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      Best Movies and TV Shows Streaming in January: ‘Echo,’ ‘True Detective’ and More

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      We’ve rounded up of the titles most worth checking out in the coming month, including an adaptation of “The Expatriates” and the return of “True Detective.”Every month, streaming services add movies and TV shows to its library. Here are our picks for some of January’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.)New to Amazon Prime Video‘Expats’Starts streaming: Jan. 26Based on Janice Y.K. Lee’s best-selling novel “The Expatriates,” this low-key melodrama is set in Hong Kong, where three very different Americans find their lives intertwining. Nicole Kidman plays Margaret, a socialite and mother whose seemingly idyllic world has been recently marred by tragedy. Sarayu Blue is Hilary, Margaret’s once-close friend, who has drifted away as her own domestic situation has soured. And Ji-young Yoo is Mercy, a younger working woman who takes jobs that put her in the orbit of the rich. The indie filmmaker Lulu Wang (best-known for “The Farewell”) serves as a writer, director and creative supervisor for the miniseries, which is about women enduring crises big and small while trying to make homes for themselves in a foreign land.Also arriving:Jan. 5“Foe”“James May: Our Man in India”Jan. 12“Role Play”“Uninterrupted’s Top Class: The Life and Times of the Sierra Canyon Trailblazers”Jan. 19“Dance Life” Season 1“Hazbin Hotel” Season 1Jan. 23“Kevin James: Irregardless”New to AMC+Clive Owen brings the classic Dashiell Hammett character Sam Spade to the South of France in “Monsieur Spade.”Jean-Claude Lother/AMC‘Monsieur Spade’Starts streaming: Jan. 14The writer-director-producer Scott Frank follows up his hit drama “The Queen’s Gambit” with this offbeat mystery series, created and written with Tom Fontana, the creator of “Oz.” Clive Owen plays Dashiell Hammett’s famed detective Sam Spade, who in the show’s first episode moves to a sleepy village in the South of France in the early 1960s and settles into semiretirement. But Spade’s neighborly interest in the locals’ lives eventually gets him back into the snooping business — especially after a horrific crime at a nearby convent outrages the community. Frank and Fontana are aiming for a soft-boiled Euro-noir vibe with “Monsieur Spade,” staging this story of murder and regret against a backdrop of vineyards and villas.Also arriving:Jan. 4“Sanctuary: A Witch’s Tale”Jan. 8“Cheat”Jan. 12“Destroy All Neighbors”Jan. 15“Alex Rider” Seasons 1 & 2Jan. 22“The Guff” Seasons 1 & 2Jan. 26“Suitable Flesh”Jan. 29“Crossroads” Season 2“No Offense” Seasons 1-3New to Apple TV+‘Criminal Record’ Season 1Starts streaming: Jan. 10The British writer-producer Paul Rutman (creator of the historical drama “Indian Summers” and a writer for the cop show “Vera”) continues his fascination with brutal crime and social divisions in his new series “Criminal Record,” a modern murder mystery in which the perception of the evidence differs depending on who is doing the examining. Cush Jumbo plays Detective Sergeant June Lenker, who while following up on a phoned-in tip becomes convinced that one of her superiors — Detective Chief Inspector Daniel Hegarty (Peter Capaldi) — intentionally nabbed the wrong man in an old case. Lenker’s drive to see justice done sets her against the London police force’s old guard, who suggest that as a Black woman with less experience, she may be looking for bias where none exists.‘Masters of the Air’Starts streaming: Jan. 26A companion piece to the popular, award-winning World War II dramas “Band of Brothers” and “The Pacific,” this miniseries covers the men of the 100th Bomb Group, who suffered heavy casualties while running crucial missions deep into Nazi territory. Austin Butler stars as a handsome officer who heads overseas with visions of glory and soon finds that the realities of combat are more challenging and devastating than he could have imagined. As with the earlier series, this new one (produced again by Gary Goetzman, Tom Hanks and Steven Spielberg) is an ensemble piece, showing how camaraderie helps fighting men endure. “Masters of Air” also features an all-star team of directors drawn from the acclaimed indie film and prestige TV ranks, including Cary Joji Fukunaga, Dee Rees, Tim Van Patten and the duo Anna Boden and Ryan Fleck.New to Disney+Alaqua Cox in the new Marvel series “Echo,” a spinoff of the series “Hawkeye.”Chuck Zlotnick/Marvel Studios, via Disney+‘Echo’Starts streaming: Jan. 9The television arm of the Marvel Cinematic Universe is going through changes, moving away from having every movie and TV series connect closely to a larger transmedia narrative. Although “Echo” is a spinoff from the Avengers-adjacent miniseries “Hawkeye” — with Alaqua Cox reprising her role as a deaf Native American with the power to mimic other people’s fighting styles — and although it will feature the Marvel villain Kingpin (Vincent D’Onofrio), the show is meant to stand alone, appealing even to viewers who have never even heard of the likes of Daredevil or She-Hulk. “Echo” will be available on both Hulu and Disney+. It is the first TV-MA Marvel series, reflecting its more mature story, about a woman who has to reckon with her past in Oklahoma in order to get some killers off her trail.‘Bluey’ Season 3, Part 3Starts streaming: Jan. 12It’s a major event whenever Disney+ imports any new “Bluey” episodes from Australia, where the series airs months before it hits the United States. This latest batch of 10 includes episodes in which the imaginative puppy Bluey and her sweet kid sister, Bingo, build an elaborate furniture fort, take a trip to the beach, pretend to be office workers, play a game with a store’s security monitors and more. Will America’s parents and children be patient enough to parcel out these seven-minute doses of joy over multiple days, or will they burn through them all in one night?Also arriving:Jan. 17“Siempre Fui Yo” Season 2Jan. 24“A Real Bug’s Life”Jan. 31“Choir”New to Hulu‘Death and Other Details’Starts streaming: Jan. 16The “Knives Out”/“Only Murders in the Building” trend toward colorful whodunits continues with this stylish mystery series, set mostly on a high-end cruise ship in the Mediterranean. Violett Beane plays Imogene Scott, a young woman with a tragic past, who ends up becoming the prime suspect in a tricky locked-room murder case. Mandy Patinkin plays Rufus Coteworth, a celebrity detective who 20 years earlier disappointed the adolescent Imogene with his inability to bring her mother’s killer to justice. Reluctantly, she puts her remarkable memory together with Rufus’s keen eye for detail, working with him to find out which of the wealthy, fabulously well-dressed people on a luxury liner may have harpoon-gunned a man to death.Also arriving:Jan. 3“Ishura”Jan. 4“Daughters of the Cult”Jan. 7“The Incredible Pol Farm”Jan. 9“Beyond Utopia”“Safe Home” Season 1Jan. 12“Miranda’s Victim”“Self Reliance”Jan. 17“A Shop for Killers”Jan. 18“Invisible Beauty”Jan. 22“Superhot: The Spicy World of Pepper People” Season 1Jan. 24“Tell Me That You Love Me” Season 1Jan. 28“R.M.N.”New to Max‘True Detective’ Season 4Starts streaming: Jan. 14The latest edition of the HBO crime anthology “True Detective: (now subtitled “Night Country”) has a new show runner in Issa López, who continues the series’s tradition of attracting big-time movie stars to do television. Jodie Foster plays Liz Danvers, an Alaskan police detective whose contentious relationship with her colleague Evangeline Navarro (Kali Reis) complicates their investigation into two strange, possibly intertwined cases: the murder of an Indigenous social activist and the disappearance of eight scientists from an Arctic Research Station. The stellar cast includes John Hawkes as Danvers’s slack underling, Christopher Eccleston as their fussy boss and Fiona Shaw as a local with a strange spiritual connection to this dark, desolate, wintry landscape.Also arriving:Jan. 8“Going to Mars: The Nicki Giovanni Project”Jan. 18“On the Roam”“Sort Of” Season 3Jan. 22“Rick and Morty” Season 7New to Paramount+ With Showtime‘Sexy Beast’Starts streaming: Jan. 25The arty 2000 gangster movie “Sexy Beast” became a favorite among both cinephiles and crime story aficionados for its darkly comic story of aging British crooks. This prequel TV series is set in the ’90s and catches these men and women in their heyday, when they ruled London’s underworld but also as they began heading in the directions that would later pull them apart. James McArdle plays Gal Dove, a sharp-witted hustler whose attraction to the adult film actress Deedee Harrison (Sarah Greene) gets him to start thinking about a life away from his overly intense partner Don Logan (Emun Elliott) and their boss Teddy Bass (Stephen Moyer).Also arriving:Jan. 11“SkyMed” Season 2Jan. 16“June”Jan. 19“The Woman in the Wall”New to PeacockThe title bear of the prequel series “Ted,” as voiced by Seth MacFarlane.Peacock‘Ted’ Season 1Starts streaming: Jan. 11This prequel to the writer-director Seth MacFarlane’s hit movies “Ted” and “Ted 2” jumps back to 1993, following the early misadventures of the Boston-area teenager John Bennett (Max Burkholder) and his walking, talking, swearing teddy bear (voiced by MacFarlane). As Ted joins his best buddy, Johnny, in high school, the series riffs on the old John Hughes teen misfit movies and weird family TV shows like “Alf,” in which one kid’s journey through the usual coming-of-age rituals is complicated by his unconventional domestic situation. As with the “Ted” films, MacFarlane gets laughs from the matter-of-fact way that full-sized humans interact with a small, adorable, unapologetically vulgar stuffed animal.Also arriving:Jan. 12“The Traitors” Season 2Jan. 25“In the Know” Season 1 More

