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    How Hollywood and the Media Fueled the Political Rise of J.D. Vance

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    “Hillbilly Elegy,” a best-selling memoir that became a star-studded film, raised the profile of the onetime “Never Trump guy” who won an Ohio primary with the help of the former president.Members of New York’s smart set gathered on a warm Thursday evening in the early summer of 2016 at the ornately wallpapered apartment of two Yale Law School professors in the elegant Ansonia building on Manhattan’s Upper West Side to toast a Marine Corps veteran, venture capitalist and first-time author named J.D. Vance.They were celebrating Mr. Vance’s new memoir, “Hillbilly Elegy,” which chronicled his working-class upbringing in southwestern Ohio and an ascent that brought him to Yale, where his mentors included Amy Chua, one of the party’s hosts. Mr. Vance seemed modest, self-effacing and a bit of a fish out of water among guests drawn from the worlds of publishing and journalism, a half-dozen attendees later recalled. “It was almost stupid how disarmed the people were by that,” said one of them, the novelist Joshua Cohen.“Hillbilly Elegy,” which came out as Donald J. Trump was overcoming long odds to win the presidency, became a phenomenon, and Mr. Vance — a conservative who reassured Charlie Rose that fall that he was “a Never Trump guy” and “never liked him,” and later said he voted for a third-party candidate that year — became widely sought out for his views on what drove white working-class Trump supporters, particularly in the Rust Belt. The book, which had a modest initial print run of 10,000 copies, went on to sell more than three million, according to its publisher, HarperCollins. It was made into a 2020 feature film by Hollywood A-listers including the director Ron Howard and the actresses Amy Adams and Glenn Close. But the J.D. Vance story did not end there.The former “Never Trump guy” went on to embrace Mr. Trump last year, and eagerly accepted his endorsement in the Republican primary for an open U.S. Senate seat in Ohio that he won earlier this month. Mr. Vance, who once called Mr. Trump “reprehensible,” thanked Mr. Trump “for giving us an example of what could be in this country.”Mr. Trump’s endorsement proved critical in the race, along with the financial support of Peter Thiel, the conservative Silicon Valley billionaire, and favorable coverage by Tucker Carlson on Fox News. But Mr. Vance’s political rise was also made possible by the worlds of publishing, media and Hollywood, fields long seen as liberal bastions, which had embraced him as a credible geographer of a swath of America that coastal elites knew little about, believing that he shared their objections to Mr. Trump.“The reason ‘Hillbilly Elegy’ was such a high-octane book was academics, professors, cultural arbitrators — liberals — embraced it as explaining a forgotten part of America,” said Douglas Brinkley, a professor of history at Rice University who once introduced Mr. Vance at an event. “They wouldn’t have touched Vance with a 10-foot pole if they thought he was part of this Trump, xenophobic, bigot-fueled zeitgeist.”Mr. Howard, who has said that he sought to downplay the political implications of “Hillbilly Elegy” in directing the film, describing it as a family drama, declined to comment for this article. But he told The Hollywood Reporter that he was “surprised by some of the positions” Mr. Vance has taken and the “statements he’s made.” He has not spoken with Mr. Vance since the film’s release, he said.Many of the entities in publishing and Hollywood who helped fuel Mr. Vance’s rise — including HarperCollins, which published his book; Mr. Howard and his co-producer, Brian Grazer; and Netflix, which financed and distributed the film — declined to comment on his reinvention as a Trumpist who rails against elites and who campaigned with polarizing far-right figures, including Representatives Marjorie Taylor Greene of Georgia and Matt Gaetz of Florida.“Hillbilly Elegy” was made into a film starring Amy Adams and Gabriel Basso.Lacey Terrell/NETFLIX“Hillbilly Elegy” was published by a subsidiary of News Corp., which is controlled by the conservative Murdoch family, but through a flagship imprint that puts out broadly appealing books. It did not originally mention Mr. Trump. In an afterword added to the paperback edition, Mr. Vance wrote that despite his reservations about Mr. Trump, “there were parts of his candidacy that really spoke to me,” citing his “disdain for the ‘elites’” and his insight that Republicans had done too little for working- and middle-class voters.Mr. Vance’s book had a modest initial print run of 10,000 copies but ended up selling more than three million, according to its publisher, HarperCollins.HarperCollins“Hillbilly Elegy” tried to explain some of those voters’ concerns, and in appearances on CNN (where he was named a contributor) and National Public Radio, as well as in opinion essays in The New York Times in 2016 and 2017, Mr. Vance tried to connect those concerns to their support for Mr. Trump.“He owes nearly everything to having become a ‘Trump whisperer’ phenomenon,” Rod Dreher, whose interview with Mr. Vance for The American Conservative in July 2016 was so popular it briefly crashed the magazine’s website, said in an email. “The thing is, he didn’t seek this out. J.D. became celebrated because he really had something important to say, and said it in a way that was comprehensible to a wide audience.”But he also found a particular audience among liberals. “Though ‘Hillbilly Elegy’ was read widely across the political spectrum, my impression was that the book helped liberals to understand the causes of what had happened to them in the election of 2016,” said Adrian Zackheim, the publisher of several Penguin Random House imprints, including Sentinel, which focuses on conservative books.Mr. Vance’s work was embraced at a moment when Mr. Trump’s surprising election prompted many media executives to consider what audiences they had been overlooking. ABC, for instance, decided to make a reboot of the sitcom “Roseanne,” a lighthearted prime-time portrayal of people who supported Mr. Trump, including Roseanne Conner herself. (The show was later canceled after its star, Roseanne Barr, posted a racist tweet.)In 2019, Netflix won a bidding war and pledged a reported $45 million to finance the “Hillbilly Elegy” film. It received poor reviews, but was reportedly among Netflix’s most-streamed films the week of its release in November of 2020. Both Mr. Howard and Mr. Grazer have been generous Democratic donors, according to Federal Election Commission filings. In the run-up to the 2020 election, Ms. Close, who played Mr. Vance’s grandmother, put up a series of social media posts urging voters to support Joseph R. Biden Jr. Ms. Close’s representatives did not respond to inquiries.As Mr. Vance ran as an outsider and a conservative, some of his opponents have sought to link him to Hollywood.Drew Angerer/Getty ImagesLast year, as Mr. Vance began his Senate run, he renounced his earlier criticism of Mr. Trump. He deleted some old tweets, including one that had called Mr. Trump “reprehensible.” Last month, Mr. Trump embraced Mr. Vance as a prodigal son “who said some bad” stuff about him, using a stronger word than stuff. (Mr. Vance’s campaign declined to comment for this article.)As a Republican candidate in a Republican-leaning Midwestern state, Mr. Vance did not appear eager to tout the central role the publishing, media and film industries played in his rise. But his political opponents have been more than happy to draw the connection.An ad last month for Josh Mandel, a Republican who ran against Mr. Vance in the primary, said Mr. Vance “wrote a book trashing Ohioans as hillbillies, then sold his story to Hollywood.” And Elizabeth Walters, the chairwoman of the Ohio Democratic Party, charged that Mr. Vance had landed “a New York City book deal to cash in on Ohioans’ pain” and made “untold millions from a Netflix Hollywood movie.”Accepting the nomination, Mr. Vance attacked “a Democrat party that bends the knee to major American corporations and their woke values, because the Democrats actually agree with those ridiculous values, you know, 42 genders and all the other insanity.”The fact that a rising star in the Republican Party, which has recently emphasized cultural grievances with the likes of Twitter, CNN and Disney, came to prominence through elite media institutions is not surprising to scholars and cultural critics who have long understood the symbiotic relationship between those ostensible antagonists: the conservative movement and the media-entertainment complex.“To establish populist bona fides — since they represent economic elites — cultural elites are the ones they can rally against,” said Neil Gross, a professor of sociology at Colby College.Frank Rich, an essayist, television producer, and former New York Times critic and columnist, said that some of the contemporary Republican Party’s biggest stars — including Mr. Vance, Mr. Trump and Senator Josh Hawley of Missouri — are “the products of elite institutions” whose “constant railing against the elites is just odd, because it’s so disingenuous.”“Where would Vance be if it hadn’t been for mainstream publishing and book promotion, if it hadn’t been for Ron Howard — an important person in show business who identifies as liberal — and Glenn Close and Netflix?” Mr. Rich asked. “Where would Trump be without NBC Universal, Mark Burnett, the whole showbiz world?”Kathryn Cramer Brownell, an associate professor of history at Purdue University, situated Mr. Vance in a lineage of figures from the entertainment world who became Republican politicians, including George Murphy, an actor turned senator from California; Ronald Reagan, whose success as a film actor helped him become California governor and president; Arnold Schwarzenegger, another movie star and California governor; and Mr. Trump, a longtime tabloid fixture who gained newfound celebrity during the 2000s as host of the NBC reality competition show “The Apprentice,” created by Mr. Burnett.“This is something they are really quick to criticize the left for — relying too much on Hollywood for support and glamour,” Brownell said.“But,” she added, “the Republican Party has been more successful at turning entertainers into successful candidates than Democrats.” More

