Entertainment
Justin Timberlake reportedly reaches plea deal in DWI case ahead of Hamptons hearing
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Justin Timberlake is nearing a resolution in his driving while intoxicated case, months after he was arrested in the Hamptons in June.
The “Can’t Stop the Feeling” and “Mirrors” pop star is expected to enter a plea during a Friday hearing where he is set to appear in-person at New York’s Sag Harbour Court, the Suffolk County District Attorney’s Office confirmed to The Times. The singer, 43, agreed to plead guilty to a less serious offense than his original driving while intoxicated charge, the Associated Press reported.
Timberlake’s attorney Edward Burke Jr. did not comment to The Times.
The 10-time Grammy Award winner was arraigned June 18 in Sag Harbor Village Justice Court, on the eastern end of Long Island. The musician allegedly failed to stop at a stop sign and struggled to stay in his lane while driving, the Sag Harbor Police Department said. He pleaded not guilty.
Police described Timberlake during the arrest as having “bloodshot and glassy” eyes with a “strong odor of an alcoholic beverage” on his breath, according to court papers obtained by The Times. Police said the singer also had slowed speech and performed poorly on sobriety tests.
Timberlake, amid his Forget Tomorrow World Tour, was released on his own recognizance.
A month after his arrest, lawyer Burke denied his client was intoxicated when he was stopped and alleged there were errors with officials’ arrest documents. In response, a spokesperson for the district attorney told AP, “We stand ready to litigate the underlying facts of this case in court, rather than in the press.”
A police photo of singer Justin Timberlake taken after his June 18, 2024 arrest on suspicion of driving while intoxicated in the Hamptons.
(Sag Harbor Police Department)
Days after his arrest, the former ‘N Sync frontman got candid with fans at a Chicago concert, telling them “it’s been a tough week.”
“Nothing can change this moment right now,” the singer said in June. “I know sometimes I’m hard to love, but you keep on loving me and I love you right back. Thank you so much.”
Timberlake continues his Forget Tomorrow tour later this month with a stop at New Jersey’s Prudential Center. He is slated to play shows in Toronto, Detroit, Orlando and Atlanta, among other cities, before the end of the year.
Times staff writer Nardine Saad contributed to this report.
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Movie Reviews
‘Saturday Night’ review: A madcap backstage ode to Lorne Michaels’ legendary show
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movie review
SATURDAY NIGHT
Running time: 109 minutes. Rated R (language throughout, sexual references, some drug use and brief graphic nudity). In theaters Sept. 27.
Lorne Michaels should send a check to Sony.
Because the studio’s sent him a love letter. In their new movie “Saturday Night,” a madcap comedy about the 90-minute dash leading up to the 1975 debut episode of “SNL,” the show’s famously enigmatic creator is lionized.
Michaels, the most important behind-the-scenes comedic force of the past 50 years, is placed on an innovator pedestal alongside the likes of Steve Jobs and Mark Zuckerberg, only without their personal downsides.
He’s portrayed as an optimistic young underdog with an improbably bold vision: a completely live, weekly sketch series starring inexperienced, unpolished nobodies in a desert island of time slots.
His “This is Sparta!” speech comes during the climax, when Lorne (Gabriel LaBelle) is grilled by NBC exec David Tebet (Willem Dafoe) about what “Saturday Night Live” exactly is.
Michaels, finding his confidence in real time, tells doubting David it’s discovering a hot new comic at the back of a bar downtown, or being swept up by the music at a tucked-away jazz club.
“It’s everything you think is going to happen when you move to the city,” says a then-30-year-old Michaels. “That’s ‘Saturday Night.’”
And that’s the stuff of goose bumps.
The David-and-Goliath confrontation is the best and most grounded scene in Jason Reitman’s never-less-than-likable film, which had its international premiere Tuesday at the Toronto International Film Festival.
The plot barrels forward like the brakes are broken. And, being a Tour de Frantic, it can be hard to keep up. The gist is that this massive TV hit that spawned countless stars was nearly a disaster that didn’t make it to air. Execs were ready to roll a “Tonight Show” rerun instead.
Knowing this is his only chance, Michaels races around 30 Rock and Studio 8H attempting to get his scrappy creation up and running.
He must control his boisterous young stars, who treat the office as a kegger — or worse. John Belushi (Matt Wood, a find) refuses to sign his contract and heads to a bar. George Carlin (Matthew Rhys), the first host, gets lockjaw from snorting too much cocaine.
