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      ‘Emily in Paris’ Star Lily Collins On Her Own Trauma Haircut

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      The cast also talked about berets and big life choices at a screening and reception at the French Consulate General to celebrate Season 3.It was a gloomy, rainy 40-degree evening, but on a blue carpet inside the French Consulate General on the Upper East Side before a special screening of Season 3 of “Emily in Paris” last week, the cast was as colorful as the show.Lucien Laviscount, who plays Emily’s British boyfriend, Alfie, flashed a grin as he strolled along the line of reporters in a neon pink suit with matching sneakers. Philippine Leroy-Beaulieu, who plays Emily’s French boss, Sylvie, cocked an eyebrow coyly at the cameras as she tilted her head to show off a big silver arrow piercing her right ear above an asymmetrical black gown.Kate Walsh, who plays Emily’s American boss, Madeline, struck a pose in a long white gown, thrusting out her left leg to showcase a daring thigh-high slit above a sheer black mesh panel. She was accompanied by her fiancé, Andrew Nixon.The show’s star, Lily Collins, appeared in a sparkling white long-sleeved minidress covered with silver bows, black tights and sparkling silver platform heels, and the blunt bangs her character, Emily, cuts in the first episode of the new season. (“Trauma bangs,” as Emily’s roommate Mindy, played by Ashley Park, terms them.)Emily is under pressure at the beginning of the third season of the Netflix series, which returns Wednesday. She faces big choices at work and in love. Should she stick with her Chicago boss, Madeline, at Savoir or join her French boss, Sylvie, at her new marketing firm? And should she hold out hope for the unavailable Gabriel, played by Lucas Bravo, or embrace a long-distance relationship with her flame in London, Alfie?Ms. Collins and Ms. Park said they found it relatable that Emily would reach for the scissors amid paralyzing indecision.“I had a life change haircut when I was, I think, 26,” Ms. Collins said. “I cut all my hair off — it was a pixie haircut — and I went to the Vanity Fair Oscars party and people were like, ‘What happened?’”The actress and model Camille Razat and her partner, the photographer Etienne Baret.Dolly Faibyshev for The New York TimesLucien Laviscount and Lucas Bravo, who are “Emily in Paris” cast members.Dolly Faibyshev for The New York TimesMs. Park, who wore a purple-and-black zebra print gown and black latex boots, said that when she was in seventh grade, she wanted wavy hair. “But I got a perm, and it was way too much, so I had to wear my hair in this topknot that I called ‘the pineapple’ for a year!” said Ms. Park, her dark brown eyes set off by bold purple eye shadow.Jeremy O. Harris, the “Slave Play” playwright who plays the designer Gregory Dupree on the show, didn’t hesitate when asked if Emily should return to Chicago.“She just needs to get away from men,” he said, dressed in a white patterned jumpsuit and long-sleeved red shrug.“There’s too much romance in Paris,” he added. “I think she should stay in Europe, but I want to see ‘Emily in Berlin’ or ‘Emily in Italy.’”The playwright Jeremy O. Harris plays the designer Gregory Dupree in “Emily in Paris.”Dolly Faibyshev for The New York TimesDarren Star, who created the series, said the show will be sticking to its title, though — at least for this season.“Emily is in Paris for the moment,” said Mr. Star, who wearing a black suit. The series was renewed for a fourth season, and, he hopes, it will extend beyond that.“If they want us back, we’re coming back,” he said. “I think there’s more story to tell.”Paris has, of course, proven thus far an inexhaustible sense of amusement for viewers as Emily navigates cultural differences like a double cheek kiss greeting and an office that doesn’t open before 10:30 a.m.“Emily going into the office that early was definitely funny,” said Camille Razat, who plays Camille, a Parisian socialite and a rival for Gabriel’s affections. Ms. Razat wore a long-sleeved red dress with matching opera gloves. “We work to live, not live to work,” she said.The French actor William Abadie agreed. He plays Antoine, the owner of a perfume company that is a client of Savoir’s. “I live in America, and I came here because I wanted to be an actor, but also because I respect the professionalism,” he said.The actor William Abadie.Dolly Faibyshev for The New York TimesDarren Star, the creator of “Emily in Paris.”Dolly Faibyshev for The New York TimesThe show’s French and American cast members shared one thing, though: affection for the beret, the round, flattish felt cap that Emily wears at least half a dozen of in the show’s first two seasons.“I have lots of berets,” said Mr. Harris, his eyes lighting up.“I have a winter beret, a summer beret. …” Ms. Walsh said.The show’s French cast members had little personal experience wearing them, though they were not opposed to the idea.“Why not?” said Mr. Bravo, who was wearing a black velvet suit.“I never wear them,” Mr. Arnold said. “I think I would,” he added, “But I like my hair too much.”Quick Question is a collection of dispatches from red carpets, gala dinners and other events that coax celebrities out of hiding. 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      ‘Stars at Noon,’ ‘Vortex’ and More of This Year’s Streaming Gems

