‘Nyad’ a masterful dive into swimming legend’s life

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Four-time Academy Award nominee Annette Bening and two-time Academy Award-winner Jodie Foster give the world a joyful acting lesson in “Nyad,” and you won’t want to miss it. A feature film debut from directors Jimmy Chin and Elizabeth Chai Vasarhelyi of the terrifying, mountain-climbing documentaries “Meru” (2015) and “Free Solo” (2018), the film is based on long-distance swimmer Diana Nyad’s 2015 memoir “Find a Way” adapted by screenwriter Julia Cox (TV’s “Recovery Road”).

Slyly slipping in some archival footage, Chin and Vasarhelyi fill in the background history.

Nyad, who took her surname from the Greek word for “water nymph” at the encouragement of her father, set records swimming across Lake Ontario and around Manhattan Island and from the Bahamas to Florida (102 miles). The action begins when Nyad (Bening) tolerates a surprise 60th birthday party thrown by her best friend Bonnie Stoll (Foster).  A Boomer born in 1949, Nyad worked for 30 years for ABC News, and she hasn’t been in the water in ages. But she’s a fierce Scrabble competitor, and she doesn’t want to “succumb to mediocrity” in her old age. Like Tennyson’s Odysseus, she dreams of a crowning, final adventure, and she concocts a plan to swim from Cuba to Key West.

At the local pool, Nyad gets into the water and doesn’t get out until after dark. She’s just warming up. Speaking to a class of children, she admits that she poops in the water during marathon swims. What are the dangers? Sharks, stingrays, Portuguese man o’ wars and venomous jellyfish.

Diana and Bonnie arrange for a team of young kayakers to protect her during the swim using an electric “shield” to repel sharks. It doesn’t however work on jellyfish. After a terrible introductory meeting, Diana enlists dyspeptic charter fisherman John Bartlett (Rhys Iffans, completing an acting trifecta) as her navigator. It is inevitable that Diana, who sports a red light on her bathing cap, will vomit seawater and hallucinate during her swim. Bonnie and the team keep close to Diana in the boat, cruising at the same speed and keeping a light on the swimmer. Bonnie and John are vigilant.

During the swims, while Diana sings and counts, we see what she is thinking. We get a rather cheesy-looking version of the Taj Mahal in one of these scenes. But we also encounter her childhood, her introduction to competitive swimming, and her sexual abuse as a child by a beloved coach.

Bonnie and Diana are a gay comedy team, arguing, bantering and fighting over Diana’s willingness to risk her life. A crowd cheers Diana on her first attempt. By the fifth, Diana is older and the crowds have gone. But she and her assistants have engineered a body suit and eerie face mask that she can wear to protect her from jellyfish at night. Yes, it is exciting to see Bening, Foster, Iffans et al reenact Nyad’s relentless five attempts to make the swim. But it is the bond between Diana and Bonnie that is the film’s beating heart and its strength. In 2013, at the age of 64, Nyad sets a record for longest ocean swim without shark cage or flippers, 110 miles. She is a true legend. But the film is a celebration of two women’s friendship and of two of America’s greatest actors putting on a great show. Onward.

(“Nyad” contains scene suggesting sexual abuse, profanity and brief nudity)

“Nyad”

Rated PG-13. At the Landmark Kendall Square. Grade: A-

Pitts: PBM reforms would boost insurer competition

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Congress is poised to crack down on the drug-industry middlemen responsible for inflating the price of medicines. Pending bipartisan legislation in the House and the Senate would rein in these “pharmacy benefit managers” and strengthen competition among health insurers. The big winners will be patients, who could save billions of dollars at the pharmacy.

PBMs act as brokers, negotiating with drug manufacturers on behalf of insurance companies. They decide which drugs each health plan covers, and at what price.

This decision-making power gives them considerable bargaining leverage, which they use to extract discounts from drug makers in exchange for steering patients towards one drug company’s product, rather than another’s — regardless of their therapeutic differences.

