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      Schneider Sues ‘Quiet on Set’ Producers for Defamation

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      In the suit, lawyers for the former Nickelodeon producer called the documentary a “hit job” that had falsely painted him as a “child sexual abuser.”The television producer Dan Schneider filed a defamation lawsuit on Wednesday against the creators of the documentary series “Quiet on Set,” which aired accounts of sexual abuse and other inappropriate behavior on sets at Nickelodeon, where Schneider was once a star creator of content.The five-episode series, “Quiet on Set: The Dark Side of Kids TV,” included interviews from former employees who denounced Schneider as a boss and objected to sexualized humor in his shows, leading him to release a video in March in which he apologized for some of his behavior on the job, such as soliciting massages on set from staff members.But the show also focused on Nickelodeon employees who had been convicted of child sex crimes — including Brian Peck, a dialogue coach for Nickelodeon, who was sentenced to prison for sexually abusing the “Drake & Josh” star Jared Drake Bell.Schneider’s lawsuit accuses the documentary of improperly conflating him with those who had been convicted of abusing children and took issue with segments of the series that his lawyers said “falsely and repeatedly state or imply that Schneider is a child sexual abuser.”“Schneider will be the first to admit that some of what they said is true,” the lawsuit, filed in Los Angeles Superior Court, said of the filmmakers. “At times, he was blind to the pain that some of his behavior caused certain colleagues, subordinates and cast members. He will regret and atone for this behavior the rest of his life. But one thing he is not — and the one thing that will forever mar his reputation and career both past and present — is a child sexual abuser.”Schneider declined to be interviewed for the series, instead issuing a statement that was included in the documentary, in which he denied various accusations leveled against him and said that “everything that happened on the shows I ran was carefully scrutinized by dozens of involved adults.”The listed defendants in the case include Warner Bros. Discovery, which owns Max, where the series was streamed; Maxine Productions and Sony Pictures Television, which produced it; and Mary Robertson and Emma Schwartz, who directed the series. None of the parties immediately responded to a request for comment.Calling the series a “hit job,” the lawsuit said that in several instances viewers were led to inaccurately infer that he was a child sexual abuser, including in the trailer, in which a series of photos and video clips of Schneider are followed by the advertisement of a “true crime event.”“The harm to Schneider’s reputation, career, and business, to say nothing of his own overwhelming emotional distress, cannot be understated,” said the lawsuit, which seeks an unspecified amount of damages.The lawsuit said that Schneider’s legal representatives had sent a letter demanding that the series “not include any statements that allege or imply that Schneider engaged in any criminal or sexual misconduct,” and that the defendants’ lawyer responded that there were no “statements” that defamed him.Starting in the 1990s, Schneider created, scripted and produced a string of hits for Nickelodeon including “All That,” “The Amanda Show,” “Drake & Josh” and “Zoey 101.”But in the spring of 2018, Schneider and Nickelodeon suddenly issued a joint statement announcing their separation. Almost overnight, he largely disappeared from public view.In 2021, The New York Times reported that before that announcement, ViacomCBS, the parent company of Nickelodeon, had investigated Schneider and found that many people he worked with viewed him as verbally abusive. The company’s review found no evidence of sexual misconduct by Schneider.The recent documentary series included information about how Schneider and Nickelodeon parted ways, and reported that the investigation into his conduct “did not find any evidence of inappropriate sexual behavior” or “inappropriate relationships with children.”The series was a ratings hit and stirred up conversations about the appropriateness of some of the material on children’s television. Critics said the shows contained barely veiled sexual innuendo, and Schneider, in his apology video, said he would be willing to cut out parts of the show that were upsetting to people, years after they first aired. At the same time, though, he suggested that the criticism came from adults looking at jokes written for children “through their lens.” More

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      Why Is ‘Baby Reindeer’ Such a Hit? It’s All in the Ending.

