Watch Two Complementary Teasers for Noah Baumbachs Marriage Story

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Netflix released two teaser trailers for Noam Baumbachs Marriage Story starring Scarlett Johansson and Adam Driver. The film will be released on Netflix and in select theaters this fall.

The marriage of actress Nicole (Johansson) and stage director Charlie (Driver) are told from both their perspectives. Johansson narrates What I Love About Charlie, set to Cat Powers cover of Otis Reddings Ive Been Loving You Too Long. She discusses her admiration for how easily he cries in movies, his inability to get defeated and fashion sense. In What I Love About Nicole, Drivers character celebrates his wifes competitive nature, dance abilities and gift-giving skills, set to Reddings original version of Ive Been Loving You Too Long. Both trailers feature scenes of them parenting their son before cutting abruptly to a courtroom where the pair sit on opposite sides.

Laura Dern, Ray Liotta and Alan Alda also star in the film. Randy Newman composed and conducted the music.

Watch John Oliver Examine the Disturbing Realities of Prison Labor

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On Sundays Last Week Tonight, John Oliver offered a disturbing portrait of the sad realities of prison labor, examining the low wages, institutional corruption, inhumane practices and exorbitant fees that stand between inmates and their attempts to rebuild behind bars.

Sixty-one percent of people in prison have jobs, including common positions in janitorial or kitchen work. But theyre paid a national average of 63 cents per-hour, and some states Texas, Georgia, Arkansas and Alabama dont pay inmates at all. I know that, to many, inmates are not a naturally sympathetic group of people, Oliver said. In fact, when there was a push to get a higher wage for those working behind bars a few years ago, [some Fox News commentators] found it hilarious.

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Crime doesnt pay does sound like common sense, the host continued, after showing a clip of talking heads using that exact phrase. But its much, much more complicated than that. The truth is: When you combine the low to non-existent wages the prisoners get paid with the surprisingly high costs that they and their families can incur while they are inside, the current system can wind up costing all of us.

Some inmate jobs can be incredibly fulfilling, but also dangerous. Around 12 percent of firefighters responding to Californias wildfires in 2018 were prison inmates. But they earned a base pay of between $3 and $5 per day and even though theyre learning new skills that could be useful to them upon release, it wont matter. According to the Brennan Center for Justice, California law bars those with a criminal record from being licensed emergency responders.

Being a firefighter in prison is not unlike being an art history in college, Oliver cracked. It may be fun while youre in there, but youre not going to be doing it once you get out. Do you here that, Thessalie? Youre going to work in human resources. Youre going to have a favorite coffee mug and a throw pillow that says, Its wine oclock somewhere, and youre going to stare out the window, yearning for the sweet release of death, just like everybody else.

In addition to low pay and occasional workplace hazards, inmates also face a lot of expenses, from legal fees to basic necessities like personal hygiene products. Until 2018, female prisoners in Arizona were allotted just 12 pads per month; buying one additional pack of pads took about 21 hours of work. In the state, they have to pay a co-pay to see a doctor in order to request a medical dispensation.

While family members can send money to prisoners, the costs can be daunting and unrealistic for some, especially because for-profit companies like JPay charge fees as high as 45 percent to transfer funds. Look out, Ticketmaster, Oliver joked. When it comes to dickish transaction fees, theres a new asshole in town.

JPays parent company, Securus, is one of the biggest names in charging for prisoner phone calls and video visits, a staggering $1.2 billion-a-year industry. Phone calls within states can go over a dollar-per-minute, and other facilities served by Securus have had fees over $3 for the first minute and 16 cents for each additional one.

For families on tight budgets, those fees are difficult to navigate around. And the obvious workaround in-person visits is even becoming difficult. Prisons, and especially jails, have been phasing out in-person visits in favor of video visitations, meaning that you can turn up to see a loved-one and still have to sit in a different room and talk to them on a screen, Oliver said. Incredibly, this is something Securus has contractually mandated. Up until 2015, some of their contracts with facilities had them promise to eliminate all face-to-face visitation, and that is just evil. Machine that makes money by stopping people from visiting their families sounds like an item at the top of Satans Amazon wish list, right before super bedbugs, cauliflower rice and just the actual existence of Amazon.

