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    Michael Stone, Psychiatrist and Scholar Who Studied Evil, Dies at 90

    He attempted to define evil by plumbing the biographies and motivations of hundreds of violent felons who had committed heinous crimes.Dr. Michael H. Stone, a psychiatrist and scholar who sought to define evil and to differentiate its manifestations from the typical behavior of people who are mentally ill, died on Dec. 6 at his home in Manhattan. He was 90.The cause was complications of a stroke he had in January, his son David said.Dr. Stone was best known to the public as the author of the book “The Anatomy of Evil” (2009) and as the host from 2006 to 2008 of the television program “Most Evil,” for which he interviewed people imprisoned for murder to determine what motivated them to engage in an evil criminal act.He ranked the acts on a 22-category scale of his creation. Modeled on Dante’s nine circles of hell, his taxonomic scale ranged from justifiable homicide to murders committed by people whose primary motivation was to torture their victims.Only human beings are capable of evil, Dr. Stone wrote in “The Anatomy of Evil,” although evil is not a characteristic that people are born with. He acknowledged that while acts of evil were difficult to define, the word “evil” was derived from “over” or “beyond,” and could apply to “certain acts done by people who clearly intended to hurt or to kill others in an excruciatingly painful way.”For an act to be evil, he wrote, it must be “breathtakingly horrible” and premeditated, inflict “wildly excessive” suffering and “appear incomprehensible, bewildering, beyond the imagination of ordinary people in the community.”“Mike’s major contribution to psychiatry was sharpening the distinction between mental illness and evil,” Dr. Allen Frances. a former student of Dr. Stone’s who is now chairman emeritus of the department of psychiatry and behavioral sciences at Duke University School of Medicine in Durham, N.C., said in a phone interview.“The problem,” Dr. Frances said, “is that with every mass murderer, every crazy politician, every serial killer, the first tendency in the public mind and the media is that he’s mentally ill.” Dr. Stone, he said, helped to change that default position.Dr. Stone became known for his book “The Anatomy of Evil” and for hosting the TV program “Most Evil.”Prometheus BooksAnalyzing the biographies of more than 600 violent criminals, Dr. Stone identified two predominant personality traits: narcissism, to the point of having little or no ability to care about their victims; and aggression, in terms of exerting power over another person to inflict humiliation, suffering and death.In “The New Evil: Understanding the Emergence of Modern Violent Crime” (2019), a sequel to Dr. Stone’s 2009 book, he and Dr. Gary Brucato warned that since the 1960s there had been an “undeniable intensification and diversification” of evil acts committed mostly by criminals who “are not ‘sick’ in the psychiatric and legal sense, as much as psychopathic and morally depraved.”The reasons, they wrote, included greater civilian access to military weaponry; the diminution of both individual and personal responsibility, as preached by fascist and communist governments earlier in the 20th century; sexual liberation, which unleashed other inhibitions; the ease of communication on cellphones and the internet; the rise of moral relativism; and a backlash against feminism.In 2000, Dr. Stone figured in a sensational murder trial that tested the limits of doctor-patient confidentiality. He wanted to testify in the murder trial of Robert Bierenbaum, a plastic surgeon and former patient of his who was accused of killing his wife, Gail Katz-Bierenbaum, in 1985.Dr. Stone had written a letter to his patient’s wife two years before her death, advising her to live apart from her husband for her own safety. He had asked that she sign and return it, but she never did. He had also contacted Dr. Bierenbaum’s parents, with his permission.The judge ultimately excluded Dr. Stone’s testimony from the trial on the basis of professional confidentiality. But the testimony of several other witnesses about the letter contributed to Dr. Bierenbaum’s conviction.Dr. Stone identified two predominant personality traits in those who commit evil acts: narcissism and aggression.Librado Romero/The New York TimesMichael Howard Stone was born on Oct. 27, 1933, in Syracuse, N.Y., the grandson of Eastern European immigrants. His father, Moses Howard Stone, owned a wholesale paper business. His mother, Corinne (Gittleman) Stone, was a homemaker.A prodigy who learned Latin and Greek as a child, he was only 10 years old when he began seventh grade. As the youngest and smallest student in the school, as well as the only Jewish one, he formed an alliance with a 17-year-old classmate who was a boxer, his son David said: Mike would do the classmate’s homework, and the classmate would protect him from local antisemitic bullies.He entered Cornell University in Ithaca, N.Y., when he was 16, enrolling in a premedical curriculum but double-majoring in classics in case he was rejected by medical schools that had already met their quota of Jewish students. He enrolled in Cornell Medical School in Manhattan after graduating from Cornell in 1954 and received his medical degree in 1958.He originally studied hematology and cancer chemotherapy at Sloan Kettering Institute in Manhattan, but his mother’s chronic pain disorder prompted him to switch to neurology and then, eventually, to psychiatry. He did his residency at the New York State Psychiatric Institute at Columbia Presbyterian Hospital, where he met Dr. Clarice Kestenbaum, whom he married in 1965.He is survived by two sons, David and John Stone, from that marriage, which ended in divorce in 1978; his wife, Beth Eichstaedt; his stepchildren, Wendy Turner and Thomas Penders; three grandchildren; and one great-grandson.Dr. Stone spoke 16 languages and, like a vestige from another era, customarily wore three-piece suits. He was known for his impish sense of humor: His latest book, “The Funny Bone,” published this year, is a collection of his cartoons, jokes and poems.An amateur carpenter, he built the shelves that housed his library of 11,000 books. His collection included about 60 books on Hitler — further evidence, like his memories of childhood bullying, of his yearning to define evil.As a psychiatrist, a psychoanalyst and for many years a professor of clinical psychiatry at Columbia University College of Physicians and Surgeons, Dr. Stone also conducted a long-term study of patients with borderline personality disorders, including those who had contemplated suicide. He concluded that, often as a result of therapy and other treatment, the condition of about two-thirds of them had improved appreciably some 25 years later.In “The New Evil,” Dr. Stone and Dr. Brucato offered a possible explanation for why “particularly heinous and spectacular crimes,” especially those committed in America and by men, had been on the rise since the 1960s. They warned against “the rise of a sort of ‘false compassion,’ in which the most relentless, psychopathic persons are sometimes viewed as ‘victims.’”The two concluded by invoking a familiar metaphor: A frog dropped in a pot of boiling water will immediately try to escape; but, if placed in cold water that is gradually heated, the frog will remain complacent until it’s too late.“It is our ardent hope that, after a period of terrible growing pains, our culture will eventually learn that true power and control come only after a lifelong process of mastering and inhibiting the self,” they wrote. “Perhaps, as a first step, we should admit that the water in our collective pot is growing disquietingly warmer, day by day.” More