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      Love a TV Show? Now You Can Live It.

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      Streamers and networks are creating live experiences to promote series like “Squid Game” and “Only Murders in the Building.” But do they amount to anything more than just marketing?On a sun-nuzzled morning in Los Angeles, 25 people filed into a narrow, windowless room. They were about to participate in “Squid Game: The Trials,” an interactive experience based on the popular, dystopian Netflix franchise.A South Korean series about an indebted man who enters a deadly tournament, “Squid Game” was a surprise hit for Netflix two years ago. In November, Netflix released a companion reality series in which 456 players competed, less lethally, for a $4.56 million prize. Now anyone with $39 — or $99 for a V.I.P. pass that includes parking and coat check — can play along in real-time. A ticket is an entree to a 70-minute roundelay of dire versions of children’s playground games, with Korean snacks, claw games and shopping to follow.The original “Squid Game, ” a savage anticapitalist satire, delights in blood sport. The reality version, though gentler, takes a dim view of human nature. But in the rooms of the interactive experience, housed on the former soundstage of “The Price Is Right,” the mood was cheerful, even giddy. “Squid Game” fans — dads and sons, friend groups, couples, a grandmother celebrating her birthday — thrilled to each callback and Easter egg. Many of them had come in tracksuit costume. Once the trials were complete (the grandmother had won, via light cheating), they happily browsed the snack stalls.Some players came to “Squid Game: The Trials” in tracksuit constumes.Jamie Lee Taete for The New York TimesThe event was held in the former home of “The Price Is Right,” but its games were much gorier.Jamie Lee Taete for The New York Times“Squid Game: The Trials” is the latest in a trend of immersive experiences designed to lever an imaginary world into our real one. Referred to as brand activations or brand experiences, these events transform television shows (and films and sometimes consumer products) into multidimensional happenings.“It’s moving and it’s organized and it’s becoming a lot more expected,” Fri Forjindam, whose company Mycotoo specializes in immersive design, said of the trend.This past year, in New York City alone, fans could snuggle on the couch during a “Friends” experience, wander through an opulent theater during an “Only Murders in the Building” experience, solve a murder at “Welcome to the Continental: The Hotel Bar Experience,” dance the night away at a ball out of “Bridgerton” or sip cocktails while ogling Carrie Bradshaw’s shoe closet. Really, the options are legion. (In 2017, the FX series “Legion” rated an experience, too.)“We are bringing a theme park to people,” Marian Lee, Netflix’s chief marketing officer, said. “We are going to where the fans are.”These participatory and walk-through experiences have been part of the media landscape for more than 20 years, but until recently they have been rare and exclusive, the province of events like Comic Con or the South by Southwest festival or some of the splashier premieres. An amalgam of theater, commerce, viral marketing and fan service, they were intended to publicize shows in ways more forceful and creative than a Sunset Boulevard billboard.“You don’t hear from people necessarily about billboards that they see,” said Barrie Gruner, Hulu’s executive vice president of marketing and publicity. “But these types of activations are what really help drive word of mouth.”In recent years, these experiences have multiplied, particularly for prestige shows. “The Walking Dead” has sponsored a zombie-ridden obstacle course. “Game of Thrones” has birthed an interactive studio tour. The pandemic accelerated the trend. Many viewers consumed unusual amounts of television during lockdown. When live events returned, marketing and publicity departments looked for innovative ways to engage those fans. Hulu debuted a “Nine Perfect Strangers” activation in 2021. The next year Netflix created elaborate experiences in multiple cities based on three of its most popular properties: “Bridgerton,” “Money Heist” and “Stranger Things.”“We’ve seen an acceleration, post-Covid, of people wanting to be out,” Lee said. “This is how fans are engaging.”Not every show or movie lends itself to an experience, but many do: Walking away from the “Squid Game” immersion, I stumbled across a lollipop-filled “Wonka” pop-up that had taken over part of a nearby shopping center.An experience based on the Netflix period dramedy “Bridgerton” was styled as a ball.NetflixAn amalgam of theater, commerce and viral marketing, the activations are designed to publicize shows and keep fans engaged.Federico Imperiale/NetflixThese activations offer titles another way to stand out, literally, amid a crowded mediascape. For series, specifically, they offer a way to retain fans between seasons.“A lot of shows can get hot for a season or two, but we’re really looking and interested in sustained success,” Gruner, from Hulu, said. “In order to do that, you need more than fans, you need advocates.”These brand extensions take different forms, which typically gesture toward older varieties of entertainment. Some resemble museum exhibits. Others, which can involve dozens of actors, resemble plays.“They’re not theater,” said Sarah Bay-Cheng, an academic who studies the intersections of theater and media. “But they are theatrical.” And now some of them are in fact theater, as in the case of “Stranger Things: The First Shadow,” a prequel that recently opened in London.Not every activation invites or demands absolute fidelity to its source material, though an experience risks disenchanting fans if it deviates too far. While streamers and networks typically outsource activations to external marketing farms, those firms tend to work closely with writers and producers to preserve the spirit of the work.