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    Amazon Is Phasing Out Its Freevee Streaming Service

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    Its shows have moved to Amazon Prime, where they will remain free.Amazon is folding Freevee, its ad-supported streaming service, into Prime Video, where its shows will remain free to viewers who don’t subscribe to Prime.The move had been expected, after Amazon started including advertisements this year on Prime Video, which already hosts free original programs and movies. All Freevee programming will be available on Prime Video for free, the company said.Freevee began in 2019 as IMDb TV, an offshoot of Amazon’s IMDb film site. Some of its original shows were hits, including the social media sensation “Jury Duty,” “Bosch: Legacy” and “Judy Justice.” The service will be phased out within weeks.Amazon already has a streaming behemoth in Prime Video, and the company decided to put all of its entertainment content on one platform “to deliver a simpler viewing experience for customers,” an Amazon spokesperson said Wednesday.An ad-supported version of Prime Video is included with Amazon’s delivery service, which costs $14.99 per month, or $139 per year. An ad-free version of Prime Video is also available for an additional $2.99 per month. A stand-alone streaming subscription costs $8.99 per month.Like most streamers, Amazon mostly declines to give viewing numbers, but Freevee had built up its audience to about 65 million monthly active users in the United States in the first half of 2022. Amazon Prime has at least 180 million users, according to Consumer Intelligence Research Partners.“Judy Justice,” starring Judge Judith Sheindlin, known as Judge Judy, quickly became Freevee’s No. 1 original show when it debuted in 2021. Viewers watched more than 150 million hours of it over its first two years, according to Amazon data. Judge Sheindlin’s success in her first streaming show allowed her to spin off additional shows on Freevee.Freevee’s most unexpected hit, however, was “Jury Duty,” a hybrid documentary-sitcom in which an ordinary man unwittingly participates in a staged trial among actors. It became Freevee’s most-watched show after it premiered in 2023 and earned four Emmy nominations, including one for outstanding comedy series.“Bosch: Legacy,” which premiered in 2022, was based on the popular police detective book series by Michael Connelly. It became a New York Times Critic’s Pick, with the reviewer Mike Hale writing that the series came with “cleverly interlocking story lines and the general lack of pretense and contrivance.”Other free, ad-supported streaming platforms, like Pluto TV, Tubi, and Roku Channel, have enjoyed significant growth. Viewers have flocked to them as many other subscription-based streaming services raised their prices. While the free services are built on a stable of older TV programs and movies, many consumers are seeking cost savings, nostalgia and even terrible movies.There are at least 170 million ad-supported subscriptions in the United States, up from at least 93 million at the end of last year, according to Antenna, a subscription research firm. More

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      ‘Cross’ and ‘The Lincoln Lawyer’ Offer Different Spins on the Same Formula