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      A look back at some of the finest under-the-radar streaming picks of the year.December is upon us, prompting a glut of year-end best-of lists from film critics, awards-giving bodies and various experts. Most of those feature titles you might not have seen, and some you haven’t even heard of. In that year-end wrap-up spirit, this month’s guide to the hidden gems of your subscription streaming services consists solely of films released in the United States during the past calendar year. Check out some obscurities, and impress your friends and colleagues at holiday parties.‘Stars at Noon’Stream it on Hulu.Claire Denis’s erotic drama is immersed in the worlds of journalism, espionage and geopolitics, but the real subject is one of her standbys: the sexual dynamics between men and women, and the transactional nature therein. The participants here are Trish (Margaret Qualley), an underemployed American journalist in Nicaragua who’s doing a bit of sex work as a side hustle, and Daniel (Joe Alwyn), a British businessman who’s both buying and selling. Denis keenly observes how the power shifts between them, and rarely without a struggle; their dialogue scenes have a cockeyed unpredictability, particularly since one or both is always in a state of desperation. Alwyn is fine, good even, but Qualley is a revelation; she is, by turns, funny, sexy, savvy and broken.‘Vortex’Stream it on Mubi.The extremist Argentine-French filmmaker Gaspar Noé’s most recent effort is his gentlest, though only because he’s best known for provocations like “Irreversible,” “Enter the Void” and “Climax.” Here, he tells the story of a long-married couple (played by the Italian filmmaker Dario Argento and the French actress Françoise Lebrun) and how their idyllic retirement is ripped apart by her increasingly debilitating dementia. It sounds not unlike Michael Haneke’s devastating “Amour,” a similarly dour tale of aging and mortality, but Noé inserts an additional visual dimension: He plays out the events in split-screen, with her separative frame a devastating visualization of her mental isolation — a stylistic flourish that makes this harrowing drama all the more affecting.The Projectionist Chronicles a New Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Golden Globe Nominations: Here are some of the most eyebrow-raising snubs and surprises from this year’s list of nominees.Gotham Awards: At the first official show of the season, “Everything Everywhere All at Once” won big.Governors Awards: Stars like Jamie Lee Curtis and Brendan Fraser worked a room full of academy voters at the event, which is considered a barometer of film industry enthusiasm.Rian Johnson:  The “Glass Onion” director explains the streaming plan for his “Knives Out” franchise.‘The Survivor’Stream it on HBO Max.Once upon a time, a Barry Levinson-directed feature based on a true story, with an all-star cast and successful debut at the Toronto International Film Festival, would have been a shoo-in for Oscar consideration. In today’s peculiar marketplace, it’s bought up by HBO only to never be seen again. But this is a stellar historical drama, with Ben Foster in fine form (both dramatically and athletically) as Harry Haft, an Auschwitz captive who survived his time there by boxing, and later used those skills to make a career as a boxer in America. The fight scenes are brutal, the dramatic stretches wrenching, and Levinson orchestrates his first-rate cast with aplomb.‘Elesin Olba: The King’s Horseman’Stream it on Netflix.In 1943, in the region of Africa now known as Nigeria, the longstanding tradition of the tribal king’s horseman committing ritual suicide after the death of the king (and thus following him into the afterlife) was prevented by British colonialists. That true event inspired Wole Soyinka’s venerable play “Death and the King’s Horseman,” which was adapted into this absorbing feature film by the Nigerian novelist, playwright and filmmaker Biyi Bandele (who died just before its premiere at this year’s Toronto International Film Festival). The portraiture of customs and rituals is fascinating, and the Brits are properly villainous. But the film truly comes alive in its closing scenes, a thought-provoking and thoughtful contemplation of mortality and responsibility.‘Navalny’Stream it on HBO Max.Between interviews for Daniel Roher’s documentary, but on a hot mic, the Russian dissident Alexei Navalny tells a friend, “He’s filming it all for the movie he’s gonna release if I get whacked.” That candor and fearlessness was part of what made Navalny a thorn in the side of Putin’s Kremlin, and as such, he was the target of a likely assassination attempt by poisoning in 2020. Roher’s cameras follow Navalny as he recovers, prepares to return to Russia and participates in an independent investigation of the poisoning, resulting in an explosive, accidental confession by one of the perpetrators. Roher carefully avoids outright hagiography (via evenhanded discussion of Navalny’s image and ethics), using his access and materials to assemble a first-rate, though nonfiction, political thriller.‘My Old School’Stream it on Hulu.The story of a supposedly 17-year-old secondary school student who was revealed, after over a year in classes, to be a 32-year-old former student caused a sensation in Scotland (where it occurred) and across Europe — so much so that it was slated to be adapted into a feature film, with the actor Alan Cumming in the leading role. That film was never made, but now the story has become a documentary, and since the film’s subject would consent only to an audio interview, Cumming appears on camera to lip-sync the man’s words. (Got that?) The rest of the tall tale is told via animation, archival footage and alternately funny and contemplative contemporary interviews with the classmates of “Brandon Lee,” who attempt to puzzle out why they were so easily fooled, and (in the stellar closing sections) how well they remember the entire affair. The director Jono McLeod tells the story straight, as they all heard it and as “Lee” told it, which makes for a wild, twisty ride indeed.‘Free Chol Soo Lee’Stream it on Mubi.Everybody loves the story of an innocent man, wrongfully accused and then rightfully freed, and it’s been a standby of documentary cinema since (at least) “The Thin Blue Line.” Julie Ha and Eugene Yi’s film begins as that movie, relating how Chol Soo Lee was convicted and imprisoned for a murder in San Francisco’s Chinatown in 1973, based on scant evidence and flimsy eyewitness testimony, only to become a common cause for the Korean American community until he was finally freed more than a decade later. But that’s only part of the story. With sensitivity and nuance, the filmmakers follow Lee’s troubled post-prison journey, reminding us that happy endings are often temporary. A riveting and often heartbreaking tale. More

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      Chelsea Handler Needs More Jennifer Coolidge in Her Life

