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      The Best Movies and TV Shows Coming to Netflix in February

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      This month’s new arrivals include an insightful docudrama about a fraudulent wellness blogger and a rare TV role for Robert De Niro.Every month, Netflix adds movies and TV shows to its library. Here are our picks for some of February’s most promising new titles for U.S. subscribers. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)‘Apple Cider Vinegar’Starts streaming: Feb. 6The Australian mini-series “Apple Cider Vinegar” is a fictionalized version of a true story about Belle Gibson, a wellness influencer who became the center of a scandal when she admitted to lying about overcoming cancer through strict dieting. Kaitlyn Dever plays Belle, who becomes addicted to the positive attention she receives — not to mention the money — when she begins sharing her made-up story on social media. Alycia Debnam-Carey plays Milla, another alternative health advocate who becomes first an inspiration to Belle and then a rival for likes and clicks — although her testimonials, too, are not strictly on the level. Aisha Dee rounds out the main cast as Chanelle, a friend of Milla’s who works with Belle and gets caught in the middle of the escalating quackery.‘La Dolce Villa’Starts streaming: Feb. 13This romantic comedy offers two main attractions. One is Scott Foley, a veteran TV actor with a disarming screen presence. He plays Eric, a busy business consultant and widower who puts his career on hold to help his daughter, Olivia (Maia Reficco), extract value from a suspiciously cheap piece of rural Italian real estate. The movie’s other big star is its sun-dappled location, where these two Americans discover some unexpected passions: Eric for cooking and the local dignitary Francesca (Violante Placido); and Olivia for interior design and the charming local restaurateur Giovanni (Giuseppe Futia). Directed by Mark Waters (“Mean Girls,” “Freaky Friday”), “La Dolce Villa” emphasizes the sensual seductions of the European countryside.‘Court of Gold’Starts streaming: Feb. 18When the U.S. Olympic Team first started sending N.B.A. players to compete internationally in 1992, the idea was to grow the sport of basketball so that one day, the United States would not, by default, have the most dominant players. This past summer’s Paris Olympics saw that plan fully coming to fruition, as the United States was tested night after night by the new N.B.A. superstars from Canada, Serbia, France and elsewhere. The documentary series “Court of Gold” offers behind the scenes access with the Americans as they prepare for a real challenge. The director Jake Rogal also spends time with the other top competitors, who no longer fear the United States the way teams did 30 years ago. Across six episodes, the series tells the story of a dramatic Olympics tournament, with twists and comebacks and a lot of pride on the line.‘Zero Day’Starts streaming: Feb. 20Robert De Niro takes his first regular role in an American TV series in this political thriller, playing George Mullen, a former U.S. president who gets pulled back into public service during a national emergency. When a global cyberattack results in widespread destruction and fatalities, the aged but still popular Mullen is asked to head a commission to uncover who was responsible, with vast and possibly unconstitutional powers at his command. The stacked cast also includes Lizzy Caplan as Mullen’s politically ambitious daughter, Joan Allen as his worried wife and Angela Bassett as the current president, who has reluctantly called for her predecessor’s help. Jesse Plemons, Matthew Modine, Bill Camp, Dan Stevens, Gaby Hoffmann, Connie Britton and Clark Gregg play various friends and foes who — even when they appear to be on Mullen’s side — have their own mysterious agendas.‘Running Point’Starts streaming: Feb. 27Based loosely on the life of the Los Angeles Lakers president Jeanie Buss, this fast-paced sports sitcom has Kate Hudson playing Isla Gordon, a basketball-savvy executive in the offices of the Los Angeles Waves. When a family scandal leaves Isla in charge of the team her father and brothers ran for decades, she has to overcome industry sexism, fan skepticism and various boardroom struggles to put the floundering franchise in position for a playoff run. “Running Point” is run by the “Mindy Project” writer-producer team of Mindy Kaling, Ike Barinholtz and David Stassen, with Buss as an executive producer. They pepper underdog story beats throughout a close-up look at an often overlooked woman, trying to prove she can handle pro basketball’s big personalities.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

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      ‘Emilia Pérez’ and the New Era of Online Oscar Scandals

