A Murder at the End of the World (TV Program)

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    Emma Corrin Tries to Solve ‘A Murder at the End of the World’

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    The actor has worked steadily since breaking out as a young Princess Diana in “The Crown.” Corrin’s latest role is as an amateur sleuth in “A Murder at the End of the World.”“I have no idea what I like,” Emma Corrin said.This was on a recent Friday afternoon at the Mysterious Bookshop, a Manhattan emporium dedicated to thrillers, detective stories, spy stories and noir classics. Corrin, who uses they/them pronouns, had flown in from London the day before and seemed overwhelmed by the selection, spinning a display of pulp paperbacks, picking up and putting down a new translation of a Pier Paolo Pasolini novel. The real mystery? Which book to choose.Corrin appealed to the store’s manager, Tom Wickersham.“Go for it,” Corrin said. “What’s the best thriller?”Corrin, 27, had taken this last-minute trip, which coincided with the end of the actors’ strike, to promote “A Murder at the End of the World,” the moody, brooding FX limited series that began on Nov. 14. They play Darby Hart, an amateur detective who becomes a true-crime author after solving a case involving unidentified women in the Midwest. “A Murder” had filmed two scenes at the shop, which (appropriately) bookend the series.“We spent all day and all night here,” they said. Between setups, Corrin would read aloud from selected books, including a collection of erotica. “It was very funny.”On the series, Darby sports pink hair, layered hoodies and a watchful, wounded expression. Another character, the guerrilla artist Bill Farrah (Harris Dickinson), describes Darby as “really tough and really fragile at the same time.” In person, Corrin, who wore a brown suede jacket and black pants, their brown hair sleekly buzzed, was sprightlier, less wary, sliding from shelf to shelf in black flats.In “A Murder at the End of the World,” Corrin’s character is an amateur detective who ends up investigating a murder at an exclusive gathering.Chris Saunders/FXCorrin had spent the strike in London, with Spencer, their cockapoo named for Princess Diana, whom Corrin played in the fourth season of “The Crown.” “I honestly hadn’t really stopped working for the last three or four years, so it was a really nice chance to be with family and friends and dog,” they said.Had Corrin taken up any hobbies during the strike? No. “I found that so intimidating during Covid,” they said, laughing. “I’m not making bread. I refuse.”After a few months, relaxation had palled and Corrin seemed delighted to be back to work, even if work meant a whirlwind promotional tour. “I like talking about the work,” they said. “I like celebrating it.”Corrin paused at a row of true-crime books, as though expecting to see Darby’s book, “Silver Doe,” among them. Pulling out Helen Garner’s “This House of Grief,” Corrin mentioned a pair of genre favorites: Janet Malcolm’s “The Journalist and the Murderer” and Maggie Nelson’s “The Red Parts.”“It’s so good,” Corrin said of the latter book. “I found that such an interesting study of humanness in this arena.”The series shot scenes at the Mysterious Bookshop in Manhattan.Jeenah Moon for The New York TimesDarby is also a study in humanness. A different sort of detective, she is young, female and despite her perpetual scowl, she is, as her name suggests, all heart. “She takes it upon herself to become the voice of the voiceless,” Corrin said. “That rests very, very deep inside her, that need to help those people.”One of the show’s prescient themes is the increasing dominance and sophistication of artificial intelligence. Darby remains skeptical of technology, even as she uses chat boards and online searches in pursuit of her investigation. Corrin shares that skepticism.“I will always prioritize human connection over artificial connection,” they said. “That’s where it begins and ends for me.”In some respects, Corrin felt quite far apart from Darby. “She’s far more cynical than I am,” Corrin said. “I quite naïvely look for the best in people, probably to a fault, and I can be quite gullible.” But Corrin identified with Darby’s empathy and drive. “She likes rising to a challenge, and she likes a problem,” Corrin said. “I share that as well. I’m pretty fearless.”The actor’s past roles, which have also included starring turns in “My Policeman” and “Lady Chatterley’s Lover,” have been largely period and largely romantic, the better to exploit Corrin’s English rose looks. Darby is the least femme screen role Corrin has played (onstage, the actor starred in an adaptation of Virginia Woolf’s gender-fluid “Orlando”). And though “A Murder” is in part a love story, gender and sexuality don’t particularly define Darby.