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    Disney Plus Racks Up 28.6 Million Subscribers

    LOS ANGELES — Disney reported mixed quarterly results on Tuesday, with per-share profit declining by 17 percent and revenue climbing by 36 percent. Costs associated with building its Disney Plus streaming service occupied much of the gap.But investors and Disney’s Hollywood competitors were interested in only one number: Disney Plus subscribers. There were 28.6 million as of Monday, the company said, an astounding number for a service that is less than three months old. Robert A. Iger, Disney’s chief executive, told analysts on a conference call that the response to Disney Plus had “exceeded even our greatest expectations.”Disney unveiled its flagship streaming platform on Nov. 12 amid a thundering marketing campaign and found immediate success with “The Mandalorian,” a live-action “Star Wars” series that introduced a blockbuster character known as Baby Yoda. Within a day of its introduction, Disney Plus had 10 million subscribers, including an unspecified number of accounts for customers who signed up free under a promotion with Verizon, blowing past analysts’ estimates. Disney Plus costs $7 a month for those paying the sticker price.Average monthly revenue per paid subscriber in the quarter was $5.56. Mr. Iger said popular offerings included the 2016 musical “Moana” and old episodes of “Hannah Montana” and “The Simpsons.” And, of course, “The Mandalorian,” which Mr. Iger said would return for a second season in October.“It’s often challenging for a company to pivot in a new strategic direction, particularly when it involved navigating between established and emerging business models,” Mr. Iger said. “We have made an extraordinary amount of progress.”Another focus of the call was the coronavirus outbreak in China, which has sickened more than 20,000 people in the country and killed at least 425. As a result, the Shanghai Disney Resort and Hong Kong Disneyland have been closed for more than a week.Christine M. McCarthy, Disney’s chief financial officer, told analysts that “the precise magnitude of the financial impact is highly dependent on the duration of the closures and how quickly we can resume normal operations.” She estimated that the closing of the Shanghai Disney Resort could drag down second-quarter operating income by $135 million, “assuming the park is closed for two months.” Hong Kong losses could add up to $145 million over a similar period.For the most recent quarter, Disney’s theme park division had operating income of $2.3 billion, a 9 percent increase from the same period a year earlier. The results were dented by costs associated with the introduction of new “Star Wars” rides and higher wages for union employees.Attendance at Disney’s domestic parks increased by 2 percent in the quarter.Walt Disney Studios delivered $948 million in operating profit, an increase of more than 100 percent from a year earlier. Contributing were “Frozen II,” which has taken in $1.4 billion, and “Star Wars: The Rise of Skywalker,” which has taken in $1.1 billion. Those films, which are still playing, and “Toy Story 4” boosted Disney’s consumer products business by 25 percent, Ms. McCarthy said.Media Networks, a vast part of Disney that includes ESPN and ABC, reported operating income of about $1.6 billion, a 23 percent increase. Disney credited its recently purchased National Geographic and FX networks for that rise. Profit declined at ESPN because of an increase in programming costs and lower advertising revenue as a result of lower viewership.Disney’s streaming division, which includes Hulu and the sports-oriented ESPN Plus, posted an operating loss of roughly $693 million, which was not as bad as most analysts had anticipated. (Ms. McCarthy said losses could total $900 million in the current quarter.) Disney said that Hulu had 30.6 million paying subscribers as of Monday, a 33 percent increase from a year ago. ESPN Plus had about 7.6 million, up from 1.4 million.The successful introduction of Disney Plus in North America has prompted Disney to accelerate the service’s rollout overseas. It will arrive in Britain, France, Germany, Spain, Italy and a handful of other European countries starting on March 24. Disney Plus will become available in India on March 29.Mr. Iger told analysts that he was pleased with Disney’s ongoing efforts to digest the entertainment assets it bought from Rupert Murdoch last year for $71.3 billion. Those efforts have included dropping the word Fox from the 20th Century Fox and Fox Searchlight movie divisions. (Mr. Murdoch retained ownership of Fox News and the Fox broadcast network.) Emma Watts, the top executive at 20th Century, quit last week. She was primarily responsible for shepherding James Cameron’s four upcoming “Avatar” sequels. Hulu’s chief executive, Randy Freer, also resigned. More

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    Review: Dan Hoyle’s ‘Border People’ Blurs Lines