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    Mayim Bialik Out as ‘Jeopardy!’ Host

    The departure of Bialik, who had been absent from the show for months, leaves Ken Jennings, a former champion, as the sole host.Mayim Bialik, who received an Emmy nomination for her work on “Jeopardy!” after the death of longtime host Alex Trebek, said on Friday that she would not return to the popular game show, leaving Ken Jennings as the sole host.Bialik began hosting “Jeopardy!” on an interim basis in 2021, and on a permanent one last year. She has not appeared on the program or its “Celebrity Jeopardy!” offshoot for the past few months. In May, the entertainment news site Deadline reported that she had stepped away from “Jeopardy!” in solidarity with the Hollywood writers’ strike.“Sony has informed me that I will no longer be hosting the syndicated version of Jeopardy!” Bialik wrote on social media on Friday, referring to the firm that produces the show. “I am deeply grateful for the opportunity to have been part of the Jeopardy! family.”She did not mention the strike, which ended in the fall.Sony confirmed Bialik’s departure in a separate statement, saying only that the decision for Jennings to continue alone was made “to maintain continuity for our viewers.” The company thanked Bialik for her contributions and said that it hoped to continue to work with her on prime time specials, without elaborating.The shake up at “Jeopardy!” is the latest for a show that struggled to find a replacement for Trebek after his death in November 2020. Following a string of celebrity hosts, including LeVar Burton and Mehmet Oz, and a botched plan for executive producer Mike Richards to take over, Bialik filled in as a temporary host and split duties with Ken Jennings, a former champion.Bialik, who has a Ph.D. in neuroscience and is best known for starring in “The Big Bang Theory,” a television show, made it clear when she stepped in as interim host in 2021 that she wanted the position to become permanent.Some critics questioned her impartiality. Trebek had been celebrated for having a neutral and impartial air, while Ms. Bialik was outspoken on topics such as vaccines.But in July 2022, Bialik and Jennings were named permanent joint hosts, and both were nominated this year for an Emmy for “Outstanding Host for a Game Show.” More

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    ‘The Crown’: The History Behind the Final Episodes