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      The Netflix stalker series combines the appeal of a twisty thriller with a deep sense of empathy. The conclusion illustrates why it’s become one of the most-discussed shows of the year.This article includes spoilers for all of “Baby Reindeer.”The mini-series “Baby Reindeer” arrived on Netflix on April 11 without much advance hype, but it quickly became one of the most talked-about TV shows of 2024.It’s not hard to understand why. Based on the Scottish comedian Richard Gadd’s award-winning 2019 one-man stage show, “Baby Reindeer” baits its hook in the first episode, which introduces Martha (Jessica Gunning), an emotionally fragile middle-aged woman who appreciates the kindness shown to her by Donny (Gadd), a struggling stand-up comic who offers her a free drink in the pub where he works.By the end of that first episode, Martha’s neediness has begun to shade into creepiness. And by the time Donny discovers that his new friend has a history of stalking, she’s already begun what will eventually become a torrent of abuse, as she floods his email and social media with poorly spelled messages that insult his character and sometimes threaten sexual violence.What makes “Baby Reindeer” so effective is that as Martha pushes further and further into Donny’s personal life — attending his comedy shows, befriending his landlady, calling his parents — the audience shares his mounting feelings of powerlessness and frustration, cut with flashes of pity for the woman who is ruining his life. The show has the “slow-motion train wreck” appeal of a twisty true-crime documentary, but balanced with empathy for two profoundly broken people.A story as dark and uneasy as this one needs a proper ending, though. “Baby Reindeer” has one that is satisfying in its particulars, if haunting in its implications.Gadd (who wrote every episode) plants the seeds for the finale in the penultimate episode, the sixth, which ends with Donny having a career-altering meltdown while competing in a stand-up comedy contest. Donny’s comic style is highly conceptual, involving corny props and awkward jokes, designed to leave his audience wondering whether or not they’re meant to laugh. He’s like a Scottish (and much less effective) version of Steve Martin in his “Wild and Crazy Guy” days. (Or, as Donny puts it: “I’m a comedian when they laugh, a performance artist when they don’t.”)When the crowd can’t get on his wavelength at the competition, Donny ditches his props and just talks, sharing with a stunned audience the story that we have been watching for the previous five episodes. He tells them about how when he was a young and inexperienced comedian, he took an unpaid gig working for Darrien O’Connor (Tom Goodman-Hill), a well-respected TV writer who repeatedly drugged and sexually assaulted him. He tells them about his transgender girlfriend, Teri (Nava Mau), whom he’s too embarrassed to kiss in public.And, of course, he tells them about Martha, the angel and the devil on his shoulders: sometimes telling him how sweet, funny and handsome he is, and sometimes calling him a weak-willed, talentless degenerate.Gadd and Jessica Gunning in “Baby Reindeer.” Donny and Martha’s bond is deeper than it initially appears.Ed Miller/NetflixAs the show’s seventh and final episode opens, a video of Donny’s train-wreck performance has landed on YouTube (under the title “Comedian Has Epic Breakdown”), bringing him viral fame and new opportunities. The pressure of that higher profile — coupled with Martha’s ceaseless string of threatening voice mail messages — prompts Donny to confide in his unexpectedly sympathetic parents about being raped. All of these confessions feel liberating.Not too long after, one of Martha’s threats is dire enough to get her arrested — and eventually jailed. Gadd brings the conflict between Donny and Martha to a logical conclusion, with Martha finally acknowledging the harm she’s done by pleading guilty.So Donny lives happily … but not for ever after. More like for a day or two.The unsettling ambiguities of the “Baby Reindeer” epilogue — the real ending, which comes after Martha is safely locked away — are a big part of what has made the show a word-of-mouth hit.First, Donny finds himself going back over Martha’s old messages, and turning every one of their past interactions into pieces of a puzzle that he then pins up on his wall — like a detective trying to crack a complicated case. His inquiry even leads him back to the doorstep of the man who molested him, where Donny falls into an old pattern of deference and eagerness to please.Then, in the series’s knockout closing scene, a bartender gives a teary-eyed Donny a free drink, echoing what Donny once did for Martha. What makes Donny so upset? Take your pick: He’s still processing what Martha and Darrien have done to him. He’s furious with himself for not standing up to his abuser. He attained the fame he always craved and found that it didn’t solve his problems.The final trigger comes when, as he listens to one of Martha’s old messages, he hears her explain that she always calls him “reindeer” because he reminds her of the stuffed toy that comforted her during a rough childhood. For a moment, this former terrifying nuisance goes back to being a person worthy of understanding and even grace. Or maybe, again, it’s actually empathy: Donny ending the story in the same state in which he first encountered Martha makes manifest the bond between them.Part of the global popularity of “Baby Reindeer” is no doubt a result of the web sleuth dimension — the online rush to identify the real figures behind Martha and Darrien. Gadd has discouraged such speculation, and innocent people have been accused.But much of the show’s distinctive appeal comes from how, at a time when trauma narratives almost have become cliché in high-end TV drama, “Baby Reindeer” presents a more nuanced version of one. It authentically depicts trauma and mental illness as confusing, unpredictable and deeply personal, all of which is underscored by the emotional ambivalence of its conclusion.Donny finally achieves success but is ambivalent about it.Ed Miller/Netflix“Baby Reindeer” relies a lot on its subjective point of view. Donny’s voice-over narration dominates every episode, recounting in vivid detail his disgust with himself. The series’s two directors, Weronika Tofilska and Josephine Bornebusch, often keep the camera trained on Donny’s face, capturing his feelings of disorientation as even his best moments are disrupted by Martha’s constant intrusions. Viewers are drawn deep into Donny’s neuroses, which include, he and we begin to understand, an addiction to being the object of one woman’s obsession.But while this show holds close to Donny’s perspective, in a way it also sees the world through Martha’s eyes — or at least to the extent that Donny identifies with her. She’s out of his life by the end of the finale, but he still has to live with that part of himself that feels exactly how she feels.Throughout “Baby Reindeer,” Donny struggles to explain why he’s not more proactive when it comes to Martha. Why doesn’t he warn his friends about her? Why does he take so long to get the police involved? Why doesn’t he freeze her out the first time she turns weird?The answer is that, on some level, he gets it. He too is lost, lonely and awkward much of the time. That’s why there is no real triumph in besting Martha. For Donny, it’s like defeating himself — something he already does nearly every day. More