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      Within the boundaries of the crime-solving genius genre, “Cross” represents the dark yin and “The Lincoln Lawyer” the bright yang.On the page, Alex Cross, the embittered psychologist created by James Patterson, leads his fellow fictional crime solver Mickey Haller, the flamboyant lawyer created by Michael Connelly, 32 novels to seven. On the small screen, the tables turn: The Haller series “The Lincoln Lawyer” debuted its third season last month on Netflix while the first season of “Cross,” announced nearly five years ago, finally arrives Thursday on Amazon Prime Video.But who’s counting? There appears to be endless space in the current marketplace for brilliant but wounded investigators, and Haller and Cross share an essential marker of the contemporary crime-drama hero. Their personal traumas — Cross’s loss of his parents and wife, Haller’s issues with his father and with addiction — generate much of the tension in their stories, reducing the need for real complexity of personality or the clever unraveling of mystery.Formulas can be executed in different ways, however, and the two shows provide radically different viewing experiences. Within the boundaries of the problematic-genius formula, “Cross” represents the dark yin and “The Lincoln Lawyer” the bright yang. “Cross” goes for self-consciously heavy, “The Lincoln Lawyer” for perilously light. Most significant, perhaps, “Cross” is out to sanctify its protagonist; “The Lincoln Lawyer,” while it provides Haller with a full allotment of anguish, never asks us to feel sorry for him.The creator of “Cross,” Ben Watkins, previously created the eccentric neo-noir “Hand of God,” also for Amazon. The penchants he demonstrated then for hair-raising imagery, and for throwing together tones and styles, carry through to the new show. Choosing not to base “Cross” on a specific Patterson novel (unlike film adaptations including “Kiss the Girls” and “Along Came a Spider”), Watkins frees himself to cook up a lurid but not very exciting stew of serial-killer horror, buddy-cop action, social-justice point-making and sentimentality.Cross, played by Aldis Hodge (“Leverage”), is a District of Columbia police detective with a Ph.D. in psychology. We meet him on the occasion of his wife’s murder, and for eight episodes the character shuttles between dour grief and bellowing anger; Hodge, usually a magnetic performer, settles on a glaring, unmediated intensity.The A plot, in which Cross investigates the murder of a defund-the-police activist, blossoms into a richly nonsensical “Silence of the Lambs”-style fantasia. Common sense is left far behind, in matters large and small; at one slap-your-forehead juncture, a cop yells, “He could be anywhere!” seconds after the killer escapes, while his car can still be heard in the near distance.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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      Small Streamers Like Hallmark+ and BritBox See Subscribers Surge

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      Like Christmas shows? So does Hallmark+. Like horror? Dare to try Shudder. And British shows? There’s BritBox and more.Executives from the Hallmark Channel made a curious decision this fall: They started a new streaming service.It seemed like an awfully late date to do so. Most media companies entered the streaming fray years ago, and few have had success going head-to-head against titans like Netflix, Amazon and Disney.But Hallmark executives decided the timing was not an issue. Their app, Hallmark+, did not need to appeal to the whole country, they said, just their core audience — the people who regularly flock en masse to the network’s trademark holiday and feel-good programming.“We don’t have to make content that are all things to all people,” said John Matts, Hallmark Media’s chief operating officer.He might very well be onto something.For much of the past decade, conventional wisdom inside the entertainment world has been that only a small handful of megaservices would survive the streaming wars. After all, they had the stars, the budgets and the technological prowess.But numerous media executives now believe that there could be room for some more modest streaming services, too.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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      ‘Culte’ Is a Fascinating Romp Through the Dawn of French Reality TV

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      A new docudrama recounts the conflicts and controversy surrounding “Loft Story,” a French twist on “Big Brother” that divided critics and generations.Anaïde Rozam stars as a reality TV creator in the French series “Culte.”AmazonThe behind-the-scenes French docudrama “Culte” (in French, with subtitles), available on Amazon Prime Video, captures the birth of reality TV in France. And like many births, it’s a messy and emotional process, with plenty of screaming and crying from multiple parties, some unhelpful meddling from the families, fits of doubt and unknown reservoirs of determination.No one is quite the same after, and then there’s this whole new being to take care of. In this case, it’s “Loft Story,” a “Big Brother” adaptation that debuted in April 2001.Isabelle (Anaïde Rozam) is a stymied TV producer, a failure in her publishing-royalty parents’ eyes. She seizes on the format of “Big Brother,” a new hit show in the Netherlands, but the bigwigs are averse to anything they deem trashy. Reality shows are “voyeuristic, macabre, mind-numbing,” says one executive. “Hellish,” another agrees. “We can’t be the nation of Chartres cathedral and 12 dummies living in an apartment.” Well … just you wait, monsieur!Isabelle vows that her show will be something politically provocative, a social experiment with participants who reflect the totality of France in age, income, ethnicity and outlook. But once the production countdown begins, some of her grander ambitions give way to what we can now see as the basis of most reality casting: Round up some sexy drama llamas, and let the cameras roll. No one is prepared for what unfolds — the fame, the derision, the ratings bonanza.Over its six episodes, “Culte” moves with speed and agility — and, praise God, only one timeline — and its characters’ maneuverings are just as loaded and occasionally backstabby as any reality villain’s. The apparently nationwide hand-wringing about the dangers of lowbrow entertainment feel quaint, almost darling. “Does French TV still have morals?” someone wonders.But lurid tabloid stories have a way of setting the conversation, and TV networks are rarely in the morality business; they’re in the ratings business. “The Americans have a term for this,” a network head says, his eyes agleam. “‘Buzz.’” “Loft Story” indeed puts every apiary to shame.“Culte” makes the most of its festive, exciting ambiguities, and the “Loft” folks do not try to occupy a moral high-ground, nor could they really. They merely wander the bumpy natural topologies of society, and maybe no one is much higher or lower than anyone else. More

