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      How Well Do You Know Your Holiday Movies?

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      Between a murderous Santa wielding a sledgehammer and an elf throwing a rave in a corporate mailroom, Christmas movies seem to get more outlandish every year. How well do you know your festive films?
      Image credits: Hallmark Channel (“A Royal Corgi Christmas”); Bettmann/Getty Images (Queen Elizabeth II); Michael Reynolds/EPA, via Shutterstock (the Bidens); Pool photo by Jonathan Buckmaster (Muick and Sandy mourning the Queen’s death); Netflix (“The Princess Switch”); Universal Pictures (“Violent Night”); Hallmark Movies & Mysteries (“Christmas in Montana”); Hulu (“Happiest Season”); Netflix (“Falling for Christmas”); Paramount Pictures (“Mean Girls”); Disney (“The Parent Trap”); Paramount Pictures (“Once Upon a Christmas”); Disney (“Noelle”); Hallmark Channel (“Hanukkah on Rye”); Universal Pictures (“Last Christmas”).
      Produced by Tala Safie and Josephine Sedgwick. More

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      ‘The Witcher: Blood Origin’ Is TV’s Latest Big Fantasy Prequel

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      The mini-series series takes place 1,200 years before the events of “The Witcher,” which has been one of Netflix’s most-watched shows since its debut in 2019.Producers of hit series have long used spinoffs to keep the stories going (and the ad and subscription dollars flowing). In our I.P.-obsessed era of pop culture universes, the desire to preserve — and ideally expand — popular TV franchises has only intensified. And more often than not these days, going forward means looking backward.This year, the biggest new series have been prequels, with “The Lord of the Rings: The Rings of Power” and “House of the Dragon” being set long before the events of “The Lord of the Rings” and “Game of Thrones.” “Andor” is a prequel for a movie, “Rogue One,” that was itself a prequel for other “Star Wars” films. This month “Yellowstone” added “1923,” another prequel to join last year’s “1883.”Now on Sunday comes “The Witcher: Blood Origin,” a Netflix mini-series that takes place 1,200 years before Geralt of Rivia started slaying ill-minded creatures and thoughtfully pushing back his signature white mane in “The Witcher,” which premiered in 2019 and returns next summer for its third season.Based on stories by the Polish writer Andrzej Sapkowski, the franchise is named after monster hunters, of which Geralt is the most famous. It is set on a continent (conveniently named the Continent) where witchers rub elbows with elves and dwarves, powerful sorceresses and power-hungry nobility.A spinoff was probably inevitable for a title that has conquered every platform it has encountered: The streaming adaptation of “The Witcher” followed popular game and comic book versions, and it has become one of Netflix’s most-watched shows ever.For the creator and showrunner of “Blood Origin,” Declan de Barra, the initial motivation was the opportunity to expand on clues or allusions in Sapkowski’s books, including by introducing new characters. Foremost was a desire to focus on the Continent when it was dominated by elves.“My favorite part of the books was identifying with the elvish story,” de Barra, 51, said in a video conversation. “You could see that they were a post-colonized sort of species, they could barely reproduce and they’re pre-agrarian, but yet they have this mythology that’s sort of hinted out in the background. What happened before? What was their Rome before the fall?”As a writer and co-executive producer for “The Witcher,” de Barra had begun mapping out what he thought happened before the Conjunction of the Spheres — the cataclysm that allowed both humans and monsters to travel from their own worlds to the Continent. So when the original series’ creator, Lauren Schmidt Hissrich, asked him to draw up a spinoff concept, de Barra was ready. For his story engine, he picked one of the oldest and most tested: A group of mismatched individuals must team up to save their world, in this case from rampaging overlords and one demented wizard.“I just imagined a group of people who would hate each other if they turn up at a party, and put them in the crucible together,” he said. “People who are all different and have reason to have beef with each other but have to work together.”Henry Cavill, the monster-slaying star of “The Witcher,” has said he is leaving the show after next season.Jay Maidment/NetflixThis being the “Witcher” franchise, some of them also find reasons to have sex with one another. And yes, there is just as much jarringly modern profanity in “Blood Origin” as in the main show, along with the goofy irreverence that sets the franchise apart. (Last year’s special, “The Witcher: Fireplace,” is an hourlong shot of a crackling fire.)