logo
The Answer Is Pickles

The Answer Is Pickles

New York Times01-05-2025

Over the weekend, a few girlfriends and I settled into a Glen Powell rom-com double feature: 'Anyone but You' (an atrocious allocation of Columbia Pictures' funds and my own time) and 'Set It Up' (an ode to the form).
In the latter, Powell and Zoey Deutch, who play two assistants repeatedly hamstrung by their abusive bosses, agree to split up one order of takeout — a burger with a pickle and some mac and cheese — into two so that neither employer goes hungry. 'The pickle is my dinner!' Deutch exclaims, but Powell ruthlessly claims it. What's a sandwich without a pickle, he insists.
But from the elevator, he shouts: 'You know that pickle? That aforementioned pickle? That wasn't for my boss. That was for me.' He crunches into it and flashes a devious grin. A good pickle can make you lose your way.
While the sweet-and-sour curious might flock to pickle-flavored chips and almonds and falafel and popcorn and pizza, real pickle people know they can be the not-so-secret ingredient that punches up a dish. I reckon Hetty Lui McKinnon is one of those people. That would surely explain her pickle-laden pasta salad, which calls for plenty of pickle brine and sliced pickles.
'I really doubted this recipe because of how insane 5 tablespoons pickle juice and 2 cups pickles seems … but it was DELICIOUS!!' one reader wrote. 'If anything I would add even more pickles and I'm not kidding.'
Want all of The Times? Subscribe.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Rick Hurst, Cletus Hogg on ‘The Dukes of Hazzard,' Dies at 79
Rick Hurst, Cletus Hogg on ‘The Dukes of Hazzard,' Dies at 79

New York Times

timea day ago

  • New York Times

Rick Hurst, Cletus Hogg on ‘The Dukes of Hazzard,' Dies at 79

Rick Hurst, who portrayed the friendly but bumbling deputy sheriff Cletus Hogg on the comedy series 'The Dukes of Hazzard,' died at his home in Los Angeles on Thursday. He was 79. His death was confirmed by Alma Viator, the wife of his friend and former colleague Ben Jones, who played Cooter on 'The Dukes of Hazzard.' Mr. Hurst had been scheduled to appear at a meet-and-greet on July 3 at the Cooter's Place in Pigeon Forge, Tenn., a shop and museum dedicated to the TV show run by Ms. Viator and Mr. Jones, but Mr. Hurst had canceled because he was not feeling well. Ms. Viator said in a phone interview on Friday that Mr. Hurst's death was 'shocking to all of us, even though we knew he wasn't feeling well.' Mr. Hurst appeared as Cletus, the cousin of Boss Hogg, the commissioner of the fictional Hazzard County, in 55 episodes of 'The Dukes of Hazzard' from 1979 until 1982. The show ran for seven seasons on CBS. Want all of The Times? Subscribe.

Lalo Schifrin, award-winning composer known for ‘Mission: Impossible' theme, dies at 93
Lalo Schifrin, award-winning composer known for ‘Mission: Impossible' theme, dies at 93

Los Angeles Times

time2 days ago

  • Los Angeles Times

Lalo Schifrin, award-winning composer known for ‘Mission: Impossible' theme, dies at 93

