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      ‘Babylon Berlin’ Review: Dancing While the World Begins to Burn

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      The long-awaited fourth season of the cult-favorite German thriller takes place in 1931, with the Nazis not quite in power.Far from the eyes of Emmy voters or the digital gremlins compiling streaming Top 10 lists, there is a series — a German period drama, of all things — that a small core of aficionados would argue is the world’s best television show.Some of their fondness may have to do with absence. It has been more than four years since a new season of “Babylon Berlin” became available in the United States. And the first three seasons, which resided formerly on Netflix, moved this year to MHz Choice, a boutique streamer of international series and films whose (unreported) subscription figures would probably constitute a good morning’s uptick for Netflix.So if you are part of the cult — tracking the right subreddit, commiserating with a Facebook friend group of the requisite sophistication — it is a very big deal that the 12-episode fourth season of “Babylon Berlin,” shown in Germany in 2022, is finally premiering on MHz Choice in the United States on Tuesday. (To answer the immediate questions: $7.99 a month, seven-day free trial, and the full season will be up by July 30.)Based on historical mystery novels by the German writer Volker Kutscher, the show is a sleek, louchely sexy blend of police procedural, love story, Freudian melodrama and expensively rendered costume epic. All of the elements (with the occasional exception of the heavy psychological symbolism) are juggled with finesse by the show’s creator-writer-directors, Achim von Borries, Henk Handloegten and Tom Tykwer. (Bettine von Borries and Khyana el Bitar are also credited as writers in Season 4.)The balls stay in the air with the mesmerizing rhythm of one of the cabaret acts at the show’s fictional nightclub, Moka Efti; the effect can be, to use the favorite descriptor among “Babylon Berlin” fans, addictive. The series — and the fourth season in particular, which has a story line involving the gathering of Berlin’s criminal gangs — has been compared to “M,” the great 1931 thriller by the German director Fritz Lang. But a better comparison would be to Lang silents like “Dr. Mabuse, the Gambler” and “Spies,” intricately assembled thrillers that are some of the most deluxe entertainments ever put on film.It helps, of course, that the place and time the show inhabits are Berlin in the Weimar era of the 1920s and early ’30s, a ready-made backdrop of artistic, cultural and sexual ferment in a city headed toward political and social catastrophe. The action hopscotches from police labs to the soundstages of expressionist films, from munitions factories to beer halls, from baronial manors to squalid tenements, with a studious devotion to the quality and evocativeness of costumes, sets and locations.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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      ‘Babylon Berlin’ Is Back. Here’s What You Need to Know.

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      Season 4 of the epic crime drama has finally come to streaming in the United States, via MHz Choice. Here’s a refresher on where we left off.Over the years, the lavish German noir detective series “Babylon Berlin” has required patience from its American viewers.First, fans had to untangle dense story lines — set across the late 1920s and early 1930s — along with an abundance of compulsively watchable characters, most of them harboring secrets. Then they had to wait years for new episodes. Netflix initially carried the first three seasons, but they were removed from the platform this year. Season 4 aired in Germany and elsewhere in Europe in 2022, but these newer episodes have only now become available to stream in the United States, arriving on MHz Choice, a platform specializing in European titles, on Tuesday.This fourth season is “more music, more crime, more sex, more politics than ever before,” said Henk Handloegten, who created “Babylon Berlin” along with Achim von Borries and Tom Tykwer. It also features more Nazis.The characters, now in 1930s Germany, will have to contend with the rise of Nazism in their country.via MHz ChoiceSeason 4 opens on New Year’s Eve 1930, and German politics is kicking into a higher, scarier gear. “Suddenly, our heroes are confronted with a completely new and profoundly disturbing and menacing energy: the rise of fascism and the far-right,” Tykwer said in a joint video interview with his two colleagues.Based on a series of books by Volker Kutscher, “Babylon Berlin” sets fictional characters against a backdrop of real events, so we know that Hitler’s rise to power will end the democratic Weimar Republic. The season’s suspense lies in discovering “how these characters we’re getting to know are reacting to the upcoming Nazi period,” von Borries said. “Will they be on the right side or the wrong side?”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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      ‘Doctor Who’ Season Recap: Where Does It Go From Here?