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      The comedian, whose new Netflix special is “Revolution,” talks about siblings, Kristin Hannah and no longer being annoyed when people talk about gratitude.Early in the pandemic, one of Chelsea Handler’s sisters moved in with her. That wouldn’t have been a problem, except that she brought her three adult children.“I didn’t have children on purpose, and everyone knows that,” Handler said in a phone interview this month. “Just because I have five extra bedrooms doesn’t mean I’m looking for company.”Handler’s new comedy special, “Revolution,” is equal parts Covid diary — Covid sex, Covid pets, Covid houseguests — and social commentary, particularly on the fraught subjects of power, gender and race.“My brother was like, ‘Chelsea, not all white guys are bad guys,’” she says in the special, which begins streaming Dec. 27 on Netflix. “I go, ‘Nobody said that. Nobody ever said that. But now you sound suspicious.’”Handler spoke with us about what it took to move her family out (“I had to put my house on the market and sell it”) as well as some of her favorite things, including skiing, oysters and fiction by Madeline Miller and Kristin Hannah. These are edited excerpts from the conversation.1. Future Islands Somebody turned me on to the band Future Islands about six months ago, and I’ve been loving it. It’s nice and mellow. It’s great background music when I’m home. It’s my cup of tea. You can only listen to so much Top 40 before you want to rip your eyes out.2. My Siblings It’s really nice to have adult closeness with all of your siblings. They’re the only people in your life who understand exactly what you went through with your parents growing up. We’ve gotten closer and closer as we’ve gotten older. There are five of us. We’re a big pack, a unit. My most meaningful relationships are with my siblings.3. “The Great Alone” Kristin Hannah’s “The Great Alone” is a book about something that I would never normally read about: Alaska, the wilderness, living off the grid, all things that I have no interest in. It’s really about aloneness and survival and Mother Nature and what it brings to everybody in terms of mood, in terms of stability, in terms of livelihood — and it’s one of the most beautiful books ever. It’s far out of my comfort zone, and I like it a lot when I enjoy something that I normally wouldn’t have an appetite for.4. “Circe” Madeline Miller’s novel “Circe” is a book that took me to another planet. It was so beautifully written. You would read the end of a chapter and just have to put it down and think about what you just read because it’s so poetic. It’s kind of a metaphor for life and the people that come in and out of your life, and loss and love and death and, again, aloneness. For a long time I was very scared of spending time alone and reading about people being alone. That’s why “The Great Alone” and this book both struck me so much. It made being alone seem like something almost mythical and mystical.5. Oysters My favorite in the world are the grilled oysters at Blue Plate Oysterette in Santa Monica. But I will eat oysters almost every night before I go onstage, whenever I’m somewhere that they’re going to be fresh. I try not to have them in Iowa.6. Gratitude I’d heard people banging on about gratitude for a long time, and it usually just annoyed me. Then someone told me that you can actively shift your energy by writing down everything that you’re grateful for. So, a few months ago, I started writing down 20 things I’m grateful for every morning. I can’t describe to you what a difference it makes. You are on a higher vibration and frequency when you wake up and start counting all the things that you’re happy about.7. Stand-Up Comedy To be able to get onstage and command an audience of a few thousand people every night feels really good. Strangers are sitting next to each other, laughing at the things that you’re saying. That is the best gift that you could give anybody.8. Martha’s Vineyard When I was a little kid, all I wanted to do was go to the Jersey Shore with the rest of my friends, and my parents were like, ‘You’re not going to the Jersey Shore. We have a house in Martha’s Vineyard. That’s much nicer.’ Now that I’m older, I think it’s one of the most magical places. I have the best memories of being there with all of my family. We grew up there every summer of our lives. We still go there every summer. It’s one of the milestones of my life.9. Skiing I’m not very coordinated, so 10 years ago I decided to pay somebody to teach me how to be a good skier. I wanted to be good enough to be able to ski off anything. I had a private ski guide for seven years and now I’m an expert skier — I can heli-ski, I can ski off the top of anything — and that was a big dream of mine. I take skiing very seriously.10. Jennifer Coolidge She’s been great in “The White Lotus.” Everything she serves up in all of her performances is everything that we could all use a little bit more of. The ridiculousness, the kind of wide-eyed, bushy-tailed approach to life, and the kind of unapologetic nature of who she is, I think, is a great example for all women not to take ourselves so seriously. We all need a little bit more Jennifer Coolidge in our lives. More

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      What We Learned From ‘Harry & Meghan,’ Part Two

