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    In ‘Interior Chinatown,’ the Sets Have Main Character Energy

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    The Hulu series unfolds in a Chinatown that “is both physical and psychological,” said Charles Yu, the creator. Here’s a look at how four key settings bring the story to life.Charles Yu’s novel “Interior Chinatown” is about stories. Stories we tell ourselves, stories we tell about others. Stories where only certain people get to be the main characters while others, like the protagonist Willis Wu, are relegated to playing bit parts.Yu structured the novel in the format of a screenplay. The title follows the scriptwriting convention of scene headings, which specify where the action is taking place (for example, INT. UNMARKED POLICE CAR). Scene headings are peppered throughout the book, and in Hulu’s series adaptation, which premiered on Tuesday, the settings are just as essential, and more tangible, to the overall concept.“Willis has this world that he lives in, this Chinatown which is both physical and psychological,” said Yu, the show’s creator and showrunner, in a video interview. “When you write a book, you get to use the reader as your ultimate collaborator. You’re leveraging off someone else’s imagination.”“You can’t really film that, unfortunately,” he added.So in constructing the sets of the show, he said, “it was like, how do you build a place that feels real and lived in — and at the same time can feel subjective and evocative of the Chinatown that comes from the novel, which is an interior Chinatown that functions as a place where people work and live but also as a mental space?”Here’s a look at four of the key settings in “Interior Chinatown” and how they bring the story to three-dimensional life.Int. Golden Palace RestaurantWillis Wu, the protagonist, spends much of his time waiting tables in the dining room of the Golden Palace Restaurant.Mine Taing/HuluWe 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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      ‘Say Nothing’ Asks: What Would You Do?

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      The FX series strives to capture the complexity of its subject: the long sectarian conflict in Northern Ireland known as the Troubles.The actor Anthony Boyle (“Manhunt,” “Masters of the Air”) grew up in West Belfast. On the way to school he would walk past murals of hunger strikers, of murdered children. He was a child, he said, during “the hangover” of the Troubles, the sectarian conflict between Protestant unionists, who were British loyalists, and Catholic nationalists in Northern Ireland that lasted into the late 1990s.“The history is so recent,” he said. “You feel the pressure of it always.”So when the director Mike Lennox (“Derry Girls”) reached out to him about starring in the FX limited series “Say Nothing,” Boyle was hesitant. The nine-episode series is adapted from Patrick Radden Keefe’s nonfiction book “Say Nothing: A True Story of Murder and Memory in Northern Ireland,” which is set primarily in Belfast during and after the Troubles. Radden Keefe is American, as is Joshua Zetumer, the showrunner. FX, which produced the series, is a division of Disney Entertainment.All of this gave Boyle pause. In a recent interview, he described his thinking at the time: “When brothers have killed each other over which splinter group of the paramilitary they belong to, a show on Disney isn’t going to get this right.”But reading the scripts convinced Boyle to play Brendan Hughes, a member of the Provisional Irish Republican Army. In “Say Nothing,” which premieres Thursday on Hulu, he stars alongside Lola Petticrew, as Dolours Price; Hazel Doupe, as Marian Price; and Josh Finan, as Gerry Adams.The actors play young versions of these real-life figures, who engage in or sanction acts of violence in pursuit of a political goal. (Adams has consistently denied his involvement with the I.R.A., though Hughes, who died in 2008, and Dolours Price, who died in 2013, both disputed this.) The series captures both the youthful excitement that fighting for a cause can kindle and the devastating reverberations that come after.“It felt like a lot of the questions that were raised were questions that I, as a young adult, have about how we heal and move on from a traumatic recent past,” said Petticrew, who is also from West Belfast.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