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      Ncuti Gatwa shined as the 15th Doctor. But the long-running show feels at a crossroads as it concludes its latest season.“Doctor Who” is a show of paradoxes. At its best, it’s a show about a time-traveling, space-venturing alien who ceaselessly untangles the mysteries of the universe, and often invites his own. At its worst, it’s plagued by its contradictions — incoherent or unintelligible narrative logic, inconsistent writing, uneven tone.This isn’t particularly surprising for a show with a decades-long history spanning the classic series (1963-89) and the reboot (2005-present). But now with Disney+ onboard as a co-producer, the series is caught between past and present, between pushing its boundaries and fitting into a more generic, brand-friendly mold. This played out in the latest season, which just released its finale, “Empire of Death,” on Friday.Stacked with effervescent charms and staggering emotional range, Ncuti Gatwa, as the 15th Doctor, is the perfect representation of this new era of “Doctor Who.” He’s the show’s first Black, gay Doctor, bringing diversity to a show that has severely lacked it. In just one season Gatwa has delivered perhaps the strongest acting of the character, certainly in recent years. His performance is more tactile than those of his predecessors; the 15th Doctor fully inhabits his body, dancing, gesturing and throwing every bit of his physical presence into his line deliveries. The 15th is also more sensual and openly flirtatious than any previous incarnation; he exudes chemistry with every scene partner, including Rogue, a space bounty hunter played by Jonathan Groff in Episode 6. The kiss the two share is the first same-sex kiss of the series.The kiss was a remarkable leap for the show, especially happening in the first season under Disney, a brand that has historically been hesitant to depict queer relationships. How far the show will actually push this relationship, however, remains to be seen. The flirtation between the Doctor and Rogue builds rapidly just to be abruptly halted when Rogue is lost to another dimension, undercutting the moment.And despite the show’s fresh attention to diversity, this Doctor’s race has been barely even alluded to. The episode “Dot and Bubble” implies that one of the very rich, very white inhabitants of a planet under attack rejects the Doctor’s help because of his race, but the implications are so subtle that some may miss the racial undertones completely. And the episode “Rogue” takes place in a “Bridgerton”-inspired alternative version of 1813 as a flimsy workaround for placing a Black Doctor in the middle of Regency-era England without needing to deal with such sticky topics as slavery.The new “Doctor Who” is a lighter, brighter affair in several other respects as well. For all of the sparkling humanity Gatwa has introduced into a typically more emotionally guarded (read: alien) hero, his Doctor also lacks the ruthlessness and darkness that occasionally surfaces in the character, who has been scarred from witnessing every kind of genocide and war. There’s a risk that this tonal shift is a harbinger of a larger, more permanent change: Disney may be in the early phases of transforming the BBC show much as it has done with other I.P., like Star Wars, which grew into an ever-expanding franchise at the expense of the original product.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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      Age and the Image of Capacity

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      “Watch me,” President Biden likes to say when he’s asked — he’s asked a lot, these days — whether he is too old to serve a second term. He is getting his wish.For the first three years of his administration, in contrast to the last president’s chaotic omnipresence, Mr. Biden kept himself scarce. Now his smallest appearance brings with it a thousand remote diagnoses from armchair gerontologists. A major speech, like his State of the Union address in March, is assessed not for its policy but its fluidity as spoken-word performance. A minor gaffe, like bungling a single sentence at a Philadelphia rally in April, is dissected as possible evidence of decline.At a campaign rally in April, President Biden fumbled during his speech, urging Americans to choose “freedom over democracy.”He is facing an image problem that time exacts on everyone. Now the first presidential debate of 2024 is happening months earlier than usual, in part because the Biden campaign wants to overcome a mounting concern that the president, at 81, is not up to four additional years of service. “Old age isn’t a battle; old age is a massacre” — or so Philip Roth’s “Everyman” howled in 2006. Electorally, this year, it might be both.The president is indeed rather old, older than anyone who has held the office. When he first won his Senate seat in 1972, the current leaders of Britain, France and Italy were not yet born. If Mr. Biden serves a full second term, he will retire to Delaware at 86. Already, after three-and-a-half years in a job that superannuates everyone, he appears a different man from the days of the Covid campaign, his hair thinner, his gait tighter. His age may be nothing but a number. But the perception of his age has become desperately entangled with cultural connotations of elderliness, formed over centuries, handed down to us through religion and literature and art.His predecessor and rival is also old, and also has trouble speaking clearly. But the same polls that have Mr. Biden trailing the 78-year-old Donald J. Trump, even after the latter’s conviction on 34 felony counts, show too that only one of these men is facing such widespread anxieties about the way of all flesh. The principal roadblock to the incumbent’s re-election, the polls keep telling us, is not policy. Younger Democrats, to his left and right, outpace him down-ballot.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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      ‘House of the Dragon’: Elliott and Luke Tittensor on That Brutal Duel

