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      John Mulaney Returns to Late Night on Netflix

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      “Everybody’s Live With John Mulaney” resurrected the comic’s eccentric but enjoyable live talk show, with contributions from Richard Kind, Michael Keaton, Joan Baez and many Willy Lomans.During a monologue introducing his new Netflix talk show on Wednesday night, the comic John Mulaney said the streamer has given him an hour to introduce his fans to the baby boomer culture that has made him “the unsettled weirdo” he is today.He stayed true to his word. The premiere episode of “Everybody’s Live With John Mulaney” included jokes about Al Jarreau, an eccentric tribute to “Death of a Salesman” and an appearance by Joan Baez, who gossiped about civil rights leaders.Scheduled for a 12-week run, “Everybody’s Live” is a follow-up to Mulaney’s first stab at the format, “Everybody’s in L.A.” That show, also live, aired last May as an eccentric but enjoyable exercise in corporate synergy: It coincided with the Netflix Is a Joke Fest, and included plenty of Mulaney’s fellow comedy stars as guests, along with call-in segments and offbeat bits about Los Angeles concerns like coyotes and earthquakes. “Everybody’s Live” recreated that show for a slightly wider audience. It’s not quite as L.A.-centric; it’s still just as weird.The project is Netflix’s latest foray into live programming. The streamer has been experimenting with live events like a 2023 Chris Rock standup special and the Jake Paul-Mike Tyson boxing match and Screen Actors Guild Awards this year.So what can viewers expect if they tune in to see Mulaney on Wednesday nights? Here are some clues from the premiere.So was ‘Everybody’s Live’ basically ‘Everybody’s in L.A. 2’?Yes. Mulaney explained in the monologue that they changed the title because Netflix did a focus group and “it turns out people around the country don’t like L.A.” Mulaney suggested testing the name again after the wildfires earlier this year to see if opinions had changed, he said. They hadn’t.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Tony Hinchcliffe, the Trump Rally Comedian, Lands a Netflix Deal

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      Hinchcliffe’s set at Madison Square Garden in October drew sharp criticism after he described Puerto Rico as a “floating island of garbage.”The stand-up comedian Tony Hinchcliffe has landed a deal at Netflix months after angering people with his insults about Latinos and other minority groups at a New York rally when Donald J. Trump was running for president.The deal for three comedy specials under Hinchcliffe’s “Kill Tony” brand is part of an attempt by streaming services to appeal to Trump voters. Amazon Prime Video announced on Monday that several seasons of “The Apprentice,” the NBC reality show that bolstered Trump’s public profile in the early 2000s, would soon be available on the streaming service.Hinchcliffe’s specials will feature a mix of established comedians and surprise celebrity guests, Netflix said in a news release on Tuesday. The first special will be filmed at Comedy Mothership in Austin, Texas, and will arrive on the platform on April 7. Hinchcliffe will also receive his own stand-up special in the deal.Hinchcliffe is known for his “roast” style of comedy and his “Kill Tony” podcast, which is recorded live each week from Austin. He said in a statement that he was excited to share his show, which started with 12 audience members in 2013, with the world.“To think that I can pull a name out of a bucket and that person will be performing standup and an improvised interview on the largest streaming service in the world is both exciting and frightening,” Hinchcliffe said. “It’s the most spontaneous and improvised show that is out there and the creative freedom given to us by Netflix to keep the show in its pure form is a comedian’s dream.”Hinchcliffe was among the comedians who roasted the retired N.F.L. quarterback Tom Brady in a Netflix special last year that was viewed 13.8 million times in its first week on the streaming platform. His segment included homophobic remarks and comments about slavery.The comedian’s public profile grew even more in October after taking the stage at the Trump rally at Madison Square Garden, where he made insults and vulgar statements that leaned on offensive stereotypes about Jews, Latinos and African Americans. He received intense backlash after calling Puerto Rico a “floating island of garbage,” drawing condemnation from celebrities like Bad Bunny, Jennifer Lopez and Lin-Manuel Miranda. More

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      International TV Series to Stream Now: ‘The Leopard,’ ‘Newtopia’ and More

