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      Chris Noth Peloton Ad Pulled After Sexual Assault Allegations

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      The online ad, a response to the “Sex and the City” reboot, was removed after The Hollywood Reporter published an article in which two women accused the actor of sexual assault.Peloton pulled down a popular online ad featuring the actor Chris Noth on Thursday after The Hollywood Reporter published an article in which two women accused him of sexual assault.The article detailed the accusations of two women, identified with pseudonyms, who claimed Noth — who played Mr. Big on “Sex and the City” and stars in its new reboot — sexually assaulted them in separate incidents in 2004 and 2015. In a statement, Noth called their accusations “categorically false.”After the allegations surfaced, Peloton, the stationary-bike maker, removed a widely viewed online ad featuring Noth. It had quickly put up the ad after the first episode of the “Sex and the City” reboot — the HBO Max limited series, “And Just Like That” — depicted Mr. Big dying of a heart attack after riding a Peloton bike.“Every single sexual assault accusation must be taken seriously,” Peloton said in a statement. “We were unaware of these allegations when we featured Chris Noth in our response to HBO’s reboot.”One woman told The Hollywood Reporter that Noth, 67, raped her in 2004, when she was 22, after inviting her to his apartment building’s pool in West Hollywood; the woman said that after the assault, a friend took her to the hospital, where she received stitches. Another woman said he assaulted her in 2015, when she was 25, after a date in New York City.“The encounters were consensual,” he said in the statement. “It’s difficult not to question the timing of these stories coming out. I don’t know for certain why they are surfacing now, but I do know this: I did not assault these women.”Noth, who also had roles in “Law & Order” and “The Good Wife,” is best known for his role as Mr. Big, the central love interest and eventual husband of Carrie Bradshaw (Sarah Jessica Parker) in “Sex and the City.” His death in the reboot shocked fans and set social media ablaze. Peloton’s stock dropped the day after the episode became available.Three days after the episode debuted, Peloton tried to make the most of the ill-fated product placement by releasing the parody ad, which features Noth lounging with his Peloton instructor, extolling the health benefits of the exercise machine while he flirted with her. In the clip, Mr. Noth suggestively raises an eyebrow, seemingly glancing back toward the bedroom, and asks, “Shall we take another ride? Life’s too short not to.”Then, after the sexual assault allegations surfaced, Peloton’s post on Twitter that included the video disappeared. In a statement, the company said it had archived social media posts related to the video and stopped promoting it while it sought to “learn more” about the allegations.HBO declined to comment. More

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      Can Peloton Sue Over Its ‘And Just Like That’ Appearance?

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      A Peloton stationary bike played a pivotal role on the new HBO Max “Sex and the City” revival, whose premiere preceded a drop in the company’s stock price on Friday.This article contains spoilers for the premiere of “And Just Like That” on HBO Max.Peloton, a maker of high-end exercise equipment, was just as surprised as you were by its appearance on “And Just Like That,” the new HBO Max limited series that picks up the story of “Sex and the City.”At the end of the first episode, Mr. Big (Chris Noth), the on-again-off-again love interest of Carrie Bradshaw (Sarah Jessica Parker), clips into his Peloton stationary bike for his 1,000th ride. Shortly after he hops off the bike, he has a heart attack and dies.After the shocking ending, we couldn’t help but wonder: Are companies usually in the dark about how their products will be used in a movie or TV show, as Peloton reportedly was? What does the typical product-placement agreement look like? And if a company is particularly upset with how its product is portrayed, does it have any legal recourse?So, can Peloton sue?According to Nancy C. Prager, an intellectual property and entertainment lawyer, there are two types of product-placement agreements: one in which a company pays to be featured in show or movie, and another in which a production company procures a trademarked product to be used onscreen.Peloton declined to state on the record whether it was involved in any formal product-placement agreement, but if a production company wants to use a trademarked product, Ms. Prager said, it must get a special license to show the product and brand logos. (In the episode, the Peloton logo is clearly visible on Mr. Big’s bike, and the instructor video closely resembled a real Peloton course.)Ms. Prager explained that under trademark law, a principle known as nominative fair use allows production companies to use a trademark as long as the product is shown being used in a way consistent with the original trademark.“Nominative fair use does not to apply, though, when you use the protected mark in a way that disparages the mark or the brand,” Ms. Prager said. HBO “tarnished Peloton’s good will to consumers,” she added, noting that Peloton products purport to make their customers stronger and healthier.The ‘Sex and the City’ UniverseThe sprawling franchise revolutionized how women were portrayed on the screen. And the show isn’t over yet. A New Series: Carrie, Miranda and Charlotte return for another strut down the premium cable runway in “And Just Like That,” streaming on HBO. Off Broadway: Candace Bushnell, whose writing gave birth to the “Sex and the City” universe, stars in her one-woman show based on her life. In Carrie’s Footsteps: “Sex and the City” painted a seductive vision of Manhattan, inspiring many young women to move to the city. The Origins: For the show’s 20th anniversary in 2018, Bushnell shared how a collection of essays turned into a pathbreaking series.“The tarnish can be evidenced by the stock price plummeting,” she added, referring to the 11 percent drop in Peloton stock overnight after the episode aired. The stock’s value continued to fall on Friday.In Ms. Prager’s view, that means Peloton could reasonably consider litigation, especially if HBO did not disclose the story line involving the product.“It was a misstep that Peloton wasn’t fully aware of the script,” said Stacy Jones, the chief executive and founder of Hollywood Branded, a marketing and branding agency in Los Angeles.Peloton did not know how the bike or its instructor Jess King would be featured in the show, according to a report in BuzzFeed News. Ms. Prager and Ms. Jones agree that withholding those details leaves HBO in murky legal territory.“The production forgot that product placement is supposed to be mutually beneficial, and they did not put their thinking cap on about the damage that this would cause the brand,” Ms. Jones said.This seems like a lot of trouble. Why bother with product placement?“Think of product placement as an alternative form of advertising,” David Schweidel, a professor of marketing at Emory University Goizueta Business School, said on Friday.In recent years, companies have been seeking out product-placement agreements more than ever, he said. The increased use of streaming platforms means viewers are seeing fewer commercials, driving companies to make greater use of product-placement deals to promote themselves.“If I can’t reach my customer base with a traditional television commercial anymore, I take the product in the program itself,” Professor Schweidel said. “Then, they can’t avoid it.”He estimated that product-placement advertising was worth well over $20 billion in 2021.For production companies, the arrangements can be mutually beneficial, since featuring recognizable brands can make a show more realistic, Ms. Jones said.In this particular case, the inclusion of Peloton was integral to advancing a story line. “Peloton provided a solution to their problem,” she said.Can HBO protect itself?Usually when a company is so unhappy with how its product has been portrayed that the idea of litigation is floated, “TV shows claim that it’s a parody, that viewers obviously knew that this was fictional,” Beth L. Fossen, an assistant professor of marketing at the Kelley School of Business at Indiana University, said on Friday.That approach usually works for shows like “Saturday Night Live,” she said.But given that Peloton was the subject of unfavorable headlines this year about a child dying in an accident involving one of its treadmills, the story line may have “hit a little too close to home” for that argument to work, Professor Schweidel said.At least for the time being, it seems that Peloton is uninterested in pursuing litigation. In a statement on Saturday, Dr. Suzanne Steinbaum, a cardiologist on Peloton’s health and wellness advisory council, noted that “Mr. Big lived what many would call an extravagant lifestyle — including cocktails, cigars and big steaks — and was at serious risk as he had a previous cardiac event in Season 6.”Dr. Steinbaum said that Mr. Big’s lifestyle choices, perhaps in conjunction with a family history of heart disease, were most likely the cause of his death.In fact, she speculated, “riding his Peloton bike may have even helped delay his cardiac event.” More