    • 150 Shares149 Views

      in Television

      New Horror TV Shows to Stream This Halloween: ‘Teacup,’ ‘Uzumaki’ and More

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      This year’s horror series take us to damned villages, cursed towns and countries fallen into anarchy.This selection of shows from October’s annual parade of horror series will take you on a tour of places where the world appears to be out of control: a South Korea going through a religious frenzy, a Georgia farm under attack, a bucolic English village visited by aliens, a Japanese seaside town haunted by spirals. Just keep telling yourself it’s fiction.‘Hellbound’Based on an online cartoon, this Korean series on Netflix has a comic-book hook, repeated a time or two per episode: A trio of towering, golem-like figures materialize, heralded by cracks of thunder, and roast a human who has been identified as a sinner. This usually involves a lot of smashing and tossing about of people and vehicles. These scenes are kinetically satisfying — it is a Korean production, after all — and there’s something counter-intuitively adorable about the silent, hulking reapers. Directed by Yeon Sang-ho of the “Train to Busan” zombie films, “Hellbound,” whose second season premiered last week, is a solidly constructed supernatural thriller, with well-choreographed action that often features a tight-lipped lawyer (Kim Hyun-joo) who gets more use out of her police baton than her legal training.The bam-pow does not dominate the show, however. The screenwriter Choi Gyu-seok, adapting Yeon’s 2002 webtoon, focuses less on explaining the supernatural happenings than on portraying a society’s reactions to a terrifying rip in reality. Those responses are bad and badder, running from coercive religious fanaticism to cathartic, mordant anarchy — parallels to current trends around the world are almost certainly intentional — while a few contrarians fight for rationality and free will.The drama of ideas is talky and pitched between comic book and Philosophy 101, but there is enough inventiveness and feeling in the storytelling to keep you attuned to the show’s evocation of a world quickly going mad.‘The Midwich Cuckoos: Village of the Damned’When this mini-series premiered in Britain two years ago, it had the same title as the John Wyndham novel on which it is loosely based, “The Midwich Cuckoos.” For its American release, Acorn TV and Sundance Now (both will have the third of seven episodes on Thursday) tacked on the name of the cult-favorite 1960 film adaptation, “Village of the Damned.” The series is a solid, watchable piece of work, though it might have been better if they hadn’t reminded us of the chilling, compact, highly satisfying movie.The story, if you are unfamiliar, begins with everyone in a British village blacking out; shortly after, every woman of childbearing age finds herself pregnant. The resulting children, as you might guess, are a scary bunch, with powers of mind control that represent an extinction-level threat. “The Midwich Cuckoos” handles the science-fiction aspects capably, and like the film, it has its share of quietly creepy moments. Filling out the expanded running time with a lot of agonizing about motherhood and parenting, though, feels a little precious when the story is about aliens getting Earth women pregnant. Focus!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

    • 113 Shares139 Views

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      ‘Fantastical’ Is a Catfishing Horror Story About Toxic Fandom

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      “Fanatical,” an eye-popping film directed by Erin Lee Carr, details the bizarre 16-year ordeal that the duo and their fans endured.The turn-of-the-century internet was organized not around content selected for us by algorithms, but around shared interests that we sought out. Whether you loved a band or were devoutly religious or had questions about your sexuality, someone had made an AOL chatroom or a message board or a LiveJournal community where you could meet people like you. It was often invigorating and life-affirming, especially if you felt lonely in the real world. It seems like the exact opposite of today’s personality- and ad-driven internet.The new, eye-popping documentary “Fanatical: The Catfishing of Tegan and Sara” (Hulu), directed by Erin Lee Carr, is about that era and what became of it. But the lens through which it tells the story involves a truly bizarre series of events related to Tegan Quin, who with her twin sister, Sara Quin, formed an eponymous indie pop band that became huge right as the social internet was taking off. At the start of the film, Tegan says she’s never talked publicly about the situation before, which began 16 years ago. In fact, she admits to Carr, she already kind of regrets talking about it now.The duo started to become famous after their 2004 album, “So Jealous,” when the sisters realized their growing audiences skewed young, mostly female and mostly queer. Their concerts were safe spaces, and their fans often found one another through sites devoted to the band. Both women, but Tegan in particular, were active on the internet, and made a point of connecting with fans both online and at shows. They fostered a community.But “Fanatical” is not a profile of the band or its fans. It’s a horror story.In 2008, a fan named Julie contacted a Facebook profile that appeared to be Tegan’s. A yearslong messaging relationship ensued, one that turned close and even intimate. But then, in 2011, Tegan did something that felt off to Julie. So she contacted the band’s manager.From there emerged the kind of mystery that’s actually a nightmare, a story Carr tells through interviews with fans, the band’s former management, a few experts and both sisters. The user Julie had been talking to for years wasn’t Tegan at all — it was someone impersonating Tegan, a user they all started calling “Fake Tegan,” or “Fegan.” For Julie, this relationship had been deeply meaningful, especially since Tegan and Sara’s music was a way to process her fear when, as a college student, she began to question her own sexual orientation. When “Fegan” turned aggressive, even verbally abusive, she was wounded — and realizing that years of her life had been spent unburdening her secrets and her soul to someone who wasn’t Tegan was horrifying. As the band and their management discovered, these intimate messaging relationships went far, far beyond Julie — and so did the fallout.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

