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      in Television

      Why Netflix’s ‘Adolescence’ Has Parents Talking About Phones

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      The Netflix hit has touched off debates about smartphone use by children and, in Britain, fed into calls for a social media ban.The British screenwriter and playwright Jack Thorne has written several TV dramas that he hoped would stir political debate. Until last week, they never quite took off.Then, his new show, “Adolescence,” appeared on Netflix.In the days since its March 13 release, the four-part drama about a 13-year-old boy who murders a girl from his school after potentially being exposed to misogynist ideas online has become Netflix’s latest hit. According to the streamer, it was the most watched show on the platform in dozens of countries after it debuted, including the United States.In Britain, the show has been more than a topic of workplace chatter. It has reignited discussion about whether the government should restrict children’s access to smartphones to stop them from accessing harmful content.Newspapers here have published dozens of articles about “Adolescence,” which Thorne wrote with the actor Stephen Graham. A Times of London headline called it “The TV Drama That Every Parent Should Watch,” and campaigners for a phone ban in schools have reported a surge in support.In Britain’s parliament, too, lawmakers have used the show to make political points. Last week Prime Minister Keir Starmer told the House of Commons that he was watching “Adolescence” with his two children, and said that action was needed to address the “fatal consequences” of young men and boys viewing harmful content online.In the show, Ashley Walters, center left, plays a police officer whose son has to instruct him on the meaning of emojis online.Netflix, via Associated PressWe 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

    • 125 Shares159 Views

      in Music

      Brian James, Pioneer of Punk Rock, Is Dead at 70

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      As the guitarist and main songwriter for the Damned, he helped spark an explosion on the British music scene in the 1970s.Brian James, who helped spark the punk-rock revolution in Britain in the 1970s as the lead guitarist and chief songwriter of the British band the Damned, bringing a rare degree of musicality to a genre known for its chain-saw attack, died on March 6. He was 70.His death was announced on his Facebook page. The announcement did not cite a cause or say where he died.Mr. James formed the Damned in London in 1976 with Dave Vanian, a former gravedigger, on lead vocals; Captain Sensible on bass, and Rat Scabies on drums. The band was part of Britain’s original punk vanguard.The Damned never shook British society, or the rock world at large, like the Sex Pistols, who sneered at the queen, hurled obscenities on television talk shows and had pundits mulling the collapse of Western values. Nor did they play the part of political revolutionaries like the Clash, who were billed as “the only band that matters.”Nevertheless, the Damned made history. They were the first British punk band to release a single: “New Rose,” written by Mr. James, in October 1976 (the Sex Pistols’ anthemic “Anarchy in the U.K.,” soon followed); the first to release an album, “Damned Damned Damned,” in 1977; and the first to tour the United States.The Damned in 1977, from left: Captain Sensible, Mr. James, Dave Vanian and Rat Scabies.Jorgen Angel/Redferns, via Getty ImagesWe 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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      in Music

      Hackers Stole $635,000 in Taylor Swift Ticket Scheme, Queens D.A. Says

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      Two people stand accused of taking hundreds of tickets from StubHub to redirect them to others who resold them, prosecutors said.Two people accused of stealing and reselling more than 900 tickets to the Taylor Swift Eras Tour and other marquee events are facing criminal charges for their role in the scheme, New York prosecutors said.Several people were involved in hacking into the computer system of the online ticket-sales platform StubHub starting in the summer of 2022, the Queens district attorney, Melinda Katz, said in a news release on Monday. They then resold the tickets on the same platform for a profit, which added up to $635,000.Tyrone Rose, 20, of Kingston, Jamaica, and Shamara P. Simmons, 31, of the New York City neighborhood of Jamaica, Queens, were arrested and arraigned on Feb. 27 in Criminal Court in Queens. The lawyers listed for them in court documents did not immediately respond to a request for comment.Mr. Rose and Ms. Simmons were both charged with second-degree grand larceny, first-degree computer tampering, fourth-degree conspiracy and fourth-degree computer tampering.Mr. Rose worked for an outsourcing company in Kingston, Sutherland Global Services, which was contracted by StubHub, according to the criminal complaint.Mr. Rose and a co-worker, who has not been arrested or publicly identified, used their access to part of StubHub’s ticketing system to find a way into a secure part of the network that they were not authorized to use, where information about ticket orders was stored.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

