Entertainment
In the dark days of the pandemic, 34 famous authors found light in a collaborative novel
On the Shelf
Fourteen Days
By the Authors Guild, Margaret Atwood and Douglas Preston
Harper: 384 pages, $32
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During the pandemic, one of the most well-documented and poignant ways people paid tribute to first responders, healthcare workers and others who risked their own health and well-being was through the New York City evening “pots-and-pans symphony.”
For many, banging a spoon on a skillet could be done in isolation. However, as the spring of 2020 progressed, people found safe open-air spaces in which to gather and noisily acknowledge their brave fellow citizens who kept hospitals, care residences, clinics and grocery stores open and functioning.
Author Douglas Preston
(Christine Preston)
So perhaps it’s not surprising that the Authors Guild, our nation’s longest-running and strongest-advocating organization for writers, chose to set its first collective-written book on a Manhattan rooftop. Author and recent Guild President Douglas Preston, who co-edited “Fourteen Days: A Collaborative Novel” with author Margaret Atwood, says, “The interesting thing about New York is that people are all mixed up there, even within the same buildings.” Preston, once a New Yorker himself, spoke via video conference from his home in Taos, N.M., and emphasized that all of the characters in “Fourteen Days” are “real people … and not all of them are getting along. The idea is about diversity, and not just diversity of background or origin or thinking, but about diversity of genre.”
Diversity of genre doesn’t just refer to the book’s characters and the stories they tell while gathering each evening on the roof of their somewhat rundown apartment building, the Fernsby Arms; it also refers to the genres in which the book’s contributors write. Among the 36 authors whose names grace the “Fourteen Days” jacket are Dave Eggers, Celeste Ng, Scott Turow, Mira Jacob, Tommy Orange, Tess Gerritsen, R. L. Stine, Weike Wang and Ishmael Reed.
Obviously, “Fourteen Days” will be paradise for avid readers, but there’s one little twist that will make it even more interesting, and that’s the fact that the chapters themselves don’t have bylines. Each contributor was asked to submit a self-contained story of any length and in any style; the results would then be edited and placed into the framework Preston dreamed up long ago. “Many years ago I had this idea of writing a plague novel, sort of like Boccaccio’s ‘Decameron,’ ” says Preston. “And it was a disaster. It was terrible! When you’re a novelist, you often abandon things, and I abandoned it.
“But when the pandemic hit, I thought it might be an idea worth resurrecting, as a group storytelling project. I suggested it to a few colleagues, and they said, ‘Yes, let’s do it,’ but we have to tell the stories of the people who were left behind.”
Another contributor who is a longtime New York resident is “Goosebumps” author Stine, who echoes his good friend Preston’s thoughts about the city. “We all have different stories in New York, and we all live on top of one another,” Stine says from his Upper West Side home office, also via video conference. “And we all get along pretty well. That’s what America is supposed to be about.”
Author R.L. Stine
(Dan Nelken)
Which story and chapter Stine contributed to shall remain unidentified for the sake of future readers, but suffice to say it derives from his memories of how COVID-19 “made all of our lives smaller. I see fewer friends, I go fewer places. My life is just smaller than it was three years ago. For the characters in this book, coming up to the roof and sharing their stories was their entertainment.”
Some of the authors who answered Atwood’s call wrote completely original, new stories; others wrote stories that they had heard but never tried to write down, like Gerritsen. Her thrillers, which include the “Rizzoli & Isles” series, draw on her background as a physician. “I saw some pretty weird stuff,” Gerritsen says by telephone from her home in Maine, of her years as a doctor. “The story I chose to write and share is a true one, based on something that took place when I was working at a hospital in Hawaii.”
Like her colleagues on the project, Gerritsen is a member of the Authors Guild, “since 1990 or so, way back. I think this project arrives at a time when we really need to speak up as creatives, and I can also speak as a minority to say that I remember vividly the first time I felt seen in the pages of a book, the first time I saw not just a Chinese person in a book, but an American Chinese person in a book. I now had a place, that’s how I felt. In this book, there are characters of all different backgrounds, and I think for young people, seeing that characters who are like them exist is going to be very comforting.”