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      New international series include an espionage thriller on Max, a horror comedy on Prime Video and a new Netflix adaptation of “The Leopard.”The United States’ relationships with the rest of the world’s nations are fluid right now, but one thing is for sure: We keep importing their television shows. Here are some recent additions to what appears to be an increasingly large trade imbalance, at least when it comes to scripted series.‘Dog Days Out’With “Bluey” on a hiatus, this cheerfully mesmerizing South Korean cartoon — it’s like a crackerjack action blockbuster for toddlers — can fill the animated-puppies vacuum. You might even consider the lack of hyper-articulate dialogue to be an advantage: There’s something restful about a soundtrack that consists of smashes, crashes and a variety of canine shrieks and laughter.On an idyllic suburban cul-de-sac rendered in candy-colored 3-D animation, the puppies come out to play when their barely seen masters are away and destroy everything they can get their paws on. Joining them in the slapstick mayhem are their toys, including a rainbow-hued chew doll that instigates much of the trouble; opposing them are curmudgeonly birds and crafty rodents. Many shows for preschoolers feature the same kind of nonstop action, but the animators at the South Korean studio Million Volt execute this one with a combination of fluid style and infectious spirit that can hook the unwary adult. (Netflix)“Dog Days Out” is a new animated slapstick kids show on Netflix. Netflix‘Douglas Is Cancelled’Steven Moffat of “Sherlock” and “Doctor Who” wrote this dark four-episode comedy which, consciously or not, pulls a bait and switch. Starring Hugh Bonneville as Douglas, a popular broadcaster anonymously accused of having told a sexist joke, it begins as a brittle farce about the comfortably entitled running afoul of cancel culture and social media mobs. But then it shifts, becoming a sometimes didactic and unconvincing, sometimes powerful and unsettling, examination of men’s corrosive treatment of women.Moffat, who can be a very clever writer, takes the male repertory of gaslighting, stonewalling and veiled aggression and turns it against the men in his story in amusing ways. It’s also noticeable, though, how the targets of the most pointed satire tend to be young women, and how the best roles are written for middle-aged men. Karen Gillan, as Douglas’s on-air partner, and Alex Kingston, as his wife, are fine in fairly monochromatic parts. But the spotlight is on Bonneville, who is excellent as always; Simon Russell Beale, who is hilarious as Douglas’s diffidently loathsome agent; and Ben Miles, who is chilling as an utterly cynical producer. (BritBox)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Joan Didion Knew the Stories We’d Tell About the Manson Murders

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      Didion’s influential account of the era, “The White Album,” captures the ripples of terror provoked by the 1969 murders.Few true crime villains dominate American imaginations as fiercely as Charles Manson and his “family” of lost youths. The story has everything: a wild-eyed mastermind who was also a failed rocker; a coterie of emaciated, beautiful women; the death of a gorgeous pregnant actress and her friends; strange links to the Beatles; a feeling that this murder was either random, or an indication that hell had broken loose on earth.Plus, the public has always had the nagging sense that there was more to the story than anyone was letting on. It was just too Satanic-seeming. Too weird.So no wonder the 1969 murders have been an ongoing source of fascination. In just the past few years, Quentin Tarantino’s film “Once Upon a Time … in Hollywood,” Ryan Murphy’s “American Horror Story: Cult” and Emma Cline’s novel “The Girls” have become bona fide hits by reimagining the murders. Manson has turned up as a character in shows like “Aquarius,” “Mindhunter” and “Charlie Says.” The journalist Tom O’Neill’s gobsmacking book “Chaos: Charles Manson, the C.I.A. and the Secret History of the Sixties,” from 2019, chronicled the author’s decades-long investigation into the case, with results that upend most of what we think we know. And now it’s a Netflix documentary from the director Errol Morris.A still from “Chaos: The Manson Murders,” a Netflix documentary by Errol Morris.NetflixSomehow, this case keeps surprising us. But one person who regarded it without shock — as if it was the inevitable conclusion of a panicked era — was Joan Didion, who was living and working in Hollywood when the murders occurred. In her 1978 essay “The White Album,” regarded as a seminal account of the era, she writes about the ripples of terror the murders provoked. “These early reports were garbled and contradictory,” with differ­ent numbers of victims and explanations of what happened, Didion writes. “I remember all of the day’s misinformation very clearly, and I also remember this, and wish I did not: I remember that no one was surprised.”Reality was barely tangible in the summer of 1969, with its highs and lows, its muddled impressions and half-understood head­lines. Cause and effect seemed to be breaking apart. In some respects this was simply the inevitable result of a country becoming saturated in images because they had a screen at home. A movie theater was a place to go if you wanted to see a whole story, beginning to end. But a TV you could turn on and off, and you never knew what would be there when you turned it on again. You might see images from My Lai, the funeral of a slain politician, pop versions of cowboys on “Gunsmoke” or “Bonanza,” smil­ing tap dancers on a variety show, some comedian or singer from your youth in a different setting than you remembered. It mirrored the neurons of a disturbed mind, firing at random.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      5 Takeaways From Meghan Markle’s Netflix Show ‘With Love, Meghan’