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      India’s Master of Nostalgia Takes His Sweeping Vision to Netflix

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      In the small Bombay theater that showed big films, his father brought him — over and over again — to see the biggest of them all.With every one of his 18 viewings of “Mughal-e-Azam,” a hit 1960 musical about a forbidden romance between a prince and a courtesan, the young boy fell more in love. The rays of light, beamed in black and white, opened to him a world at once majestic and lost. The dialogue, crisp and poetic, lingered in his thoughts. The music swept him to places that only later in life would he fully understand.Bombay would eventually change, to Mumbai. India, cinema and music — they would all change, too. But more than half a century later, Sanjay Leela Bhansali — now 61 and a rare remaining master of the grand old style of Indian filmmaking — has not let go of his seat at that small cinema, Alankar Talkies, on the hem of the city’s red-light district.His mind remains rooted there even as his work moves beyond the theater walls. His latest project, released on Wednesday, is an eight-episode musical drama on Netflix that gives a “Game of Thrones” treatment to an exalted milieu of courtesans in pre-independence India.Sanjay Leela Bhansali, a rare remaining master of the grand old style of Indian filmmaking, directing “Heeramandi” for Netflix.Actors waiting between scenes on the set of the eight-episode musical drama in Mumbai.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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      Late Night Weighs In on Donald Trump’s $9,000 Fine

