“Before Sundance, there wasn’t really a marketplace for new voices and independent film in the way that we know it today,” said Kent Sanderson, chief executive of Bleecker Street, which has premiered multiple films at the festival over the years. “The way Sundance supports filmmakers by giving their early works a real platform is key to the health of our business.”

Over time, Sundance became a place not only to acquire films but also to launch them, with distributors bringing films to put in front of the high number of media and industry attendees. Investors come to scope out films and filmmakers look to raise money.

“It all started with Redford having this vision of wanting to create an environment where alternative approaches to filmmaking could be supported and thrive,” said Joe Pichirallo, an arts professor at NYU’s Tisch School of the Arts and one of the original executives at Searchlight Pictures. “And he succeeded and it’s continuing. Even though the business is going through various changes, Sundance’s significance as a mecca for independent film is still pretty high.”

At the 2006 festival, “Little Miss Sunshine,” directed by Jonathan Dayton and Valerie Faris, sold to Searchlight for what was then a record-setting $10.5 million. In 2021, Apple TV+ purchased Siân Heder’s “CODA” for a record-breaking $25 million. The film would go on to be the first to have premiered at Sundance to win the Oscar for best picture.

Yet the festival, the labs and the institute have remained a constant through it all, continuing to incubate fresh talent to launch to the industry.

“Redford put together basically a factory of how to do independent films,” said Tom Bernard, co-president and co-founder of Sony Pictures Classics. Over the years the company has distributed many titles that premiered at Sundance, including “Call Me by Your Name” and “Whiplash.”

“He adapted as the landscape changed,” Bernard added of the longevity of Sundance’s influence. “And as you watched the evolution to where it is today, it’s an amazing journey and an amazing feat that he did for the world of independent film. It wouldn’t be the same without him.”

Through it all, Redford balanced his roles between his own career making and starring in movies and leading Sundance. Filmmaker Allison Anders, whose 1992 film “Gas Food Lodging” was among the earliest breakout titles from the Sundance Film Festival, remembered Redford on Instagram.

“You could easily have just been the best looking guy to walk into any room and stopped there and lived off of that your whole life,” Anders wrote. “You wanted to help writers and filmmakers like me who were shut out to create characters not seen before, and you did. You could have just been handsome. But you nurtured us.”

The upcoming 2026 Sundance Film Festival in January will be the last one in its longtime home of Park City, Utah. The festival had previously announced that a tribute to Redford and his vision of the festival would be a part of that final bow, which will now carry an added emotional resonance.

Starting in 2027, the Sundance Film Festival will unspool in in Boulder, Colo. Regardless of where the event takes place, the legacy of what Robert Redford first conceived will remain.

As Redford himself said in 2021 about the founding of the Institute, “I believed in the concept and because it was just that, a concept, I expected and hoped that it would evolve over time. And happily, it has.”

Samantha Masunaga contributed to this report.

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Patel touts his record at hearing amid questions over probe into Kirk killing and FBI upheaval

FBI Director Kash Patel touted his leadership of the nation’s premier federal law enforcement agency at a congressional hearing likely to be dominated by questions about the investigation into Charlie Kirk’s killing and the recent firings of senior FBI officials who have accused Patel of illegal political retribution.

The appearance Tuesday before the Senate Judiciary Committee represents the first oversight hearing of Patel’s young but tumultuous tenure and provides a high-stakes platform for him to try to reassure skeptical Democrats that he is the right person for the job at a time of internal upheaval and mounting concerns about political violence inside the United States.

Patel rattled off a series of what he said were accomplishments of his first months on the job, including his efforts to fight violent crime and protect children. Nodding to criticism from Democrats, he closed his remarks by saying: “If you want to criticize my 16 years of service, please bring it on.”

Patel returned to the committee for the first time since his confirmation hearing in January, when he asserted that he would not pursue retribution as director. He’ll face questions Tuesday about whether he did exactly that when the FBI last month fired five agents and senior officials in a purge that current and former officials say weakened morale and contributed to unease inside the nation’s premier federal law enforcement agency.

Three of those officials sued last week in a federal complaint that says Patel knew the firings were likely illegal but carried them out anyway to protect his job. One of the officials helped oversee investigations into the Jan. 6 2021, riot at the U.S. Capitol, and another clashed with Justice Department leadership while serving as acting director in the early days of President Donald Trump’s administration. The FBI has declined to comment on the lawsuit.

Republican lawmakers, who make up the majority in the committee, are expected to show solidarity for Patel, a close ally of Trump, and are likely to praise the director for his focus on violent crime and illegal immigration.

Sen. Chuck Grassley of Iowa, the committee’s Republican chairman, signaled his support for Patel at the outset of the hearing, praising the director for having “begun the important work of returning the FBI to its law enforcement mission.”

“It’s well understood that your predecessor left you an FBI infected with politics,” Grassley stated.

The panel’s top Democrat, Sen. Dick Durbin of Illinois, described Patel as “arguably the most partisan FBI director ever.”

“Director Patel has already inflicted untold damage on the FBI, putting our national security and public safety at risk,” Durbin said.

Republicans are also likely to try to elicit from Patel fresh details about the investigation into Kirk’s assassination at a Utah college campus last week, which authorities have said was carried out by a 22-year-old man who had grown more political in recent years and had ascribed to a “leftist ideology.”

Patel drew scrutiny when, hours after Kirk’s killing, he posted on social media that “the subject” was in custody even though the shooting suspect remained on the loose and was not arrested until he turned himself in late the following night.

Patel has not explained that post but has pointed to his decision to authorize the release of photographs of the suspect, Tyler Robinson, while he was on the run as a key development that helped facilitate an arrest. A Fox News Channel journalist reported Saturday that Trump had told her that Patel and the FBI have “done a great job.”

Robinson is due to make his first court appearance in Utah. It’s unclear whether he has an attorney, and his family has declined to comment.

Another line of questioning for Patel may involve Democratic concerns that he is politicizing the FBI through politically charged investigations, including into longstanding Trump grievances. Agents and prosecutors, for instance, have been seeking interviews and information as they reexamine aspects of the years-old FBI investigation into potential coordination between Russia and Trump’s 2016 presidential campaign.

Patel has repeatedly said his predecessors at the FBI and Justice Department who investigated and prosecuted Trump were the ones who weaponized the institutions.

Tucker writes for the Associated Press.

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Oscar-winning actor, director and activist Robert Redford passes away at 89 | Obituaries News

Redford was a liberal activist and godfather for independent cinema under the name of one of his best-loved characters, the Sundance Kid.

Robert Redford, the Oscar-winning actor, director and godfather for independent cinema as Sundance founder, has died at the age of 89.

Redford died “at his home at Sundance in the mountains of Utah – the place he loved, surrounded by those he loved,” publicist Cindi Berger said in a statement Tuesday.

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No cause of death was provided.

The iconic actor and director is best known for his acclaimed performances in All the President’s Men and Butch Cassidy and the Sundance Kid.

The tousled-haired and freckled heartthrob made his breakthrough alongside Paul Newman as the affable outlaw in the hippy Western “Butch Cassidy and the Sundance Kid” in 1969.

Redford made hearts beat faster in romantic roles such as “Out of Africa,” got political in “The Candidate” and “All the President’s Men” and skewered his golden-boy image in roles like the alcoholic ex-rodeo champ in “The Electric Horseman” and middle-aged millionaire who offers to buy sex in “Indecent Proposal.”

He never won the best actor Oscar, but his first outing as a director – the 1980 family drama “Ordinary People” – won Oscars for Best Picture and Best Director.

Despite their chemistry and long personal friendship, Redford was never to team up again with Newman, who died in 2008.

“Butch Cassidy” made blue-eyed Redford an overnight star but he never felt comfortable with celebrity or the male starlet image that persisted late into his 60s.

“People have been so busy relating to how I look, it’s a miracle I didn’t become a self-conscious blob of protoplasm. It’s not easy being Robert Redford,” he once told New York magazine.

His wavy blond hair and boyish grin made him the most desired of leading men, but he worked hard to transcend his looks – whether through his political advocacy, his willingness to take on unglamorous roles or his dedication to providing a platform for low-budget movies.

Intensely private, he bought land in remote Utah in the early 1970s for his family retreat and enjoyed a level of privacy unknown to most superstars. He was married for more than 25 years to his first wife, before their divorce in 1985. In 2009, he married for a second time, to German artist and longtime partner Sibylle Szaggars.

He used the millions he made to launch the Sundance Institute and Festival in the 1970s, promoting independent filmmaking long before small and quirky were fashionable. The festival has become one of the most influential independent film showcases in the world.

Redford used his star status to also quietly champion environmental causes such as the Natural Resources Defense Council and the National Wildlife Federation.

“Some people have analysis. I have Utah,” he once remarked.

Although he never showed an interest in entering politics, he often espoused a liberal viewpoint. In a 2017 interview, during the presidency of Donald Trump, he told Esquire magazine that “politics is in a very dark place right now” and that Trump should “quit for our benefit”.

In 2001, Redford won an honorary, or lifetime achievement, Oscar.

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Oscar-winning director Basel Adra says Israel raided West Bank home

Palestinian Oscar-winning director Basel Adra said Israeli soldiers conducted a raid at his home in the occupied West Bank over the weekend, searching for him and going through his wife’s phone.

Israeli settlers attacked his village Saturday, injuring two of his brothers and one cousin, Adra told the Associated Press. He accompanied them to the hospital. While there, he said that he heard from family in the village that nine Israeli soldiers had stormed his home.

The soldiers asked his wife, Suha, of his whereabouts and went through her phone while his 9-month-old daughter was home. They also briefly detained one of his uncles, he said.

Adra spent the night outside the village, unable to get home and check on his family because soldiers were blocking the village entrance and he was scared of being detained, he said.

Israel’s military said soldiers were in the village after Palestinians had thrown rocks, injuring two Israeli civilians. It said its forces were still in the village, searching the area and questioning people.

Adra said settlers attacked the Palestinians on their land, and denied throwing rocks or seeing anyone from the village do so.

Videos recorded by Adra’s cousin and viewed by the AP showed settlers attacking a man Adra identified as his brother, Adam, who was hospitalized with bruising to his left hand, elbow and chest, according to hospital records shared with the AP.

In another video, a settler chases a solidarity activist through an olive grove, tackling her to the ground.