“We’re all making sure that we’re coming to it from a place of authenticity,” said Forjindam, who has helped to design experiences for “Stranger Things,” “The Mandalorian” and “Westworld.” “And then from there, you break all the rules.”An “Only Murders in the Building” activation included props and costumes from the show.Mo DaoudGuests were invited to solve the mystery of the most recent season.Mo DaoudA recent “Only Murders in the Building” experience, held in September at Upper Manhattan’s United Palace theater, where the show had filmed, was a faithful, playful recreation of the show. Guests could wander onstage, backstage and through the lobby, surveying actual props and costumes from the show. Using special flashlights to illuminate clues, they could attempt to answer the most recent season’s whodunit just days before the finale aired.A week later and a few miles downtown, at “Welcome to the Continental: The Hotel Bar Experience,” fans would encounter all-new characters and an original mystery, inspired by the Peacock series “The Continental,” a prequel to the “John Wick” franchise. Inside the Beaver Building, which had lent its facade to the movies, ticket holders, who were encouraged to dress as assassins, were free to move from room to room, engaging actors at will. Or they could congregate at the bar and swallow some very strong cocktails.“We wanted guests to feel like they were the main character in their own show,” said Ollie Killick, whose company, Fever, designed the experience.But is the show really about them? Or are activations like these merely a means to a marketing end? If an experience delights fans, those fans, by documenting and posting, often in meticulous detail, become part of a show’s advertising campaign.An event to promote “The Continental,” a “John Wick” prequel, included an original mystery and cocktails.Bryan Bedder/Peacock“We do look at social buzz,” said Shannon Willett, the chief marketing officer at Peacock. “We want people to have a great time, have that great experience, post on social, talk about that experience to other people.” Though expensive to produce, such immersions will have a greater impact on fans and will likely lead to more social media impressions than a traditional billboard or print ad.Netflix’s Lee put the emphasis elsewhere. “For us, it’s about the fans,” she said. “We don’t approach it as advertising.” Netflix recently announced a plan to open destinations known as Netflix Houses, where fans can engage in rotating live experiences while also eating branded food and shopping for souvenirs.Though perhaps not conceived as an advertising ploy, a venue like this achieves some of what advertising intends, building brand identification and loyalty. And they may lack the intellectual and emotional nourishment that theatrical or museum experiences might offer.Last year, in Toronto, Bay-Cheng attended the “Bridgerton” ball. She was named the diamond of the season, which involved confetti, glitter and great fanfare. “It was just this amazing moment of totally unearned adoration,” she said.While she enjoyed the ball and understands these activations as reflecting the desire for a live experience, she worries that the form is inherently limiting, feeding fans more of what they already enjoy rather than challenging them with something new.There were true challenges at “Squid Game: The Trials.” (The marbles were nearly impossible.) And if the experience could not be reasonably mistaken for theater or art, it did provide moments of exhilaration, affection, collaboration and joy, which is more than most billboards can say.Had it felt like living inside the show? “No,” a woman said after the final challenge. “But it was fun.”Why would a person pay to immerse herself in a dystopia, albeit a fun dystopia? Mike Monello, whose company, Campfire NYC, designed the “Only Murders” experience, has one theory. If you love something, he believes, then you must want to share it, even if the thing you love, as in “Squid Game,” is a caustic drama with an alarming body count.“Opportunities like this offer people a chance to get together with your tribe and experience something unique,” Monello said. “We have the need to share in the things we love. And it’s a lot more fun to do it in person.” More

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      What to Watch This Weekend: An Upbeat Documentary Series

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      A new three-part documentary follows a group of bright and charming high school students who are practically bursting with passion for science.“Science Fair: The Series,” a three-part documentary that airs in full on Sunday at 8 p.m., on National Geographic (and begins streaming Monday on Disney+ and Hulu), follows high school students from across the world who are vying for a spot at the International Science and Engineering Fair, which they consider their Olympics.Each student has been conducting specialized and advanced research for years: eliminating micro algae from the backyard lagoon, turning reeds into biofuel, prototyping sustainable electric car batteries.To a one, the students here are bright and charming, practically bursting with passion. And at a moment when vibes discourse would lead us to believe that every teen on earth has TikToked themselves into being a depressed robot who wants fast fashion and can’t do homework, it’s a treat — a relief, even — to encounter work that is so enthusiastic about young people.Our main teacher-anchor here is Dr. Serena McCalla, a teacher in Jericho, N.Y., whose team is such a powerhouse that families move from other countries to put their kids under her tutelage. (McCalla was also in the 2018 film “Science Fair,” which is the inspiration for this series.) She drills students not only on their scientific work but especially on their sales pitches and their answers to the judges’ questions. She’s tough and judicious, and the biggest lesson she seems to impart to one superstar is not how to win but how to lose.After the success of the 2003 documentary “Spellbound,” about competitors in the National Spelling Bee, there seemed to be a lot stories for a while about kids pursuing niche excellence. (I still think of you, teen magicians from the 2011 documentary “Make Believe,” who I guess are all adults now.) These days, we are never too far from a football or ballet documentary in which a stern talking-head reminds us that in real life, not everyone can win. All geeky enthusiasm and showmanship seems to have been conflated with musical theater since “Glee,” so it’s nice to see science research get its own moment of teenage glory.Format-wise, “Science Fair” is standard fare, but that’s fine — it’s so earnest and endearing, and it even has those satisfying “Where are they now?” updates at the end. If you need a bubbly pick-me-up kind of show, or if you have fond memories of whatever your “thing” was in high school, watch this. More

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      ‘L.A. Law’ Meets Millennials and Gen Z-ers