    Dan Hoyle, you should know, can act the pants off his characters. (Relax; that’s figurative.) In his show “Border People,” produced by Working Theater at A.R.T./New York Theaters, he hopscotches among ages, races, ethnicities and genders. His subject is boundaries, most of them national. The show takes him to either side of the United States’s northern and southern limits, with stops in the Bronx.Hoyle (“The Real Americans,” “Tings Dey Happen”) practices a loose form a documentary theater that he calls “the journalism of hanging out.” He meets people, in encounters that are sometimes planned and sometimes random, records conversations with their permission, then fashions characters and monologues from the audio. His style drifts from verbatim, but he does, he says, try to meet with his subjects again, showing them the speeches they inspired, which likely keeps him honest.At rest, Hoyle has an affable, everydude quality. Yet his voice and face are unusually plastic. He can raise and lower pitch, narrow and widen eyes and lips as each role demands. Working without props or changes of costume, he plays Jarret, a navy veteran who owns an Upper West Side juice cart and describes the “back male crisis of authenticity”; Mike, a former marine deported to Ciudad Juárez; Jawid, an Afghanistan-born high school student who follows his family to Canada; Zainab, an Iraqi woman who now lives in Amish country (“I may have hijab but at least I have cellphone and refrigerator! I’m not the weirdest one!”); and half a dozen others. If he struggles occasionally with the Middle Eastern accents, he crafts each portrait with care and occasional athleticism. As the show goes on, his nose pinks; his hair dampens.But in “Border People” the dexterous acting and deft writing tend to eclipse the larger themes, in part because those themes keep eluding Hoyle. The script feels like two plays roughly sewn together, one about external borders and another about internal, identitarian ones. With Hoyle as the thread, the work becomes increasingly self-congratulatory, a pat on the back for his empathy and cultural border crossing.“Dang,” he has a border patrol officer named Lopez say, admiringly, “you been to all types of borders.” Larry, a black janitor who lives in the South Bronx, tells him he isn’t like other white guys: “You comfortable, you got your black past, you part of the community.” Yet it’s largely that whiteness and that maleness and that United States passport that allows him to hang out in the first place. In the play, directed unobtrusively by Nicole A. Watson, Hoyle fails to reckon with this privilege or explore how it colors his interactions with others.“Border People” feels like a master class, but I’m unsure about what it’s meant to teach, other than an admiration for Hoyle’s craft. Yes, there’s a through line about shared humanity and shared desires — for safety, for respect, for love. Larry says it best: “We all one in the same.” But the solo form risks flattening individual identity into a kind of performance, which might not sit well with the characters who take ethnicity to heart. And the tidy monologues are overwhelmingly sympathetic. Hoyle has already done the work, hard or easy, of negotiating difference. What’s left for us but to sit back and applaud him?Border PeopleThrough Feb. 22 at the Gural Theater, A.R.T./New York Theaters, Manhattan; 866-811-4111, theworkingtheater.org. Running time: 1 hour 15 minutes. More

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    What’s on TV Tuesday: ‘Contact’ and the State of the Union

    What’s on TVCONTACT (1997) 7 p.m. on Ovation. Based on the 1985 science-fiction novel of the same title by Carl Sagan, “Contact” yearns to bridge the gap between humanity and technological advancement. Jodie Foster plays Ellie Arroway, a scientist devoted to finding extraterrestrial life, who picks up a radio signal from another planet. This garners national attention, and as Ellie decodes the aliens’ message, she must protect her work from those trying to steal or discount it. Ellie and a young minister named Palmer Joss (Matthew McConaughey) engage in a debate throughout over science and religion — and Palmer also becomes a love interest. “But try as it might to convey a humanist, mystical message and to equate the search for extraterrestrial life with religious faith,” Stephen Holden wrote in his review for The New York Times, “‘Contact’ is much more convincing when worshiping at the cold shrine of technology.”STATE OF THE UNION ADDRESS 8 p.m. on CNN; 9 p.m. on CBS, ABC, NBC and FOX. President Trump will deliver his third State of the Union Address — the last of this presidential term. Mr. Trump’s first State of the Union Address focused on immigration policy, and his second — which was rescheduled because of a government shutdown over funding for a border wall — touched on looming Congressional investigations into his conduct. This year, the speech comes a day ahead of a final vote on his impeachment. What’s StreamingTOM PAPA: YOU’RE DOING GREAT! Stream on Netflix. The film, TV, radio and podcast comedian Tom Papa makes his Netflix debut with an hourlong routine filmed in his home state, New Jersey. In this special, Papa covers life’s simple pleasures: getting married, having two daughters, and living with the notion of being a parent. With asides about pets, climate change, social media and Staten Island, Papa assures viewers that we’re all just doing our best.BRIDGET JONES’S DIARY (2001) Stream on Hulu. Rent on Amazon, Google Play, iTunes, Vudu and YouTube. If Bridget Jones just loses 20 pounds and cuts down on alcohol, cigarettes and carbs, she’ll probably find (and land) the man of her dreams. At least, that’s her hope. Luckily, her current suitors — her charming boss, Daniel Cleaver (Hugh Grant), and her former childhood friend, the earnest Mark Darcy (Colin Firth) — assure our heroine that they like her for exactly who she is. Renée Zellweger, who adopts an unassuming British accent to play Bridget, was nominated for an Academy Award for her role. “Ms. Zellweger accomplishes the small miracle of making Bridget both entirely endearing and utterly real,” Stephen Holden wrote in his review for The Times. The movie’s sequels, BRIDGET JONES: THE EDGE OF REASON (2004) and BRIDGET JONES’S BABY (2016), will also be available for streaming. More