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      “I know $9,000 might not seem like a lot to a successful businessman, but what about to Trump?” Colbert said of the court-imposed penalty for violating a gag order.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Spare ChangeOn Tuesday, the judge in Donald Trump’s hush money trial held the former president in contempt, fining him $9,000 for violating a gag order on nine separate occasions.“I know $9,000 might not seem like a lot to a successful businessman, but what about to Trump?” Stephen Colbert joked.“The judge lamented that that is the most he could legally fine him, warning that if Trump keeps violating the gag order, ‘jail may be a necessary punishment.’ I don’t know if it’s necessary for Trump, but I need it.” — STEPHEN COLBERT“Even though I’m not on Trump’s side, I don’t think it’s fair. This trial is about the fact that he paid a woman to be quiet. Now if he isn’t quiet, he has to pay them? It makes no sense. They’re using his thing against him. It’s like, like Jesus, a carpenter who they nailed to a cross. I mean, think about it. Read about it in your Trump-brand Bibles, OK?” — JIMMY KIMMEL“The judge also told Trump that if he continues to violate the gag order, he might lock him up. Melania was like, ‘Don’t let the judge tell you what to do!’” — JIMMY KIMMEL“Trump spends $9,000 at the Wendy’s drive-through.” — JIMMY KIMMEL“Trump was like, ‘But I get the 10th one free, right?’” — JIMMY FALLONThe Punchiest Punchlines (Trump’s Kids Edition)“I forgot to tell you guys, today was Take Your Kid to Court Day.” — JIMMY FALLON“The good news for Trump is that one of his family members finally showed up at court today. The bad news is it was Eric.” — JIMMY KIMMEL“Eric Trump attended his dad’s porn star hush money trial today, which in the Trump family is as close as you get to playing catch in the yard.” — JIMMY KIMMEL“Today, the judge ruled that he will cancel court on May 17 so Trump can go to Barron’s high school graduation, which is funny because now Trump has to go to Barron’s high school graduation.” — JIMMY KIMMEL“He woke up from a dead sleep in court and yelled, ‘Objection!’” — JIMMY KIMMELThe Bits Worth WatchingHannah Einbinder, the star of “Hacks,” recalled her first time on television in a conversation with Stephen Colbert on Tuesday.What We’re Excited About on Wednesday NightThe rapper Doja Cat will appear on Wednesday’s “Tonight Show.”Also, Check This OutMaleah Joi Moon in the Alicia Keys musical “Hell’s Kitchen.”Sara Krulwich/The New York TimesWith 13 nods each, “Hell’s Kitchen” and “Stereophonic” tied for the most nominations at this year’s Tony Awards. More

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      Stephen Colbert Scolds Kristi Noem for Killing Her Puppy

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      “No! Bad, psycho governor! No! Sit down!” Colbert said on Monday’s “Late Show,” spraying water from a bottle.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.Bad Governor!The South Dakota governor Kristi Noem, an aspiring vice-presidential candidate, has gotten some negative press over her forthcoming book, in which she describes killing a family dog.“Warning: If you like puppies, you’re not going to like Kristi Noem,” Stephen Colbert said on Monday.“Look, I know it sounds terrible, but it’s much worse. Because this wasn’t some rabid 90-pound hellhound on a meth bender — it was a 14-month-old wire-haired pointer named Cricket. Yes, a puppy named Cricket. Reminds me of Stephen King’s first draft of ‘Cujo,’ ‘Snuggles.’” — STEPHEN COLBERT“No! Bad, psycho governor! No! Sit down! Bad! Stay! Stay away from dogs!” — STEPHEN COLBERT“I don’t know how big her staff is, but I’m guessing she has at least a dozen people working for her, probably more. Not one of those dozen or dozens of people raised a hand and said, ‘Uh, governor? Do you think maybe not a great idea to share that story about shooting a whole petting zoo at your house? Maybe we save shooting a puppy in a gravel pit for the next book, you know?’” — JIMMY KIMMEL“By the way, the actual title of Noem’s book where she tells this story is ‘No Going Back.’ Better than her first drafts, ‘Old Yeller 2: He Had it Coming’ and ‘All Dogs Go to Gravel Pit.’” — STEPHEN COLBERT“Governor Noem, if you don’t like untrainable animals that wolf down chickens, I have bad news about your party’s nominee.” — STEPHEN COLBERTThe Punchiest Punchlines (John Wick Edition)“When you’re trying to win over voters, I’m not sure being the bad guy in a John Wick movie is the best way to go.” — JIMMY FALLON“But who among us hasn’t seen a dog running through the fields, not a care in the world, and thought, ‘You deserve to die’?” — STEPHEN COLBERT“Yeah, people are really going to hate her next book, ‘Kristi Noem: Then I Ate It.’” — JIMMY FALLON“It’s one thing to kill a dog named Cricket; it’s another to brag about it in your book. What’s the book even called, ‘I Did It’?” — SETH MEYERSThe Bits Worth WatchingAnne Hathaway and Melanie Lynskey played a new game called “Reverse Charades” on Monday’s “Tonight Show.”What We’re Excited About on Tuesday NightJerry Seinfeld will discuss his new Netflix film, “Unfrosted,” on Tuesday’s “Jimmy Kimmel Live.”Also, Check This Out“Challengers,” starring Josh O’Connor and Zendaya, has a number of sultry moments.Metro Goldwyn Mayer PicturesErotically charged films like “Saltburn” and “Challengers” show that sex is making a comeback in cinema. More