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      The second collection of episodes of the couple’s Netflix docuseries landed on Thursday. It dives deep into mental health and royal drama.LONDON — The second and final installment of “Harry and Meghan,” the highly anticipated Netflix docuseries, was released on Thursday, capping a week in which the couple’s personal lives were once again catapulted into the spotlight.The first three episodes of the series, released last week, dove into the makings of the couple’s relationship, their ongoing battle with the news media, the details of Meghan’s challenging family connections and more. Three more episodes were released Thursday.Love them, hate them or simply can’t live without them, people tuned in. The first set of episodes earned a staggering 81.5 million viewing hours, the most of any documentary in a premiere week, Netflix said on Tuesday. More than 28 million households had seen a part of the first collection of episodes in the first four days, the streaming platform added.Episode four picks up at Harry and Meghan’s wedding in May 2018 and quickly tackles a number of matters, including Meghan’s connection to Queen Elizabeth II, the barrage of negative headlines she faced and her mental health challenges.If you don’t have time to watch, or if you enjoy spoilers, here are the main takeaways from the latest episodes.The wedding was a family affair, although it was an international spectacle.The fourth episode kicked off by reliving the couple’s star-studded wedding in May 2018. Although thousands of people were on the street hoping to catch a glimpse of the couple, and perhaps billions more were watching on television, the couple described it as a family affair, with numerous personal touches that seemed to make all the difference.Harry chose the song (Handel’s “Eternal Source of Light Divine”) that Meghan walked down the aisle to. “It was so beautiful,” she said. It was also revealed that Charles, Harry’s father, who was the Prince of Wales at the time and is now king, helped choose the orchestra for the ceremony.More on the British Royal FamilyBoston Visit: Prince William and Princess Catherine of Wales recently made a whirlwind visit to Boston. Swaths of the city were unimpressed.Aide Resigns: A Buckingham Palace staff member quit after a British-born Black guest said the aide pressed her on where she was from.‘The Crown’: Months ago, the new season of the Netflix drama was shaping up as another public-relations headache for Prince Charles. But then he became king.Training Nannies: Where did the royals find Prince George’s nanny? At Norland College, where students learn how to shield strollers from paparazzi and fend off potential kidnappers.Because Megan’s father, Thomas Markle, did not attend the ceremony, she asked Charles to walk her down the aisle. “Harry’s dad is very charming,” Meghan said. “I said to him like, ‘I’ve lost my dad in this.’ So him as my father-in-law was really important to me.”Meghan’s connection to the queen seemed to be strong, normal even.The episode dwells on Meghan’s first official royal engagement with the queen, about a month after the wedding. She and the queen took the royal train to Cheshire, England.“I treated her as my husband’s grandma,” Meghan said, remembering her private time with the queen. “When we got into the car in between engagements, she had a blanket,” Meghan said, and that the queen placed the blanket also over her knees. “I recognize and respect and see that you’re the queen, but in this moment I’m so grateful that there’s a grandmother figure, cause that feels like family,” Meghan said.The constant and negative tabloid headlines had a dramatic effect on Meghan.The fourth episode also underscored the mental health challenges and suicidal thoughts Meghan had, in part because of negative headlines shortly after they wed and during much of her pregnancy.“All of this will stop if I’m not here and that was the scariest thing about it — it was such clear thinking,” Meghan said.Doria Ragland, Meghan’s mother, recalled an emotional conversation in which Meghan expressed suicidal thoughts. “That’s not an easy one for a mom to hear,” she said, wiping away tears. “And I can’t protect her. H can’t protect her.”Harry said he was devastated by the toll the negative press coverage took on his wife and said he didn’t deal with it well.“I had been trained to worry more about what are people going to think,” Harry said. “And looking back at it now, I hate myself for it. What she needed from me was so much more than I was able to give.”The couple’s war with the media reaches a fever pitch.The fifth episode begins with the couple’s continued war with the news media and efforts to dodge paparazzi photographers while spending Christmas 2019 away from the royal family.The headlines about Meghan appeared to be incessant, pushing the couple to a breaking point. “I realized that I wasn’t just being thrown to the wolves,” Meghan said. “I was being fed to the wolves.”The couple described creating a plan that they hoped would bring them both safety and peace of mind. “The toll was visible, the emotional toll that it was having on both of us, but especially my wife,” Harry said. “We’re going to have to change this for our own sake.”They described plans to relocate to New Zealand or South Africa before they ultimately settled on Canada. They later moved to California.Harry said his grandmother, the queen, was aware that he and Meghan were having difficulties with their public roles and made plans to discuss it in early January 2020 when he returned briefly to Britain. However, that plan was thwarted, they said.“I remember looking at H and going, my gosh, this is when a family and family business are in direct conflict because they’re blocking you from seeing the queen, but really what they’re doing is blocking a grandson from seeing his grandmother,” Meghan said.Strained family ties take center stage.In a family meeting to discuss the couple’s decision to reduce their roles as working members of the royal family, Harry said he was presented with several options but quickly realized no agreement would be reached.“It was terrifying to have my brother scream and shout at me, and my father say things that simply weren’t true and my grandmother quietly sit there and sort of take it all in,” Harry said.Harry described that meeting as hard and said that it finished without a solid action plan.“The saddest part of it was this wedge created between myself and my brother so that he’s now on the institution side,” Harry said, acknowledging Prince William’s perspective.The couple announced in January 2020 that they were stepping back from their royal duties. The decision sent shock waves around the world and drew headlines that seemed to blame Meghan for the split.“How predictable that the woman is to be blamed for the decision of a couple. In fact it was my decision,” Harry said.The queen later said she was “supportive” of the couple’s decision.This story is being updated. Check back for more. More