The people running such facilities have cited safety issues as the main motivator behind the switch, insisting that video visits eliminate contraband. However, Oliver noted that jails and prisons often get a cut of the profits, which are supposedly funneled into inmate welfare funds, but often fund staff salaries or even items like tasers.

The current system of low wages and high cost is clearly no good for anyone but the companies, who are somehow managing to massively profit from this, Oliver summarized. There are things that we can do here, small and large. New York City recently made phone calls from jails free, and Connecticut will consider similar legislation next year. And if we want to make bigger changers like paying prisoners more, we could do that, although it would undeniably be incredibly expensive and very unpopular.

You saw people argue, Crime doesnt pay thats just common sense,' he continued. But part of the way mass incarceration persists in this country is by keeping the true costs of it off the books. And were currently doing that through a combination of underpaid labor from prisoners themselves, financially draining families whove done absolutely nothing wrong and occasionally managing to monetize prisoners being launched into the fucking air with livestock. And at that point, I would argue weve come a long, long way from common sense.

D.A. Pennebaker Looks Back on Monterey Pop: The Lost Interview

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Its sort of strange, D.A. Pennebaker said in 2017, about restoring Monterey Pop, his document of the Summer of Loves most famous music festival. Seeing my films in later years is like seeing your children and they have beards. You werent ready for that.

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In 1967, Pennebaker, or Penny as people called him, was in his early forties and had established himself as a leading documentary filmmaker. That year, he released Dont Look Back, a picture hed made a couple of years earlier about Bob Dylan, establishing him as a rare middle-aged man who not only understood rock & roll but could present it on film in a way that didnt condescend to it. So to the organizers of the Monterey International Pop Festival the Mamas and the Papas mastermind John Phillips, record producer Lou Adler, and publicist Derek Taylor Penny seemed like the perfect person to capture what would become the first major music festival.

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Over the course of three days that June, the Monterey County Fairgrounds hosted career-making performances by Ravi Shankar, the Jefferson Airplane, the Grateful Dead, and many others. Jimi Hendrix set his guitar on fire, the Whos Pete Townshend smashed his instrument, Otis Redding taught rock-loving hippies that its OK to have soul, and Janis Joplin delivered a jaw-dropping performance with Big Brother and the Holding Company that made the Mamas and the Papas Mama Cass simply say wow. I often think, how amazing it was that we were there, and we didnt fuck up and we ended up with not just a fantastic film but an incredible collection of performances, Penny said.

The filmmaker spoke in 2017 with Rolling Stone about the 50th anniversary of the Monterey Pop Festival, which was set to be commemorated with a tribute concert that summer. The question at hand for the interview was, Can the Monterey Pop Revival Capture the Spirit of 67?, but the conversation turned into a lengthy, wide-ranging discussion about a cultural turning point that Penny had just seemed to stumble on. Because of the nature of the article, much of the interview didnt make the cut. So in honor of the filmmaker, who died at the age of 94 on Thursday in his Sag Harbor, New York home, Rolling Stone is presenting here an extended cut of the interview.

During the talk, he was humble (Have a nice lifetime, he said at the end of the call, Im in the middle of writing myself, so I know what youre going through) and he acknowledged the long road it took for the film to be recognized as a masterpiece of cinema verit. At the time of its release, it got a showing at the Venice Film Festival and was selected for inclusion in the National Film Registry in 2018. In between those achievements, Penny made films about Little Richard, David Bowie, John Lennon, Depeche Mode, Bill Clinton, and many others. But it was on Monterey Pop that he radicalized the way music films would be shot in the decades that followed, with tight close-ups and quick cuts.

I wanted [Monterey Pop] to have that feeling of freedom that you get when you get a lot of really good musicians or good anybodys and let them do what they do well, he said. You get a wonderful feeling of freedom that anything could happen and will be good. Thats what I wanted, that feeling. So I just let it happen.

When he looked back on the era of psychedelia and free love half a century later, it was still with an awe that he got to be a witness to it. Its a world that I really didnt know that well, he said. To know that world and the people in it, you have to go out in the gigs. You have to be there, riding shotgun to the concert. And I didnt do that. But I did just film the people.