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      Thanks to a splashy relaunch on Hulu, new generations have their first encounter with the soapy, sax-heavy legal drama that made its debut in 1986.“L.A. Law,” an Emmy-winning NBC drama that generated almost constant buzz during its run three decades ago, returned to the cultural spotlight this month when Hulu rereleased its 172 episodes in remastered high-definition format.Until the streaming relaunch, the show was hard to find, existing in DVDs at junk shops and in the depths of Amazon Prime Video. And so, unlike “The Golden Girls,” “Friends,” “Seinfeld” and a few other series from the 1980s and 1990s, it had remained all but unknown to anyone born in the last 40 years or so.In recent days the Styles journalists Melissa Guerrero, Sadiba Hasan, Callie Holtermann and Louis Lucero — all members of the Millennial or Gen Z generations who had never seen “L.A. Law,” much less heard of it — watched the first three episodes on Hulu. They shared their observations with the editors Minju Pak and Jim Windolf, who were fans of the show in its heyday.Produced by Steven Bochco and Terry Louise Fisher, and starring Harry Hamlin (Michael Kuzak), Corbin Bernsen (Arnie Becker), Jill Eikenberry (Ann Kelsey), Jimmy Smits (Victor Sifuentes) and Susan Dey (Grace Van Owen), “L.A. Law” made its debut in September 1986. It was the subject of workplace conversation and countless think pieces, and it won 15 Emmys before the final gavel in 1994.So how does it hold up for viewers in the 2020s? Is it just a time capsule of the Reagan-Bush-Clinton years, or something more? The conversation below has been edited for length and clarity.Louis Lucero It’s “Law & Order,” minus the order. Doozies abound. “You didn’t need a lift — you hardly had anything to drink!” I was thrilled to encounter that charming line at the end of the third episode.Jim Windolf Buzzed driving was apparently not drunken driving in the 1980s.Minju Pak Did anyone else notice the saxophone and all the silk?Callie Holtermann Sorry, I was too busy learning about smoking indoors.Melissa Guerrero And car phones. Someone please bring them back, if only for the aesthetic.JW The sax in the opening credits really sets a mood. Along with the vanity plates.LL That saxophone should be licensed by the A.T.F.!Sadiba Hasan The theme song alone made me want to turn off the TV.MP I do love the depiction of L.A. traffic, which is now decidedly worse. Can I ask the younger people here, was there anything about the show that you liked? Did the office politics horrify you?LL To the second question, a hard yes, obviously. But in spite of myself, there was a lot that I found delightful. It’s always intoxicating to see an analog office, for starters — the visual equivalent of ASMR for the Slack-addled millennial brain.JW It’s hard to imagine what people did in their offices when there’s no computer on the desk.LL People running around with manila envelopes and little slips of paper that say who called? Literally unimaginable. Too cute for words! Did people realize how adorable they were being?JW They did not.MP I did find that network television moved really quickly.MG I appreciated how, from the initial scene onward, the show made the characters’ fatal flaws very apparent.JW The first few episodes pack in a lot of issues we’re still dealing with. There’s a “doozy” factor in how they’re treated, but they’re there. A trans woman; a woman denied a promotion after she sleeps with a partner; bosses botching workplace diversity; and heartless insurance companies. How did all that strike you?SH I was worried that an ’80s law show would have aged terribly, but many of the issues that came up are still very much relevant, like victim blaming in sexual assault cases and racism in the workplace. And while there are lawyers at the firm who are greedy and seemingly heartless, there are also lawyers with a conscience.MG Truthfully, I held my breath when some of these themes came up. It played into the assumption that old TV shows wouldn’t address this well.CH At one point Kuzak says something like, “I don’t always believe my client, but I have to believe in the system.” Every generation rails against “the system” in a way it believes is unique, but I doubt that line is going to draw in Gen Z viewers.Mr. Hamlin, shown here in a scene from “L.A. Law,” is known to some modern-day viewers as the husband of the reality television star Lisa Rinna.Frank Carroll/NBCU Photo Bank/NBCUniversal, via Getty ImagesLL At least once an act break in the first three episodes, I was reminded that today’s progressivism may prove to be tomorrow’s cringe. Obviously, the reveal of Georgia’s trans identity was played for shock, but it’s not difficult to imagine the writers patting themselves on the back for affording the character a nominal bit of dignity of explaining herself on several occasions.JW Before “L.A. Law,” that kind of thing was played for laughs. I’m thinking of Klinger on “M*A*S*H,” or Flip Wilson as Geraldine on “The Flip Wilson Show.” Can we take a look at the style? Did any of the fashion jump out at you?SH So much blonde hair. Blonde hair everywhere.LL And in such different arrangements!MP Did people age worse back then? Or maybe they just dressed old.JW The men’s suits were incredibly roomy.MP I kept hoping for a good tailor to show up.MG Susan Dey’s character reminded me of C.C. Babcock from “The Nanny.” The blonde bob! The pantsuit! The power! Iconic.CH I Googled some of the actors to see if any of them were the Jacob Elordi of their day. And Harry Hamlin was People’s Sexiest Man Alive in 1987!LL Harry Hamlin was a reveallllll. To me, he has always been Lisa Rinna’s unseen, Godot-like husband. The fact that he was as ’80s-hot as promised? Bless up.MG I’m sorry to Jimmy Smits, but he will always be Senator Organa to me — Princess Leia’s adoptive father.JW What does an old show need to make an impression now? Why have “Friends,” “Seinfeld,” “The Golden Girls” and a few others from decades ago hung on in the streaming age?SH A big part of that is, it just needs to be a sitcom. A show that makes you laugh stands the test of time.CH I want to put forth the “Suits” theory. Netflix just had a huge hit with resurging interest in the 2010s legal drama. So I think Hulu tried to say, Hey, we have an even older legal drama. But “Suits” has the advantage of Meghan Markle taking the LSAT over and over.LL Speaking of Jimmy Smits, I just wrapped my second rewatch of “The West Wing”MP Smits is one of those actors who’s the same in every character he plays, but it works. A cop, a lawyer, the president. He always has the same haircut, which I’ve never been able to describe. Is it a mullet? Is it feathered?Jimmy Smits played the brash Victor Sifuentes on “L.A. Law.”Charles Bush/NBCU Photo Bank, via NBCUniversal, via Getty ImagesLL What it certainly is, on this show, at least, is a few inches above a stud earring.MP Yes! Truly subversive.MG I would describe that haircut as, “My Tito’s haircut when they stop caring about their hair and decide they want a motorcycle for their 50th birthday.”LL For the number of micro-, macro- and in-between aggressions poor Victor put up with, he should’ve been able to have his septum pierced, if he wanted.MP Can I ask the younger folks here, what are some of the older shows you’re watching?SH I always turn to “Girlfriends” and “The Fresh Prince of Bel-Air.” Sitcoms! My comfort shows!MG I’m diving into “The Nanny.” I grew up watching that show with my mom, but we didn’t have the luxury of streaming, and the story line was completely out of order.JW So what’s the verdict on “L.A. Law”?CH I liked it more than I thought I would. There are parts that made me go, “Yikes!”, but it helped me understand where soapy dramas, “Succession” included, come from. I doubt I’ll watch more but I don’t feel like “L.A. Law” and its schmaltzy saxophone should be swept into the dustbin of time.LL It’s an artifact. A trapped-in-amber, predictably problematic, genuinely funny artifact, one that I’m leaning toward giving a few more episodes. Even if only to see more memos being jotted down for people “leaving word”! More

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      ‘A Murder at the End of the World’ Review: P.I. Meets A.I.