    To close the show’s six-season run, the episodes open in 1997 and depict a heartthrob prince, an offensive party costume, several deaths and a marriage.After seven years of seamlessly blending royal fact and fiction, the second part of “The Crown” Season 6 brings the lavish Netflix show to a close.The final six episodes, which arrived on Thursday, open in 1997, and follow several story lines concerning members of the royal family and aspects of Tony Blair’s tenure as Britain’s prime minister. (Bertie Carvel plays Blair.)A grieving Prince William (Ed McVey) unexpectedly becomes a worldwide heartthrob and falls in love while studying at the University of St. Andrews. The queen (Imelda Staunton) grapples with her own mortality following the loss of her sister, Princess Margaret (Lesley Manville), and the Queen Mother (Marcia Warren), in a short space of time. In the finale, set in 2005, Prince Charles (Dominic West) finally marries his longtime partner, Camilla Parker Bowles (Olivia Williams).Here is a look at what The Times and other news outlets reported at the time. You can find more in the TimesMachine archive browser. (Warning: This feature contains spoilers for Season 6 of “The Crown.”)Episode 5, ‘Willsmania’Prince William (Ed McVey) returns to boarding school soon after the death of his mother. NetflixIn this episode, Prince William returns to school soon after Princess Diana’s funeral. He attended Eton College, the prestigious British boarding school known for educating prime ministers, Nobel laureates and, of course, aristocracy.In April 2017, the British tabloid The Sun reported that William returned to school just four days after the ceremony and received handwritten condolence letters from more than half of his fellow students.On the show, he is also handed a sack of letters from his fans across the globe, especially adoring young women. It is the beginning of the so-called “Willsmania” of the late ’90s, when William became the focus of intense international attention. This new heartthrob status is also made clear when he visits Vancouver with his father and younger brother Harry (Luther Ford), and young women line up to catch a glimpse.Young fans of Prince William cheered and screamed as he visited Vancouver, Canada, in 1998.Tim Graham Photo Library, via Getty ImagesOn June 22, 1998, The Times reported that the trip to Vancouver in March of that year “alerted the palace to what a pinup the 6-foot-1-inch prince with the shock of blond hair, blue eyes and downward looking shy smile so reminiscent of his mother has become to teenage girls.”The following year, Christina Ferrari, the managing editor of Teen People, a youth-focused version of People magazine, told The Times that Will was “an international superstar almost on the level of Leonardo DiCaprio.”Episode 6, ‘Ruritania’In the sixth season, Prime Minister Tony Blair is played by Bertie Carvel.Justin Downing/NetflixIn Episode 6, Queen Elizabeth seems threatened by the public’s positive reception of Blair, the new prime minister. “People really do seem to love him, and see him as a true son of England,” she says, “and a unifying national symbol, in a way they used to see me.”In February 1999, Warren Hoge wrote in The Times that Blair was a “youthful, articulate and visionary leader” and “the most popular prime minister in British history.”On the show, we see Blair telling the queen about his attempts to persuade President Bill Clinton to send troops to Kosovo to drive Serb forces out. The queen is concerned to learn that the prime minister has a new nickname: “King Tony.” According to a Times report from 1999, he was given that sarcastic nickname by attendees of that year’s NATO Summit, because of all the media attention he was getting.Queen Elizabeth and Blair toasting the New Year in London at the turn of the millennium.Pool photo by Tim GrahamAccording to that Times report, Blair made a “grand entrance” in Washington before embarking on a “media blitz” to garner American public support for fighting the Yugoslav president, Slobodan Milosevic. (White House officials said Clinton “did not feel upstaged.”)Episode 7, ‘Alma Mater’Meg Bellamy as Kate Middleton and McVey as Prince William.Justin Downing/NetflixViewers meet an 18-year-old Prince William, who informs journalists that he has met the requirements to attend his chosen college, St. Andrews, where he will go after taking a year off from his studies.In “The Crown,” the prince receives his exam results while with his family, but in reality, he had already left Britain for his year abroad. In video footage by ITN of Prince William at a news conference on Sept. 29, 2000, he told journalists that when he received his results, he was “in the middle of nowhere” in a jungle in Belize.At St. Andrews, the episode follows Kate Middleton (Meg Bellamy) and William as they adjust to university life. Despite William initially dating a woman named Lola Airdale-Cavendish-Kincaid and Middleton a man named Rupert, there is clear romantic chemistry between the pair.According to The Times of London, Prince William dated two women before Kate: Olivia Hunt, who they newspaper called “a brainy sort,” and Carly Massy-Birch, whom “William had a two-week snog with,” according to an anonymous source. Somebody else (also anonymous) told the paper that Kate had apparently dated Rupert Finch, “a handsome Norfolk boy,” whom she met when she arrived at college.Episode 8, ‘Ritz’In a flashback, the young princesses, Elizabeth (Viola Prettejohn), left, and Margaret (Beau Gadsdon), sneak out of Buckingham Palace to celebrate V-E Day.NetflixFlashbacks to the young princesses Margaret (Beau Gadsdon) and Elizabeth (Viola Prettejohn) celebrating the end of World World II on May 8, 1945, or V-E Day, show the pair sneaking out of Buckingham Palace to party among the public on the streets and at the Ritz hotel. An initially shy Elizabeth finds a large group of Americans swing dancing, and she joins in after some initial hesitation.“You dark horse. Who’d have known you could jive,” Margaret says to her older sister on their way back to the palace. “There must have been 50 men chasing you.”In reality, while Margaret and Elizabeth did take to the streets of London to celebrate the war’s end, it seems they had their parents’ permission. In 1985, the queen gave a televised speech to the British public, in which she “for the first time told her subjects how she and Princess Margaret had slipped into the crowds outside Buckingham Palace to join the V-E Day celebrations and had walked for miles through the city,” according to The Times.