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    The ‘McMillions’ Monopoly Scheme, Explained

    Jerry Jacobson swindled more than $24 million out of a major fast food promotion over 12 years. His trick: stealing and selling McDonald’s Monopoly game pieces.Jacobson’s fortune, and his downfall, came from gaming the twice-a-year promotion, which promised anything from a free sandwich to a million dollars to the customer who revealed the lucky game piece — a property, a railroad — when they peeled off the sticker attached to their hash brown wrapper or soda cup or the inside of a magazine.He was in charge of keeping the promotion secure, delivering the most lucrative game pieces to McDonald’s packaging plants. Instead, through most of the 1990s, he pocketed and sold them to a vast network of friends and distant relatives. In the end, more than 50 people were convicted in the scheme.“McMillions,” a six-part HBO documentary series premiering Monday, chronicles the scam and its unraveling. Here’s what to know before you watch.Who was involved?It was Jacobson who watched the winning pieces being printed, who locked them away in a vault, who sealed them up and tucked them in his vest and flew from factory to factory to hide them in McDonald’s packaging, according to The Daily Beast, which looked back on the case years later.Jacobson went into private security work after having served briefly as a police officer in Hollywood, Fla. His connection to the Monopoly game began when he and his wife at the time, Marsha, moved to Atlanta, where she began work as a security auditor. She helped her husband get a job with one of her clients, Dittler Brothers, which printed the McDonald’s game pieces. He later moved to Simon Marketing, a company in the same area, that produced the pieces.Soon, he started slipping the prize-winning pieces to people he knew, sometimes for profit. His stepbrother. His local butcher, who paid $2,000 for a stolen $10,000 piece. His nephew, who received a $200,000 piece in exchange for $45,000.Over the years, the fraud grew beyond his circle as he found other conspirators, usually by chance — which made them more difficult to pin down during the F.B.I.’s investigation years later. Jacobson, according to The Daily Beast story, said he met Gennaro Colombo, who claimed to be a member of New York’s Colombo crime family, at the Atlanta airport in 1995. Jacobson was waiting to board a cruise ship several years later when he met Don Hart, who in turn introduced him to Andrew Glomb at a dinner party. They became Jacobson’s accomplices, the middlemen who would sell the pieces Jacobson had swiped to various “winners.”How did it work?Jacobson came across the materials he needed by accident, according to The Daily Beast article. A supplier sent him a package by mistake, filled with the metallic tamper-proof seals — the ones used to secure the envelopes filled with game pieces that Jacobson was charged with delivering.In airport bathrooms — en route to packaging plants — Jacobson would remove the envelope’s original seal, swap out winning pieces for regular ones and resecure the envelope with one of the new seals he was sent.He would then pass the winning pieces on to Colombo and his other “recruiters,” who tracked down willing buyers and coached them through claiming their winnings. Colombo sold a $1 million piece to Gloria Brown, a friend of his wife, on the side of the highway for $40,000 in cash, Brown said in an interview with The Daily Beast. He then drove her to a McDonald’s, walked her through what to say and helped her lie about where she lived to avoid drawing suspicion — a surplus of winners was popping up in Jacksonville, Fla., where she and others connected to Colombo resided.How were they caught?In March 2000, according to The Daily Beast, the F.B.I. received an anonymous phone tip: Someone named “Uncle Jerry” was rigging the McDonald’s Monopoly promotion, stealing game pieces from the inside and selling them.Special Agent Richard Dent, based in the F.B.I.’s Jacksonville office, contacted a McDonald’s spokeswoman, Amy Murray, who began trying to verify the winners. One winner — Colombo’s father-in-law, who claimed $1 million from the contest — told Murray that he lived in New Hampshire, but property records in Jacksonville proved otherwise. Gloria Brown, Murray found, was also having her annual checks delivered to a Jacksonville address.Dent launched an investigation that would rope in 25 agents nationwide. He found his big lead in 2001, when he mapped out the addresses of three winners — all of whom lived within miles of Jacobson’s South Carolina lake house.Dent convinced McDonald’s to run one more Monopoly promotion, so the F.B.I. could track down the final evidence it needed. The move was fraught with legal risks — the corporation, in its collaboration with federal investigators, already knew at this point that its game was compromised.The decision paid off, allowing Dent to pin down Andrew Glomb for the first time. Colombo, though, died after a car accident in 1998. The F.B.I. arrested eight major suspects on Aug. 22, 2001, and charged Jacobson with conspiracy to commit mail fraud.What’s happened since?There’s a reason the scheme didn’t last long in the public’s memory: The trial, in Jacksonville, started on Sept. 10, 2001, and was quickly overshadowed by the events of Sept. 11.Jacobson, who declined to speak to The Daily Beast and did not respond to a request from The Times, said at his trial that he had stolen as many as 60 game pieces. He served 37 months behind bars and agreed to pay $12.5 million in restitution. Now in his late 70s, he still lives in Georgia.McDonald’s, through an instant million-dollar giveaway, tried to quietly make amends with customers.It was not the first time, or the last, that someone had gamed a competition supposedly decided by luck. In 1998, several years before Jacobson’s trial, an agent with Nevada’s Gaming Control Board was sentenced on a racketeering charge after designing a computer program that rigged slot machines in Las Vegas, Reno and Lake Tahoe.And in 2010, the director of information security at the Multi-State Lottery Association, which runs the game in 33 states, wrote a computer code to manipulate the association’s random-number generators — producing winning lottery numbers that he could predict in advance.McDonald’s still runs similar promotions to the Monopoly sweepstakes, but the corporation has since created an “independent promotions task force” to prevent future copycats. More