Related: Rob Sheffield on Monterey Popand the Wow That Changed the World

Did you know any of the artists who played Monterey before the festival?
I knew some of them but not very well. I had met Otis at the [Whiskey] Go-Go in L.A., and that was the first time Id actually seen him with that incredible band. I was really impressed. I hoped he was going to be at the festival. And then he told his management that he was gonna do it, and they didnt want him to do it. It was kind of brave on his part, cause he was the only black person [playing that kind of music] there.

You can see in the film how he just won over the place immediately.
His performance, for me, was the act of the whole performance. There were other ones that were good, too. I never knew Ravi Shankar, but I got to meet him. He came to watch the rushes when we were showing them in New York. He brought a whole little band there, and they sat on the floor and we just ran it and he played right along with it. They loved it.

What strikes when you watch Monterey Pop now?
There were people in it that I really got to like later, like Janis, Hendrix, and even Otis, who I got to know later. Its kind of like seeing people I really liked and wanted to see more of, and then theyre gone and thats what I have. So I look at it and try to squeeze something out of it beyond just the music.

You want the connection.
Yeah, sort of. I mean, Hendrix, he was such a gentle person and even helped me take sound on a couple of things I was shooting, so I got to know him pretty well. And Janis, if she was still around she was really smart I think shed be writing now or doing something beyond just singing. Once she did that performance, that was something. It really got people.

Were you familiar with Janis Joplin before the film?
No. The first time I saw her was when she came out for the first time and sang the song. We had been told we couldnt film it because her agent wanted money or something. I did sneak a few shots, but then I went to [camera operator] Albert [Maysles], and I said, Albert, we gotta have her in the film. So he went out and broke somebodys arm or something, and then she came running up to me and said, Im gonna do this set again and you can film it. And I knew we were ahead of the game. From then on, it was gonna work.

Were you a rock & roll fan?
I got to be one when I started to hear really good music. But originally, I wasnt. My music was recorded in the Twenties and Thirties. It was the old jazz, as I discovered it in Chicago. It was people like Bud Freeman and Eddie Condon, those people. Those were my music heroes. And they still are.

There really wasnt a template for a film like Monterey Pop, or music festivals for that matter. How did you approach the film?
Before Monterey, there was no portable sync camera that you could carry around. I think the ones at Newport were a 35-millimeter and you had to be a football field away from the performer, so you got everything through a long lens.

[At Monterey] the music was terrific, but the idea of everybody coming to hear each other play music was what the festival was. It wasnt like performances where afterwards the performers go home or go out and get drunk. They were all sitting and listening to each other because they want to know whats going on. And in order to capture that, you have to have a camera that can go behind the scenes or get onstage and I often did. Nobody noticed me. they were all looking at the performers. I was, like, a person handling the curtain or something in a show. So you could get close up to people, and thats what you wanted to see. Suddenly, you could see everything, and that was a big change.

Those close-ups really made the film. How did you direct the cameramen?
Most of the crew, except for [Richard] Leacock who was an established cameraman, were people who were working with me. None of them were technically cameramen but they knew the music. They fell into the mood of the place and they got the shot they wanted to see, which was usually a close-up of a face. You watch the Ravi Shankar stuff, and Jim [Desmond] and Nick [Proferes], who were shooting that, they were right on top of them. nobody had ever filmed anybody like that. Ravi couldnt believe it that we could that close with cameras. And we could get incredible details that make the music so much more interesting because it wasnt distorted.

Did you take anything from your process of filming Bob Dylan for Dont Look Back into how you approached Monterey?
Only using the same camera, but I was doing that before myself. Now I was still working by myself, but I had five other people all working by themselves, so by the end of the day, theyd bring me their film and we would send it off to the lab. I had no idea really what the other people had done until we started looking at rushes in New York. We ran rushes for three days, day and night.