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      The story of death at a mogul’s retreat (no, not “Glass Onion”) has a few interesting ideas about tech within a familiar mystery scenario.An eccentric tech billionaire invites a slew of notables to a private retreat, where a detective must solve a mysterious death. If the premise of “A Murder at the End of the World” jumps out at you, it may be because you not so long ago encountered it as the premise of Rian Johnson’s “Glass Onion: A Knives Out Mystery.”Or it may jump out at you because “Murder” is the latest creation from Brit Marling and Zal Batmanglij of Netflix’s “The OA.” That series was a poetic and baffling testament to the force of human connection, involving interpretive dance and a telepathic octopus. The murder mystery, in comparison, is among the most literal, plot-reliant of genres. Could Marling and Batmanglij really have made something that … ordinary?FX’s “Murder,” which begins Tuesday on Hulu, is neither as weird as you might hope or as conventional as you might fear. (Or vice versa.) It takes an Agatha Christie scenario and spins it into a chilly, stylized cyber-noir with ideas about artificial intelligence and some familiar Marling/Batmanglij themes of global consciousness. Think of it as “Glass OAnion.”The detective here is a relative newcomer. Darby Hart (Emma Corrin), an intense young computer hacker, tracked down a serial killer with Bill Farrah (Harris Dickinson), a moody amateur investigator she met online and fell in love with. Her true-crime memoir earns her some literary notice, as well as an invitation from Andy Ronson (Clive Owen), a tech magnate who is convening a meeting of “original thinkers” — artists, entrepreneurs, an astronaut — at a sleek, remote hotel that he had built in Iceland.The purpose of this Arctic TED Talk is, ostensibly, to cogitate on the existential threat of climate change to humanity. Andy, however, has another intelligence at his disposal — an advanced A.I. called “Ray” that manifests in the holographic form of a neatly goateed man in black (Edoardo Ballerini). Andy believes in the transformative power of this technology and others, but transformative to and for whom?Darby questions whether and why she fits in with the luminaries at the gathering. But she accepts the invitation for the chance to meet a tech idol: Not Andy, but his wife, Lee Andersen (Marling), a renowned coder who dropped out of public life after a Gamergate-style harassment campaign and lives in seclusion with Andy and their young son (Kellan Tetlow).But another guest grabs Darby’s attention: Bill, now a famous artist, whom she has not seen since a falling-out at the end of their investigation. Before they have time to catch up — don’t say the title didn’t warn you — somebody turns up dead, and Darby’s wiring for suspicion kicks in.Misogyny and technology are the twin themes of “A Murder.” Darby was drawn into the serial-killer case by her talent for hacking and her empathy for forgotten female victims. A common theme of her investigations is how little credibility she is granted as a young woman. When she pulls her hoodie over her head, yes, it is a universal visual symbol for “hacker,” but she also might as well be drawing an invisibility cloak.Then there’s A.I., which pervades the story like it does Andy’s icy retreat. In some cases technological reality has moved faster than the TV production process. A scene in which Ray produces a Harry Potter story in the voice of Ernest Hemingway astonishes the guests, for instance, but you’ve likely seen a dozen similar examples over the past year.Still, “A Murder” has a multifaceted view of A.I., not just as a threat but as a possible helpmeet. On the one hand, Andy is another arrogant billionaire who looks to software to compensate for the deficiencies that annoy him in humans. But the surveillance features built into the retreat’s setting, however creepy, are also a trove of clues. As Darby digs into the mysterious death, she finds herself using Ray as a source and even an aide — part Sherlock Holmes’s Watson, part IBM’s.The present-day whodunit isn’t especially inventive, but Corrin carries the story with a nervy, febrile performance that invests Darby with the life that the dialogue sometimes fails to provide. And the series has atmosphere to spare, making the most of the stark volcanic beauty of its location in Iceland. (It also shot in Utah and New Jersey.)The flashbacks to Darby and Bill’s serial-killer chase, which take up much of the seven episodes, are emotional and involving; Dickinson gives Bill an open-wound vulnerability. But rather than adding resonance to the whole, these scenes end up outshining the long, talky story they’re meant to flesh out.“A Murder,” in its main arc, feels like a bit of an artificial life form itself. The blandly drawn retreat guests get no more than a stroke or two of characterization and are weighted with self-serious dialogue. Andy mostly plays to bullying tech-mogul type. And while Marling always uses her enigmatic air as a performer to good advantage, Lee is more of a riddle — how did a coding revolutionary become a tech tradwife? — than a rounded character.Marling and Batmanglij’s work has often been more about the delivery of ideas and intangibles than plotting or naturalism, however. At its best, “A Murder” has grandeur, chilly beauty and intellectual adventurousness (and it pulls off a satisfying final twist). It might have been more effective if, as with so many limited series lately, it were tighter and shorter. In this sense, technology is the culprit: Streaming-TV bloat has its fingerprints all over this case. More

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      The Best Movies and TV Shows Streaming in October: ‘Loki,’ ‘Goosebumps’ and More

