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Noah Baumbach’s disaster film for Our Moment: The Week in Reporter Reads

This weekend, listen to a collection of New York Times articles, read aloud by the journalists who wrote them.

Written and narrated by Jon Mooallem

Don DeLillo’s novel “White Noise” is narrated by Jack Gladney, the head of the Hitler Studies department at a small Midwestern college and the originator of Hitler Studies as an academic discipline. Life is confusing but good – good enough that Jack and his fourth wife, Babette, don’t want it to end. They are both afraid of dying, each privately tormented by the same knowledge of mortality that everyone else seems to suppress effortlessly. They also want to delete it. “Let’s enjoy these aimless days while we can, I told myself, fearing some kind of deft acceleration,” Jack says, at the beginning of the book. But then the deadpan absurdity of the novel turns into deadly danger: a train derails and dumps a cloud of toxic chemicals outside the city, in what authorities call an “airborne toxic event.”

The novel is many things: a moving meditation on middle age and family life; an ironic send-off from academia; a campy disaster movie; a cheeky, absurd satire of a world that even in 1985 felt bloated with consumerism and mass media, disorienting signifiers and unmanageable facts.

When the world shut down in 2020, director Noah Baumbach found solace in Don DeLillo’s supposedly misfit novel — and turned it into a film that speaks to our deepest fears.

Written and narrated by Nicole Sperling

There was nothing simple about turning “She Said,” Hollywood producer Harvey Weinstein’s book on abuse, into a movie.

Shot in 2021, four years after New York Times reporters Jodi Kantor and Megan Twohey’s explosive story sent shockwaves through Hollywood, the film aims to tell the story of their investigation in a way that would honor and would also respect their subjects, many of whom would be required, once again, to relive the trauma that initially thrust them into the spotlight.

Despite the filmmakers’ best intentions, these women inevitably found themselves experiencing extreme waves of emotion in the process. To minimize their distress, the filmmakers established a few first ground rules: no naked women, no portrayal of aggression, very little Weinstein. “We didn’t even have to debate it,” said the film’s director, Maria Schrader (“Unorthodox”). “I don’t need to add another rape scene to the world.”

Additionally, the filmmakers turned the pre-production process into an open collaboration, inviting many people integral to the reporting, including Weinstein’s victims, to help shape their portrayals.

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

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

But like so many other Ukrainians, the fighting found him and his life became a real war movie. He serves on the front lines of Ukraine’s war against Russian invaders, in some of the most contested and bloody territories, caught in a theater he never imagined for himself.

Even with the horrors he has to squint to see and the daily grind of being a soldier, he hasn’t given up on his writing. It’s the opposite: the war in Ukraine has become his new material, as he dives into the fear, grief, rage and anxiety he feels and tries to find meaning in the smallest things around. of him, like the mice that rush at him in his sleep.

In a recent text message, he wrote:

Once, during one of the violent attacks, I sat in a canoe and watched the earth shake. Cut pine roots protruded from the wall of our shelter. Tree sap flowed from them. It shone like mercury and looked like tears. A few months later, I can’t remember how many explosions there were that night or what weapons were fired. But I clearly remember one image: how the earth cried heavy, cold tears.

Written and narrated by Anemone Hartocollis

“It wasn’t until shortly after my husband, Josh, died in the summer of 2021,” writes Anemona Hartocollis, National Desk Correspondent, “that I learned that his oncologist, Dr. Gabriel Sara, was playing in a film opposite the legendary French actress Catherine Deneuve.

Anemona said the film helped her see their lives more fully: “Watching my husband’s doctor on screen didn’t turn out to be a makeover or a balm. You can’t redo death. But I remembered what we had at Dr. Sara’s.

Written and narrated by Eric Kim

Eric Kim has always viewed stuffing as a blank canvas, the best opportunity to express himself on an otherwise regimented Thanksgiving menu. But comments about a recipe inspired by the pizza he made last year had him wondering: Are there any rules for stuffing? Is there a platonic ideal?

Looking for answers, Eric cooked and tasted 20 stuffing recipes: 18 beloved staples from the New York Times Cooking archives, plus some of America’s most popular packaged mixes. He had a simple goal in mind: to figure out which components of the dish are most essential for a buttery, high-carb boost.

The Times commented articles are written 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.

nytimes Gt

Not all news on the site expresses the point of view of the site, but we transmit this news automatically and translate it through programmatic technology on the site and not from a human editor.
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