What inspired the way you made Dont LookBack with Bob Dylan?
I had been reading this book by Peter Quennell, an English writer. He had collected all the letters to and from Lord Byron. When you read Byrons letters to different people, to women and his agents and people who were bothering him about something, he becomes such an interesting person. Its not just because he could write poetry but because he could think things through in a way that most people didnt. When he and Shelley got kicked out of England, all of the English intellectuals came down there to hang out. It was like San Francisco. Thats where the action was. I thought, if there was a guy with a movie camera there and made a film of it, wed still be looking at that film. I thought, Thats the kind of film I really want to make with Dylan. I cant command it to be around in 50, a hundred years, I just thought, Thats the kind of film I would want to see if Dylan were like Byron, 50 years before me. So I decided not to make a music film out of it, though I thought thats what [producer] Albert [Grossman] wanted. But he didnt care. He liked the film we made. In fact, everybody kind of let me do what I wanted. So that was OK.

I take it that wasnt the case with Monterey. I assume you just wanted to capture and document it.
At the beginning, the fact is I dont think anybody assessed my abilities to direct six cameramen. Had they done that, I wouldnt have gotten the job. But they thought I had made one film and it worked, maybe I could make this one work. I just didnt count on the fantastic things that would be handed to us, which was an extraordinary group of performers and four or five people who knew how to use those cameras. I like doing that. I like taking chances.

Why do you like filming musicians?
Anybody cant be a musician. When a person decides to become a musician for whatever reason, he has some ability thats in his DNA. When he turns it on, he becomes its like a saint. He has this thing he believes in, and hes willing to die for it. And most musicians are kind of like that. And I love that feeling. So when theyre on the stage singing, and it doesnt have to be a huge concert crowd, they like it. Theyre really taking it in. thats such an amazing display of almost religious belief. I love filming that because theres nothing else you can film with them that would be as telling. You could film them eating breakfast or giving out money to children in the street, and who cares? But when you can do that with music, you care. You really care.

Do you remember if Lou Adler or John Phillips asked for anything specific for the Monterey Pop film?
No. The fact is, they didnt know much about making a film. Why would they? They knew if the liked what they saw. But the fact was that I had made a film that they had heard about [Dont Look Back]. It didnt have a huge following then. It was still hard to get into theaters. But they knew about it from reviews. So they were a little shy about telling me what to do, thinking I knew what to do. But of course, I didnt [laughs]. I was a little anxious when we went out because there was a lot of musicians doing it for free for Lou, other than Ravi Shankar I think they had to pay him. I thought, If we fuck up here, if we dont make a good film about of it, a lot of musicians would be really upset. I thought, we better be lucky here.

So what were you anxious about?
I had terrible anxiety about the cameras, because they were all homemade cameras. We made them ourselves. I was thinking, One of thems gonna break down. They had half-hour magazines and wed never run cameras with anything like that, so I had no idea whether they would work or not. We tried it and it seemed OK, but you never know. But all the cameras worked, to my great surprise.

Did you feel like you were witnessing a cultural turning point as the fest was going on?
No. You never do. Youre too busy either getting more film or arguing about not letting other people in with cameras. Theres so many things youve got to worry about.

But I remember I liked when I heard Hendrix. That was the first time I ever heard Hendrix. John had said, Theres this guy coming. Hes a great blues player and he sets himself on fire. I remember thinking, Jesus, that doesnt sound like blues playing as I understand it, but well see what happens. When he first started playing, I thought, Jesus, its just noise. This isnt music. Then by the end of the set, I became a fan because what he had did was so amazing. He turned noise into music. I thought, Shit, heres a guy who can do that and thats impossible, but he could do that. And I never got over that.

Well, at least you managed to capture Jimi Hendrixs iconic burning of his guitar.
I didnt know he was gonna do that. I was as surprised as anybody else. But I got to know him and like him a lot. He was a very gentle and wonderful soul. We became friends.

It sounds like you got lucky a lot.
We were only supposed to shoot one song [with Jimi]. We had this red lightbulb on a stand, and when the lightbulb was turned on, that told the cameramen wherever they were that this we would be shooting. We were saving film; we would just get one take of the band. But some bands, like the Who or Jimi Hendrix or Otis, somebody shot everything. After a while, it was kind of a free for all, and that was good because what we got was more than just 10 songs in a row to put in a movie theater; we got a fantastic kind of remembrance of what people could do. And a lot of them didnt survive it. A year later, they were gone.