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      ‘Our Father’ Review: A Doctor’s God Complex Revealed

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      A new documentary tells the story of siblings who unite to bring to justice the fertility specialist who impregnated their mothers with his sperm without consent.At the beginning of the gripping Netflix documentary “Our Father,” the camera creeps through a hallway toward a door with a doctor’s nameplate on it and into an examination room decorated with embroidered Bible verses, gynecological charts and baby photos. A foreboding score plays.There are no jump scares in Lucie Jourdan’s debut feature, about the biological children of Dr. Donald Cline, an Indiana fertility specialist, who for nearly a decade inseminated patients with his own sperm without their knowledge. But make no mistake, “Our Father” is a horror movie. Cline’s deception upends the lives of his unsuspecting patients’ children, and the film is rife with harrowing insights about medical malfeasance and God complexes.At the center of it is an unflinching protagonist. An only child, Jacoba Ballard was stunned when, after taking a DNA test, she received notifications of several half siblings from a genealogy website. Cline had assured hopeful parents that the clinic he operated never used a donor more than three times. We learn from the film that Ballard, who’s now in her 40s, is Sibling No. 0. The last sibling interviewed in “Our Father” is No. 61.Jourdan makes potent — and, at times, speculative — use of re-enactments. In a scene reminiscent of cinema’s version of a detective hunting a suspect, Ballard sits at a desk, evidence papering the wall. Except she is wearing a bright red hoodie, as if to declare, “This is what it looks like to take down the Big Bad Wolf.”There are interviews with Cline’s partner in the clinic and a nurse who assisted him, as well as a sit-down with a former Indiana prosecutor as the documentary tries to address the plaint, “How could this have happened?” “Our Father” also looks into Cline’s possible connection to QuiverFull, a conservative Christian movement that champions procreation. But it is the siblings — their anguish and their anger, as well as the compassion they extend to one another — that drive the narrative.Our FatherNot rated. Running time: 1 hour 37 minutes. Watch on Netflix. More

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      Netflix Tells Employees Ads May Come by the End of 2022

