NASHVILLE, Tenn. — Todd Snider, a singer whose thoughtfully freewheeling tunes and cosmic-stoner songwriting made him a beloved figure in American roots music, has died. He was 59.

His record label said Saturday in a statement posted to his social media accounts that Snider died Friday.

“Where do we find the words for the one who always had the right words, who knew how to distill everything down to its essence with words and song while delivering the most devastating, hilarious, and impactful turn of phrases?” the statement read. “Always creating rhyme and meter that immediately felt like an old friend or a favorite blanket. Someone who could almost always find the humor in this crazy ride on Planet Earth.”

Snider’s family and friends had said in a Friday statement that he had been diagnosed with pneumonia at a hospital in Hendersonville, Tennessee, and that his situation had since grown more complicated and he was transferred elsewhere. The diagnosis came on the heels of the cancellation of a tour after Snider had been the victim of a violent assault in the Salt Lake City area, according to a Nov. 3 statement from his management team.

But Salt Lake City police later arrested Snider himself when he at first refused to leave a hospital and later returned and threatened staffers, the Salt Lake Tribune reported.

The scrapped tour was in support of his most recent album, “High, Lonesome and Then Some,” which released in October. Snider combined elements of folk, rock and country in a three-decade career. In reviews of his recent albums, The Associated Press called him a “singer-songwriter with the persona of a fried folkie” and a “stoner troubadour and cosmic comic.”

He modeled himself on — and at times met and was mentored by — artists like Kris Kristofferson, Guy Clark and John Prine. His songs were recorded by artists including Jerry Jeff Walker, Billy Joe Shaver and Tom Jones. And he co-wrote a song with Loretta Lynn that appeared on her 2016 album, “Full Circle.”

“He relayed so much tenderness and sensitivity through his songs, and showed many of us how to look at the world through a different lens,” the Saturday statement from his label read. “He got up every morning and started writing, always working towards finding his place among the songwriting giants that sat on his record shelves, those same giants who let him into their lives and took him under their wings, who he studied relentlessly.”

Snider would do his best-known and most acclaimed work for Prine’s independent label Oh Boy in the early 2000s. It included the albums “New Connection,” “Near Truths and Hotel Rooms” and “East Nashville Skyline,” a 2004 collection that’s considered by many to be his best.

Those albums yielded his best known songs, “I Can’t Complain,” “Beer Run” and “Alright Guy.”

Snider was born and raised in Oregon before settling and making his musical chops in San Marcos, Texas. He eventually made his way to Nashville, and was dubbed by some the unofficial “mayor of East Nashville,” assuming the title from a friend memorialized thusly in his “Train Song.” In 2021, Snider said a tornado that ripped through the neighborhood home to a vibrant arts scene severely damaged his house.

Snider had an early fan in Jimmy Buffett, who signed the young artist to his record label, Margaritaville, which released his first two albums, 1994’s “Songs for the Daily Planet” and 1996’s “Step Right Up.”

A Miami Beach charter boat owner was arrested in a sex trafficking case involving a 17-year-old girl, authorities said.

Kutay Satiroglu, 45, was arrested Wednesday on charges of human trafficking, lewd and lascivious battery on a child, and contributing to the delinquency of a child, Miami-Dade jail records showed.

According to an arrest report, Miami Beach Police officers began their investigation after the teen’s mother said she received a call from her older daughter that the teen was at Satiroglu’s house being held against her will and physically and sexually abused.

The teen later told investigators she met Satiroglu at a nightclub in April and at first told him she was 21 but by the end of the night confessed that she was only 17, the report said.

Satiroglu is the owner of a charter boat business and offered her a job as a boat steward, and the two began a sexual relationship, the report said.

While they were in a relationship, the teen said Satiroglu would have her engage in sex with his friends in exchange for money, charging anywhere between $200-$800 per meeting, the report said.

She also said he would advise her how to collect the money in advance and that the money was used to fund their household, the report said.

Satiroglu also gave her drugs during the sessions and whenever they would throw parties, and would also force her to call her girlfriends to come over and have sex with him, and if she didn’t comply, he would “discipline her by physically harming her,” the report said.

The teen said he was physically abusive toward her on numerous occasions, often beating her whenever he was in a bad mood, the report said.

She said that two days earlier they’d been involved in a physical altercation, and that there were two other females in the yacht who did sex work on his yacht charters, the report said.

The teen said she complied with Satiroglu because she was in love with him and wanted to make him happy, the report added.

Satiroglu refused to speak with detectives before he was arrested and booked into jail, the report said.

At a hearing Thursday, a Miami-Dade judge ordered Satiroglu would be held without bond.

In a statement Thursday, Miami Beach Police credited the teen’s older sister for coming forward with information.

“Due to her bravery and coordinated response of our detectives, a minor was rescued from a dangerous situation, and the suspect was taken into custody without incident,” the statement read. “The Miami Beach Police Department remains steadfast in its commitment to protecting the most vulnerable members of our community and will continue to aggressively investigate and prosecute all acts of human trafficking and exploitation.”

There’s yet another Now You See Me in theaters this weekend, along with yet another Stephen King adaptation. George Clooney plays a charming Hollywood star in Jay Kelly, while a warm, funny and goosebump-raising documentary streams on Apple TV. Here’s what to watch.