Adra has spent his career as a journalist and filmmaker chronicling settler violence in Masafer Yatta, the southern reaches of the West Bank where he was born. After settlers attacked his co-director, Hamdan Ballal, in March, he told the AP that he felt they were being targeted more intensely since winning the Oscar.

He described Saturday’s events as “horrific.”

“Even if you are just filming the settlers, the army comes and chases you, searches your house,” he said. “The whole system is built to attack us, to terrify us, to make us very scared.”

Another co-director, Yuval Abraham, said he was “terrified for Basel.”

“What happened today in his village, we’ve seen this dynamic again and again, where the Israeli settlers brutally attack a Palestinian village and later on the army comes, and attacks the Palestinians,” Abraham said.

“No Other Land,” which won an Oscar this year for best documentary, depicts the struggle by residents of the Masafer Yatta area to stop the Israeli military from demolishing their villages. Ballal and Adra made the joint Palestinian-Israeli production with Israeli directors Abraham and Rachel Szor.

The film has won a string of international awards, starting at the Berlin International Film Festival in 2024. It has also drawn ire in Israel and abroad, such as when Miami Beach proposed ending the lease of a movie theater that screened the documentary.

Israel captured the West Bank in the 1967 Middle East War, along with the Gaza Strip and East Jerusalem. The Palestinians want all three for a future state and view Jewish settlement growth as a major obstacle to a two-state solution.

Israel has built well over 100 settlements, home to more than 500,000 settlers who have Israeli citizenship. The 3 million Palestinians in the West Bank live under seemingly open-ended Israeli military rule, with the Western-backed Palestinian Authority administering population centers.

The Israeli military designated Masafer Yatta in the southern West Bank as a live-fire training zone in the 1980s and ordered residents, mostly Arab Bedouins, to be expelled. Around 1,000 residents have largely remained, but soldiers regularly move in to demolish homes, tents, water tanks and olive orchards, and Palestinians fear outright expulsion could come at any time.

During the war in Gaza, Israel has killed hundreds of Palestinians in the West Bank during wide-scale military operations. There has also been a rise in settler attacks on Palestinians, as well as a surge in Palestinian attacks on Israelis.

Frankel writes for the Associated Press.

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Former CDC Director Susan Moranez to testify before Senate

U.S. Department of Health and Human Services Secretary Robert F. Kennedy, Jr., seen here at a hearing at the U.S. Capitol in Washington, D.C. in September. He allegedly pushed now-former Former Centers for Disease Control and Prevention, or CDC, Director Susan Monarez to resign only a month after she was given the job. Photo by Bonnie Cash/UPI | License Photo

Sept. 10 (UPI) — Former Centers for Disease Control and Prevention Director Susan Monarez will testify before the Senate about the organization she briefly ran.

Monarez will appear on Sept. 17 before the Senate Committee on Health, Education, Labor and Pensions, along with Deb Houry, the former Chief Medical Officer and Deputy Director for Program and Science at CDC. Houry resigned her position to protest Monarez’s termination.

The two are slated to discuss their time at the CDC to offer testimony regarding their take on the state of the agency.

“To protect children’s health, Americans need to know what has happened and is happening at the CDC,” said Sen. Bill Cassidy, R-La., chairperson of the HELP Committee, in a press release Tuesday. “They need to be reassured that their child’s health is given priority. Radical transparency is the only way to do that.”

“[Susan Monarez] is a public health expert with unimpeachable scientific credentials,” Kennedy had said of her at the beginning of August after she was sworn into her role. “I have full confidence in her ability to restore the [CDC’s] role as the most trusted authority in public health and to strengthen our nation’s readiness to confront infectious diseases and biosecurity threats.”

However, Monarez only held her position at the CDC for about four weeks, before allegedly being pushed out because she wouldn’t echo the agenda of U.S. Department of Health and Human Services Secretary Robert F. Kennedy, Jr. or remove scientists from the agency because of his plans.

She was fired after refusing to resign.

“Susan Monarez is not aligned with the president’s agenda of Making America Healthy Again,” White House spokesperson Kush Desai said in a statement to media in regard to her being axed.

“Since Susan Monarez refused to resign despite informing HHS leadership of her intent to do so, the White House has terminated Monarez from her position with the CDC,” he added.

“Parents deserve a CDC they can trust to put children above politics, evidence above ideology and facts above fear,” wrote Monarez in an opinion piece in the Wall Street Journal last week. “I was fired for holding that line.”

Dr. Demetre Daskalakis, who formerly led the National Center for Immunization and Respiratory Diseases, and Dr. Daniel Jernigan, who headed the National Center for Emerging and Zoonotic Infectious Diseases, also quit the CDC as Kennedy has worked to reshape the vaccine advisory panel to meet his own vaccine policies.

Kennedy, who cancelled approximately $500 million in contracts for mRNA vaccines last month, changed the recommendations for healthy children and pregnant women to receive COVID-19 vaccinations and led the reduction of approval for updated COVID shots this fall to only cover people over 65, or younger Americans with underlying conditions, via the U.S. Food and Drug Administration, or FDA.

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Sydney Sweeney drops by our TIFF video studio, plus today’s picks

Welcome to a special daily edition of the Envelope at TIFF, a newsletter collecting the latest developments out of Canada’s annual film showcase. Sign up here to get it in your inbox.

Our photo gallery’s latest includes Angelina Jolie, Dustin Hoffman, Ethan Hawke, Richard Linklater and more.

But click through for our video interviews, including Mark Olsen’s sit-down with Sydney Sweeney and the crew of her boxing movie “Christy,” which required a total transformation.

A woman boxer triumphs in the ring.

Sydney Sweeney in “Christy,” a portrait of boxing champ Christy Martin, having its world premiere at the 2025 Toronto International Film Festival.

(Allie Fredericks / TIFF)

Here’s a taste of their exchange:

Sydney, people are already really talking about the physical transformation you make in the movie, the training that you did. What was it about the role that made it seem like you wanted to make that kind of commitment?

Sydney Sweeney: I mean, I couldn’t let Christy down, and I also love transforming for characters. That’s the whole reason of being an actor, is to be something different from yourself and to challenge ourselves.

So I had like two months of training. I built gyms in my house and I had a boxing trainer, I had a weight trainer, I had a nutritionist and would work out and train every single day.

And it was amazing. I loved it. Being able to completely lose yourself for somebody else and then have that person there next to your side. It was transformative.

Katy O’Brian, co-star: It was exhausting watching her do it.

Ben Foster, co-star: And in tribute to Syd, we’d shoot a 12-hour day that was dense, we’ll say, that would be a gentle word. She would then go train and choreograph the fights that she would do back-to-back after, one after another.

Sweeney: I’d be put in the middle of a ring and I’d have like nine girls and they would just drill me with all the different fights, one after the other for like two hours after we would wrap.

Because I really wanted the choreography to match the exact fights that she had in real life. So we would watch all the footage from her fights and memorize all the combinations and then implement those into the fight.

So everything you see were her actual fights. And so I’d wrap, I would do that for two hours, and then I would weight train.

David, there is something very unflinching about the movie. Why was it that you wanted to tell Christy’s story in a way that wasn’t afraid to explore these really dark and disturbing moments in her life?

David Michôd, director: In a way, the dark and disturbing was what made me want to make the movie. I had a clear sense that in this really wild and colorful story of a ’90s boxing pioneer was actually, underneath, it was a very important story to tell about how these coercive control relationships function.

And trying to wrap my brain around what keeps them functioning over, in this case, 20 years. And I knew that where Christy’s story went, it was harrowing.

And what the challenge for me then as a filmmaker was just to go, how do I do this being very conscious of not wanting to step into a world of representations of violence against women and all that kind of stuff, but not shying away from the horror that is very much there and is very palpable.

I could see a big sprawling movie that would start almost as a kind of conventional underdog pioneering sports movie and then morph into something that was deeply moving and important.

Sydney, Ben, what was it like for the two of you performing some of those darker scenes in the film and how did you keep some sense of humanity between the two of you?

Sweeney: There were so many conversations around a lot of those moments, and both Ben and I, we don’t like to rehearse and we kind of just want to feel it. And I think we both became very connected to who we were portraying and —

Foster: Listening.

Sweeney: We just listened

Foster: And Dave created a space where we could do that. And we would block it, we did a lot of talk privately, and then we would come in and jam and nudge. But the truth is Dave is quality control and would fine-tune moments.

The day’s buzziest premieres

‘EPiC: Elvis Presley in Concert’

A man in a white jumpsuit entertains a crowd.

Elvis Presley performing live, as seen in Baz Luhrmann’s archival concert movie “EPiC: Elvis Presley in Concert.”

(TIFF)

How deep did Baz Lurhmann go researching his 2022 movie “Elvis”? Forty stories. That’s the depth of the Kansas salt mine where Warner Bros. had stored 59 hours of unseen recordings from Elvis Presley’s seven-year stint in Las Vegas.

Lurhmann studied it for his Oscar-nominated biopic, which mourned Presley as an artist in a cage and wondered who the curious, music-loving boy from Tupelo might have become if Col. Parker had let him, say, visit an ashram with the Beatles.

This time, the “Moulin Rouge!” director has said that he wants to use found footage to “let Elvis sing and tell his story” — as in, Lurhmann’s own spectacular sensibilities will cede center stage to Presley himself, who can still wow a crowd even during a late-career moment when his own fans feared he had more jumpsuits than ambition.

I’ll definitely be at the premiere to pay my respects to the King. — Amy Nicholson

‘Hamnet’

A woman in a red dress stands with other theatergoers in rapt attention.

Jessie Buckley, center, in director Chloé Zhao’s “Hamnet.”

(Agata Grzybowska / Focus Features)

You’re going to be hearing a lot of Oscar buzz in the coming months about various movies, along with people insisting that — seriously — this is the one you need to see. “Hamnet” is, far and away, that film, for three specific reasons.

First, Paul Mescal has now done three masterful turns, between this, “Aftersun” and “All of Us Strangers” confirming what a truly special talent he is. Mescal and the “Hamnet” crew came through our TIFF studio.

A group of actors and their director pose in a studio.

Clockwise from right: Paul Mescal, Noah Jupe, Jacobi Jupe, director Chloé Zhao, Jessie Buckley and Emily Watson, photographed in the Los Angeles Times Studios at RBC House during the Toronto International Film Festival.

(Christina House / Los Angeles Times)

Second, I needed director Chloé Zhao to rebound after the mess that was “Eternals” to the confidence she displayed on “Nomadland” — and she’s done exactly that. Read our Telluride interview with her.