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      Here’s the best of what’s coming to Amazon, Max, Apple TV+ and others.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.)New to Amazon Prime Video‘Totally Killer’Starts streaming: Oct. 6The offbeat horror-comedy “Totally Killer” is a 1980s-style slasher film with a science-fiction twist. Kiernan Shipka stars as Jamie, a rebellious teenager who has lived her whole life in a small town that was the site of an infamous string of unsolved murders in 1987. When the masked killer — or perhaps a copycat — reappears and slays Jamie’s mother, Pam (Julie Bowen), Jamie travels back in time to 1987 to stop the original spree. While trying to figure out the identity of a knife-wielding maniac, the heroine handles the culture-clash of being a 2020s high school kid stranded in a clique-dominated, politically incorrect era.Also arriving:Oct. 3“Make Me Scream”Oct. 6“Desperately Seeking Soulmate: Escaping Twin Flames Universe”Oct. 10“Mr. Dressup: The Magic of Make-Believe”Oct. 11“Awareness”“The Greatest Show Never Made”Oct. 13“The Burial”“Everybody Loves Diamonds”Oct. 20“Bosch: Legacy” Season 2“Upload” Season 3Oct. 24“Hot Potato: The Story of the Wiggles”“Zainab Johnson: Hijabs Off”Oct. 26“Sebastian Fitzek’s Therapy”Oct. 27“The Girl Who Killed Her Parents: The Confession”Brie Larson in “Lessons in Chemistry.”Apple TV+New to Apple TV+‘Lessons in Chemistry’Starts streaming: Oct. 13Based on a Bonnie Garmus novel, this mini-series stars Brie Larson as Elizabeth Zott, a talented chemist who struggles to be taken seriously in the sexist 1950s scientific community. When her brazen defiance of her lab’s rules — coupled with an unwillingness to be subservient and girlie — gets her fired, Elizabeth reinvents herself as the host of a science-focused TV cooking show. “Lessons in Chemistry” covers a decade in the heroine’s life, balancing her rise to fame with her early struggles, while also following her brilliant, eccentric colleague and love interest Calvin Evans (Lewis Pullman). A combination of “Mad Men” and “Julia” — with a little bit of “Oppenheimer” mixed in — the series is a portrait of smart, independent people bucking the conformity of their times.Also arriving:Oct. 20“The Pigeon Tunnel”“Shape Island: Creepy Cave Crawl”Oct. 27“The Enfield Poltergeist”“Curses!” Season 1New to Disney+‘Loki’ Season 2Starts streaming: Oct. 5The Marvel Cinematic Universe has lately been all about the multiverse, with movies and TV series offering alternate versions of the classic Marvel characters living in parallel realities. Season 1 of “Loki” got that ball rolling, with a creative and mind-bending story about the roguish Norse deity running afoul of the timeline watchdogs in the Time Variance Authority. For Season 2, Tom Hiddleston returns as Loki and Owen Wilson is back as the frequently flustered TVA agent Mobius M. Mobius. Because of the proliferation of new multiverses unleashed in the Season 1 finale, many of the show’s characters find themselves subtly altered and stuck in other worlds, necessitating another trip through time, space and dimensions for these unlikely heroes.Also arriving:Oct. 2“Mickey and Friends Trick or Treats”Oct. 11“4EVER”Oct. 13“Goosebumps” Season 1Oct. 25“Primal Survivor: Extreme African Safari”Oct. 27“LEGO Marvel Avengers: Code Red”Zack Morris in “Goosebumps.”David Astorga/DisneyNew to Hulu‘Goosebumps’ Season 1Starts streaming: Oct. 13R.L. Stine’s perennially popular “Goosebumps” young adult horror novels get a new television adaptation, although unlike the original 1990s anthology TV series, this latest version (available on Hulu and Disney+) features concepts from Stine’s books inserted into a larger serialized story, with a single cast. Justin Long plays Nathan Bratt, the new high school English teacher in a quaint small town, as well as the new owner of a spooky old house that the local teenagers like to use for their parties. Before Mr. Bratt chases the kids away from their annual Halloween bash, five of them encounter haunted objects that change their lives and put the community in danger.Also arriving:Oct. 1“Ash vs. Evil Dead” Season 1-3“Crazy Fun Park”“Stephen King’s Rose Red”Oct. 2“Appendage”“Fright Crewe” Season 1Oct. 5“The Boogeyman”Oct. 6“Bobi Wine: The People’s President”“Undead Unlock”Oct. 9“The Mill”Oct. 10“Moonlighting” Seasons 1-5Oct. 11“Nada” Season 1Oct. 12“Monster Inside: America’s Most Extreme Haunted House”Oct. 13“Nocebo”Oct. 14“Empire of Light”Oct. 15“Slotherhouse”Oct. 18“Living for the Dead” Season 1Oct. 20“Cobweb”Oct. 26“American Horror Stories” Season 3Oct. 27“Explorer: Lake of Fire”“Shoresy” Season 2Rhys Darby in Season 1 of “Our Flag Means Death.”HBO MaxNew to Max‘Our Flag Means Death’ Season 2Starts streaming: Oct. 5The first season of “Our Flag Means Death” arrived without a lot of fanfare. Initially, the show looked to be just a mild-mannered pirate parody, about a ship full of misfit outlaws led by the inept captain Stede Bonnet (Rhys Darby). But as the season rolled on — and as Stede’s rivalry and romance with the notorious Blackbeard (Taika Waititi) became more central to the plot — the series’ creator David Jenkins began focusing more on piracy as a haven for people who yearn to live outside the mainstream. Season 1 ended on a cliffhanger, with Stede’s crew stranded on a deserted island and Blackbeard determined to get back to being mean. Fans have been eager ever since to learn how these twists will affect one of TV’s sweetest love stories.‘The Gilded Age’ Season 2Starts streaming: Oct. 29The “Downton Abbey” creator Julian Fellowes brings his uncommon knack for energetic historical melodrama to “The Gilded Age,” a lavishly decorated and irresistibly entertaining look at high society in 1880s New York City. Carrie Coon is superb as a shrewd social climber, married to a nouveau-riche tycoon (Morgan Spector) whose ruthless business tactics irritate the old money types. The rest of the cast includes Louisa Jacobson as a restless young woman living with her eccentric, judgmental aunts (Christine Baranski and Cynthia Nixon) and Denée Benton as an aspiring writer defying the era’s racist biases. Season 2 will continue Fellowes’s fascination with a pivotal era in American culture, when the upper-crust considered whether an ascendant democracy should still be following Europe’s unwritten rules of etiquette.Also arriving:Oct. 1“The Ringleader: The Case of the Bling Ring”Oct. 8“Last Stop Larrimah”Oct. 12“Doom Patrol” Season 4Oct. 19“Peter and the Wolf”“Scavengers Reign”Oct. 22“AKA Mr. Chow”Oct. 23“30 Coins” Season 2Jack Cutmore-Scott, left, as Freddy Crane and Kelsey Grammer as Frasier Crane in “Frasier.”Paramount+New to Paramount+ with Showtime‘The Caine Mutiny Court-Martial’Starts streaming: Oct. 6The final film from William Friedkin is both an adaptation of Herman Wouk’s provocative 1953 play “The Caine Mutiny Court-Martial” (updated to modern times by Friedkin, who wrote the screenplay) and a summation of the director’s career-long fascination with the line between legal authority and raw power, as seen in his classic films “The French Connection” and “To Live and Die in L.A.” Jason Clarke plays Lieutenant Barney Greenwald, a Navy lawyer defending Lt. Stephen Maryk, who defied orders and relieved his commanding officer Lt. Cmdr. Phillip Queeg (Kiefer Sutherland) of duty during a storm. Though mostly confined to one courtroom set, the movie is a thrilling actors’ showcase; and as with the play, it toys with the audience’s sympathies, raising questions about how justice is properly served in a case involving the rigid military chain of command.‘Frasier’ Season 1Starts streaming: Oct. 12Kelsey Grammer returns to his most famous role, in a sequel series that surrounds the fussy psychiatrist Frasier Crane with a mostly new cast of characters. Crane moves back to Boston from Seattle and gets involved in the lives of his son, Freddy (Jack Cutmore-Scott), and his nephew, David (Anders Keith). Freddy has turned out a lot like Frasier’s father, Martin — rugged and unpretentious — while David has the same dry wit and nervous energy as Frasier’s brother, Niles. Like the old “Frasier,” this new one traffics in farce, with the comedy driven by misunderstandings and personality clashes.‘Fellow Travelers’Starts streaming: Oct. 27This historical romance tells a story that stretches from the 1950s to the ’80s, tracing a love affair between two political consultants whose lives are affected by the changing times. Matt Bomer plays Hawkins Fuller, a savvy, politically flexible congressional aide who has a fling with Tim Laughlin (Jonathan Bailey), a right-wing speechwriter who admires Joseph McCarthy. Their relationship stretches across decades, through the more permissive ’60s and ’70s and into the conservative revival of the Reagan era. Adapted by the Oscar-nominated “Philadelphia” screenwriter Ron Nyswaner from a Thomas Mallon novel, “Fellow Travelers” is dotted with real-life historical figures and explicitly erotic sex scenes, illustrating how basic human needs can be undone by political expediency.Also arriving:Oct. 5“Bargain”“Monster High 2”Oct. 6“Pet Sematary: Bloodlines”Oct. 10“Painkiller: The Tylenol Murders”Oct. 16“Vindicta”Oct. 17“Crush”Oct. 24“Milli Vanilli”New to Peacock‘John Carpenter’s Suburban Screams’Starts streaming: Oct. 13The influential genre filmmaker and composer John Carpenter lends his name, his music and — for one episode — his directing talents to this hybrid anthology series, which combines true crime and horror. Each episode is anchored by interviews with ordinary people who experienced something extraordinary, encountering real evil in the form of the creeps, the killers and the unexplained phenomena in their seemingly placid neighborhoods. The interviews provide the basic details for these tales; and then the bulk of each “Suburban Screams” episode consists of lengthy re-enactments that have the look and feel of an ’80s slasher movie, as though Carpenter’s “Halloween” were a documentary.Also arriving:Oct. 12“Superbuns” Season 1Oct. 19“Wolf Like Me” Season 2Oct. 20“Ruby Gillman, Teenage Kraken”Oct. 24“Krishnas: Gurus. Karma. Murder.”Oct. 27“Five Nights at Freddy’s”“L’il Stompers” Season 1 More