“The modern aspect was a real tick for me,” Corrin said. “Playing someone more androgynous was a real tick for me.”Corrin’s breakout role came as a young Princess Diana in “The Crown.”Des Willie/NetflixBecause Corrin has spent the whole of their young adulthood onscreen, the actor’s identity and relationships have been the source of much unwanted attention. Corrin described this corollary of fame as “that poisoned chalice thing,” as well as “grim” and “inescapable.” Maybe this has made them even more motivated to disappear into fictional people or to make choices that the public might not anticipate. It was recently announced that Corrin will next play a young scammer in the mercenary comedy “Peaches,” set in Hong Kong.“I surprised myself by being so into it,” they said.So Corrin does have some idea of what they like, just not when it comes to mysteries and thrillers. Stumped, Corrin appealed again to Wickersham.“Do you think that John Grisham is the absolute master?”“I liked those books when I was a kid,” he said diplomatically.Corrin considered one of Maurice Leblanc’s Lupin novels, a Len Deighton, a Charles Willeford, a mystery cowritten by the prime minister of Iceland. “A Murder” had shot for a month in Iceland, which lent some verisimilitude to the chillier scenes. (Maybe too much verisimilitude. Brit Marling, one of the creators, experienced hypothermia on the shoot’s first day.)“The elements we were shooting in were just so intense,” Corrin said. Even when the production moved inside, to sound stages in New Jersey, “you still could feel that in your body,” Corrin said. “Being that freezing.”Still, Corrin couldn’t choose a book. “I’m experiencing real indecision,” they said. “Crippling indecision. I’m so bad at making decisions.”Finally, with their publicist murmuring about a subsequent appointment, Corrin was nudged toward Dorothy B. Hughes’s “In a Lonely Place,” a classic of California noir. The blurb on the back described it as a page turner, and Corrin nodded in approval.“That’s very exciting,” they said, happy with the choice. “I’ll need to do a lot of flying soon. So I need a good book.” More

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      ‘A Murder at the End of the World’ Review: P.I. Meets A.I.

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      The story of death at a mogul’s retreat (no, not “Glass Onion”) has a few interesting ideas about tech within a familiar mystery scenario.An eccentric tech billionaire invites a slew of notables to a private retreat, where a detective must solve a mysterious death. If the premise of “A Murder at the End of the World” jumps out at you, it may be because you not so long ago encountered it as the premise of Rian Johnson’s “Glass Onion: A Knives Out Mystery.”Or it may jump out at you because “Murder” is the latest creation from Brit Marling and Zal Batmanglij of Netflix’s “The OA.” That series was a poetic and baffling testament to the force of human connection, involving interpretive dance and a telepathic octopus. The murder mystery, in comparison, is among the most literal, plot-reliant of genres. Could Marling and Batmanglij really have made something that … ordinary?FX’s “Murder,” which begins Tuesday on Hulu, is neither as weird as you might hope or as conventional as you might fear. (Or vice versa.) It takes an Agatha Christie scenario and spins it into a chilly, stylized cyber-noir with ideas about artificial intelligence and some familiar Marling/Batmanglij themes of global consciousness. Think of it as “Glass OAnion.”The detective here is a relative newcomer. Darby Hart (Emma Corrin), an intense young computer hacker, tracked down a serial killer with Bill Farrah (Harris Dickinson), a moody amateur investigator she met online and fell in love with. Her true-crime memoir earns her some literary notice, as well as an invitation from Andy Ronson (Clive Owen), a tech magnate who is convening a meeting of “original thinkers” — artists, entrepreneurs, an astronaut — at a sleek, remote hotel that he had built in Iceland.The purpose of this Arctic TED Talk is, ostensibly, to cogitate on the existential threat of climate change to humanity. Andy, however, has another intelligence at his disposal — an advanced A.I. called “Ray” that manifests in the holographic form of a neatly goateed man in black (Edoardo Ballerini). Andy believes in the transformative power of this technology and others, but transformative to and for whom?Darby questions whether and why she fits in with the luminaries at the gathering. But she accepts the invitation for the chance to meet a tech idol: Not Andy, but his wife, Lee Andersen (Marling), a renowned coder who dropped out of public life after