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      Episode 2 pit brother against brother, in more ways than one. The two actors, identical twins, talked about the intensity of that climactic fight scene.This interview contains spoilers for Season 2, Episode 2 of “House of the Dragon.”“One soul in two bodies.” That’s how Ser Arryk Cargyll (Luke Tittensor), sworn member of the Kingsguard of Aegon II Targaryen (Tom Glynn-Carney), refers to himself and his identical twin, Erryk (Elliott Tittensor). But Ser Erryk is now a member of the Queensguard, knights dedicated to the service of Aegon’s half sister and rival for the Iron Throne, Rhaenyra (Emma D’Arcy). With this week’s episode, their lifelong unity comes to a bloody end.In Episode 2 of “House of the Dragon” Season 2, Arryk is dispatched by his vindictive commander, Ser Criston Cole (Fabien Frankel), to infiltrate Rhaenyra’s stronghold, Dragonstone, and assassinate her while posing as his own twin, one of her personal protectors. The ruse is exposed in horrific fashion when brother attacks brother; Erryk triumphs and saves his queen but kills himself rather than live with the pain of the act. As an allegory for the senseless squandering of human life in Rhaenyra and Aegon’s so-called Dance of the Dragons, it is a hard one to miss.Yet, when it comes time to thank the actors for a chance to pick their brains about their brutal final duel for the fate of Queen Rhaenyra, I catch myself referring to their brain, singular. It speaks to the effectiveness of the Tittensor twins’ work as the doomed knights that their “one soul in two bodies” mentality is catching.The brothers are self-effacing about having landed these pivotal roles, though. “I’m not sure how big the pool of identical twins that they had to look in was, but when our agents came knocking about the job, we already had the long hair and the beards,” Elliott said in a joint video call on Thursday. “In their eyes, we were pretty much ready to step into it.”These are edited excerpts from the conversation.I’m never quite sure whether to offer my congratulations or my condolences in interviews like these.LUKE TITTENSOR We’re happy about it! To be involved with a project of this kind, and then to be able to portray a twins relationship in such an amazing world, a world that we’re fans of … These sorts of jobs in this industry are few and far between.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: The Presidential Debate and CMA Fest

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      President Joe Biden and former President Donald J. Trump debate for the first time this campaign cycle. Country artists perform their hit songs.For those who still enjoy a cable subscription, here is a selection of cable and network TV shows, movies and specials that broadcast this week, June 24-30. Details and times are subject to change.MondayBEAT BOBBY FLAY starting at 9 p.m. on Food. There is truly every type of cooking show you could imagine on television these days. But in rarely any of them does a world famous chef flex his cooking muscle alongside contestants. That is exactly what Bobby Flay does here. Each episode features two chefs going head-to-head cooking something of Flay’s choosing. Whichever chef wins that round then gets to compete against Flay himself, this time with the competitor’s signature dish.TuesdayCMA FEST 8 p.m. on ABC. This year’s country music extravaganza took place in early June, and now it is coming to the small screen. Jelly Roll and Ashley McBryde are set to host the special, showcasing performances from Kelsea Ballerini, Big & Rich, Clint Black, Brothers Osborne, Luke Bryan, Post Malone and others.A still from “One South: Portrait of a Psych Unit.”Courtesy of HBOONE SOUTH: PORTRAIT OF PSYCH UNIT 9 p.m. on HBO. The 2020 Netflix documentary series “Lenox Hill” brought viewers into the neurosurgery unit of that hospital. This HBO series might be even more intimate, this time bringing viewers into a hospital where college students are receiving treatment for serious mental health issues. This series spotlights the experience, from intake to discharge, in one of these hospitals and frustrating limitations of the U.S. health care system.WednesdayREAL CSI: MIAMI 10 p.m. on CBS. If you ever dreamed that any of the “CSI” franchise shows were more realistic, you’re in luck. This new series is a reality show, inspired by the Crime Scene Investigation unit featured on countless dramas. The cameras follow investigators at true crime scenes and then outline the forensic process of finding suspects.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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      ‘House of the Dragon’ Season 2, Episode 2 Recap: Sleep With One Eye Open

