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    For ‘Disclaimer,’ Alfonso Cuarón Updates His Terms and Conditions

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    Cate Blanchett stars in the acclaimed director’s new TV series, a thriller about a woman whose life is upended by a mysterious novel.About a decade ago, the writer-director Alfonso Cuarón was sent an advance copy of Renée Knight’s book “Disclaimer,” a thriller about a woman whose life is upended when she receives a novel by an unknown author that seems to lay bare her secrets. That novel begins with a disclaimer: “Any resemblance to persons living or dead is not a coincidence.”As Cuarón (“Children of Men,” “Y Tu Mamá También”) read, he could picture each scene in his head. This book, he thought, should be a film. There was just one problem.“I didn’t see how the film that I wanted to do could fit into an hour and 45 minutes,” he said.So Cuarón immersed himself in other projects, like “Roma” (2018), which won him a second Oscar for directing. But a few years later, he began to think about “Disclaimer” again, in the context of more expansive films like Ingmar Bergman’s “Fanny and Alexander” or Sergio Leone’s “Once Upon a Time in America,” works that clocked in at four or five hours.The market for marathon films is small. But Cuarón knew of an alternative: television. And he was mindful that other auteurs, like David Lynch with “Twin Peaks” and Lars Von Trier with “The Kingdom,” had explored that medium before him.Which is how, after a three-decade film career and five Oscars, Cuarón came to make “Disclaimer,” a seven-episode limited series starring Cate Blanchett, Sacha Baron Cohen and Kevin Kline. The first two episodes premiere on Apple TV+ on Friday, with the rest rolling out weekly afterward.In “Disclaimer,” Blanchett plays an acclaimed journalist and documentarian, and Sacha Baron Cohen plays her husband.Apple TV+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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      ‘La Maison’: Like ‘Succession,’ but Better Dressed (and French)

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      The new Apple TV+’s new series takes the viewer inside two rival Paris fashion houses, with gorgeous people in gorgeous clothes who will do anything for power.“Does she know our favorite dish is eating each other alive?”So one family member asks another in an early scene of “La Maison,” a glossy new drama from Apple TV+, about two rival high-end, family-owned French fashion houses: Ledu and Rovel.The show, which premieres on Friday, is filled with gorgeous people living in fabulous homes, fighting, scheming, flirting, plotting and betraying one another as they attempt to gain control of — everything!Yes, like “Succession,” but with more glamorous outfits and, well, Paris.Or akin to “a Shakespearean drama,” said Lambert Wilson, who plays Vincent Ledu, the longtime designer of the Ledu house, whose fall from power is fast and devastating when an unbridled rant about Asian clients goes viral, leading to his cancellation and unwilling resignation. Enter Paloma Castel (Zita Hanrot), a young, edgy designer with ideas about waste and sustainability, who is recruited by Perle Foster (Amira Casar), Vincent’s right-hand woman and former muse. (Amping up the tension and resentment, it turns out that Paloma’s dead father was Vincent’s lover.)Zita Hanrot as Paloma Castel, a young designer who comes onto the scene after Vincent Ledu’s fall from grace.Apple TV+In the other camp, the terrifying chief executive Diane Rovel (Carole Bouquet) schemes to have her company take over Ledu, helped by Vincent’s brother, Victor (Pierre Deladonchamps), who is married to Diane’s daughter (Florence Loiret Caille).“All the characters have scar tissue,” said Casar, “they are all damaged and lonely.” Her own character, Perle, is a watchful, lonely outsider. “On the one side, there is this old aristocratic family, the Ledus, who are hanging on to craft and tradition, on the other this nouveau riche bourgeoisie, the Rovels, who will destroy to have it all,” Casar said.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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      ‘Slow Horses’ Review: Bucking the Odds