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      Adam Sandler to Receive Mark Twain Prize for American Humor

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      The comedian will receive the Kennedy Center’s annual comedy honor at a ceremony in March.Adam Sandler has had a busy 2022: He starred as a basketball scout in a critically acclaimed performance in the Netflix sports drama “Hustle”; he won an honorary Gotham Award, giving a speech that brought the house down; and undertook his first nationwide arena tour in three years. Now, he’ll be able to start off 2023 with at least one sure thing: a comedy prize.The John F. Kennedy Center for the Performing Arts announced on Tuesday that it will recognize the 56-year-old comedian’s satire and activism when it presents him with its 24th Mark Twain Prize for American Humor, given to luminaries who have “had an impact on American society” in ways similar to Twain, at a ceremony on March 19.In his 30-year career, Sandler, who is known for his loopy, lewd sense of humor and amiable charm, has served as a comedian, actor, writer, producer and musician, starring in films like “The Waterboy” (1998), “Grown Ups” (2010) and “Hotel Transylvania” (2012). After getting his start telling jokes in comedy clubs, he shot to fame as a cast member on “Saturday Night Live,” then went on to release blockbuster albums and make critically panned comedies. Though he’s also racked up critically acclaimed star turns in the Safdie brothers’ 2019 dark comedy “Uncut Gems” and “Hustle,” among others.Deborah F. Rutter, the president of the Kennedy Center, said in a statement that Sandler had “created characters that have made us laugh, cry and cry from laughing.”Previous winners of the Mark Twain Prize include Jon Stewart, Bill Murray, Dave Chappelle, David Letterman, Jay Leno, Carol Burnett and Ellen DeGeneres. The award has been presented annually since 1998, excepting the pandemic years 2020 and 2021. More

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      ‘Harry & Meghan’: What People Are Saying About the Netflix Series

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      Critics on both sides of the Atlantic found common ground in negative reviews of the first three episodes of the series.These days in Britain, very little unites the right and left. “Harry & Meghan,” the intimate Netflix series released Thursday, is quickly shaping up to be the exception.The first three episodes of the docuseries, directed by Liz Garbus and produced in conjunction with the production company of Prince Harry and his wife, Meghan, the Duchess of Sussex, were quickly skewered by a bipartisan group of critics, from The Sun to The Guardian. Although “skewered” may not actually capture the harshness of some of the commentary.Piers Morgan, who has been vociferously critical of the couple in the past, wastes no time laying into the series in his scathing review in The Sun, a tabloid owned by Rupert Murdoch:Who are the world’s biggest victims right now? You might think it’s the poor people of Ukraine as they’re bombed, shot and raped by Putin’s invading barbarians. Or those whose lives have been ruined by the Covid pandemic that continues to cause widespread death and long-term illness. Or the millions battling crippling financial hardship in a devastating cost-of-living crisis that has swept the globe.But no. The world’s biggest victims are in fact Meghan Markle and Prince Harry, a pair of incredibly rich, stupendously privileged, horribly entitled narcissists.If you don’t believe me, just ask them!Later in his review, Morgan cautions viewers they may need a “sick bucket.” He was not the only one to evoke gastrointestinal distress. The headline for Lucy Mangan’s review in the left-leaning Guardian exclaims that the first three episodes were “so sickening I almost brought up my breakfast.”More on the British Royal FamilyBoston Visit: Prince William and Princess Catherine of Wales recently made a whirlwind visit to Boston. Swaths of the city were unimpressed.Aide Resigns: A Buckingham Palace staff member quit after a British-born Black guest said the aide pressed her on where she was from.‘The Crown’: Months ago, the new season of the Netflix drama was shaping up as another public-relations headache for Prince Charles. But then he became king.Training Nannies: Where did the royals find Prince George’s nanny? At Norland College, where students learn how to shield strollers from paparazzi and fend off potential kidnappers.Mangan does point out that the series so far has plenty of sweet moments — particularly of Prince Harry and Meghan “being charming and funny together” — but she ultimately finds the finished product wanting:But in the end — what are we left with? Exactly the same story we always knew, told in the way we would expect to hear it from the people who are telling it. Those who don’t care won’t watch. Those who do care — which is to say are voyeuristically invested in the real-life soap opera — will still read into it anything they want to and doubtless confirm all their previous ideas. There is plenty here to start another round of tabloid frenzy, particularly in Harry’s mention of members of the royal family who consider the pressure placed on anyone “marrying in” a rite of passage and resist allowing anyone else to avoid what their own spouses went through, and who bow to internal pressure to choose a wife who “fits the mould.” Which is to say — it is hard to see who, beyond the media, the villains of the piece, will really gain from this?The Independent, a more centrist player in British media, was less savage, but not exactly admiring, calling the series both “self-aggrandizing” and “wildly entertaining.” In her review, Jessie Thompson finds the couple, at times endearing and sympathetic, and the points about racism in Britain eloquently made.But while she writes that she respects their “right to share this stuff on their own terms,” she finds the protestations of love over the top (“We believe you! You are in love! There’s no need to show us any more of your WhatsApps!”) and