a Gamergate-style harassment campaign and lives in seclusion with Andy and their young son (Kellan Tetlow).But another guest grabs Darby’s attention: Bill, now a famous artist, whom she has not seen since a falling-out at the end of their investigation. Before they have time to catch up — don’t say the title didn’t warn you — somebody turns up dead, and Darby’s wiring for suspicion kicks in.Misogyny and technology are the twin themes of “A Murder.” Darby was drawn into the serial-killer case by her talent for hacking and her empathy for forgotten female victims. A common theme of her investigations is how little credibility she is granted as a young woman. When she pulls her hoodie over her head, yes, it is a universal visual symbol for “hacker,” but she also might as well be drawing an invisibility cloak.Then there’s A.I., which pervades the story like it does Andy’s icy retreat. In some cases technological reality has moved faster than the TV production process. A scene in which Ray produces a Harry Potter story in the voice of Ernest Hemingway astonishes the guests, for instance, but you’ve likely seen a dozen similar examples over the past year.Still, “A Murder” has a multifaceted view of A.I., not just as a threat but as a possible helpmeet. On the one hand, Andy is another arrogant billionaire who looks to software to compensate for the deficiencies that annoy him in humans. But the surveillance features built into the retreat’s setting, however creepy, are also a trove of clues. As Darby digs into the mysterious death, she finds herself using Ray as a source and even an aide — part Sherlock Holmes’s Watson, part IBM’s.The present-day whodunit isn’t especially inventive, but Corrin carries the story with a nervy, febrile performance that invests Darby with the life that the dialogue sometimes fails to provide. And the series has atmosphere to spare, making the most of the stark volcanic beauty of its location in Iceland. (It also shot in Utah and New Jersey.)The flashbacks to Darby and Bill’s serial-killer chase, which take up much of the seven episodes, are emotional and involving; Dickinson gives Bill an open-wound vulnerability. But rather than adding resonance to the whole, these scenes end up outshining the long, talky story they’re meant to flesh out.“A Murder,” in its main arc, feels like a bit of an artificial life form itself. The blandly drawn retreat guests get no more than a stroke or two of characterization and are weighted with self-serious dialogue. Andy mostly plays to bullying tech-mogul type. And while Marling always uses her enigmatic air as a performer to good advantage, Lee is more of a riddle — how did a coding revolutionary become a tech tradwife? — than a rounded character.Marling and Batmanglij’s work has often been more about the delivery of ideas and intangibles than plotting or naturalism, however. At its best, “A Murder” has grandeur, chilly beauty and intellectual adventurousness (and it pulls off a satisfying final twist). It might have been more effective if, as with so many limited series lately, it were tighter and shorter. In this sense, technology is the culprit: Streaming-TV bloat has its fingerprints all over this case. More

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      ‘The OA’ Creators Are Back With a Murder Mystery

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      “A Murder at the End of the World” resembles other luxe murder shows. But the mark of the creators, Brit Marling and Zal Batmanglij, is clear in its idiosyncratic tone and themes.The filmmakers Brit Marling and Zal Batmanglij have what they call a “garden.” It’s not an actual garden, however. It is what Batmanglij described in a recent interview as a “garden of ideas that exists between us.”“Some of those seedlings we’ve been cultivating for years, since our early days of sitting on skateboards in one of our bedrooms in Silver Lake and talking to each other,” he said last month, sharing a booth with Marling in the lobby of the Bowery Hotel. “We were ready to cut one of those blooms and plant it.”The latest product of that garden is their new series, “A Murder at the End of the World,” premiering with two installments Nov. 14 on FX on Hulu. The seven-episode show has a conventional, almost trendy hook: It is a murder mystery set at a remote Icelandic luxury retreat for some of the world’s most influential people, details reminiscent of buzzy recent films and shows like “Glass Onion” and “The White Lotus.” But with its time-jumping structure, uniquely eerie tone and warnings about artificial intelligence and climate change, it is also unmistakably the work of the idiosyncratic creators behind “The OA,” “Sound of My Voice” and “The East.”However even they were surprised by the protagonist they ended up with, a Gen-Z amateur detective named Darby Hart, played by Emma Corrin (“The Crown”). A true-crime author who grew up trying to crack cold cases on internet forums, Darby and her sleuth skills are tested when a guest ends up dead at a gathering hosted by a tech billionaire (Clive Owen) and his former coder wife (Marling), where a remarkably advanced A.I. named Ray (Edoardo Ballerini) serves as an assistant to the guests.