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      The sardonic British series about spies no one wants is as likable as ever in its fourth season. Is that enough?In the television universe, the arc of nearly every series bends toward repetition and gradual decline. The best and most original shows are not immune to this rule (if anything they are more prone to it), no matter how much we would like to tell ourselves otherwise or how willing we are to accept less vibrant versions of a great first season.I did not want to believe this would be true of the satirical British spy thriller “Slow Horses,” whose first two seasons on Apple TV+ were a terrific blend of mordant, melancholy comedy and absorbing action and mystery, not quite like anything else on TV. Maybe the third season, which felt more concerned with plot mechanics and violent set pieces than character, was a hiccup.Season 4, based on “Spook Street,” the fifth book in Mick Herron’s Slough House series, does represent a slight comeback. (Two of six episodes are at Apple TV+.) But it still has a feeling of going through the motions and casting about for new ideas. How many times can the beleaguered hero, River Cartwright (Jack Lowden), chase and be chased through London railway and Tube stations? The wait for more of the squirmy, transgressive excitement of the early seasons continues.On the other hand, it is also true — as any number of fans, apoplectic as they read this, will tell you — that “Slow Horses” remains one of the most entertaining and well-put-together shows around. The motions through which it goes are good ones. (In accordance with another general rule of American TV, it is the inferior third season that has finally broken through at the Emmys, with “Slow Horses” up for nine awards including outstanding drama series.)The irresistible premise remains in place. River is one of a motley group of agents from the British intelligence service MI5 who have been exiled to a backwater called Slough House after catastrophically screwing up their careers. They are expected to keep quiet and do nothing, but under the leadership of their unsociable, unhygienic boss, Jackson Lamb (Gary Oldman), they continually outsmart and outmaneuver their more reputable colleagues and prevent disasters from befalling the agency and the nation.The new season retains the obstreperous, excitable River along with the no-nonsense Louisa (an excellent Rosalind Eleazar), the Mutt-and-Jeff action team of Shirley and Marcus (Aimee-Ffion Edwards and Kadiff Kirwan), the timorous old pro Catherine (Saskia Reeves) and the inexcusably gross, though often helpful tech whiz, Roddy (Christopher Chung). New to the team is J.K. (Tom Brooke), a cipher in a hoodie who does not add much, even when he grudgingly starts to open up later in the season.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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      Apple Rethinks Its Movie Strategy After a String of Misses

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      “Wolfs,” a new film starring George Clooney and Brad Pitt, was going to get a robust theatrical release. But the company is curtailing that plan.When Apple won a bidding war in 2021 for the rights to make the action comedy “Wolfs” with George Clooney and Brad Pitt, it did so in part because it promised the stars it would put the movie into a large number of movie theaters.“Brad and I made the deal to do that movie where we gave money back to make sure that we had a theatrical release,” Mr. Clooney said last year in an interview with the Hollywood trade publication Deadline.But this month, just six weeks before the film was set to show up in thousands of theaters around the United States, Apple announced a significant change in plans. “Wolfs” will now be shown on a limited number of movie screens for one week before becoming available on the company’s streaming service on Sept. 27. (Internationally, it won’t appear in theaters at all with the exception of the Venice Film Festival, where it will premiere on Sept. 1.)“‘Wolfs’ is the kind of big event movie that makes Apple TV+ such an exceptional home for the best in entertainment,” Matt Dentler, the head of features for Apple Original Films, said in a statement. “Releasing the movie to theaters before making it widely available to Apple TV+ customers brings the best of both worlds to audiences.”The film’s director, Jon Watts, told Vanity Fair that he had found out about the change in plans only days before the announcement. “The theatrical experience has really made an impression on me, of how valuable this thing is and how important it is,” Mr. Watts said. “I always thought of this as a theatrical movie. We made it to be seen in theaters, and I think that’s the best way to see it.”Despite the filmmakers’ desires, the about-face follows a middling run at the box office for Apple, which began releasing films into theaters around the country via partnerships with traditional studios in October.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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      ‘Pachinko’ Is a Gorgeous Epic of Love and Struggle

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      Based on the novel by Min Jin Lee, this thoughtful series about a Korean family across generations returns to Apple TV+ for a second season.Adapted from the acclaimed novel by Min Jin Lee, the Apple TV+ drama “Pachinko” spans decades in the life of a Korean family, beginning first in 1915 under Japanese colonial rule in their home country and later in Japan, where their personal ambitions bump up against ingrained prejudice.“Pachinko,” Season 2 of which premieres on Friday, hits on multiple emotional levels. The high drama of the many romantic entanglements melds with the thoughtful historical fiction about how a strange mixture of trauma and love reverberates through generations. It makes for a gem of a show about a family’s will not only to survive but also to thrive.At the center of the sprawling epic is Sunja, played as a young woman by Minha Kim and as a grandmother by Yuh-jung Youn, an Oscar winner for “Minari.” Season 1 charted Sunja’s childhood, her first romance and betrayal, and then her move to Osaka with Isak (Steve Sanghyun Noh), a young pastor who marries her while she is already pregnant. In the later timeline, which began in New York City in 1989, Sunja’s American-educated grandson, Solomon (Jin Ha), headed to Tokyo with aims of ascending in the business world, assuming at first that he could use his Koreanness to an advantage.Season 2 continues the 1989 story line, but jumps ahead in the earlier timeline to 1945, as the American bombing of Osaka looms. Sunja is now keeping herself afloat selling kimchi, though supplies are scarce. Her eldest boy (Kang Hoon Kim), is studious but tormented by his classmates, while her youngest (Eunseong Kwon) is an adorable firecracker, whose presence does a lot to enliven the otherwise grim circumstances. (The wonderful opening credits sequence, which has the cast dancing to the 1969 Grass Roots tune “Wait a Million Years,” is also a burst of joy.)Even as the two story threads feel mismatched — a lot more happens in the World War II plot than in 1989 — the writers always find savvy links between them. They are helped by the remarkable work of Kim and Youn, each elevating the other as we come to understand the root of Sunja’s resoluteness and how she relates to her grandson’s ambition. Paired with Nico Muhly’s stunning and plaintive score, the performances make it easy to become enraptured by Sunja’s story. More