Finally, Jessie Buckley has uncorked one of the year’s most impressive turns: a grief-stricken plunge that elevates her to the level of Casey Affleck in “Manchester by the Sea.” Do not be surprised if, like Affleck, she goes all the way. — Joshua Rothkopf

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Dancing in the face of oblivion with ‘Sirât,’ director Oliver Laxe arrives

The smile is beatific, blissed out, even at an ungodly hour on our Zoom call from France. A week later, when I finally meet 43-year old filmmaker Oliver Laxe in person at a private Toronto celebration for his new movie “Sirât,” he radiates serenity. He’s the happiest (and maybe the tallest) person in the room.

“One of the first ideas that I had for this film was a sentence from Nietzsche,” he says. “I won’t believe in a God who doesn’t dance.”

Laxe goes to raves — “free parties,” he clarifies, indicating the ones you need to hear about via word of mouth. He’s thought deeply about what they mean and what they do to him. “We still have a memory in our bodies of these ceremonies that we were doing for thousands of years, when we were making a kind of catharsis with our bodies.”

It’s almost the opposite of what you expect to hear on the fall festival circuit, when directors with big ideas make their cases for the significance of the art form. But the body, the return to something purely sensorial, is Laxe’s big idea.

Steadily, “Sirât” has become, since its debut at Cannes in May, a growing favorite: not merely a critic’s darling but an obsession among those who’ve seen it. (The film will have an awards-qualifying run in Los Angeles beginning Nov. 14.) A dance party in the desert set at some vaguely hinted-at moment of apocalypse, the movie is something you feel, not solve. Its pounding EDM beats rattle pleasurably in your chest (provided the theater’s speakers are up to snuff). And the explosions on the horizon shake your heartbeat.

“I really trust in the capacity of images to penetrate into the metabolism of the spectator,” Laxe says. “I’m like a masseuse. When you watch my films, sometimes you’ll want to kill me or you’ll feel the pain in your body, like: Wow, what a treat. But after, you can feel the result.”

Several people come together in the desert to escape the end of the world.

An image from the movie “Sirât,” directed by Oliver Laxe.

(Festival de Cannes)

Laxe can speak about his influences: cosmic epics by the Russian master Andrei Tarkovsky or existential road movies like “Zabriskie Point” and “Two-Lane Blacktop.” But he is not a product of a typical grad-school trajectory. Rather, it’s his escape from that path after growing up in northern Spanish Galicia and studying in Barcelona (he tried London for a while) that’s fascinating.

“I was not good,” he recalls. “I didn’t find I had a place in the industry or in Europe. I was not interested. I had bought a camera, a 16-millimeter Bolex, and I knew I was accepting that my role was to be a kind of sniper that was working in the trenches but making really small films.”

At age 24, Laxe moved to Tangier, Morocco, where he would live for 12 years at a monastic remove from the glamour of the movies, collaborating with local children on his films. The experience would grow into his first feature, 2010’s “You Are All Captains,” which eventually took him all the way to the prize-winning podium at Cannes, as did his second and third films, all of which came before “Sirât,” his fourth.

“Slowly, the things we were making were opening doors,” he says. “In a way, life was deciding, telling me: This is your path.”

Path is what “Sirât” means in Arabic, often with a religious connotation, and his new movie takes a unique journey, traversing from the loose-limbed dancing of its early scenes to a train’s tracks stretching fixedly to the end of the line. There’s also a quest that gets us into the film: a father and son searching among the ravers for a missing daughter, potentially a nod to “The Searchers” or Paul Schrader’s “Hardcore,” but not a plot point that Laxe feels especially interested in expounding on.

“Obviously I have a spiritual path and this path is about celebrating crisis,” he says. “My path was through crisis. It’s the only time when you connect with your essence. I just want to grow. So that’s why I jump into the abyss.”

A bearded man with long hair sits in a chair.

“My path was through crisis,” says director Oliver Laxe of his steady rise. “It’s the only time when you connect with your essence. I just want to grow.”

(Christina House / Los Angeles Times)

Laxe tells me he didn’t spend years perfecting a script or sharpening dialogue. Rather, he took the images that stuck with him — trucks speeding into the dusty desert, fueled by the rumble of their own speaker systems — and brought them to the free parties, where his cast coalesced on the dance floor.

“We were telling them that we were making ‘Mad Max Zero,’ ” he recalls, but also something “more metaphysical, more spiritual. A few of them, I already knew. There are videos of us explaining the film in the middle of the dance floor with all the people dancing around. I mean it was quite crazy. It’s something I would like to show to film schools.”

Shot on grungy Super 16, the production drove deep into craggy, sandblasted wastelands, both in Morocco and mountainous Spain, where the crew would make hairpin turns along winding cliff roads that would give even fans of William Friedkin’s legendary 1977 misadventure “Sorcerer” anxiety.

“It was my least dangerous film,” Laxe counters, reminding me of his “Fire Will Come,” the 2019 arson thriller for which he cast actual firefighters. “We were making the film in the middle of the flames, so I don’t know. I’m a junkie of images and I need this drug.”

There is a Herzogian streak to the bearded Laxe, a prophet-in-the-wilderness boldness that inspires his collaborators, notably longtime writing partner Santiago Fillol and the techno composer Kangding Ray, to make the leap of faith with him. But there also seems to come a point when talking about “Sirât” feels insufficient, as opposed to simply submitting to its pounding soundscapes, found-family camaraderie and (fair warning) churning moments of sudden loss that have shaken even the most hardy of audiences.

“The film evokes this community of wounded people,” he says. “I’m not a sadistic guy that wants to make a spectator suffer. I have a lot of hope. I trust in human beings, even with their contradictions and weaknesses.”

For those who wish to find a political reading in the movie, it’s there for them, a parable about migration and fascism but also the euphoria of a headlong rush into the unknown. “Sirât” is giving odd comfort in a cultural moment of uncertainty, a rare outcome for a low-budget art film.

Its visionary maker knows exactly where he is going next.

“I got the message in Cannes,” Laxe says. “People want to feel the freedom of the filmmaker or the auteur. What they appreciate is that we were jumping from a fifth floor to make this film. So for the next one —”

Our connection cuts out and it’s almost too perfect: a Laxian cliffhanger moment in which ideas are yanked back by a rush of feeling. After several hours of me hoping this was intentional on his part, the director does indeed get back to me, apologetically. But until then, he is well served by the mystery.

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Woody Allen praises Trump. Bill Maher plays along. Democracy weeps.

As if we needed another reason to question Woody Allen’s judgment, the 89-year-old director praised President Trump as “polite” and “a pleasure to work with” on Bill Maher’s podcast, “Club Random.”

Allen, who cast Trump in a cameo appearance for his 1998 film “Celebrity,” said on Monday’s podcast that the then-real estate mogul “hit his mark, did everything correctly and had a real flair for show business.”

“As an actor, he was very good,” Allen said. “He was very convincing, and he has a charismatic quality as an actor. And I’m surprised he wanted to go into politics. Politics is nothing but headaches and critical decisions and agony.”

Trump’s latest critical decision as commander in chief? Sharing the filmmaker’s positive comments on his Truth Social account. Heavy hangs the crown …

But why would Trump even want Allen on his side?

Allen’s legacy as a groundbreaking filmmaker was tarnished by revelations about his personal life that emerged in the 1990s. It was revealed that he had a romantic relationship with his then-girlfriend Mia Farrow’s adopted daughter, Soon-Yi Previn. He was 56. She was 21. Allen’s own daughter with Farrow, Dylan, would later accuse Allen of sexually molesting her, claims that he denies. Even if fans want to separate the artist from news stories about the man, it’s difficult given that Allen’s films often reflect an obsession with youthful — and occasionally underage — women.

The president has been doing everything possible to bury his past associations with older men who allegedly prey on younger women. There’s this guy named Jeffrey Epstein

There’s obviously no comparing Allen to the late convicted child sex trafficker, but why even open the door to such scrutiny? It’s because a compliment is a compliment, and there are so few of them coming from Hollywood that Trump could not help but copy, paste and post.

More troubling is that Allen now joins Maher in normalizing America’s first president who operates like a dictator, describing Trump as “pleasant,” “gracious,” even “measured.” Meanwhile, the White House is siccing militarized forces on American cities, trying to deport planeloads of children and attempting to rig the 2026 midterms.

Maher responded to Allen’s flattering words about Trump with mock outrage: “How dare you?!”

Allen may have surprised listeners who know the director as a master satirist of the flawed personality, but Maher was right on brand. The 69-year-old has forged a career playing to all sides of contentious issues while sincerely committing to none.

Earlier this year, the host of HBO’s “Real Time With Bill Maher,” who describes himself as a “vocal critic” of Trump, caught flak for dining with the president at Mar-a-Lago, then later describing Trump as “gracious,” “not fake” and that “everything I’ve ever not liked about him was absent.” He praised Trump for being “measured” and not like the “person who plays a crazy person on TV.”

Larry David, the creator of “Seinfeld” and star of “Curb Your Enthusiasm,” responded to Maher’s laudatory dinner recollection with a satirical essay in the New York Times titled “My Dinner With Adolf.” David wrote from the perspective of a “vocal critic” of the Nazi dictator who, over dinner, finds Hitler to be surprisingly “disarming” and “authentic.” The essay went viral.

During Monday’s podcast, Allen counterbalanced his kind words about Trump with the revelation that he voted for former Vice President Kamala Harris in the 2024 presidential election. He also said that he disagrees with Trump on “99%” of issues.

After wondering aloud why Trump went into politics, Allen said, “This was a guy I used to see at the Knicks games, and he liked to play golf, and he liked to judge beauty contests, and he liked to do things that were enjoyable and relaxing. Why anyone would want to suddenly have to deal with the issues of politics is beyond me.”

Perhaps it’s about seizing total power? Exacting revenge on enemies such as his former national security advisor John Bolton? Scrubbing the Epstein files? Profiting off his office?

But let’s get back to Allen.

The director reiterated that he disagreed “with many, almost all, not all, but almost all of his politics, of his policies. I can only judge what I know from directing him in film. And he was pleasant to work [with], and very professional, very polite to everyone…

“If he would let me direct him now that he’s president, I think I could do wonders.”

He kids. But it was only just a few days ago that Allen came under fire for virtually attending the Moscow Film Festival as a guest of honor. He praised Russian cinema and hinted at wanting to shoot a film in the country. After some “measured” thought, perhaps Putin will get a cameo.

