Arts & Lifestyle

“That’s my dad!” Gus Walz, the 17-year-old son of Gov. Tim Walz of Minnesota, mouthed on Wednesday night, blinking through tears in the audience at the Democratic National Convention.

He rose to his feet and pointed emphatically at his father, who had just shouted him out in the most consequential speech of his political career. His sister, Hope, 23, seated next to him, put down the disposable camera she had been using to take pictures of her father and held up her hands in a heart sign.

Against stiff competition — speeches from Oprah Winfrey and former President Bill Clinton, plus a Prince tribute — the moment would become one of the night’s most resonant on social media.

Within hours, the cutaway to Gus circulated on TikTok, Instagram and X in posts that have received hundreds of thousands of views. Many of them were accompanied by the hashtag #ThatsMyDad. Another hashtag, #TeamGus, was trending on X on Thursday morning.

“Tim Walz was the headliner, but his son, Gus, won the night on social media,” Cory Smith, an NBC10 Boston anchor, wrote online.

Many supporters of the Harris campaign said they appreciated the Walz family’s unabashed displays of affection for one another. Several linked it to the more expressive version of masculinity that Mr. Walz has espoused on the campaign trail.

“You know you’ve done well as a parent when your kids are as proud of you as Gus and Hope are of Tim Walz,” Senator Amy Klobuchar wrote in a post that has been viewed more than a million times. “‘That’s my dad,’” she added, “No three words better describe our next Vice President.”

Some said Gus’s reaction had brought additional warmth to the Democratic ticket, which just two weeks earlier had gained the plain-spoken Minnesota governor as Vice President Kamala Harris’s running mate. “To see the way that he looks at his father just has me in my feels,” said Brenton Guice, a therapist and content creator, in a TikTok video.

But in more conservative spheres online, some Trump supporters posted split-screen images of Gus in tears alongside more stoic ones of Barron Trump, the former president’s youngest son, with one social media user calling Gus “an example of what is wrong with this country.” Politico reported on Thursday that the conservative commentator Ann Coulter posted and deleted a message on X that described Gus as “weird,” the term that Mr. Walz has used to disparage Mr. Trump and his running mate, JD Vance. (Ms. Coulter did not immediately respond to a request for comment.)

Such posts were fiercely criticized by other commenters, who pointed out that Gus is a minor and that his family has said he has a learning disorder.

Gus is the younger of Tim and Gwen Walz’s two children, who were conceived after the couple’s yearslong fertility struggle. The couple said in a statement to People magazine this month that Gus had seemed different from his classmates as a child: “Gus preferred video games and spending more time by himself.”

They learned when Gus was an adolescent that he had “a nonverbal learning disorder in addition to an anxiety disorder and A.D.H.D., conditions that millions of Americans also have.” Nonverbal learning disorders affect a person’s ability to process visual and social patterns. (It is a common misconception that people with nonverbal learning disorders do not speak.)

“It took time, but what became so immediately clear to us was that Gus’s condition is not a setback — it’s his secret power,” the Walzes added in their statement to People.

Mr. Walz, a former high school football coach, approached the stage at the United Center in Chicago on Wednesday night as if it were a giant pep rally, using sports metaphors to urge Democrats to make a fourth-quarter comeback against Mr. Trump.

In his 16-minute speech, Mr. Walz also discussed his family’s experience in having children with the help of fertility treatments — a topic rarely broached by male political candidates. He used the point to underscore his support for reproductive rights.

“Hope, Gus and Gwen, you are my entire world, and I love you,” he said from the stage. “I’m letting you in on how we started a family because this is a big part about what this election is about.”

When the speech concluded, Gus, wearing a blue suit and white Nike Air Force 1 sneakers, joined his father onstage and wrapped him in a tight embrace.

If discerning the difference between a crumble and a crisp is one fruit-filled conundrum, here’s another: Where’s the line between a caky peach cobbler made with a batter, and a buttery, one-bowl peach cake served warm with a spoon?

My answer is another question: Does it really matter with a dessert this good? Whatever label you choose, try my new recipe for easy buttermilk peach cobbler, because it’s just about the summery-est thing you can do with the last of the season’s stone fruits, particularly those gently oozing peaches that won’t wait much longer.