Lalo Schifrin, the six-time Oscar nominee and prolific composer best known for his Grammy-award winning 'Mission: Impossible' theme, has died. He was 93. Schifrin died Thursday morning at a hospital in Los Angeles, his son Will Schifrin told The Times. He reportedly died of complications from pneumonia. The Argentine-born composer was known for his ability to infuse elements of jazz, rock and funk into classical orchestral music, and is credited for helping to change the sound of movies. Schifrin was recognized for his scores on films such as 'Cool Hand Luke' (1967), 'The Fox' (1967), 'Voyage of the Damned' (1976), 'The Amityville Horror' (1979) and 'The Sting II' (1983). In 2018, Schifrin was presented an honorary Oscar from the Academy of Motion Picture Arts and Sciences. Schifrin wrote more than 100 scores for film and television over the course of his Hollywood career, including for films such as 'Dirty Harry' (1971), 'THX 1138' (1971), 'Enter the Dragon' (1973) and the 'Rush Hour' trilogy, as well as TV shows including 'The Man from U.N.C.L.E.' and 'Starsky and Hutch.' 'I learned to be a chameleon,' Schifrin told The Times in 2018. 'In motion pictures, the real creator is the screenwriter and the director and the producer. I have to work for what they have made. Like a chameleon, I do whatever is necessary.' In 2011, Schifrin modestly described himself as simply a 'music maker.' While the catchy theme for the spy series 'Mission: Impossible' remains one of his best known pieces, Schifrin told The Times in 2016 that 'it was just work.' 'For everything I've done, I did my best,' Schifrin said. 'I like what I did. I don't think it's a masterpiece, but it's OK. ... If people like it, to the point of embracing it, great. That doesn't happen too often.' Born in Buenos Aires in 1932, Schifrin was exposed to music from a young age. His father Luis served as the concert master of the Philharmonic Orchestra of Buenos Aires at the Teatro Colón. And he was just 5 years old when a trip to the movies with his grandmother made him realize that it was the music that helped make the horror film so scary. Schifrin began studying piano under Enrique Barenboim, the father of pianist and conductor Daniel Barenboim, when he was 6. He discovered and fell in love with modern American jazz as a teenager. Upon the suggestion of one of his teachers, he applied for a scholarship to attend the Paris Conservatory. During his time there, he made money playing at jazz clubs. After returning to Buenos Aires, Schifrin started his own jazz band to perform at concerts and on TV. He eventually met American jazz trumpeter Dizzy Gillespie, who invited him to come work for him in the U.S. In 1963, while he was working with Gillespie after moving to New York, Schifrin was offered a job in Hollywood. 'My first movie was called 'Rhino,'' Schifrin told The Times in 2011. 'It was a low-budget movie, but it was the beginning.' Schifrin is survived by his wife, Donna, and his children, William, Frances and Ryan.

The Weeknd conquers SoFi Stadium with an immaculate performance before retiring his all-consuming pop moniker
The Weeknd conquers SoFi Stadium with an immaculate performance before retiring his all-consuming pop moniker

Los Angeles Times

time2 days ago

  • Los Angeles Times

The Weeknd conquers SoFi Stadium with an immaculate performance before retiring his all-consuming pop moniker