The set’s not finished and the dress rehearsal ran three hours. An NBC page (Finn Wolfhard) stands outside on 48th Street begging passersby to be audience members.
On the periphery of the art, there are corporate concerns. The affiliates are in town to decide if they even want to air whatever this is. And whiny network stars Milton Berle (J.K. Simmons) and Johnny Carson are threatened by the annexation of their late-night turf.
For a movie that’s barely longer than an episode of “SNL,” that’s a lot of ground to cover. And those “Noises Off”-style backstage snafus are just a small sampling of all the action. But Reitman ably crams it in, even if the onslaught occasionally gives us whiplash.
Always in motion, “Saturday Night” can be a bit like if Joan Cusack’s sprint at the start of “Broadcast News” lasted for an hour and 45 minutes.
Since the characters barely get a chance to catch their breath, let alone say their piece, we don’t learn much about them beyond familiar traits. However, Reitman’s aim isn’t to seriously illuminate that fateful night so much as to energetically add to showbiz mythology.
The director said onstage at the premiere that, during interviews, the real talents’ accounts of that first show all contradicted each other. We can tell, but the absurdity is part of the fun.
On Oct. 11, 1975, Gilda Radner, Chevy Chase and Dan Aykroyd were not yet household names. They barely mattered in their own studio. But over the course of that year, they’d explode.
So it’s fitting that, in casting actors to play them, Reitman chose some of Hollywood’s most talented rising stars who America will soon know very well.
LaBelle, a revelation as a young Steven Spielberg in “The Fabelmans,” wows once again as Michaels, another dreamer.
I never guessed that Cory Michael Smith, who I’ve watched for years onstage and in Todd Haynes’ films, would make such an uncanny and hilarious Chase with a gift for punch lines.
Cooper Hoffman, whose star-is-born moment came in “Licorice Pizza,” brings that same charming gumption to producer Dick Ebersol. And Ella Hunt exudes Radner’s easy effervescence.
The cast is sadly too gigantic to list off. Some are skilled impressionists, while others manage to get to the meat of their person. Like the aftermath of a sketch being cut from an “SNL” episode, there are times when you wish you could see a lot more of certain performers.
In any case — and who would’ve thought I’d be saying this about a man who barely speaks — the real magic here is LaBelle’s Michaels. Live from New York, it’s Lorne!
Movie Reviews
Movie Review: 'The Front Room' – Catholic Review
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NEW YORK (OSV News) — Oh, those creepy Christians! Such is the underlying sentiment discernible through most of the running time of the psychological horror film “The Front Room” (A24).
A late plot development — not to be detailed for fear of a spoiler — completely derails this already problematic chillfest, however, as the script moves from implicitly disdaining an off-kilter version of scriptural faith to justifying a grave crime. In light of that climactic stance, the movie is unsuitable for all.
Pseudo-sophisticated anthropology professor Belinda (Brandy Norwood) peddles a feminist version of Dan Brown-style hooey about comparative religion in the college classroom while coping with emotional trauma behind the scenes. As we eventually learn, pregnant Belinda and her husband, public defender Norman (Andrew Burnap), had a son who died in infancy.
Already-beleaguered Belinda finds her woes multiplied once Norman’s recently widowed stepmother, Solange (Kathryn Hunter), moves in with the couple, occupying the chamber of the title — which was originally intended to be the family nursery. Solange is a devious religious fanatic who believes she is being guided by the Holy Spirit.
As this mother-in-law from hell increasingly blights Belinda’s life, viewers are invited both to revel in Solange’s malicious antics and to sympathize with her victim. Among other things, Solange capitalizes on her supposed incontinence to create disgusting situations for Norman and Belinda — and nasty visuals for the audience.
Repeatedly wallowing in her own filth, Solange declares, in her Southern drawl, “I’m a m-e-s-s, mess.” As adapted from Susan Hill’s short story by screenwriters and debuting directors Max and Sam Eggers, the same can be said for “The Front Room” itself.
The film contains skewed values, shadowy marital lovemaking, gross scatological images, about a half-dozen instances each of profanity and milder swearing, much rough language and occasional crude talk. The OSV News classification is O — morally offensive. The Motion Picture Association rating is R — restricted. Under 17 requires accompanying parent or adult guardian.
