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  • The Week’s Sunday Shortlist
    Anne Hathaway’s ‘gothic opera,’ Lord of the Flies comes to TV, and a look at the college-educated working class

     
    FILM REVIEW

    Mother Mary

    “The more movies you’ve seen, the less patience you might have with movies that try to impress you with how wiggy they are,” said Stephanie Zacharek in Time. When the new film featuring Anne Hathaway as an icy fictional pop icon isn’t teasing us with glimpses of ghosts or bloodlettings, it’s “just a slog,” despite a premise and a pairing of two stars that suggest it could have been more. At times, Mother Mary is “a phantasmagoric fever dream of a gothic pop opera,” said Katie Walsh in the Chicago Tribune. At others, it’s “a single-setting two-hander that pits two of our most mesmerizing actresses against each other.” Hathaway, playing the titular singer on the eve of a highly anticipated comeback, journeys to the atelier of a former close collaborator portrayed by Michaela Coel. Hathaway’s fraying idol wants a dress of nearly magical power as she returns to the stage, and Coel’s Sam agrees to make it, airing grievances as she does about how Mary treated her. The movie “certainly casts a spell,” but the story itself “devolves into mush.” To enjoy the film, “a certain leap of faith is required,” said David Fear in Rolling Stone. When, at last, it “rushes headfirst into delirium,” viewers ready to roll with it may find that it “taps into the same transcendent state that great pop music does,” getting into your head and under your skin “in ways that defy description.

     
     
    tv review

    Lord of the Flies

    As stranded-on-an-island stories go, it’s hard to top William Golding’s chilling 1954 novel about English schoolboys forced to fend for themselves after a plane crash. This four-part series, the first television adaptation, comes, fittingly, from Adolescence co-creator Jack Thorne. Thorne’s version focuses on one key character per episode as the boys first attempt to build a cooperative society before descending into darkness. Gorgeous and garish, the show is enhanced by a terrific young cast, led by David McKenna as Piggy, and a dark, eccentric score by White Lotus composer Cristobal Tapia de Veer. 
    Monday, May 4, Netflix

     
     
    FOOD & DRINK

    Wine: Bargain sparklers

    “Nothing lifts your mood like a bottle of bubbles,” said the editors of Wine Enthusiast. Seeking to encourage more people to add that sparkle to everyday life, we’ve just published our first-ever top-40 list for sparkling wines. While none of our choices tops $75, these three are among the best that fall below $25.

    Côté Mas NV Crémant de Limoux Rosé Brut ($12)
    This pink sparkler’s “mouth-filling” mousse combines sharp citrus notes and “pleasurably soft” mouthfeel.

    Domaine Fernand Engel NV Brut ‘Tradition’($20)
    This “beautifully crafted” Alsatian crémant offers “lovely complexity, with tropical passion fruit and ripe mango notes all wrapped in a crisp, lingering finish.”

    2020 Bouvet-Ladubay Tresor Blanc Brut ($18)
    In this Loire Valley chenin blanc–chardonnay blend, aromas of yellow apple, honeysuckle, and toasted bread lead to a palate that’s lemony but “with whispers of caramel-dipped white blossom.”

     
     
    BOOK OF THE WEEK

    Mutiny: The Rise and Revolt of the College-Educated Working Class

    by Noam Scheiber

    “A college-educated working class sounds like an oxymoron,” said George Packer in The Atlantic. But New York Times labor reporter Noam Scheiber has great hopes for the cohort on which he’s affixed that label: college graduates in their 20s and early 30s who have had to settle for low-paying wage work after earning their degrees. In his new book, Scheiber profiles about a dozen or so young Americans who turned to labor activism following dispiriting experiences with employers including Starbucks, Amazon, Apple, Hollywood studios, and the universities that impoverished them in the first place. While he occasionally questions his subjects’ career decisions, “he’s plainly on their side,” viewing their perception of unfairness as real and their activism as the best way to fight economic inequality. Unfortunately, “he isn’t sufficiently aware of the insularity of their project,” of how unlikely it is that these young progressives will ever be joined by noncollege wage workers in an effective broader movement. “There’s much truth in Scheiber’s reporting,” said Eric Levitz in Vox. College graduates have become more progressive in their economic views since the 1990s and more likely to identify with rank-and-file workers. But his claim that today’s college grads have been pushed leftward mainly by their collapsing economic fortunes is “a bit misleading.” Yes, tuition and housing costs have soared. But the share of college grads who hold low-wage jobs is smaller than it was three decades ago, and the relative return on a degree in lifetime earnings, despite the impact of the Great Recession and the pandemic, is significantly greater. The stories Scheiber shares are well told, and the precarity of his subjects’ lives “vividly evoked,” said Ruy Teixeira in The Wall Street Journal. But among their generation, they’re “an idiosyncratic subset,” not the norm. 