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Easy Buttermilk Peach Cobbler

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Forget the mixer and the food processor. Simply melt the butter in a skillet, letting it brown so it gets nice and toasty-flavored, and then whisk it into a pancake-like batter to pour over the fruit. If there’s no buttermilk on hand, you can always substitute yogurt thinned out with a little milk or water, or add a dash of lemon juice or vinegar to whole milk. Call it cobbler or call it cake, but call it today’s dessert.

Now that you’ve got peach cobbler in the oven, you’ll have to find another place to cook dinner. The grill is the most seasonal option, and the zingy, spicy flavors of Christian Reynoso’s hot-mustard grilled chicken might be just the dish to serve before your fruit-filled dessert. Or you could go the slow-cooker route with Sarah DiGregorio’s picadillo, with its salty-sweet combination of olives and raisins dotting the savory ground meat.

On the other hand, maybe you’re looking for something fishy and light for a midweek main? Carolina Gelen’s clever everything salmon with creamy caper sauce is an under-30-minute recipe that riffs on the flavors of bagels and lox. She serves it with a tomato and red onion salad on the side to evoke the traditional schmear toppings. Ali Slagle’s minimalist cucumber salad, dressed with vinegar and just a drop of honey to balance the tang, would also be a perfect accompaniment.

Cucumbers are having quite a moment, thanks to a certain TikTok star, and stores are selling out. If you’ve managed to keep or find a bagful, here are 26 ways to make the most of them and have the coolest cucumbers on the block.

Hetty “Cuke Skywalker” Lui McKinnon adds them to her cold tomato and kimchi soba noodle soup, where their refreshing crunch contrasts with the spicy, sour broth and earthy noodles. On extra steamy days, follow Hetty’s advice and add a couple of ice cubes to your bowl. Now that’s how I like to chill.

Lidey Heuck’s orzo with tomatoes, corn and zucchini is the Platonic ideal as an end-of-August one-pan meal. The tiny, rice-shaped pasta is suffused with softly cooked summer vegetables, seasoned with red pepper flakes and fresh basil, and then enriched with both mozzarella and Parmesan. It’s a colorful mix that takes full advantage of this bountiful season.

The billionaire Reed Hastings remembers visiting Storm King Art Center in the Hudson Valley a couple of decades ago.

“Walking around there got my curiosity going,” said Hastings, the co-founder and former chief executive of Netflix, noting that his wife, Patty Quillin, grew up near the outdoor sculpture mecca. “It changed my perspective on what art is.”

Now, Hastings is announcing an ambitious outdoor art program at the ski resort he recently bought, Powder Mountain in Eden, Utah.

It began with the installation of two pieces: the duo Gerard & Kelly’s “Relay (Powder Mountain)” and “We’ll All Go Together” by Susan Philipsz. The next works will be installed this winter, with the full slate planned for a 2026 grand opening.

The artworks can be skied to or hiked to, and are open to the public. This winter’s debuts include commissioned pieces by EJ Hill, best known for his ridable indoor roller coaster work at Mass MoCA, who will create art on the ski lifts, and the Los Angeles sculptor Davina Semo, who is making three large-scale bells that produce different tones when rung.

The full program, still being set, will also include an extant work, James Turrell’s walk-in light installation “Ganzfeld Apani” (2011), which was featured at the Venice Biennale; a piece by the land-art legend Nancy Holt (1938-2014), famous for her Utah work “Sun Tunnels”; and new commissions by the sculptor and Utah native Paul McCarthy and the text-based artist Jenny Holzer.

Hastings, an avid skier, gave credit to Powder Mountain’s chief creative officer, Alex Zhang, for driving the idea forward. Their inspirations include Desert X, an exhibition in the Coachella Valley of California, and the installations on the Japanese “art islands” of Naoshima and Teshima.

The Powder Mountain works will be owned by a nonprofit organization that is being set up by Hastings.

He noted that he is not a serious art collector in the rest of his life — at least not yet. “Alex is the visionary,” Hastings said, referring to Zhang, “and I’m the banker.”

To make the selections, they brought in Matthew Thompson, a former curator at the Los Angeles County Museum of Art who is now an independent curator and adviser.

“There’s a sexiness to saying ‘skiable sculpture park,’” Thompson said. He collaborated on the selections with Diana Nawi, who was recently hired as a contemporary curator at the Los Angeles museum.

The challenge is siting the works on the 12,000-acre property. “With most traditional sculpture parks, they’re an English garden notion of the picturesque — walk up, walk around and walk away,” Thompson said. “But this is an adventurous site with an outdoor adventure company.”

