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      ‘Baby Reindeer,’ Netflix’s New Stalker Drama, Is Based on a True Story

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      The Netflix series is based on the real-life experience of its creator, Richard Gadd, who also stars in the show.Richard Gadd and Jessica Gunning in “Baby Reindeer.”Ed Miller/NetflixRichard Gadd created and stars in the mesmerizing, complex drama “Baby Reindeer” (on Netflix), which is based on his experience of being stalked. Here he plays Donny Dunn, an aspiring comedian and miserable bartender, living with his ex-girlfriend’s mother and stewing in regret.So one day when Martha (Jessica Gunning) sits at his bar, he feels bad for her — he sees a fellow wounded bird who deserves a moment of compassion. But Martha isn’t just a sad sack; she is a convicted stalker. Soon she is emailing Donny hundreds of times a day, harassing his family and his exes, showing up at gigs and outside his house. It’s relentless, it’s terrifying, it’s … flattering?“Reindeer” is candid and disturbing, but not lurid. On lesser shows, nuance can play like a lack of conviction, but here it is the conviction, a rebuttal to pat victimhood narratives. It delves into the absolute pits of human experience not with a sage, well-adjusted perspective but with the mischievous bravado of a prop comic at the Edinburgh Festival Fringe. (“Baby Reindeer” is adapted from Gadd’s solo show of the same title, which premiered at the festival.)We see Donny’s act bomb and bomb and bomb; to be a comedian is often one big indignity. Donny recognizes and articulates the dangers of wanting fame, how it warps his judgment but also could solve his problems. (One person knowing your darkest secret is unbearable, but a million people knowing it is stardom.) Agony and attention are bound together here — Look at me! No, not like that! — twin snakes choking the life out of their prey. The show is relentlessly, fascinatingly compassionate, answering the questions of “why would you …” and “why didn’t he just …” with probing clarity. Everyone is shaped by suffering, their choices and identities carved by humiliations large and small.The show is seven half-hour(ish) episodes, and they are the good kind of heavy.SIDE QUESTSIf you want something autobiographical and introspective about masculinity but without the horrors of stalking, all three seasons of “Ladhood” are on Hulu and the Roku Channel.If you actually love the horrors of stalking and want to add in serial murder and sultry whispers, all four seasons of “You” are on Netflix. (Only the first three are good.)If you want another fabulous show that started out at Edinburgh, it is always a good time to watch “Fleabag.” Both perfect seasons are on Amazon. More

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      ‘Shogun’ Finale Recap: Mask Off

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      Lord Toranaga’s true plan is finally revealed.Season 1, Episode 10: ‘A Dream of a Dream’Take a look at any of FX’s promotional material for “Shogun,” and one image will stare back: Lord Toranaga (Hiroyuki Sanada), in full samurai armor, his sword drawn as he charges into battle on a white horse. Tattered red banners and a cavalry provide the backdrop. It doesn’t require close reading to determine that he has cried havoc and let slip the dogs of war.It’s also false advertising. There is no culminating battle in the final episode of “Shogun.” Toranaga does not charge into the fray on a white horse, his katana dealing death on all sides. The regents’ armies do not fight among themselves. Lord Ishido is not beaten down in defeat. John Blackthorne does not prove his battlefield mettle to earn his samurai sword. Instead, the episode mimics the leafless branch in the poem Lady Mariko dictated before her death.By now, you may be shouting that the book upon which the show is based doesn’t include a final battle, either. But just as James Clavell, the author of “Shogun,” altered, edited and exaggerated real-world people and events from Japanese history to suit the needs of his novel, the creators of the 2024 television version also altered, edited and exaggerated in turn. They’ve changed character names, shifted points of emphasis from Blackthorne to Japanese characters and so on. For this episode they cut the book’s epilogue, in which Toranaga executes Ishido by burying him up to his neck and leaving him to die of exposure. (Toranaga is a tough cookie, but that act seems a bridge too far for the TV version.) The showrunners don’t mind taking advantage of adaptational freedom when it suits them.Much as I think both the marketing and the writing have deliberately steered audiences to expect an all out action-horror spectacle — in the mode for which the pioneering “Game of Thrones” set a still-unmatched standard on television — the show’s creators Rachel Kondo and Justin Marks, as well as the writers Maegan Houang and Emily Yoshida (not to mention Clavell himself), turn out not to be telling that kind of story.If there’s a through line for how “Shogun” depicts violence, it’s that it’s almost always dirty pool. A Christian lord’s army ambushing another lord’s forces under cover of darkness. A cannon fusillade launched at men given no warning. A nephew attempting to murder his uncle in a brothel. A squad of palace guards, slowly driving an outnumbered woman warrior to exhaustion and defeat. Ninja assassins slaughtering their way through a sleepy household, not once but twice. The entire plot is driven by Blackthorne’s revelation that even the Christian lords’ European allies are secretly building an army with which they intend to take all of Japan unawares.When it comes to violence, nobody here moves out in the open. “Shogun” is consistent in that respect, at least if you ignore the picture on the promos.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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      Jon Stewart Slams the Media for Coverage of Trump Trial

