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Watergate at 50: A viewers guide to remembering the scandal | CNN

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Watergate at 50: A viewers guide to remembering the scandal | CNN



CNN
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Watergate is having one other made-for-TV second, in live performance with the fiftieth anniversary of the unique break-in that finally led to Richard Nixon’s resignation. Mix that with a brand new spherical of televised hearings about alleged White Home corruption, and all the things outdated actually does appear new once more.

But watching a number of the new and up to date productions dedicated to that story, and revisiting older ones, affords just a few insights about these years, and a reminder that Nixon’s scandals went properly past simply sending just a few hapless burglars into the Democratic Nationwide Committee headquarters.

For many who may see Watergate as historical historical past, these initiatives – that includes those that participated in and lined the story – additionally underscore that this earlier constitutional menace was a lot nearer than it seems within the rear-view mirror.

As for refresher programs, listed here are just a few choices, together with some that qualify as Watergate-adjacent when it comes to serving to to know or keep in mind what occurred.

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“Watergate: Excessive Crimes within the White Home” (CBS, June 17)

Though Washington Publish reporters Bob Woodward and Carl Bernstein are amongst these interviewed, there’s a bit extra of a skew on this documentary towards CBS’ position as one of many few TV information shops to cowl the scandal, together with Lesley Stahl’s recollections in regards to the story, footage of Walter Cronkite weighing in on the scandal and stately reporter Daniel Schorr discovering on air that he had earned a spot on Nixon’s enemies record as he learn by the names.

Incorporating interviews outdated and new, the undertaking additionally captures simply what an enormous “hit” the televised Watergate hearings have been, again within the days when there have been three networks and never an entire lot of viewing options.

“Watergate: Blueprint for a Scandal”

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A four-part docuseries at the moment enjoying on CNN, the undertaking options interviews with John Dean, amongst others.

“Watergate” (Historical past, June 17)

The Historical past channel will repeat its six-part docuseries, which initially premiered in 2018.

“Gaslit” (Starz)

Sean Penn and Julia Roberts in Gaslit.

This eight-part dramatization of Watergate simply ended, but it surely’s price catching for many who haven’t, with Julia Roberts as whistleblower Martha Mitchell, an unrecognizable Sean Penn as her husband, Nixon Legal professional Normal John Mitchell, and Dan Stevens as John Dean. Exaggerated partly to the purpose of satire, it’s nonetheless a telling take a look at the scandal and its key gamers, together with a wildly over-the-top Shea Whigham as G. Gordon Liddy.

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“All of the President’s Males” (HBO Max)

A rewatch of director Alan J. Pakula’s 1976 movie model of Woodward and Bernstein’s e book stands out for unintended causes in sure locations, equivalent to a Washington Publish editors assembly that consists totally of older White guys in white shirts, debating whether or not to face by the younger reporters.

At its core, although, the movie holds up after which some, from its exploration of basic shoe-leather reporting to the scared sources unable to remain silent in regards to the corruption they witnessed. Add to that the sensational performances and William Goldman’s Oscar-winning screenplay, with signature traces like Deep Throat (Hal Holbrook) telling Woodward (Robert Redford) to “Comply with the cash” and “The reality is, these will not be very vivid guys, and issues bought out of hand.”

“The Publish”

Tom Hanks and Meryl Streep in

Steven Spielberg’s 2017 film affords a deeper dive into one other angle of the story, particularly the connection between Washington Publish editor Ben Bradlee (Tom Hanks) and writer Katharine Graham (Meryl Streep), and the braveness the latter exhibited – having been thrust into that position – in withstanding stress from the White Home when publishing the Pentagon Papers in 1971. That tenacity would later be important to the Publish’s position in exposing Watergate.

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“Mark Felt: The Man Who Introduced Down the White Home”

This so-so 2017 movie stars a better-than-the-movie Liam Neeson as Felt, the FBI official lastly revealed to be Woodward’s supply, Deep Throat, in 2005.

“Frost/Nixon”

Frank Langella as Richard Nixon in 'Frost/Nixon.'

Michael Sheen and Frank Langella reprised their stage roles as David Frost and Nixon in conducting their well-known 1977 TV interviews, an entertaining film, outlined by its standout performances, that’s as a lot in regards to the stress on the interviewer and their verbal parrying as his topic.

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A sultry scene shifts in 'The Brutalist'

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A sultry scene shifts in 'The Brutalist'

The architectural wonder of writer-director Brady Corbet’s 215-minute postwar immigrant epic “The Brutalist” astonishes onscreen. The ambitious spectacle, which follows László Toth (Adrien Brody) chasing his American Dream, only to be upended by a tycoon (Guy Pearce), was captured on VistaVision for its visceral widescreen imagery. The striking photography from cinematographer Lol Crawley suggests themes of modernity versus classicism — the waters of the Statue of Liberty, the majestic quarries of Carrara, Italy — but a sensual magnetism seeps into the visual style as well. Its full extent is on display during an underground party where László drinks and dances with a woman (Dóra Sztarenki). Filming in Budapest, Crawley minimally lighted the moody moment, which reverberates with a sultry version of “You Are My Destiny.” The camera drifts, hinting to an ominous figure looking from above. “What’s wonderful about that scene is that we start on the woman’s legs as she walks in, and then she has this flirtatious dance with Laszlo,” Crawley says. “It’s all handheld, shot in an almost documentary way to give the actors freedom in the space. So it’s this real gentle balance, which in many ways was wonderful and liberating.” It’s a gentle moment that soon turns brutal.

