Taye Diggs Writes a Children’s Book about Racial Injustice

This combination photo shows cover art for "Why" a children's book written by Taye Diggs and illustrated by Shane W. Evans, left and a portrait of Diggs during the 2018 Television Critics Association Summer Press Tour, on Aug. 6, 2018, in Beverly Hills, Calif. (Feiwel & Friends via AP)
This combination photo shows cover art for "Why" a children's book written by Taye Diggs and illustrated by Shane W. Evans, left and a portrait of Diggs during the 2018 Television Critics Association Summer Press Tour, on Aug. 6, 2018, in Beverly Hills, Calif. (Feiwel & Friends via AP)
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Taye Diggs Writes a Children’s Book about Racial Injustice

This combination photo shows cover art for "Why" a children's book written by Taye Diggs and illustrated by Shane W. Evans, left and a portrait of Diggs during the 2018 Television Critics Association Summer Press Tour, on Aug. 6, 2018, in Beverly Hills, Calif. (Feiwel & Friends via AP)
This combination photo shows cover art for "Why" a children's book written by Taye Diggs and illustrated by Shane W. Evans, left and a portrait of Diggs during the 2018 Television Critics Association Summer Press Tour, on Aug. 6, 2018, in Beverly Hills, Calif. (Feiwel & Friends via AP)

In a powerful new book for children, a little girl looks at a crowd of street protesters and asks: Why are those people marching? A few pages later, a child asks her family: Why are buildings burning?

“Why?: A Conversation About Race” by actor Taye Diggs with illustrations by Shane W. Evans is an unvarnished look at social activism from the eyes of Black children as they struggle to understand demands for change. It comes out Feb. 1 from Macmillan's Feiwel and Friends imprint.

“I needed to be honest,” Diggs says in an interview with his illustrator. “And sometimes being honest and real can be uncomfortable. And I think that that’s OK.”

The book portrays a series of questions from kids posed to adults. One is: Why are people crying near a makeshift memorial? “Our people are crying because we are in pain,” comes the answer. Another question asks why are protestors shouting. An adult explains: “Our people are shouting because we need to be heard.”

Evans' expressive drawings show each child's face change from worry to understanding as they digest what they hear from loved ones. His protesters hold banners and signs but they are blank — a nod to the sad timelessness of the fight for racial justice.

“I think the beauty of the words and the pictures together is that there’s a way to kind of speak above the fray,” says Evans, who was inspired in his drawings by deep talks with his daughter in their car.

While the book ends on a hopeful note, Diggs and Evans do not shy away from discussing that some protests have ended with burning buildings. “Sometimes buildings must burn,” an adult says. “The buildings burn for us. The anger burning those buildings is us.”

Diggs says he wanted to be honest and not instantly declare what was right and what was wrong. He wanted to look at the roots of the issue and start a conversation, something that didn't happen when he was young.

“If someone had taken the time to sit with me and say, ‘Well, let’s see. Why do you think these people are doing this?’ then that opens up a different conversation,” he says.

“With this book, I wanted to kind of give folks an opportunity to just sit in what was happening and look at it before passing judgment.”

A number of recent picture books take aim at racial injustice, including the upcoming “Goodnight, Racism” from Ibram X. Kendi and “All Because You Matter,” by Tami Charles and Bryan Collier. Many more shine new light on Black history.

“Why?” represents Diggs and Evans' fifth children's book together, a collaboration that started with 2011's “Chocolate Me,” which spotlighted what it feels like to look different and get teased at school.

Their books have explored Blackness, growing up biracial, handling friendship and dealing with separated parents, with titles like “Mixed Me!” and “My Friend!”

“I only write when I feel moved. So whenever I feel moved, I know it’s coming from a place that I know is real,” says Diggs, the star of “Rent” and “How Stella Got Her Groove Back.”

“It feels like something I need to do and I have to get off my chest, and it usually comes very easily. And that’s when I know it’s coming from a real place.”