“I remember we were terrified of being recognized,” Queen Elizabeth is reported to have said.In May 2020, during another televised address, the queen spoke of the “jubilant scenes” the royal family saw from the balcony of Buckingham Palace earlier on V-E Day. “The sense of joy in the crowds who gathered outside and across the country was profound,” she said.Crowds in Piccadilly Circus, in London, celebrating the end of World War II in 1945.F Greaves/Daily Herald Archive/National Science & Media Museum, via Getty ImagesThis episode also follows Princess Margaret’s declining health, and a series of strokes she suffered between 1998 and 2001. The first was at a party on the Caribbean island of Mustique; in a second, in a bathtub, she suffered severe burns; and one more, in her bedroom, left her hospitalized. Margaret died soon after, in February 2002.“The Crown” shows the princess smoking and drinking against her doctor’s orders, but Margaret’s friends have refuted that she lived such a lifestyle. “I have seen far too much suggesting that Margaret was an unashamed hedonist who spent her life partying,” a friend told The Guardian after she died. “It truly misunderstands her.”Margaret’s obituary in The Times describes her as an “attractive and fun-loving” woman who “earned a reputation in her youth as a free spirit.”Episode 9, ‘Hope Street’The Egyptian businessman Mohamed al-Fayed (Salim Daw), who accuses the royal family of murdering Princess Diana.NetflixIn a television interview at the start of the ninth episode, the Egyptian businessman Mohamed al-Fayed (Salim Daw) calls the royal family “gangsters” who intentionally killed Princess Diana and his son, Dodi. Al-Fayed claims that when the “dracular British royal family” discovered that Diana was pregnant “with a Muslim child” — Dodi’s — “they killed her.”In reality, much like the show depicts, al-Fayed gave several interviews over many years in which he accused the royal family of playing a significant role in Princess Diana’s death.In 1998, The Times reported that al-Fayed told the British media that “there was a conspiracy, and I will not rest until I have established exactly what happened”; speaking on “60 Minutes Australia” in 1999, al-Fayed also claimed that MI6, aided by the C.I.A., had been spying on Dodi and Diana; and in a 2007 interview with Al Jazeera English, he called the crash “absolute clear horrendous murder.”The show also shows Operation Paget, a police inquiry that was opened to re-examine the incidents leading up to the car crash that killed the couple. In December 2006, The Times reported that the inquiry took three years, and cost British taxpayers 3.69 million pounds, about $7 million at the time. It concluded that Princess Diana “was killed the way the authorities always said she had been killed: in a car accident, along with her boyfriend, Dodi Fayed, and their driver, Henri Paul,” Sarah Lyall wrote.While the investigation into Diana’s death is ongoing on “The Crown,” Prince William continues his studies at St. Andrews, where the recently single Kate Middleton models in a charity fashion show. The show recreates the sheer dress the real-life Kate wore in 2002 for the college show, a piece designed by Charlotte Todd, who was a college student at the time. In 2011, and following the announcement of William and Kate’s engagement, Todd sold the dress for £78,000, according to The Daily Telegraph (around $125, 000 at the time).“The Crown” recreates the sheer dress Kate Middleton (Meg Bellamy) wore in 2002 for a college fashion show.Justin Downing/NetflixOn the show, soon after William attends the fashion show, the pair start formally dating and move in together, along with two friends. According to The Sun, the couple moved into 13A Hope Street with Olivia Bleasdale and a fellow Etonian, Fergus Boyd.Back at the palace, the queen is dealing with her mother’s death and the Golden Jubilee, an international celebration to mark 50 years of her reign. Elizabeth spends most of the episode worried about a lack of public interest, and whether a crowd will gather for her balcony appearance at Buckingham Palace. She is pleasantly surprised by the masses of people who attend.On June 5, 2002, The Times reported that over one million people cheered outside the gates of the palace for the jubilee. On the same day, The Guardian reported that the event was more successful than both critics and organizers had anticipated.Episode 10, ‘Sleep, Dearie Sleep’In the final episode, the queen contemplates plans for her funeral.NetflixTo wrap the show up, the final episode of “The Crown” finds a way to address the queen’s death — she died in 2022 — while still being set in 2005. We see her planning her own funeral, including choosing the bagpipe lament “Sleep, Dearie Sleep” to play at the funeral.According to The Times of London, it took 20 years to plan the queen’s real funeral, with the task falling to Edward Fitzalan-Howard, the 18th Duke of Norfolk, whose ancestors have been responsible for planning significant royal occasions since 1672. Before the queen’s death, “we had annual meetings in the throne room of Buckingham Palace,” the duke told the newspaper in 2022. “It started off with 20 people; by April this year, it had reached 280. I have had a lot of help from Buckingham Palace staff.”The queen’s personal piper, Paul Burns, did indeed play “Sleep, Dearie Sleep” to close the queen’s funeral on Sept. 19, 2022.Paul Burns playing the bagpipes at Queen Elizabeth’s funeral in 2022.Pool photo by Gareth CattermoleNegative press surrounding Prince Harry during his younger years also gets some screen time. The prince is photographed at a “colonials and natives” costume party, wearing a military outfit with a swastika on the arm, which soon makes front-page news. In the aftermath of the scandal, William and Harry argue about the part each had played in the choice of costume, which the show depicts William encouraging when the brothers shop for their costumes.On Jan. 13, 2005, a photograph of Prince Harry in the outfit, holding a drink and a cigarette, ran on the front page of The Sun. Harry apologized for his unsuitable costume choice in the accompanying article: “I am very sorry if I have caused an offense,” he said. “It was a poor choice of costume.” In his recent memoir, “Spare,” Harry wrote that William and Kate “howled” with laughter when they saw the costume.“The Crown” also portrays Blair’s fall from public grace. He has a new nickname, “Tony Bliar,” because many believed he misled the public over the invasion of Iraq in 2003. That year, The Times reported that at least 750,000 antiwar protesters gathered at a demonstration in London, and noted that Blair had lost the British public’s approval. “I do not seek unpopularity as a badge of honor,” Blair is reported to have said. “But sometimes it is the price of leadership and the cost of conviction.”With the queen’s blessing, Charles and Camilla were finally married in a televised civil wedding ceremony. In April 2005, The Times said: “Given all the twists of fate and circumstance that have conspired against it, perhaps the most wondrous thing about the wedding on Saturday between Prince Charles and Camilla Parker Bowles is that it took place at all.” More