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      As Karla Sofía Gascón’s resurfaced social media posts upend the campaign for the year’s most-nominated film, what happens now?Last August, when I first met and interviewed the “Emilia Pérez” star Karla Sofía Gascón, she told me that she was not the type of person to back down from a conflict.“I’m a great warrior,” Gascón said then. “I love to fight. If it was up to me, I would go to all the talk shows and fight with everybody all the time.”She shared this to illustrate how fraught her life had become in the years leading up to “Emilia Pérez,” when Gascón, previously known to Mexican audiences for her work in telenovelas, came out publicly as a trans woman. But that hint at her combative nature could also have been considered something of a sneak preview, now that the newly Oscar-nominated actress has become embroiled in a scandal — and embarked on a defiant media blitz — that has imperiled both her career and the formerly front-running awards campaign of “Emilia Pérez.”As recently as last week, the 52-year-old actress and the Spanish-language musical she stars in were riding high. With a field-leading 13 Oscar nominations, “Emilia Pérez” represented Netflix’s strongest shot at finally nabbing its first best-picture trophy, while Gascón had already made history as the first openly trans actress to be nominated for an Oscar.Gascón is the first openly trans actress to be nominated for an Oscar.Pathé FilmsThen, last Wednesday, the journalist Sarah Hagi unearthed years-old posts Gascón had written on X that denigrated Muslims (saying Islam was “becoming a hotbed of infection for humanity that urgently needs to be cured”), called George Floyd a “drug-addicted con artist,” and criticized the diverse winners of the 2021 Oscar telecast (“I didn’t know if I was watching an Afro-Korean festival, a Black Lives Matter demonstration or the 8-M”). In a statement issued by Netflix the next day, Gascón apologized for the posts. But instead of allowing the dust to settle, the star took matters into her own hands.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

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      Labor Board Classifies ‘Love Is Blind’ Contestants as Employees

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      The National Labor Relations Board’s case against the Netflix hit could have ripple effects across the reality TV industry.The National Labor Relations Board issued a complaint against the hit reality show “Love Is Blind” on Wednesday in which it classified the show’s contestants as employees, opening a case that could have ripple effects across the reality television industry.The complaint by the labor board’s regional office in Minnesota says that the show committed several labor violations, including unlawful contractual terms related to confidentiality and noncompete provisions.By classifying the cast members — who date and sometimes marry other singles on the show — as employees with certain federal legal protections, the complaint opens the door to possible unionization. It is one of the labor board’s first forays into reality television and a major development in the effort by some onscreen personalities to change the industry through the legal system.Several contestants on “Love Is Blind,” which streams on Netflix and has been one of the buzziest dating shows since its debut in 2020, have come forward in lawsuits, in interviews and on social media with objections to the restrictions outlined in their contracts.One contestant, Renee Poche, became involved in a legal dispute with the show after she publicly accused the production of allowing her to become engaged, in front of TV cameras, to a man “who was unemployed with a negative balance in his bank account.” She said in court papers that after she had made “limited public remarks about her distressing time on the program,” one of the companies behind the production initiated arbitration proceedings against her, accusing her of violating her nondisclosure agreement and seeking $4 million. (Poche, a veterinarian who lives in Texas, said she had earned a stipend of $1,000 per week, adding up to a total of $8,000.)Two “Love Is Blind” participants — Poche and Nick Thompson — submitted complaints to the labor board, resulting in an investigation into the policies and practices of the production companies behind the show, which include Kinetic Content and Delirium TV.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

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      Jamie Foxx’s ‘What Happened Was…’ and Other Comedy Specials to Watch

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      The show is both an act of gratitude and a stand-up special. It’s one of four new comedy hours worth checking out.The latest batch of comedy specials worth watching starts with a much anticipated one from Jamie Foxx and includes hours from Matthew Broussard, Anthony Jeselnik and Fortune Feimster.Jamie Foxx ‘What Had Happened Was …’(Stream it on Netflix)In April 2023, news broke that Jamie Foxx had been hospitalized in Atlanta with what his daughter described on Instagram as a “medical complication.” Not much else was revealed, and in the vacuum of information, rumors spread. When a photo of Foxx appeared online, some conspiracy-minded types called it a clone. Katt Williams even jokingly questioned and made fun of his “mysterious illness.”Now Foxx says he wants to set the record straight. Speaking in a theater a few hundred yards from the hospital where he says his life was saved, Foxx enters wearing sunglasses but takes them off quickly to wipe away tears. He says he experienced a brain bleed, suffered a stroke, temporarily lost the ability to walk and doesn’t remember 20 days of his life. It’s a moving performance that feels like part of a growing trend of how comics deal with medical catastrophe.Tig Notaro did a famous hour about flirting with death not long after she got a cancer diagnosis. Keith Robinson also turned his two strokes into irreverent comedy. Foxx’s special is a much more polished production and sentimental affair. He tells a few jokes, pays tribute to his family repeatedly (he brings two daughters onstage) and preaches the virtues of prayer and comedy (“If I could stay funny, I could stay alive”). His most amusing moments involve his gift for impressions, including a riotous imagining of Denzel Washington if he, like Foxx, needed help going to the bathroom in a hospital. Foxx also does an excellent Katt Williams. But this isn’t a stand-up special so much as a celebration, an act of gratitude and the kind of emotive video often posted on Instagram.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