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    Review: Poets Vie for the Golden Ticket in ‘Really Really Gorgeous’

    Encountering a piece of dystopian fiction, it’s always fascinating to see what an author imagines the human race will be able to do without. (If there is a human race, of course.) A few minutes into Nick Mecikalski’s timely, if somewhat by the numbers, satire “Really Really Gorgeous,” we learn that a catastrophic flood has left Washington, the entire Pacific time zone and New York City underwater.The government and media have moved to Cleveland, where the White House now stands. The new capital is surrounded by a border wall, and no unauthorized guests may enter unless they’re invited by the president.Such invitations are rare, but on the night the play begins, one is being offered to a lucky poet, like a golden ticket from Willy Wonka. Pen (Sophie Becker) is particularly proud of her poem, with a name like that who can blame her? Her partner, Mar (Amber Jaunai), isn’t much of a writer but is always there to be supportive.The two fall asleep in front of “American Idol.” (Televised music contests are one thing that hasn’t disappeared.) Pen wakes up in a panic, realizing she forgot to submit her poem. She thinks she’s still dreaming when it’s announced that Mar has won and will be going to Cleveland.The perceived betrayal, and its unspoken racial dynamic — Mar is black, and Pen is white — would have made for a compelling play on its own. Instead Mecikalski wants to cover too many hot topics in 90 minutes. The richness of detail, including digs at TV series, like “60 Minutes” and “Meet the Press,” that never cease to exist, add layers to the world but little to the plot.As we watch Mar go from prizewinner to poet laureate to an official in the chaotic government (that poets are necessary is the play’s grandest contention) Pen has ideas of her own. Believing herself the Everyman destined to correct the corruption of the elites, she intends to sneak into Cleveland and share her poetry.Presented on a small stage at the Tank, “Really Really Gorgeous” benefits from the deft directorial hand of Miranda Haymon, who showed her ability to carefully set entire universes in tiny spaces in her 2019 adaptation of Kafka’s “In the Penal Colony.”The efficient set design — two living rooms, one modest and the other modern — is by Crushed Red. Taylor Lilly’s lighting is stark and eerie, especially when it emphasizes the subtle but striking differences in Alice Tavener’s costumes.Becker brings a sincerity to Pen that makes for a delightful contrast with the aloof charm Jaunai provides Mar. A hilarious Giselle LeBleu Gant plays the Announcer, who fulfills the role of presenter on every possible occasion. The three actors populate the drowned and new worlds, seeming to multiply and appear out of nowhere.If only more of “Really Really Gorgeous” were more like its tensest scene, with Pen and Mar in a video chat: They begin looking at screens and end staring straight at each other, as if preparing for a duel.Instead the play comes to an abrupt conclusion. We are left adrift, as if waiting to find that safe spot of dry land.Really Really GorgeousThrough Feb. 9 at The Tank, Manhattan; thetanknyc.org. Running time: 1 hour 30 minutes. More