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      ‘Only Murders In the Building’ Season 3 Finale: The Show, and Deaths, Go On

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      Tuesday’s finale of “Only Murders in the Building” wrapped a season that was a love letter to Broadway musicals, not least because it was a little silly.This notebook contains spoilers for the Season 3 finale of “Only Murders in the Building.”Everyone loves a Broadway hit. It’s possible that we enjoy a Broadway catastrophe — “Carrie,” “Diana, the Musical,” “Spider-Man: Turn Off the Dark” — a little more. Few productions have been as cataclysmic as Oliver Putnam’s “Death Rattle Dazzle,” a misbegotten gothic about murderous infants, re-conceived as a glittery musical. Think “Ruthless” but skewed younger and set at a Nova Scotian lighthouse.This musical was the centerpiece of Season 3 of the Hulu comedy “Only Murders in the Building,” which brought the amateur detectives played by Selena Gomez, Steve Martin and Martin Short out of their luxury apartment complex and into a sumptuous Broadway theater. (The theater is actually the opulent United Palace in Washington Heights, subbing for a space more than 100 blocks south.) “Death Rattle Dazzle” bore only the vaguest sequined resemblance to a real Broadway show, while demonstrating deep love of the form. Think of the season as a love letter to Broadway, written in lipstick and blood.On the original opening night, the leading man, Paul Rudd’s Ben Glenroy, was killed. Twice. Once with rat poison and again down an elevator shaft. Theater has its own violence. A good show “kills,” it “slays,” it “knocks them dead.” But this was s a bit much.Amid rehearsals for the original play’s transformation into a musical, several members of the cast and crew were accused of his murder. In the meantime, there were in-jokes about superstitions, spike tape, stage fright, Schmackary’s Cookies and the cavalier use of accents. The accent jokes were made at the expense of Meryl Streep. Matthew Broderick also showed up for some method skewering.During the season finale, which arrived on Tuesday (spoilers follow, so many), the murderers were finally revealed. The uberproducer Donna DeMeo (Linda Emond) had poisoned Ben to protect her son Cliff’s investment in the show. Then her son (Wesley Taylor), defending his mother and his ego, pushed a revived Ben down an elevator shaft.Was the motive love? Or money? Or artistic integrity? Yes? I think? Motive is never big with the “Only Murders Gang.” (Personally, I plumped for the documentarian Tobert (Jesse Williams), mainly because it’s hard to trust a man named Tobert.)This season didn’t often mirror what actually happens on Broadway, even as it assembled a crack team of Broadway composers — Justin Paul, Benj Pasek, Marc Shaiman, Michael R. Jackson and Sara Bareilles — to supply the songs. “Death Rattle Dazzle” was, even by Broadway’s variable standards, too inane, too sparkly. Perhaps the most delirious fiction, beyond the dancing crab people, was the notion that a single negative review, delivered here by the critic Maxine (Noma Dumezweni, deadpan and delectable), could be the precipitating event for a murder.The series’s madcap commitment was one of the most realistic aspects of “Death Rattle Dazzle,” which included singing shellfish and three babies suspected of murder.Patrick Harbron/HuluThankfully (and I write this as someone who covered Broadway for decades), critics don’t have quite that much power, but then again Martin’s Charles-Haden Savage described Maxine’s assessment as “a pan, a massacre.” And also: “The harshest review in the history of theater. A complete bloodletting.” After attending the musical’s opening night, Maxine has warmer feelings: “This dusty old chestnut has been Botoxed, bedazzled and brought back to life.” A complete about-face? Yes, that’s fiction, too.But what did feel real, just a smidgen, was the madcap commitment to the bit that putting on a musical requires. Most musicals, even those that eschew babies and shellfish, are at least a little silly. Unless you’re attending a theater camp, humans don’t spontaneously break into song, and there isn’t often a full orchestra backing them or a chorus that just happens to sing along in harmony while executing the occasional pas de bourrée. It’s ridiculous to think that a few lights, some spangled costumes and a set that’s mostly plywood will transport an audience to some far-off world.And yet, that’s what happens. Which is why we have and have had long-running musicals about, say, cats or trainee witches or the wildlife of the African savannah. Those crab people should feel right at home.A couple of weeks ago, I took the train up to the United Palace for an “Only Murders” pop-up event. Guests wandered the lush surroundings, sifting evidence with specialized flashlights. “Only Murders” is a TV show about a podcast, which this season was about a Broadway show. This event was also a strange hybrid of forms — gallery exhibit, immersive happening, escape room, a live-action watch party, Botoxed and bedazzled. Also you could get your makeup done, which seemed fun. And they gave you a puzzle on the way out.The best part, for me anyway, was a quiet moment in which I was able to sit in the orchestra and look up at the stage. In that plush seat, I could imagine all of the wonderful, outrageous, demented shows that had played there before and dream about what might come next. More