Thompson added, “All the works will connect you to the landscape. We’re not plopping them in a field.”

He cited Turrell’s “Ganzfeld Apani” as a “no-brainer first gesture,” given that the artist’s work is about perception, and will have broad views “looking out to the infinite.” It will be within walking distance from the main Powder Mountain parking lot. Turrell’s title refers to the Ganzfeld effect, the inability to perceive a uniform field, of which snow blindness is a prime example.

McCarthy, who lives in Los Angeles, grew up outside of Salt Lake City. “Since I left in the ’60s, I’ve never really made anything or done much there,” he said. “But I know that Utah affected me — you can’t get away from it. They’re in my sculptures, those cliff and mountain forms.”

McCarthy said his work would be sited somewhere “visually remote” and would take the form of an Alpine hut. He said he was considering wood, rock and stone as materials, and he was also toying with making a film there once the structure is complete.

Hill’s work will transform two Powder Mountain ski lifts, giving him another chance to explore art-in-motion, as he has done at Mass MoCA. That work addressed the way amusement park attractions were once racially segregated.

In an email, Hill, who is Black, said his field could be described as “amusement aesthetics.”

Hill said while the trip up, on the lift, is thought of as “more forgettable than the rest of the ride,” it is “arguably the most essential part.” He added, “lift engineers, designers and artists can use these moments to cultivate an even deeper sense of excitement for what’s to come.”

The ski lift works will use reclaimed carousel horses and roller coaster cars as a sculptural element on the lift system, Hill said. “Something to help elevate, quite literally, these bygone beings and vehicles. Give them a new life and renewed purpose.”

Skiing is a traditionally white sport, which may give Hill’s work another layer of meaning. In February he went to Powder Mountain, where he skied for the first time, “when someone that I trust invited me,” he said, referring to Thompson.

Hill added that the experience made him think of Adrian Piper’s installation “Safe #1-4” (1990). “I think that’s what we’re all after in large and small ways — to feel safe,” he said. “To be included. To be counted, to be regarded. To be seen.”

Branden Jacobs-Jenkins won a Tony Award in June for the Broadway production of “Appropriate,” his blistering play about a white Southern family grappling with some serious baggage.

This season, Jacobs-Jenkins will return to Broadway, now with “Purpose,” a stormy play about a Black Midwestern family wrestling with its own legacy.

“Purpose,” which had a well-received run earlier this year at Steppenwolf Theater Company in Chicago, is to begin previews Feb. 25 and to open in mid-March at the Helen Hayes Theater. The Broadway production is being directed by Phylicia Rashad, who also directed the play at Steppenwolf; Rashad, best known for “The Cosby Show,” has won two Tony Awards as an actor, for “A Raisin in the Sun” and “Skeleton Crew”; this will be her first time directing on Broadway.

Set in contemporary Chicago, “Purpose” is about the Jaspers, a civically engaged family of preachers and politicians. There are some parallels to Jesse Jackson’s family, but the story is fictional.

In the play, the family gathers at the home of its patriarch — a civil rights activist and preacher who had marched with the Rev. Dr. Martin Luther King Jr. — to welcome the eldest son, a politician, home from prison as his wife prepares to serve her own sentence. The gathering is complicated by the presence of the younger son, a divinity school dropout, who shows up with an unexpected friend.

The critic Chris Jones, writing in The Chicago Tribune, called it an “absolutely not-to-be-missed” play.

Jacobs-Jenkins, 39, has for a decade been touted as among the nation’s most important young playwrights. He is a two-time Pulitzer finalist (for “Gloria” and “Everybody”), but “Appropriate” was his first play on Broadway. It took so long for it to get there that the production, which starred Sarah Paulson, was deemed a revival and won the Tony Award in that category. Now, Jacobs-Jenkins is working on a musical adaptation of Prince’s “Purple Rain” that will have an initial production in Minneapolis next spring, while also preparing to return to Broadway with “Purpose.” (And before then, he has a new Off Broadway show this fall: “Give Me Carmelita Tropicana!” at Soho Rep.)

“I’m shocked, honored, surprised, confused, nervous,” Jacobs-Jenkins said in a phone interview, referring to having two Broadway plays in a row. “I definitely feel like there’s some kind of turnover: In this post-recovery period, lots of surprising things are happening.”