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      What’s on TV This Week: ‘Catfish’ and ‘Welcome to Wrexham’

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      The show, hosted by Nev Schulman and Kamie Crawford, begins its ninth season on MTV. Ryan Reynolds and Rob McElhenney’s soccer series on FX is back for Season 3.For those like me who still haven’t cut the cord, here is a selection of cable and network TV shows, movies and specials that broadcast this week, April 29-May 5. Details and times are subject to change.MondayERIN BROCKOVICH (2000) 8 p.m. on Pop. Anyone growing up with dreams of saving the world can probably find inspiration in Julia Roberts’s performance as Erin Brockovich. She is a single mom down to her last few dollars, but she’s smart and resourceful and possesses highly developed investigative Spidey senses. Based on a true story, this fictionalized movie follows Brockovich as she gets a low-level job at a law firm and finds a cover-up of toxic exposure that is threatening lives. A.O. Scott, in his review for The New York Times noted that after a robust, creative opening, Roberts and the director, Steven Soderbergh, rely heavily on clichés, and Scott ruefully submits to the same technique, writing that the movie “will make you laugh. It will make you cry. It will make you stand up and cheer. ‘Erin Brockovich’ is the feel-good movie of the year.”From left: Cher and Nicolas Cage in “Moonstruck.”MGMMOONSTRUCK (1987) 8 p.m. on TCM. If you’re in the mood for desire on Monday night instead of the fighting spirit of Erin Brockovich, see Cher and Nicolas Cage in this slightly chaotic but ultimately dreamy romantic comedy. Cher plays Loretta, a widow who finds herself falling in love with her new boyfriend’s younger brother, Ronny (Cage). This movie offers “further proof that Cher has evolved into the kind of larger-than-life movie star who’s worth watching whatever she does,” Janet Maslin wrote in her review for The Times.TuesdayCATFISH 8 p.m. on MTV. In an ideal world, anytime someone ghosts you on a dating app, Nev Schulman and Kamie Crawford (and let’s throw Max Joseph into this fantasy for old times’s sake) would materialize next to you and put that person in their place. And for the people who write in to the show — that is basically what happens. “Each episode unfolds like a detective show, with the, host Nev Schulman, summoned to untangle truth from lies, to take relationships that exist only on computers and phones and drag them into our three-dimensional reality,” Maya Salam wrote in a recent feature in The Times about the show, which is back for its ninth season.WednesdayPRISONER IN RUSSIA: THE BRITTNEY GRINER INTERVIEW 10 p.m. on ABC. In March of 2022, Brittney Griner, a WNBA center, was detained in Russia on drug charges. She ended up pleading guilty in a Russian court and being sentenced to nine years in prison. In December of that year, nearly 10 months later, she was released via a prisoner swap for Viktor Bout, a Russian arms dealer. For the first time, she is sitting down for an interview — with Robin Roberts — to discuss her time in prison.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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      Colin Jost Falls Flat at White House Correspondents Dinner