Do you have favorite shots in the film? I always think of the way Micky Dolenz watches Ravi Shankar or the way Mama Cass mouths wow after watching Janis Joplin.
I shot [Ravi] at the very end. I could feel it, it was so exciting. I was kind of lifted off the ground myself a little bit. So thats one. But Janis was the most interesting to shoot because I had not been prepared for her at all. She was [from] San Francisco, and I had been hanging out with the L.A.s. There was this thing between them. They had to sniff each other out a little bit. There was a feeling that they werent really good friends. It was wonderful to watch them sit and watch each other play. When she first stood there and belted that thing out, I thought, Jesus, this is incredible. This is the music I was used to hearing from the big blues bands of the Twenties and Thirties. It gave me a feeling that this is an important thing to do. Thats why when I was told we couldnt shoot her, I went to Albert and said, Whoevers in charge, youve gotta change their mind. Cause we gotta have her in the film. And she said, Im gonna do the set again, and you can film it.

Do you remember the reaction from when you first showed Monterey Pop?
Yeah, it was at the Venice Film Festival, and theyre [usually] not too hospitable to Americans. They werent gonna show it in the theater, but the kids all wanted to see it because they all knew about Jimi Hendrix and the people in it. So they showed it outdoors, and it was a fantastic showing, and the kids went crazy. It was like they had never been allowed to see a film like this before. That is the feeling I got. They all just went nuts. But the elders, the parents, were just sitting inside drinking cocktails. It was a funny feeling that I was at the wrong festival. But they never forgot it. Whenever I went back, still remembered the Venice showing of Monterey. And that always makes me feel good. It was kind of wonderous.

What is the legacy of the film Monterey Pop?
I dont know. I sort of wonder that to myself, because we had such a hard time getting people to see it. It wasnt like we had television to expose us to a hundred million people. We got about three theaters that would play any of [my] films, and then, reluctantly so. So we didnt have a huge audience. But its a different kind of audience.

Its hard to explain, but I understood when I was making those films both Dont LookBack and Monterey that this was music for some kind of future, I dont know, historical recognition. I dont really fully understand it. Its like listening to Billie Holiday. We will be listening to Billie Holiday for the next 50 years. And theres 10 other singers who were pretty good singers that theyre not gonna be listening to. So you have a kind of historical ladder you have to climb, and thats interesting. I cant control it. I cant make these films and say, OK, in 50 years, play them again. Nobodys gonna listen to me.

Travers: Peter Fonda, The Easiest Rider of Them All

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The Easy Rider himself, Peter Fonda, was pushing 80 when he passed away early Friday morning it was respiratory failure due to lung cancer that took him out. But that gamechanging 1969 movie made him immortal, freezing him in time as Wyatt, the stoned biker chasing an elusive freedom. Wearing a leather jacket (a large U.S. flag sewn across the back) on a Harley and going by the handle Captain America, Fonda rode into screen history by roaring through the American south in celebration of hippies, communes, drugs, free love, and anything that raised a finger to the Establishment. Easy Rider was a western played as an acid-fueled road trip. Along with his costar and co-writer Dennis Hopper, who played Billy (as in Billy the Kid) to Fondas Wyatt (as in Earp), Fonda blasted a hole in Hollywoods lazy mainstream culture. It made $60 million on a $400,000 investment. It turned indie filmmaking into the coolest game in town.

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Fonda and Hopper, who died in 2010, fought like badgers for the rest of their lives about who deserved credit for the film the former produced and the latter directed (they both were Oscar-nominated for the screenplay they wrote with Terry Southern). For Fonda, one of the unintended consequences of the wildfire success of Easy Rider, also noted for a bright, shiny breakthrough performance from Jack Nicholson as a boozing ACLU lawyer befriended by the bikers, was to reduce this member of a showbiz dynasty to a one-trick pony. In fact, he created quality work before and well after he went searching for America and couldnt find it anywhere. And he did it against daunting odds.

In person, the smooth-faced, handsome Fonda radiated the no-sweat confidence of a man who had it easy. It was an illusion. As the son of Henry Fonda and younger brother of Jane Fonda, Peter was Hollywood royalty. But the good life it wasnt. Dad could be frosty and remote. And when his mother, who had mental issues, slit her throat at mental institution, Henry lied to Peter, 10, and Jane, 12, and told them she had a heart attack. Understandable, perhaps, but not to Peter, who wrote in his 1998 memoir, Dont Tell Dad: After that, no one ever talked about Mom. No one seemed to miss her. It was almost as if she had never lived. Jane and I never went to a funeral or service for her; I didnt know where she was buried.

