Perched just above the main dining room of Berimbau Brazilian Table on 36th Street in New York City, the new second floor of Berimbau’s listening room feels like stepping into a different rhythm entirely, where food, design, and music move in perfect sync.
Netflix Premieres Peaky Blinders: The Immortal Man in New York, Welcoming Cast, Creators, and a Constellation of Guests
Uptown Manhattan, New York, March 13, 2026, On a humidly brisk Manhattan evening that seemed to borrow its ambiance from another era, Netflix hosted the U.S premiere of Peaky Blinders: The Immortal Man at the DGA Theater on Thursday night. The long-anticipated cinematic universe is finally wrapping the acclaimed crime saga in New York City.
Film stars Cillian Murphy, Rebecca Ferguson, Tim Roth, and Barry Keoghan joined writer and producer Steven Knight. In addition to the film’s director, Tom Harper, producer Guy Heeley, and composer Antony Genn united together for a red carpet celebration and a series of interviews ahead of the screening.
Following the premiere, guests traveled uptown to a reception at The Plaza Hotel, where the evening’s design evoked and emulated The Garrison, the Shelby family’s infamous Birmingham pub in Peaky Blinders. Dim lighting, vintage décor, and time period music transported attendees back to the industrial streets of 20th-century England. A tribute fit for the series built over six seasons and now marking its final destination on the big screen.
Among the notable attendees were actors and artists, including Adrien Brody, Ed Sheeran, and Steve Buscemi. Athletes also joined the celebration, including Harrison Phillips of the New York Jets, Olympic ice dancers Madison Chock and Evan Bates, and members of the New Jersey Devils — Zack MacEwen, Jonas Siegenthaler, Dawson Mercer, Paul Cotter, Nico Hischier, and Timo Meier.
Set in Birmingham, England, in 1940, amid the turmoil of the Second World War, Peaky Blinders: The Immortal Man finds Tommy Shelby forced out of self-imposed exile and back into the conflict that once defined him. With the fate of both his family and his country in peril, Tommy must confront his most destructive reckoning yet, to face his legacy or let it burn to the ground.
Academy Award winner Cillian Murphy returns as the iconic Tommy Shelby in the epic feature film directed by Tom Harper and written by Steven Knight.
The cast also includes Rebecca Ferguson, Tim Roth, Sophie Rundle, Ned Dennehy, Packy Lee, Ian Peck, and Jay Lycurgo, alongside Academy Award nominee Barry Keoghan and Primetime Emmy Award winner Stephen Graham.
The film explores the fragile balance between power and responsibility, examining the cost of ambition and the weight of family legacy. Tommy is forced to confront both his past and the empire he built, questioning whether the Shelby name is meant to endure or disappear in flames.
At its core, the film is a meditation on loyalty and resilience, better yet, how families become the backbone of survival in moments of crisis. Through the lens of the Shelby dynasty, the story captures the role morale plays in wartime Britain, where courage is not only found on the battlefield but also in the stubborn refusal to surrender hope.
Peaky Blinders: The Immortal Man is now playing in select theaters and is available to stream on Netflix on March 20th. By order of the Peaky Blinders, you’ve officially been summoned to watch.
On February 20 and 21, the Joffrey Concert Group marked its 45th anniversary with In My Art, an evening of new and commissioned works performed at the Alvin Ailey Citigroup Theater. The milestone was celebrated not only onstage but off, with an opening-night fundraising reception supporting the organization’s Creative Movers Choreographic Initiative (CMCI), a program designed to champion the next generation of dance makers.
“For 45 years, this organization has stood for rigorous training, bold choreography, and a belief that young artists deserve both opportunity and excellence,” said Artistic Director and Resident Choreographer Bradley Shelver. “As we celebrate the past, I’m equally focused on the next 45 years. The future of dance depends not only on innovation in choreography, but on sustainability in the lives of the artists who bring that work to life. Our CMCI is central to that future. It’s about authorship, voice, and giving the next generation of makers the space to experiment and to lead.”
The program opened with When the Water Breaks, a meditation on aquatic life and environmental fragility. Set to an original score by David K. Israel and commissioned by Vildwerk, a company dedicated to inspiring conservation awareness through movement, the piece drew inspiration from the mission of the World Wildlife Fund. Dancers in vivid leotards moved through a soundscape of bubbling water and spare piano, their choreography fluid yet sharply defined, evoking both the serenity and volatility of the natural world. Company members were joined by select trainees from the Joffrey Ballet School, reinforcing the evening’s intergenerational spirit.
Ken Ossola’s Of Light, his first collaboration with JCG, shifted the atmosphere toward the digital present. The work probed society’s growing intimacy with artificial intelligence and technology. Our fascination with systems that simulate emotion and connection. Through stark staging and deliberate movement, the dancers embodied both the allure and unease of forming relationships with entities that were never human to begin with.