    • 150 Shares99 Views

      in Television

      In ‘La Máquina,’ Gael García Bernal and Diego Luna Get a Rematch

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      Sitting cross-legged on the floor at the Château Marmont in Los Angeles, Gael García Bernal stared with admiration at his lifelong friend and fellow actor Diego Luna. Just the night before, they had walked onstage at the Peacock Theater and, as expected, presented the Emmy for best director of a limited or anthology series or TV movie.Less expected, in a move they said wasn’t preapproved, they had given the award in Spanish.“We were just told that the Emmys are losing a big chunk of its audience,” García Bernal told the crowd and the nearly 7 million live TV viewers. “So me and Diego decided to do something to push the limits, to erase the boundaries.”Luna saluted the United States’ more than 50 million Spanish speakers. Then the award went to Steven Zaillian of “Ripley” — for “mejor dirección” in a limited series.Whatever its provocative qualities — in our interview, García Bernal cited Donald Trump’s divisive immigration rhetoric as motivation — the speech was also a canny bit of promotion. As much of the ensuing coverage noted, the two actors have their own limited series coming on Oct. 9, “La Máquina,” Hulu’s first original Spanish-language production.In “La Máquina,” Luna, left, plays the spray-tanned, plastic-surgery obsessed manager of a boxer played by García Bernal (with Eiza González as the boxer’s ex-wife).Cristian Salvatierra/HuluFriends since they were children in Mexico City, García Bernal, 45, and Luna, 44, are indelibly linked, not least because of their breakout roles in Alfonso Cuarón’s breakout film, “Y Tu Mamá También” (2002), in which they played best pals from different social classes on a life-changing road trip.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

    • 150 Shares129 Views

      in Television

      In ‘Only Murders in the Building,’ Michael Cyril Creighton Is Above Suspicion

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      For years, Michael Cyril Creighton hoped one of his small TV parts would evolve into something more. With “Only Murders,” it finally happened.On a rainy morning in early August, the actor Michael Cyril Creighton sat in a dog friendly cafe on the outskirts of Astoria, Queens. With him was Sharon, his seven-year-old rescue, who is part Chihuahua, part Jack Russell terrier, with a soupçon of haunted doll. Another dog scampered over to their table. Sharon growled low in her throat and bared her teeth.“She has a troubled past,” Creighton said, soothing her. “But she’s great.”Creighton — bespectacled, bearded, with a cuddlesome physique — is more reliably sociable. During a two-hour conversation that began with savory scones and included a damp walk at a nearby sculpture park, he growled not once, not even when interrupted, frequently, by fans of his work on “Only Murders in the Building.”In “Only Murders,” the Hulu series about occasional homicides in a luxury co-op on Manhattan’s Upper West Side, Creighton, 45, plays Howard, a librarian and hobbyist yodeler with an impressive sweater game. A gossip and a noodge, keen to be accepted by the building’s amateur detectives, a trio played by Selena Gomez, Steve Martin and Martin Short, Howard is also capable of surprising vulnerability. So is Creighton, who combines a mordant wit and a clown’s broad instincts with deep feeling.A recurring actor in the show’s first two seasons, Creighton was made a series regular in its third. In Season 4, which premiered on Tuesday, his co-stars include a pig who urinated on his feet between takes.“Look, it’s ridiculous what we’ve got going on in his world,” John Hoffman, the “Only Murders” showrunner said in an interview. “I feel like I can throw him anything and he’ll sort it out. I can’t believe I got so lucky to find him.”In Season 4, Creighton’s character, Howard, owner of many (many) cats, adopts a retired working dog and starts his own podcast, called “Animals and Their Jobs.”Patrick Harbron/DisneyWe 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