“I feel like suddenly my cohort is stepping into some new space that wasn’t available to us before,” he added.

And are “Appropriate” and “Purpose” related? “Not really,” Jacobs-Jenkins said. “But it wouldn’t be ridiculous to read them against each other.”

Though the nonprofit Second Stage Theater owns the Helen Hayes Theater, this will be a commercial production. The lead producers include David Stone and Marc Platt, who are the lead producers of “Wicked”; the film producer Debra Martin Chase; the actress LaChanze; and Rashad V. Chambers, Aaron Glick and Steppenwolf.

A person trying to escape an abusive relationship, on average, needs seven attempts to actually leave. Lily Bloom, the protagonist of the new drama “It Ends With Us,” needs only one.

In the hit adaptation of the best-selling Colleen Hoover novel, Bloom (Blake Lively) is a young woman who grew up watching her father repeatedly hit her mother and who sees her own marriage to the seemingly perfect neurosurgeon Ryle Kincaid (Justin Baldoni, also the film’s director) deteriorate into physical and emotional abuse. When Bloom learns she’s pregnant with Kincaid’s child after a violent night, she decides to get out.

Professionals who counsel domestic violence survivors or work on related issues say “It Ends With Us” is an oversimplified depiction of being in and leaving an abusive relationship. But whether it’s a potential tool for advocacy or an unattainable vision of escaping abuse depends on whom you ask.

“I think it’s very likely that people are going to come to the movie and see themselves in Lily,” said Pamela Jacobs, the chief executive officer of the nonprofit organization the National Resource Center on Domestic Violence. She said that although “It Ends With Us” had problems, she was surprised by how well it showed abuse overall.

The big inaccuracy to professionals is how easily Bloom leaves once she realizes she is being abused. In real life, she would probably have faced stalking, harassment and other escalating pressure tactics, including violence.

In “It Ends With Us,” Bloom and her husband peacefully part ways after a single conversation. Jacobs said Bloom’s departure was unrealistically smooth thanks to her financial independence (she owns a flower shop) and unwavering community support, including from her best friend, who is also Kincaid’s sister.

“I just hope that survivors who watch this movie don’t compare themselves too much to Lily’s story, because she was able to get away much easier than people typically are,” Jacobs said.

Andrea Wainer, a New York City clinical social worker and therapist who works with survivors of domestic abuse, said the movie’s message could be dangerous, as it doesn’t explain the careful planning that goes into safely leaving.

“It’s quite a battle to leave,” she said. “If people identify that they are in abusive relationships and then after having watched this movie have courage to leave, some will end up being killed. Many will end up without their children. Many will end up homeless and depressed, and most will have PTSD,” she said, referring to post-traumatic stress disorder.

Wainer, a survivor of domestic abuse herself, said several aspects of the film rang false: Bloom doesn’t get ensnared in a custody battle, she doesn’t face financial struggles after becoming dependent on her abuser, and she doesn’t experience any work disruption, social isolation or the other harsh realities of escaping.

One thing the movie does get right, experts said, is the romance at the beginning of the relationship. Almost as soon as he sees Bloom, Kincaid is on a charm offensive, a tactic known as “love bombing,” and he plies her with flowers and insistent requests.

His controlling behavior continues once they’re in a relationship. When he hurts her, he convinces her it was only a series of accidents, and she comforts him instead. Jacobs praised the focus on psychological abuse and a dynamic in which victims misread behaviors like jealousy and possessiveness as romantic.

But the movie’s marketing has also come in for criticism from experts. Much of the discussion about “It Ends With Us” has centered on the press tour, in part because of the dissonance between the film’s cheery, floral-heavy promotion and its dark story.

Maddie Spear, a therapist in Raleigh, N.C., makes online videos under the handle @Therapy Thoughts. She said she was surprised by how well the movie showed some aspects of abuse, but that made her even more disappointed in its marketing. She especially took issue with an interview in which Lively emphasized that Bloom was more than her abuse.

“While that’s a really hopeful perspective, survivors of trauma and especially of intimate partner violence and domestic violence know that is not a part of them that they can just turn off and they can just get rid of,” said Spear, who works with young adults and has treated many clients who have experienced abuse in early relationships.

Jacobs and Spear both expressed hope that despite its inaccuracies, the movie could help viewers get the courage to think about leaving an abusive relationship.

