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      “The Interview”: Ted Sarandos’s Plan to Get You to Binge Even More Netflix

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      If you’re anything like me, you probably spent some large portion of this week sitting on your couch watching Netflix. I love rom-coms — my latest obsession is a Turkish series called “Thank You, Next” — and the more rom-coms I watch, the more of them Netflix feeds to me. Maybe you’ve had this experience with sports documentaries, or thrillers, or biopics. It’s something we’ve all gotten used to. Which means, as I’m pressing play on whatever comes up next, I’m not really thinking about the people who are deciding what I’m consuming. And that’s why I wanted to talk to Ted Sarandos.Listen to the Conversation With Ted SarandosNetflix won the streaming battle, but the war for your attention isn’t over.Sarandos, 59, has been at Netflix for 24 years, nearly as long as Reed Hastings, one of the company’s two founders. He is now co-chief executive and is in charge of Netflix’s creative output. He oversaw the company’s early expansion into streaming and pioneered the binge watch. Under him, Netflix developed that powerful algorithm that knows just what to serve up next. He was also the guy who greenlit Netflix’s early original productions, like “House of Cards,” making Netflix into a studio, not just a platform. And he has led the company as it has ventured into reality TV, prestige film and live entertainment — including a just-announced deal to broadcast some of the N.F.L.’s Christmas Day games.Sarandos seems to be very good at giving us more of what we want. And after a crackdown on password-sharing (which Sarandos tells me is still in progress), his company has come out on top in the crowded streaming wars (if you set aside YouTube, which Sarandos does not). That doesn’t mean everything is rosy all the time now — the company has had several rounds of layoffs in the past few years — but Sarandos, along with his co-chief executive, Greg Peters, has put Netflix in a dominant position. Has this been good for us? Or for culture? When we talked recently, with viral clips of Netflix’s Tom Brady roast flying all over the internet, I asked him.You have an unusual background for a Hollywood or tech C.E.O. I would agree with that assessment. My parents had four kids in their 20s. So these were kids raising kids really. Our house was always chaos. And my only escape from that chaos was that little box. I watched a lot of television. Most of my upbringing, we never had all the utilities on at the same time. So the gas would be cut off, and then the phone would be cut off, and the electric, but never all simultaneously. But for some reason we had a VCR. And total happenstance, the second video store in the state of Arizona opened up two blocks from my house.Do you remember the first thing you ever checked out in the video store? Yeah, it was a filmed version of the Willie Nelson Fourth of July picnic. [Laughs.] More

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      10 Artists on Living and Creating Through Grief

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      Sigrid Nunez, authorConor Oberst, musicianBridget Everett, performerBen Kweller, musicianJesmyn Ward, authorJustin Hardiman, photographerJulie Otsuka, authorLila Avilés, filmmakerRichard E. Grant, actorLuke Lorentzen, filmmakerWhen Jesmyn Ward was writing her 2013 book, “Men We Reaped,” she could feel the presence of her brother, who had been killed years earlier by a drunk driver. She still talks to him, as well as to her partner, who died in 2020.“This may just be wishful thinking, but talking to them and being open to feeling them answer, that enables me to live in spite of their loss,” she told me.While filming the HBO series “Somebody Somewhere,” Bridget Everett, playing a woman mourning the loss of her sister, was grieving the loss of her own. Working on the show was a way to still live with her, in a way, she said: “There’s something that’s less scary about sharing time with my sister when it’s through art or through making the show or through a song.”One of the many things you learn after losing a loved one is that there are a lot of us grieving out there. Some people are not just living with loss but also trying to create or experience something meaningful, to counter the blunt force of the ache.We talked to 10 artists across music, writing, photography, film and comedy about the ways their work, in the wake of personal loss, has deepened their understanding of what it means to grieve and to create.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

    • 75 Shares189 Views

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      Tems, R&B’s Golden Child, Dials In