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      How ‘No One Will Save You’ Terrifies Us With Hardly a Word

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      For the Hulu hit, the director relied on visual and sound cues to create both the scares and the plot. Stephen King and Guillermo del Toro are fans.The nail-biter “No One Will Save You” quietly materialized on Hulu Sept. 22 and became a streaming darling overnight, an apt entrance for a largely dialogue-free chiller about an alien invasion.Because the heroine, Brynn (Kaitlyn Dever), is a trauma-ridden outcast living in solitude, the film’s writer-director, Brian Duffield, always knew that talking would be minimal in his sophomore feature. But he didn’t realize until later just how sparse it would be.“I got about halfway through the script and thought Brynn won’t see another person for the rest of the movie,” Duffield, whose writing credits include “Love and Monsters,” said in a recent interview. “So it was a happy accident.”“No One Will Save You” economically establishes Brynn’s world at the start: she lives alone in a lovely but remote house and sells handmade dresses online for a living. The townspeople seems to hate her, but Brynn braves their animosity until, just a few minutes in, a nighttime alien invasion threatens her existence.It’s a relentless, unsettling and wildly entertaining cat-and-mouse game from there, with Duffield revealing the details of Brynn’s harrowing past in measured drips, while giving the aliens their own dimension. Fans include the author Stephen King, who called it “brilliant, daring, involving, scary” on X, the platform formerly known as Twitter, while the director Guillermo del Toro posted, “I couldn’t think of a more perfect movie for your weekend,” later adding threads about the film’s religious themes and skillful wordlessness.Duffield was intent on keeping that quietness non-gimmicky, so he encouraged Dever to mutter to herself freely if it felt right. “There was never a moment where I was like, ‘Let’s do a take where you don’t talk.’ But she didn’t need to talk, because she’s Kaitlyn Dever,” he said, describing her as the movie’s biggest special effect. “She can monologue with her eyes.” (Dever couldn’t be interviewed because of the actors’ strike.)The job of articulating as much of the narrative as possible fell to the skilled artisans behind the scenes. The production designer Ramsey Avery filled Brynn’s Louisiana home with clues about her back story. One objective was layering the décor with pieces that suggested generations of her family once lived there. So the rooms were dressed with childhood photos, hand-sewn pillows and window treatments, and little signs about the importance of family — a cottage-core aesthetic augmented by romantic, Sirkian touches that Brynn inherited a taste for. “Since she has nothing else to do,” Avery said, “she finds affordable things online, Etsy shopping and bargain hunting.”Avery also had the idea for the quaint birdhouse village that Brynn gradually builds — a hobby she presumably shared with her mother once, now a perfect metaphor for her caged isolation.The house was made to look as if generations of a family had lived there.Sam Lothridge/20th Century StudiosThe real house was built in the late 19th century and moved to its present location in the ’70s— a history that thematically echoed Brynn’s world. “But the interiors didn’t work, so we had to design our own based on specific action needs,” Avery said. That meant building a set where they could rearrange windows to allow alien light in, conceive a bedroom where the ceiling could press down on Brynn and create an environment that would allow the cinematographer Aaron Morton to fluidly capture all these visual details to advance our understanding of Brynn.For Morton, working on a wordless film felt like a heightened version of his usual trade. “My whole job is the pictures,” he said. “But this put even more pressure on the planning.” Because the film is propelled by set pieces that pit Brynn against the aliens, Morton had to consider how much she or the audience would be allowed to see. “It was about elevating the tension by showing, not telling, things.”To create that alien light, Morton used multiple 50-foot cranes, some with lights attached, others with cameras, all choreographed together while Brynn runs between the house, car and forest. “That gave us an opportunity to show the audience things that Brynn couldn’t see. We’d wash the light over a window in the background to remind people that the threat is still there.”That threat is an extraterrestrial species derived from the archetypal Grays, the elongated aliens familiar from pop culture that Duffield has always loved. “It felt like they had gone missing, so I wanted to bring back what’s become like the emoji alien,” Duffield said. “It never felt like someone did a horror movie with them.” In creating the Grays, the visual effects producer Sarah Miesen took special care to infuse them with consistent but distinctive features and expressions to help the audience both differentiate and feel for them.A sense of alien light was created by mounting beams on 50-foot cranes. 20th Century Studios“We had the main Gray and three different versions of it,” she explained. “We added some blue tattooing on one head and did a crown on another. They all had different personalities.” Wordlessness also meant additional time spent creating alien movements that conveyed their emotions and relatable qualities, like a sense of curiosity, while seeming both scary and realistic. “But not funny, because you don’t want people to laugh when they’re supposed to be afraid.”Varying the Grays’ individual sounds was just as essential. “Not only were we creating a voice for these aliens, but also multiple ones that felt related but unique,” said William Files, a supervising sound editor and rerecording mixer. “They are clearly from a similar species. We wanted to expand on that sonically. If we got the characterizations right, you hopefully have some idea of not only how they’re making Brynn feel, but how they feel as well.”“We were keeping some vulnerability in their language, especially towards the end where they’re feeling for Brynn,” added the sound designer Chris Terhune, who also did sound mixing and editing alongside Files.The duo knew no dialogue didn’t mean no audible feeling from Brynn. “A lot of it is in the little sounds she makes,” Files said. “We did a whole pass with her in the studio, adding little emotional breaths from her.” Mundane sounds like creaky floorboards and chirping crickets were meant to help the audience hear what Brynn is hearing.The sound team collaborated closely with the composer Joseph Trapanese. The three often had to define what would be the more prominent audio element in certain acts: the score or the sound. Trapanese avoided anything too sci-fi, leaning into the idea that Brynn herself was a lonesome alien in her town: “There’s actually more synthesized electronic material in her music than there is for the aliens.” More