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      Netflix could introduce its lower-priced ad-supported tier by the end of the year, a more accelerated timeline than originally indicated, the company told employees in a recent note.In the note, Netflix executives said they were aiming to introduce the ad tier in the final three months of the year, said two people who shared details of the communication on the condition of anonymity to describe internal company discussions. The note also said Netflix planned to begin cracking down on password sharing among its subscriber base around the same time, the people said.Last month, Netflix stunned the media industry and Madison Avenue when it revealed that it would begin offering a lower-priced subscription featuring ads, after years of publicly stating that commercials would never be seen on the streaming platform.But Netflix is facing significant business challenges. In announcing first-quarter earnings last month, Netflix said it lost 200,000 subscribers in the first three months of the year — the first time that has happened in a decade — and expected to lose two million more in the months to come. Since the subscriber announcement, Netflix’s share price has dropped sharply, wiping away roughly $70 billion in the company’s market capitalization.Reed Hastings, Netflix’s co-chief executive, told investors that the company would examine the possibility of introducing an advertising-supported platform and that it would try to “figure it out over the next year or two.”The Race to Rule Streaming TVA New Era: Companies like Netflix, HBO, Hulu and Amazon ushered out the age of “prestige TV” and ushered in an age of anything goes.Netflix’s Woes: The streaming star lost subscribers for the first time in a decade as competitors continue to expand. What explains its poor performance?A Warning Sign?: Netflix’s sudden problems may be an indication that other streaming services are heading toward an unstable future.Commercials: Streaming executives are having a change of heart about ads and offering lower-priced versions in exchange for commercials.The recent note to staff signaled that the timeline has sped up.“Yes, it’s fast and ambitious and it will require some trade-offs,” the note said.A Netflix spokeswoman declined to comment.Netflix offers a variety of payment tiers for streaming access; its most popular plan costs $15.49 a month. The new ad-supported tier will cost less. Other streaming services have similar plans. HBO Max, for instance, offers a commercial-free service for $15 a month, and charges $10 a month for the service with advertising.Indeed, in the note to employees, Netflix executives invoked their competitors, saying HBO and Hulu have been able to “maintain strong brands while offering an ad-supported service.”“Every major streaming company excluding Apple has or has announced an ad-supported service,” the note said. “For good reason, people want lower-priced options.”Netflix has discussed its interest in building out an advertising infrastructure externally as well, including with a company called The Trade Desk, which helps advertisers place ads on various internet-enabled platforms, said a person familiar with the discussions who spoke on condition of anonymity in order to describe them. The Trade Desk counts David Wells, the former chief financial officer of Netflix, as a board member, and has been in touch with Netflix for years, this person said, but discussions ramped up recently, after Netflix said publicly that it would create an advertising tier.Last month, Netflix also announced that it intended to begin charging higher prices to subscribers who shared their account with several people.“So if you’ve got a sister, let’s say, that’s living in a different city — you want to share Netflix with her, that’s great,” Greg Peters, Netflix’s chief operating officer, said on the company’s earnings call. “We’re not trying to shut down that sharing, but we’re going to ask you to pay a bit more to be able to share with her.”Mr. Peters said the company would go “through a year or so of iterating” on password sharing before it rolled out a plan.In the note to employees, Netflix executives said the advertising-supported tier would be introduced “in tandem with our broader plans to charge for sharing.”Tiffany Hsu More

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      In Comedy, Timing Is Everything, Especially at Netflix’s Festival

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      Planned long before the streamer hit a rough patch, the expansive event had the feel of the end of an era. Still, there were plenty of stellar shows.LOS ANGELES — Over the past two weeks, in a shock-and-awe display of cultural power that suddenly seems from a bygone era, Netflix put on a behemoth festival that summoned all corners of the comedy world. Take Saturday evening, for instance. Amy Poehler and Tina Fey cracked jokes at the YouTube Theater while Billy Eichner hosted an evening of LGBTQ+ stand-ups at the Greek Theater that included, among others, Wanda Sykes and Tig Notaro. Tim Heidecker chatted with comics at the Elysian Theater, a savvy new alternative space, while Mitra Jouhari from Adult Swim’s “Three Busy Debras” prepared to go onstage. Two miles away, Gabriel Iglesias was getting ready to be the first stand-up to ever perform at Dodger Stadium.The inaugural Netflix Is a Joke Fest which was cooked up before the pandemic and then postponed, rivaled if not eclipsed Just for Laughs, the mammoth industry event in Montreal. Producing 298 shows in dozens of spaces throughout Los Angeles, this ambitious effort took place in an awkwardly humbling moment for the streaming giant, after a quarter when it reported losing subscribers for the first time in a decade and its valuation dropped more than a third. There were layoffs, talk of price increases and the once unthinkable, adding digital ads.The physical kind blanketed the city, including a seven-story sign overlooking Hollywood Boulevard that commanded: “Please Laugh Responsibly.” This is the sort of corporate humor that uses jokey irony to disguise a commercial purpose, but there was something especially incongruous about the swagger of these promotions. To trumpet, in another sign, “the biggest comedy event in history” (with an asterisk and the joke “probably”) while employees anxiously whispered about the company’s future gave the festival a certain “last days of the Roman Empire” vibe.Ads for the festival blanketed Los Angeles. Allison Zaucha for The New York TimesMy week at the festival, seeing two shows a night, was a reminder that comics thrive in such environments. “Anyone hear an earthquake or a tremor?” David Letterman quipped at his live talk show, held at the festival with only stand-ups as guests. (They performed short sets and also sat down to chat.) With his old pinpoint timing, he waited a beat before quipping: “Must have been the Netflix stock crashing.”Anthony Jeselnik told the crowd at his show he loved that Netflix started the festivities by “laying off half their marketing team, losing a billion dollars and then trying to kill Dave Chappelle” — a reference to an audience member’s attack on Chappelle earlier in the festival. Known for taut jokes, Jeselnik leaned more into storytelling while sticking to his commitment to navigating hot button subjects in sharp-edged punch lines, starting with material on the trans community that aims to be both transgressive and progressive. The rap against Jeselnik is that his use of misdirection can be formulaic, like a math problem, but this show was advanced calculus, an implicit rebuke to comedians relying on lazy jokes about marginalized groups. He said he had writer’s block over the pandemic so he set himself goals to escape it. “I wanted to not aim too high,” he said at a leisurely pace: “Set something easy: try to handle this better than John Mulaney.”Those expecting Mulaney, who performed at the Forum, to dig deep into the relationship drama that has made him a tabloid staple would be disappointed. He is touring with an hour of material that is the most anticipated of the year, and it lives up to the hype. (No news on when it will become a special.) When I first saw him do the same material at City Winery one year ago, his discussion of addiction and rehab was raw and messy and bleak. It has tightened into a polished showbiz machine, with his broadest act-outs, impressions and even an extended song and dance. (The suggestion of a suicidal tendency is gone.) His show is less a baring of the soul than a joke-dense and pointed scuffing up of his image. Its key line: “Likability is a jail.”If so, Meg Stalter might be its current warden, since her videos during the pandemic turned her into an unlikely star with a devoted community of fans who delighted in her collection of flamboyantly overwrought characters. How this success will translate to her live comedy is an open question. In a hectic, digressive performance to a sold-out audience, she left her characters behind and stuck to one self-dramatizing, often flailing star whose biggest laughs were less the product of bits than interactions with the crowd.While there were several star-driven shows, the festival was anchored by many showcases of short sets, often hosted by big names like Lily Tomlin and Jane Fonda. They introduced a stellar lineup of mostly women comics, including Cristela Alonzo and Michelle Buteau (who both told quarantine jokes). In between acts, Fonda and Tomlin bantered, comparing notes on who had been arrested more. When Margaret Cho came onstage, a few days after the leak of the Supreme Court abortion opinion, she told the hosts, “I look forward to getting arrested with you after the repeal of Roe v. Wade.”Lily Tomlin and Jane Fonda were hosts of one show featuring mainly women comics.Elizabeth Morris/Netflix The biggest show by far was Iglesias’s at Dodger Stadium, a stand-up set that seemed to double as a celebration of its own feat, even though seeing comedy in a ballpark is not ideal. When Martin Moreno asked the crowd to not look at screens before introducing him, most of the audience, myself included, was watching him on a giant screen.But many of the funniest, most satisfying performances took place in small rooms, none more so than the one by Liza Treyger, whose act has become a Richard-Lewis-level opera of neurotic self-deprecation. What she called her “monologue of bad habits” is a rapid-fire series of beyond-jaded jokes at her own expense that often take the form of exasperated questions: “Do you ever watch a video on Instagram and tell your friends you watched a documentary?” she said. “Do you run late on purpose just to feel something?”For comedy nerds, it was also a pleasure to see Marsha Warfield, a former star of the sitcom “Night Court” and a figure from the 1970s Comedy Store scene whose legendary reputation rarely translates into high-profile shows. In a confidently moseying delivery, she talked about falling out of the public eye and coming out of the closet on Facebook, then defensively insisted that’s just where old people are. “Facebook is the 21st-century version of sitting in an open window and yelling at people,” she said.Of course such intimate live shows are not what created the most news. That would be Pete Davidson returning to stand-up (“In the last couple years, I’ve been onstage less than the babies inside of Ali Wong,” he said, a solid inside baseball quip) and cracking jokes about Kanye West. There was also the attack on Chappelle which added an element of tension to the entire festival. Beefy security guys were quick to clamp down on hecklers. I saw two people wrestled to the ground and dragged out of a theater before a Snoop Dogg-hosted show; another person was forcibly ejected after heckling Letterman. Many comics seemed jittery and ready to battle. When Mike Epps, dressed in a black leather suit, walked onstage shadow boxing, everyone got the joke. This was funny, but that this celebration of jokes sat alongside the new alertness to security added yet another irony to this festival.Pete Davidson made headlines for his return to stand-up (and for jokes about Kanye West).Ser Baffo/Netflix Comics were sympathetic to Chappelle, but the backlash toward his jokes about the trans community started make its way into sets. After saying that people have been asking her about the assault, Robin Tran, a trans comic who was headlining a show, quipped: “I just want to say, for the record, I only told him to scare Chappelle.” At a different show, another trans comic, Nori Reed, did a very funny, experimental set that postponed telling a conventional punchline for a few minutes, then calling it inspired by Chappelle: “No jokes, all vibes.”One of the strengths and perhaps vulnerabilities of Netflix, the festival and service, is its range. The streamer’s comedy taste has always been difficult to pin down. Its brand is big. I interviewed the heads of Netflix comedy in 2018, around the height of their power, though competition from rival services like Apple TV+ and Disney+ loomed. Asked if they could continue to draw the most famous names with big money, Lisa Nishimura, the vice president of independent and documentary film content, said: “If we continue to grow the audience, we’re OK.”Now that the audience has shrunk, what does that mean? Will the number of Netflix comedy specials dwindle? Will competitors fill the space? HBO has been putting out quality shows and found a discourse-dominating hit with Jerrod Carmichael’s “Rothaniel.” (That special was directed by Bo Burnham, whose “Inside” is one of the most impressive success stories for Netflix of the past few years.)In a Sunset Boulevard coffee shop, just a few blocks from the hotel where club owners and comics stayed and you could see unnerving sights like late-night Comedy Cellar staple Dave Attell bathed in Hollywood daylight, I met with Robbie Praw, the director of original standup at Netflix. He looked weary managing this behemoth. Asked if financial troubles will change Netflix’s commitment to comedy, he said no but conceded that when it came to the number of specials, there would be “a little more curation.”It was a cautious, careful answer, one that reflected the moment more than any joke, billboard or festival did that week. More