“What’s great about Declan is that he’s very energetic and he has a very raucous, naughty sense of humor — and he brings that to ‘Blood Origin,’” Lenny Henry, who plays the plotting Chief Sage Balor, said in a video chat. “So you get all the heightened Shakespearean arias from some of the characters and then you get that low side.”Balor plays a crucial role in the “Blood Origin” universe, setting in motion a series of events that will ripple through time and space. Among the characters most affected are Éile (Sophia Brown) and Fjall (Laurence O’Fuarain), two warriors from rival clans who end up fighting on the same side as part of the main superteam. (How super? The mighty Michelle Yeoh is a key part of it.)In a way, Éile is “The Witcher” in a nutshell: a fierce fighter who both comments on and drives the action with song — this is, after all, the rare fantasy series that has spawned a cult hit, with “Toss a Coin to Your Witcher” from Season 1. This is an essential element for the Ireland-born de Barra, who used to front a hard-rocking band and who is the co-writer of several numbers for both streaming “Witcher” properties.“My favorite songs are ones that end really short,” he said by way of explaining the decision to cut the prequel down from its planned six episodes to four. He also draws connections between epic Celtic ballads and Éile’s tunes, including “The Black Rose” — a direct reference to the 16th-century Irish song“Róisín Dubh.”“I wanted her to be writing rebel songs for the people,” de Barra said. “I knew there would be nods to Irish mythology as well as Eastern European mythology, because Sapkowski does that himself with some of his places and people, like Skellige Islands and stuff like that.“He has a potpourri of all sort of European mythology and he pulls the stories and puts them together and bakes his own cake,” de Barra added. “So I felt very comfortable doing that.”Offscreen, Brown, who is Black, has been at the center of the kinds of caustic discussions, regarding race and how it relates to source material, that have occurred within other fantasy fandoms. (You might recall how the sight of Black elves in “The Rings of Power” threw some viewers into a tizzy.)“If something new is coming into a space, people are always going to think ‘Oh, that’s not right,’” Brown said. “I got some difficulty when the casting came out, but I’m not new to the industry, and I’ve worked very hard to be here, so it didn’t waver my knowing I was meant to be there.”Henry — who is also Black and who played the harfoot Sadoc Burrows in “The Rings of Power” — chose to laugh at it all. “What you have to say to those guys is, ‘You will believe an Upside Down where there’s a big weird creature made out of corned beef threatening children, but you won’t believe a Black elf?’” he said. “It’s all pretend — anybody can be what they want to be.”Angst about Éile’s function in the “Witcher” mythos is also related to what some fans have decried as drastic departures from the books and video games in the original series. These complaints have grown louder online since Henry Cavill, who plays Geralt and who has been an outspoken fan of the Sapkowski stories, announced, with little explanation, that he is leaving the show after the upcoming season.The series follows a makeshift team trying to save the world, including Éile, a warrior elf played by Sophia Brown.Lilja JonsdottirDe Barra said any adapter of the “Witcher” stories is “never going to be able to satisfy everybody,” explaining that dedicated fans of the books and the games will all have their own differing views of what the characters and the world should look like.“No two people are ever going to agree on it,” he said. “The core that was important for me was just telling a story that I believed in and that could work on its own whilst honoring the books.”The TV shows integrate Sapkowski’s vision and broaden it, and this dual approach is particularly apparent in “Blood Origin.” As the title suggests, we meet some familiar characters and there are plot developments that will bear fruit generations later, in the timeline of the main series. But de Barra cautions viewers against drawing too many conclusions.For example, in one scene a seer — who is well known among “Witcher” fans — says one of Éile’s descendants will be very important in the future, but the show doesn’t indicate whom it will be.“We can’t spell it out, not now, but it will be spelled out later,” de Barra said. “Most people are saying. …” He trailed off. “Anyway, I’ll leave it for now.”Such comments will be cryptic for those new to the “Witcher” universe, but they should not worry: While some plot points will be endlessly dissected on “Witcher” subreddits, “Blood Origin” stands on its own. “I hope we can introduce many new fans to the show and then they can pour into the marquee series and fall in love with fantasy,” Brown said.“I’ve watched things when I was younger that made me want to be an actor and made me want to escape and see the world in different ways,” she continued. “So I hope people can see the world differently through seeing our worlds.” More

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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. More

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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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      in Movies

      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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      in Television

      ‘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