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Movie Review | 'Nosferatu'

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Movie Review | 'Nosferatu'

Robert Eggers’s take on the 1922 F.W. Murnau film “Nosferatu: A Symphony of Horror” has long been a passion project for the director, in various stages of development since he broke out with 2015’s “The Witch.” Now that the film has finally made its way to screens, Eggers has the opportunity to shine. And like any of his films, “Nosferatu” has mood and style to spare.

Eggers’s movies always have great attention to detail, but sometimes the style can outweigh the story and “Nosferatu” is no different. “The Witch” was about setting a moody atmosphere and “The Northman” was about showing off the muscularity in his filmmaking and in between he made arguably his best movie, “The Lighthouse,” which is a bizarre, fever dream kind of experience.

In the first frames of “Nosferatu,” Ellen (Lily-Rose Depp) emerges from the shadows with tears running down her face. She is calling out to something, but nothing is there. What is making her body move in such unpleasant ways? Who is the mysterious voice calling out to her? From the shadows emerges a silhouette of Count Orlok (Bill Skarsgård), who is haunting Ellen.



Years later, Ellen is in a relationship with Thomas (Nicholas Hoult, who is having a busy year between “Nosferatu,” “Juror #2” and “The Order”). Thomas is heading to Transylvania to meet with Count Orlock, foreshadowing a great deal of dread in the movie. Back home,  Ellen is not doing well, constantly haunted by the looming presence of Count Orlock, who will not let her know peace.

Not only does Count Orlock hang over Ellen’s life, but his existence hangs over the entire movie. Eggers effectively uses the character sparingly, shooting him in shadows and only revealing his face every so often. It’s best to go into the movie surprised by the design, because Eggers certainly doesn’t settle for recreating the well-established imagery from the original film. Skarsgård, who is becoming a horror film regular, is nowhere to be found in his performance, completely disappearing behind the character.

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Depp delivers the strongest performance of her young career, as she is required to run the gauntlet of emotional and physical pain. Her suffering helps bring some emotion to the movie, which can occasionally feel cold and distant in service of emphasizing the film’s craft. Individual moments of dread feel palpable, but the movie goes through plodding stretches (including with superfluous characters played by Aaron Taylor-Johnson and Emma Corrin; Eggers regular Willem Dafoe also plays a role), where the emotionality of Depp’s performance and the grim appearance of Skarsgård become sorely missed.

Even when the movie is choppy, it’s hard to not get lost in the impeccability of the craft. Egger and cinematographer Jarin Blaschke partially use natural lighting to establish the mood, while production designer Craig Lathrop transports viewers to 1838 Germany. Getting lost in the world of “Nosferatu” isn’t hard — though sometimes being moved by it as a whole is a tough task.

“Nosferatu” is currently playing in theaters.

Matt Passantino is a contributor to CITY.






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Beyoncé brings 'Cowboy Carter' to the NFL on Netflix

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Beyoncé brings 'Cowboy Carter' to the NFL on Netflix

Beyoncé brought her album “Cowboy Carter” to life for the first time in a halftime performance at an NFL game on Christmas Day in her hometown of Houston.

The show, which came midway through the Baltimore Ravens’ rout of the Houston Texans at NRG Stadium, was designed to entice viewers to Netflix as the streaming goliath inaugurated a new pact with America’s most popular professional sports league. It also was a way to bring attention to Beyoncé’s latest LP — a detailed excursion into country music that plays up the singer’s Southern roots — just as Recording Academy members cast their votes for February’s Grammy Awards, where “Cowboy Carter” is nominated for album of the year.

Immediately following her performance, Beyoncé posted a brief video on X that suggested she’ll announce something on Jan. 14 — something, whatever it is, that many more fans now are likely to be looking forward to.

For all its cross-promotional synergy, though, Wednesday’s halftime show was a reminder that whatever lures Beyoncé from her superstar cocoon is worth celebrating: As usual for pop music’s greatest live performer, this 13-minute production — a “ho ho ho-down,” as she called it — was a thrill from top to bottom.

The show began with Beyoncé astride a white horse sauntering down a hallway in NRG’s bowels as she sang “16 Carriages,” her ballad about a youth spent on the road chasing showbiz dreams. Soon she was joined by a quartet of Black female country singers — Tanner Adell, Brittney Spencer, Tiera Kennedy and Reyna Roberts — for a moving rendition of the Beatles’ “Blackbird.”

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Beyoncé emerged onto the stadium field to sing a blistering “Ya Ya,” her version of a classic Tina Turner rave-up, accompanied by a small electric rock band and a huge horn section arrayed on bleachers that called to mind her presentation at the Coachella festival in 2018. Then she did the clubby “My House” before welcoming Shaboozey to join her for “Sweet Honey Buckiin’” and Post Malone for their “Levii’s Jeans” (which they did in front of a pickup truck wrapped in denim).

Beyoncé sang her cover of Dolly Parton’s “Jolene” while riding in a car cruising down the field — not unlike her Coachella tribute to HBCU tradition, this was a loving embodiment of Black rodeo culture — and finished the show with her chart-topping “Texas Hold ’Em,” which she did on the 50-yard line while dancing next to her 12-year-old daughter, Blue Ivy.

Throughout the show, Beyoncé’s vocals were strong and precise, the choreography tough and hard-hitting, the costumes beautifully bedazzled — a Christmas gift to her fans in the form of a marketing opportunity.

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