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      Frank Langella Blames ‘Cancel Culture’ After Firing From Netflix Show

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      The actor said his dismissal from “The Fall of the House of Usher” followed a love scene in which the actress playing his wife accused him of touching her leg.Frank Langella, who was fired in April from his leading role in a Netflix mini-series after a misconduct investigation, said on Thursday that his dismissal followed a love scene in which the actress playing his wife accused him of touching her leg — an action not in the script.“She then turned and walked off the set, followed by the director and the intimacy coordinator,” Langella wrote in a column for Deadline, about a March 25 incident on the set of “The Fall of the House of Usher.” The series is based on works by Edgar Allan Poe and created by Mike Flanagan.“I attempted to follow, but was asked to ‘give her some space.’ I waited for approximately one hour, and was then told she was not returning to set and we were wrapped,” Langella wrote.Langella said he and the actress were both clothed during the scene. During the ensuing investigation, he said, someone in human resources told him that the intimacy coordinator had suggested where the actors should place their hands during the scene. Langella called the instructions “absurd,” he said.“It was a love scene on camera,” Langella said. “Legislating the placement of hands, to my mind, is ludicrous. It undermines instinct and spontaneity.” Referring to the human resources employee, Langella wrote, “Toward the end of our conversation, she suggested that I not contact the young lady, the intimacy coordinator, or anyone else in the company. ‘We don’t want to risk retaliation,’ she said.”Netflix did not immediately respond to a request for comment on Thursday evening.Langella said that he had been “canceled,” and that the harm to him has been “incalculable,” including losing a thrilling part, facing a stretch of unemployment and suffering a tarnished reputation. These indignities, he said, are “the real definition of unacceptable behavior.”“Cancel culture is the antithesis of democracy,” he said. “It inhibits conversation and debate. It limits our ability to listen, mediate, and exchange opposing views. Most tragically, it annihilates moral judgment. This is not fair. This is not just. This is not American.”The production plans to recast Langella’s role as Roderick, the reclusive patriarch of the Usher family, and reshoot the scenes in which he had already appeared. The series also stars Carla Gugino, Mary McDonnell and Mark Hamill, among others.Langella, 84, known for his performances both onscreen and onstage, shot to fame in the title role of the 1979 film “Dracula” after starring in a Broadway production as the count. He also played President Richard M. Nixon in both the stage and screen versions of “Frost/Nixon,” earning an Oscar nomination as well as a Tony Award for best actor in a play in 2007. Recently, Langella appeared as the judge in the Netflix film “The Trial of the Chicago 7.” More