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    Review: ‘Eurydice,’ a New Opera, Looks Back All Too Tamely

    LOS ANGELES — The composer Matthew Aucoin began working on “Crossing,” his first opera, when he was in college. It was a work of enormous talent, exciting promise and considerable hubris: Mr. Aucoin wrote his own libretto, inventing a story about Walt Whitman’s work with wounded soldiers during the Civil War.If “Crossing” (2015) lacked “a certain kind of unity” — as Mr. Aucoin, now 29, said in a recent interview — it was still taut, intense and audacious. What would he do next?The answer came on Saturday, with the premiere of “Eurydice” at Los Angeles Opera, where it runs through Feb. 23 before traveling to the Metropolitan Opera next year. This project demanded a very different approach. Mr. Aucoin didn’t write the libretto; instead, the text was a collaboration with the playwright Sarah Ruhl, closely hewing to her 2003 play, a modern-day take on the Orpheus and Eurydice myth which tells the story from the woman’s perspective.The play is meditative and surreal, fantastical and funny. Mr. Aucoin said in the interview that he thought he needed to do remarkably little: He wanted just to “tap” the words, to release the wells of emotional undercurrents in Ms. Ruhl’s clean, simple phrases. Throughout this three-act opera, you sense Mr. Aucoin honorably striving to serve the play.He may have been overly deferential. Ms. Ruhl’s libretto called for a lighter, more enchanting score than “Crossing.” But the musical language of “Eurydice” is at times curiously tame.I liked the opera most when, during fraught episodes, the music turns jagged and dangerous. Whenever Mr. Aucoin gives vent to his liveliest voice — with hints here of Ravel, Britten and Thomas Adès — the opera takes off.I sat up every time he seemed to push the libretto aside briefly to let some gnarly, skittish music take charge, especially in the incisive performance he conducted. And the director Mary Zimmerman’s inventive production conveys the right mix of whimsical fairy tale and disturbing morality play through a simple, colorful staging, with sets by Daniel Ostling and costumes by Ana Kuzmanic.After a short, quizzical overture, we meet Orpheus and Eurydice, dressed for fun at the beach. The vivacious Eurydice (the soprano Danielle de Niese) seems smitten with the hearty Orpheus (the baritone Joshua Hopkins). Yet you soon sense her doubts. A self-absorbed — if supernaturally talented — musician, Orpheus doesn’t share her passion for books and words. When he looks distracted and Eurydice asks him what he’s thinking about, he answers: “Music.”In the opera’s boldest stroke, Mr. Aucoin, who sees Orpheus as a divided character, gives him a double. Orpheus the everyday guy — clueless if also endearing — is sung by Mr. Hopkins, with firm voice and youthful swagger. But Orpheus also has a godlike dimension, represented here by a countertenor, John Holiday, who appears in moments when Orpheus’s questing nature comes out. Eurydice doesn’t see Orpheus’s double, but panicky outbursts in the orchestra and her sputtered vocal lines suggest that she senses him.Eurydice readily accepts Orpheus’s marriage proposal. But soon after, in the underworld, we see her deceased father, a sad, reflective man who still adores his daughter. (He is sung by the mellow-voiced baritone Rod Gilfry — an old Aucoin hand, having originated the role of Whitman in “Crossing.”)He writes a letter to Eurydice, offering the fatherly advice he would have shared at the ceremony. Mr. Aucoin shows respect for the tender, charming words by setting them to somber music of lyrical pining over restless orchestral stirrings. But