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      ‘Good Omens’ Season 3 Cut Short Amid Allegations Against Neil Gaiman

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      The series is the third production linked to the author to face turmoil after allegations made by five women surfaced this summer.“Good Omens,” a series based on a novel by the author Neil Gaiman written in collaboration with Terry Pratchett, will return for a third and final season, but it will consist of only one episode, Prime Video announced on Friday.“Good Omens” is the third production to face turmoil this year amid allegations, including claims of sexual assault, that five women have made against Mr. Gaiman relating to conduct from 1986 to 2022.The final season of the series will be truncated to one 90-minute episode, and Mr. Gaiman, who contributed to the writing of the final series, will not be working on the production, according to Amazon MGM Studios.The production company did not comment on why Mr. Gaiman, 63, will not be involved. Mr. Gaiman, who also did not respond to a request for comment on Friday, has previously denied any wrongdoing.The first two seasons of “Good Omens” included six episodes each. The changes to the final season of the series came after two other productions related to Mr. Gaiman were halted earlier this year.The actor Michael Sheen in “Good Omens.” Chris Raphael/Amazon StudiosThe allegations played a role in pausing the production of “The Graveyard Book,” an adaptation of the young adult novel by Mr. Gaiman, according to a person at Disney, adding that the allegations were not the sole reason that the production was paused. Disney would not provide any additional reasons.“Dead Boy Detectives,” a TV series based on a comic book by Mr. Gaiman, will not return for a second season, according to Netflix, which did not say why.The turmoil in the productions linked to Mr. Gaiman has come after the five women spoke on the podcast “Master: The Allegations Against Neil Gaiman.”There are no publicly known lawsuits or open police investigations related to the allegations. Lawyers representing Mr. Gaiman did not immediately respond to requests for comment on Friday.Mr. Gaiman is the author of dozens of works, including the “The Sandman” and the novella “Coraline,” which became a popular animated film. Mr. Gaiman’s works have earned many accolades, including multiple Hugo Awards, the Newbery Medal and the Carnegie Medal.“Good Omens,” which premiered in 2019, tells the story of the friendship between Aziraphale, a fussy angel played by Michael Sheen, and Crowley, a demon played by David Tennant. The final episode will star Mr. Sheen and Mr. Tennant, according to Amazon MGM Studios.Production on the final episode of “Good Omens” will begin in early 2025, and it will premiere on Prime Video. More

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      Investigation of Georgia Movie Set Crash Finds No Violations