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      When the ground began to shake, rocking her bed to-and-fro like a raft in a current, Temilade Openiyi briefly wondered if she was dreaming. It was a bright April morning and she was still jet lagged from a flight — 12 hours from Lagos, Nigeria, to New York. It seemed unlikely that her hotel could actually be vibrating. And yet there she was, eyes wide open, bobbing along with everything else in the room.Openiyi, better known as Tems, had stopped on the East Coast on her way to Los Angeles, where she would soon begin rehearsals for her debut appearance at the Coachella music festival. It would be one in a swiftly multiplying series of firsts for the singer, songwriter and producer, whose music slides between R&B, pop and Afrobeats: her first album, “Born in the Wild,” due June 7 from RCA; its first single, the blissful party starter “Love Me JeJe”; her first headlining world tour, kicking off June 11. As far as milestones are concerned, a first earthquake was just another line in the tally.Tems, a faithful Christian, believes none of it has been in her control. When the earthquake subsided (magnitude 4.8), she said a prayer thanking God for granting her another day.“You can be planning your whole life and then something happens and it’s just done,” she said dryly, in an interview later that day. “You can control what you do, but you can’t control how life lifes.”Tems said she has embraced life as a warrior. “Even if they cut your leg, you walk on your knees, you fight on your knees using what you have — and that’s good enough.”Erik Carter for The New York TimesIt would be easy to attribute Tems’s vertiginous career trajectory to divine intervention. Since her appearance on the Afrobeats star Wizkid’s summer-conquering single “Essence” in 2020, she has become the first African artist to debut at No. 1 on the Billboard Hot 100 (via “Wait for U,” a Future song also featuring Drake); won a Grammy for best melodic rap performance; and been nominated for an Oscar, for “Lift Me Up,” a song from the “Black Panther: Wakanda Forever” soundtrack that she co-wrote for Rihanna after the singer messaged her on Instagram saying she was “obsessed.” In 2022, Tems was a writer and performer on “Move” — also featuring Grace Jones — from Beyoncé’s “Renaissance,” confirming her status as one of the most in-demand and closely watched young artists in the world.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

    • 88 Shares179 Views

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      Popcast (Deluxe): Billie Eilish Is Done Hiding

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:The new Billie Eilish album, “Hit Me Hard and Soft,” and how it compares to her earlier workOther early-to-mid-career pop star pivotsEilish’s evolution as a vocalistEilish’s relationship to other unconventional pop stars like LordeSongs of the week, including how Tinashe’s “Nasty” went viralSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      He Made the Met Opera’s Chorus the Best in the World

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      During the second intermission of the Metropolitan Opera’s gilded, gargantuan production of “Turandot” one Friday last month, Donald Palumbo raced up to a tiny broadcast studio on the top floor for an interview.Then he raced downstairs again. There was something he needed to do backstage before the curtain rose.Palumbo, 75, who is retiring this spring after 17 years as the company’s chorus master, wanted to run through the start of Act III with the quartet of heralds, drawn from the chorus, who hauntingly call out a warning from Princess Turandot.It was 13 performances into the season’s “Turandot” run, at 10 o’clock at night. But Palumbo, one of opera’s most mild-mannered yet most unrelenting perfectionists, was still making sure that the singers’ intonation was flawless, still fine-tuning the placement of the first note in a certain phrase.Palumbo conducting from the wings during a performance of “Turandot” at the Metropolitan Opera in April. Elliott Jerome Brown Jr. for The New York Times“You have to be very specific,” he had said earlier about the way he coaches his choristers, “but you can’t micromanage.”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 Shares169 Views

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      Emma Stone, Jesse Plemons and Willem Dafoe on Yorgos Lanthimos’s New Film