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      How I Aged Into the Bad Christmas Movie

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      When I first discovered the existence of made-for-television Christmas movies, maybe 15 years ago, they struck me as sentimental and anti-feminist. Also, they seemed to be made for older people. The leads were always floundering in midlife until their romantic and professional lives were reformed through the magic of Christmas. Then, one December morning, I awoke to find that I had transformed into the target demographic. I am older now, and the movies are made just for me.The crop of Christmas movies released this year — broadcast most prominently on the Hallmark Channel, though increasingly rivaled by Netflix’s holiday machine — are sprinkled with millennial bait. They feature weathered stars from nostalgic childhood properties and crib plots and vibes from touchstone films. They have anticipated my critiques, modulating the melodrama with self-conscious winks and dialing up the sexual innuendo.Romantic comedies are about one party lowering her defenses and another raising his game until they finally meet on level ground. That’s what’s happened here: The bad Christmas movies grew more cynical, and I grew softer. As I neared the end of “Our Little Secret,” a Netflix Christmas movie starring Lindsay Lohan, I actually cried.Lindsay Lohan, star of “The Parent Trap” and “Mean Girls,” is now building a midlife holiday empire at Netflix, including “Our Little Secret.” Chuck Zlotnick/NetflixWhat’s happening to me? In recent years, my feelings about work, romantic love, big city living, small town charm and secular holiday cheer have not appreciably changed. It’s my relationship to rote sentimentality that has shifted. Recently I have felt so pummeled by stress and responsibility that I have found it difficult to turn on a compelling new television show at the end of the day. I have no extra energy to expend familiarizing myself with unknown characters, deciphering twists or even absorbing scenes of visual interest.What I’ve been looking for, instead, is a totally uncompelling new television show — one that expects nothing from me, and that gives me little in return. The bad Christmas movie’s beats are so consistent, its twists so predictable, its actors and props so loyally reused, it’s easy to relax drowsily into its rhythms. The genre is formulaic, which makes for a kind of tradition. Now it plays through the winter like a crackling fireplace in my living room.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

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      ‘Mary’ Review: An Epic Biopic for the Mother of God

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      No genre gesture goes untapped in this Netflix film, a coming-of-age saga about the Virgin Mary featuring Anthony Hopkins as King Herod.Horses gallop across a desert. Christianity’s most famous couple meet cute at a river. Swords clatter. A villain emerges from flames. Insect buzz accompanies the come-ons of a devil. (OK, the Devil.) No genre gesture goes untapped in the deliberately hagiographic “Mary,” a coming-of-age saga about the mother of Jesus. Directed by D.J. Caruso and written by Timothy Michael Hayes, the film aims to draw multitudes.“I was chosen to deliver a gift to the world, the greatest gift it has ever known,” Mary (Noa Cohen) says in voice-over, as she stands in an arid landscape holding a newborn in her arms with Joseph (Ido Tako) nearby.The film covers the prophesied pregnancy of Mary’s mother, Anne (Hilla Vidor), Mary’s time studying in Jerusalem and King Herod’s obsession with the foretold savior. The angel Gabriel, his blue robes fluttering, appears often. So does Lucifer.King Herod, a transfixing Anthony Hopkins, struts and frets his waning hours and appears to be dysregulating as he tries to upstage and upend God’s promise.Vidor brings a humane yet grounded aura to Anne, one that feels lived. The same can’t be said of Cohen’s character. The filmmakers have Mary address the viewers: “You may think you know my story. Trust me, you don’t.” It’s a bold and humanizing move. But their portrait doesn’t live up to the bravado or promise of Mary’s declaration.MaryNot rated. Running time: 1 hour 42 minutes. Watch on Netflix. More

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      New Movies and Shows Coming to Netflix in December: ‘Squid Game’ and More