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      Aemond knows those assassins got the wrong prince. He says he feels flattered. He had also better watch his back.Season 2, Episode 2Not even Rhaenyra Targaryen can believe what she’s seeing.This woman has flown through the sky on the back of a dragon. She has seen lords kneel at her feet, only to rise against her years later. She has lost a child in her fight for the Iron Throne and recoiled to learn that another was killed in her child’s name. But watching Erryk and Arryk Cargyll (Elliott and Luke Tittensor), two identical twin knights, locked in a battle to the death in her own bedroom, with the outcome to decide whether she lives or dies? You can see it on the face of the actor Emma D’Arcy: Not even in Rhaenyra’s wildest dreams did she see this one coming.This ability to shock — not in the gross-out sense, although this is often the case as well, but rather in the sense of a sudden, severe surprise — is the greatest strength “House of the Dragon” possesses. Civil wars are often said to be battles of brother against brother; fantasy can make the metaphorical literal. What better way to illustrate the senseless brutality of warfare than by having two men who look and sound exactly alike, who love each other, who say they are one soul in two bodies, perish in a brutal murder-suicide that achieves exactly nothing?The entire affair is a sordid one, something Ser Arryk never should have been asked by Ser Criston, his lord commander, to carry out. Indeed, Criston did so only as a maladaptive way of venting his sexual frustrations during a moment when his on-again-off-again relationship with Queen Alicent was dialed to off-again. By episode’s end they’re back together and having rough sex — an altogether healthier way of channeling these frustrations, if still an ill-advised coupling overall.Despite the clandestine nature of their relationship, Alicent and Criston are still faring better romantically than Rhaenyra and Daemon. When the Black Queen learns that the young Prince Jaehaerys was murdered and beheaded in his bed, she is outraged that anyone could think she had anything to do with it. She is even angrier when she finds out that she did have something to do with it, despite herself: It was Daemon who, in a reckless attempt to make good on her request for vengeance against Prince Aemond, claimed another child’s life instead.You can’t trust someone like that, Rhaenyra determines — accurately. She dismisses him as “pathetic”; he dismisses himself from her company.Back in King’s Landing, Daemon’s deeds continue to pay gruesome dividends. Both of the men involved in the murder of Jaehaerys are captured and killed, along with a score of innocent men whose only crime was to serve as palace rat catchers alongside one of the assassins. When his grandfather Otto upbraids him for this public-relations blunder, King Aegon — who for all his faults is genuinely devastated by the death of his young son — fires him as the king’s hand and replaces him with Ser Criston — a man of action compared with the scheming but restrained Otto but also the most tightly wound man in Westeros. There are literal dragons who would make better hands.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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      Gabbi Tuft, First Openly Trans Former W.W.E. Star, Returns to Wrestling

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      Ms. Tuft, who retired from the W.W.E. more than a decade ago and came out as transgender in 2021, will return to the ring on Tuesday, she said on social media.Gabbi Tuft, a former World Wrestling Entertainment star and the first current or former member of the organization to come out as transgender, will return to the ring this month, she said on social media on Sunday.Ms. Tuft, who retired more than a decade ago, fought in the W.W.E. under the name Tyler Reks, a dreadlocked gladiator who weighed 250 pounds. She left the organization shortly after the birth of her child, and has since become an online personal fitness and nutrition coach and a TikTok personality with more than a million followers.On Sunday, Ms. Tuft announced that she would be performing for West Coast Pro Wrestling on Tuesday at the Irvine Improv, a venue in Irvine, Calif., which hosts professional wrestling events. The match, she said, would air at a later date on YouTube and other national TV stations.“Mother Arrives,” Ms. Tuft said on social media. “Everything that is unfolding is per the plan,” she added. “Stay faithful. There is more to the plan than what you see or what you think.” Her opponent was not announced.In an interview with The New York Times last year, Ms. Tuft, who came out publicly as transgender in 2021, said she first began dressing as a woman during the pandemic, but was initially in denial, believing it was similar to adopting a persona in the ring and justifying it as another “form of role play.”Months later, she came out to her wife. The following year, she posted a photograph of herself in front of a portrait of her old W.W.E. persona, Tyler Reks, to Instagram.“This is me. Unashamed, unabashedly me. This is the side of me that has hidden in the shadows, afraid and fearful of what the world would think; afraid of what my family, friends, and followers would say or do,” Ms. Tuft wrote in the accompanying caption. “I am no longer afraid and I am no longer fearful.”In Sunday’s social media posts announcing her return to wrestling, Ms. Tuft wrote, “Mother will guide her children to salvation.” More