Now You See Me, Now You Don’t

In theaters Friday 

The cast keeps expanding in this magic-centric rob-from-the-rich-give-to-the-poor heist franchise, as if the writers saw Ocean’s Eleven through Thirteen and thought, “we could do that.” New kids Justice Smith, Dominic Sessa and Ariana Greenblatt join original Horsemen (and hangers-on) Jesse Eisenberg, Woody Harrelson, Dave Franco, Morgan Freeman and Isla Fisher in pursuit of a priceless diamond held by a money-laundering arms dealer (Rosamund Pike). That fits the aesthetic of the first two Now You See Me’s (shouldn’t this one really be called Now You Three Me?) — but where the earlier films seemed to want you to believe the on-screen magicians were pulling off their tricks, this one mostly settles for CGI and cinematic trickery, so that even card tricks fall slightly flat. Eisenberg’s prickly snark is still fun, but with the tricks getting less convincing and the scripts more exhausting, it might be time for this franchise to go up in a puff of smoke. — Bob Mondello 

The Running Man 

In theaters Friday 

This trailer includes instances of vulgar language. 

One tricky thing about writing dystopian fiction with staying power is that the future eventually catches up with you. Stephen King’s 1982 novel The Running Man takes place in 2025. In his vision of, well, now, there is widespread poverty, rule by giant corporations, and exploitative entertainment that takes advantage of people who are suffering and tries to force ordinary people to despise each other. There is environmental destruction, mass surveillance, and even the resurgence of polio. Just imagine.

The story follows a man named Ben Richards, who tries to provide for his family and his sick kid by going on a game show also called The Running Man. On the show, he has to survive on the streets for 30 days while professional assassins pursue him. If he makes it, he wins a billion dollars. But, of course, nobody has ever survived. In the new adaptation, directed by Edgar Wright, Richards (played by Glen Powell) auditions for the game shows run by the megacorporation known as The Network because his daughter has the flu, and Richards and his wife can’t afford a doctor for her without a big prize.

The biggest problem with this adaptation is that if you read the book, you probably know there are a couple of things about the ending that a major studio movie released in 2025 is unlikely to replicate. As an action movie that hits the gas, gets the running man running, and doesn’t let up, it works quite well, and it’s a lot of fun. But some of King’s sharper-elbowed commentary about what it might take to escape this kind of oppressive society is blunted a bit, making it a less effective critique of its world than the book was. — Linda Holmes 

Jay Kelly

In limited theaters Friday; on Netflix Dec. 5

Hollywood star Jay Kelly — handsome, affable, debonaire, sixty-something … in short, George Clooney — reconsiders his life choices on a trip to Tuscany in Noah Baumbach’s bland mid-life crisis dramedy. Estranged from one daughter (Riley Keough), and distressed by the growing distance of another (Grace Edwards) who’s off on a trip to Europe before college, he’s feeling alone in a crowd of paid companions, including his faithful manager (Adam Sandler, excellent) and publicist (Laura Dern, whose talents are mostly wasted). After a public altercation with a college buddy, he opts to avoid the PR blowup and possibly find some catch-up time with his daughter by taking an impromptu trip to Italy for a career tribute he’d previously turned down.

Minor misadventures ensue — a train trip punctuated by a purse snatching incident, a reunion with his coarse dad (Stacy Keach), a fight with his increasingly put-upon manager. Not sure I was feeling anyone’s pain about the loneliness of stardom, the heartbreak of success, the … whatever the hell else this was about. Baumbach has wandered into the territory of 8½ and Stardust Memories and he gets a bit lost in the woods, but Clooney’s magnetism goes a decent way to making things palatable, the cinematography is pretty and Sandler dominates whenever he’s on screen. — Bob Mondello 

The Things You Kill

In limited theaters Friday 

Iranian-Canadian director Alireza Khatami’s Turkish-language thriller follows Ali, a university professor, as his life unravels. His mother’s sick, his father’s a bully, his wife wants a child (he hasn’t told her his sperm count is low), and his only safe place is an arid farm (“garden”) to which he retreats whenever possible. The arrival of Reza, a stranger who is game to do the things Ali won’t (bribe bureaucrats to deepen his well, maybe even kill his father) complicates things, and also, in a sense, solves them. The filmmaker’s first name provides a not-insignificant clue as to what’s going on, as his filmmaking deconstructs the story and his protagonist in initially confusing, and then riveting ways. — Bob Mondello

Come See Me In the Good Light

Streaming on Apple TV starting Friday

There’s no way to make this documentary sound like the upbeat, rousing and often downright hilarious romp it is, but here goes: At the urging of comedian Tig Notaro, poet and spoken-word star Andrea Gibson and life partner and fellow poet Megan Falley invited filmmaker Ryan White and his crew into their home in 2021. It was mid-pandemic, and the crew was allowed full access to the couple’s every thought and action as they dealt with turtledove love, mailbox madness, and – here’s the part where you say, “no, this does not sound like a good time” — Gibson’s Stage 4 ovarian cancer journey. At the Middleburg Film Festival screening I attended in October — three months after Gibson’s death — the director spoke beforehand, giving the audience “permission to laugh,” which it definitely did. It also sniffled a bit, but less than you might expect, because Gibson’s vibrant, assertively affirmative outlook doesn’t really brook tears, and the filmmaker’s warmth and humor, even in times of despair, gives the story a radiance that makes mundane moments feel precious, while allowing hopeful moments to raise goosebumps. — Bob Mondello