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      When Streaming Won’t Cut It and You Need the DVD

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      Streaming is dominant for movies and TV shows. But some fans still insist on physical media.Last month, a young man walked into Night Owl, a store in the Williamsburg neighborhood of Brooklyn that sells Blu-rays, DVDs and even a few video cassettes of movies and television shows, and browsed for several minutes. Eventually he plucked a case from a shelf: A handsome Criterion Collection release of “The Royal Tenenbaums,” the first Wes Anderson movie he had ever seen.“I had a ton of DVDs growing up,” Noah Snyder, 27, said. But reading about the way contemporary conglomerates treat films and television programs on their streaming services had prodded him to acquire physical media again. Snyder cited the actress Cristin Milioti’s recent comments about “Made for Love,” her show that was not only canceled, but removed altogether from the HBO Max streaming platform.“The stuff the CEOs do, they’re bad decisions,” Snyder said. “I don’t want something I love to be taken away like that.”In the last decade or two, the story of physical copies of movies and television has been overwhelmingly one of decline. Blockbuster is essentially gone, streaming is ascendant, Netflix no longer sends DVDs through the mail, and Best Buy no longer stocks them in its stores. Many manufacturers have ceased making disc players. Retail sales of new physical products in home entertainment fell below $1 billion last year, according to the Digital Entertainment Group, an industry association.Jess Mills, left, and Aaron Hamel are the owners of Night Owl, a physical media store in Brooklyn.Ye Fan for The New York TimesYet amid the streaming deluge, there are signs — small, tenuous and anecdotal, but real — of a rebellion. Alex Holtz, a media and entertainment analyst at International Data Corporation, compared Blu-rays to vinyl albums. Holtz, an audiophile, gladly streams new music while on walks, but he buys records he loves. “We’re in a back-to-the-future moment,” he said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How ‘Superman’ Star David Corenswet Won the Role

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      Even before he became the linchpin of a new superhero universe, David Corenswet took great pride in being reliable.“I don’t know whether I’m a good actor in the sense that I see people onscreen and think, that’s a good actor,” he said. But what he does know, and what he aspires to, is that people can count on him. It’s a reputation Corenswet has cultivated since he was a child actor, when he once delivered his lines so efficiently during a commercial shoot that the crew got to go home early.“I want people to feel that every day that my name is on the call sheet is going to be a better day — a little bit of an easier day, and maybe a more fulfilling day,” he said.Now, Corenswet’s reliability will be put to its ultimate test. The 32-year-old is playing the iconic title character in James Gunn’s “Superman” reboot, which arrives in theaters this weekend burdened by big expectations. It’s the first feature from the newly rebranded DC Studios, which previously managed some successes (“Wonder Woman,” “Man of Steel”) and a passel of bruising bombs (“Justice League,” “The Flash,” “Shazam: Fury of the Gods”) in its efforts to keep pace with Marvel’s highly lucrative cinematic universe.David Corenswet wasn’t immediately sold on the role of Superman: “When the easy conversation is so exciting, I want to have the hard conversation: Let’s talk about what could go wrong.”These days, though, even Marvel is facing headwinds: In a market saturated with comic-book content, audiences don’t always show up for cape-and-tights spectaculars the way they used to. Warner Bros. is betting that Gunn, who was hired to co-lead DC Studios after directing Marvel’s “Guardians of the Galaxy” trilogy, can restore the luster to its superhero shingle. But the future of the DC slate, including next year’s “Supergirl: Woman of Tomorrow,” hinges largely on just how high “Superman” can soar.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Can ‘Superman’ Fly Above Today’s Polarized Politics?

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      The director of the reboot, James Gunn, called the superhero from the planet Krypton “an immigrant,” thrusting the summer popcorn movie into an Earthbound culture war.He may be faster than a speeding bullet, more powerful than a locomotive and able to leap tall buildings in a single bound. But can he transcend our polarized politics?This, it turns out, may be too big a job even for Superman.The reboot of “Superman” that was released in theaters on Friday is already sparking intense discussions — and a fair bit of criticism — from right-leaning media figures, even before many have had a chance to see the film.Much of the commentary has centered around an interview that the movie’s director, James Gunn, gave to The Times of London in which he spoke about the hero’s journey from Krypton to Kansas to Metropolis.“I mean, Superman is the story of America,” Gunn said. “An immigrant that came from other places and populated the country, but for me it is mostly a story that says basic human kindness is a value and is something we have lost.”America? Great. Kindness? Awesome. Those are points on which fans of the world’s most recognizable superhero seem to agree.But an immigrant? That characterization — of a guy who, yes, was born on another planet and then traveled to Earth — has entangled the new “Superman” in the very Earthbound culture wars of 2025, amid the Trump administration’s immigration crackdown.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Rebekah Del Rio, Mournful Singer of ‘Mulholland Drive’ Fame, Dies at 57