In theory, these negotiations ought to result in lower spending for patients. But it hasn’t worked out that way — because PBMs’ compensation is closely tied to the nominal “list” price of a given drug. Because PBMs take a cut of the drug’s total price, they have an incentive to steer patients towards more expensive drugs, even when cheaper ones are equally effective.

Meanwhile, the discrepancy between the list price of a drug and what insurers actually pay provides an excellent opportunity for insurance companies to bilk their customers at the pharmacy counter. They do so by basing coinsurance payments on the list price, rather than the discounted price.

For example, a PBM may negotiate the price of a drug listed at $400 down to $200. Say the insurance company the PBM is working for requires patients to pay 20% of the drug’s cost in coinsurance. The insurer then charges patients $80 out-of-pocket — 20% of the original price — instead of $40, or 20% of the discounted price. Patients don’t have a clue about the discounted price because those negotiations are conducted in secret. But insurers win by paying less and billing patients more.

Total PBM profits increased to $28 billion in 2019.

There’s little way for ordinary Americans to escape this racket. According to the American Medical Association, almost 70% of Americans with commercial health plans are insured through a company that is vertically integrated with a pharmacy benefit manager. This means both the insurer and PBM have an incentive to favor higher list prices for drugs, with no regard for the patients stuck with higher bills.

If an American wants to change providers to escape a particularly predatory pharmacy benefit manager, good luck. Just six PBM companies control 96% of the prescription medication market. Currently, it’s virtually impossible for smaller, independent PBMs to compete with the massive insurance-owned PBMs.

Congress must step in to rectify this anti-competitive situation. By ending the consolidation of the PBM market and allowing smaller PBMs to compete, Congress will be ensuring that prices come down and Americans will have more options for affordable and high-quality health care.

Shifting PBM compensation structure to remove the incentive to prefer expensive drugs will lower costs for patients, employers, and the government. Any discount secured by a PBM should be passed along to patients at the pharmacy.

Plenty is at stake if Congress fails to hold PBMs accountable. The cost of healthcare will continue to climb, and patients will get sicker. In some cases, they will forgo taking their medications as prescribed, adding billions of dollars in avoidable expenses.

Preserving the critical market features of our healthcare system and lowering costs for patients are not opposing goals. Increasing competition by breaking up and regulating PBMs will accomplish both.

Peter Pitts is a former associate commissioner of the Food and Drug Administration and President of the Center for Medicine in the Public Interest.

‘The Canterville Ghost’ a welcome screen haunt

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The great perennial “The Canterville Ghost” based on a serialized 1887 short story by Oscar Wilde is back in the form of a “Downton Abbey”-esque, animated tale of an American family traveling from Boston to England and finding itself in a manor house haunted by a 300-year-old ghost. The film is notable for reuniting Stephen Fry and Hugh Laurie of “Jeeves and Wooster” fame. Fry, giving his vocal instrument a Boris Karloff-twist, voices the ghost Sir Simon de Canterville, who was bricked up in a portion of the house and left to die three centuries earlier.

Upon her arrival, Virginia Otis (an excellent Emily Carey of “House of the Dragon”), whose scientist father Hiram (David Harewood) calls her “Pumpkin,” comes across a history of “Canterville Chase” text and digs in. Her father wants to install modern electricity in the old manor. Her mischievous younger brothers Louis and Kent (a delightful Jakey Schiff and Bennett Miller) seek hijinks wherever they can find it. Virginia’s mother Lucretia Otis (Meera Syal) wants very much to fit in with local society and plans a dinner party.