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      ‘And Just Like That’: The Shoe Must Go On

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      In the ’90s, “Sex and the City” celebrated single women. Can a new, more nuanced version make a comedy of middle-aged ones?When we last left the ladies of “Sex and the City,” the pathbreaking, cupcake-inspiring HBO series and film franchise, Miranda had joined a new law firm, Samantha had achieved orgasm atop a Mercedes G-Class SUV, Charlotte was hosting a child’s birthday party, and Carrie and Big were snuggling on the sofa as a black-and-white movie played, a happily ever after for everyone.This was the peaceable close of “Sex and the City 2,” the strained 2010 movie that sent its characters into the Middle East and critics into ecstasies of disdain. (Here is A.O. Scott’s comparatively mild pan in The Times: “Your watch will tell you that a shade less than two and a half hours have elapsed, but you may be shocked at just how much older you feel when the whole thing is over.”) Still, another movie was planned, only to fall apart, largely on Twitter, in 2017. Like a Fendi baguette, the series seemed to have gone out of style.But the ’90s are extremely on trend right now, and the women of “Sex and the City” (well, most of them) have returned for another strut down the premium cable runway. “And Just Like That,” a 10-episode limited series, premieres on HBO Max on Dec. 9. Don’t call it a reboot! The characters so rarely wore boots!Like the original, this new version follows the author Carrie (Sarah Jessica Parker), the lawyer Miranda (Cynthia Nixon) and the former gallerista and current homemaker Charlotte (Kristin Davis). But in the place of Kim Cattrall’s libertine Samantha are four new actors: Sarita Choudhury, Nicole Ari Parker, Karen Pittman and Sara Ramírez. Their presence remedies the original’s blinding whiteness, though if the promotional materials are any indication, not its appetitive glamour and unacknowledged privilege.So here’s a question for Carrie: Can a show adapt to changed characters and changing times while still supplying what fans loved about the original?On break from a shoot at Brooklyn’s Steiner Studios, Michael Patrick King, a “Sex and the City” executive producer and the showrunner of “And Just Like That,” had an enthusiastic answer. “It’s dangerous. It’s exciting. It’s a challenge,” he said, bent forward on the sofa in his office. “It’s not a cash cow. It’s not a cash in.” Besides how else could he get a show about middle-aged women greenlighted?“I don’t think that anybody would take on new women characters at 55 without proof that people will watch,” he said. Which means that ladies might have some new paths to break, if they can walk them in heels.The original “Sex and the City” was always two shows. One was a fidgety, philosophical comedy about single, successful women who didn’t need a man to complete them. Or maybe they did? And really, what is completion anyway? The other was the show as fans received it — and the show that it arguably became — a high-gloss romantic comedy and a fashion romp. What, you think it was the existential crises that motivated the bus tours?New stars like Nicole Ari Parker (center, with Davis and Pat Bowie) keep “And Just Like That” from being as overwhelmingly white as the original.Craig Blankenhorn/HBOThat latter show had long ago reached its conclusion. Because in a romantic comedy, once the girl gets the guy — or as in Samantha’s case, the many guys — where can the story really go? This structural roadblock explains why the second movie spun its wheels. (Those wheels were camels, which King now somewhat regrets.) So it seemed destined to live on only in reruns, rewatches and Instagram accounts devoted to its outfits.But early into New York City’s pandemic lockdown, King and Parker began to chat about making a behind-the-scenes podcast. At some point, those chats turned more imaginative, speculating about what the lives of the characters might look like now. As Parker, speaking by telephone from the set of another sequel, “Hocus Pocus 2,” put it, they began to ask themselves, “Why are we not thinking about the thing that we’ve touched on many times, which is, are there more stories to tell?”Having already resolved the characters’ questions about marriage, partnership and children during the original series — King maintains these weren’t the relevant questions, but few plot lines centered on anything else — the new show claims to look elsewhere and largely inward, just as the first series did in its early seasons. Parker ran down a few of the current interrogations: “Who am I? What will change do to me? Can I change? How do I react to big change?”The show has undergone changes big and small — some thematic, some aesthetic, many structural. King recalled that during the first series, he felt as though he had to tie up each episode with a little bow, a concession to an audience that might not view them sequentially.