No pop artist today has a more tangled relationship to a venue than the Weeknd has with SoFi Stadium. First, he chose SoCal's flagship stadium as the site to film the denouement of his cult-campy HBO series 'The Idol' during one of his concerts. Unfortunately, during the set, he lost his voice four songs in and had to send fans home for the night so he could recover and make up the date. For such a perfectionist, that must have been a body blow. He rebounded a few months later with a triumphal return and the concert doc 'The Weeknd: Live at SoFi Stadium.' But that nerve-racking experience stuck with him. He revisited it again in his recent feature film (and album) 'Hurry Up Tomorrow,' where a fictional version of the Weeknd loses his voice onstage, kicking off a surrealist, violent night with Jenna Ortega. A brief interlude from that LP is titled 'I Can't F— Sing.' So Abel Tesfaye must have had a range of mixed feelings when he walked out at SoFi on Wednesday night, the first of four nights at the site of some of his greatest triumphs and most bitter disappointments as a live performer. 'This is bigger than me — it's a reflection of the power of music and its impact on people,' Tesfaye told The Times in a brief email just before the show. This slickly cryptic, immaculately performed 2½-hour set covered the whole of his era-defining catalog. But is this run of SoFi dates a swan song to one of the most successful recording projects of our time? Since first emerging as an anonymous voice atop gothic, coked-up R&B productions on a trilogy of 2011 mixtapes, Tesfaye's tastes and his unlikely commercial success grew together. An underground fan base turned up for the nihilism of 'Wicked Games' ('Bring the drugs, baby, I could bring my pain.') But with assists from Max Martin and Daft Punk, he became a bona fide pop star. His mournful Ethiopian melodic lilt stood out like nothing else in Top 40, and he hung onto enough art-freak sensibility that he could headline the Super Bowl halftime show with dancers in full-face plastic-surgery bandages. His '80s-noir, 2019 single 'Blinding Lights' remains the most-streamed song on Spotify, ever. Darryl Eaton, his agent at CAA, told The Times that the 200,000 tickets sold for this SoFi run alone is 'like selling out an entire American city.' Yet Tesfaye has recently hinted at retiring the Weeknd as a premise. 'It's a headspace I've gotta get into that I just don't have any more desire for,' he told Variety recently. 'It never ends until you end it.' Whether he wants to release less conceptual, more personal music, or if he's simply run out of gas with this all-consuming pop entity he's created, this SoFi run is likely one of the last chances L.A. fans will get to see the Weeknd. Tesfaye will surely keep making music and films, but it makes cinematic sense that he'd come back to the scene of his most painful night onstage to put this all to bed. After a brief and typically roiling set from Tesfaye's recent collaborator Playboi Carti, Tesfaye emerged in black and gold, eyes lit with LED pinpicks, over a ruined cityscape. Opening with the 'BoJack Horseman'-riffing 'The Abyss,' he grimly promised, 'I tried my best to not let you go / I don't like the view from halfway down … I tried to be something that I'll never be.' It sure felt like he was saying goodbye to this way of being an artist. The show kicked into gear with Tesfaye surrounded by a trim live band and minimalist, moving-sculpture dancers in rose-colored robes. He didn't need much more to let that once-in-a-generation voice carry everything. Tesfaye's a uniquely dedicated live vocalist on the stadium circuit (it's kind of honorable that any serious vocal troubles might mean the show's over). For all his high-concept misdirections in videos and films, you could feel the troubled intimacy that's kept fans invested in this music over so many aesthetics. For all his close-reads of Michael Jackson's records on singles like 'Can't Feel My Face,' Tesfaye's not an especially physical dancer onstage. But he knows exactly how to inhabit and set-dress this music to make it eerie and monolithic, even at its poppiest. 'After Hours' made a seductive case for letting an obviously toxic man back into your life ('Different girls on the floor, distracting my thoughts of you.') After finally taking off his face mask, he played 'Take My Breath' like a revving, neo-disco floor-filler that still winked at the darker choke-kinks of his old music. When he cranked up the pyro on the midcareer lurker ballad 'The Hills,' the front rows of SoFi got a bracing reminder of how volatile this music is even when it sits atop streaming charts. Alongside Carti on their collaborations 'Timeless' and 'Rather Lie,' Tesfaye grounded his pal's smeary Atlanta noise with evilly pretty melody. This is a voice you just can't help but believe, even when it's calling you to self-destruction. If this tour is indeed at the end of his tenure as the Weeknd, at more than three dozen songs, Wednesday's set delivered every possible angle of valediction — the thrumming decadence of 'Often,' the desperate sincerity of 'Die for You' and 'Is There Someone Else?' Newer material like 'Cry for Me' and 'São Paolo' showed that, whatever his exhaustion with this aegis, he's got tons of startling ideas still brimming. When Tesfaye buried the hatchet with the Grammys back in February, it was a generous gesture to an organization that inexplicably locked him out of honors for 'Blinding Lights' that he should, obviously, have contended for. When he played that double-time, neo-New Wave single toward the end of his Wednesday set, it felt like a strange pearl that he'd discovered — one of the biggest pop songs of all time, played by a guy whose music emerged from a murk of MDMA licks and mournful threesomes. With perhaps the exception of his (exceedingly stylish if critically skeptical) film career, he's always found his voice, over and over again. SoFi Stadium has dealt the Weeknd his greatest defeat and some of his his finest hours as a performer. Now it's sending him off to Valhalla, wherever that takes Abel Tesfaye.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store