Driver Pleads Guilty in Crash That Killed Nicki Minaj’s Dad

Nicki Minaj. (AP)
Nicki Minaj. (AP)
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Driver Pleads Guilty in Crash That Killed Nicki Minaj’s Dad

Nicki Minaj. (AP)
Nicki Minaj. (AP)

A hit-and-run driver pleaded guilty Friday in a suburban New York a suburban New York crash that killed the father of Nicki Minaj and was promised a year or less in jail, disappointing prosecutors and the hip hop star’s mother.

In state court in Long Island’s Nassau County, businessman Charles Polevich admitted leaving the scene of the February 2021 accident that fatally injured Robert Maraj as he walked along a road in Mineola.

Polevich initially got out of his car and looked at the injured man on the ground, but then drove off, didn’t call 911, garaged his car and covered it with a tarp, authorities said. Polevich pleaded guilty to tampering with evidence by concealing the car.

Maraj, 64, died at a hospital the next day.

Judge Howard Sturim said Polevich would get “no more than one year in jail,” along with community service and a suspended license. The 71-year-old is due to be sentenced Aug. 3.

The victim’s widow, Carol Maraj, told reporters she was “not happy” with the planned sentence. The widow, who is suing Polevich, said seeing him in court left her shaking at the memory of her husband fighting for his life in the hospital.

Prosecutors, who sought a one-to-three-year prison sentence, also took issue with the planned penalty.

“Given the severity of the defendant’s conduct, we disagree with the sentencing commitment from the court,” Nassau County District Attorney’s office spokesperson Brendan Brosh said in a statement.

Polevich’s lawyer, Marc Gann, called the hit-and-run “completely out of character” for his client, who hails from Long Island but has a drilling and water purification business in Guam.

“He does feel tremendous empathy for Mr. Maraj’s family and tremendous remorse for any role he played in his death,” Gann said by phone after court. He suggested that Polevich might have had a medical problem that made him not “fully aware of what he was doing,” while noting that it wasn’t a legal justification.

Messages were sent to representatives for Nicki Minaj, who called her father’s death “the most devastating loss of my life” in a post on her website last year.

The platinum-selling, Grammy-nominated rapper — known for tracks including “Anaconda,” “Starships” and “Super Bass” — was born Onika Tanya Maraj.

In interviews years ago, she described a troubled relationship with her father. But she later said he had changed.

After his death, she wrote about wishing she could pick up the phone and talk to him.

“He was very loved & will be very missed,” she wrote.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.