their inability to talk like normal people when interviewed frustrating.She also wonders at moments in the series “if the couple are naïve or disingenuous”:Did Meghan really think it was “a joke” that she had to curtsy to the Queen of England? It might be an outdated request, but it surely can’t have been an unexpected one. “Like, what’s a walkabout?” she says of her first public appearance. They also seem to have a weird pathological need to document every aspect of their lives.The Financial Times, the more sober-minded and business-focused newspaper, finds the first three episodes of the much-hyped series something of a let down. As Henry Mance writes:Does this “Netflix Global Event” match up to, say, Diana, Princess of Wales on “Panorama,” Prince Andrew on “Newsnight” or even Harry and Meghan’s own conversation with Oprah Winfrey, in which they alleged a member of the royal family speculated about their baby’s skin colour? Bluntly, no. There have been explosive royal TV shows, but so far this is not one of them. Harry and Meghan do not drop bombs; at most, they point plaintively at existing craters. They have also bought into the successful Netflix formula: never say in one hour what you can stretch out over several. This is a show that makes you grateful that the streaming platform has the option to watch at 1.25x speed.In the United States, the reviews registered a similar sense of disappointment.As Stephanie Bunbury writes for Deadline:Three hours into Netflix doc series “Harry & Meghan” and still no tell-all truths from the darkest corners of the House of Windsor. Anyone who had expected the curtain to be lifted on the deep-state machinations of The Firm to protect the brand will be feeling shortchanged by Volume I which dropped today.Daniel D’Addario echoes that sentiment for Variety, lamenting the series’s unwillingness to push past the familiar: “As with the most recent, painfully dull season of “The Crown,” there seems a sort of narrative stuckness, an inability or lack of desire to find the next thing to say that we haven’t yet heard.”But he still holds out hope that the final episodes, which will be released on Dec. 15, will move beyond “the story of their courtship, wedding, and family feuds”:What they want to do now that they’ve overcome adversity may well lie ahead in the next batch of episodes, but speaking in their own voice about issues other than their personal experience would have represented a good start. But perhaps that’s not the remit, on a show for which the pair are engaged with a major streaming corporation to dish the dirt once more. Pity them, too — even after breaking free of Buckingham Palace, they’re still someone’s subjects. More

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      Netflix’s Harry and Meghan Documentary Series to Be ‘Personal and Raw’

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      The documentary series is the most high-profile project from Story Syndicate, a company run by the filmmaker Liz Garbus and her husband, Dan Cogan.Liz Garbus was skeptical.The documentarian behind films like “Becoming Cousteau” and “What Happened, Miss Simone?” was not an avid royal watcher. She knew the broad strokes of the decision by Prince Harry and his wife, Meghan, the Duchess of Sussex, to leave the British royal family. She had seen their interview with Oprah Winfrey. But she assumed that the stiff upper lip emblematic of elite British society would not make for a compelling documentary — too guarded, too interested in hagiography, too much of an all-around royal pain.Then she saw the footage.Encouraged by friends to document their dramatic decision to “step back” as senior members of the British royal family and assert their financial independence, Harry and Meghan shot more than 15 hours of personal video in the early months of 2020 as they finalized their plans to exit Buckingham Palace for good. Then they shared it all with Ms. Garbus and her husband, the producer Dan Cogan.Suddenly Ms. Garbus found herself watching Harry in the Windsor Suite at Heathrow Airport, addressing the camera directly. The video is dated March 11, and Harry has just finished his final two weeks of royal engagements and is headed to Vancouver to meet Meghan.“You’re right there with Harry in the Windsor Suite processing the fact that he’s leaving the royal family for the first time in his life,” Ms. Garbus said. “Then there was another clip with Meghan at home, alone, fresh out of the shower, her hair in a towel, no makeup, processing on her end what their life might actually be like.“It’s very personal and raw and powerful, and it made me appreciate the incredible weight that went into their decision,” she said. “It also affirmed the choice I had made about wanting to unravel how this historic break came to be.”When pressed as to whether Harry and Meghan had final approval over the series, Ms. Garbus responded: “It was a collaboration. You can keep asking me, but that’s what I’ll say.”Gioncarlo Valentine for The New York TimesOn Thursday, selections from those personal archives were made available to the world when Netflix released the first three hourlong episodes of “Harry and Meghan,” a six-part documentary series. (The final three episodes are scheduled to debut on the streaming service on Dec. 15.)Given the rabid, often polarizing opinions that seem to arise whenever Harry and Meghan are mentioned, the series will almost assuredly result in social media memes, tabloid gossip and — Netflix hopes, given that it signed a very rich deal with the couple in 2020 — a global streaming event.“You don’t always expect folks at their level of celebrity to speak with emotional honesty and intensity about things that are upsetting to them or complex in their lives,” Mr. Cogan said. “They were willing to do that, and that was so refreshing to us as storytellers.”More on the British Royal FamilyBoston Visit: Prince William and Princess Catherine of Wales recently made a whirlwind visit to Boston. Swaths of the city were unimpressed.Aide Resigns: A Buckingham Palace staff member quit after a British-born Black guest said the aide pressed her on where she was from.