Talking to Fonda in the late 1990s, he refused to wallow in self pity about his early years. I was an asshole, Fonda said bluntly, rebelling, acting out. Though he reconciled with his father before Henrys death in 1982, they were never close (I dig my father. I wish he could open his eyes and dig me). Peter partied, drugged, wrangled with cops and hung with the Byrds, Buffalo Springfield, even the Beatles; John Lennon quoted his words I know what its like to be dead in the song She Said, She Said, referring to Peters story about accidentally shooting himself in the stomach when he was a kid.

Peter hated his early movies, playing pretty-boy nothings in Tammy and the Bachelor (1963) and The Young Lovers (1964). It was his friendship with B-movie king Roger Corman, however, that changed the course of Peters career. Henry wasnt exactly beaming when his son took the leading role in 1966 The Wild Angels, a Corman quickie that riffed on the bike culture of the Hells Angels with Fonda as a biker called Heavenly Blues. Critics did not do cartwheels, but the film was a hit. Seen today, you can still feel its raw, primitive energy and feel the sensitivity and nuance that Peter brought to a role that hardly demanded it. His eulogy at a funeral service particularly stands out. The next year, Fonda starred in Cormans The Trip, with a script by Nicholson, about the hallucinatory LSD subculture that also found its way into Easy Rider. Fonda was forming friendships and a daring style that hinted at a new energy surging under old Hollywood tropes.

After the success of Easy Rider, Peter no longer feeling alienated by his fathers disapproval directed and starred in The Hired Hand (1971), a western that he always talked about with a justified pride. Playing a man who returns to the wife and the ranch he abandoned, only to be forced to work as a hired hand, Fonda brings a disturbing resonance to the film as actor and director. Today, the film, a commercial flop once dismissed as a hippie western, seems excitingly ahead of its time. Vindication for Fonda came when the film was restored and shown at festivals in 2001 and hailed as a minor classic. Damn, that felt good, he said.

Fonda scored a hit with the 1974 outlaws-on-the-run romp Dirty Mary, Crazy Larry and in 1979 stirred controversy by directing Wanda Nevada, in which his character romanced a 13-year-old Brooke Shields its also the only film in which Peter and Henry ever appeared together. Through the next decades, Peter danced through various genres: action (The Cannonball Run), horror (Spasms), drama (Bodies, Rest & Motion, alongside his daughter Bridget Fonda) and a role in the TV series In the Heat of the Night. But he was losing career momentum, stifled by films that went straight to video or oblivion.

That all changed in 1997, when Fonda scored a major career comeback with Ulees Gold, a low-budget indie from director Victor Nuez in which he plays Florida beekeeper Ulysses Ulee Jackson, a widower and Vietnam vet raising two troubled granddaughters. What Jackson cant do is open up emotionally (shades of Henry). At the Sundance Film Festival where Ulees Gold debuted, Fonda admitted he felt his father inhabiting the stoic everyman hero. In this internalized, character-driven gem, the then58-year-old gave the best and most moving performance of his career. Fonda remembers the glow he felt when he received an Oscar nomination as Best Actor. Its a wry irony that he lost the gold to his Easy Rider pal Jack Nicholson for As Good As It Gets, bringing his career around to the film that made them both stars.

Fonda never held a grudge against Easy Rider for cementing his image in the public mind. His love of bikes (riding them gives me focus) got him inducted into the AMA Motorcycle Hall of Fame. Working in films as varied as 3:10 to Yuma to the upcoming The Last Full Measure, Fonda remained the man his sister Jane eulogizes as my sweet-hearted baby brother, the talker in the family. The talk sometimes got him in trouble, most recently for tweeting against Trump for separating children from their parents at the Mexican border, writing that we should rip Barron Trump from the arms of his parents and put him in a cage with pedophiles. A regretful Fonda quickly deleted the tweet and apologized. But he stayed passionate until the end, about family, friends, politics, movies, and most tellingly people he didnt know. How can I help? was a phrase you often heard pass his lips.