    You could also say Scheiber’s heroes were naive to expect better from their employers, said Kenneth S. Baer in Washington Monthly. Often, though, they were misled. Apple used the label “geniuses” for retail-store staffers like Chaya Barrett, but the sweet talk didn’t pay her bills and she soon turned to union organizing. While Mutiny celebrates such activism, Scheiber is “too keen an observer of American political life” to fail to mention that the college-educated working class may be too progressive to mesh easily with the rest of the working class, whose members strongly favored President Trump in 2024. But while Scheiber focuses on workplace issues, Mutiny is “ultimately an education book,” a warning to our colleges and universities that “higher education, as an industry, has become too expensive, too mercenary, and too irrelevant for far too many.”

     
     
    OBITUARY

    Sid Krofft

    The puppeteer who created surreal TV shows

    Sid Krofft made children’s television a weirder place. Along with his brother Marty Krofft—who died in 2023— he conjured worlds populated by fantastical creatures that seemed born from an acid trip, though the two always denied taking drugs. Their first original show, H.R. Pufnstuf (1969), featured a galumphing dragon who protects a boy from the wicked Witchiepoo. Lidsville (1971) was a world of talking hats, and Sigmund and the Sea Monsters (1973) starred an underwater creature shunned by his family because he wouldn’t scare people. Krofft provided most of the wacky ideas and engineered the full-body, mascot-style costumes, while his brother persuaded the network executives to go along. “When you’re nuts,” Krofft said in 2006, “you’ve got to go nuts all the way.”

    “The brothers liked to say that they came from a long line of puppeteers,” said The Hollywood Reporter. In fact, “that story was fabricated,” but Krofft did start puppet work young. Born Cydas Yolas to Greek and Hungarian immigrants in Montreal, he was doing puppetry for the Ringling Bros. circus by age 15, and by his 20s was opening for Judy Garland. Then his brother joined him, and in 1961 they launched Les Poupées de Paris, a “burlesque puppet show” featuring “mostly topless women” that toured America and played at several world’s fairs. NBC recruited them to design costumes for one show and in 1969 greenlit H.R. Pufnstuf, which lasted only 17 episodes but found new life in reruns. For Land of the Lost, which ran from 1974 to 1976, the Kroffts placed live-action humans alongside stop-motion-animated dinosaurs to depict an alternate, time-warped universe, and employed a linguist to help create a language for the apelike Pakuni characters.

    Yet they did not limit themselves to Saturday morning fare, said The New York Times, scoring a prime-time hit with ABC’s Donny & Marie, a variety show starring the squeaky-clean Osmond siblings. They also had a few flops, notably 1980’s Pink Lady, which featured schlocky stand-up comedian Jeff Altman and two Japanese pop stars who spoke almost no English. In his 90s, Krofft “resurfaced in the public eye” with his own Instagram Live show, said the Los Angeles Times. Sundays With Sid featured interviews with performers including Joel Grey, David Copperfield, and Krofft’s good friend Paul Reubens, aka Pee Wee Herman. Krofft never lost his delight in the work. “I’m just having a good time,” he said in 2000. “I can’t believe that I get paid for this nonsense that I come up with. It’s amazing.”

     
     

    Sunday Shortlist was written and edited by Susan Caskie, Ryan Devlin, Chris Erikson, Chris Mitchell, Matt Prigge, and Hallie Stiller.

    Image credits, from top: A24, Netflix, Getty (2)
     

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