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Director Chloé Zhao on turning heartbreak into ‘Hamnet,’ her Telluride triumph

It’s customary at Telluride for a director premiering a movie to step onstage, say a few words and slip away before the lights go down. On Friday night, before unveiling her new film “Hamnet,” Chloé Zhao admitted she couldn’t find the right words. For a film centered on William Shakespeare, the most famous wordsmith in history, that felt oddly fitting.

Instead, the 43-year-old Zhao led the packed Palm Theater in a meditative “ritual” she and her cast had practiced throughout the shoot, from before the script was even written until the final day on set. She asked the audience to close their eyes, place a hand over their hearts and feel the weight of their bodies in the seats and the surrounding Rocky Mountains holding them safe. Together, the crowd exhaled three long, loud sighs, then tapped their chests in unison, repeating softly: “This is my heart. This is my heart. This is my heart.”

By the time the film ended, those same hearts were left aching. Adapted from Maggie O’Farrell’s 2020 novel, “Hamnet” tells the story of Shakespeare’s marriage to Agnes (played by Jessie Buckley) and the devastating death of their 11-year-old son, Hamnet. Paul Mescal plays Shakespeare — not the untouchable bard of legend but a husband and father reckoning with grief. At once grounded and dreamlike, the film drew perhaps the most rapturous and unanimous response of any debut in this year’s lineup.

Eight years ago, Zhao came to Telluride with “The Rider,” fresh from Cannes and still largely unknown. In 2020 she returned with “Nomadland,” which received a Telluride-sponsored drive-in screening at Pasadena’s Rose Bowl due to the pandemic and went on to win best picture and make Oscar history, with Zhao becoming only the second woman — and the first and only woman of color — to win the directing prize. Then came Marvel’s “Eternals,” a massive undertaking that thrust Zhao into the franchise machine and brought with it a bruising critical reception. With “Hamnet,” she’s back to a smaller canvas, trading cosmic spectacle for intimate human drama.

On Sunday morning in Telluride, still processing the reaction to her latest film, Zhao sat down to talk — speaking so softly that even in a hushed room her words can be hard to catch — about why she took on O’Farrell’s story, how she approached Shakespeare’s world and the delicate task of turning heartbreak into art.

A crowd watches the performance of a play and is moved.

Jessie Buckley, center, in the movie “Hamnet.”

(Agata Grzybowska / Focus Features)

When I interviewed you for “The Rider” in 2018 you said you’re a very pessimistic person and when you get a good review, you’re just waiting for the bad one to drop. What are you feeling right now? Did you expect anything like the reaction “Hamnet” has received?
I was nervous. I’ve walked through fires. I’ve been through the fire — a very painful fire — and I think there is probably a bit of fear around that.

What was the fire? You mean the reaction to “Eternals”?
I’m not going to say out it loud, because when I do, things always get … [trails off]. Let’s just say we were very scared.

I think the fear mainly came from the fact that we felt so sure of what we experienced. It changed all of our lives and mine so profoundly that it’s still reverberating. You think: Were we crazy? And no one else will get it but us?

You go through this long, treacherous journey to deliver these things to safety and now it’s very tender because you look back at all the loss and the sacrifices along the way and you haven’t really had time to process it.

I’m curious what your history was with Shakespeare growing up in China and then moving to England and later Los Angeles as a teenager. What kind of early impression did he make on you?
Shakespeare is very revered in China. In Chinese theater, they do Chinese versions of his plays. When I studied in the U.K., I didn’t speak English at the time and I did have to learn Shakespeare, which was very difficult. I don’t think I’m anywhere near where Paul and Jesse are with their understanding of Shakespeare. The language was always a barrier but the archetypal element of his stories was big for me — particularly “Macbeth.” In high school in Los Angeles, I performed Lady Macbeth’s speech on the stage because everybody had to do some kind of monologue for a project. And I barely spoke English.

You’ve said you initially weren’t sure that you were the right person to direct this movie. What was your hesitation?
There were three elements to that. One is that I’m not a mother. I never felt particularly maternal. People in my life say, “That’s not true, Chloé,” but I don’t see myself stepping into that archetype at all. The second was the idea of a period film — how can I be authentic and fluid in a period film, where you can’t just make things up in the moment, you can’t be spontaneous? The third was Shakespeare. I wondered if I needed to be scholarly.

So how did you come around?
I was driving near Four Corners, New Mexico, when Amblin called. I said, “No, thank you.” Steven [Spielberg] really wanted me to consider it. Then my agent said Paul Mescal wanted to meet me. I didn’t know his work. “Aftersun” was the secret screening here [in Telluride 2022], and we went for a walk by the creek. I watched him talking and thought, “Could he play young Shakespeare?” He already read the book. Then I read it and thought, if Maggie [O’Farrell] can write this with me, she can show me that world. As soon as I read the book, I said, “Can you set a meeting with Jessie Buckley?” I couldn’t see anyone else but her as Agnes.

Paul Mescal as William Shakespeare in the movie "Hamnet."

Paul Mescal as William Shakespeare in the movie “Hamnet.”

(Agata Grzybowska / Focus Features)

You’d just come off “Eternals” after making small films like “Songs My Brothers Taught Me” and “Nomadland.” Now you’re back with something more intimate again. Did it feel like a reset?
Every child has its own beauty and troubles. This budget was maybe six or seven times “Nomadland,” but much less than “Eternals.” But it’s also a period film, which has its own challenges. I come from a tradition of: Tell me how much money you have and I’ll make something with it.

But I changed a lot after “Nomadland” and “Eternals.” In my 30s, I wanted to chase the horizon. I didn’t want it to ever end. I’d just keep running. Then, at the end of “Eternals,” I felt I couldn’t film another sunset that would satisfy me the way in the way it had with “The Rider” and “Nomadland.” I went through a lot of difficult personal times and pushing midlife, I realized I’d been running like a cowboy, like a nomad.

When you stop running and stop chasing horizons and you stay still, the only place you can go is above or below. I descended pretty heavily these last four years. By the time I got to “Hamnet,” I was ready. The difference now is a different kind of humanity: older, more vertical.

We know so little about Shakespeare or his son. Some parts of your film are grounded, others dreamlike. How did you balance that?
First of all, what’s real? Ancient mystics tried to understand what is being. “To be or not to be” goes beyond suicidal thought — it’s about existence itself. Every film has its own truth. For me, the truest thing is what’s present in the moment. I hired department heads and actors with knowledge of the history, but also the capacity to stay present and shift as we go. If someone came in too factual and literal, I said no. I wanted people who could do the research but also stay alive to the present.

Shakespeare’s name isn’t even spoken until late in the movie. This isn’t the icon — he’s a husband and father. Was it appealing to free him from the iconography?
Maggie’s book laid the foundation, really focusing on Agnes. For the film, I wanted it to be about two people who see and are seen by each other. They’re archetypal characters. I’ve studied Jungian psychology and Hindu Tantra — the energies of masculine and feminine, being and doing, birth and death. If we don’t have a healthy connection to our roots, those forces battle within us. By creating two characters who embody that, the story can work at a collective level and an internal one. The alchemy of creativity lets those forces coexist. Hopefully it becomes something more than a story about marriage or the death of a child.

Two lovers approach in the woods.

Jessie Buckley and Paul Mescal in the movie “Hamnet.”

(Agata Grzybowska / Focus Features )

The loss of a child is hard to film and for audiences to watch. We’ve seen it tackled in different ways on screen, from “Ordinary People” to “Manchester by the Sea.” How did you approach portraying that kind of grief honestly without it being too much for the audience to bear?
It might be for some people, which is understandable. I love both those films you mentioned very much and watched them multiple times. I’ve been making films about grief for a while. I don’t think about what’s too much or too little. Agnes’ wailing — I could do that right now in front of you. We should be allowed to. The silence for thousands of years has done great damage.

How do you mean?
Think about ancient warriors coming back from battle — they danced, screamed, healed together. In Tantra, sexuality was part of healing. Now it’s: Talk to a therapist, take medication, go back to your family. The body is restricted. Telling a woman to be quiet when she gave birth and pinning her down. We know why this control happens. But I think people are responding to films where actors are embodied, because we miss that.

How do you see grief as a through-line in all your films?
All my films start with characters who’ve lost what defined them: dreams, home, purpose, faith. They grieve who they thought they were in order to become who they truly are. That’s grief on an individual and collective level. I wasn’t raised to understand grief. So I made films to give characters catharsis and through that, myself.

My friend [“Sinners” director] Ryan Coogler, who knows me so well, sat me down after seeing “Hamnet” and he said, “The other films were beautiful but you hid behind things. This is the first time I saw you in there. You’re finally being seen.” It took four films, working with that kind of grief and fear to get to that point.

The Oscar chatter has already started. You’ve obviously been through this before. How do you tune that out and just focus on what’s in front of you?
The same way that me, Paul and Jessie were doing on set. We made the film by being present. It’s difficult, so I’m trying to take that practice daily — just saying, “OK, today is all we have.” It’s flattering and nice but after what I’ve experienced in my career, you cannot possibly predict how things are going to go. I never expected “Nomadland” to go on that journey. So I surrender to the river.

Do you know what you’re doing next?
I just wrapped the pilot on the new “Buffy the Vampire Slayer” series, which is set 25 years later. My company is part of developing it. The fandom is so special to me and I’m excited about how that’s going to go into the world. Then I think I want to do a play. I was working on “Our Town” and I had to let that go in order to do “Hamnet.” But I figured maybe I’ll learn something from this film and come back to the stage.

The industry feels pretty shaky right now: fewer jobs, studio consolidation, anxiety around AI. As a filmmaker, how do you see the state of the business and the art form?
I sense we’re at a threshold — not just the film business, everything. It’s uncomfortable. We’re like Will standing at the edge of the river when, at least in our film, the “to be or not to be” monologue was born. We can’t go back and we don’t know how to go forward. In physics, when two opposing forces pull so strongly, a new equilibrium bursts out. That’s how the universe expands. I think we’re there. We can kick and scream or we can surrender, hug our loved ones and focus on what we can do today.

Hopefully I’m not so pessimistic now. Or at least a little bit less.

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Judge blocks Trump’s attempt to fire VOA director

Aug. 29 (UPI) — A federal judge has prohibited the Trump administration from dismissing Voice of America director Michael Abramowitz, handing President Donald Trump a defeat in his effort to dismantle the government-run and federally funded international news organization.