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      “Are you trying to make this O.J.? It’s not a chase — he’s commuting,” Stewart said on Monday’s “Daily Show.”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.Media CircusOpening arguments began in former President Donald Trump’s criminal trial on Monday, with much of the news media coverage homing in on as many details as possible about the proceedings.Jon Stewart called the trial a “test of the fairness of the American legal system, but it’s also a test of the media’s ability to cover Donald Trump in a responsible way.”“Perhaps if we limit the coverage to the issues at hand and try not to create an all-encompassing spectacle of the most banal of details, perhaps that would help.” — JON STEWART“He arrived at the intersection of American history, where he put a quarter in the parking meter of destiny, leaving the car, looking to avoid stepping in the urine puddle of jurisprudence.” — JON STEWART, mocking the media’s coverage of Trump’s arrival in court“Seriously, are we going to follow this guy to court every [expletive] day? Are you trying to make this O.J.? It’s not a chase — he’s commuting.” — JON STEWART“At this point, you’re probably saying to yourself, ‘How many television hours have they devoted to what Donald Trump, a man who has not been off any of our screens for more than 30 seconds in the last eight years, looks like?’ The answer is not nearly as many hours as describing his every movement.” — JON STEWART“Look, at some point in this trial, something important and revelatory is going to happen, but none of us are going to notice because of the hours spent on his speculative facial tics. If the media tries to make us feel like the most mundane [expletive] is earth-shattering, we won’t believe you when it’s really interesting. It’s your classic ‘Boy Who Cried Wolf Blitzer.’” — JON STEWART“Look, we’ve got a long ways to go here. It’s the first day of the first of his 438 trials to come. Pace yourselves, and if you’re bored, you can always start planning how you’re going to [expletive] up covering his next trial and the sober mea culpa you’ll deliver during his next term as president.” — JON STEWARTThe Punchiest Punchlines (Insano Edition)“The city that never sleeps versus the defendant who keeps nodding off during the trial.” — JIMMY KIMMEL“As he should. I mean, he’s been up since 2 a.m. rage tweeting. He needs his anger sleep.” — JON STEWART“Just when you think the insano-meter has topped out, Donald Trump adds farting to his list of atrocities.” — JIMMY KIMMEL“Of course, we don’t know for sure that Trump was the one farting in court, so it would not be right for me to state that he was. So, I cannot in good conscience report that Trump was pumping gas like a Barstow Texaco, but I can report, to borrow a phrase that he likes to use when spreading rumors, ‘Many people were saying Trump was farting in court.’” — JIMMY KIMMELWe 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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      ‘The Jinx Part Two’ Review: Filmmaking a Murderer

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      A new installment of HBO’s landmark true-crime documentary continues the strange, sad story of Robert Durst, in which the show is a major player.Nine years after we first heard Robert Durst mutter “Killed them all, of course,” “The Jinx” is back, with a new, six-episode Part Two that premiered Sunday on HBO. And why not?Maybe it feels unseemly, or like old news, with Durst having died in prison in 2022 after the original series helped convict him of murder. But a lot happened in the meantime. You can imagine that the filmmaker Andrew Jarecki, who directed both parts, felt a responsibility to a story he has now lived with for 20 years. And since “The Jinx” has effectively erased the line between itself and the case it chronicles, you could hope that he felt a responsibility to examine his own role in the prosecution and conviction of Durst, the wealthy and eccentric New York real estate heir.That examination does not come in the four episodes HBO provided for review, but Jarecki acknowledges the show’s continuing influence in a wry, “Can you believe that happened?” fashion.It is noted, once again, that in 2013 “Jinx” producers shared with prosecutors evidence regarding the disappearance and two deaths in which Durst was implicated, kick-starting the investigation that led to his conviction and life sentence in 2021 for the murder of his friend Susan Berman. The impact of the original broadcast on the popular imagination is conveyed when a young law clerk recalls exclaiming “Killed them all of course!” at the mention of Durst’s name, quoting his accidentally recorded words from the original series’s chilling final moments.This theme reaches an early peak in a scene filmed at a screening of that final episode in March 2015 in Jarecki’s apartment, on the same day the fleeing Durst — who had been watching the show along with the rest of us — was found and arrested in New Orleans. Relatives of Durst’s first wife, Kathleen McCormack, who had disappeared 33 years earlier, listen to his apparent confession with remarkable composure, probably acutely aware of the cameras a few feet away waiting to catch their reactions.From left, Jim, Sharon and Liz McCormack, relatives of Durst’s first wife, Kathleen McCormack, who disappeared in 1982.HBOWe 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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      Book Review: ‘The Rulebreaker,’ by Susan Page