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    ‘The Curse’ Season 1, Episode 6 Recap: Guessing Game

    Asher seems to be losing his grip, except when what’s in his grip is a bunch of nails.Season 1, Episode 6: ‘The Fires Burn On’The final line of this week’s episode of “The Curse” finds Asher saying, “I’m fine, don’t worry about me.” But I am starting to worry about him. It’s not quite sympathy — Asher hasn’t done enough to deserve that. Maybe it’s something more akin to concern. After all, as he says it, his left hand is dripping with blood. It’s his own fault. He filled his palm with nails to test whether Nala has some sort of psychic powers. This is a sign of a man losing his grip with reality.And there is another reason to feel worried for Asher: Whitney and Dougie have teamed up behind his back. Whitney’s hostility toward Dougie finally eases when she discovers that she needs him to make her show more interesting. And Dougie’s idea for making “Fliplanthropy” into something less utterly boring? Humiliate Asher on television.From the very first episode of “The Curse,” Dougie and Whitney have had conflicting ideas about what “Fliplanthropy” should be. Whitney sees it as a brand building exercise, a chance to show how good she is, a way of assuaging her guilt over her slumlord parents’ financial support. But that doesn’t make for entertaining television. Dougie, he of the burn victim dating show, understands that.In the first couple of moments of this week’s installment, we see what the Whitney version of “Fliplanthropy” looks like. It is incredibly dull. The term “like watching paint dry” has never been more apt: Literally, the show features a whole segment in which there’s a discussion of paint drying. Whitney finally realizes, “something feels off,” an almost painfully obvious revelation.Dougie proposes a solution. He knows she doesn’t want to create drama around Española itself, which means they can’t discuss any of the crime or racial tension in the community. But there is a ready source of drama staring them right in the face: Whitney and Asher. Of course their marital strife is evident onscreen — in one shot, you can see her rolling her eyes at him because he has his phone in his hand while giving a gift of pottery. Why not highlight that and make their conflict the driving force of the show?Dougie sells this to Whitney as a way to make herself more appealing, as well as a way to make the series entertaining. If the audience believes she is telling them the truth about her relationship with Asher, then they will believe she is telling them the truth about everything else. Whitney is into this plan, and she doesn’t really stop to consider the potential damage to her already fragile marriage. She even has a new idea for the title of the show: “Green Queen.” If that title refers to her, what does that make Asher? Dougie suggests: “the village idiot.” Whitney laughs. It’s so mean.No one runs this plan by Asher as what is still known as “Fliplanthropy” continues to film at a local Española firehouse. Whitney flirts shamelessly with the firemen to make Asher jealous, but any potential for a blowup over that indiscretion goes away once Asher makes a mysterious discovery in the bathroom. After peeing — yes, once again we see a shot of his small penis — Asher finds a pile of cooked chicken on the sink, holding it up to his nose to confirm that it is indeed poultry.He accuses Dougie of putting it there to mess with him, an accusation Dougie denies, and then goes on a crusade to find the culprit. He interrogates the firemen, trying to discern if they had any chicken in their meals recently. (They didn’t.) Then he convinces one of them to let him go through security footage. He is so preoccupied with this that he has no idea that Whitney and Dougie are conspiring to make him look like a fool on HGTV. His absent-minded stare during filming fits perfectly within the story they are creating. It doesn’t matter that he is thinking about chicken instead of Whitney.Without a clear answer as to where that chicken came from, Asher once again suspects that Nala might be behind it. So, while doing work on her house, he starts quizzing her in an effort to determine whether she has metaphysical powers. He does this at first by hiding nails under a bucket and asking her to guess how many there are. She is puzzled by his game, but she answers nonchalantly — and correctly, three times. Clearly unnerved and tense, Asher grabs a fistful of nails and asks her to guess again. But she is too upset to guess when she sees the blood running out of his palm.At under 40 minutes, this week’s episode is the shortest of the season yet, and it does feel more transitional than the rest. The plot moves along quickly. Even though it’s still deeply uncomfortable, it seems to linger less in each setup so as to get us faster to the episode’s unnervingly bloody end.The show seems to be entering a new phase with this Whitney and Dougie alliance, one in which Asher will grow more and more isolated. Already, he has no one. His own wife is actively undermining him with his supposed childhood pal. He even can’t reach out to his old casino friend Bill, who ignores him in the hardware store. All he has is himself and his spinning mind, trying to figure out whether something supernatural is happening to him or it’s just a prank. Asher is often awful and off-putting, and yet, I pity him, and yes, I am worried.Notes from EspañolaI’m really intrigued by the interlude featuring Abshir and the chiropractor, though I’m not sure what to fully make of it. The scene may be one of the most upsetting in “The Curse” so far, and that’s saying a lot. There’s a look of terror on Abshir’s face as his body is stretched and his bones are loudly cracked. This is supposed to be curing him of his pain, but evidently it is a deeply painful experience, and the scene is filmed in a particularly violent way. I can’t get it out of my head, especially the way it appears almost without context.Once again, I’m left wanting more of this budding Cara-Dougie relationship, even if he won’t actually date her because she smokes. (He doesn’t want another wife dying on him.) It’s making Whitney extremely jealous.Notice the charge that popped up on Whitney’s phone from the jeans store. How much has she paid for stolen jeans?”Green Queen” is a terrible title for a show. More