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      Eight people were injured, three of them seriously, in a crash on the set of “The Pickup” in April. A federal investigation found no health or safety violations.An investigation into a crash that injured several crew members on the set of the movie “The Pickup” this year found no safety violations, federal officials said.A spokeswoman for the Occupational Safety and Health Administration said in a statement this week that the agency’s “thorough” investigation of the production company, Armored Film LLC, “did not result in violations of workplace safety and health regulations.”The investigation into the crash, which occurred at a small airport outside Atlanta on April 20, was closed last week, she said.A spokeswoman for Amazon MGM Studios declined to comment.Eight crew members were taken to hospitals after the crash, including two who were treated for life-threatening injuries after they were ejected from a vehicle, the authorities said at the time. A third person was treated for serious injuries.People with direct knowledge of the episode said at the time that none of the actors in the film, including Pete Davidson, Eddie Murphy and Keke Palmer, were involved in the crash.Amazon MGM Studios has not disclosed the plot of the film, which Deadline has described as a heist comedy. No release date has been announced.Video of the crash obtained by The New York Times shows a red armored truck, a GMC C6, pulling up alongside a BMW X5 S.U.V. before swerving into it.The vehicles then veer off the road and onto the grass, where the armored truck flips on top of the BMW. Both land upright, with the back door of the armored truck swinging open, causing one person to tumble out of it and spreading debris onto the field.Several crew members were injured when two vehicles collided during filming.The police said that the BMW had one occupant, the driver, while the armored truck was carrying seven people: a driver, a front-seat passenger and five crew members who were secured in the back with belt restraints attached to the walls.While the collision was planned, the armored truck’s brush guard became entangled in the smaller vehicle’s wheel well, the authorities said.In the days after the crash, there was no consensus on whether emergency workers or an ambulance had been on the set during filming, although an ambulance was called to the scene. It is fairly standard practice to have an ambulance on set for dangerous stunts, experts said.Sean Miller, a spokesman for the International Alliance of Theatrical Stage Employees, said in a statement on Thursday that the organization appreciated the work by OSHA’s Atlanta office.“IATSE members are the best in the industry and work hard to ensure their safety and the safety of those around them,” he said. “This incident is a reminder that all workers deserve to earn a living in a safe environment.” More

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      ‘Union’ Review: Amazon Workers Unionize

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      As this documentary by Brett Story and Stephen Maing chronicles, the efforts to unionize a warehouse in New York were successful — but also a grind.When employees at an Amazon warehouse on Staten Island voted to unionize in 2022, the result was seen as a major victory for organized labor. A year earlier, the documentarians Brett Story (“The Hottest August”) and Stephen Maing (“Crime + Punishment”) got on the ground with the workers and the organizers; in their engrossing new film, “Union,” they show how the vote’s outcome was hardly assured.The filmmakers introduce Christian Smalls — a founder of the Amazon Labor Union, the group striving to represent the workers at the JFK8 fulfillment center — as he grills food at a tent outside the warehouse. Even then, in 2021, Smalls is already, as a woman meeting him puts it, “low-key famous,” having been fired in 2020 after planning and attending a walkout over pandemic safety conditions.“Union” is partly about the grind of organizing: of chatting with workers over burgers, of attending video meetings, of resolving petty disputes. Smalls’s leadership does not always command the group’s full confidence. Natalie Monarrez, an early ally, grows disillusioned as “Union” proceeds. “I can’t leave one boys’ club at Amazon and work for another boys’ club in the union,” she tells Madeline Wesley, an organizer and recent college graduate who becomes another compelling voice in the story.Like Barbara Kopple’s organized labor documentary “American Dream,” “Union” is as interested in intra-union disputes as it is in the fight writ large. But the external obstacles are clear as well, as Smalls and company face daunting math and an anti-union campaign from inside, where the sometimes-tense footage, the filmmakers have said, was shot by the workers themselves.UnionNot rated. Running time: 1 hour 40 minutes. In theaters. More

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      ‘A Very Royal Scandal’ Is a Juicy British Drama