In his ruling Thursday, Judge Royce Lamberth of the U.S. District Court for the District of D.C. stated that the Trump administration cannot fire Abramowitz without approval of the International Broadcasting Advisory Board.

“The applicable statutory requirements could not be clearer: the director of Voice of America ‘may only be removed if such action has been approved by a majority of the vote,'” Lamberth wrote.

“There is no longer a question of whether the termination was unlawful.”

Trump has sought to dismantle Voice of America, a decades-old soft-power tool for the United States that broadcasts news internationally, since returning to the White House in January, stating the broadcaster creates anti-Trump and “radical propaganda.”

On taking office, Trump fired six of the seven International Broadcasting Advisory Board members, and then in March placed Abramowitz and 1,300 other Voice of American employees on administrative leave.

On July 8, the U.S. Agency for Global Media informed Abramowitz that he was being reassigned as chief management officer to Greenville, N.C., and if he did not accept the position, he would be fired.

Before the end of the month, Abramowitz sued.

Then on Aug. 1, USAGM sent Abramowitz a letter stating he would be fired effective the end of this month if he did not accept the Greenville transfer.

The government had argued before the court that Abramowitz’s claims are not valid because he has not yet been fired, and that the rule dictating advisory board approval for hiring and firing a VOA director interfered with Trump’s executive authority.

In response, Lamberth, a President Ronald Reagan appointee, countered that whether USAGM fired Abramowitz or transferred him, he would still be removed from his position without the board’s approval, and if the Trump wished to have a vote on the matter, he could replace the board members he removed.

“To the extent the Board’s current lack of quorum institutes a practical barrier to removing Abramowitz, the Broadcast Act gives the President a straightforward remedy: replacing the removed members,” he wrote.

“The defendants do not even feign that their efforts to remove Abramowitz comply with that statutory requirement. How could they, when the board has been without a quorum since January?”

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White House picks Robert Kennedy Jr’s deputy to replace ousted CDC director | Health News

The administration of United States President Donald Trump is expected to install Jim O’Neill as acting head of the Centers for Disease Control and Prevention (CDC), replacing a director who clashed with the White House over policies that defy scientific evidence.

News outlets, including The Washington Post and The Associated Press, reported O’Neill’s selection after Trump officials said they removed CDC Director Susan Monarez.

O’Neill is currently deputy to Secretary Robert F Kennedy Jr in the Department of Health and Human Services (HHS).

Sources close to Monarez have told news agencies that she butted heads with Kennedy over questions of misinformation and vaccine policy.

“She said that there were two things she would never do in the job. One was anything that was deemed illegal, and the second was anything that she felt flew in the face of science, and she said she was asked to do both of those,” Richard Besser, former acting director of the CDC, told reporters.

Several high-level CDC officials resigned from their positions in solidarity with Monarez and in defiance of what they depicted as the undermining of scientific expertise as a basis of public health policy.

Jim O'Neill raises his right hand and places his other on a book as Robert F Kennedy Jr swears him in
Robert F Kennedy Jr swears in Jim O’Neill as deputy secretary of the Department of Health and Human Services on June 9 [Amy Rossetti/Department of Health and Human Services via AP]

Monarez said that she refused to “rubber-stamp unscientific, reckless directives and fire dedicated health experts”. She had been in her job for less than a month.

Kennedy, a prominent anti-vaccination activist before joining the Trump administration, has moved to reshape the agency and expel advisers who do not align with his views.

He purged a vaccine advisory board of its members in June, moving to replace them with individuals who share views closer to his own.

Speaking on the TV programme Fox and Friends on Thursday, Kennedy portrayed the CDC as an institute in dire need of reform.

“The  CDC has problems,” Kennedy said, accusing the centres of spreading COVID-19 “misinformation” after it advised mask wearing and social distancing.

While he did not mention Monarez by name, he argued the CDC’s culture was due for a change.

“ I cannot comment on personnel issues, but the agency is in trouble, and we need to fix it, and we are fixing it. And it may be that some people should not be working there any more,” he said.

“We need strong leadership that will go in there and that will be able to execute on President Trump’s broad ambitions.”

At Thursday’s White House news briefing, Press Secretary Karoline Leavitt echoed the sentiment that the CDC director had to be loyal to Trump’s agenda.

“Her lawyer’s statement made it abundantly clear themselves that she was not aligned with the president’s mission to make America healthy again,” Leavitt said.

She also offered a White House account of how Monarez was allegedly fired.

“The secretary [Kennedy] asked her to resign. She said she would, and then she said she wouldn’t. So the president fired her, which he has every right to do,” Leavitt said. “It was President Trump who was overwhelmingly re-elected on November 5th. This woman has never received a vote in her life.”

But scientists and doctors who worked closely with Monarez said recent changes at the CDC undermined the agency’s mission to protect the public from health threats.

One top CDC leader who resigned this week, Demetre Daskalakis, warned that the agency’s new direction under Trump portended real risks to public health.

“I’m a doctor. I took the Hippocratic oath that said, ‘First, do no harm.’ I believe harm is going to happen, and so I can’t be a part of it,” said Daskalakis, the former director for the National Center for Immunization and Respiratory Diseases.

Tensions had been especially high within the agency over the last several weeks, after a gunman who blamed COVID-19 vaccines for his health issues attacked the CDC headquarters in Atlanta, Georgia.

That shooting left one police officer dead, and the suspect took his own life.

Kennedy himself has baselessly called the COVID-19 vaccine the “deadliest vaccine ever made”.

After the shooting, representatives for the CDC’s workers denounced Kennedy for contributing to public distrust of the health agency.

“This tragedy was not random, and it compounds months of mistreatment, neglect, and vilification that CDC staff have endured,” a union representing CDC employees, AFGE Local 2883, said in a statement.

Meanwhile, the group Fired But Fighting, composed of laid-off employees, condemned Kennedy for “his continuous lies about science and vaccine safety, which have fueled a climate of hostility and mistrust”.

As the CDC continues to winnow down its workforce, employees also issued an open letter to Kennedy, accusing him of “terminating critical CDC workers in a destroy-first-and-ask-questions-later manner”.

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White House taps RFK Jr. deputy Jim O’Neill as interim CDC director

Aug. 28 (UPI) — The White House chose Jim O’Neill, a close ally of top health official Robert F. Kennedy Jr., on Thursday to serve as acting director of the U.S. Centers for Disease Control and Prevention, according to sources in multiple media reports.

The move comes a day after the Trump administration fired CDC Director Susan Monarez less than one month into the job. Kennedy, secretary of Health and Human Services, had pushed Monarez to resign after she disagreed with his anti-vaccine policies, but she refused.

O’Neill, who served as deputy secretary of the HHS, was selected to fill the top CDC post temporarily, unnamed sources told The Washington Post, which first reported the news. Axios and The Hill independently confirmed the appointment.

O’Neill previously served as principal associate deputy secretary of the HHS during the administration of President George W. Bush. He is also the former CEO of the Thiel Foundation, founded by Peter Thiel, a donor to President Donald Trump.

Monarez has refused to leave her job as head of the CDC and was contesting her ouster, saying only Trump has the authority to fire her. Monarez’s lawyers said Kennedy sought to remove her because she declined “to rubber-stamp unscientific, reckless directives” and she accused him of “weaponizing public health,” according to the BBC.

Four other CDC officials resigned Thursday in protest of Monarez’s firing and in defiance of Kennedy’s anti-vaccine policies.

President Donald Trump answers questions from the media as he chairs a Cabinet meeting in the Cabinet Room of the White House on Tuesday. Photo by Aaron Schwartz/UPI | License Photo

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Departing CDC officials say director’s firing was the final straw

When the White House fired Susan Monarez as director of the premier U.S. public health agency, it was clear to two of the scientific leaders at the Centers for Disease Control and Prevention that the political meddling would not end and it was time to quit.

“We knew … if she leaves, we don’t have scientific leadership anymore,” one of the officials, Dr. Debra Houry, told the Associated Press on Thursday.

“We were going to see if she was able to weather the storm. And when she was not, we were done,” said Houry, one of at least four CDC leaders who resigned this week. She was the agency’s deputy director and chief medical officer.

The White House confirmed late Wednesday that Monarez was fired because she was not “aligned with” President Trump’s agenda and had refused to resign. She had been sworn in less than a month ago.

Trump’s health secretary, Robert F. Kennedy Jr., declined during an appearance on “Fox & Friends” to directly comment on the CDC shake-up. But he said he continues to have concerns about CDC officials hewing to the administration’s health policies.

“So we need to look at the priorities of the agency, if there’s really a deeply, deeply embedded, I would say, malaise at the agency,” Kennedy said. “And we need strong leadership that will go in there and that will be able to execute on President Trump’s broad ambitions.”

A lawyer for Monarez said the termination was not legal — and that she would not step down — because she was informed of her dismissal by staff in the presidential personnel office and that only Trump himself could fire her. Monarez has not commented.

Dr. Richard Besser, a former CDC acting director, said that when he spoke with Monarez on Wednesday, she vowed not to do anything that was illegal or that flew in the face of science. She had refused directives from the Department of Health and Human Services to fire her management team.

She also would not automatically sign off on any recommendations from a vaccines advisory committee handpicked by Kennedy, according to Besser, now president of the Robert Wood Johnson Foundation, which helps support the Associated Press Health and Science Department.

Houry and Dr. Demetre Daskalakis, who resigned as head of the National Center for Immunization and Respiratory Diseases, said Monarez had tried to make sure scientific safeguards were in place.

Some concerned the Advisory Committee on Immunization Practices, a group of outside experts who make recommendations to the CDC director on how to use vaccines. The recommendations are then adopted by doctors, school systems, health insurers and others.

Kennedy is a longtime leader in the antivaccine movement, and in June, he abruptly dismissed the entire panel, accusing members of being too closely aligned with manufacturers. He replaced them with a group that included several vaccine skeptics and then he shut the door to several doctors organizations that had long helped form vaccine recommendations.

Recently, Monarez tried to replace the official who coordinated the panel’s meetings with someone who had more policy experience. Monarez also pushed to have slides and evidence reviews posted weeks before the committee’s meetings and have the sessions open to public comment, Houry said.

Department of Health officials nixed that and called her to a meeting in Washington on Monday, Houry said.

When it became clear that Monarez was out, other top CDC officials decided they had to leave, too, Houry and Daskalakis said.