The Authors Guild will use the book’s proceeds to support educational programs and advocacy work for writers. Its new executive director, Deborah Wilson, says the “stories and perspectives shared are powerful and moving, representing a range of voices. We are also excited to be in early discussions about possible film and TV adaptations that could bring these stories to life in new ways.”
Author Dave Eggers
(Eduardo de la Manzana)
“Those of us who publish books can expect to see a dollar or two every time one of our books is sold, and that’s in large part because the guild has always been out front, making sure that piracy is not allowed, that copyright protections are there, and that we are not replaced by AI,” says Eggers, founder of McSweeney’s and author of books including “Zeitoun” and “The Circle.”
Eggers, speaking by telephone from California, says, “Anything the Authors Guild wants me to do, I’m there, because without them we don’t exist.” He also thinks that this project’s magnitude “where you can, as a reader, stay involved all the way through knowing there’s a common thread, was a really brilliant solution to fitting together a few dozen writers.”
“During the pandemic, we really had far more time to listen to each other. When the day-to-day is broken up and schedules exploded, you have more time, or at least it felt that way,” says Eggers, who delivered for his local food bank throughout quarantine and isolation, and in the process saw people “relying on and listening to and knowing each other more than before.”
While members of the Authors Guild rely on the organization for education, advocacy and benefits, members, like those who contributed to “Fourteen Days,” know that readers rely on them for information and entertainment. Preston, who worked with at least two different in-house editors during the book’s multi-year development, believes that readers will find all of those in the tenants’ tales.
“Some of the characters tell their stories reluctantly. Some of the stories are about scary things, some of them are confessionals, some are truly beautiful. There are stories of love, loss and memory. And, finally, there’s a big surprise at the end of the book.” Preston’s face lights up with a huge smile. “I can’t wait for people to read it.”
Patrick is a freelance critic, podcaster and author of the memoir “Life B.”
Movie Reviews
Review | Another World: macabre human fable is a new milestone for Hong Kong animation
4/5 stars
Hong Kong filmmakers rarely get as philosophical about the human condition as they do in the animated feature Another World, which contemplates the limits of goodness in the face of great evil, set against a vibrant action fantasy backdrop.
Although the film’s focus on reincarnation appears to align it with Eastern religions, Another World’s belief in kindness renders it a universally engaging watch. Young children should stay away, however, as they might be scarred by some of the shockingly grisly moments in this macabre tale.
Leading us into the afterlife is one of its spirit guides, Gudo (voiced by Chung Suet-ying), who is tasked with helping deceased souls let go of their memories and escorting them past a magical waterfall into the next life – all the while making sure the “seed of evil” inside each of them, if any, does not sprout out of resentment.
His latest charge is a girl named Yuri (Christy Choi Hiu-tung), whose pure and lively character fascinates Gudo. Yuri is initially not aware that she has died and is instead persistent in her search for her younger brother, whose fate remains unknown for much of the runtime.
In the 1988 movie “Working Girl,” an assistant secretly stays at her absent boss’ apartment, ogles its opulence alongside her best friend and tries on a dress with a $6,000 price tag.
The new musical version of the beloved film re-creates this iconic scene with nine women onstage. They enter the glamorous dwelling with voluminous permed hair, shoulder-padded blazers and white athletic sneakers — the latter for commuting from the outer boroughs into Manhattan — and take turns admiring the tweed Chanel suits, silk Versace robes and vintage Hermes scarves. They then quick-change into fabulous metallic gowns and, with the help of LED panels and lighting cues, the bedroom transforms into a fashion runway of scintillating secretaries, singing and dancing in feminine revelry. And that showstopper dress? It now costs $7,000.
The moment epitomizes the approach of this adaptation, which begins its world-premiere run Tuesday at La Jolla Playhouse: take the most memorable parts of the movie and turn up the volume for the stage. The result: an unabashed celebration of women, theater and all things 1980s, led by the quintessential musician who embodies it all: Cyndi Lauper.