“Streaming is like, untie the bow,” he said. “Untie it.”That doesn’t mean that “And Just Like That” encompasses much mess. During my visit to Steiner Studios, where I felt extremely underdressed, King took me around the various sets, each immaculate. Miranda’s Brooklyn brownstone and Charlotte’s Park Avenue palace have each received glow-ups. Carrie’s old apartment has lilac paint and statement wallpaper now. Her closet? Sublime.So Carrie still has two apartments, but “And Just Like That”no longer centers her experience. The show has mostly done away with her voice-over, making way for dialogue for its four new main characters: Choudhury’s high-end real estate agent, Parker’s documentarian, Pittman’s professor and Ramirez’s podcast host.Why didn’t the show have more characters of color before? “It was a show that was based on material that was very much of its time,” Sarah Jessica Parker said diplomatically, referring to Candace Bushnell’s New York Observer columns.Though Nixon has stuck with the franchise, she said she had been “horrified” by the lack of racial diversity during the show’s original run. Like Parker and Davis, she said that she insisted that the characters in this new version couldn’t function as trendy accessories for the original cast.“In order to get great actors to do these parts, they would have to be not supporting us,” Nixon said. That meant also insuring that the writers’ room was staffed with several women of color and that their story lines followed these new characters even when Carrie, Miranda and Charlotte headed offscreen.“Each of the episodes, at this point, they’re all around 43 minutes,” King said. “Because there’s seven fully realized people in it.”The new series doesn’t try to reform the characters, Parker said: “We don’t try to make a point of, ‘Look, they’re mature, they’re better, they’re smarter.’”Craig Blankenhorn/HBOOn the day I visited the set, I watched one of Nicole Ari Parker’s scenes. Dressed to the nines or maybe the tens, she performed a marital spat with her series husband, played by Christopher Jackson. A few days later on the phone, I asked her if she had seen the original series — she had — and if its overwhelming whiteness had bothered her.“A little bit,” she said. “But I wasn’t expecting ‘Sex and the City’ to be realistic.” She was talking to me while she shopped for shoes at Nordstrom, which seemed nicely on brand.“I mean, every now and then I felt sorry for them,” she said. “Like, if they had a Black girlfriend, they wouldn’t be having these problems.” But she appreciated how complex a character the show had created for her and that she wasn’t the only character of color.“They understand that one Black friend is not going to cut it,” she said.Still, this new series shouldn’t be seen as a repudiation of the old one or even as a corrective to its oversights — well, some its oversights. Sarah Jessica Parker knows that not everyone liked the original characters, Carrie in particular. This new show doesn’t aim to fix them.“We don’t try to make a point of: ‘Look, they’re mature, they’re better, they’re smarter. See, they’re sorry for the things you didn’t like,’” she said. “I don’t think that’s our best approach.”The occasional tutu aside, “And Just Like That” isn’t intended as fan service either. The series doesn’t pretend that the women haven’t moved on with their lives in the intervening years; it doesn’t deny that they have aged. When some first-look pictures and a teaser trailer emerged, social media briefly blew up with comments about the women’s looks and the cosmetic interventions they had or hadn’t undergone.“And Just Like That” has several scenes that discuss these issues directly. King mimed a bit involving Nixon’s Miranda and her neck. Generally, it aims for stories about women in their 50s as rich and bright and complicated, if not as raunchy, as the ones the original told about women in their 30s. (Same city. Less sex.) Which is to say that it’s trying for just a little more nuance than “The Golden Girls.”“I am a woman in my 50s, so I am well aware that your life does not end whether you find a guy or a girl or not, whether you have kids or not, right?” Davis said. “We can testify to the fact that it’s not over, and it’s not boring. So I was never in doubt that we could tell interesting stories.”What those stories were, no one would spoil. Eager fans have analyzed that 30-second teaser clip with the exegetical rigor typically reserved for ancient hieroglyphs. So here is what I did learn: Big (Chris Noth) is not dead. Samantha is not dead, though Cattrall’s absence means that she doesn’t appear onscreen.“Nobody’s dead,” King said. Nobody? “Nobody.”And yet, Willie Garson, who played Carrie’s gay best friend, Stanford Blatch, died during the filming of “And Just Like That,” a sad reminder of time’s passage and the grief it can bring. His death wasn’t written into the show.“Because it wasn’t charming,” King said. “And I knew that the audience would know.”“And Just Like That” wants to charm. It isn’t the first comedy about middle-aged women. Since “Sex and the City” ended, television has offered “Cougartown,” “Hot in Cleveland,” “Younger.” September brought Julie Delpy’s “On the Verge.” But a few statement necklaces aside, none of those shows had quite the glamour of “Sex and the City” and none were quite as revolutionary — in the frankness of the sex talk, in the insistence on female subjectivity, in the championing of single women, even if it did pair just about all of them off.Will “And Just Like That” exert the same cultural, fashion-forward influence, even in a culture obsessed with youth, even in a world glutted with content? King, predictably but not unreasonably, argues that it might.“If it was aspirational — aspirational apartments, aspirational clothing, aspirational people — it’s still aspirational,” he said. More