Evans and Diggs first met in the 1980s when they were students at a performing arts high school in Rochester, New York. (Evans recalled the two harmonizing while singing The Police's "“De Do Do Do, De Da Da Da”) Their bond continued at Syracuse University, where they played together in a band.

“From the moment Shane and I started to work together, we both knew it was something kind of bigger than us,” says Diggs. Evans agrees: “I don’t want to sound corny, but the word kismet comes to mind.”

Diggs says he's always amazed at what Evans dreams up to illustrate his words, allowing him to see in a different way what the narrative can mean.

“There’s trust and confidence and an excitement that is there. It’s always kind of like a gift — like a present, like a birthday present — after we give Shane the words and then to slowly see the images that come from it. No one is ever disappointed.”



Perry Bamonte, Keyboardist and Guitarist for The Cure, Dies at 65

Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
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Perry Bamonte, Keyboardist and Guitarist for The Cure, Dies at 65

Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)

Perry Bamonte, keyboardist and guitarist in The Cure, has died at 65, the English indie rock band confirmed through their official website on Friday.

In a statement, the band wrote that Bamonte died "after a short illness at home" on Christmas Day.

"It is with enormous sadness that ‌we confirm ‌the death of our ‌great ⁠friend and ‌bandmate Perry Bamonte who passed away after a short illness at home over Christmas," the statement said, adding he was a "vital part of The Cure story."

The statement said Bamonte was ⁠a full-time member of The Cure since 1990, ‌playing guitar, six-string bass, ‍and keyboards, and ‍performed in more than 400 shows.

Bamonte, ‍born in London, England, in 1960, joined the band's road crew in 1984, working alongside his younger brother Daryl, who worked as tour manager for The Cure.

Bamonte first worked as ⁠an assistant to co-founder and lead vocalist, Robert Smith, before becoming a full member after keyboardist Roger O'Donnell left the band in 1990.

Bamonte's first album with The Cure was "Wish" in 1992. He continued to work with them on the next three albums.

He also had various acting ‌roles in movies: "Judge Dredd,About Time" and "The Crow."


First Bond Game in a Decade Hit by Two-month Delay

'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
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First Bond Game in a Decade Hit by Two-month Delay

'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP

A Danish video game studio said it was delaying the release of the first James Bond video game in over a decade by two months to "refine the experience".

Fans will now have to wait until May 27 to play "007 First Light" featuring Ian Fleming's world-famous spy, after IO Interactive said on Tuesday it was postponing the launch to add some final touches.

"007 First Light is our most ambitious project to date, and the team has been fully focused on delivering an unforgettable James Bond experience," the Danish studio wrote on X.

Describing the game as "fully playable", IO Interactive said the two additional months would allow their team "to further polish and refine the experience", giving players "the strongest possible version at launch".

The game, which depicts a younger Bond earning his license to kill, is set to feature "globe-trotting, spycraft, gadgets, car chases, and more", IO Interactive added.

It has been more than a decade since a video game inspired by Bond was released. The initial release date was scheduled for March 27.


Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
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Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)

“Everybody wants to rule the world,” goes the Tears for Fears song we hear at a key point in “Marty Supreme,” Josh Safdie’s nerve-busting adrenaline jolt of a movie starring a never-better Timothee Chalamet.

But here’s the thing: everybody may want to rule the world, but not everybody truly believes they CAN. This, one could argue, is what separates the true strivers from the rest of us.

And Marty — played by Chalamet in a delicious synergy of actor, role and whatever fairy dust makes a performance feel both preordained and magically fresh — is a striver. With every fiber of his restless, wiry body. They should add him to the dictionary definition.

Needless to say, Marty is a New Yorker.

Also needless to say, Chalamet is a New Yorker.

And so is Safdie, a writer-director Chalamet has called “the street poet of New York.” So, where else could this story be set?