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      The Best Movies and TV Shows Coming to Netflix in May

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      Here are the most promising new and returning titles for U.S. subscribers this month, including a new season of “Stranger Things.”Every month, Netflix adds movies and TV shows to its library. Here are our picks for some of May’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.)‘Clark’Starts streaming: May 5The maverick Swedish filmmaker and music video director Jonas Akerlund (“Spun,” “Lords of Chaos”) brings his visual panache and his affection for incorrigible rogues to the six-part biographical drama “Clark.” The series is based loosely on the life of Clark Olofsson, the man credited with inspiring the term “Stockholm syndrome” after he bonded with his hostages during a bank robbery. Akerlund uses zippy editing, varied color schemes and dynamic camera moves to emphasize the rush Olofsson got from theft, assault and drug trafficking. Bill Skarsgard (“It”) plays the title character, capturing both his puckish charm and his terrifying willingness to hurt and deceive people.‘Along for the Ride’Starts streaming: May 6Based on a Sarah Dessen young adult novel, “Along for the Ride” follows a socially awkward high school graduate named Auden (Emma Pasarow) who spends the summer before college living with her father and stepmom at the beach. There, she meets a mysterious and brooding boy, Eli (Belmont Cameli), who like her suffers from insomnia and shares her interests in reading and wandering along the shore. The writer-director Sofia Alvarez works this teen romance plot into a larger story about Auden’s efforts to escape the shadow of her domineering mother (Andie MacDowell) and learn how to take more chances.‘The Lincoln Lawyer’ Season 1Starts streaming: May 13Next to the detective Harry Bosch, the scrappy defense attorney Mickey Haller is the crime novelist Michael Connelly’s greatest creation: a champion of the innocent who empathizes with his clients in part because he, himself, is often just a few bad breaks away from calamity. Matthew McConaughey played Haller in a well-received 2011 film, “The Lincoln Lawyer,” based on Connelly’s first book about the character. Season 1 of this new TV series is based on the novel “The Brass Verdict,” and it hews a bit closer to the source material — beginning with the casting of the Mexican actor Manuel Garcia-Rulfo to play a man who is described as half-Mexican in the original stories. In this first set of episodes, the lawyer inherits a colleague’s practice. While working mostly out of his flashy car, Haller has to prepare a new celebrity client’s murder defense in under a week.‘Senior Year’Starts streaming: May 13Rebel Wilson stars in this high school comedy, which like her 2019 film “Isn’t It Romantic?,” repurposes the conventions of a popular movie genre. In “Senior Year,” Wilson plays Stephanie Conway, who has been in a coma since 2002, when she was the captain of her school’s cheerleading squad. In her mind, no time has passed, so Stephanie decides to re-enroll and get her degree — although she soon finds that because so much has changed about adolescent cliques and pop culture over the past 20 years, she is now more misfit than teen queen. Directed by the TV sitcom veteran Alex Hardcastle, “Senior Year” is a fish-out-of-water story about a woman coming to terms with her past and her future.‘Stranger Things’ Season 4, Volume 1Starts streaming: May 27When last we left the “Stranger Things” crew, the adventurous Hawkins, Ind., teenagers and their perpetually worried parents and guardians had survived a huge escalation of the inter-dimensional war against their tiny town. Season 3 of this nostalgia-steeped science-fiction adventure ended with several characters leaving town after the Soviet Union exacerbated a crisis involving the alternate reality known as “the Upside Down.” The pandemic-delayed Season 4 — arriving three years after Season 3 but advancing the plot only six months — will move into the second half of the 1980s. This season’s episodes will be lengthier and larger in scale (they’ll also drop in two parts, the second landing on July 1) as the show’s creators, Matt and Ross Duffer, start bringing the scattered pieces of their story together in preparation for a big Season 5 finish.Also arriving:May 4“The Circle” Season 4“El Marginal” Season 5“Meltdown: Three Mile Island”“Summertime” Season 3May 5“The Pentaverate”“Wild Babies” Season 1May 6“Marmaduke”“The Sound of Magic” Season 1“The Takedown”“Welcome to Eden” Season 1May 10“Outlander” Season 5May 11“42 Days of Darkness” Season 1“Operation Mincemeat”“Our Father”May 12“Savage Beauty” Season 1May 13“Bling Empire” Season 2May 14“Borrego”May 16“Vampire in the Garden” Season 1May 17“The Future Diary” Season 2May 18“Cyber Hell: Exposing an Internet Horror”May 19“A Perfect Pairing”“The Photographer: Murder in Pinamar”May 20“Love, Death + Robots” Season 3May 23“Ghost in the Shell: SAC_2045” Season 2May 25“Somebody Feed Phil” Season 5 More

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      Watch These 12 Titles Before They Leave Netflix in May