Cyndi Lauper in New York City in September.
(Larsen&Talbert / For The Times)
“I want the audience to be entertained — laughing, crying, standing up and feeling like they can do it all too,” Lauper said of the show, already extended through Dec. 7. “Not that you could go in your boss’ closet and wear her clothes, no! But that exciting feeling of living in the city in the ‘80s, being creative and not backing down.”
A corporate Cinderella story, the 20th Century Fox comedy starred Melanie Griffith as Tess, a tenacious secretary at a Wall Street brokerage firm who learns that her boss, Katharine, has taken credit for her business proposal. When a ski accident keeps Katharine out of the office, Tess poses as her superior to team up with Jack — an investment broker played by Harrison Ford — and pitch her idea to the top brass herself.
Directed by Mike Nichols, “Working Girl” was nominated for six Academy Awards, highlighting the performances of Griffith, Sigourney Weaver as the deliciously cutthroat Katharine, and Joan Cusack as Tess’ best friend Cyn. “The tacit recognition of the barriers that hold the Cyns and the Tesses back and the lack of condescension to them in the direction and in [the] script makes ‘Working Girl’ one of the warmest films that Nichols has touched,” praised The Times’ film critic Sheila Benson in her review.
Since the “Working Girl” plot is locked into the ‘80s — “If you tried to pass yourself off as an executive today, people would Google you and it’d be over!” joked director Christopher Ashley — the musical wholly embraces the era’s aesthetics in its costumes, choreography and, of course, its score. “Sonically, there was a lot of individuality at the time, with so many new sounds and genres,” recalled Lauper, a born-and-bred New Yorker who briefly worked as an office assistant before her career took off. (Lauper’s agent even encouraged her to audition to play Tess in the movie.)
With the launch of MTV, “the ‘80s was the first time we were watching music,” she continued. “Like, the first time we saw Annie Lennox in a boardroom in that suit with her fist on the table, looking right at us and saying, ‘Sweet dreams are made of this,’ oh my God, it stopped you. It wasn’t just her androgynous image or the color of her hair, which was awesome, but it was also the fact that, maybe for the first time, we were getting a real sense of who she was, because music videos were where the artists were in creative control. Anyway, there was a lot of stuff going on then, and we wanted all of it in the show.”
Lauper — whose debut theatrical outing, the 2013 Broadway hit “Kinky Boots,” won six Tony Awards, including for her original score — has been writing “Working Girl” compositions for a decade. To create songs for the five-piece band that fully represents the variety of the era’s music — electronic, hip-hop, hair metal and more — Lauper brought in her “Time After Time” co-writer Rob Hyman of the Hooters, Cheryl James of the rap group Salt-N-Pepa and Sammy James Jr., who co-wrote the title song for the film “School of Rock.” (Carly Simon’s Oscar-winning original song “Let the River Run” is not in the score.)
Harrison Ford, Melanie Griffith, center, and Sigourney Weaver, right, in Mike Nichols’ 1988 comedy drama “Working Girl.”
(20th Century Fox)
“Working Girl” is the latest hit comedy to attempt the jump from ‘80s movie to musical theater, following “9 to 5,” “Big,” “Beetlejuice,” “Footloose,” “Tootsie” and “Back to the Future.” Not all of these titles stuck the landing, critically or commercially.
“I think some musicals get caught in trying to recapture the exact lightning-in-a-bottle of the movie,” said Ashley. “We have the fortunate circumstance of Kevin Wade, the film’s screenwriter, passing this to us and saying, ‘Take what’s useful and remake what you need to.’”
Joanna “JoJo” Levesque, left, and Leslie Rodriguez Kritzer star in the musical adaptation of the 1988 movie “Working Girl,” near the La Jolla Playhouse.
(Ariana Drehsler / For The Times)
The production stars Joanna “JoJo” Levesque as Tess, who is “a little rougher around the edges” onstage, said Levesque. “We lean into her working-class background because we’re really telling a story about class, the haves and the have nots. And in this time that we’re living in, that’s important to talk about.” (Yes, Tess still says her legendary line: “I’ve got a head for business and a bod for sin.”)