In By Any Other Name, choreographer Clifford Williams turned inward, offering an exploration of love in its many forms. The piece unfolded as a study in emotional duality—joy and betrayal, curiosity and heartbreak—mirroring the complexities of lived experience. It was a portrait of love “by any other name,” suggesting that while labels may change, the core impulses of longing and acceptance remain constant. The dancers navigated vulnerability with restraint, allowing silence and stillness to amplify the emotional stakes.
The evening concluded with Stolen Moments, a sweeping meditation that felt like paging through the memoirs of countless lives. The choreography examined how easily one’s spark can be dimmed by circumstances. How isolation can persist even in crowded rooms. There was an undercurrent of quiet resilience as bodies reached for connection in shared darkness. The work left the audience suspended in collective stillness, seen and seeing at once.
At its core, the Creative Movers Choreographic Initiative is more than a development program. By focusing on contemporary, modern, and contemporary ballet choreographers from New York and the tristate area, it strikes a deliberate balance between accessibility and artistic rigor. Unlike many emerging artist initiatives that end in workshop showings, CMCI guarantees its choreographers a professional stage and a live audience which is an essential step toward artistic credibility and career momentum.
By intermission, the necessity of such work felt undeniable. In a world marked by technological acceleration and social fragmentation, art that engages directly with the present moment is not a luxury but a need.
Across two nights, In My Art became more than an anniversary program. It was a reflection on empathy, humanity, and the sustaining power of movement. In championing bold and diverse voices, JCG affirmed that the future of dance depends not only on innovation, but on investing in the artists courageous enough to shape it.
The night of Feb 20th, 2026, the Ailey Citigroup theater opened its doors and welcomed guests of all kinds to an evening of appreciation, dance, and emotion presented by the Joffrey Concert Group. An exuberating program filled with messages the world needs to hear. The show itself emulates a powerful presence of societal undertones. From our love affair with AI to what it means to love someone. This showcase was a demonstration of humanity itself in art form.
The Creative Movers Choreographic Initiative 2026, presented by the Joffrey Concert Group and the Joffrey Ballet Center, stands out as a meaningful and forward-thinking investment in the next generation of dance makers
One of the most compelling aspects of the initiative is its scale. Selected choreographers will create a substantial 12–17-minute work for the Joffrey Concert Group, a program that challenges artists to think expansively. This is not a workshop showing or a short experimental sketch; it is a fully realized commission developed over a dedicated 40-hour rehearsal process across four weeks.
The opening piece, “When the Water Breaks,” held a theme of aquatic nature. Colorful leotards, a soundtrack of bubbles and piano, movements fluid yet sharp. Choreographed by Bernard Gaddis, a principal dancer with The Alvin Ailey American Dance Theater, the piece was a beautiful notion of fluidity.
The second piece, “Of Light,” formed discussion and callouts on AI and technology. Our love affair with the digital age and how we continue to form these artificial relationships with intelligent forms that were never human to begin with. The following dance was titled “By any other name,” and that’s exactly what it portrayed. It was an exhibition of love “by any other name”. The wonders of life. Love and deceit. Happiness, heartbreak, and curiosity of emotions. It was a true representation of life itself and the pain, acceptance, and joy that come with it.
At its core, the initiative is more than just a choreographic opportunity; it is a launchpad for emerging voices. By specifically targeting contemporary and modern ballet choreographers in the New York and tristate area, the program strikes a thoughtful balance between accessibility and artistic rigor.
The importance of the initiative became obvious towards the intermission. That, art with relevance to the current world is needed now more than ever in today’s growing society.
The ending piece- “Stolen Moments” felt like watching a memoir of a million lives. A commentary on how easy it is to lose your spark to be changed by your surroundings. To feel lonely in a room full of people. Choreographed by Clifford Williams, a moving force within the dance world who has been featured in works like NETFLIX’S Debbie Allen’s “Nutcracker Dreams” as well as “In The Heights” Motion picture. The work not only made you feel seen in a room of darkness, but it also made you feel along with an audience in stillness.
The “In My Art” performances on February 20 and 21, 2026, created conversations of empathy. Questions of what it means to be human, and answers to hold on to through the movement of beautiful dancers within the Joffrey Ballet Company. Too often, emerging choreographers are given development opportunities without guaranteed visibility. By contrast, Creative Movers ensures that the finished works reach an audience in a professional performance setting, an essential step in building artistic credibility and career momentum.
Overall, Creative Movers is a thoughtfully designed program that bridges opportunity and artistry. It provides structure without constraint, support without limitation, and visibility without compromise, making it a powerful incubator for the dance makers of tomorrow. It offers not just a commission but a vote of confidence, affirming that the future of dance lies in cultivating bold, diverse, and evolving creative voices.