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      A ton of movies and TV shows are disappearing for U.S. Netflix subscribers next month. These are the ones worth catching before they’re gone.The erotic thriller, that bygone artifact of ’80s and ’90s sexual expression (and repression) is all the rage again — well, at least nostalgia for it is — and two prime examples of the form are leaving Netflix in the United States at the end of the month, so get them while you can. Also departing the service in May: two family favorites, a musical extravaganza, two beloved series and much, much more. (Dates reflect the final day a title is available.)‘Eye in the Sky’ (May 12)When this tightly wound political thriller hit theaters in 2015, it felt like a high-minded showcase for a handful of terrific actors (Helen Mirren, Alan Rickman, Aaron Paul) but not much more. Now it feels like a quintessential cinematic artifact of the Obama era, a thoughtful and knotty examination of the moral dilemma of drone warfare — and of 21st century military conflict in general. Mirren and Paul spar spiritedly as a no-nonsense colonel and the drone pilot who must execute her orders; Rickman, in one of his final performances, brings shading and nuance to his work as a military middle man.Stream it here.‘Chloe’ (May 31)Amanda Seyfried is earning (deserved) praise for her astonishing work in “The Dropout,” but those in the know have been watching her shine for years, even in less-acclaimed films like this 2009 erotic thriller. She stars as the title character, a call girl hired by a suspicious wife (Julianne Moore) to entrap her husband (Liam Neeson), which gets complicated when the wife and would-be mistress begin an affair of their own. If the cast sounds high-caliber for such a story, that’s because the film is directed by the acclaimed Canadian filmmaker Atom Egoyan (“The Sweet Hereafter”), who gives the story’s mind games and psychological ramifications as much attention as the breathy sexual encounters.Stream it here.‘Closer’ (May 31)In 1971, the director Mike Nichols scored one of his greatest critical and commercial successes with “Carnal Knowledge,” a savagely funny and brutally candid account of the war between the sexes, as seen through the broken relationships of two men and two women. In 2004, near the end of his career, Nichols revisited the subject matter with a similar cast makeup, adapting the play “Closer” by Patrick Marber into a tough four-hander of sexual desire and emotional betrayal. Jude Law, Clive Owen, Natalie Portman and Julia Roberts craft some of their best screen acting to date, playing a full range of ruthlessness, cruelty, sensitivity and brokenness. It’s a challenging movie, but a great one.Stream it here.‘The Devil’s Advocate’ (May 31)This mash-up of Grisham-esque legal thriller and “Rosemary’s Baby”-style occult horror from Taylor Hackford was met mostly with snickers upon its 1997 release, as critics complained it was too ornate, too over-the-top, too much. But in these timid times, it feels like a welcome balm, a reminder of a time when mainstream studio movies were willing to just go for it, good taste be damned (pardon the pun). Keanu Reeves, sporting a less-than-convincing Southern accent, plays a hotshot young lawyer recruited (rather aggressively) by a top New York law firm led by Al Pacino as “John Milton,” and yes, the rest of the reveals are about as subtle. Pacino chews on the scenery with the ravenous appetite of a starving man, but the performance of note here is that of Charlize Theron, then still an up-and-comer, with an unexpectedly subtle turn as the young lawyer’s increasingly disturbed wife.Stream it here.‘The Disaster Artist’ (May 31)Bad movies have attracted ironic (and unironic) cult followings for decades, but few have attracted the fascination given to “The Room,” the bizarre psychosexual drama from the enigmatic writer-director-star Tommy Wiseau that plays less like a low-budget film than like a dispatch from another planet, filled with creatures who talk and act almost like actual humans. Greg Sestero, the film’s co-star, turned that strange experience into a memoir, which was then adapted into this hilarious chronicle of cinematic incompetence. James Franco directs and stars as Wiseau, his work focusing on — and blurring the line between — badness and brilliance; Dave Franco is charismatic and sympathetic as Sestero, while an all-star supporting cast (including Alison Brie, Zac Efron, Ari Graynor, Seth Rogen and Jacki Weaver) brightens up the edges.Stream it here.‘Downton Abbey’: Seasons 1-6 (May 31)Sometimes Netflix is there for you in your time of need, and sometimes they yank away entertainment at exactly the moment it’s most necessary. Such is the case with the lapse of the full run of “Downton Abbey” barely two weeks after the release of “Downton Abbey: A New Era,” the latest feature film follow-up, to theaters. That means it’s time to begin that catch-up binge and to reacquaint yourself with the Crawley family and their various servants, interlopers and guests. The show’s origins lay in the creator Julian Fellowes’s Oscar-winning screenplay for Robert Altman’s “Gosford Park,” which found drama in the contrast between British aristocracy and those that serve them. He followed those contrasts and connections through six seasons with sharp wit and penetrating commentary.Stream it here.‘Free Willy’ (May 31)Everything was bigger in the ’90s, so while family entertainment of yore gave us countless stories of boys and their dogs, this 1993 hit from Simon Wincer told the story of a boy and his orca. Jason James Richter stars as an orphan boy headed down the wrong life path, whose probation period cleaning up graffiti at an amusement park leads him to strike up an unconventional friendship with the title character, a captive whale, whom he soon decides he should release into the wild. Lori Petty and Michael Madsen are likable as the stern (but swayable) grown-ups.Stream it here.‘Hairspray’ (May 31)The cult filmmaker John Waters made an unexpected (and unexpectedly successful) play for mainstream respectability with his 1988 film “Hairspray,” a PG-rated nostalgia comedy that was so family-friendly it was adapted into a Broadway musical comedy. And then it made its way back to the movies for the 2007 adaptation of the Broadway show, directed with theatrical flair by the choreographer-turned-director Adam Shankman. The musical numbers are inventively staged, the conventions of the form are slyly sabotaged, and the performances are top-notch — particularly John Travolta as the mother of the lead character, Tracy Turnblad (the terrific Nikki Blonsky), and Christopher Walken in fine, tender form as her father.Stream it here.‘Happy Endings’: Seasons 1-3 (May 31)It’s easy to get overly nostalgic for the good old days of network television, but you have to give them this: Networks were willing to give great but underseen sitcoms like “Seinfeld” and “Cheers” the time to build and find their audiences, resulting in record-high ratings. This uproariously funny and quietly inventive series (2011-13), by contrast, struggled mightily, barely surviving from season to season before getting the unceremonious boot after three seasons. This ensemble comedy, in which six friends (and sometimes lovers, and sometimes enemies) struggle to weather the storms of adulthood, is like a cross between “Friends,” “Seinfeld,” and the early, good years of “How I Met Your Mother.” And if it ended too soon, at least we got what we got.Stream it here.‘Happy Feet’ (May 31)George Miller has one of the more fascinating dual filmographies in all of cinema. On one hand, he created and directed the four “Mad Max” films, fiercely visceral and unapologetically violent action epics for a decidedly adult audience. On the other, he has given us some of the most enjoyable family movies of the ’90s and beyond, including the “Babe” films and this enchanting animated musical comedy, which was nominated for best animated feature Oscar and spawned a 2011 sequel. Elijah Wood voices the leading role of Mumble, an emperor penguin unable to attract a mate with his song, who decides instead to take up tap dancing. Hugh Jackman, Nicole Kidman, Brittany Murphy and Robin Williams are among the impressive voice cast.Stream it here.‘Wild Things’ (May 31)The impressive 1990s run of erotic thrillers was nearly at its end when the director John McNaughton (“Henry: Portrait of a Serial Killer”) directed this 1998 entry into the subgenre, which gleefully revels in the sordidness of its story while also slyly winking at its conventions — he has his sleazy cake and eats it too. Denise Richards became a star via her hubba-hubba turn as a rich bad girl who accuses a teacher (Matt Dillon) of assault, a charge echoed by a tough young woman from the wrong side of the tracks (Neve Campbell, turning her “Scream” image inside out). But that’s just the setup; the clever script is filled with reverses, reveals and double-crosses, resulting in a trashy delight that is equal parts Hitchcock and Cinemax After Dark.Stream it here.‘Zoolander’ (May 31)Ben Stiller co-writes, directs and stars in this giddily goofy 2001 comedy as Derek Zoolander, a delightfully dim male model who is pulled into a hilariously convoluted story of spies, political assassination and fashion industry exploitation. Owen Wilson is his rival, a fellow male model who becomes his unlikely partner; Will Ferrell is the dastardly villain of the tale, and he does not underplay the role. Stiller’s influences aren’t subtle (he’s shouting out everything from Bond to the Pink Panther), but his unique directorial style and inside knowledge of celebrity culture makes “Zoolander” a surprisingly pointed social commentary that’s also very stupid and very funny.Stream it here.Also leaving: “The Blind Side,” “I Know What You Did Last Summer,” “Stardust,” “Teenage Mutant Ninja Turtles” and “Top Gun” (all May 31). More