    • 138 Shares139 Views

      in Theater

      Timothy West, Who Portrayed Kings and Prime Ministers, Dies at 90

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      Timothy West, a versatile actor who portrayed a parade of historical and classical figures onstage and onscreen, and in between became a household name in Britain as a sitcom and soap opera regular, died on Tuesday in London. He was 90.His death was announced by his family on social media. They did not specify where he died but thanked the staffs at a London care home and a hospital for “their loving care” during Mr. West’s final days.With arched brows, narrow eyes and a strong jaw, Mr. West brought a commanding presence to historical figures like Winston Churchill, Joseph Stalin and King Edward VII, and to notables of classic theater like King Lear, Macbeth and Willy Loman.He was perhaps best known to American audiences for his performances in British television imports: the mini-series “Edward the King,” the movie “Churchill and the Generals” and the acclaimed mini-series “Bleak House,” an adaptation of the Charles Dickens novel that was shown on PBS’s “Masterpiece Theater” in 2005.Mr. West, kneeling, in 1970 in “Edward II” with Ian McKellen. He was known to bring a commanding presence to historical figures.AlamyMr. West, left, with Ian Richardson in the BBC drama “Churchill and the Generals.” It was the first of his three career portrayals of the British prime minister.RGR Collection/Alamy Stock PhotoAlthough Mr. West was a staple of British television, had dabbled in radio drama and had several small film roles, his lifelong passion was the theater.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

    • 125 Shares99 Views

      in Theater

      ‘The Curious Case of Benjamin Button’ Gets a Folk-Musical Makeover

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      The decade-spanning story of a man aging in reverse comes to the West End, transformed into a thoughtful fable opening on the English coast.Benjamin Button is born onto the West End stage with a hunch, a walking stick and venerable observations more suitable to a wizened man than a newborn.“You’re only as old as you feel,” Button quips to his parents, who are aghast that their long-awaited baby seems to be a 70-year-old man. “Do you mind if I smoke?”Age aside, “The Curious Case of Benjamin Button,” a folk-rock musical adaptation of the F. Scott Fitzgerald short story opening Wednesday at the Ambassadors Theater in London, explores earnest and existential questions of how and where to live. The broad strokes of the story might be most familiar from David Fincher’s 2008 film of the same name, which starred a backward-aging Brad Pitt and opened in New Orleans.But this onstage Button lives a different life altogether. He’s born in 1918 in a blustering, harbor village in Cornwall, at the southwestern tip of England, as something of a shut-away, before breaking free in search of romance and adventure. A 13-person cast of actor-musicians is onstage nearly the entire time, giving the show the feel of a fable merged with a Mumford & Sons concert.In the show, time moves in quick jumps, but for the creators behind this fairy tale retelling, Jethro Compton and Darren Clark, the project has been a long endeavor. The show, their first to open in the West End, started life about eight years ago as a project that Compton called “Untitled Cornish Musical.”Jethro Compton and Darren Clark, the creators of the musical.Sam Bush for The New York TimesWe 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