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      ‘Yo Gabba GabbaLand!’ Revives a Cult Kids Show

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      This reboot features the same characters and still emphasizes music and dance while seeking to “make the world of Gabba an actual place,” a creator said.When “Yo Gabba Gabba!” premiered on Nickelodeon in 2007, the series looked and sounded like nothing else on children’s TV. It starred five toys that have come to life, including Brobee; a half-broccoli, half-bee hybrid with a bushy black unibrow; and Muno, a giant Cyclops with bumps all over his cherry-red body. Preschool viewers, typically treated to less challenging musical fare, heard performances from acts like Bootsy Collins, the Roots, My Chemical Romance and Weezer.Like Disney theme parks, the music and dance-centric show sought to entertain children while also appealing to their parents, a particularly tough task for shows aimed at the preschool set. In many ways it succeeded, garnering a loyal fan base that spanned generations.The show eventually became a kind of cultural phenomenon, spawning a live touring show and a line of toys, and showing up at places as dissimilar as the Marvel series “WandaVision” and Coachella. At the concerts, fans could sing along to lyrics about, say, worms and centipedes hanging out underground (“Follow the Oskie Bugs”) or carrots and green beans that get sad if you don’t eat them (“Party in My Tummy”).“I do think that’s part of the beauty of the show,” said Scott Schultz, who created the show with Christian Jacobs. “It’s confusing, but in a fun way.”“Yo Gabba Gabba!” was canceled in 2015, but the creators continued to dream of ways to revive the characters and the show. “We kept thinking, let’s make it bigger, let’s make the world of Gabba an actual place, almost like a destination,” Jacobs said. They eventually found a willing partner in Apple TV+, and production began in 2022.Now the gang is back in a new series, “Yo Gabba GabbaLand!,” which premieres on Aug. 9. The original host, DJ Lance Rock, has been replaced by Kammy Kam, played by Kamryn Smith, a 13-year-old dancer from Phoenix. The show’s “Beat of the Day” duties have transferred from the late rapper Biz Markie to Reggie Watts, Big Daddy Kane and others.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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      ‘Cowboy Cartel’ Tells a Galloping Story

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      With a made-for-TV plot, this documentary series explores a ploy by Mexican drug cartels to launder money through the world of horseracing.One of many recreation scenes in the documentary “Cowboy Cartel.”Apple TV+“Cowboy Cartel,” a four-part documentary arriving Friday, on Apple TV+, traces the wild saga of a Mexican drug cartel’s money-laundering scheme through the racehorse market and the F.B.I. agents and journalists who unraveled it. The plot feels ready-made for a TV show, and “Cowboy” sometimes rises to the occasion.The story has all the makings: a determined rookie F.B.I. agent, a jazzy I.R.S. dude, a starchy state attorney, well-sourced reporters, mountains of money, wise horsefolk and a ruthless, blood-soaked cartel. “Cowboy” is admirably lucid about the ins and outs of money laundering, and it nimbly anticipates all the “is everything a criminal does a crime?” arguments a skeptical viewer or defense lawyer may have.Muddy technique adulterates this appealing clarity of thought. B-roll of Texan highways does not illuminate anything, and more egregious is the use of hazy re-enactments. Those are tedious in any true-crime documentary, but here it isn’t (just) banality that irks. It’s that the show is repressing itself, as if in its heart of hearts it wanted to be a spinoff of “Narcos” but had to be a lower-budget documentary instead. It’s the businessperson whose dreams of the stage were denied and who now finds an awful lot of opportunities to turn presentations into song-and-dance numbers. Me? Sing? I couldn’t possib —— well, maybe just this once.The blending of self-aware nonfiction with imprecise, borderline goofy recreations here makes true things feel faker. I can see with my own eyes that the guy in the recreation looks nothing like the guy he’s portraying; am I meant to believe the inanity written on his white board was on a real white board? Flabby scripted dialogue offers so little, especially when the colorful, actual anecdotes offer so much.“Cowboy Cartel” and the talking-heads featured in it know they are in conversation not only with the cultural mythologies of the glamours of crime but also with crime fiction in general. Our wholesome F.B.I. agent solemnly describes one of the captured and convicted cartel bosses as “my Hannibal Lecter,” and other people lament the public’s lack of understanding about the true depravity of cartels. The real goings-on here — the real losses, the genuine conflict, the poignant asides — are enough. More

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      ‘Time Bandits’ Review: A Flatter Adventure