Portraits of terrified previous owners of Canterville Chase adorn the walls in a very Harry Potter sort of way. We hear of a prophecy concerning a massive, dead almond tree. Before long, we meet the spectral Sir Simon in chains and spooking up a storm. Unfortunately, Sir Simon, who likes to quote Shakespeare, does not scare the Otises very much. Virginia almost ignores him. The boys play football (American-style) with his head. Sir Simon, who disappears in puffs of smoke, is decked out in green tights, blue boxers, a gold tunic and a big, ruffled collar. He wants to know why Virginia wears “breeches.” She explains that they are “riding breeches” and promptly rides out to meets her rather hapless love interest Henry Fitz Humphreys, the Duke of Cheshire (a fun Freddie Highmore). Eventually, we learn that Sir Simon was suspected of murdering his beloved wife Eleanor (Elizabeth Sankey). Virginia takes on the task of lifting the curse upon Sir Simon.

Also in the film’s remarkable voice cast are Imelda Staunton as the cook and housekeeper Mrs. Umney, Toby Jones as the local vicar The Reverend Chasuble and Miranda Hart (TV’s “Call the Midwife”) as a inventive, ghost-chasing friend of the Reverend. Laurie has less to do as the voice of Death.

Directed by Kim Burdon (“Fireman Sam”) and Robert Chandler (TV’s “Boy George: One on One”), this “Canterville Ghost” is not the first animated adaptation of Wilde’s story, which has been adapted many times before (there was a 1970 Soviet animated film, believe it or not).

The role of Sir Simon has been previously played by Patrick Stewart and John Gielgud. The most famous adaptation was the 1944 American feature film, starring a wonderful Charles Laughton as Sir Simon, Robert Young as an American WWII soldier, child actor Margaret O’Brien and Una O’Connor. A 1966 ABC TV movie musical of Wilde’s story featured Douglas Fairbanks, Jr. and Michael Redgrave and music by “Fiddler on the Roof” songwriters Jerry Bock and Sheldon Harnick. This latest “Canterville Ghost” might not be the best. The computer-generated animation is not exactly inspired. The hit-and-miss screenplay boasts a “ghostbusters” joke. But like Noel Coward’s much adapted “Blithe Spirit,” “The Canterville Ghost” is always welcome.

Sly Stone doesn’t come across as ‘Everyday People’ in memoir

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Here is the most telling sentence in Sly Stone’s autobiography: “I would say that drugs didn’t affect me too much, but I didn’t have to be around me.”

In the works for more than a decade, “Thank You (Falettinme Be Mice Elf Agin)” is about drugs a lot of the time. And it’s about Stone not owning up to his responsibilities — musical appearances, child support payments, fidelity — much of the rest of the time.

Written with music biographer Ben Greenman and “created in collaboration with Sly Stone’s manager, Arlene Hirschkowitz” (whatever that means), “Thank You” is a peculiar book. It captures what one assumes is Stone’s voice — laconic, fond of wordplay, non-judgmental — but also dispassionately observes his life from the point of view of someone who is outside it. This reaches its nadir in an odd chapter about Stone guest-hosting “The Mike Douglas Show,” which seems to have been written by a stranger who watched the episode on YouTube and wrote down everything they saw.

Credit Stone for candor when he describes, for instance, shooting his pit bull after it mauled his infant son or pointing at a woman he doesn’t know with a gesture somehow universally recognized as meaning, “You’re with me from now on,” or attempting to assault a man he caught in bed with his partner, despite the fact that Stone regularly cheated on her.

Stone is equally parts charming and infuriating in “Thank You,” which is most valuable for its documentation of 1967-1973, the years in which Sly and the Family Stone were making joyful hits. Their versatility and dexterity were given a boost two years ago by Questlove’s Oscar-winning “Summer of Soul” documentary, which included them performing “Sing a Simple Song” and “Everyday People.” (Questlove’s publishing imprint is releasing “Thank You.”)

Stone doesn’t seem especially interested in revisiting the creation of those songs but “Thank You” does capture the milieu they sprang from and the vibe he hoped to convey. Maybe the best thing about the book is that it will lead music fans to dive back into that incredible catalog.

“Thank You (Falettinme Be Mice Elf Agin)”

By Sly Stone, with Ben Greenman.
AUWA, $30, Grade: C+

Tribune News Service