“I came to the point personally where I think our science will be compromised, and that’s my line in the sand,” Daskalakis said.

Monarez’s lawyers, Mark Zaid and Abbe David Lowell, said in a statement that when she refused “to rubber-stamp unscientific, reckless directives and fire dedicated health experts, she chose protecting the public over serving a political agenda. For that, she has been targeted.”

Stobbe writes for the Associated Press.

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CDC Director Susan Monarez out after month on job as 4 others resign

Aug. 27 (UPI) — The director of the Centers for Disease Control and Prevention left after less than one month on the job, and four top officials with the agencies resigned.

Susan Monarez, 50, the first non-physician to lead the agency in more than 50 years, was confirmed by the U.S. Senate on July 29 in a 51-47 vote and sworn in on July 31. She served as acting director when Donald Trump became president again on Jan. 20 and was nominated for the top job on March 24. Dave Weldon‘s nomination was withdrawn because of the former U.S. House member’s questioning of vaccine safety.

For two years, she was deputy director of the Advanced Research Projects Agency for Health, where she applied artificial intelligence and machine learning to health matters.

“Susan Monarez is no longer director of the Centers for Disease Control and Prevention,” a post on the Department of Health and Human Services’ X account said. “We thank her for her dedicated service to the American people.”

The post also said Health and Human Services Secretary Robert F. Kennedy has “full confidence in his team at @CDCgov who will continue to be vigilant in protecting Americans against infectious diseases at home and abroad.”

NBC reported four other top CDC officials submitted their resignations: Dr. Debra Houry, the CDC’s chief medical officer; Dr. Demetre Daskalakis, director of the National Center for Immunization and Respiratory Diseases; Dr. Daniel Jernigan, the director of the National Center for Emerging and Zoonotic Infectious Diseases; and Dr. Jen Layden, director of the Office of Public Health Data, Surveillance and Technology.

The CDC, which is part of HHS, had 12,820 employees in September 2024, but the numbers have thinned, including 600 terminated earlier this month. In March, HHS announced plans to cut 2,400 positions.

Monarez received three degrees at the University of Wisconsin: Bachelor of Science, Master of Science and a doctorate.

Just eight days after being sworn in, Monarez was thrust into a tragic situation.

On Aug. 8, a gunman shot at six buildings of the CDC’s headquarters in Atlanta, and one police officer died. The gunman, who died at the scene, had said the COVID-19 vaccine made him sick and blamed the CDC,

Members of the CDC union want lies about the COVID-19 shot’s safety to be strongly debunked.

“We know that misinformation can be dangerous,” Monarez said during a meeting, according to a transcript obtained by NBC News. “Not only to health, but to those that trust us and those we want to trust. We need to rebuild the trust together.”

She was supposed to convene a meeting with CDC staff on Monday about safety concerns and security enhancements.

“Unfortunately, we need to postpone Monday’s event for an HHS meeting that I have been asked to attend in person in DC,” Monarez wrote in an email to CDC staff seen by NBC News.

Sources told The New York Times that Monarez objected to Kennedy replacing all members of the CDC advisory committee on vaccines. He distanced the entire committee of all 17 members, and on June 11 named eight people, including prominent vaccine skeptics and pandemic response critics.

The Advisory Committee on Immunization Practices normally includes pediatricians, geriatricians and other vaccine experts but the new panel includes a psychiatrist, neuroscientist, epidemiologist and biostatistician, and professor of operations management.

The CDC recommends the updated 2024-2025 COVID-19 vaccine for everyone 6 months and older based on age, vaccination history and immune status. Patients and their families are urged to consult with their physician.

Earlier Wednesday, the Food and Drug Administration approved the latest round of COVID-19 vaccines, but new limits were set on which Americans can get them. The agency ended its authorization for the broad use of COVID-19 shots, clearing them only for patients at higher risk of severe illness, and those age 65 and older — or younger adults with at least one underlying health condition who would qualify.

Last week, HHS confirmed Retsef Levia, a vocal COVID-19 vaccine opponent, was appointed to lead a CDC subcommittee reviewing safety of the shots.

On Aug. 5, Kennedy announced HHS will terminate 22 contracts worth $500 million to develop vaccines for respiratory viruses using mRNA technology, including COVID-19 shots, after officials determined the “technology poses more risks than benefits for these respiratory viruses.”

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Trump’s CDC did not respond to help requests in Texas measles outbreak

As measles surged in Texas early this year, the Trump administration’s actions sowed fear and confusion among Centers for Disease Control and Prevention scientists that kept them from performing the agency’s most critical function — emergency response — when it mattered most, an investigation from KFF Health News shows.

The outbreak soon became the worst the United States has endured in more than three decades.

In the month after Donald Trump took office, his administration interfered with CDC communications, stalled the federal agency’s reports, censored its data and abruptly laid off staff. In the chaos, agency experts felt restrained from talking openly with local public health workers, according to interviews with seven CDC officials with direct knowledge of events, as well as local health department emails obtained by KFF Health News through public records requests.

“CDC hasn’t reached out to us locally,” Katherine Wells, the public health director in Lubbock, Texas, wrote in a Feb. 5 email exchange with a colleague two weeks after children with measles were hospitalized in Lubbock. “My staff feels like we are out here all alone,” she added.

A child would die before CDC scientists contacted Wells.

“All of us at CDC train for this moment, a massive outbreak,” one CDC researcher told KFF Health News, which agreed not to name CDC officials who fear retaliation for speaking with the press. “All this training and then we weren’t allowed to do anything.”

Delays have catastrophic consequences when measles spreads in undervaccinated communities, including many in west Texas. If a person with measles is in the same room with 10 unvaccinated people, nine will be infected, researchers estimate. If those nine go about their lives in public spaces, numbers multiply exponentially.

The outbreak that unfolded in west Texas illustrates the danger the country faces under the Trump administration as vaccination rates drop, misinformation flourishes, public health budgets are cut, and science agencies are subject to political manipulation.

While the Trump administration stifled CDC communications, Health Secretary Robert F. Kennedy Jr. fueled doubt about vaccines and exaggerated the ability of vitamins to ward off disease. Suffering followed: The Texas outbreak spread to New Mexico, Oklahoma, Kansas, Colorado and Mexico’s Chihuahua state — at minimum. Together these linked outbreaks have sickened more than 4,500 people, killed at least 16, and levied exorbitant costs on hospitals, health departments, and those paying medical bills.

“This is absolutely outrageous,” said Jennifer Nuzzo, director of the Pandemic Center at Brown University. “When you’re battling contagious diseases, time is everything.”

‘The CDC Is “Stressed” Currently’

Wells was anxious the moment she learned that two unvaccinated children hospitalized in late January had the measles. Hospitals are legally required to report measles cases to health departments and the CDC, but Wells worried many children weren’t getting tested.

“I think this may be very large,” she wrote in a Feb. 3 email to the Texas Department of State Health Services. Wells relayed in another email what she’d learned from conversations around town: “According to one of the women I spoke with 55 children were absent from one school on 1/24. The women reported that there were sick children with measles symptoms as early as November.”

In that email and others, Wells asked state health officials to put her in touch with CDC experts who could answer complicated questions on testing, how to care for infants exposed to measles, and more. What transpired was a plodding game of telephone.

One email asked whether clinics could decontaminate rooms where people with measles had just been if the clinics were too small to follow the CDC’s recommendation to keep those rooms empty for two hours.

“Would it be possible to arrange a consultation with the CDC?” Wells wrote on Feb. 5.

“It never hurts to ask the CDC,” said Scott Milton, a medical officer at the Texas health department. About 25 minutes later, he told Wells that an information specialist at the CDC had echoed the guidelines advising two hours.

“I asked him to escalate this question to someone more qualified,” Milton wrote. “Of course, we know the CDC is ‘stressed’ currently.”

Local officials resorted to advice from doctors and researchers outside the government, including those at the Immunization Partnership, a Texas nonprofit.

“The CDC had gone dark,” said Terri Burke, executive director of the partnership. “We had anticipated a measles outbreak, but we didn’t expect the federal government to be in collapse when it hit.”

Technically, the Trump administration’s freeze on federal communications had ended Feb. 1. However, CDC scientists told KFF Health News that they could not speak freely for weeks after.

“There was a lot of confusion and nonanswers over what communications were allowed,” one CDC scientist said.

Georges Benjamin, executive director of the American Public Health Assn., said the situation was not unique to measles. “Like most public health organizations, we weren’t able to get ahold of our program people in February,” he said. Information trickled out through the CDC’s communications office, but CDC scientists gave no news briefings and went dark on their closest partners across the country. “The CDC was gagged,” he said.

Through private conversations, Benjamin learned that CDC experts were being diverted to remove information from websites to comply with executive orders. And they were afraid to resume communication without a green light from their directors or the Department of Health and Human Services as they watched the Trump administration lay off CDC staffers in droves.

“It’s not that the CDC was delinquent,” Benjamin said. “It’s that they had their hands tied behind their backs.”

To work on the ground, the CDC needs an invitation from the state. But Anne Schuchat, a former CDC deputy director, said that during her 33 years with the agency, federal health officials didn’t need special permission to talk freely with local health departments during outbreaks. “We would always offer a conversation and ask if there’s anything we could do,” she said.

Lara Anton, a press officer at the Texas health department, said the state never prevented the CDC from calling county officials. To learn more about the state’s correspondences with the CDC, KFF Health News filed a public records request to the Texas health department. The department refused to release the records. Anton called the records “confidential under the Texas Health and Safety Code.”

Anton said the state sent vaccines, testing supplies, and staff to assist west Texas in the early weeks of February. That’s corroborated in emails from the South Plains Public Health District, which oversees Gaines County, the area hit hardest by measles.

“Texas will try to handle what it needs to before it goes to the CDC,” Zach Holbrooks, the health district’s executive director, told KFF Health News.

Responding to an outbreak in an undervaccinated community, however, requires enormous effort. To keep numbers from exploding, public health workers ideally would notify all people exposed to an infected person and ask them to get vaccinated immediately if they weren’t already. If they declined, officials would try to persuade them to avoid public spaces for three weeks so that they wouldn’t spread measles to others.

Holbrooks said this was nearly impossible. Cases were concentrated in close-knit Mennonite communities where people relied on home remedies before seeking medical care. He said many people didn’t want to be tested, didn’t want to name their contacts, and didn’t want to talk with the health department. “It doesn’t matter what resources I have if people won’t avail themselves of it,” Holbrooks said.