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      The Best Movies and TV Shows Coming to Amazon, HBO, Hulu and More in December

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      Every month, streaming services add movies and TV shows to its library. Here are our picks for some of December’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.)Temuera Morrison and Ming-Na Wen in “The Book of Boba Fett.”Disney+New to Disney+‘The Rescue’Starts streaming: Dec. 3In “The Rescue,” the documentary filmmaking team of Elizabeth Chai Vasarhelyi and Jimmy Chin — who won an Oscar for their film “Free Solo” — tell the stories of the skilled divers who worked to save a dozen young Thai soccer players trapped in a flooded Tham Luang Nang Non cave in the summer of 2018. The rescue operation drew volunteers from around the world and was covered in-depth by the broadcast and print media. Vasarhelyi and Chin incorporate some of that coverage into “The Rescue,” alongside new interviews with the rescue team, for a fuller view into what happened. But their primary focus is on what the divers experienced as they tried to puzzle out how to navigate through underground passages and how to extract survivors. The P.O.V. footage the divers shot themselves is often harrowing, capturing the claustrophobic pressure and the sense of panic that sets in when the waters rise.‘The Book of Boba Fett’Starts streaming: Dec. 29There are no new “The Mandalorian” episodes until 2022, so fans of the “Star Wars” universe’s bounty-hunter subculture will have to rely on this spinoff series to tide them over. Temuera Morrison reprises his role as Boba Fett, a storied mercenary who, alongside his colleague Fennec Shand (Ming-Na Wen), comes out of hiding and attempts to reestablish himself as someone to be feared and respected in the criminal underworld. A lot of the “Mandalorian” creative team also worked on “The Book of Boba Fett,” as did some of the supporting cast. This promises to be another action-packed throwback adventure series, exploring the difficult lives and the complicated ethical codes of characters whose jobs demand danger and violence.Also arriving:Dec. 3“Diary of a Wimpy Kid”Dec. 8“Welcome to Earth”Dec. 15“Foodtastic,” Season 1Dec. 17“Arendelle Castle Yule Log: Cut Paper Edition”From left, Glenn Howerton, Rob McElhenney and Kaitlin Olson in “It’s Always Sunny in Philadelphia.”Prashant Gupta/FXXNew to Hulu‘It’s Always Sunny in Philadelphia,’ Season 15Starts streaming: Dec. 2The longest-running sitcom in television history returns for a new season. As usual, it will combine the show’s lowlife high jinks with some episodes that directly engage with what’s going on in the world today. For example, the season’s first episode is about how the gang at Paddy’s Pub — Mac, Charlie, Dennis, Dee and Frank — try to make money off the pandemic. And episode two comments on the sometimes reckless political incorrectness of some older “It’s Always Sunny in Philadelphia” jokes. The series continues on from there, filtering reality through the skewed perspective of characters who hardly every change, even as society keeps shifting all around them.Also arriving:Dec. 1“Candified: Home for the Holidays,” Season 1Dec. 2“Godfather of Harlem,” Season 1Dec. 3“The New York Times Presents: To Live and Die in Alabama”“PEN15,” Season 2, Part 2“Trolls: Holiday in Harmony”Dec. 9“Bloods,” Season 1“Creamerie,” Season 1“Swan Song”Dec. 10“Crossing Swords,” Season 2Dec. 16“Dead Asleep”Dec. 17“Mother/Android”Dec. 23“Dragons: The Nine Realms” Season 1Dec. 26“Letterkenny” Season 10Nicole Kidman and Javier Bardem as Lucille Ball and Desi Arnaz in “Being the Ricardos.”GLEN WILSON/AmazonNew to Amazon‘Being the Ricardos’Starts streaming: Dec. 21The writer-director Aaron Sorkin follows up his American history lesson “The Trial of the Chicago 7” with another look back into our cultural past, this time exploring the world of television in its infancy as a mass medium. In “Being the Ricardos,” Nicole Kidman plays Lucille Ball and Javier Bardem plays Desi Arnaz during one week of production on the groundbreaking 1950s sitcom “I Love Lucy.” The setup frames a larger study of the celebrity couple’s tumultuous romantic, creative and business partnership. Expect to hear plenty of Sorkin’s rapid-fire dialogue, applied to a backstage melodrama with echoes of his TV series “Sports Night” and “Studio 60 on the Sunset Strip.”Also arriving:Dec. 3“Harlem”Dec. 9“The Ferragnez”Dec. 10“Encounter”“The Expanse,” Season 6Dec. 17“With Love”Dec. 23“Yearly Departed”New to HBO Max“Listening to Kenny G”Starts streaming: Dec. 2The “Music Box” docuseries debuts three new films on HBO this month, including “Mr. Saturday Night” (about the swaggering industry impresario Robert Stigwood) and “Juice WRLD: Into the Abyss” (about the rapper’s short life and influential career). But the movie likely to draw the most attention is Penny Lane’s slyly provocative “Listening to Kenny G.” This comprehensive biography of the wildly successful and deeply divisive pop-jazz saxophonist Kenneth Gorelick — made with his full participation — doubles as a sincere consideration of why some people love Kenny G’s music and why some think it is pandering schmaltz. Gorelick is a disarming interview subject, willing to defend himself but seemingly unconcerned about his critical reputation. It’s the critics featured in the documentary that add the most, as they wrestle honestly with the long-term effects — positive and negative — of middle-of-the-road popular music.Also arriving:Dec. 1“Adrienne”Dec. 2“Perfect Life”“Santa Inc”Dec. 5“Beforeigners”Dec. 6“Landscapers”Dec. 7“The Slow Hustle”Dec. 9“And Just Like That …”“Mr. Saturday Night”Dec. 13“Street Gang: How We Got to Sesame Street”Dec. 16“Finding Magic Mike”“Juice WRLD: Into the Abyss”“Station Eleven”Dec. 22“The Matrix Resurrections”New to Paramount+“1883”Starts streaming: Dec. 19Given that the modern western drama “Yellowstone” is one of the most-watched series on cable and streaming right now, it was probably inevitable that Paramount and the show’s creator, Taylor Sheridan, would try to expand the franchise. Sheridan — an accomplished writer, director and producer whose credits include the likes of “Sicario” and “Hell or High Water” — ventures back to the late 19th century to follow a grizzled adventurer (played by Sam Elliott) as he helps a pioneer couple (played by Tim McGraw and Faith Hill) find their way to Montana. There, they’ll establish the Dutton ranch that is the main setting of “Yellowstone” — though not without plenty of the obstacles and soul-searching that make the parent show so compelling.Also arriving:Dec. 2“Queen of the Universe”Dec. 23“Reno 911: The Hunt for QAnon”New to Peacock“Baking It”Starts streaming: Dec. 2The team behind the heartwarming reality competition show “Making It” offers as unique twist on the bake-off, in a series in which two-person teams cook in a homey kitchen and try to impress a judging panel of four opinionated grandmas. Maya Rudolph and Andy Samberg are the “Baking It” hosts, serving up playful banter and earnest support as contestants produce creative and delicious treats. The drama level is kept purposefully low, leaving room for lots of good holiday vibes.“MacGruber”Starts streaming: Dec. 16The comedian Will Forte and the “Saturday Night Live” writer-directors Jorma Taccone and John Solomon introduced the resourceful but easily distracted special agent MacGruber (played by Forte) in a series of “SNL” sketches that began in 2007. They spun the character off into a strange 2010 movie that has a fiercely devoted cult of fans; now they’re bringing MacGruber back to TV as a serialized action-adventure spoof, with the hero returning to work after a decade in prison. Kristen Wiig comes back as the superspy’s sidekick, for straight-faced, absurdist riffs on over-the-top ’80s and ’90s international thrillers.Also arriving:Dec. 4“Siwas Dance Pop Revolution”Dec. 9“The Housewives of the North Pole”Dec. 23“Vigil” More