I wanted less reverence, and more intensity.The wedding scene is wonderful, with guests dancing to gyrating music; at one point the orchestra becomes a riot of squiggly riffs. But Eurydice is somehow dissatisfied. “I always thought there would be more interesting people at my wedding,” she says.Well, an interesting person appears: Hades, a character Mr. Aucoin clearly relished, written for high-lying tenor and sung fearlessly by Barry Banks. The god of the underworld, Hades first seems courtly, snaring Eurydice by telling her he has a letter for her from her father. Mr. Aucoin has a penchant for using the orchestra to hug vocal lines. He takes this to arresting extremes with Hades: Groups of instruments buttress, enclose, mimic and sometimes needle every syllable.Ms. de Niese, though strained at times, sang with fullness and richly expressive shadings. She was riveting — a young woman tortured with indecision — as she went off with Hades then tumbled into the underworld.The darkest element of the play and opera is how the underworld is depicted: The dead pass through a river of forgetfulness, where they lose their memories, and even language. Eurydice’s father has secretly kept possession of a pen — forbidden below — and his English. In a heartbreaking moment, the dead Eurydice arrives, holding an umbrella that has not protected her from the waters. She mistakes her beloved father for a porter.Almost every musical telling of this myth has a moment when Orpheus sings a song that so enchants the gatekeepers of the underworld that he is given permission to enter and reclaim his wife. Mr. Aucoin’s version, with Orpheus joined by his double, is more a stentorian demand that an aria of lyrical persuasion. I thought the music, for all its stern fortitude, needed more threatening fervor.The emotions of the characters are poked at throughout by a trio of bizarre figures: Little Stone (Stacey Tappan), Big Stone (Raehann Bryce-Davis) and Loud Stone (Kevin Ray). Like an irreverent Greek chorus, they laugh at human pretensions and encourage people to feel nothing. (No one gets hurt that way.) As they trade phrases and boisterously overlap, Mr. Aucoin’s music for them is aptly snide and harmonically slippery.A chorus of nearly 40 voices provides harmonic plushness and ethereal sounds during crucial episodes. But Ms. Zimmerman, with the blessing of Mr. Aucoin, keeps the chorus backstage in an effort to focus on the main characters. This seemed a major miscalculation. The choral writing added pungency to the score. And the drama, which sometimes felt static, could have benefited from the presence of witnesses onstage. Ms. Zimmerman might reconsider this before the production travels to the Met, which co-commissioned the work.When Orpheus is poised to lead his wife up to earth’s surface — agreeing not to look back as he does so — this Eurydice, her memory still fuzzy, is uncertain. Her husband is waiting, the three stones tell her. “That’s a stranger,” she answers: And when you think about it, wasn’t Orpheus, wrapped in his art, always a kind of stranger to this thoughtful woman?After she has died a second time, Eurydice writes a sisterly letter to Orpheus’s future wife, giving Ms. de Niese a poignantly fragile final aria. Mr. Aucoin’s music lifts her vocal lines while shimmering tremulously in the background. Here this still-young, extravagantly gifted composer grabbed the dramatic moment and met it with energy and originality. If only he had done so more often.EurydiceThrough Feb. 23 at the Dorothy Chandler Pavilion, Los Angeles; laopera.org. More

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    Here’s the Latest in Nordic TV, Noir and Otherwise