“All of a sudden this outlier poppy in the corner, Darby, showed up, and said, ‘I represent the times,’” Batmanglij said.In “A Murder at the End of the World,” Emma Corrin plays a young true-crime author trying to solve a murder. (With Harris Dickinson.)Chris Saunders/FXMarling, 41, and Batmanglij, 42, talk in metaphors and big ideas. This makes sense if you’ve seen their body of work, which includes surreal sagas about grand topics, among them the afterlife and the end of the world, often featuring characters who consider themselves soothsayers.They have been planting their seeds for decades. They met as students at Georgetown in 2001 and started collaborating a couple of years later when Batmanglij invited Marling, then a summer analyst at Goldman Sachs, to participate in a 48-hour film festival, making a short film over the course of one weekend.The experience convinced Marling, the class valedictorian who was a double major in economics and art (with a focus on photography), to leave her business ambitions behind. “We had found this profound space together,” she said. “We basically have been telling stories in one way or another much in that fashion ever since.”Their first co-written feature, “Sound of My Voice,” was directed by Batmanglij and featured Marling, her long blond hair giving her an ethereal look, as a mysterious cult leader who claims to be from the future. It premiered at the Sundance Film Festival in 2011 alongside “Another Earth,” which Marling also starred in and co-wrote with another Georgetown friend of theirs, Mike Cahill. Both films sold and Marling was the de facto star of that year’s festival. But after their Sundance success and despite bigger offers from Hollywood, she and her cohorts opted to recommit to their indie mission.“We had this instinct of not doing those things, like not playing the girlfriend of the movie star in this sort of empty action film,” Marling said. “And to instead be like, ‘No, let’s keep telling our stories. Let’s keep getting better at telling them.’”Marling and Batmanglij followed up “Sound of My Voice” with “The East,” starring Marling and Alexander Skarsgard, about a woman who goes undercover with an anarchist group committing acts of eco-terrorism.“The OA” only lasted two seasons on Netflix but it built a devoted following.JoJo Whilden/NetflixTheir biggest platform yet came in 2016 when their series “The OA” debuted on Netflix. Marling played a formerly blind woman who arrives home, after a mysterious disappearance, having regained her sight and calling herself “original angel.” She tells the story of her life — which involves Russian aristocracy and a mad scientist experimenting on people with near death experiences — to a group of high schoolers and a teacher, showing them “movements” that can supposedly help them jump dimensions. In the even more ambitious second season, which debuted in 2019, there were plot lines about tree internet and a mind-reading octopus.Critics found the series fascinating and flawed, but it had a passionate following. When Netflix canceled the show after the second season, fans started a hashtag campaign and one even staged a hunger strike outside Netflix headquarters in Los Angeles.“It had scope and ambition and was, by design, not the lowest-budget project around,” said Cindy Holland, who was the streamer’s vice president of original content at the time. “It became clear that it was going to be unsustainable as an ongoing project in that form at Netflix at the time, and it was a fairly sad experience for all of us, including the audience.”Marling said she sees the unexpected end of the series now as almost prophetic. “‘The OA’’s cancellation was a harbinger for a transformation for something that was afoot in the industry,” she said.“The space had been disrupted, a bunch of creativity and market energy had rushed into that space,” she continued. “But now it was going to calcify or solidify into something that in many ways was a broken business model and much worse than what had been before.”