‘The Crown’: Months ago, the new season of the Netflix drama was shaping up as another public-relations headache for Prince Charles. But then he became king.Training Nannies: Where did the royals find Prince George’s nanny? At Norland College, where students learn how to shield strollers from paparazzi and fend off potential kidnappers.Their story is also being framed within “the history of British colonialism and race and its relationship to the monarchy,” Mr. Cogan added. In other words, issues that are sure to make the monarchy stammer.In the series, Ms. Garbus puts the couple’s personal archive into context, interspersing the self-shot video diaries with formal interviews and archival footage of the royal family. Meghan’s mother, Doria Ragland, is heavily featured, as are Harry’s boarding school buddies, Meghan’s security team in Canada, her college friends and co-stars from the TV show “Suits.”Filming began in November 2021 and ended in July, months before the death of Queen Elizabeth II. When asked if Harry and Meghan had control over the final product, Ms. Garbus said it was a collaboration. When pressed as to whether the couple had final approval over the series, she responded: “It was a collaboration. You can keep asking me, but that’s what I’ll say.”The project is something of a culmination of the issues Ms. Garbus has chronicled for the past two decades. Whether it’s social justice seen through the lens of the prison system (“The Farm: Angola, USA” and “Girlhood”) or uncovering the troubled personal stories of famous yet enigmatic figures — Bobby Fischer, Marilyn Monroe and Nina Simone — mental health and righting systemic wrongs are topics she returns to time and again. (Ms. Garbus also directed a documentary series about The New York Times called “The Fourth Estate.”)In the case of Harry and Meghan, Ms. Garbus said that the story was already in place when she became involved, a first for a filmmaker who prefers to determine how best to approach her subjects. The documentarian Garrett Bradley was previously attached to the project, but the two sides parted ways because Ms. Bradley’s vérité style did not mesh with the couple’s interests. Representatives for Ms. Bradley declined to comment.Ms. Garbus said that Harry and Meghan were interested in telling their love story within the historical context of the British monarchy. Ms. Garbus wanted to expand on that and explore how their personal pasts affected their present.“I’m always really interested in psychology and how someone’s childhood determines their future and what impact they will have on the world,” she said. “In this story with both of them, I was able to look at that.”Some have questioned why Harry and Meghan chose to make a documentary, suggesting that the couple’s decision to give up their royal duties meant they wanted to lead a more private life. In a statement to The New York Times, the couple’s global press secretary, Ashley Hansen, disputes this narrative. “Their statement announcing their decision to step back mentions nothing of privacy and reiterates their desire to continue their roles and public duties,” she said. “Any suggestion otherwise speaks to a key point of this series. They are choosing to share their story, on their terms, and yet the tabloid media has created an entirely untrue narrative that permeates press coverage and public opinion. The facts are right in front of them.”Harry and Meghan shot more than 15 hours of personal video in the early months of 2020 as they finalized their plans to exit Buckingham Palace for good.NetflixThe series also speaks to the expanded ambitions of Ms. Garbus and Mr. Cogan. The duo formed their production company, Story Syndicate, three years ago, combining Ms. Garbus’s directing background with Mr. Cogan’s production and financial expertise. (He previously ran the documentary finance company Impact Partners.) The aim was to serve the streaming companies’ insatiable appetite for documentary projects by overseeing the work of a host of up-and-coming filmmakers. The company now has 37 full-time employees and it works with some 200 freelancers, enabling it to produce projects at a steady pace.Last month, the documentary “I Am Vanessa Guillen,” about a U.S. Army soldier killed at Fort Hood, became available on Netflix. In February, “Stolen Youth: Inside the Cult at Sarah Lawrence” from the director Zachary Heinzerling will debut on Hulu. And Story Syndicate just announced that it will produce a project about Halyna Hutchins, the cinematographer killed on the set of the Alec Baldwin film “Rust,” with Rachel Mason directing and with the cooperation of Ms. Hutchins’s widower, Matthew.“We have built a machine to create handmade work,” said Mr. Cogan, adding that though entertainment companies have been tightening their belts recently because of the overall economy, documentaries remain a very strong business. “There’s so much noise in the world and so much content, we want to break through by doing the most elevated, the most intense, the most extraordinary work.”For Mr. Heinzerling, that meant aiding him in his efforts to turn his voluminous research and access to the survivors of a cult into a suspenseful, three-episode series.“We started at this place of how do we create something that the survivors can stand behind that really cuts against that salacious, true crime material that a lot of people are attracted to right now,” Mr. Heinzerling said. “Story Syndicate was integral in focusing the project and really helping me find a narrative thread that would be clear enough so that we could translate the story in a way that would be what I wanted and also interesting for a wider audience.”Even with a number of films and series in production, the Harry and Megan series remains by far Story Syndicate’s marquee project. The teaser alone has amassed some 40.8 million impressions since its release last week.That kind of scale is not something the filmmakers had imagined when they began working in the field.“When we both started in this, it was like joining a priesthood,” Mr. Cogan said. “You decided to become a documentary storyteller because you really believed in it, and you knew you were going to lead a certain kind of life and that was totally satisfying because that’s what you wanted to do.“But the world has changed around us, and now a whole world of people can make a living in nonfiction storytelling.” More

