Springsteen, Kaling, Louis-Dreyfus Among 22 Honored by Biden

President Joe Biden presents the 2021 National Medal of the Arts to Bruce Springsteen at White House in Washington, Tuesday, March 21, 2023. (AP)
President Joe Biden presents the 2021 National Medal of the Arts to Bruce Springsteen at White House in Washington, Tuesday, March 21, 2023. (AP)
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Springsteen, Kaling, Louis-Dreyfus Among 22 Honored by Biden

President Joe Biden presents the 2021 National Medal of the Arts to Bruce Springsteen at White House in Washington, Tuesday, March 21, 2023. (AP)
President Joe Biden presents the 2021 National Medal of the Arts to Bruce Springsteen at White House in Washington, Tuesday, March 21, 2023. (AP)

President Joe Biden welcomed a high-wattage collection of singers, authors, artists and humanitarians to the White House on Tuesday to present them with medals — and then stole the show himself with a quip about seeking reelection.

Bruce Springsteen, Julia Louis-Dreyfus, Mindy Kaling and Gladys Knight were among the 22 people and organizations being honored. When novelist Colson Whitehead’s award was announced, Biden noted that the author of “The Underground Railroad” and “The Nickel Boys” has already won back-to-back Pulitzer Prizes.

The president, who is expected to announce for reelection this spring, quickly picked it up.

“Pretty good man,” he told Whitehead. “I’m kind of looking for a back-to-back myself,” he added, drawing a laugh from the audience.

It was a feel-good event in the East Room, as the honorees stepped forward to receive their awards one by one. Louis-Dreyfus, who channeled Biden’s resume when she starred in “Veep,” jokingly sagged under the weight when the president placed the medal for the arts around her neck. “Wow!” she exclaimed.

Springsteen, with his everyman persona, looked incongruous in a black suit. He was lauded for “his extraordinary contributions to the American songbook, and for being ‘The Boss.’” Poet and author Richard Blanco stunned in a teal tuxedo.

Knight, the “empress of soul,” gave the president a giant hug when he put the medal around her neck. Jaclyn Sallee, who received the medal on behalf of Native America Calling, a podcast and radio show, beamed with pride. So did social historian Earl Lewis, who, according to the president, chronicles African American history and “explores how diversity strengthens our nation.”

Biden joked that he opens his closet to find one honoree, designer Vera Wang, inside — her clothes, anyway — then said, “Your dresses always look beautiful on my wife.”

The medals are Biden’s first batch of awards for the arts and humanities and were delayed by the pandemic. The president surprised Sir Elton John with a National Humanities Medal during a White House musical event last September. He told the crowd how important their work was, in keeping American culture alive and reminding people of our history - even the parts we’d like to forget. The honorees work includes dance, art, design, history as well as music, writing and philanthropy.

“You do make the country better, you make it a better place,” Biden told the crowd before they departed for a White House reception.

The honorees did not perform or speak to the crowd after they received their awards. But the US Marine Corps band that often plays for East Room ceremonies did orchestral numbers of Springsteen hits “Born to Run” and “Born in the USA.”



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.