“We make the world so real between ourselves at first, that it’s literally like a third place that exists,” Marling said of how she and Batmanglij develop their ideas.Ryan Pfluger for The New York TimesShe and Batmanglij are still convinced they will finish the story of “The OA” at some point, in some form, but they decided to move on to what would become “A Murder at the End of the World.” The pair wrote the episodes — some together, some separately, some with other writers — and took turns directing. The show’s themes seemed to get only more relevant as they were making it.“It was really eerie, actually, to see with this one the number of things that when we had set out to write it four years ago it was science fiction,” Marling said. “When we talked about any of this stuff with people, we had to explain what is a deep fake, what is an A.I. assistant, what’s a large language model — how does that work? And then by the time we were editing it, to see everything come to pass.”In an interview, John Landgraf, the chairman of FX networks, called the show a “Russian nesting doll of an idea” — a comparison Netflix also used regarding “The OA.”“There was a very rigorous depiction of technology and the physical world,” he said, explaining that the concept appealed to him because it promised a “very grounded, well-researched depiction that nevertheless had a very big set of abstract and imagistic and emotional ideas attached to it.”While fear of the apocalypse hangs over much of the Marling and Batmanglij canon, including “A Murder at the End of the World,” their work rarely feels dystopian.There is also a twinkly-eyed belief in the good of humanity lurking underneath the techno-terrors, and the need to pay attention to feeling over just data.“A Murder at the End of the World” takes place largely at a tech mogul’s remote Iceland gathering for influential people.Chris Saunders/FX“They want to be putting positive ideas out into the world,” said Alex DiGerlando, the series’s production designer and longtime collaborator. He said this optimism manifests in various ways on set — any time they are met with a potentially disheartening scenario, he said, they find a way to see the bright side.Among the roadblocks they hit while filming “A Murder at the End of the World” were supply shortages, Covid outbreaks and disruptive storms. Marling got hypothermia during their monthlong shoot in Iceland. (The hotel’s interiors were built on a soundstage in New Jersey.)“I was kind of blown away, to be honest, by how indefatigable they were,” Landgraf said. “They just literally did not, would not quit on anything until it was the very, very best they could possibly make it.”Marling said that the intensity of her and Batmanglij’s commitment takes root even before they share their ideas with anyone else.“We make the world so real between ourselves at first, that it’s literally like a third place that exists,” she said. “It has a floor and a door, and we can open the door and invite people in.”Floors, doors, gardens — Marling and Batmanglij might mix metaphors, but what’s clear is that they see their stories as tangible objects that they nurture together with a willingness to embrace the unexpected.“We don’t have a favorite plant or tree or seed or sapling in the garden,” Batmanglij said. “We treat them all with so much love because sometimes it’s the one that you don’t water at all that starts blooming.” More

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      Best Movies and TV Shows Streaming in November: ‘Invincible,’ ‘Fargo’ and More

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      The Rock & Roll Hall of Fame ceremony will be live-streamed, and “Julia,” “Fargo” and more return. “The Buccaneers” is among the new series out this month.Every month, streaming services add movies and TV shows to its library. Here are our picks for some of November’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)New to Amazon Prime Video‘Invincible’ Season 2, Part 1Starts streaming: Nov. 3Season 1 of this ultraviolent superhero cartoon (based on a comic book series by “The Walking Dead” creator Robert Kirkman) introduced the title character: a teenager still developing and honing the superpowers he inherited from his space-alien father. Steven Yeun voices Invincible, a.k.a. Mark Grayson, who at the end of last season learned that his dad, Omni-Man (J.K. Simmons), had been serving as one of the Earth’s protectors while secretly paving the way for a future invasion by his own planet’s people. Season 2 picks up in the aftermath of that revelation, as Mark and his fellow heroes face a series of new supervillains while also strategizing for Omni-Man’s possible return. Though “Invincible” has dark moments, the show’s overall vibe is bright and entertaining, with enough nods to classic superhero tropes to please devoted comics readers.Also arriving:Nov. 10“007: Road to a Million” Season 1“Dina Hashem: Dark Little Whispers”Nov. 14“Trevor Wallace: Pterodactyl”Nov. 17“Ex-mas”“Maxine’s Baby: The Tyler Perry