Historically, Mennonites faced persecution in other countries, making them leery of interacting with authorities, Holbrooks said. A backlash against COVID-19 pandemic restrictions deepened that mistrust.

Another reason Mennonites may seek to avoid authorities is that some live in the U.S. illegally, having immigrated to Texas from Canada, Mexico and Bolivia in waves over the last 50 years. Locals guess the population of Seminole, the main city in Gaines County, is far larger than the U.S. census count.

“I have no idea how many cases we might have missed, since I don’t know how many people are in the community,” Holbrooks said. “There’s a lot of people in the shadows out here.”

Public health experts say the situation in Gaines sounds tough but familiar. Measles tends to take hold in undervaccinated communities, and therefore public health workers must overcome mistrust, misinformation, language barriers and more.

About 450 people — including local health officials, CDC scientists, nurses and volunteers — helped control a measles outbreak in an Eastern European immigrant community in Clark County, Wash., in 2018.

Alan Melnick, Clark County’s public health director, said his team spoke with hundreds of unvaccinated people who were exposed. “We were calling them basically every day to see how they were doing and ask them not to go out in public,” he said.

Melnick spoke with CDC scientists from the start, and the intensity of the response was buoyed by emergency declarations by the county and the state. Within a couple of months, the outbreak was largely contained. No one died, and only two people were hospitalized.

In New York, hundreds of people in the city’s health department responded to a larger measles outbreak in 2018 and 2019 concentrated among Orthodox Jewish communities. The work included meeting with dozens of rabbis and distributing booklets to nearly 30,000 households to combat vaccine misinformation.

The effort cost more than $7 million, but Jane Zucker, New York City’s assistant health commissioner at the time, said it yielded immense savings. The average medical bill for measles hospitalizations is roughly $18,500, according to data from prior outbreaks. Then there’s the cost of diverting hospital resources, of children missing school, of parents staying home from work to care for sick kids, and the lasting toll of some measles infections, including deafness or worse.

“I don’t think there’s a price tag to put on a child’s death that would otherwise be prevented,” Zucker said.

Local health departments in west Texas were understaffed from the start. About 18 people work at the South Plains health department, which oversees four vast rural counties. About 50 staff the department in Lubbock, where patients were hospitalized and health workers struggled to figure out who was exposed. In mid-February, Wells emailed a colleague: “I’m so overwhelmed.”

A Death Ignites a Response

On Feb. 26, Texas announced that a 6-year-old child had died of measles. Wells heard from CDC scientists for the first time the following day. Also that day, the CDC issued a brief notice on the outbreak. The notice recommended vaccines, but it worried public health specialists because it also promoted vitamin A as a treatment under medical supervision.

In emails, Texas health officials privately discussed how the CDC’s notice might exacerbate a problem: Doctors were treating children with measles for toxic levels of vitamin A, suggesting that parents were delaying medical care and administering the supplements at home. A local Lubbock news outlet reported on a large drugstore where vitamin A supplements and cod liver oil, which contains high levels of vitamin A, were “flying off the shelf.”

Too much vitamin A can cause liver damage, blindness and dire abnormalities during fetal development.

Milton worried that parents were listening to misinformation from anti-vaccine groups — including one founded by Kennedy — that diminished the need for vaccination by inaccurately claiming that vitamin A staved off the disease’s worst outcomes.

“How many people will choose Vitamin A and not a vaccine because it appears to them there are two options?” Milton asked in an email.

Scientists at the CDC privately fretted too. “HHS pressed us to insert vitamin A into all of our communications with clinicians and health officials,” one CDC scientist told KFF Health News, referring to the agency’s notices and alerts. “If pregnant women took too much vitamin A during the outbreak, their babies could be profoundly disabled. We haven’t seen those babies born yet.”

Another CDC official said they’ve had to “walk a fine line” between protecting the public based on scientific evidence and aligning with Health and Human Services.

While CDC scientists held their tongues, Kennedy exaggerated the power of nutrition and vitamin A while furthering mistrust in vaccines. “We’re providing vitamin A,” Kennedy said in an interview on Fox News. “There are many studies, some showing 87% effectiveness,” he claimed, “against serious disease and death.”

The studies Kennedy referenced were conducted in low-income countries where children are malnourished. Evidence suggests that vitamin A supplementation is seldom useful against measles in the United States because deficiency is exceedingly rare.

Kennedy deflected criticism from those who call him anti-vaccine, saying that any parent in Texas who wants a measles vaccine can get one. He followed this with dangerously inaccurate statements. “There are adverse events from the vaccine. It does cause deaths every year,” he said. “It causes all the illnesses that measles itself causes, encephalitis and blindness, etc.” There is no evidence that measles vaccines “cause deaths every year.” Scores of studies show that the vaccine doesn’t cause encephalitis, that most potential side effects resolve quickly on their own, and serious adverse reactions are far rarer than measles complications.

In another interview, Kennedy said, “The MMR vaccine contains a lot of aborted fetus debris.” The measles, mumps, and rubella, or MMR, vaccine does not contain an iota of fetal cells.

Health and Human Services spokesperson Andrew Nixon and spokespeople at the CDC did not respond to queries from KFF Health News.

‘Staff Are Exhausted’

Despite national attention after the country’s first measles death in a decade, west Texas was overwhelmed. In late February and March, hospital administrators and health officials exchanged emails about how to lobby for resources.

“Local hospitals are at capacity,” wrote Jeffrey Hill, a senior vice president at the University Medical Center Health System in Lubbock. “The state reports emergency funds that typically cover a response like the measles outbreak are not available from the federal government right now,” he added.

“I am writing to express our urgent need for additional staff and funding,” Ronald Cook, medical director for Lubbock, said in an email, drafted with other Lubbock health authorities, to the deputy city manager. “Our Capacity is Stretched Thin: The health department has been operating seven days a week since February 2nd. Staff are exhausted.”

The city of Lubbock fronted money to help the local health department hire temporary staff. The state did not provide money, but it asked the CDC to send epidemiologists. Some came to Texas in early March. Then Texas requested federal funds.

None arrived, even as the outbreak approached 500 cases. It spread to Mexico when an unvaccinated Mennonite child returned home after visiting family in Seminole. This would fuel the largest outbreak Mexico has seen in decades, with at least 3,700 cases and 13 deaths in the state of Chihuahua.

Then another child in west Texas died of measles.

In a rare moment of openness, CDC scientist David Sugarman mentioned the outbreak at a vaccine advisory meeting in late April. “There are quite a number of resource requests coming in, in particular from Texas,” Sugarman said. “We are scraping to find the resources and personnel needed to provide support to Texas and other jurisdictions.”

Federal funds arrived in Texas on May 21, said Anton, the state health department spokesperson. By then, the crisis was fading. The outbreak seemed to have spread until every unvaccinated person in Seminole was infected, said Richard Eby, a doctor at Permian Regional Medical Center who treated some measles patients. Hundreds, if not thousands, of cases have probably gone undetected, he said. “A lot of people presumed their kids had measles,” he said, “and didn’t see the need to confirm it.”

On Aug. 18, health officials declared the west Texas outbreak over, but the consequences of the catastrophe will be lasting.

The outbreaks it sparked across the U.S. and Mexico are still spreading.

More are inevitable, Nuzzo said. A growing number of parents are deciding to not vaccinate their kids, worried over unfounded rumors about the shots. Misinformation is flourishing, especially after Kennedy fired vaccine experts who advise the CDC and replaced them with doctors and researchers on the fringes of the scientific establishment. For example, one of his recent appointees, Robert Malone, blamed the deaths of children with measles on “medical mismanagement,” without evidence.

At the same time, states are downsizing programs for emergency response, disease surveillance, and immunization after the Trump administration clawed back more than $11 billion in public health funds this year.

Amid Lubbock’s toughest months, Wells sent an email to the department’s exhausted staff. “The future is uncertain, and I know this is an unsettling time for many of us,” she wrote. “Every day we show up and do our jobs is an act of resilience.”

Maxmen writes for KFF Health News, a national newsroom focused on in-depth journalism about health issues and a core program of KFF, a nonprofit organization specializing in health policy research, polling, and journalism. She can be reached at [email protected]

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Ethiopian fossil Lucy leaves for her first exhibition in Europe

The human ancestor fossil known as Lucy left Ethiopia for display in a European museum, Ethiopian national media reported Friday, citing Tourism Minister Selamawit Kassa.

Lucy’s skeleton, which is 40% complete, left Ethiopia on Friday and will be displayed at the Czech National Museum in Prague for approximately two months.

Lucy was recovered in Ethiopia in 1974 from what was an ancient lake near fossilized remains of crocodiles, turtle eggs and crab claws. She was a member of Australopithecus afarensis, an early human species that lived in Africa between about 4 million and 3 million years ago.

This is the second time Lucy has left Ethiopia. The first was in 2013, when she toured the United States.

Lucy’s fragmented bones will be exhibited alongside Selam, the fossil of an Australopithecus baby that is about 100,000 years older than Lucy and was discovered in the same region 25 years later.

“As an iconic specimen, she belongs to the whole world, so sharing her with the rest of humanity is something that everyone would love to see,” said Yohannes Haile-Selassie, director of the Institute of Human Origins at Arizona State University.

While many experts believe Lucy’s trip to Europe presents a once-in-a-lifetime opportunity for people in Europe and beyond, there are safety concerns about the transportation of her fragile bones.

“The fragmented bones of Lucy are truly unique and need utmost care. Traveling to Europe has its own risks,” said Gidey Gebreegziabher, an archaeologist and Ph.D. candidate at the University of Warsaw, Poland, “She will also be exposed to different climate conditions, which could potentially have negative impacts on her preservation.”

Even in Ethiopia, the public has only occasionally seen the real Lucy fossil. At the National Museum of Ethiopia, a replica of Lucy is exhibited while the actual remains are stored in a secure vault.

“I’ve seen how she was packed, so I have no worries about anything happening to Lucy anymore,” Yohannes said.

Lucy’s quiet departure on Thursday night also raises questions about transparency as many Ethiopians — who take pride in her — were unaware of her journey to Europe.

“It’s unbelievable! The government appears to be deliberately sidelining its people from the narrative of their own heritage,” Gebreegziabher said.

Bekele Reta, 43, a resident who lives just 164 feet from the museum where Lucy is housed, was unaware of Lucy’s departure until he saw it on social media.