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      Review: ‘This Is Not a War Story,’ Nor Does Coming Home Mean Peace

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      This poignant drama directed by and starring Talia Lugacy follows a traumatized Marine as she tries to connect with a group of fellow veterans at home.“American Sniper,” “The Hurt Locker,” “Zero Dark Thirty,” “Saving Private Ryan” — “I hate those movies,” says Isabelle (Talia Lugacy), a U.S. Marine recently returned home from combat. Painfully inhibited, neglected by her family and racked with guilt over her meaninglessly violent actions overseas, Isabelle is not at ease in this world. She struggles to find reasons to go on.
      At least she is not alone. Isabelle joins a multigenerational group of veterans who create antiwar artwork and poetry out of paper they fashion from discarded military uniforms. There she meets Will (Sam Adegoke), who has been blaming himself for the death of a vet he had been a mentor to, Timothy Reyes.“This Is Not a War Story,” which Lugacy also directed, is a naturalistic, chat-heavy narrative that captures the difficulties wrought by the unimaginable trauma individuals face as they attempt to forge connections and find peace after war. It opens with Timothy drifting around the New York City subway, taking pills and ultimately dying unnoticed in his seat, a warning about the perils of coming home. The cast is supplemented by real-life veterans in supporting roles who speak to their own experiences.In the film, Will uneasily takes Isabelle under his wing. “I hate the word ‘healing,’” he observes. “It’s not some point of arrival. It’s something you’re doing all the time.”Unfolding at a restlessly melancholy pace, the film is less a plot-driven story than an assemblage of conversations and encounters. Its power lies in the tentative friendship that takes root between Isabelle and Will. Though their discussions — which touch frankly on issues including the horrors of Abu Ghraib — can seem contrived and literal-minded, the edgy vulnerability and emotional stiltedness the actors bring to their characters’ rapport is palpable and authentic. When the two eventually achieve a more relaxed, harmonious relationship, it feels like a minor miracle.This Is Not a War StoryNot rated. Running time: 1 hour 52 minutes. Watch on HBO Max. More

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      The Best Movies and TV Shows Coming to Amazon, HBO, Hulu and More in November