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    Studios Are Loosening Their Reluctance to Send Old Shows Back to Netflix

    When building their own streaming companies, many entertainment studios ended lucrative licensing deals with Netflix. But they missed the money too much.For years, entertainment company executives happily licensed classic movies and television shows to Netflix. Both sides enjoyed the spoils: Netflix received popular content like “Friends” and Disney’s “Moana,” which satisfied its ever-growing subscriber base, and it sent bags of cash back to the companies.But around five years ago, executives realized they were “selling nuclear weapons technology” to a powerful rival, as Disney’s chief executive, Robert A. Iger, put it. Studios needed those same beloved movies and shows for the streaming services they were building from scratch, and fueling Netflix’s rise was only hurting them. The content spigots were, in large part, turned off.Then the harsh realities of streaming began to emerge.Confronting sizable debt burdens and the fact that most streaming services still don’t make money, studios like Disney and Warner Bros. Discovery have begun to soften their do-not-sell-to-Netflix stances. The companies are still holding back their most popular content — movies from the Disney-owned Star Wars and Marvel universes and blockbuster original series like HBO’s “Game of Thrones” aren’t going anywhere — but dozens of other films like “Dune” and “Prometheus” and series like “Young Sheldon” are being sent to the streaming behemoth in return for much-needed cash. And Netflix is once again benefiting.Ted Sarandos, one of Netflix’s co-chief executives, said at an investor conference last week that the “availability to license has opened up a lot more than it was in the past,” arguing that the studios’ earlier decision to hold back content was “unnatural.”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?  More

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    ‘Carol & the End of the World’ Review: An Affirming Apocalypse

    An animated Netflix miniseries, about a quiet woman navigating the last days of the planet, looks for hope where you wouldn’t expect to find any.In Netflix’s new animated miniseries “Carol & the End of the World,” the question is not whether the apocalypse can be averted. The rogue planet that is definitely going to collide with Earth in about seven months is steadily growing larger in the sky. Humanity has accepted its fate; heroics are of no use. With the time they have left, people are out partying, traveling and hang-gliding, all of which are now clothing optional.Amid the bacchanal, the question — at least for Carol Kohl, an introverted 42-year-old woman in an unnamed American city — is what to do if you don’t care to join the fun. Carol is a happy creature of habit, and she does not see why the imminent end of the world means that anything has to change. Her wealthy parents may be spending their days naked and in a passionate throuple with her father’s hunky caregiver, but Carol just wishes she could still go to Applebee’s after work. What she would really like to do is to go to work, period.“Carol & the End of the World,” which premiered on Friday, was created by Dan Guterman, an Emmy-winning comedy writer and alumnus of The Onion who has worked on a small but interesting roster of shows that includes “At Home With Amy Sedaris,” “The Colbert Report,” “Community” and “Rick and Morty.” His new series has elements of science-fiction and dystopian workplace mystery, but it’s essentially a gentle, cleareyed coming-of-middle-age story. Carol is remarkable in her unremarkableness, and the show’s tension lies in whether she will come into her own in the little time she has left. Guterman doesn’t exactly find hope in the apocalypse, but he holds out for common humanity and a flicker of redemption.The actress and stand-up comedian Martha Kelly voices Carol with an abashed drone that has a core of dogged resolve. (She played another low-key character, Martha the claims adjuster, on the Zach Galifianakis comedy “Baskets.”) Carol is an odd, lonely, awkward duck, but she is that by choice. Her sister, who is spending her last days trotting the globe with younger men and compulsively skydiving, says: “She always did her own thing. Do you know how hard that is? I always do what everyone else does.”The world of the show has a surface realism and a fairy-tale logic: No one is going to work, but somehow the trains still run and cable news networks still report; benignly silent soldiers fold laundry and ring up groceries. Traveling the mostly empty, gently trashed streets of the city (the whimsical, colorful animation is by Bardel Entertainment, the Canadian studio that also does “Rick and Morty”), Carol discovers the mysterious venue around which the story revolves: a bustling, brightly lighted accounting department in which towers of paper are shuffled for no obvious purpose or any apparent employer. For Carol it’s nirvana, but even here she has trouble getting with the program. She is determined both to learn the office’s secret and to instill some camaraderie in its silent, shellshocked work force.Carol’s new sense of purpose sends her and two co-workers, the formidable Donna (Kimberly Hébert Gregory) and the effervescent Luis (Mel Rodriguez), on missions that have a dry, deadpan comic edge. The 10 half-hour episodes are also fleshed out with separate story lines involving Carol’s family (Bridget Everett is the voice of her frenetic sister, Elena), and a sad father (Michael Chernus) and son (Sean Giambrone) with whom Carol is briefly embroiled. Some of the later episodes take on stylized forms, like a riff on an “Endless Summer”-style surfing documentary or a human resources investigation recounted in true crime voice-over.Guterman and his fellow writers, Kevin Arrieta and Noah Prestwich, let the story wander here and there, and their epiphanies can be small-bore; if you’re not on the show’s wavelength, you may find it aimless or mundanely sentimental. But it has a shaggy, slightly ethereal charm and sympathetic characters whose varied reactions to the end of the world ring largely true. “Carol & the End of the World” resonates with all the medical, meteorological and political terrors that animate the current wave of apocalyptic entertainments, but it’s not out to scare you or to lecture you. It’s for people like Carol who live inside their heads and need a little more time to emerge, even when the world is on fire. More