It’s 1952, on Manhattan’s Lower East Side. Marty Mauser is a salesman in his uncle’s shoe store, escaping to the storeroom for a hot tryst with his (married) girlfriend. This witty opening sequence won’t be the only thing recalling “Uncut Gems,” co-directed by Safdie with his brother Benny before the two split for solo projects. That film, which feels much like the precursor to “Marty Supreme,” began as a trip through the shiny innards of a rare opal, only to wind up inside Adam Sandler’s colon, mid-colonoscopy.

Sandler’s Howard Ratner was a New York striver, too, but sadder, and more troubled. Marty is young, determined, brash — with an eye always to the future. He’s a great salesman: “I could sell shoes to an amputee,” he boasts, crassly. But what he’s plotting to unveil to the world has nothing to do with shoes. It’s about table tennis.

How likely is it that this Jewish kid from the Lower East Side can become the very face of a sport in America, soon to be “staring at you from the cover of a Wheaties box?”

To Marty, perfectly likely. Still, he knows nobody in the US cares about table tennis. He’s so determined to prove everyone wrong, starting at the British Open in London, that when there’s a snag obtaining cash for his trip, he brandishes a gun at a colleague to get it.

Shaking off that sorta-armed robbery thing, Marty arrives in London, where he fast-talks his way into a suite at the Ritz. Here, he spies fellow guest Kay Stone (Gwyneth Paltrow, in a wise, stylish return to the screen), a former movie star married to an insufferable tycoon (“Shark Tank” personality Kevin O’Leary, one of many nonactors here.)

Kay’s skeptical, but Marty finds a way to woo her. Really, all he has to say is: “Come watch me.” Once she sees him play, she’s sneaking into his room in a lace corselet.

This would be a good time to stop and consider Chalamet’s subtly transformed appearance. He is stick-thin — duh, he never stops moving. His mustache is skimpy. His skin is acne-scarred — just enough to erase any movie-star sheen. Most strikingly, his eyes, behind the round spectacles, are beady — and smaller. Definitely not those movie-star eyes.

But then, nearly all the faces in “Marty Supreme” are extraordinary. In a movie with more than 100 characters, we have known actors (Fran Drescher, Abel Ferrara); nonacting personalities (O’Leary, and an excellent Tyler Okonma (Tyler, The Creator) as Marty’s friend Wally); and exciting newcomers like Odessa A’Zion as Marty’s feisty girlfriend Rachel.

There are also a slew of nonactors in small parts, plus cameos from the likes of David Mamet and even high wire artist Philippe Petit. The dizzying array makes one curious how it all came together — is casting director Jennifer Venditti taking interns? Production notes tell us that for one hustling scene at a bowling alley, young men were recruited from a sports trading-card convention.

Elsewhere on the creative team, composer Daniel Lopatin succeeds in channeling both Marty’s beating heart and the ricochet of pingpong balls in his propulsive score. The script by Safdie and cowriter Ronald Bronstein, loosely based on real-life table tennis hustler Marty Reisman, beats with its own, never-stopping pulse. The same breakneck aesthetic applies to camera work by Darius Khondji.

Back now to London, where Marty makes the finals against Japanese player Koto Endo (Koto Kawaguchi, like his character a deaf table tennis champion). “I’ll be dropping a third atom bomb on them,” he brags — not his only questionable World War II quip. But Endo, with his unorthodox paddle and grip, prevails.

After a stint as a side act with the Harlem Globetrotters, including pingpong games with a seal — you’ll have to take our word for this, folks, we’re running low on space — Marty returns home, determined to make the imminent world championships in Tokyo.

But he's in trouble — remember he took cash at gunpoint? Worse, he has no money.

So Marty’s on the run. And he’ll do anything, however messy or dangerous, to get to Japan. Even if he has to totally debase himself (mark our words), or endanger friends — or abandon loyal and brave Rachel.

Is there something else for Marty, besides his obsessive goal? If so, he doesn’t know it yet. But the lyrics of another song used in the film are instructive here: “Everybody’s got to learn sometime.”

So can a single-minded striver ultimately learn something new about his own life?

We'll have to see. As Marty might say: “Come watch me.”