When I Iast saw him, about a year ago, he was planning new projects and fresh mischief. Im working at it, he said with that infectious smile. Remembering Peter Fonda means recalling his kindness, a generosity of spirit rare in ego-drenched Hollywood. At the end of Easy Rider, its Fondas Wyatt who rides back for help when those gun-crazy rednecks blast Billy off his bike. The final image of the film is Wyatt and Captain America going up in flames. Fonda never saw the ending as hopeless. Its a bonfire, he said. Still burning. Thats the attitude that makes the memory of the personal and public Peter Fonda an everlasting flame.

Watch Hailee Steinfelds Writerly Rebellion in New Dickinson Trailer

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Hailee Steinfeld captures Emily Dickinsons rebellious spirit in the new trailer for Dickinson, debuting this fall on Apple TV+. The series stars Steinfeld as the 19th century poet, who famously pursued writing against the wishes of her family, who wanted her to be a proper lady.

Set in the 19th century, Dickinson is a coming-of-age story that finds Emily Dickinson to be an unexpected hero for our millennial era, reads the show synopsis, and the trailer captures just as much. In it, Dickinson and her friends are shown dancing and skipping about to a fitting yet anachronistic hip-hop beat. The clip also features an excerpt from one of Dickinsons most notable poems, Wild Nights: Wild nights/Were I with thee/Wild nights should be/Our luxury.

David Makes Man Review: Portrait of A Boy, Interrupted

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The title of the wonderful new OWN drama David Makes Man is slightly misleading. Yes, its about a 14-year-old boy named David (Akili McDowell) struggling to become a man faster than he should have to, due to the complicated circumstances of his life. But David is just one of several names and identities our anxious and deeply sympathetic hero goes by.

To adults like his recovering addict mother Gloria (Alana Arenas) and his teacher Dr. Woods-Trap (Phylicia Rashad), he is David, a very smart but reserved boy doing his best at a magnet school for gifted kids where hes one of the few black students and comes from by far the most impoverished background. To friends at school like Seren (Nathaniel McIntyre), he is DJ, a class cut-up who cant always stop himself from taking a joke too far. And to everyone back at the projects where he lives with Gloria and little brother JG (Cayden Williams), he is Dai, reserved and odd but also considered a very promising prospect by the local drug crew.

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We see David shift between these personae instinctively, never comfortable in any of these worlds, but understanding how hes expected to present himself to each. While his story is mostly told in a raw fashion, creator Tarell Alvin McCraney sprinkles in bits of magic realism throughout. This includes interludes where David imagines himself code-switching in an awkward moment to tell people what he really thinks. In one episode, we even see his three main identities in a room together as school counselor Dr. Bree (Ruben Santiago-Hudson) tries to figure out what makes this kid tick. For much of that story, David, DJ, and Dai are all at odds with one another; occasionally, though, they speak in perfect harmony, because there are some truths universal to this young man no matter where he is and who hes trying to be.

That would be hard, having to split yourself like that, Dr. Bree suggests as he ponders the realities David has to straddle. Hard would be an understatement. Its exhausting, and among the things David Makes Man does so well is to portray just how much this wears on David, and how quickly his anxiety can turn to desperation when a piece of his very delicately-arranged life seems on the verge of falling out of place.

There are similarities to Moonlight, which McCraney co-wrote. David is not just a quiet kid unsure of where he belongs; hes allowed a local dope dealer, Sky (Isaiah Johnson), to assume the role of father figure in place of the useless man who wanted nothing to do with him and Gloria. Theres a lyrical, dreamlike quality to the storytelling, even in some of the most nerve-wracking moments. Yet the periodic glimpses of Davids fantasy life dont undercut the gravity of his situation; rather, they underline how badly hed like to escape, and how hard that will be to do. He dreams of being admitted to an elite high school with the well-to-do Seren, but Sky warns him about trying to help anyone but himself. (Recalling the schools glossy pamphlet, Sky asks, You see two black faces or one?)