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    Cord Jefferson on ‘American Fiction’

    The Emmy-winning writer and former journalist drew on personal experience for his feature debut, a layered sendup of race and hypocrisy in the book and film worlds.Before he read “Erasure,” Percival Everett’s satirical novel about Black representation in the publishing industry, Cord Jefferson had never really thought of himself as a movie director. He had hoped to direct for television — his writing credits include several episodes of “Master of None,” “The Good Place” and HBO’s “Watchmen,” for which he shared an Emmy in 2020 — but even that seemed like a stretch.“I thought they might let me direct something that I helped write or create,” he said in a recent interview. “And even then it would be like Episode 4 of 10, not the pilot or the finale.”Things changed in December 2020, when Jefferson, 41, picked up “Erasure” and became enchanted. The book, published in 2001, is the story of Thelonius Ellison, known as Monk, a disillusioned Black intellectual whose mocking attempt at writing a stereotypical “ghetto novel” becomes a straightforward best seller.“Twenty pages in, I knew I had to write a film adaptation,” Jefferson said. “By the time I finished the book, I knew I had to direct it.” “American Fiction,” his take on the novel — and feature film debut as both a writer and director — is in theaters Friday. It stars Jeffrey Wright as Monk, Issa Rae as a rival novelist and Tracee Ellis Ross and Sterling K. Brown as Monk’s siblings. In September, it won the top prize at the Toronto International Film Festival, a precursor for an Academy Awards nomination for best picture for the past 11 years.Over lunch in the NoHo neighborhood of Manhattan, Jefferson, a former journalist and editor at Gawker, discussed his personal connection to Everett’s story, his adoration of the writer-director Nicole Holofcener and shedding tears in a pitch meeting. These are edited excerpts from the conversation.What was it about the book that spoke to you?There was so much. The most obvious is just the conversation that it’s having about the expectations of a Black artist in this country, what people want or think that Black art should be. That was a huge part of my life when I was still working in journalism. I wrote this article called “The Racism Beat,” which is very much about the expectation that Black journalists are just there to write about the bad things that happen to Black people and racism and violence.But besides that, there are three siblings in the book, and I have two older siblings. And there’s an ailing parent in the book, and my mother passed of cancer in 2016, after two years of struggling. One of the siblings in the book is charged with caring for the parent because the other two are off doing their own thing, and that was the dynamic with us. My oldest brother shouldered that responsibility. He went about it stoically and never complained or anything, but I had this residual guilt over not being there.From big things to small things, there was just all of this stuff that felt like it was speaking to me directly. I went to a college in Virginia called William & Mary, and there’s a reference to William & Mary in the novel. Nobody ever talks about William & Mary in pop culture! It just felt like somebody had written a gift specifically for me, like, “I made this for you.”The parts about the expectations facing Black artists, did they match your own experience when you arrived in Hollywood?Oh, definitely. I thought I was going to get there and it would be like, “Oh yeah, there’s a world of opportunity and we’re just going to write about whatever. The Black experience in America now includes everything, all the way up to being the president of the United States.” But there’s genres for “prestige Black projects”: slave overcoming adversity and escaping, Black civil rights activist overcoming white racism, inner-city gangland stuff, poverty and broken homes.I’ll tell you a true story of something that happened to a friend that exemplifies this perfectly. She went into a meeting at this production company and they’re like, “What are you interested in writing?” She says, “I’m interested in romantic comedies, like ‘When Harry Met Sally,’ ‘Sleepless in Seattle,’ classic, generational, Nora Ephron comedies. I would also love to write a ’90s-style erotic thriller.” They’re like, “All right, great. We’ll come back to you later with some ideas.” About three hours later, they call her and say, “We’ve got this story about a blind slave who, thanks to a wealthy white benefactor, learns to play the piano and becomes a piano prodigy. Are you interested in this?”Wow.They see a Black person and they can’t see past that. I think there’s a lot of people who say, “Well, why would we hire you to write a rom-com? Why would we hire you to write an erotic thriller?” There’s an inability to think of us as having our own passions and our own complex existence outside of this very limited window of what they allow us to say about our lives. These are things that people of color have been talking about for a very long time. To me, the real spiritual ancestor for this project would be “Hollywood Shuffle” [Robert Townsend’s satire of Black representation in Hollywood, released in 1987].That was a real foundational text for me when I was a kid. I loved that movie. I probably saw it before I was 10. It opened my eyes to this idea that you can talk about these things that are very serious but also have fun with them, that not only is it OK to laugh, you need to laugh because otherwise you’ll just be miserable all the time. It blew my mind wide open.From left, Sterling K. Brown, Jeffrey Wright and Erika Alexander in “American Fiction.” The movie won the top prize at the Toronto International Film Festival.Claire Folger/Orion PicturesIt’s funny because the two references I kept thinking about while watching your movie were “Hollywood Shuffle” and Nicole Holofcener, which is a cool combination.Dude, love Nicole Holofcener. She’s a genius. I’m so happy you said that. To me, that’s the greatest compliment. I love her so much. I saw “Friends With Money” [2006] when it first came out, and I was just blown away. She’s a huge influence on me. She has such a subtle, deft hand with class dynamics. And I love her character work. I’m forgetting the one with Gandolfini and Julia Louis-Dreyfus …“Enough Said.”Yeah. I just feel like she has an attention to detail when it comes to how human beings actually interact and live their lives. What I set out to make with this movie was something that felt a little bit like life. To me, even in the most miserable times, I’ve always found ways to laugh and enjoy myself and time with my family and friends. There are all these things that buoy your spirits. I think it’s a disservice to the human experience to not reflect that. And that’s something Nicole Holofcener does really well. I think Noah Baumbach does, also. Spike Lee, Bong Joon Ho. All people who’ve inspired me over the years.I wanted to ask you about something that happens toward the end of the film, which is this really interesting conversation between Monk and Sintara (Issa Rae) that raises the question of whether his distaste for her novel masks a distaste for a certain kind of Black person. In your mind, what do you think Monk’s relationship is with other Black people?Something Jeffrey and I talked about the first time we met and that we agreed on instantly was we didn’t want this movie to be some Talented Tenth, respectability politics [expletive]. We didn’t want it to feel like we were finger wagging and saying, “This is the right way to be Black, and all you other people are doing it wrong.” Both of us knew the movie could not be that. So that scene was important because we didn’t want people to come away being like, “Oh, well, she’s the villain and he’s the hero.” There are no villains or heroes.What I really like about that scene is I don’t really know who I agree with, ultimately. They both make interesting points. But I will say that when she says that line, “Potential is what people see when they think what’s in front of them isn’t good enough,” I think it’s the first time we see Monk confronted with the idea that he might be a little self-loathing, that he might have an internal problem with his Blackness. It’s one of the first times that we see him really get clammed up.Do you think it’s directing now for you? Or will you go back to writing television?I’m working on four different movies right now and I want to keep writing and directing movies, but I also want to do TV. I published a short story last year, and I’d love to do more of that. I’m about 60 percent done with a stage play. I just want to keep making stuff. When T Street [a producer of “American Fiction”] told me that they were greenlighting the movie, I started crying in the meeting. I had been told no for so long. I’d worked on all these things that just sort of went nowhere. It starts to break your heart eventually. You wonder, “Is this ever going to happen for me? Or is this just going to be a thing that I wanted to do my whole life?” The fact that I was able to crack the door a little bit to make this. … I feel incredibly honored. More

