Maya Rudolph on Motherhood and Billionaires

Plus: “Fly Me to the Moon”; a prison theatre program in the spotlight; and Flash Fiction by Joyce Carol Oates. View in browser | Update your preferences Friday, July 12, 2024 In today’s edition, our columnists Susan B. Glasser and Jay Caspian Kang consider the Biden campaign in crisis. But first, as part of this week’s Interviews Issue, Michael Schulman chats with Maya Rudolph—and, exclusively for newsletter readers, he recommends three of the actress’s signature performances. Plus: • Richard Brody on “Fly Me to the Moon” • A prison theatre program in the spotlight • Flash Fiction by Joyce Carol Oates Maya Rudolph Is Ready to Serve The actress and comedian on motherhood, studying the lives of billionaires for her show “Loot,” and her portrayals of women in the spotlight—from Beyoncé to Kamala Harris. Photograph by Kwaku Alston for The New Yorker It’s been nearly twenty-five years since Maya Rudolph first played Beyoncé on “Saturday Night Live”—and, in that time, the careers of both women have transformed in significant ways. In a funny and surprising conversation with the staff writer Michael Schulman, Rudolph talks about what it’s been like to impersonate one of the most famous people on the planet, an artist whom she also happens to deeply respect. “There are two ‘me’s,” Rudolph explains. “I am still a person who loves and listens to Beyoncé, but then at my job I get to play her sometimes.” Read the interview Critic’s Picks Three Essential Maya Rudolph Performances By Michael Schulman Photograph by Mary Ellen Mathews / NBC / Getty 1. During her tenure as a cast member on “Saturday Night Live,” from 2000 to 2007, Maya Rudolph played a number of high-status pop-culture figures, among them Oprah Winfrey and Whitney Houston. But her recurring impression of the fashion doyenne Donatella Versace—played as a champagne-drunk, decadent Eurotrash empress, often flanked by shirtless studs—took on a life of its own, as did the immortal catchphrase “Get out!” Like the best “S.N.L.” impressions (Tina Fey as Sarah Palin, Will Ferrell as Dubya), it came to define both the performer and the subject. For a taste, search “Versace Pockets” on YouTube. 2. After her divalicious years on “S.N.L.,” Rudolph proved that she could play a normal, down-to-earth human in the 2009 indie dramedy “Away We Go,” directed by Sam Mendes and written by the married authors Dave Eggers and Vendela Vida. Rudolph and John Krasinski (looking puppyish in his pre-hunkazoid era) play a thirtysomething couple who are expecting a baby but can’t decide where to put down their roots, so they tour cities such as Phoenix, Tucson, and Montreal, where various friends and relatives serve as exemplars of dysfunction. There are zany bit parts by Allison Janney, Maggie Gyllenhaal, and Catherine O’Hara, but Rudolph gives the film its undercurrent of ambivalence. 3. In the sitcom “Loot,” currently on Apple TV+, Rudolph combines her talents for over-the-top hauteur and understated melancholy. She plays Molly Wells, a woman who, after divorcing her Elon Musk-like husband (Adam Scott), is left with a multibillion-dollar fortune. Aimless, she decides to devote herself to her philanthropic foundation. The show is mainly a fish-out-of-water workplace comedy, with an ensemble including Joel Kim Booster, Michaela Jaé Rodriguez, and Nat Faxon, but its tastiest moments are satirical blows at the .001 per cent, such as a running joke in which the celebrity restaurateur David Chang is on call as Molly’s personal chef. If you know someone who would enjoy this newsletter, please share it. Was this newsletter forwarded to you? Sign up. Susan B. Glasser Biden’s Less-Than-Awful Press Conference Doesn’t Mean Everything Is Now O.K. Source photograph by Saul Loeb / AFP / Getty The most memorable part of Joe Biden’s much-hyped press conference from last night may be the President’s verbal gaffes. But, as Susan B. Glasser writes, the biggest problem was Biden’s “inability to make the case for himself—and his difficulty prosecuting the case against Trump.” And the crisis surrounding his candidacy shows no signs of resolving. Read or listen to this story » More from Our Columnists Fault Lines Joe Biden’s Cynical Turn Against the Press After a wave of intense scrutiny, the President and his campaign have begun to target the media, and many of his supporters have followed suit. By Jay Caspian Kang Fifty Days of Flash Fiction Flash Fiction Hospice/Honeymoon “Once the word is uttered aloud, there is a seismic shift. You will feel it.” By Joyce Carol Oates Subscribers exclusively enjoy full access to these and other stories in our collection. Upgrade today » Culture Dept. The Front Row “Fly Me to the Moon” Lacks Mission Control This rom-com about the marketing of the Apollo space program, starring Scarlett Johansson and Channing Tatum, has an inconsistent tone and a vague point of view. By Richard Brody The Current Cinema “Sing Sing” Puts a Prison Theatre Program in the Spotlight Greg Kwedar’s film, starring Colman Domingo and Clarence (Divine Eye) Maclin, brings us deep—though not deep enough—into the process of rehabilitation through art. By Justin Chang Fun & Games Dept. Mini Crossword A Bite-size Crossword Kagan on the Supreme Court: five letters. By Kate Chin Park Daily Cartoon Friday, July 12th By Ellis Rosen Name Drop: Can you guess the identity of a notable person—contemporary or historical—in six clues? Play a quiz from our archive » P.S. Pablo Neruda, who was born on this day in 1904, was arguably the most important Spanish-language poet of the twentieth century. Yet, as Graciela Mochkofsky writes, in his native Chile, he has become a contentious figure, as different factions on the left battle to define his legacy either as a “perpetrator” or a “victim.” Today’s newsletter was written by Ian Crouch. What did you think of today’s newsletter? Let us know. If you like the daily newsletter, browse more New Yorker newsletters. You’re receiving this e-mail because you signed up for the daily newsletter from The New Yorker. Manage your preferences | View our Privacy Policy | Unsubscribe Copyright © Condé Nast 2024. One World Trade Center, New York, NY 10007. All rights reserved.