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      An adaptation of the 1981 film on Apple TV+ gives us time-traveling bandits of greater height and lesser amusement.When the bandits of the title burst into the bedroom of Kevin, an 11-year-old history buff, in the new Apple TV+ series “Time Bandits,” among the first things you are likely to notice is: no dwarfs.The show’s source, Terry Gilliam’s 1981 movie of the same title, was all about the dwarfs. There were six of them, who pilfered a map that identifies time portals and used it to try to steal whatever historical loot they could get their hands on. Along the way, they picked up Kevin, who came to serve as both the brains and the conscience of the operation.The bandits in Jemaine Clement, Iain Morris and Taika Waititi’s “Time Bandits,” which premieres on Wednesday with two of its 10 episodes, are a fully heighted bunch; their more-or-less leader, Penelope, is played by Lisa Kudrow, who towered over her female co-stars on “Friends.”Changing things up after 43 years is unremarkable, and perhaps the film’s less than nuanced presentation of the dwarf characters as a rollicking, bickering, slapstick bunch marked by physical abandon and short tempers gave the TV show’s creators pause. (On the other hand, the change in those central roles has been criticized as anti-inclusive by advocates for little people, including descendants of the actors who played the original bandits.)Among the next things you notice about this new “Time Bandits,” though, is that nothing has replaced the energy that Jack Purvis, Kenny Baker and the other actors with dwarfism brought to the film. And while Clement, Morris and Waititi share some of the anarchic sensibility of Gilliam and his co-writer, Michael Palin, they present it here in a domesticated, flattened-out form.As it follows the peripatetic adventures of the bandits — from visits to the Maya empire and plague-ravaged medieval Europe to battles with dinosaurs and demons to confrontations with Pure Evil and the Supreme Being, the Mutt-and-Jeff deities of the “Time Bandits” universe — the show is unfailingly clever, visually interesting and at least mildly amusing. It is wan, though, compared to other series that Clement, Morris and Waititi have collaborated on, like “Flight of the Conchords” and the riotous “What We Do in the Shadows.”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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      ‘Lady in the Lake’ Review: Not Just Another Baltimore Mystery

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      Natalie Portman stars in an elaborate adaptation of Laura Lippman’s novel about a pair of 1960s murders.If you’ve read Laura Lippman’s novel “Lady in the Lake,” about a pair of murders in Baltimore in the 1960s, you will know right away that the Apple TV+ mini-series based on it has taken liberties. The Thanksgiving parade that opens the action is not in the book; neither is the man dressed as a mailbox whom we see relieving himself in an alley before resuming his place in the procession.It is a small moment characteristic of the writer and director Alma Har’el’s exhaustive reworking of Lippman’s twisty but fairly straightforward 2019 mystery. It is visually striking and nimbly staged: the powder blue and rusty red shades of the mailbox costume set against the dingy alley, the camera following the dancer in his bulky carapace as he awkwardly capers back to the parade. It’s diversely suggestive: of the distant period (mail!), of the bleak season, of a still strong civic self-regard. And it’s just there — cool and quirky, with no real weight, gone when the figure rounds the corner into the street.The prodigiously talented Har’el has worked extensively in commercials and music videos and made several documentaries, including the evocative “Bombay Beach,” filmed at the Salton Sea. Before “Lady in the Lake,” her only major fictional work was the terrific feature “Honey Boy,” written by and starring her sometime collaborator Shia LaBeouf. Based on LaBeouf’s life, it explored the porous boundaries between fantasy and real life, between performance and ordinary behavior.“Lady in the Lake,” which premiered with two of its seven episodes on Friday, has some similar ideas. But working as creator, director and primary writer, Har’el doesn’t manage to pull them together. The show is visually striking and full of sensuous atmosphere. But the ideas it is trying to put across about the wages of race, class and gender in a particular place and time don’t really translate from script to screen, and Har’el’s baroque elaborations on Lippman’s solid mystery plot start to feel increasingly artificial, in a tinselly, uninteresting way.Lippman’s novel (the recipient of a rave review in The New York Times by Stephen King) tied together two fictional cases inspired by real events, the murders of a Jewish girl and a Black woman. Her main character is a Jewish housewife and frustrated writer in Baltimore, Maddie Schwartz (nee Morgenstern), who exploits the deaths to embark on a new career as a newspaper reporter; Maddie’s reinvention also involves leaving her husband and son and having an affair with a Black cop.Har’el conflates some significant characters and adds and subtracts others while adhering, until the later episodes, to the major points of the plot. But she is less interested in that plot than in the themes of storytelling — who gets to tell the stories of Tessie, the Jewish girl, and Cleo, the Black woman — and broken dreams. Cleo’s dream of being a singer has gone unrealized, but Maddie’s dream of being a writer will be gained on the back of Cleo’s death.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