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      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.)Rosamund Pike, center, as the mystic Moiraine escorting the young heroes of “The Wheel of Time.”Jan Thijs/Amazon Studios New to Amazon‘The Wheel of Time’ Season 1Starts streaming: Nov. 19Robert Jordan’s “The Wheel of Time” saga spans 14 fantasy novels plus various supplemental works, with the last of the books having been completed posthumously by the author’s colleague Brandon Sanderson. So if Amazon’s TV version of catches on, there’ll be enough story to tell to keep the show running longer than the “Game of Thrones” series and “The Lord of the Rings” movies combined. “The Wheel of Time” starts as simply as the novels do: with the tale of the mystic Moiraine (Rosamund Pike) who helps a group of young people escape the shadow forces pursuing them, while knowing that someone in her charge may be their land’s long-prophesied champion in an ancient, eternally recurring battle against civilization-destroying chaos agents. As with the books, the TV series is as much character-driven as it is lore-driven.Also arriving:Nov. 5“The Electrical Life of Louis Wain”“A Man Named Scott”“Tampa Baes”Nov. 12“Always Jane”“Mayor Pete”Nov. 19“Everybody Loves Natti”Nov. 29“Burning”Jeremy Renner and Hailee Stanfield in “Hawkeye.”Chuck Zlotnick/Marvel StudiosNew to Disney+‘Hawkeye’Starts streaming: Nov. 24The recent run of Marvel Cinematic Universe TV series have featured some real departures, with shows like “WandaVision,” “Loki” and “What If…?” sporting unusual narrative structures and stories that ventured into the more mystical areas of Marvel Comics. But the six-part mini-series “Hawkeye” promises to be more of a grounded action-adventure, in the vein of “The Falcon and the Winter Soldier” (and with some of the same characters). Jeremy Renner reprises his role as the Avengers’ resident archer and family man Clint Barton, who finds himself training a protégée, Kate Bishop (Hailee Steinfeld), in hopes that he can take care of his latest crisis and get home in time for Christmas. “Hawkeye” was inspired in part by comic book stories penned by Matt Fraction, who brought a playful quality to the title character that should carry over well to television.‘The Beatles: Get Back’Starts streaming: Nov. 25The 1970 documentary “Let It Be” captured both the recording of one of the Beatles’ final albums and the personality conflicts that ultimately led to the band’s breakup. The director Peter Jackson’s three-part docuseries “Get Back” takes the original footage from that documentary (supervised at the time by the director Michael Lindsay-Hogg) and refashions it into a larger story: about the making of the original film, and about what was really happening in the Beatles’ lives back then that even a fly-on-the-wall camera couldn’t catch. Jackson’s version is meant to be a more nuanced take on the band circa 1970, catching the passive-aggressive sniping but also the genuine pleasure these musicians took in working together on classic songs like “Don’t Let Me Down” and “The Long and Winding Road.”Also arriving:Nov. 12“Ciao Alberto”“Home Sweet Home Alone”“Olaf Presents”“The World According to Jeff Goldblum”From left, Douglas Hodge, Elle Fanning and Sacha Dhawan in “The Great.”Gareth Gatrell/Hulu New to Hulu‘The Great’ Season 2Starts streaming: Nov. 19Season one of “The Great” introduced the “occasionally true” story of Catherine II (Elle Fanning), who marries the cruel and capricious Russian emperor Peter III (Nicholas Hoult) and then begins trying to wrest power from him in ways both subtle and overt. The second season picks up not long after the events of last year’s finale, in which the two headstrong aristocrats reached a wary rapprochement, for the sake of their unborn child and for their own private agendas. The series’ creator Tony McNamara was one of the Oscar-nominated screenwriters of “The Favourite,” another unapologetically anachronistic historical dramedy. Expect more of McNamara’s sensibility in year two — along with an exciting new cast addition in Gillian Anderson, playing Catherine’s mother.Also arriving:Nov. 4“Taste the Nation With Padma Lakshmi: Holiday Edition”Nov. 5“Animaniacs” Season 2Nov. 11“3212 Un-Redacted”.css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-m80ywj header{margin-bottom:5px;}.css-m80ywj header h4{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:500;font-size:1.25rem;line-height:1.5625rem;margin-bottom:0;}@media (min-width:740px){.css-m80ywj header h4{font-size:1.5625rem;line-height:1.875rem;}}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Nov. 17“Marvel’s Hit-Monkey”Tom Hanks as Finch and Caleb Landry voicing Finch’s creation in the film “Finch.”Apple TV+New to Apple TV+‘Dickinson’ Season 3Starts streaming: Nov. 5Although the dramedy “Dickinson” is based on the life of the poet Emily Dickinson, it’s impossible to predict what will happen in the show’s third and final season. “Dickinson” has always been proudly off-kilter, with its creator, Alena Smith, taking the proven facts of writer’s life and then spinning whimsical and at times humorously impossible fantasies about the historical figures Dickinson might have met in mid-19th century Massachusetts, as well as the decadent parties she might’ve attended as a young woman with a thirst for independence. However the series eventually ends, its star, Hailee Steinfeld, continues to bring wit and passion to the role of an artist who wants badly to leave a lasting legacy, but a stubborn patriarchy and the looming threat of Civil War have her fearing that she’ll never get the chance to be heard.‘Finch’Starts streaming: Nov. 5Tom Hanks gets back into “Cast Away” mode in the science-fiction drama “Finch,” playing the title character: a resourceful scientist who is one of the few survivors of an Earth ravaged by environmental disasters. Fearing he is dying of radiation poisoning, Finch builds a robot named Jeff (voiced by Caleb Landry Jones) and fills it with as much useful knowledge as he can, hoping Jeff will help him drive from St. Louis to San Francisco — and that the machine will take care of Finch’s dog after his master is dead. The road trip is filled with surprises and dangers, but most of the movie is just a long conversation between a man and his well-meaning but frequently bumbling creation, as Finch tries to explain to Jeff both how and why to survive tough times.‘The Shrink Next Door’Starts streaming: Nov. 12The journalist Joe Nocera’s true-crime podcast “The Shrink Next Door” tells the story of Dr. Isaac Herschkopf, a psychiatrist who allegedly took control of his patient Martin Markowitz’s life, moving into his ritzy Hamptons estate and eventually guiding his financial decisions. In the TV adaptation, Paul Rudd plays the doctor and Will Ferrell plays Marty. The two actors lean into both the comic and the dramatic possibilities of the codependent relationship that develops between these two men: One who is pushy and the other a pushover. The mini-series’s narrative stretches across decades, as the writer Georgia Pritchett and the director Michael Showalter seek to explain how this situation got out of hand, between a charming opportunist and a person who desperately needed his approval.Also arriving:Nov. 3“Dr. Brain”Nov. 5“Hello, Jack! The Kindness Show”Nov. 19“Harriet the Spy” Season 1“The Line”The cinematographer John Wilson as seen in “How to With John Wilson.”Thomas Wilson/HBONew to HBO Max‘How to With John Wilson’ Season 2Starts streaming: Nov. 26Uniquely strange and sweet, this comic docuseries is built around the eccentric worldview of the persistently upbeat but profoundly confused videographer John Wilson, who tries to make sense of modern human existence by filming the mundane chaos of daily life in New York City and then commenting on it in halting voice-overs. In Season 1, Wilson tried to get a handle on basic concepts like friendship, ownership, security and memory. By the end of the run, he (like everyone else on the planet) saw his life upended by disease and death. It should be exciting — if that’s the right word for a show as gentle as “How to” — to see how Wilson and his crew capture and interpret everything that’s happened in the world since 2020.Also arriving:Nov. 4“Aida Rodriguez: Fighting Words”“Head of the Class” Season 1Nov. 9“Dear Rider”Nov. 16“Simple as Water”Nov. 18“The Sex Lives of College Girls”Nov. 19“King Richard”Nov. 23“Black and Missing” More