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    Kal Penn: ‘Biden’s Only Crime Is Having a Messed-Up Son’

    “The Daily Show” guest host said that impeaching President Biden would “be a terrible precedent to set — I don’t want to see Tom Hanks go to jail.”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.Not-So Like Father, Like SonHunter Biden spoke outside of U.S. Capitol this week, criticizing Republicans for making light of his addiction struggles and also offering to publicly testify on behalf of his father in the new impeachment investigation into President Joe Biden.On “The Daily Show,” guest host Kal Penn joked that President Biden’s only crime “is having a messed-up son, which would be a terrible precedent to set — I don’t want to see Tom Hanks go to jail.”“That’s right, Hunter Biden spoke to reporters yesterday and said that his father was, “not financially involved in any of his business ventures.” Well, I believe that. He seems like the kind of dad who wouldn’t even get involved in your lemonade stand when you were a kid. [imitating Joe Biden] ‘You want to sell lemonade, do you? I guess you better get busy planting a lemon tree.’” — SETH MEYERS“To be fair, we can’t say for sure whether Biden ever did anything shady with his son’s business dealings. Their story has changed over time, but we do know that Republicans don’t actually give a [expletive] about people profiting off the presidency, because Donald Trump was the president. He had so many schemes going on, running the country was basically his side hustle.” — KAL PENN“Unfortunately, when it comes to Hunter Biden, Republicans are also struggling with addiction.” — SETH MEYERSThe Punchiest Punchlines (Got Milk? Edition)“To be fair, before leaving town, Congress did tackle the nation’s most pressing issue and passed a bill allowing schools to serve whole milk. I mean, what are the chances of that passing — 1 percent, 2 percent, tops.” — STEPHEN COLBERT“It’s all part of Congress’s new dairy campaign: ‘Got anything that’ll distract people from our incompetence?’” — STEPHEN COLBERT“Now, this bill passed with bipartisan support, but it was a particular priority for Republicans, which makes sense. I mean, you can’t look at this party and tell me you’re surprised they are obsessed with milk.” — KAL PENN“How much energy does milk give you if Santa has to stop and drink more at every house? Santa doesn’t need milk, he needs one of those Panera lemonades.” — KAL PENN“By the way, are kids really out there demanding whole milk? They’re school kids — they want Capri Suns or, at best, milk-flavored vapes.” — KAL PENN“But, I got to be honest, there isn’t actually a good reason not to expand milk options for kids: Milk is kind of disgusting. Like is that weird that we drink milk as a species? It’s not your mom’s milk. It’s not even your friend’s mom. It’s like a completely different animal.” — KAL PENNThe Bits Worth WatchingLouis Virtel, a “Jimmy Kimmel Live” writer, offered advice to gay Americans going home for the holidays.Also, Check This OutMadonna performing at Barclays Center in Brooklyn on Wednesday night.The New York TimesMadonna’s Celebration Tour is a career retrospective that thematically explores her past and provides a glimpse of her future. More