    If mild winters are making you pine for the days when it really used to snow in New York — or if you just have a taste for the dramatic vistas and peculiar goings-on of Scandinavian television — here’s a roundup of recent and coming series from the Far North. And we mean far: None of these shows was filmed below 60 degrees north latitude.‘All the Sins’Fans of Henning Mankell’s mystery novels, and of the British series “Wallander,” which was based on them, may feel comfortable in the confines of this Finnish series available through the PBS Masterpiece channel on Amazon Prime Video. The deep green and dark blue landscapes, a mix of tidy agriculture and ubiquitous water, recall the southern Swedish vistas of “Wallander.”And like many of Mankell’s stories, “All the Sins” is built on a specific Scandinavian social issue, in this case the power in northern Finland of Laestadianism, a stern offshoot of Lutheranism. As portrayed in the series, the sect’s strictness combined with its belief in the absolute power of forgiveness make it a good match for a story involving ritualistic murders and church-enforced cover-ups.The mystery is handled competently if a bit perfunctorily, with a typical gallery of suspects including an immigrant Iranian pizza maker, a fervent atheist and a skeevy businessman pushing a shopping-mall project. The real focus is on the byplay between the mismatched detectives: an uptight former Laestadian (Matti Ristinen) for whom the case is an excuse to skip therapy sessions with his boyfriend, and a middle-aged single mom (Maria Sid) with guilt issues — she killed her daughter’s father, for one thing — who self-medicates with loud and frequent sex.These two don’t exactly solve anything — they spend most of their time complaining, discussing responsibility and absolution and trying to manage their lives back in Helsinki by phone. The case is resolved less through detection than the accumulation of guilt and desperation, as Nordic an outcome as you could hope for.‘Arctic Circle’Set and, amazingly, filmed in northern Lapland — at a higher altitude than Iceland, or most of Alaska — this Finnish-German medical-conspiracy thriller goes about as far north as mainstream television gets. Through most of its 10-episode season (beginning Thursday on the streaming service Topic), the landscape is almost entirely white, the snow broken only by paved roads and scattered buildings. You have never before seen this many snowmobile chases.Matching its extreme setting is its plot, which mashes up contagion (the sudden appearance of a rare virus), human trafficking, suspicion of Russia and a love affair between a stoic Finnish cop and a dedicated German virologist. The overheated story and frigid locale recall the British series “Fortitude” (whose third season, not yet available in the United States, was filmed even farther north, on Svalbard). But the Eurothriller clichés in “Arctic Circle” are stitched together in even more haphazard and sometimes nonsensical fashion.It may be worth sticking around, however, for the show’s star, Iina Kuustonen, who makes the stock character of the local cop — coping with a deadbeat ex, a special-needs daughter, sexist co-workers and the big-footing of Finland’s version of the F.B.I. — entirely believable and appealing. (She’s ably supported by Venla Ronkainen, a young actress with Down syndrome, as the daughter.) If the “Avengers” franchise needs a Norse superheroine, she’d be a natural.‘Ragnarok’This six-episode Netflix commission is the balmiest show on this list: It was filmed amid the magnificent scenery of Odda, which is practically the tropics where Norway is concerned. It’s also, surprisingly, the only one with an overt environmental theme. The villains of the piece run the town’s paper mill, contributing to the climate change that’s shrinking the local glacier (and in the process exposing old secrets fundamental to the plot).And then there’s the biggest difference, which may help to explain Netflix’s interest: It’s a Scandinavian spin on a teenage superhero story, with a hunky but awkward high schooler (David Stakston) moving to his mom’s hometown and suddenly discovering he can throw a hammer for very long distances. This puts him on the radar of the town’s alpha family, an unusually polished and attractive bunch who are not, we soon find out, strictly human. That’s where the title “Ragnarok” — in Norse mythology, the apocalyptic final battle of the gods — comes in.“Ragnarok” was developed by the Danish writer and producer Adam Price, who created the highly regarded series “Borgen” and “Herrens Veje” (“Ride Upon the Storm”). It has a fluidity, and a canny balance between mordant humor and Gothic adolescent drama, that you’d more commonly find in a British or American series, and it’s not hard to imagine it on Freeform or the CW. But it’s better than that would suggest, or at least different — less slick, more serious about its ideas, more sensitive in its depiction of a lonely teenager coming into his own. And it helps make up for Disney taking back all those Marvel movies from Netflix.‘Twin’Norwegian twins, Erik and Adam, drive their camper to an empty beach framed by mountains — like a South Seas paradise north of the Arctic Circle — and pull out their surf boards, claiming the virgin break. Fast forward 15 years, and Erik’s still there, living in a shipping container and serving as a godfather and warning for the surfing camp that’s grown up around him: stay too long and end up a broke, middle-aged Nordic beach bum.The opening scenes of “Twin” (MHz Choice, beginning Tuesday) deftly sketch in Erik’s good-time, bad-news personality, with an emphasis on his irresponsibility and his resentment of Adam, now a solid citizen and proprietor of a local tourist hotel. Making Erik even more convincing, he’s played by Kristofer Hivju, who employs the feral, disreputable charm he gave the wildling Tormund Giantsbane in “Game of Thrones.”Hivju plays both twins, but not for long. In a twist that sounds melodramatic but plays out cleverly — it probably helped that Hivju and the show’s creator, Kristoffer Metcalfe, started working on the idea for “Twin” in film school more than a decade ago — the brothers have serious accidents within a few hours of each other. When Adam dies, Erik, who’s thought to be the dead one, reluctantly takes his place — at the urging of Adam’s wife, Ingrid (the excellent Rebekka Nystabakk, who’s really the show’s star).It’s a setup that’s legitimately noir, and suspicion is a major strand of the plot: A dogged young policeman (Gunnar Eiriksson) who looked up to the free-spirited Erik won’t leave the case alone, and Adam’s rebellious teenage daughter (Mathilde Holtedahl Cuhra) knows that’s there’s something off about Dad. And of course there’s a dark history, involving Erik, Adam and Ingrid’s shared past, to be doled out over eight episodes.But “Twin” holds your interest, and has some emotional heft, as a straightforward drama with elements of fish-out-of-water comedy. Erik, fresh from bachelor life in the shipping container, suddenly has a family, and his highly reluctant efforts to cope with that are funny and touching. And as a significant bonus, the series was set and filmed in the Lofoten Islands, a madly photogenic area of Norway (with an actual surfing scene) whose tourism revenue should be due for a serious bump. More