This isnt always an easy show to watch, because David and Seren and so many of the other kids are so clearly vulnerable. Even Raynan (Ade Chike Torbert), the scowling underage dealer who wants a reluctant David to work for him, isnt nearly as powerful as he likes to make others think. But McCraney and his collaborators(*) do a superb job of etching in these different communities and the people in them, and of getting us to want to protect David in a way hed be afraid to ask anyone in his own life to do. Theres nuance and understanding to each group, so that Woods-Trap and another African-American teacher can have a casual argument about colorism, or so we see the space that gender-queer Mx. Elijah (Travis Coles) has carved for herself in the projects. (The only time the neighbors are thrown by her anymore is on the rare occasion that she has to wear mens clothes to conduct business outside her home.)

(*) Dee Harris-Lawrence (Unsolved: The Murders of Tupac and Biggie Smalls) is the hands-on showrunner. But the producers include Oprah Winfrey and Michael B. Jordan, whose first TV role of note was on The Wire as Wallace, a corner kid who would recognize a fair piece of himself in David.

The debut episode, written by McCraney and directed by Michael Francis Williams, runs an hour without commercials and can occasionally feel sluggish, particularly regarding a twist thats telegraphed long in advance. But the way it simply lingers in Davids worlds, and in his head, pays enormous emotional dividends in later episodes. Those installments arent quite as stylish as the premiere, but they allow for a touch more humor and whimsy, which proves a welcome trade-off.

The camera spends much of its time in close on Davids face, not allowing him to hide from us in the same way that he feels under constant interrogation from teachers, friends, and neighbors. That also asks a lot of a young and relatively untested actor like Akili McDowell. He has to convincingly be David, DJ, and Dai, conveying the weight that the character feels under any and all of those names. And he has to make you want to keep watching a story that is so much about his hard life, which requires him to communicate more through expression than the limited, halting dialogue hes often given. Fortunately, McDowell is more than up to the challenge, and makes David someone whos easy to root for even when he makes the kind of dumb mistakes any 14-year-old would.

In one episode, David does a presentation for Woods-Traps class about his background, the first time hes exposed so much of himself to his classmates. As part of the assignment, he recruits Seren and another friend to accompany him on an arrangement of Mary J. Bliges Your Child. He explains the choice by talking about how all of them are so often judged and made to feel like theyre nobody, but something as simple as a song on the radio can tell you that youre not a nobody. Something as simple as a TV show can do the same thing, particularly when a character like David is still such a rarity in a universe with 500-plus scripted TV shows and when the show is as good as David Makes Man.

David Makes Man debuts August 14th on OWN. Ive seen five of 10 episodes.

Universal Cancels The Hunt Release After Trump Criticism

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Universal Pictures announced Saturday that the studio has canceled its planned release for the upcoming horror film The Hunt, just a day after President Donald Trump seemed to criticize the movie and liberal Hollywood in a series of tweets.

In the aftermath of the El Paso and Dayton mass shootings, Universal paused their marketing push for the film, a Most Dangerous Game-inspired thriller about elites killing blue-collar people (deplorables, as theyre called in the trailer) for sport, Variety reports. On Saturday, Universal announced the films release would be scrapped entirely.

While Universal Pictures had already paused the marketing campaign forThe Hunt, after thoughtful consideration, the studio has decided to cancel our plans to release the film, Universal said in a statement.

Watch Elites Stalk Strangers for Sport in Wild New Trailer for 'The Hunt'Trump Blames 'Fake News' For Shootings in El Paso and Dayton

We stand by our filmmakers and will continue to distribute films in partnership with bold and visionary creators, like those associated with this satirical social thriller, but we understand that now is not the right time to release this film.

Universal Pictures decision follows Trumps tweets fueled by a Fox News report earlier that day that blamed liberal Hollywood for creating great anger and hate.

Liberal Hollywood is Racist at the highest level, and with great Anger and Hate! They like to call themselves Elite, but they are not Elite. In fact, it is often the people that they so strongly oppose that are actually the Elite, Trump tweeted, adding of The Hunt, The movie coming out is made in order. to inflame and cause chaos. They create their own violence, and then try to blame others. They are the true Racists, and are very bad for our Country!

Blumhouse, the production company behind The Hunt as well as Get Out, The Purge franchise and Paranormal Activity, has not yet commented on the films canceled release. The Hunt was due to arrive in theaters on September 27th; its unclear whether the films theatrical release is postponed or if it will eventually be released on video-on-demand or streaming services.