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      in Movies

      In Echo of Soviet Era, Russia’s Movie Theaters Turn to Pirate Screenings

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      In a Cold War throwback, some venues are showing bootleg versions after Hollywood studios pulled films from the country. Still, viewer numbers have tanked.Since the invasion of Ukraine, Hollywood’s biggest studios have stopped releasing movies in Russia, and Netflix has ceased service there. But recently, some of the companies’ films have started appearing in Russian movie theaters — illegally.The screenings are reminiscent of the Soviet era, when the only way to see most Western films was to get access to a pirated version. Whereas those movies made their way to Russians in the form of smuggled VHS tapes, today, cinemas in the country have a simpler, faster method: the internet. Numerous websites offer bootleg copies of movies that take minutes to download.Some theaters in Russia are now openly screening pirated movies; others are being more careful, allowing private individuals to rent out spaces to show films, free or for a fee. One group, for example, rented out several screening rooms at a movie theater in Yekaterinburg, then used social media to invite people to buy tickets to watch “The Batman.”Theatergoers can also see “The Batman” in Ivanovo, a city about a five-hour drive from Moscow, in at least one venue. In Makhachkala, capital of the Dagestan region, in the Caucasus, a movie theater is screening “Don’t Look Up”; and in Chita, a city near the border with Mongolia, parents can take their children to watch “Turning Red,” the animated film from Disney and Pixar.Jennifer Lawrence as Kate Dibiasky and Leonardo DiCaprio as Dr. Randall Mindy in “Don’t Look Up.”Niko Tavernise/NetflixIn “Turning Red,” an animated Disney/Pixar feature, a teenager is transformed into a giant red panda.Disney+Robert Pattinson is the star of “The Batman.”Warner Bros.These surreptitious screenings are the latest attempt by movie theaters in Russia to survive after American studios like Disney, Warner Brothers and Paramount left the country in protest. Before the war in Ukraine, movies produced in the United States made up about 70 percent of the Russian film market, according to state media.But despite the attempts to draw viewers, last month, Russians barely went to the movies. Theaters saw ticket sales fall by about half in March, compared with the same period last year, according to the country’s Association of Theater Owners.Artem Komolyatov, 31, a video game producer in Moscow, noticed the shift when he and his wife went on a Friday date to the movies a few weeks ago. With everything that has been going on politically, the two of them wanted to spend a couple of hours in a relaxed environment with other people, Komolyatov said, “watching something together, maybe laughing and crying.”They chose “Everything Everywhere All At Once,” a film from the independent American studio A24, which stopped releasing films in Russia in mid-April.The scene they found when they arrived at the movie theater was bizarre, Komolyatov said. “Besides us, there were three other people,” he said. “We went at 8 p.m. on a weekend. Usually the theater is completely full.”The Cinema Park complex in Moscow on April 12. The poster on the right is for “Uncharted,” with Tom Holland and Mark Wahlberg, which came out just before the Ukraine war started.Nikolay Vinokurov/AlamyGiven the dearth of viewers and of content, the Association of Theater Owners predicted that at least half the movie theaters in Russia would go out of business in the next two months.Even if that prognosis is true, history has shown that films will reach audiences with or without legal channels. Decades ago, Soviet citizens gathered in empty office spaces, living rooms and cultural centers to view pirated copies of Western classics like “Rocky,” “The Terminator,” and “9 ½ Weeks” that had made their way behind the Iron Curtain.During the tumultuous years that followed the crumbling of the Soviet Union, piracy continued to be the main access point for Hollywood films in Russia. Movies recorded on VHS tapes that were sold at local markets were often clearly shot on a hand-held camcorder in a movie theater. Continuing a Soviet tradition, the movies were dubbed into Russian with a time delay by voice actors, often just one for all the male characters, and another for the women.Once the first Western-style movie theater opened in 1996 in Moscow, illegal distribution paths began to peter out, according to a study by the Social Science Research Council, a New York-based nonprofit. In the early 2000s, Russians flocked to theaters to see legally distributed global hits like “Avatar” and “Pirates of the Caribbean: At World’s End.” Russia became the ninth-largest foreign box office market, according to the Motion Picture Association.Russia-Ukraine War: Key DevelopmentsCard 1 of 3Biden’s speech. More