    • 150 Shares169 Views

      in Television

      Sex, Horses and Stately Homes: Bringing a Naughty British Romance to TV

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      Walking into Jilly Cooper’s house in the English countryside is like stepping inside one of her novels.The living room walls are covered in pictures or bookshelves, and the surfaces by ceramic cats, dogs and horses. Pictures of loved ones (family) and notables (royal family) are scattered throughout the room. The windows look over a landscape of rolling hills.It was from this 14th-century home, and on a manual typewriter, that Cooper, 87, wrote the “Rutshire Chronicles,” an 11-book series of romance novels featuring the handsome and troubled horse-riding hero Rupert Campbell-Black. The novels sold 12 million copies in Britain, where they shaped a generation readers’ ideas about romance, sex and the upper classes in the ’80s and ’90s.Known as “the queen of the bonkbuster” — an amalgam of “blockbuster” and “bonking,” a very English way of referring to you-know-what — Cooper’s name is synonymous in Britain with juicy romance and well-heeled naughtiness. In the United States, it has less resonance.Disney+ and Hulu are hoping to change that with the premiere, on Friday, of “Rivals,” an eight-part series based on Cooper’s 1988 novel of the same title from the “Rutshire Chronicles.”“I’m knocked out, because I love this book so much,” Cooper said in a recent interview. “I think it’s my favorite one.” Seeing it turned into a series, she said, was a “great treat,” especially at her age. “Eighty-seven is so old,” she said. “What’s 87 in dog years?”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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      in Music

      An Oasis in England’s Troubled, Polarized Opera Landscape

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      The sun shone brightly over the downs of East Sussex on a summer afternoon while people trickled onto the grounds of Glyndebourne to hear an opera by Handel. Most of the men wore black tie, and many women were in floral gowns, as they picnicked among gardens and sculptures, and under the shadow of the property’s grand, Jacobethan manor house.As they made their way into Glyndebourne’s opera house, old Oxbridge friends recognized one another and swapped life updates; introductions were made, photos were taken, and, when the time came for the show to start, the party was put on a respectful pause for the opening act of “Giulio Cesare.”It all had the appearance of opera in paradise, which isn’t so much of an exaggeration. Glyndebourne, a country house festival that over 90 years has grown into an enormous, year-round operation, has a reputation for elitism in its unofficial dress code and high prices. But there is also elitism, the good kind, in its level of music making.The Conrad Shawcross sculpture garden on the Glyndebourne grounds.Alice Zoo for The New York TimesIn the organ room at Glyndebourne.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

    • 138 Shares99 Views

      in Theater

      Maggie Smith, Grande Dame of Stage and Screen, Dies at 89

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      She earned an extraordinary array of awards, from Oscars to Emmys to a Tony, but she could still go almost everywhere unrecognized. Then came “Downton Abbey.”Maggie Smith, one of the finest British stage and screen actors of her generation, whose award-winning roles ranged from a freethinking Scottish schoolteacher in “The Prime of Miss Jean Brodie” to the acid-tongued dowager countess on “Downton Abbey,” died on Friday in London. She was 89.Her death, in a hospital, was announced by her family in a statement issued by a publicist. It did not specify the cause of death.American moviegoers barely knew Ms. Smith (now Dame Maggie to her countrymen) when she starred in “The Prime of Miss Jean Brodie” (1969), about a teacher at a girls’ school in the 1930s who dared to have provocative views — and a love life. Vincent Canby’s review in The New York Times described her performance as “a staggering amalgam of counterpointed moods, switches in voice levels and obliquely stated emotions, all of which are precisely right.” It brought her the Academy Award for best actress.She won a second Oscar, for best supporting actress, for “California Suite” (1978), based on Neil Simon’s stage comedy. Her character, a British actress attending the Oscars with her bisexual husband (Michael Caine), has a disappointing evening at the ceremony and a bittersweet night in bed.In real life, prizes had begun coming Ms. Smith’s way in 1962, when she won her first Evening Standard Theater Award. By the turn of the millennium, she had the two Oscars, a Tony, two Golden Globes, half a dozen BAFTAs (British Academy of Film and Television Awards) and scores of nominations. Yet she could go almost anywhere unrecognized.Until “Downton Abbey.”Ms. Smith on the set of the 1969 film “The Prime of Miss Jean Brodie.” She won an Academy Award for best actress for the performance.Universal History Archive/Universal Images Group, via Getty Images

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