    • 100 Shares129 Views

      in Television

      ‘Only Murders in the Building’ Goes to Hollywood

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      The murder mystery comedy returns with more celebrities than ever but in a winking, self-aware way.In its first three seasons, the Hulu mystery comedy “Only Murders in the Building” recruited an impressively starry array of guest stars — including Nathan Lane, Paul Rudd and Meryl Streep — to join the already stellar main cast of Selena Gomez, Steve Martin and Martin Short. Season 4, which starts on Tuesday, has even more famous faces, which can be overwhelming at times. But there’s a knowing quality to the way these celebrities are deployed: “Only Murders” has gone Hollywood, but in a winking, self-aware way.Partly, that’s by … going to Hollywood. In the premiere, Mabel, Charles and Oliver (Gomez, Martin and Short) are summoned to Los Angeles by a Paramount Pictures executive (Molly Shannon, always hilarious) who is desperate to make a movie based on their hit podcast. The A-list cast has already been chosen: Eugene Levy will play Charles, Zach Galifianakis will play Oliver, and Eva Longoria will be Mabel. (For those keeping track of the meta-layers, that’s a group of real celebrities playing themselves as the cast of a fictional movie about a reality-inspired podcast inside a fictional show — starring real celebrities as fictional hosts.)But Mabel has reservations. And Charles is growing increasingly worried about the disappearance of his friend and former stunt double, Sazz Pataki (Jane Lynch), who as we know from the Season 3 finale was murdered in Charles’s apartment — dressed as (and presumably mistaken for) Charles himself. It can be a bit awkward when a show leaves its natural environment, and that’s true when the crime-solving trio heads to California. The characters feel out of place and so do we. Lucky for us, the action soon returns to New York and their Upper West Side apartment building, the Arconia, where they must try to track down Sazz’s killer.There’s cheeky fun in the big-time celebrities playing heightened versions of themselves, but the jokes about haughty famous people are also a little obvious. The most delightful guest turns come from the less-famous actors who play the zany suspects. Jin Ha, so great in “Pachinko,” is an adorably jittery screenwriter. Catherine Cohen and Siena Werber are gloriously eccentric film director sisters. There is also an eye-patch-wearing Richard Kind and other established character actors, like Daphne Rubin-Vega, who show up to cause chaos.“Only Murders” has become comforting in its rhythms. The writers have a working formula, and they use that formula well. But I’m really not watching for the mystery anymore — even though there are plenty of twists and turns this season. I’m watching to see who pops up next and how much they can make me giggle. More