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      This month has a ton of new titles arriving for U.S. subscribers, including a Nate Bargatze special and the return of “Squid Game.”Every month, Netflix adds movies and TV shows to its library. Here are our picks for some of December’s most promising new titles for U.S. subscribers. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)‘Black Doves’ Season 1Starts streaming: Dec. 5Created by Joe Barton (known for the stylish series “Giri/Haji” and “The Lazarus Project”), this twisty thriller has Keira Knightley playing Helen, a secret agent so deeply undercover that she is married to the British politician she is spying on — and is the mother to his children. When Jason (Andrew Koji), a man Helen was having an affair with, is very publicly assassinated by London mobsters, Helen’s boss, Reed (Sarah Lancashire), and her close colleague Sam (Ben Whishaw) try to keep the investigation into the murder from reaching back to her and blowing her cover. “Black Doves” is set in a pulp fiction version of England where everyone is hiding something and no one fully trusts anybody — a place where information is currency and people survive on guile.‘Maria’Starts streaming: Dec. 11The third film in the director Pablo Larraín’s trilogy of biopics (after “Jackie” and “Spencer”), “Maria” is a showcase for Angelina Jolie, who plays the opera diva Maria Callas. Set during the final week of the singer’s life, the movie has Callas in a druggie stupor, imagining that she is sitting for an interview in which she reflects on her tumultuous life. Jolie reportedly spent months in opera training, not to learn how to copy Callas’s voice but rather to make sure she could stand, move and breathe like a master.‘No Good Deed’ Season 1Starts streaming: Dec. 12At the start of this dark dramedy, a Los Angeles couple, Paul (Ray Romano) and Lydia (Lisa Kudrow), are anxious to sell their house: a beautiful, century-old home in an upscale neighborhood. A handful of motivated buyers, played by Luke Wilson, Linda Cardellini, Teyonah Parris, O-T Fagbenle, Abbi Jacobson and Poppy Liu, circle the property while Paul and Lydia try to hide their secret reasons for the sale — and their relationship with a dangerous ex-con played by Denis Leary. Similar to the creator Liz Feldman’s previous Netflix series, “Dead to Me,” “No Good Deed” is about people who seem outwardly to be enjoying some material success but whose personal lives are in shambles; privately, they all feel they’re on the brink of disaster.‘Your Friend, Nate Bargatze’Starts streaming: Dec. 24The stand-up comedian Nate Bargatze was popular before he hosted “Saturday Night Live” for the first time in 2023, but that episode — and a second hosting gig in October — helped boost him into comedy’s A-list. This month, Bargatze will be hosting a Christmas-themed variety show for CBS (airing on Dec. 19 and also available on Paramount+); and then on Christmas Eve, he will debut this third Netflix stand-up special. It makes sense for Bargatze to be delivering new material at a time when families are gathering and looking for something to do. He is one of the rare modern comics whose profanity-free jokes are suitable for pretty much all ages, touching on such universal topics as marriage, parenting and how to navigate the modern world’s sometimes confusing etiquette.‘Squid Game’ Season 2Starts streaming: Dec. 26The first season of the Korean mystery-thriller “Squid Game” became an unexpected international phenomenon, captivating audiences with its depiction of an elaborate tournament in a remote location in which desperate people risk their lives for a huge cash prize. As Season 2 begins, rumors about the game have begun to leak out, and several people are looking to find it — including the former players Gi-hun (Lee Jung-jae) and Jun-ho (Wi Ha-jun). The series’s Emmy-winning writer-director, Hwang Dong-hyuk, returns for the second of a planned three-season run, bringing back the visually spectacular and nerve-racking contests of Season 1. He also adds more social commentary, examining the brokenness of a world, very much like our own, where such a deadly underground competition could exist.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

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      ‘The Agency’ and ‘Black Doves’: Spy Dramas in Touch With Their Feelings

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      ‘The Agency’ and ‘Black Doves’ are part of a new crop of espionage series whose biggest battles take place within the hearts and minds of their agents.Ukraine and Russia are at war. Political instability and civil war rage in Sudan. Iran is ramping up its nuclear capabilities. The world is basically a mess in “The Agency,” the new espionage series that inundates the viewer with rapidly intersecting story lines set on an increasingly complicated geopolitical playing field.The series, which premiered last week on Paramount+ (with the Showtime tier), is part of a surge in spy shows that also includes “The Day of the Jackal,” on Peacock; “Black Doves,” premiering Dec. 5 on Netflix; and “Slow Horses,” which wrapped up its fourth season on Apple TV+ this fall.True to the genre, these series jet all over the globe (though mostly Europe) and unfold in high-tech command centers and in dark urban alleyways, via thrilling shootouts and furtive meetups. Some operatives pursue sanctioned missions as others go rogue. Multiple cats chase multiple mice, and it’s not always clear who is which.The most pitched battles, however, happen within the hearts and minds of the individual players. Even as the new spy shows reflect a fraught, tangled and mercenary post-Cold War world, the existential threats and conflicts are more interior, intimate and, in many ways, timeless.“It’s the agency,” a Central Intelligence Agency honcho (Jeffrey Wright) tells a field agent (Michael Fassbender) in “The Agency.” “Nothing is personal.” Nothing, that is, except everything.Jeffrey Wright, right, with John Magaro, plays a C.I.A. boss in “The Agency,” based on the French series “The Bureau.”Luke Varley/Paramount+ with ShowtimeWe 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