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      Rebekah Del Rio, the virtuosic singer best known for her forlorn Spanish-language rendition of Roy Orbison’s “Crying” in David Lynch’s 2001 film “Mulholland Drive,” died on June 23 at her home in Los Angeles. She was 57.Her death was confirmed by the Los Angeles County medical examiner, who said the cause was under investigation. Ms. Del Rio disclosed in 2018 that a malignant tumor in her brain had been surgically removed. In her final months, she told friends that the cancer had returned.In a career marked by misfortune and tragedy, Ms. Del Rio, a self-taught vocalist, never made it beyond the music industry’s revolving door. But her transcendent vibrato found a home in a surreal corner of Hollywood occupied by Mr. Lynch.One day in the mid-1990s, Ms. Del Rio, a young country singer, arrived at Mr. Lynch’s Los Angeles home for an introductory meeting arranged by their mutual agent, Brian Loucks. The instructions Mr. Loucks gave her were simple: Show up on time, look cute and be ready to perform “Llorando,” her a cappella version of Mr. Orbison’s “Crying.”Dressed head to toe in light blue, she sang until Mr. Lynch cut her off halfway through. He ushered her into his home recording studio, where she recorded the song in a single take.“Ding dang, Rebekah Del Rio, that was aces!” she recalled him saying.That recording would be heard in a pivotal scene in “Mulholland Drive,” at a fictional nightclub called Club Silencio. Ms. Del Rio, who is introduced as “La Llorona de Los Angeles,” emerges onstage from behind a velvet curtain wearing a dark red minidress, with smudged mascara and a crystalline teardrop under her right eye.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How James Gunn Modeled Superman’s Dog Krypto After His Own Pet

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      For the furry sidekick, Krypto, in “Superman,” the director James Gunn found inspiration — and a physical model — in his own unruly pet.About three years ago, the director James Gunn was trying to figure out the arc of what would become his new blockbuster “Superman.” Then he adopted a dog.He named the scruffy rescue Ozu, after the Japanese filmmaker known for his serene works. At about 8 months old, Ozu the dog was not at all peaceful. After surviving a hoarding situation, Ozu was fearful of humans and intensely destructive. He chewed up furniture, shoes and even a $10,000 computer. He also ate one of Gunn’s wife’s tampons out of a wastebasket, necessitating a trip to the vet. Gunn realized that if Ozu had been superpowered, the damage would have been even worse.“It was where the movie came together for me,” he said in a video call.Gunn decided that his version of Superman would have not just a dog, but a bad dog who could fly. He wrote the opening sequence in which Superman (David Corenswet), defeated for the first time ever, calls out to the canine Krypto to help drag him to the Fortress of Solitude. Krypto — who, like Ozu, is poorly behaved — jumps all over his master, seemingly causing more pain before doing his duty.“The universe we normally see Superman living in in movies is usually this lone, serious superhero and then people and then that’s it,” Gunn said. “This Superman exists in a different sort of universe where there are flying dogs.”While Krypto has a long history in the comic books, he has never been featured in any of the live-action Superman movies.Jessica Miglio/DC and Warner Bros. But Ozu served as more than just inspiration. Gunn’s pup also became the physical model for Krypto, who is computer-generated so he can do things like soar through the sky and attack villains. Krypto is a little bigger than Ozu and has white fur instead of gray, but otherwise he’s a dead ringer.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Superman’s Other Secret Weakness? Journalism Ethics.

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      Writing for The Daily Planet about his heroic alter ego raises thorny issues for Clark Kent. Lois Lane has her conflicts, too.If Superman’s greatest weakness is green kryptonite, then Clark Kent’s may well be the ethics of journalism — thanks to his work as a reporter who has to cover his own heroic alter ego. It is a conflict in the character apparent since his first comic book appearance.In his 1938 debut, Superman saves a woman wrongly sentenced to death. Clark is relieved that the front-page news of her release makes no mention of the Man of Steel’s intervention. Clark also likes that his job often leads him to tips on where Superman is needed. But when he is assigned to report on the hero, he feigns enthusiasm. He tells his editor, “If I can’t find out anything about this Superman no one can!” Disingenuous much, Clark?Flash forward to modern times.In the new “Superman” film, which opens in theaters on Friday, Lois Lane (Rachel Brosnahan) is surprised when Clark (David Corenswet) allows her to interview him as Superman for The Daily Planet. Her probing inquiries agitate him. She also chastises him on the ethics of reporting on himself, since he would know the questions in advance — generally a no-no in responsible journalism. But she shouldn’t judge him too harshly: She’s dating Clark and probably should recuse herself from the interview, too.It is a good moment for Lois, who does not always fare so well in comic books. In 1986, when Superman was rebooted by the writer and artist John Byrne, Lois is determined to get the scoop on the new hero. She lands an interview but too late. Clark has the exclusive, gives it to The Planet and is hired by the paper, which is when he and Lois first meet. In 1986, in a Superman reboot, Lois tries to get the scoop on the new hero — only to find Clark Kent has beaten her to the punch.John Byrne and Dick Giordano/DC“That has always been the conceit, that he gets his job by reporting on Superman and therefore proving himself to be an ace reporter,” Mark Waid, a comic book writer, said in an interview. “I personally reject that notion because I don’t understand what that proves other than he’s really good at taking advantage of the system.” We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      In ‘Apocalypse in the Tropics,’ Director Petra Costa Examines Brazil’s Rightward Shift