Likewise, Levesque’s co-star Leslie Rodriguez Kritzer teased that her Katharine has moments of hilariously frantic energy — a Kritzer character signature. Nevertheless, she remains as statuesque and merciless as Weaver was onscreen. “This is my third movie-musical adaptation,” said Kritzer, who originated roles in the “Legally Blonde” and “Beetlejuice” musicals. Each time, “it’s about figuring out how to make it different but still giving the audience what they want.”
Though Tess and Katharine are rivals in the show, seasoned stage actor Kritzer become a mentor of sorts to Levesque, the pop star who entered the theater scene with a 2023 stint in Broadway’s “Moulin Rouge!” and is originating a role for the first time. In rehearsals, they help each other incorporate key vocal influences: Lennox, Pat Benatar, Roxette, Joan Jett, Patti Smith, Blondie and Lauper herself. Onstage, the secretaries collectively echo that same women-helping-women attitude, which might inspire any young women watching.
“There’s so much beauty in Cyndi’s lyrics about dreaming big and using hope as a fuel,” said book writer Theresa Rebeck. “In the ‘80s, companies kept getting bought and split open, but our story celebrates that fight for opportunity and coming together to build something new. It was important then, and it’s important now.”
So will it all appeal to today’s working girls? “It’s been my experience that a lot of the kids like the ‘80s music,” said Lauper. “I’m always surprised to see how many kids are in my audience.”
Movie Reviews
Now You See Me: Now You Don’t Movie Reviews Are In – And There’s One Clear Critics’ Consensus
The first critics’ reactions to Now You See Me: Now You Don’t are finally here, and they largely agree that the Lionsgate threequel is another major hit. After being stuck in development, the highly anticipated Now You See Me Sequel will finally arrive in theaters on November 14, 2025, continuing the story of the iconic Four Horsemen, illusionists and street magicians who are experts in orchestrating elaborate heists.
In Now You See Me‘s third installment, the Four Horsemen recruit three skilled illusionists for another heist involving the world’s largest queen diamond before finding it belongs to a powerful crime syndicate. The hype surrounding the movie is poised to rise after the first wave of reactions had high praise for the project.
Critics who saw an early screening of Now You See Me: Now You Don’t in New York shared their first reactions on X. The threequel received largely positive reactions, with nearly all critics saying that it is thoroughly entertaining and fun.
Film critic Andre Saint-Albin described the film as “a sleight-of-hand masterpiece,” noting that Now You See Me 3 has an “entertaining story” and a “phenomenal diamond heist.” He also teased that the film has an “epic” third act while also praising the new casting additions:
“‘Now You See Me: Now You Don’t’ is a sleight-of-hand masterpiece! The Four Horsemen (Eisenberg, Harrelson, Franco, Fisher) return for their next trick with an entertaining story & a phenomenal diamond heist. Smith, Sessa & Greenblatt plant the seeds as Gen-Z firebrands, clashing with old-school magic. New seeds, old tricks, epic third act! Fleischer’s directs a ride so good fun you’d swear it was sorcery!”
Entertainment reporter Jonathan Sim boldly claimed that Now You See Me: Now You Don’t is a “funny, thrilling heist movie” and teased that it was “filled with surprises:”
“#NowYouSeeMe: Now You Don’t gives us the magic we’ve been waiting for. A funny, thrilling heist movie. The Horsemen are back in action with non-stop fun, tricks, and joy. The new characters are an A+ addition. Filled with surprises and just as dazzling and astonishing as ever.”
While Critics Choice’s Tony Mosello admitted that it’s more of the same, he said that fans will love Now You See Me: Now You Don’t due to its fun “twists and surprises, with elevated stakes:”
“NOW YOU SEE ME: NOW YOU DON’T proves the original Horsemen still have “it”, injecting the show with youthful energy via the newcomers and a fun, campy, and villainous Rosamund Pike. Full of twists and surprises, with elevated stakes; it’s more of the same, but fans will LOVE it.”