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      ‘Guillermo del Toro’s Pinocchio’ Review: Puppets and Power

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      This quirky classic has been made all the stranger by the decision to turn it into an ill-conceived metaphor about fascism.“Shoot the puppet!”By the time a Fascist hard-liner barks this death threat in “Guillermo del Toro’s Pinocchio,” a stop-motion animated version of the children’s classic, you might be wondering if its impish little marionette is going to escape in one piece. At that point, Pinocchio has been threatened by scoundrels, run over by a car, lost body parts to fire and targeted by none other than Benito Mussolini. “These puppets, I do not like,” Il Duce says in a cartoonish accent right before ordering a henchman to take out Pinocchio. It’s a scary world, after all.Written by Carlo Lorenzini under the pen name Carlo Collodi, “The Adventures of Pinocchio” was published in serial form beginning in 1881 and turned into a children’s book two years later. Surreal and violent, it opens with an enchanted piece of wood that ends up in the hands of a poor woodcutter, Geppetto. He intends to make a marionette so that he can “earn a piece of bread and a glass of wine.” Instead, he creates Pinocchio, a disobedient puppet who yearns to be a boy, runs away and is jailed, almost hanged and, after being transformed into a donkey, nearly skinned. He also kills a talking cricket with a hammer.The movies seem to be going through a curious mini-Pinocchio revival: a live-action version of the story from the Italian filmmaker Matteo Garrone (with Roberto Benigni as Geppetto) opened in 2020; and Robert Zemeckis’s reimagining of the tale, which combines live action and animation (with Tom Hanks playing Geppetto), arrived in September. Certainly it’s easy to see why del Toro, a contemporary fabulist given to baroque and lovingly rendered nightmarish visions, was attracted to Collodi’s novel. It’s an odd and quirky fantasy — and far grimmer and more unsettling than Disney’s sublimely animated 1940 film suggests.The Projectionist Chronicles a New Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Gotham Awards: At the first official show of the season “Everything Everywhere All at Once” won big.Governors Awards: Stars like Jamie Lee Curtis and Brendan Fraser worked a room full of academy voters at the event, which is considered a barometer of film industry enthusiasm.An Indie Hit’s Campaign: How do you make “Everything Everywhere All at Once” an Oscar contender? Throw a party for tastemakers.Jennifer Lawrence:  The Oscar winner may win more accolades with her performance in “Causeway,” but she’s focused on living a nonstar life.As weird as the story is, it’s been made all the stranger by the decision to turn it into a metaphor about fascism, a conceit that is as politically incoherent as it is unfortunately timed. (Del Toro directed it with Mark Gustafson and shares script credit with Patrick McHale.) The movie was, of course, finished before this year’s Italian general election, which brought to power a party whose roots trace back to the ruins of Italian Fascism. Even so, the real world casts a creepy shadow over the movie, which never explains the horrors of that period and instead largely uses Fascism’s murderous ideology as ornamentation.The movie opens in the midst of World War I shortly before a plane — it’s unclear from which country — drops a bomb on Geppetto’s young (human) son, Carlo (voiced by Gregory Mann, who also plays Pinocchio). Fast forward to the 1930s, and Geppetto is still in mourning when he carves Pinocchio, who magically comes to life. Before long, the puppet is up to his familiar mischief, making his acquaintance with a loquacious, charm-free cricket (Ewan McGregor) and meeting the locals, some of whom — including a priest and a rampaging Mussolini toady — raise their arms in Fascist salute. They’re all puppets, get it?The movie’s visuals, including its character design, were inspired by the lightly phantasmal, jauntily sinister illustrations that the artist Gris Grimly created for a 2003 edition of the Collodi book. Instead of the soft, rounded limbs and inviting, humanoid face of Disney’s Pinocchio, the character here is unequivocally wooden, with arms and legs that evoke pickup sticks and a pointy nose and spherical head that look like a carrot stuck in a pumpkin. The meticulous animation has stop-motion’s characteristic haptic quality, so much so you can almost feel the character’s rough and smooth surfaces, the burl of his form as well as the grain.In its ominous tone, its dangerous close calls and multiple deaths, this interpretation of “Pinocchio” cleaves closer to Collodi’s original tale than Disney’s does, although like that earlier film, it tends to tip the scales toward sentimentality, particularly in its conception of Geppetto. (It also adds some tuneless songs, a mistake.) Pinocchio is still an agent of chaos who, by not behaving like a good child ostensibly should, brings grief and even danger to himself and to Geppetto. Yet, in the end, nothing makes Pinocchio more wholly, recognizably human than his disobedience and repeated mistakes, something this movie grasps.Pinocchio is caught between the inhuman and the human for most of his episodic adventures, which is crucial to his singular mix of charm and menace. That helps explain the durable appeal of Collodi’s story, and it also makes del Toro and company’s decision to set the tale in Fascist Italy all the more baffling and disappointing. It’s evident that the filmmakers wanted to create a different, tougher and putatively more serious Pinocchio than the Disney version that has been lodged in the popular imagination for decades. But the movie’s decontextualized and disturbingly ill-considered use of Fascism is reductive and finally grotesque.Guillermo del Toro’s PinocchioRated PG for death, child peril and fascism. Running time: 1 hour 57 minutes. Watch on Netflix. More