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      The Best Movies and TV Shows Coming to Amazon, HBO, Hulu and More in October

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      Every month, streaming services add movies and TV shows to its library. Here are our picks for some of October’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.)Brian Cox as the Roy family patriarch in “Succession.”David M. Russell/HBONew to HBO Max‘The Many Saints of Newark’Starts streaming: Oct. 1This movie-length prequel to the groundbreaking cable series “The Sopranos” looks back at life in the late 1960s for a notorious family of New Jersey mobsters and their various colleagues and enemies. It’s a film about the evolving nature of organized crime and race relations, at a time when the United States was experiencing rapid social changes that some sectors — like the old-school Mafia — resisted. Written by “The Sopranos” creator David Chase and directed by Alan Taylor (one of the show’s regulars), “The Many Saints of Newark” tells a sprawling story of criminal rivalries, balancing pulpy violence with dark comedy. Chase also returns to one of his core themes, considering how parental pressure and macho pride affect the choices of a young Tony Soprano, played here by Michael Gandolfini (the son of TV’s Tony, James Gandolfini).‘Succession’ Season 3Starts streaming: Oct. 17It has been nearly two years since HBO aired the Season 2 finale of this Emmy Award-winning drama. During the long, pandemic-fueled delay, fans have been eager to find out what will happen to the mega-rich Roy family and their right-wing media empire, after the troubled son Kendall (Jeremy Strong) and his goofy cousin Greg (Nicholas Braun) went public with evidence of a messy scandal. That cliffhanger ending set up a bloody fight between Kendall and his cantankerous, megalomaniacal father, Logan (Brian Cox), with the other power-hungry Roy kids Siobhan (Sarah Snook) and Roman (Kieran Culkin) left to decide where their loyalties should lie. Expect another year of jarring twists and unsparing satire from “Succession,” one of TV’s most exhilarating shows.Also arriving:Oct. 7“15 Minutes of Shame”Oct. 11“We’re Here” Season 2Oct. 14“Aquaman: King of Atlantis”“Phoebe Robinson: Sorry, Harriet Tubman”“What Happened, Brittany Murphy?”Oct. 18“Women Is Losers”Oct. 20“Four Hours at the Capitol”Oct. 21“Reign of Superwomen”Oct. 22“Dune”Oct. 24“Curb Your Enthusiasm” Season 11“Insecure” Season 5Oct. 26“The Mopes”Oct. 28“Love Life” Season 2From left, John Cale, Sterling Morrison and Lou Reed as seen in “The Velvet Underground.”Apple TV+New to Apple TV+‘The Velvet Underground’Starts streaming: Oct. 15It would be hard for any filmmaker to make a documentary about the influential 1960s band the Velvet Underground as inventive and mind-expanding as the group itself, but Todd Haynes sure comes close. The director behind “Velvet Goldmine” and “I’m Not There” clearly understands not just the primitivist art-rock that the singer-songwriters Lou Reed and John Cale pioneered — a sound that inspired thousands of punk, New Wave and power-pop acts in the decades that followed — but also the New York underground culture that nurtured the Velvets. Combining new interviews, vintage audio clips and hypnotic old avant-garde films from the likes of Andy Warhol and Jonas Mekas, “The Velvet Underground” captures both the brilliance and the chaos surrounding a band who documented both the ugliness and the beauty underlying the hippie era.‘Invasion’Starts streaming: Oct. 22Shot in locations around the world, this big-budget science-fiction series employs an ensemble cast to tell a story about the arrival of an Earth-threatening alien species. The show stars Sam Neill as a small-town sheriff, Shamier Anderson as a soldier stationed overseas, Shioli Kutsuna a mission-control engineer in Japan’s space program and Golshifteh Farahani and Firas Nassar as married Syrian immigrants living in New York. The “Hunters” creator David Weil and the writer-producer Simon Kinberg (best-known for his work on blockbuster superhero movies, including multiple X-Men films) collaborated on “Invasion,” which uses a fantastical, action-packed plot as a way to examine something relevant to today: how people cope with escalating crises that could wipe out life as we know it.Also arriving:Oct. 8“Acapulco”“Get Rolling With Otis”Oct. 15“Puppy Place”Oct. 29“Swagger”Rosario Dawson as a Drug Enforcement Administration agent facing down the opioid epidemic in “Dopesick.”Gene Page/HuluNew to Hulu‘Dopesick’Starts streaming: Oct. 13An all-star cast tackles the origins of the opioid crisis in this mini-series, based on the journalist Beth Macy’s 2018 nonfiction book “Dopesick: Dealers, Doctors and the Drug Company that Addicted America.” The director Barry Levinson and the writer-producer Danny Strong turn the complicated saga of how Purdue Pharma marketed the painkiller OxyContin into a focused story, mostly about the people in one small mining town: including a compassionate doctor (Michael Keaton) and an addict (Kaitlyn Dever). Michael Stuhlbarg (as a former Purdue leader, Richard Sackler), Rosario Dawson (as a Drug Enforcement Administration agent) and Peter Sarsgaard (as a crusading lawyer trying to expose the insidious effects of a community-wide addiction) add their own strong personalities.Also arriving:Oct. 7“Baker’s Dozen”Oct. 8“Jacinta”Oct. 12“Champaign ILL”Oct. 14“Censor”Oct. 21“The Evil Next Door”“The Next Thing You Eat” Season 1Oct. 22“Gaia”Kermit the Frog and Miss Piggy in “Muppets Haunted Mansion.”Mitch Haaseth/DisneyNew to Disney+‘Muppets Haunted Mansion’Starts streaming: Oct. 8The Muppets’ first Halloween special leans on a classic horror-comedy plot, as the Great Gonzo and Pepe the King Prawn explore a ghost-infested house and deal with its baffling secret passageways and untrustworthy human hosts (played by Will Arnett, Taraji P. Henson and Darren Criss, among others). In just under an hour, the Muppets and their guests deliver a rapid-fire assortment of songs and puns, along with some Halloween-themed parodies of “The Muppet Show” itself — plus plenty of references to the original Disneyland attraction that gives this special its name. “Muppets Haunted Mansion” is geared toward longtime Muppets fans, but it should also appeal to anyone who loves old-fashioned gothic horror stories.Also arriving:Oct. 1“LEGO Star Wars Terrifying Tales”Oct. 6“Among the Stars”Oct. 13“Just Beyond”New to Amazon‘I Know What You Did Last Summer’ Season 1Starts streaming: Oct. 15Back in 1997, Lois Duncan’s 1973 young adult novel “I Know What You Did Last Summer” inspired a hit slasher film, which itself spawned multiple sequels. Now the book has become a TV series, which updates the original’s premise to the age of social media. Once again the story is about a circle of self-involved high school friends who have to grow up in a hurry when a mysterious killer starts a campaign of revenge against them after a fatal hit-and-run accident. But the themes this time out are more up-to-the-minute, dealing with the disconnect between how some young people present themselves online and the troubles in their personal lives. It’s a thriller where the threat of public embarrassment is as scary as any murderer.‘Fairfax’ Season 1Starts streaming: Oct. 29Fans of “Bojack Horseman” and Adult Swim cartoons will recognize the sensibility of this adult animated series about a handful of Los Angeles teenagers who behave like “extremely online” mini-adults, obsessed with hard-to-find fashions and exclusive experiences. Skyler Gisondo, Kiersey Clemons, Peter Kim and Jaboukie Young-White voice the kids, whose problems include the commonplace (like desperately wanting to buy a kitschy limited edition T-shirt) and the strange (like finding an underground fighting pit beneath a hip boutique). “Fairfax” — named for the Los Angeles avenue — is part slice-of-life comedy, part absurdist satire of Gen Z consumerism, spoofing the next wave of wannabe influencers.Also arriving:Oct. 1“All or Nothing: Toronto Maple Leafs”“My Name Is Pauli Murray”“Welcome to the Blumhouse” Season 2Oct. 8“Justin Bieber: Our World” More