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      This taut and serious Amazon series chronicles the time when Prince Andrew was interviewed on TV about his relationship with Jeffrey Epstein.Ruth Wilson, left, and Michael Sheen in a scene from “A Very Royal Scandal.”Christopher Raphael/Blueprint, via Sony“A Very Royal Scandal,” available now on Amazon Prime Video, tells — retells — the story of when the BBC journalist Emily Maitlis interviewed Prince Andrew on television in 2019 about his relationship to Jeffrey Epstein. The very first thing he says in the interview is that “there is no good time to talk about Mr. Epstein and all things associated.” Welp …The mini-series is tightly focused — its three episodes cover the period just before the interview, the interview itself and the immediate aftermath, with a few key flashbacks — but the show exists in a hall of mirrors of real-world scandals and media. “Royal” lives in the shadow of the crown, and in the shadow of “The Crown,” and is part of a prestige-laundering industry that refashions tabloid ignominy and wretchedness into cool-toned, highbrow drama. And it follows the movie “Scoop,” starring Gillian Anderson and Rufus Sewell, which premiered in April and is about the same interview.Michael Sheen stars as Prince Andrew, depicted here as stuffy and frustrated, unappreciated by his brother and devoted to his mother, neither of whom we see. His daughters adore him, as does his ex-wife, but he insists that the happiest time in his life was fighting in the Falklands War. Royal staffers whisper that he is so insulated from the world that he’s incapable of understanding it.Ruth Wilson plays Maitlis (herself an executive producer of the mini-series), a harried mom devoted to Velcro rollers and late night Google sessions. Wilson drops her voice to more closely resemble Maitlis’s, but it’s so unconvincing that it makes the fictionalized Maitlis seem phony, as if she were stealing a move from the Elizabeth Holmes playbook.The show plays out as a slow-motion car crash, a what-not-to-do case study for media relations — or perhaps a what-to-do guide for interviewing the terminally hubristic. Anyone who watches the full interview could rightly wonder, “How could you be so stupid to sit for an interview like this and say things like that?” “Royal” does a thorough, energetic, juicy-but-serious job of answering.And yet, the show can’t escape its own admission that there are much bigger questions one could ask about rape, misogyny, money, secrecy and power. Maitlis has a pat monologue about the injustice of it all, but the call is coming from inside the mini-series. More

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      Colin Jost Will Host the New ‘Jeopardy!’ Pop Culture Spinoff

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      “Pop Culture Jeopardy!” is expected to begin production in August and will stream only on Amazon Prime Video.If you have enjoyed Colin Jost’s dispatches from Tahiti for the Olympics surfing events and are hoping to see more of him, you’re in luck: On Wednesday, Sony Pictures Television announced that he will be host of the new game show “Pop Culture Jeopardy!”Jost, 42, is a veteran writer for “Saturday Night Live” and has anchored its Weekend Update segment since 2014 alongside Michael Che. “Pop Culture Jeopardy!” — a spinoff of the juggernaut “Jeopardy!,” which has run for decades on broadcast TV and in syndication — will stream only on Amazon Prime Video.Jost was selected for his “sharp wit and intelligence,” Suzanne Prete, president for game shows at Sony Pictures Television, which produces the show, said in a news release. “He’s smart and quick, like our contestants, and we know he’ll be able to keep up with them while making this new series his own.”“What is: I’m excited,” Jost said in the statement, riffing on the “Jeopardy!” answer format.In the pop culture version of the show, contestants will play in teams of three in tournament-style events, racing to answer questions in a variety of categories like alternative rock, the Avengers and Broadway. Production of the show is expected to begin in August.The spinoff is part of a yearslong expansion of the “Jeopardy!”-verse, as the show’s producers have called it, which will also include special tournaments. The flagship show also has seen plenty of change since Alex Trebek, who had hosted “Jeopardy!” for 37 years, died in 2020. A lengthy, revolving host audition resulted in Mike Richards, then the show’s executive producer, being chosen to host, only to be pushed aside after revelations that he had made offensive comments on a podcast. Then the role was shared between the actor Mayim Bialik and the former “Jeopardy!” champion Ken Jennings until last year, when Bialik announced that she had been removed from the show. Jennings has since settled in as the sole host. More