Story”“Twin Love” Season 1Nov. 21“Bye Bye Barry”Nov. 29“Pretty Hard Cases”Anna Sawai in “Monarch: Legacy of Monsters.”Diyah Pera/Apple TV+New to Apple TV+‘The Buccaneers’ Season 1Starts streaming: Nov. 8Based on Edith Wharton’s final novel — left unfinished when she died in 1937 — “The Buccaneers” explores the flowering of the late-19th-century American aristocracy. Like the book, the series is about a group of wealthy young women who go to London to take part in the debutante season, invited by some established British families who want to lure these ladies (and their money) into marriages with cash-poor dukes and lords. Kristine Froseth takes the series’ lead as Nan St. George, the brightest of the Americans, who is supposed to be waiting in line for a husband behind her sister, Jinny (Imogen Waterhouse), but who instead finds herself courted by two men — Guy (Matthew Broome) and Theo (Guy Remmers) — who find her independence refreshing.‘For All Mankind’ Season 4Starts streaming: Nov. 10This terrific alternate-history science-fiction TV series had an uncharacteristically shaky third season, with its thrilling outer-space action — set mostly on Mars — butting up against some much drearier relationship melodrama. Season 4 resets “For All Mankind” a bit, introducing new characters and kicking off a new story, set in the 2000s. These episodes see multiple private and government space agencies working together on ambitious areas of exploration, including tapping asteroids for their mineral resources. At the same time, issues with the existing infrastructures on the Moon and Mars create a fresh set of practical problems for our heroes to solve. Newcomers to the cast include Toby Kebbel as a former oil-rigger looking for work away from Earth and Daniel Stern as a former corporate chief executive trying to bring efficiency to NASA.‘Monarch: Legacy of Monsters’ Season 1Starts streaming: Nov. 17This first live-action TV series set in the recent “Godzilla” and “King Kong” movies’ “MonsterVerse” divides its action between two eras: the 1950s, when the existence of giant creatures is still a closely guarded secret, and the present, where some cities have built underground shelters to withstand Godzilla attacks. Anna Sawai plays Cate, who goes looking for the truth about her father’s connection to the mysterious monster-studying Monarch agency. Wyatt Russell and Kurt Russell both play Lee Shaw, who became involved with Monarch as a U.S. soldier in the 1950s — and who a half-century later may be the only one who can help Cate. The creator Chris Black, who developed the show with the writer Matt Fraction, uses footage from the MonsterVerse films to add a sense of scope and awe to a series that is as much about the humans than it is about the big beasts looking to stomp them.Also arriving:Nov. 3“Fingernails”Nov. 22“The Velveteen Rabbit”Disney+New to Disney+‘The 2023 Rock & Roll Hall of Fame Induction Ceremony’Starts streaming: Nov. 3After years of HBO airing a recorded and edited version of the Rock & Roll Hall of Fame’s annual induction ceremony, this year Disney+ has the rights to the event, and will be broadcasting it live and uncut. The 2023 inductees, some of whom will be performing, include Kate Bush, Sheryl Crow, Missy Elliott, Chaka Khan, Willie Nelson and Rage Against the Machine. Presenters include Carrie Underwood, Common, Ice-T, Queen Latifah and Sia. These ceremonies do last a while, but they also tend to be full of emotional moments and genuine surprises, so for pop music buffs who can’t see the show in person, this is a rare chance to watch the action unfold as it happens — and then to watch it again later, in the Disney+ catalog.Also arriving:Nov. 1“Behind the Attraction” Season 2“The Three Detectives”Nov. 8“Daddies on Request” Season 2“The Santa Clauses” Season 2Nov. 17“Dashing Through the Snow”Nov. 23“The Naughty Nine”Emma Corrin and Harris Dickinson in “A Murder at the End of the World.”Christopher Saunders/FXNew to Hulu‘A Murder at the End of the World’Starts streaming: Nov. 14The writer-director-producer team of Zal Batmanglij and Brit Marling are best-known for their Netflix supernatural mystery series “The OA,” which was canceled before Batmanglij and Marling could finish the story. They are staying in the same genre for this mini-series, which puts the duo’s usual spacey spin on the “country house murder mystery” plot. Clive Owen plays an eccentric tech billionaire who invites a group of influential thought leaders to his magnificent resort hotel in an icy wasteland. The one guest who does not seem to fit in with the rest is Darby Hart (Emma Corrin), a skilled hacker and amateur detective who wrote a popular true crime book. When someone on the property turns up dead, Darby has to find the killer and also convince her fellow partygoers that something strange is going on — all while she reckons with some secrets from her own past.