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      in Television

      ‘Playground’ Is Throwback Reality TV, in More Ways Than One

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      The new Hulu series, set at a prestigious Los Angeles dance studio, harks back to the vibes of an earlier age.Alexis Beauregard and Roman Royale in a scene from “Playground.”HuluTime-loop shows are everywhere these days, and now TV itself is looping back, scooping up folks from shows of yesteryear to bring their skills and wisdom to the present fight. “Playground,” which arrives Friday on Hulu, is ostensibly a new reality show set in a Los Angeles dance studio.But the series is also multiple throwbacks in one, a new team reassembled from the people and vibes of earlier reality programming. The second episode includes a 2000s-themed birthday party; meanwhile, “Playground” is itself a 2000s-style show.An awful lot of contemporary reality shows follow a Bravo model of contrivance and repetition, in which seasons use the same segments so many times they feel like reruns of themselves. Based on the two episodes available for review, “Playground” does not, to its tremendous credit, play like a descendant of “Vanderpump Rules” — its closer ancestor is “The Hills.” Oh, the testy al fresco lunches! Oh, the intriguing young women who debase themselves for the attentions of immature men!Long-term fans of dance shows will spot a few familiar faces immediately (in addition to Megan Thee Stallion, who is an executive producer, and Tinashe, among other stars). Robin Antin and Kenny Wormald not only run Playground LA; they’ve also both been on dance reality shows before — Antin on multiple Pussycat Dolls shows in the late aughts and Wormald on the single-season “Dancelife.” (Not to be confused with the recent Australian reality show “Dance Life,” which is also great.) Here, they’re the prickly mom and dad to a family bursting with talent and strife.Part of what makes “Playground” so perfect in its electric garbage way is the conflict between Alexis, the golden child, and Deanna, who proudly describes herself as “Satan’s daughter.” Those of us raised in the faith of days-long “Real World” marathons require angry people on TV shouting “Say it to my face!” in order to have a full life, and “Playground” delivers, largely via Deanna.For all its retro glory, “Playground” also feels refreshingly new in its editing and momentum. Many streaming reality shows mimic the pacing of basic cable (especially now that plenty of streamers also include commercials). But those filler recapitulations that come after each commercial break are tedious enough — and in a streaming context are vestigial at best. “Playground” doesn’t bother with them and is instead filled with real material: dancing, squabbling, vying, gossiping, all the essential food groups of a summer show. More

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      in Television

      Benj Pasek and Justin Paul Approach EGOT After ‘Only Murders’ Nod

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      Season 3 of the Hulu comedy “Only Murders in the Building” earned 21 Emmy nominations on Wednesday — adding to the 30 it had already amassed, along with four wins, for Seasons 1 and 2.But this season, the series could also produce an EGOT, the term for someone (or, in this case, someones) who has won all four major entertainment awards: an Emmy, a Grammy, an Oscar and a Tony. When the 76th Emmy Awards air in September, the songwriting duo Benj Pasek and Justin Paul will have a chance to check off the E, having received a nod for best outstanding original music and lyrics for their tongue-twisting ditty “Which of the Pickwick Triplets Did It?”The series’s third season switched things up by moving much of its action to Broadway. Pasek and Paul, as along with a supergroup of Broadway collaborators, were brought aboard to write music for the new episodes. Marc Shaiman and Scott Wittman, who won Tonys for “Hairspray,” were also writers of the Emmy-nominated tune.The other awards contributing to Pasek and Paul’s potential EGOT came from their work on the comedy-drama film “La La Land” (a best original song Oscar for “City of Stars”), the stage musical “A Strange Loop” (a best musical Tony, as producers) and the musical “Dear Evan Hansen” (a Tony for best original score and a Grammy for best musical theater album).A running bit on the most recent season of “Only Murders in the Building” sees the former TV star Charles-Haden Savage struggle to perform “Which of the Pickwick Triplets Did It?” He finally gets through it in the eighth episode, “Sitzprobe,” but the actor who plays him, Steve Martin, nailed it within two hours, according to the songwriters.A win for Pasek and Paul would make them, as a duo, the second EGOT winners this year. Elton John joined the club in January when he won an Emmy for outstanding variety special for his live-streamed farewell concert.The episode “Sitzprobe” has also popped up in several other categories in this year’s Emmy nominations, including outstanding guest actress in a comedy series (Da’Vine Joy Randolph) and outstanding contemporary costumes for a series. More