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      Netflix and ‘The Queen’s Gambit’ dominate the Creative Arts Emmys.

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      Fueled by “The Queen’s Gambit” and “The Crown,” Netflix dominated the competition at the Creative Arts Emmy Awards over the weekend.Netflix took home 34 Emmys at three separate ceremonies on Saturday and Sunday, while Disney+, the streamer’s closest competitor, won 13 awards. HBO and its streaming service, HBO Max, the perennial Emmys heavyweight, won just 10 awards.Each year, the Television Academy, which organizes the Emmys, announces the winners for dozens of technical awards in the lead-up to the biggest prizes that are announced at the main event, the Primetime Emmy Awards. This year’s prime-time ceremony will take place on Sunday and will be broadcast on CBS.“The Queen’s Gambit,” a limited series about a chess prodigy, won nine Creative Arts Emmys over the weekend, more than any other series. Its closest competitors, with seven awards each, were the Disney+ Star Wars action adventure show “The Mandalorian” and the NBC stalwart “Saturday Night Live.”Although the Creative Arts Emmys are not quite prime-time ready — they include awards like best stunt performance, best hairstyling and outstanding lighting direction for a variety series — they count all the same in the Hollywood record books, and the leaderboard for the 73rd Emmy Awards is now officially underway.The weekend ceremonies also handed out a few key acting awards. “The Queen’s Gambit” took the prize for best cast in a limited series. It beat out a pair of acclaimed HBO series, “I May Destroy You” and “Mare of Easttown.” “The Crown” won for best cast in a drama, and the Apple TV+ show “Ted Lasso” won for best cast in a comedy. Both are favored to take more prizes at the main event.Netflix’s dominance all but guarantees that it will win more Emmys than any other TV network, studio or streaming platform, making 2021 the first year it will beat out its chief rival, HBO, to claim ultimate bragging rights. Three years ago, in a first, Netflix tied HBO for top honors. Going into this year’s Emmys ceremonies, HBO, aided by HBO Max, led all networks with 130 nominations, one more than Netflix.The 73rd Emmy Awards will effectively be a showcase for television achievement during the pandemic. Because of production shutdowns and delays, the number of TV shows in the second half of last year and the first half of this year declined. Submissions for the top categories this year were down 30 percent.The ceremony, hosted by Cedric the Entertainer, will take place indoors and outdoors on the Event Deck at L.A. Live, near the Emmys’ usual home at the Microsoft Theater in downtown Los Angeles. Attendance will be drastically reduced, but in contrast to last year’s remote ceremony, most winners are likely to deliver their acceptance speeches in person. More