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      in Television

      A French Hit on Netflix Changes Its Language and Streaming Service

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      “Call My Agent!,” set at a Parisian talent agency, was a cult favorite during the pandemic. But the English-language adaptation will be on Sundance Now and AMC+.Four bumbling talent agents at risk of losing their business because of poor financial planning. A secret daughter interested in a career in the entertainment industry. Cameos by famous actors playing themselves. One spoiled dog. This is the formula that made the French show “Call My Agent!,” about a Parisian talent agency, into a global hit once it began appearing on Netflix in 2016.On Friday, the British version of the show, titled “Ten Percent” and set at a London talent agency, will debut. But instead of airing on Netflix, the eight-episode series will premiere on Sundance Now and AMC+ in the United States, and Amazon U.K. in Britain, Canada and six other English-speaking territories.Basing an English-language TV show on a popular hit from another country is a tried-and-true convention in the U.S. entertainment industry. Think “Homeland” and “Euphoria” — or even “The Office,” which began life with Ricky Gervais in England before being adapted into the long-running American version starring Steve Carell.“Ten Percent” was conceived in much the same way. David Davoli, who heads the television division for Bron Studios, negotiated, along with London’s Headline Pictures, for the English rights to “Call My Agent!” in 2017, after the show debuted on Netflix but before it truly caught on with English-speaking audiences. According to Mr. Davoli, it was already doing “bonkers numbers on French television,” where it debuted in 2015. Yet it was before “the dawn of international television where people were more comfortable ingesting foreign language stuff,” he said.What makes “Ten Percent” unique is that usually the English-language version is adapted from a show not widely seen in the United States. Not so with “Call My Agent!,” which became a cult favorite with American audiences during the pandemic. The show has run for four seasons on Netflix — with talk of a possible fifth to come — and inspired a film and adaptations in India and Turkey. Its star, Camille Cottin, could be seen in the films “House of Gucci” and “Stillwater” last year.“Call My Agent!” became available on Netflix in 2016.Christophe Brachet/NetflixNetflix won’t give details on the show’s viewership numbers, but the company’s co-chief executive Ted Sarandos referred to the series in his January earnings call as proof that Netflix’s investment in international programming was paying off. It, along with “Money Heist” and “Squid Game,” proved to streaming companies that if a show is good enough, subtitles and cultural specificity are not a deterrent for viewers. And if that’s the case, why spend money on an English-language version? The Race to Rule Streaming TVA New Era: Companies like Netflix, HBO, Hulu and Amazon ushered out the age of “prestige TV” and ushered in an age of anything goes.Netflix’s Woes: The streaming star lost subscribers for the first time in a decade as competitors are continuing to expand.A Warning Sign?: Netflix’s sudden problems may be an indication that other streaming services are heading toward an unstable future.Commercials: Streaming executives are having a change of heart about ads and offering lower-priced versions in exchange for commercials.In contrast, “Ten Percent” will appear on a much smaller platform, one with nine million subscribers, just 12 percent of Netflix’s 74.6 million subscribers in the United States and Canada. (It stars Jack Davenport as the de facto head of the agency and will feature cameos from well-known British actors including Helena Bonham Carter, Dominic West and David Oyelowo.)Netflix had the opportunity to buy “Ten Percent,” as did every other streaming service in the United States, but passed. It declined to comment on its decision. Instead, Sundance Now came up with an attractive offer and licensed the show.“We’re very happy to be there,” Mr. Davoli said of his relationship with AMC Networks, which owns Sundance Now. “I like being a bigger fish in a smaller pond. I think we’re going to get way more attention there. Marketing is half the battle, and on some of the bigger streamers they’re up on Friday and gone on Monday.”AMC Networks, which owns a handful of niche streaming options including AMC+, Acorn TV, Shudder, Sundance Now and AllBlk, will also air the show weekly on its BBC America channel, two days after the episodes become available through streaming.“We jumped at the chance to make Sundance Now the U.S. home of the British remake,” said Shannon Cooper, vice president of programming for Sundance Now. “This is such a fun watch, whether you’ve seen the original or not.”This is a rocky moment for streaming, with Netflix’s stock plummeting after last week’s announcement that it lost 200,000 subscribers in the first quarter of the year and expected to lose two million beyond that in the second. Despite the deluge of content arriving weekly on the various services, consumers are happy to end a subscription if the latest offerings aren’t striking their fancy.Helena Bonham Carter, right, is one of the celebrities playing a version of themselves in “Ten Percent.” Lydia Leonard is one of the show’s stars.Rob Youngson/Sundance NowAccording to a recent survey by Deloitte, 37 percent of consumers in the United States added or canceled a streaming subscription in the last six months, a churn figure that has been consistent since 2020. The primary reasons they cited were price concerns and lack of new content. The return of a favorite show, according to Deloitte’s survey, is a key reason customers would subscribe to a service, or resubscribe to one they recently abandoned. That’s why a show like “Ten Percent,” which has the potential to lure viewers who enjoyed “Call My Agent!,” is an attractive purchase for an upstart streaming service.“It’s an appealing proposition for any of these distributors,” said Dan Erlij, partner at United Talent Agency and co-head of the television literary department. “There’s so much stuff that’s constantly premiering. How do you make sure that people are aware of it? Bus ads and billboards only take you so far. And it’s expensive. So if you know that there’s a word of mouth built in already, I think that can be really helpful.”The executive producer of “Ten Percent” is John Morton, best known for his comedy “W1A,” which satirizes the BBC. In a recent interview, he said he was cognizant of the high stakes he was facing when he took the job of adapting the beloved series. Attracted to the show’s “warm heart” and its ability to connect its audience to its fallible main characters, Mr. Morton said, he was intimidated by the idea of “starting again with something that’s already so good.”His strategy was to go back and rewatch the first season of “Call My Agent!” in its entirety but then never refer to it again. As of the interview, he had yet to finish the third season and hadn’t watched the fourth.The ultimate goal was to take the essence of “Call My Agent!” and make it specifically British, capturing the diversity of London, from its architecture to its people.“London is chaotic — architecturally, logistically, creatively — and that throws up wonderful things and also terrible things,” Mr. Morton said, adding that, as in “Call My Agent!,” the talent agency has a rooftop. But rather than looking out over a pristine Parisian night sky, this roof “looks out over a certain sort of unconnected chimneys.”The cast of the British version is also more diverse, with the secret daughter from the original now played by the British actress Hiftu Quasem, who is of Bengali descent, and the bumbling agent, Dan, portrayed by Prasanna Puwanarajah, a British actor of Sri Lankan descent. Yet the archetypes from the original prevail. For example, Ms. Cottin’s character, a hard-charging lesbian agent, is now played by Lydia Leonard, and her character’s frenetic love life is also complicated by her career ambitions.Mr. Davoli — who since becoming the head of Bron TV has sold three other co-productions to streaming companies, including “The Defeated” to Netflix and “Kin” to AMC — admits that the market for format deals has become more challenged in recent years.“The thing that’s most important that I’ve learned over the last four years is the quality bar cannot be messed with,” he said. “The only way to protect the investment is to ensure that you’re creatively making content that can sell into the U.S., because our audiences are so sophisticated now. They won’t stick around for stuff that’s not rising above a certain bar.” More