‘Fargo’ Season 5Starts streaming: Nov. 22After a long layoff, Noah Hawley’s offbeat crime series “Fargo” is back, with 10 more episodes set (very loosely) in the same blood-spattered “Minnesota nice” reality as Joel and Ethan Coen’s Oscar-winning 1996 movie. Previous seasons took place in 1950, 1979, 2006 and 2010. The fifth season takes place in 2019, and stars Juno Temple as Dot, a seemingly ordinary housewife who gets in trouble with the law and sees her shady past catching up to her, in the form of an authoritarian right-wing sheriff (Jon Hamm) determined to catch her. Jennifer Jason Leigh plays Dot’s mother-in-law, an icy collection agency magnate who usually leans on her lawyer (Dave Foley) to get her family members out of trouble — but who has no idea what she is dealing with in the sweet but deadly Dot.Also arriving:Nov. 1“Arthdal Chronicles: The Sword of Aramun”“Black Cake”“A Christmas Frequency”“Reporting for Christmas”Nov. 2“Pam’s Garden of Eden” Season 2“Magic Mike’s Last Dance”Nov. 3“L.A. Law” Seasons 1-8“Quiz Lady”Nov. 6“JFK: One Day in America”Nov. 8“Vigilante” Season 1Nov. 9“The Croods: Family Tree” Season 8“The League”Nov. 13“The Lady Bird Diaries”Nov. 15“Brawn: The Impossible Formula 1 Story”Nov. 16“Black Ice”“Drive with Swiss Beatz”“The Secret Life of Dancing Dogs”Nov. 20“Incredible Animal Journeys”“The Last Rider”“My Hero Academia” Season 6, Part 2Nov. 21“Obituary” Season 1Nov. 26“Faraway Downs”Nov. 29“The Artful Dodger” Season 1Nov. 30“A Compassionate Spy”“Wild Crime” Season 3Sarah Lancashire and David Hyde Pierce in Season 2 of “Julia.”Sebastein Gonon/MaxNew to Max‘Julia’ Season 2Starts streaming: Nov. 16Season 1 of this delightful biographical dramedy was one of last year’s unexpected TV gems, thanks in large part to Sarah Lancashire’s luminous performance as the boisterous, can-do cooking instructor Julia Child, coupled with David Hyde Pierce’s warm, wry take on her supportive husband, Paul. The first season was all about how the Childs committed their time, energy and money toward realizing their dream of creating a public television show that could demystify and popularize French food. In Season 2, Julia has become an unlikely celebrity, and she and Paul have to fight to maintain the quality of their show while all the people who doubted them before come running to cash in on their success.Also arriving:Nov. 3“Scent of Time”Nov. 7“Stand Up & Shout: Songs from a Philly High School”Nov. 8“You Were My First Boyfriend”Nov. 11“Albert Brooks: Defending My Life”Nov. 13“Love Has Won”Nov. 14“How We Get Free”Nov. 28“South to Black Power”Nov. 30“Bookie” Season 1David Oyelowo in “Lawmen: Bass Reeves.”Emerson Miller/Paramount+New to Paramount+ with Showtime‘Lawmen: Bass Reeves’Starts streaming: Nov. 5The first installment of a new true crime anthology series — with each season telling the story of some famous cop or crook — “Lawmen: Bass Reeves” stars David Oyelowo as Reeves, the western hero who in his life went from being enslaved on a Texas plantation to serving with distinction as a U.S. Marshal. Oyelowo is also an executive producer (as is the “Yellowstone” creator Taylor Sheridan) on this historical drama that stretches across decades, covering an eventful life that overlapped with some of the biggest social changes in America: from the end of the Civil War to the expansion of the frontier. Created by the writer-producer Chad Feehan, this first season of “Lawmen” looks at classic Western mythology through different eyes, considering what ideals like freedom and justice mean to someone born in chains.‘The Curse’Starts streaming: Nov. 10The comedian Nathan Fielder has spoofed reality TV throughout his career, and especially in his series “Nathan for You” and “The Rehearsal.” His latest project — cocreated with the filmmaker Benny Safdie — takes a different approach to the genre, via a fictional story with a serrated satirical edge. Fielder plays Asher Siegel, who alongside his wife, Whitney (Emma Stone), is shooting an HGTV show called “Flipanthropy,” in which the couple helps the struggling residents of a small New Mexico town move into cutting-edge eco-friendly houses. When a young street peddler puts a curse on the stingy Asher, the Siegels’ marriage and television collaboration both begin to suffer. A commentary on the contrived rosiness of home improvement shows, “The Curse” also touches on gentrification, xenophobia, and the deep need of some do-gooder types to be lauded for their largess, even when their efforts hurt more than help.Also arriving:Nov. 1“Ink Master” Season 15Nov. 7“De La Calle”Nov. 9“Colin from Accounts”Nov. 22“Good Burger 2” More