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    What’s on TV Monday: ‘The Great Beauty’ and Iowa Caucus Coverage

    What’s StreamingTHE GREAT BEAUTY (2013) Stream on the Criterion Channel. Rent on Amazon, Google Play, iTunes, Vudu and YouTube. In Paolo Sorrentino’s “The New Pope,” a new episode of which airs tonight at 9 p.m. on HBO, the line between the sacred and the profane is vanishingly thin. The Roman Catholic Church, as Sorrentino presents it, is a throbbing tangle of contradictions where spirituality and corruption coexist in flamboyant contradiction, often within its individual members. Desire, he indicates, is omnipresent, but its object takes many different forms. This film covers similar territory in much the same way but on a greater scale. Its protagonist, Jep Gambardella (Toni Servillo), is an aging, hedonistic journalist who undertakes a journey to discover authentic beauty and give up its many alluring counterfeits.THE CABIN IN THE WOODS (2012) Stream on Hulu. Rent on Amazon, Google Play, iTunes, Vudu and YouTube. Much like “Buffy the Vampire Slayer,” the television series Joss Whedon and Drew Goddard collaborated on, this movie by the pair is a comment on the genres that it draws upon. Its setup is one of horror’s most basic: A group of young people descend on the titular cabin and are soon set upon by a wide variety of terrors. But the youngsters are not alone. Two men ensconced in a mysterious control room (Richard Jenkins and Bradley Whitford) also appear. “There is a scholarly, nerdy, completist sensibility at work here that is impressive until it becomes exhausting,” A.O. Scott wrote in his review for The Times.What’s on TVAMERICA’S CHOICE 2020: IOWA CAUCUS 4 p.m. on CNN. Eyes will be on the Hawkeye State as voters there take the first step in determining which Democratic candidate will square off against President Trump in November. The coverage on CNN will begin in the afternoon and stretch into the night. Caucusing is complicated. The process begins around 7 p.m. C.S.T. (8 p.m. E.S.T.) at school gymnasiums, public libraries and other locations across Iowa. Over two rounds, voters make their choice by congregating in designated sites. After the first round, anyone whose first-choice candidate received less than 15 percent of the caucus vote have to choose another candidate, try to join forces to muster enough support to a nonviable candidate or remain unaligned. Once this portion is complete, the final tally is made. CREED (2015) 9 p.m. on BET. The director Ryan Coogler reunites with Michael B. Jordan to reinvigorate Sylvester Stallone’s “Rocky” franchise. Jordan plays Adonis, Apollo Creed’s son from an extramarital affair. Apollo Creed, you’ll recall, was a longtime friendly rival of Rocky Balboa’s (Stallone) who was killed in a fight with Ivan Drago in “Rocky IV.” In this sequel/spinoff, Adonis, or Donnie as he’s called, wants Rocky to train him to follow in his father’s footsteps despite Apollo’s sad end. A.O. Scott called the film “a dandy piece of entertainment, soothingly old-fashioned and bracingly up-to-date.” More