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      In the new Yorgos Lanthimos film “Kinds of Kindness,” a character played by Emma Stone recounts a dream in which she was the denizen of a bizarre world. “There, dogs were in charge,” she murmurs. “People were animals, animals were people.” But being brought to heel by their canine masters wasn’t as bad as it sounds, she says: “I must admit, they treated us pretty well.”Compared with how the human beings treat each other in “Kinds of Kindness,” a dark new comedy that just premiered at the Cannes Film Festival and is in theaters June 21, the dogs would surely be an improvement.Comprised of three separate stories with the cast members recurring in different roles, “Kinds of Kindness” begins with the tale of Robert (Jesse Plemons), a corporate underling whose every interaction in life — including what to eat, how to speak or even who to marry — is controlled by a boss (Willem Dafoe) whose decisions send poor Robert into a tailspin. The second story follows Daniel (Plemons again), who becomes convinced that his wife (Stone) is not who she claims to be and coaxes her into insane tasks to prove herself.And in the third sequence, cult members played by Stone and Plemons search for a woman able to wake the dead, though the whims of their guru (Dafoe) dictate that this mysterious woman also be a certain height and weight and have an identical twin. (Even when it comes to awesome supernatural powers, there are dealbreakers.)Dafaoe and Stone worked on Lanthimos’s “Poor Things” together, for which she won the best actress Oscar. “I still don’t know what that was,” Stone said. “That was cuckoo bananas.”Sam Hellmann for The New York TimesOn Saturday afternoon in a hotel here in Cannes, I met with Stone, Plemons and Dafoe to try to make sense of this triptych. According to the actors, Lanthimos isn’t keen to give too much away. “Yorgos says he likes it when people have different takes on the movie,” Dafoe said. “I think that’s the strength of it.”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 Shares119 Views

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      When a Tale of Migration Is Not Just Fiction

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      The two teenagers on the screen trudging through the endless dunes of the Sahara on their way to Europe were actors. So were the fellow migrants tortured in a bloodstained Libyan prison.But to the young man watching the movie one recent evening in a suburb of Dakar, Senegal’s capital, the cinematic ordeal felt all too real. His two brothers had undertaken the same journey years ago.“This is why they refused to send me money to take that route,” said Ahmadou Diallo, 18, a street cleaner. “Because they had seen firsthand how dangerous it is.”Critics in the West have praised the film “Io Capitano” — nominated for the 2024 Academy Award for best international feature film — noting its visceral yet tender look at migration to Europe from Africa. It is now showing in African countries, and is hitting close to home in Senegal. That’s where the two main characters in the movie embark on an odyssey that epitomizes the dreams and hardships of countless more hoping to make it abroad.Last month, the film’s crew and its director, Matteo Garrone, took “Io Capitano” to a dozen places in Senegal where migration isn’t fiction. They screened it in youth centers, in schools, even on a basketball court turned outdoor movie theater in Guédiawaye, a suburb of Dakar, where Mr. Diallo and hundreds of others watched it at sunset on a big screen.Seydou Sarr, left, and Moustapha Fall, who play the lead roles in “Io Capitano,” in Guédiawaye, last month.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares199 Views

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      Popcast (Deluxe): The Kendrick-Drake Beef Ends + Zendaya & Post Malone

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:The seeming conclusion of the beef between Drake and Kendrick LamarThe way in which Kendrick Lamar used the tools that Drake had long perfected against him, especially in the hit “Not Like Us,” now the No. 1 song in the countryHow the meme ecosystem turned on Drake, long its most effective weaponizer, owing in part to the crowdsourced takedowns recorded to Metro Boomin’s instrumental song “BBL Drizzy”What might be next for both Drake and Kendrick LamarZendaya’s star turn in the tennis film “Challengers”Whether Zendaya’s emergence as a red carpet fixture trumps her actingZendaya’s Disney pastSongs of the week from Post Malone featuring Morgan Wallen (“I Had Some Help”), plus Ian’s “Figure It Out” and Central Cee’s “CC Freestyle”Snack chat about hip-hop jewelry and blown-out mixesConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More