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      The director Petra Costa examines a rightward shift in her country by zeroing in on the rise of a televangelist.Here is one thing that makes Petra Costa’s new documentary, “Apocalypse in the Tropics” (in theaters and streaming Monday on Netflix), so powerful: It is very precisely not about American politics. Yet the temptation for a segment of viewers to see it as being about that will, I suspect, be insurmountable. But Costa is here to tell a bigger story.She begins with the extraordinary shift in her homeland of Brazil toward evangelical Christianity — over the past 40 years, the percentage of Brazilians identifying as evangelical has grown to 30 percent from 5 percent, by some estimates. That’s an immense, almost unprecedented change.What’s more, it’s had radical effects on that nation’s politics, leading directly to the election of former President Jair Bolsonaro. Costa wasn’t raised to be particularly religious, so she approaches the subject as something of an anthropologist who knows Brazil well. (Her parents are left-wing Brazilian activists who opposed the military dictatorship that ruled from 1964 to 1985, and her fiery 2019 film, “The Edge of Democracy,” explored both her and her country’s political past.) Instead of focusing solely on Bolsonaro and his electoral battle with Luiz Inácio Lula da Silva, the current president, Costa hones in on something else: the way the Pentecostal televangelist and celebrity Silas Malafaia has operated at the core of politics.She suggests that Malafaia, with the money and influence he wields, was extremely consequential in the rise and popularity of Bolsonaro. In other words, she argues that his media savvy, tied to capitalism and a certain strain of apocalypticism, accounts for the rightward lurch in Brazil’s politics.What she’s pointing out is how these three things — the lure of money, the lure of celebrity and the lure of power — constitute an unholy trinity, especially when held and venerated by a figure like Malafaia, who can dole them out. That has always been true. Humans love to be rich, popular and important, and a lot of the time those things can be woven into people’s religious beliefs, making those convictions even stronger.But it may be that elements of the present, like social media, internet misinformation and extinction-level threats to human life make that combination more potent than ever. That’s what “Apocalypse in the Tropics” draws out so well: This pattern in Brazil is infinitely repeatable. If you recognize it, well, it’s not because your country’s leaders are unique. It’s because while history may not repeat itself, it certainly rhymes. More

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      ‘Madea’s Destination Wedding’ Review: Hellur, Bahamas

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      Tyler Perry returns as a series of characters, and this time, the real struggle for the family is boarding a plane.Tyler Perry reached a milestone this year: Two decades of “Madea” movies. The bigger-than-life female character Perry created for the stage has been entertaining audiences and confounding critics since the first “Madea” movie, “Diary of a Mad Black Woman,” hit theaters in 2005.As the title suggests, that picture leaned a little heavier into melodrama than broad comedy, despite the fact that Perry, as he would continue to do over the next two decades, played Madea as a kind of burlesque who wore outlandish dresses and substantial padding, and painted the character in broad strokes.In “Madea’s Destination Wedding,” the 13th “Madea” movie, she continues to take no prisoners when affronted. It begins with our heroine confronted by some would-be stickup kids at a service station; she douses their car with gasoline and lights it on fire as they speed away.The narrative gets more domesticated after this. Madea’s niece Tiffany (Diamond White), the daughter of her nephew Brian, is having a destination wedding in the Bahamas. Perry also plays Brian, in conventional guy clothing. Perry also plays Brian’s father, the white-haired, feckless Joe. In one scene, the three characters banter on the front stoop of a house. The sequence demonstrates Perry’s adroitness as a multicharacter performer; the dialogue is delivered with admirable timing and intonation. And his staging, shooting and editing show that he’s become an equally deft filmmaker.That said, the movie’s comedic family members yield a group workshop style of comedy that sometimes bogs down the narrative. The movie arguably has the longest plane-boarding scene in the history of cinema, followed by the longest hotel check-in scene. But if Madea speaks your movie love language, it’s all about the journey, not the destination.Madea’s Destination WeddingRated PG-13 for language and themes. Running time: 1 hour 42 minutes. Watch on Netflix. More