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      In “The Rulebreaker,” Susan Page pays tribute to a pioneering journalist who survived being both a punchline and an icon.THE RULEBREAKER: The Life and Times of Barbara Walters, by Susan PageMuch of the material in “The Rulebreaker: The Life and Times of Barbara Walters” has been told before, with persuasive narrative control, by the late television journalist herself in her dishy 2008 memoir, “Audition.” Don’t let that stop the reader of this thorough, compassionate biography by Susan Page: It’s a valuable document, sobering where “Audition” aimed for sassy.If anything, the 16 long years between autobiography and biography endow the two books, taken together, with a memento mori gravitas for any student of Walters, or of television journalism, or of the past, present and future of women in the TV workplace — or, for that matter, of Monica Lewinsky. More on her in a moment.Walters called her autobiography “Audition” to emphasize the need she always felt to prove herself, pushing her way to professional success in a world that never made it easy for her. Nearly 80 then and still in the game, she acknowledged that personal contentment — love, marriage, meaningful family connections — lagged far behind. She wrote of being the daughter of an erratic father, who bounced — sometimes suicidally — between flush times and financial failure as a nightclub owner and impresario.She told of her fearful mother, and of the mentally disabled older sister to whose welfare she felt yoked. She wrote of the three unsatisfying marriages, and of her strained relationship with the daughter she adopted as an infant.She breezily acknowledged the ease she felt throughout her life with complicated men of elastic ethics like Roy Cohn and Donald Trump. She leaned into her reputation as a “pushy cookie.”Page, the Washington bureau chief of USA Today, who has also written books about Barbara Bush and Nancy Pelosi, tells many of the same stories. (“Audition” is an outsize presence in the endnotes.) But in placing the emphasis on all the rule-breaking Barbara Jill Walters had to do over her long life — she died in 2022 at 93 — the biographer pays respect to a toughness easy to undervalue today, when the collective memory may see only the well-connected woman with the instantly recognizable (thanks to Gilda Radner’s “SNL” impression) speech impediment.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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      What’s on TV This Week: N.F.L. Draft and ‘Bridget Jones’ Marathon

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      Football players get their chance to play in the national league. HBO airs all three movies staring Renée Zellweger.For TV viewers who still haven’t cut the cord, here is a selection of cable and network shows, movies and specials broadcasting Monday through Sunday, April 22-28. Details and times are subject to change.MondayTHE SYNANON FIX 9 p.m. on HBO. In 1958, Synanon opened their doors in California as drug rehabilitation center. But the center started using a kind of attack therapy, in which patients are verbally abused and degraded in front of a group, and several members were later charged with child abuse, assault and attempted murder. This documentary series, which had its premiere at Sundance this year, is airing its fourth and final episode this week.TuesdayTHE EXPRESS WAY WITH DULÉ HILL 9 p.m. on PBS (check local listings). In each of the four episodes of this documentary series, the actor Dulé Hill speaks to people across the country who are making art in nontraditional ways. In the first episode, Hill heads to California to meet a deaf dancer, a gay Mariachi and a cabaret group of senior citizens. The other episodes take place in Appalachia, Texas and Chicago.Anna Sawai in “Shogun.”Katie Yu/FXSHOGUN 10 p.m. on FX. This mini series, based on the 1980s NBC show and book of the same name, is wrapping up. In an interview with The New York Times, Anna Sawai, who plays Lady Mariko on the show, said that the “the last two episodes are very special” and that “the men have been physically fighting. The women are fighting their own battles.”WednesdayAMERICAN HORROR STORY: DELICATE 10 p.m. on FX. The last few episodes of the 12th season of this Ryan Murphy anthology has followed the fallout of Anna (Emma Roberts) losing a Golden Globe and Siobhan (Kim Kardashian) perhaps killing off her competition. Will Anna get all she has dreamed about? Will Siobhan face any consequences to her actions? This season finale will bring answers.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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      Climate Doom Is Out. ‘Apocalyptic Optimism’ Is In.