The movie has received over $180 million at the global box office, but it’s difficult to say whether it has helped viewers. A spokeswoman for the National Domestic Violence Hotline said that it hadn’t seen an increase in calls tied to the movie, but it had recorded a 10 percent rise in website traffic since the film was released on Aug. 9.

The production company behind the movie, Baldoni’s Wayfarer Studios, partnered with the No More Foundation, which focuses on awareness campaigns around domestic violence, to consult on some aspects of the depiction and to develop resources that viewers can learn about from the credits. Compared with the same time period in July, a spokesman said, the organization had experienced an 800 percent increase in website visits, three times the usual traffic to its support service directory in the United States as well as a 525 percent increase in downloaded resources.

The group’s platform No More Silence, which invites survivors and victims of domestic abuse to safely and anonymously share their stories, has also seen a jump to more than 40 posts a week from a few since “It Ends With Us” was released.

”I knew this movie would change everything for me and it did,” reads one recent addition from an anonymous poster. “I finally left him and as hard as it was, it was the best thing for me and for my future. I believe you have one life, why would I let it go to waste on someone like that?”

Rainer Werner Fassbinder’s final film, “Querelle,” released posthumously in 1982, was the most lavish and artificial of the 40-odd movies the prolific filmmaker directed over the course of a 13-year career.

A film that recapitulates even as it embalms many of Fassbinder’s concerns, “Querelle” screens in a new digital version for a week starting Friday at Anthology Film Archives.

At once lurid and static, a funerary frieze of power plays, treachery and weaponized sex, “Querelle” is faithful to Jean Genet’s sensuous prose-poem novel in tracking the criminal and erotic escapades of the title character, a charismatic young sailor (Brad Davis).

Universally desired, Querelle is a killer, a masochist, a smuggler, a stool pigeon, and a participant in a convoluted daisy chain. His brother Robert (Hanno Pöschl) is sleeping with Lysiane (Jeanne Moreau), the madam of a waterfront bordello; Querelle, who allows himself to be sexually used by Lysiane’s husband, Nono (the Fassbinder regular Günther Kaufmann), has sex with her as well. He also seduces (or at least vamps) and frames a good-hearted Polish sailor (Pöschl again) and, throughout the movie, is cruised by his ship’s repressed lieutenant (Franco Nero).

This tawdry rondo is frequently accompanied by a celestial chorus and bathed in a golden light, with Davis individually glorified. (Beautiful and inert, he might be a stand-in for Rock Hudson, who was not only closeted but the favorite actor of Fassbinder’s favorite director, Douglas Sirk.) Moreau, virtually the only woman in the film, comments on the turgid delirium by twice singing a ditty taken from Oscar Wilde’s “Ballad of Reading Gaol” in which the phrase “each man kills the thing he loves” is followed by a jaunty “dadada-dadada.”

Vincent Canby, one of Fassbinder’s greatest critical supporters, was appalled, declaring in his New York Times review that “Querelle” was a ponderous “mess,” valuable only for delineating “the particular strengths and limitations of the most important European filmmaker of his generation.”

Once the nimblest of directors, Fassbinder spent his last years hacking out a place in international cinema, as well as the literary firmament. “Querelle,” an English-language French production, was preceded by a strained, English-language adaptation of Vladimir Nabokov’s novel “Despair” (1978); a labored if more successfully executed TV mini-series based on Alfred Döblin’s “Berlin Alexanderplatz” (1980); a shrewd remake of Josef von Sternberg’s “The Blue Angel,” “Lola” (1981); and a banal big-budget period piece, “Lili Marleen” (1981). His next project was evidently meant to be an adaptation of a novel by another French sensationalist: Georges Bataille.

“Querelle” is far from a masterpiece, but it is something. As mannered as it is crass, the movie seems designed to upend European art cinema. Genet’s novel, privately published in 1947, featured delicately homoerotic line drawings by Jean Cocteau. Fassbinder’s insolent adaptation, for which he commissioned Andy Warhol to design a vulgar Cocteau-like poster, is populated by buff sailors, muscular hard hats and cops bare chested beneath their leather vests — a cast clearly inspired by the hyperreal macho men drawn by Tom of Finland.

While not the movie I’d choose to commemorate Fassbinder, “Querelle,” once seen, lingers in the memory. The film’s defiant, ritual quality cannot be denied.

Querelle

Through Thursday at Anthology Film Archives in Manhattan; anthologyfilmarchives.org.