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Entertainment
The week’s bestselling books, Sept. 15
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Hardcover fiction
1. The Life Impossible by Matt Haig (Viking: $30) A retired math teacher comes to terms with her past after she’s gifted a run-down house on a Mediterranean island.
2. Creation Lake by Rachel Kushner (Scribner: $30) A seductive and cunning American woman infiltrates an anarchist collective in France.
3. All Fours by Miranda July (Riverhead Books: $29) A woman upends her domestic life in this irreverent and tender novel.
4. Colored Television by Danzy Senna (Riverhead Books: $29) A novelist in L.A. gets the opportunity to cash in on her biracial background in this sharply funny Hollywood takedown.
5. James by Percival Everett (Doubleday: $28) An action-packed reimagining of “The Adventures of Huckleberry Finn.”
6. Blue Sisters by Coco Mellors (Ballantine Books: $30) Three estranged siblings return to their family home in New York after their beloved sister’s death.
7. Death at the Sign of the Rook by Kate Atkinson (Doubleday: $30) Private eye Jackson Brodie is back in the newest installment of the bestselling mystery series.
8. Long Island Compromise by Taffy Brodesser-Akner (Random House: $30) A social satire on the wild legacy of trauma and inheritance.
9. We’ll Prescribe You a Cat by Syou Ishida, E. Madison Shimoda (Transl.) (Berkley: $25) A bestselling celebration of the healing power of cats.
10. The Women by Kristin Hannah (St. Martin’s Press: $30) An intimate portrait of coming of age in a dangerous time and an epic tale of a nation divided.
…
Hardcover nonfiction
1. The Creative Act by Rick Rubin (Penguin Press: $32) The music producer’s guidance on how to be a creative person.
2. Dynamic Drive by Molly Fletcher (Hachette Go: $30) The keynote speaker and podcast host offers a guide to unlocking your true potential.
3. The Friday Afternoon Club by Griffin Dunne (Penguin Press: $30) The actor-director’s memoir of growing up in Hollywood and Manhattan.
4. The Demon of Unrest by Erik Larson (Crown: $35) An exploration of the pivotal five months between Abraham Lincoln’s election and the start of the Civil War.
5. The Wager by David Grann (Doubleday: $30) The story of the shipwreck of an 18th century British warship and a mutiny among the survivors.
6. The Art of Power by Nancy Pelosi (Simon & Schuster: $30) The most powerful woman in U.S. political history tells the story of how she became a master legislator.
7. The Reset Mindset by Penny Zenker (Amplify Publishing: $20) The productivity expert’s guide to achieving work, relationship and leadership goals.
8. Lovely One by Ketanji Brown Jackson (Random House: $35) The first Black woman to ever be appointed to the U.S. Supreme Court chronicles her life story.
9. On the Edge by Nate Silver (Penguin Press: $35) A deep investigation of the hidden world of power brokers and risk takers.
10. Somehow by Anne Lamott (Riverhead Books: $22) A joyful celebration of love from the bestselling author.
…
Paperback fiction
1. Demon Copperhead by Barbara Kingsolver (Harper Perennial: $22)
2. Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin (Vintage: $19)
3. My Brilliant Friend by Elena Ferrante (Europa Editions: $17)
4. The Midnight Library by Matt Haig (Penguin: $18)
5. Babel by R.F. Kuang (Harper Voyager: $20)
6. The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid (Atria: $17)
7. A Little Life by Hanya Yanagihara (Anchor: $18)
8. The Alchemist by Paulo Coelho (HarperOne: $18)
9. Pachinko by Min Jin Lee (Grand Central: $20)
10. Slow Days, Fast Company by Eve Babitz (NYRB Classics: $17)
…
Paperback nonfiction
1. The Backyard Bird Chronicles by Amy Tan (Knopf: $35)
2. The Art Thief by Michael Finkel (Vintage: $18)
3. The Hundred Years’ War on Palestine by Rashid Khalidi (Metropolitan Books: $20)
4. All About Love by bell hooks (Morrow: $17)
5. Going Infinite by Michael Lewis (W.W. Norton & Co.: $20)
6. The Truths We Hold by Kamala Harris (Penguin: $20)
7. Everything I Know About Love by Dolly Alderton (Harper Perennial: $19)
8. Slouching Towards Bethlehem by Joan Didion (Farrar, Straus & Giroux: $18)
9. The Artist’s Way by Julia Cameron (TarcherPerigee: $20)
10. Crying in H Mart by Michelle Zauner (Vintage: $17)
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