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      The White House Correspondents’ Association dinner has occasionally featured some great stand-up comedy. This “S.N.L.” veteran’s set will not join that list.People in the media have long worried about the impact of the White House Correspondents’ Association dinner on journalism. The concern is that it makes the press look too chummy with politicians it’s covering. But what is the impact on comedy?A high-ceilinged hotel ballroom filled with television anchors and network executives is a tough room for stand-up, but no more so than an awards show. Trevor Noah was funnier two years ago at the dinner than he was at this year’s Grammys.A murderer’s row of comics, among them Conan O’Brien, Jimmy Kimmel and Wanda Sykes, has taken this assignment because it’s one of the most high-profile live comedy sets of the year. And there has been one truly great performance (Stephen Colbert), some very good ones (Seth Meyers, Larry Wilmore) and one so thrillingly biting (Michelle Wolf) that the next year they replaced the comic with a historian.Colin Jost’s set this year does not belong in that pantheon. Without his Weekend Update partner Michael Che next to him, he came off muted, vanilla, less assured than usual. With long pauses between jokes, eyes darting side to side, he occasionally took a drink of water and at least once acknowledged the lack of laughter in the room. His jokes leaned on wordplay more than a specific or novel perspective. “Some incredible news organizations here,” began one of his pricklier jokes, finished by: “Also, some credible ones.”He focused much fire on former President Donald J. Trump. “Now that O.J.’s dead, who is the front-runner for V.P.?” he asked. “Diddy?” Like Biden, Jost has always benefited from low expectations. No one that handsome could be funny, right? But he has grown into his role at “Saturday Night Live,” proving to be an especially strong straight man adept at the comedy of embarrassment. You could see his timing in one of the odder moments when he said Robert Kennedy Jr. could be the third Catholic president and the C-SPAN camera cut to President Biden (the second) clapping. Jost retreated on Kennedy’s chances one beat later: “Like his vaccine card says, he doesn’t have a shot.”For the third year in a row, President’s Biden’s age played a big role in the comedy (“Technology wasn’t invented when he was in high school,” Jost said of Biden), even in the president’s own set. Two years ago, Biden joked that he was friends with Calvin Coolidge. Last year, he referred to his “pal Jimmy Madison.” The president took a slightly different and more confrontational approach this time. “Age is an issue,” he said early. “I’m a grown man running against a 6-year-old.”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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      ‘Guilt’ Review: When the Lights Go Out in Edinburgh

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      The final season of Scotland’s most notable TV drama, on PBS’s “Masterpiece,” is a suitably twisty and sardonic send-off for the battling McCall brothers.Contains spoilers for Seasons 1 and 2 of “Guilt.”“Guilt,” a pioneering series in Scottish television — it was the first drama commissioned by the newly formed BBC Scotland channel in 2019 — has built an audience well beyond its borders. A melancholy tale of family dysfunction presented as a complicated crime thriller, it combines British regionalism with peak TV-style poker-faced comedy in a way that has made it a critical darling around the world.Created and written by Neil Forsyth, “Guilt” has arrived in dense, lively four-episode bursts; the third and final season has its American premiere on PBS’s “Masterpiece” beginning Sunday. Each installment has been organized around a psycho-philosophical theme: first guilt, then revenge in Season 2, and now, as Forsyth described it in a BBC interview, redemption.But the pleasure of the show does not come from diagraming its moral lessons (unless that’s your thing), or from unwinding Forsyth’s sometimes maddeningly convoluted plots, which entangle sons and daughters of Edinburgh’s rough-and-tumble Leith district with the city’s gangsters, cops and politicians.What makes “Guilt” worthwhile is Forsyth’s knack for creating characters who work their way into our affections, less by their actions than by their unconscious, soul-deep responses to life in the grim confines of Leith and the promise of something better in Edinburgh’s more comfortable precincts.At the center of the web are Max and Jake McCall (Mark Bonnar and the marvelous Jamie Sives), brothers with very little use for each other who become bound in a seemingly endless cycle of lies, danger and recrimination. It begins in the opening minutes of Season 1 when Jake, with Max in the car’s passenger seat, accidentally runs into an old man, killing him. Jake, a gentle soul with an encyclopedic knowledge of pop music (he could have wandered in from a Nick Hornby novel), wants to call the police; Max, a rapacious lawyer with a near-sociopathic lack of empathy, says no.This is the original sin for which the brothers are still paying. Covering up their hit-and-run homicide embroils them with the Lynches, a married pair of quietly vicious gangsters whom Max and Jake are both on the run from, and scheming to take down, across the show’s three seasons. While the brothers work together for survival, they are also at each other’s throats, taking turns ruefully betraying each other, leading to imprisonment, exile and worse.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