“I learned this morning on Facebook that Lucy has departed for Prague. It’s unfortunate that most Ethiopians only have the opportunity to see her showcased elsewhere.” he said.

Early this year, the director general of the Czech National Museum, Michal Lukeš, in a statement announcing the exhibition of Lucy and Selam, expressed his appreciation of the Ethiopians for agreeing to “lend” the remains.

“These priceless exhibits give us a unique insight into the past and deepen our understanding of humanity’s roots,” said Lukeš.

Birhane writes for the Associated Press. AP writer Evelyne Musambi contributed to this report from Nairobi.

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CDC director: Misinformation ‘lead to deadly consequence” in Atlanta

The U.S. Centers for Disease Control and Prevention headquarters in Atlanta was attacked by a gunman on Friday. File Photo by Erike S. Lesser/EPA

Aug. 13 (UPI) — The director of the Centers for Disease Control and Prevention told employees about the dangers of misinformation, four days after a suspected gunman shot at the agency’s headquarters in Atlanta, claiming the COVID-19 vaccine made him sick.

On Tuesday, Susan Monarez met with staffers virtually and then sent a note to all 10,000 employees nationwide, obtained by ABC News. Staffers at the headquarters have been working remotely since the attack on Friday.

“The dangers of misinformation and its promulgation has now led to deadly consequences,” she wrote. “I will work to restore trust in public health to those who have lost it — through science, evidence and clarity of purpose. I will need your help.”

The comments were slightly different than those during her staff meeting in which she said: “Public health should never be under attack. We know that misinformation can be dangerous.”

She said the health agency can rebuild trust with “rational evidence-based discourse” with “compassion and understanding.”

Dr. Paul Offit, the director of the Vaccine Education Center at Children’s Hospital of Pennsylvania, told NBC News: “The irony is her boss is the biggest spreader of misinformation.”

Robert F. Kennedy Jr. is secretary of the Health and Human Services, which oversees the CDC.

In 2021, during the pandemic, Kennedy described the shot as the “deadliest vaccine ever made” after he filed a citizens’ petition requesting that the Food and Drug Administration end emergency authorization.

Last week, Kennedy announced that HHS was moving to terminate $500 million in contracts to develop vaccines using mRNA technology, which was used to develop the COVID-19 vaccine in 2020.

“After reviewing the science and consulting top experts at NIH [National Institutes of Health] and FDA, HHS has determined that mRNA technology poses more risks than benefits for these respiratory viruses,”

The American Medical Association backs mRNA vaccine research and the CDC still says on its website: “During the COVID-19 pandemic, COVID-19 vaccines underwent the most intensive safety analysis in U.S. history.”

Health officials have denounced skepticism of the research, noting the COVID-19 vaccine saved millions of lives in the United States.

“The Covid pandemic showed us what’s possible when science moves fast,” Rick Bright, who directed the Biomedical Advanced Research and Development from 2016 to 2020, told NBC News. “Dismantling that momentum now is like disbanding the fire department because the fire’s out.”

As head of the HHS, he has updated COVID-19 vaccine recommendations for the fall to be restricted to older adults and those with underlying health conditions. He also doesn’t want children to get the shots.

On Monday, Kennedy toured the CDC campus in Atlanta and met with the widow of the one person slain in the attack, DeKalb County Police Officer David Rose. He toured with Monarez and HHS Deputy Secretary Jim O’Neill.

“He offered his deepest condolences and reaffirmed the agency’s commitment to honoring officer Rose’s bravery, sacrifice and service to the nation,” HHS said.

Since the attack, the union representing CDC workers condemned the lack of support from top officials.

“This leadership is critical in reinforcing public trust and ensuring that accurate, science-based information prevails,” the union said Sunday. “This condemnation is necessary to help prevent violence against scientists that may be incited by such disinformation.”

The American Federation of Government Employees Local 2883, which represents more than 2,000 CDC workers, said in a statement Sunday that the attack “was not random and it compounds months of mistreatment, neglect and vilification that CDC staff have endured.”

The union also said: “The deliberate targeting of CDC through this violent act is deeply disturbing, completely unacceptable and an attack on every public servant.”

The father of the suspected gunman, 30-year-old Patrick Joseph White, reportedly told authorities he targeted the CDC over health problems he blamed on the COVID-19 vaccine. He said the shot made him depressed and suicidal.

He was fatally shot by police after around 200 bullets struck the six buildings. Five firearms were recovered.

“All indications are that this was an isolated event involving one individual,” Jeff Williams, the deputy secretary of the CDC’s Office of Safety, Security and Asset Management, said during the staff meeting Tuesday.



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Cynthia Erivo is divine in ‘Jesus Christ Superstar’ at Hollywood Bowl

Cynthia Erivo, a noted theatrical divinity, redeemed the title of “Jesus Christ Superstar” at the Hollywood Bowl last weekend in a magnetic, heaven-sent performance that established God the Savior as a queer Black woman, as many of us suspected might be the case all along.

Divine dispensation allowed me to catch the final performance of this revival of Andrew Lloyd Webber and Tim Rice’s 1971 breakout musical. I returned from vacation just in time to join the pilgrimaging hordes carting cumbersome picnic baskets and enough wine for a few dozen Sicilian weddings. The vast number of attendees caused bottlenecks at entry points, prompting one wag to crack, “What is this, the Second Coming?”

The headliners, Erivo as Jesus and Adam Lambert as Judas, certainly have sizable fan bases. But so too does the subject of this Greatest Story Ever Told, a messiah whose following has few equals in the history of the world. Suffice it to say, it was a supercharged evening, comparable more to a rock concert than one of the Bowl’s forays into the musical theater past.

The hard-charging exuberance was appropriate for a production that went back to the concept album roots of a rock opera that, like other countercultural musicals of the period — such as “Hair” and “Godspell” — preached peace and love while rebelling against oppression and conformity. “Jesus Christ Superstar” reminds us that Lloyd Webber wasn’t always a symbol of the bourgeois establishment.

Yes, the composer behind “Cats,” “The Phantom of the Opera” and “Sunset Boulevard” had an early revolutionary streak, challenging authority and testing social taboos. What made “Jesus Christ Superstar” controversial wasn’t simply the depiction of Jesus of Nazareth as a man with vulnerabilities and doubts. It was the blast of guitars and vocal shrieks that accompanied the telling of his last days and crucifixion in a manner more akin to the Who’s “Tommy” than the church organ interludes of a traditional Sunday service.

Cynthia Erivo as Jesus stands on an illuminated crucifix in "Jesus Christ Superstar."

Cynthia Erivo delivered a heaven-sent performance in “Jesus Christ Superstar” at the Hollywood Bowl last weekend.

(Farah Sosa)

Director and choreographer Sergio Trujillo leaned into the concert nature of “Jesus Christ Superstar.” The metallic scaffolding staging, the mythic scale of projections and the rhythmic flow of cast members, moving from one musical number to the next, freed the production from literal illustration.

The religious meaning of the story was communicated through the intensity of the performances. Erivo and Lambert are incapable of ever giving less than 100% when translating emotion into song. But the human drama was most evident in the handling of duets, the musical give and take that showcases the richness of all that lies between lyrics.

The conflict between Erivo’s all-seeing, all-feeling Jesus and Lambert’s competitive yet remorseful Judas was thrillingly brought to life in their different yet wholly compatible musical styles. In “Strange Thing Mystifying” and “The Last Supper,” Lambert, a Freddie Mercury style-rocker, and Erivo, a musical theater phenomenon who can pierce the heavens with her mighty voice, revealed a Judas who can’t account for all his actions and a Jesus who understands the larger destiny that is both sorrowfully and triumphantly unfolding.

Phillipa Soo as Mary Magdalene and Cynthia Erivo as Jesus perform on stage in "Jesus Christ Supsertar."

Phillipa Soo provided sublime support in a cast that had considerable Broadway depth.

(Farah Sosa)

Phillipa Soo’s Mary Magdalene brought a probing, tentative and profound intimacy in her adoration of Erivo’s Jesus. In her exquisite rendition of “I Don’t Know How to Love Him,” the tenderness between Mary Magdalene and Jesus, at once earthy and ethereal, deepened the expressive range of the love between them.

Soo, best known for her graceful lead performance in “Hamilton,” provided sublime support in a cast that had considerable Broadway depth. Raúl Esparza, whom I can still hear singing “Being Alive” from the 2006 Broadway revival of “Company,” played Pontius Pilate with lip-smacking political villainy. Josh Gad, who missed Friday’s performance because of illness but was in sharp comic form Sunday, turned King Herod into a Miami-style mobster, dressed in a gold lamé getup that would be just perfect for New Year’s Day brunch at Mar-a-Lago.

Raul Esparza as Pontius and Cynthia Erivo as Jesus sit on stage in "Jesus Christ Superstar."

Raul Esparza as Pontius and Cynthia Erivo as Jesus in “Jesus Christ Superstar.”

(Farah Sosa)

The acting company distinguished itself primarily through its galvanic singing. Music director and conductor Stephen Oremus maintained the production’s high musical standards, bringing out the extensive palette of a rock score with quicksilver moods.

One could feel Erivo, a generous performer who understands that listening can be as powerful as belting, building up trust in her less experienced musical theater castmates. The way she registered Lambert’s bravura moments bolstered not only his confidence in his non-singing moments but also the miracle of her own fully realized performance.

Ultimately, Jesus’ spiritual journey is a solitary one. In “Gethsemane,” the path of suffering becomes clear, and Erivo’s transcendence was all the more worshipped by the audience for being painfully achieved. Unmistakably modern yet incontestably timeless, abstract yet never disembodied and pure of heart yet alive to the natural shocks that flesh is heir to, this portrayal of Jesus with piercings, acrylic nails and tattoos met us in an ecumenical place where all are welcome in their bodily realities and immortal longings.

Lloyd Webber is undergoing a renaissance at the moment. Fearlessly inventive director Jamie Lloyd has given new impressions of “Sunset Blvd.,” which won the Tony for best musical revival this year, and “Evita,” which is currently the talk of London’s West End.

Trujillo’s production of “Jesus Christ Superstar” deserves not just a longer life but more time for the actors to investigate their momentous relationships with one another. The drama that occurs when Erivo’s Jesus and Soo’s Mary Magdalene interact should provide the model for all the cast members to lay bare their messy human conflicts. “Jesus Christ Superstar” depends as much upon its interpersonal drama as its rock god swagger — as Erivo, in a Bowl performance that won’t soon be forgotten, proved once and for all.

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