Noah Baumbach’s Disaster Movie for Our Moment: The Week in Reporter Reads

This weekend, listen to a selection of articles from The New York Times, read aloud by the reporters who wrote them.

Written and narrated by Jon Mooallem

Don DeLillo’s novel “White Noise” is narrated by Jack Gladney, the dean of Hitler studies at a small Midwestern college and an initiator of the study of Hitler as an academic subject. Life is messy but good – good enough that Jack and his fourth wife, Babette, don’t want it to end. Both fear death, each tormented by the same knowledge of death that the others seem to go around easily suppressing. They want to suppress it, too. “Let’s enjoy these aimless days while we can, I tell myself, fearing some kind of clever acceleration,” Jack says at the beginning of the book. But then the novel’s deadly absurdity magnifies into a deadly danger: A train derails and releases a cloud of toxic chemicals outside town, which authorities This is called a “noxious event in the air”.

The novel has a lot going on: contemplation affects middle age and family life; a forced submission of academia; a camping disaster movie; a ludicrous, ludicrous satire about a world that, even in 1985, felt strained by consumerism and mass media, signs of disorientation, and uncontrollable truths control.

As the world closes in 2020, director Noah Baumbach has found solace in Don DeLillo’s supposedly unadaptable novel — and turned it into a film that speaks to his deepest fears. we.

Written and narrated by Nicole Sperling

There’s nothing simple about turning “She speaks,” book about abuses by Hollywood producer Harvey Weinstein, which was made into a movie.

Shot in 2021, four years after a sensational article by New York Times journalists Jodi Kantor and Megan Twohey sent shockwaves across Hollywood, the film aims to tell the story behind the investigation. their investigation in a way that also honors and respects their subjects, many of whom will be asked, once again, to relive the trauma that initially brought them into the spotlight.

Despite the filmmakers’ best intentions, those women inevitably find themselves experiencing waves of extreme emotions throughout the process. To minimize their suffering, the filmmakers established some basic rules initially: no nude women, no depictions of assault, very little Weinstein. “We don’t even have to argue about it,” said the film’s director, Maria Schrader (“Unorthodox”). “I don’t need to add another rape scene to the world.”

Furthermore, the filmmakers turned pre-production into an open collaboration, inviting many of the people integral to the coverage, including Weinstein’s victims, to help shape the portrayal of the film. surname.

Written by Jeffrey Gettman and Oleksandra Mykolyshyn | Narrated by Jeffrey Gettman

Before war came to his doorstep, Anton Filatov, a Ukrainian film critic, said the most dangerous thing he ever carried was a fork. “I’ve never touched a weapon,” he said. “I am against war. I ran as far as I could from it.”

But like so many other Ukrainians, the war found him, and his life became a real-life war movie. He is serving on the front lines of Ukraine’s war with Russian invaders, in some of the bloodiest, most contested territory, trapped in a theater he never imagined for himself. .

Even with the horrors he had to squint to see and the day-to-day work of a soldier, he didn’t give up his writing job. The opposite: The war in Ukraine has become his new material, as he delves into the fear, sadness, anger, and anxiety he’s experiencing and tries to find meaning in those fears. the smallest things around him, like rats running around him when he sleeps.

In a recent text message, he wrote:

Once, during one of the ferocious attacks, I sat in a bunker and watched the ground shake. Chopped pine roots protrude from the wall of our shelter. The sap flows from them. It shines like mercury and like tears. A few months later, I don’t remember how many explosions that evening or what kind of weapon was fired. But I remember one image clearly: the earth wept with heavy, cold tears.

Written and narrated by Anemona Hartocollis

Anemona Hartocollis, correspondent for the National Office, writes: “It was not long after my husband, Josh, died in the summer of 2021, “that I learned that his oncologist, Dr. Gabriel Sara, was in the hospital. starred in a film opposite legendary French actress Catherine Deneuve.”

Anemona said the film helped her see their lives more fully: “Watching my husband’s doctor on screen turned out to be neither a remake nor a salvation. You cannot die. But I was reminded of what we had at Dr. Sara.

Written and narrated by Eric Kim

Eric Kim has always seen cramming as a blank canvas, the greatest opportunity to express yourself in a different environment. Thanksgiving menu. But feedback from a pizza-inspired recipe he made last year left him wondering: Are there any rules for stuffing? Is there a pure ideal?

In search of answers, Eric cooked and tasted 20 filling recipes: 18 favorites from the New York Times Cooking archives, as well as some of the most popular packaged mixes in the United States. Ky. He has a simple goal in mind: to determine which ingredients of the dish are most essential to the buttery and high-carb dynamics.

The Times reporting by Tally Abecassis, Parin Behrooz, Anna Diamond, Sarah Diamond, Jack D’Isidoro, Aaron Esposito, Dan Farrell, Elena Hecht, Adrienne Hurst, Emma Kehlbeck, Tanya Pérez, Krish Seenivasan, Kate Winslett, John Woo and Tiana Young. Special thanks to Sam Dolnick, Ryan Wegner, Julia Simon and Desiree Ibekwe.


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