CinemaBlend’s Riley Utley shared that the threequel made her “smile from ear to ear,” and the movie reminded her why the first movie made her fall in love with films in the first place:
“‘Now You See Me: Now You Don’t’ reiterates with exclamation points why the first ‘Now You See’ movie was one of the projects that made me fall in love with movies. There’s nothing better than projects that make me smile from ear to ear, blow my mind and make it clear why movies are magic.”
That Hashtag Show’s Manny Gomez praised how the latest Now You See entry allowed the original cast to “set the stage for the new magicians to shine:”
“#NowYouSeeMe is a fun addition to the franchise that allows the beloved cast to set the stage for the new magicians to shine. Loved the magic… misdirection… and twists and turns that make going to the movies fun.”
The Direct’s David Thompson was proud to declare that the “magic is back” in the Now You See Me franchise after seeing that the third installment was filled with “some satisfying twists and turns:”
“Happy to report the magic is BACK in the #NowYouSeeMe franchise — loved the new cast, a bunch of fun sequences, & some satisfying twists and turns.”
Film critic and The Film Blerds host Brandon Norwood said that fans of the series will definitely “love” Now You See Me: Now You Don’t because it is “thoroughly entertaining:”
“NOW YOU SEE ME: NOW YOU DON’T: Thoroughly entertaining! The younger cast mixes in well with the OGs. Fans of the series, you’ll love this. Really miss mid-budget studio popcorn fare like this.”
Popternative’s Christopher Gallardo enjoyed the latest Now You See Me entry and described it as a “new-gen rivals old-gen story” that has a special flair:
“NOW YOU SEE ME: NOW YOU DON’T is an exciting thrill-ride with all the tricks and dazzle you’d want. It’s a ‘new-gen rivals old-gen’ story with a special flair that shines with it’s fun cast chemistry. Sessa, Greenblatt, and Smith especially rock all throughout!”
FandomWire’s PossesSEAN gave high praise to the movie’s “impressively staged set pieces,” calling the threequel a “great popcorn movie:”
“#NowYouSeeMe: NOW YOU DON’T was catnip for me — another exhilarating, funny caper with some of the most impressively staged set pieces of the year. A great blend of old and new that effectively ups the stakes and scale. What a great popcorn movie!”
Ethan Simmie of The Movie Draft Podcast admitted that Now You See Me: Now You Don’t went “full Mission: Impossible mode,” with him celebrating the fact that it was “some of the most fun” he’s had at the movies this year:
“NOW YOU SEE ME: NOW YOU DON’T is some of the most fun I’ve had at the movies all year! This entry goes full Mission: Impossible mode and is hilarious, entertaining, and perfectly meta. I could watch one of these every single year forever. We really do come to the movies for magic.”
Directed by Ruben Fleischer, Now You See Me: Now You Don’t is one of the 12 biggest sequels in 2025. The movie has a stacked cast, including Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco. They are joined by newcomers Justice Smith, Ariana Greenblatt, Dominic Sessa, and Rosamund Pike. Now You See Me: Now You Don’t will premiere in theaters on November 14, 2025.
Now You See Me 3’s Success Could Lead to Franchise’s Promising Future
Based on the first wave of reactions, Now You See Me: Now You Don’t seems poised for success, which is good for the franchise’s future. Moreover, widespread critical praise could boost the movie’s box office returns.
The long wait for Now You See Me: Now You Don’t could be seen as an advantage because it offers a sense of nostalgia to original fans. The nine-year gap also allowed the movie’s writers to strike an ideal balance, crafting intricate heists while establishing seamless chemistry between the returning cast and new additions.
If successful, Now You See Me: Now You Don’t could lead to future installments or potential spin-offs. With prequel entries to many recognizable franchises like Alien: Earth (read more about Season 2 here) and It: Welcome to Derry finding success in streaming, the threequel’s triumph at the box office could push Lionsgate to explore a spin-off focusing on the younger versions of the Horsemen.
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