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      The philanthropist Kathryn Murdoch has prioritized donations to environmental causes for more than a decade. She has, she said, a deep understanding of how inhospitable the planet will become if climate change is not addressed. And she and her colleagues have spent years trying to communicate that.“We have been screaming,” she said. “But screaming only gets you so far.”This was on a morning in early spring. Murdoch and Ari Wallach, an author, producer and self-proclaimed futurist, had just released their new PBS docuseries, “A Brief History of the Future,” and had hopped onto a video call to promote it — politely, no screaming required. Shot cinematically, in some never-ending golden hour, the six-episode show follows Wallach around the world as he meets with scientists, activists and the occasional artist and athlete, all of whom are optimistic about the future. An episode might include a visit to a floating village or a conversation about artificial intelligence with the musician Grimes. In one sequence, marine biologists lovingly restore a rehabbed coral polyp to a reef. The mood throughout is mellow, hopeful, even dreamy. Which is deliberate.“There’s room for screaming,” Wallach said. “And there’s room for dreaming.”“A Brief History of the Future” joins some recent books and shows that offer a rosier vision of what a world in the throes — or just past the throes — of global catastrophe might look like. Climate optimism as opposed to climate fatalism.Hannah Ritchie’s “Not the End of the World: How We Can be the First Generation to Build a Sustainable Planet” argues that many markers of disaster are less bad than the public imagines (deforestation, overfishing) or easily solvable (plastics in the oceans). In “Fallout,” the television adaptation of the popular video game that recently debuted on Amazon Prime Video, the apocalypse (nuclear, not climate-related) makes for a devastated earth, sundry mutants and plenty of goofy, kitschy fun — apocalypse lite.“Life as We Know It (Can Be),” a book by Bill Weir, CNN’s chief climate correspondent, that is structured as a series of letters to his son, centers on human potential and resilience. And Dana R. Fisher’s “Saving Ourselves: From Climate Shocks to Climate Action” contends that the disruptions of climate change may finally create a mass movement that will lead to better global outcomes. Fisher, a sociologist, coined the term “apocalyptic optimism” to describe a belief that humans can still avoid the worst ravages of climate change.In confronting the apocalypse, these works all insist that hope matters. They believe that optimism, however qualified or hard-won, may be what finally moves us to action. While Americans are less likely than their counterparts in the developed world to appreciate the threats that climate change poses, recent polls show that a significant majority of Americans now agree that climate change is real and a smaller majority agree that it is human-caused and harmful. And yet almost no expert believes that we are doing enough — in terms of technology, legislation or political pressure — to alleviate those harms.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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      Original ‘Star Trek’ Enterprise Model From Opening Credits Is Found

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      The 33-inch model surfaced on eBay after disappearing around 1979. An auction house is giving it to the son of Gene Roddenberry, the creator of “Star Trek.”The first model of the U.S.S. Enterprise, the starship that appeared in the opening credits of the original “Star Trek” television series, has been returned to Eugene Roddenberry Jr., the son of the creator of the series, decades after it went missing.“After a long journey, she’s home,” Mr. Roddenberry wrote on social media on Thursday.For die-hard Trekkies, the model’s disappearance had become the subject of folklore, so an eBay listing last fall, with a starting bid of $1,000, didn’t go unnoticed.“Red alert,” someone in an online costume and prop-making forum wrote, linking to the listing.Mr. Roddenberry’s father, Gene Roddenberry, created the television series, which first aired in 1966 and ran for three seasons. It spawned numerous spinoffs, several films and a franchise that has included conventions and legions of devoted fans with an avid interest in memorabilia.The seller of the model was bombarded with inquiries and quickly took the listing down.Joe Maddalena, left, the executive vice president of Heritage Auctions, and Eugene Roddenberry, the son of “Star Trek” creator Gene Roddenberry.Josh David Jordan/Heritage Auctions, via Associated PressThe seller contacted Heritage Auctions to authenticate it, the auction house’s executive vice president, Joe Maddalena, said on Saturday. As soon as the seller, who said he had found it in a storage unit, brought it to the auction house’s office in Beverly Hills, Calif., Mr. Maddalena said he knew it was real.“That’s when I reached out to Rod to say, ‘We’ve got this. This is it,’” he said, adding that the model was being transferred to Mr. Roddenberry.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