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      The new streaming series from the Duchess of Sussex has arrived. It shows her cooking, creating and harvesting, and feels like a billboard for things to come.Meghan, the Duchess of Sussex, has returned to the small screen with a new cooking and lifestyle show that was released on Netflix on Tuesday.Filmed at a property near her home in sunny Montecito, Calif., the eight-episode series positions Meghan, 43, as a modern domestic goddess embracing the do-it-yourself delights of cooking, crafting and entertaining.“Love is in the details, gang,” she says on an episode of the show, while preparing her own lavender towels.The series, which Netflix has pitched as “inspiring,” saying it “reimagines the genre of lifestyle programming,” is directed by Michael Steed, who worked on “Anthony Bourdain: Parts Unknown.” It is executive produced by Meghan and is loosely organized around a series of creative projects — teaching a friend to make bread, throwing a game night for friends and planning a brunch — and offering tips along the way.“We’re not in the pursuit of perfection,” Meghan explains in the show as she makes crepes. “We’re in the pursuit of joy.”It has been about five years since Meghan, and her husband, Prince Harry, officially stepped back from their royal duties in Britain. The family is now firmly planted in Southern California. Prince Archie is 5 and Princess Lilibet is 3.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Dabba Cartel’ Is a Go-Go-Go Drama With Depth

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      This Indian Netflix series isn’t the most original thing ever, but it comes loaded with brains, humor and electric performances.The Indian drama “Dabba Cartel,” on Netflix (in Hindi, with subtitles, or dubbed), is a lively spin on the “regular people do crimes … and like it?” genre. It incorporates sudsy twists, vicious domestic subplots, corporate malfeasance and social critiques, and its foot stays on the gas. In the course of its seven episodes, characters go from being not totally sure how one consumes marijuana to synthesizing a new street drug and rubbing shoulders with big-time baddies.Raji (Shalini Pandey) runs a lunch delivery service, and she has been sneaking in “herbal Viagra” for some of her customers. Her colleague Mala (Nimisha Sajayan) has a dirtbag boyfriend who coerces her into expanding the drug distribution to include the far more lucrative MDMA. “These are real drugs!” Raji worries.“Madam, all drugs are real,” the dirtbag says.Raji is trying to save money so she and her husband, who works in big pharma, can move to Germany. Beyond the food service, Mala works as a domestic laborer to support herself and her daughter, so every little bit helps. The delivery business also includes Shahida (Anjali Anand), a real estate agent who dreams of more. The three know they’re in over their heads, but their fear and desperation turn to shock and later industriousness when Raji’s mother-in-law, Sheila (Shabana Azmi), turns out to be a retired queenpin.Luckily, she has a plan. Unluckily, that plan is that they all become mega drug dealers together.Alongside our budding Walter Whites, “Dabba” follows a government investigator (Gajraj Rao) who is trying to prevent opioids from flooding the Indian market. They’re illegal in India, but some pharmaceutical companies manufacture the drugs for American distribution, and he is convinced that Fentanyl and its ilk are making their way to the people. No one takes his concerns seriously, and he is paired with a quirky female police officer (Sai Tamhankar) who is herself often overlooked. But she thinks he’s onto something.A little “Dopesick,” a little “Good Girls,” “Dabba” has brains and humor if not total originality. It feels fresh, though, because of its electric performances, especially from Sajayan, whose brusque and perceptive Mala has some of the show’s best lines. “Dabba” also pays sharp attention to all the little moments of social friction, the mounting indignities each character faces, all the various ways to be insecure.The show is visually ambitious, unlike so many drab crime dramas: fun overhead shots, bright umbrellas, lots of high-stress traffic Jenga. And there are no departure episodes in which we leave the main plot to learn sage wisdom from a sad side character. Everything connects — and it cooks. More

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      Stream These 6 Movies and Shows Before They Leave Netflix in March

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      A great Park Chan-wook film and a hilarious British satire are among the great titles leaving for U.S. subscribers this month.This month’s noteworthy Netflix departures in the United States include a chilling indie, a South Korean classic, two honest-to-goodness great popcorn flicks and a very funny skewering of England’s most famous family. (Dates reflect the first day titles are unavailable and are subject to change.)‘The Autopsy of Jane Doe’ (March 15)Stream it here.The Norwegian director Andre Ovredal (“Trollhunter”) makes his solo English-language debut with this modest, muted yet endlessly chilling postmortem thriller. Brian Cox and Emile Hirsch star as a father-son team of small-town coroners whose seemingly straightforward autopsy of a young murder victim becomes something far more complicated — and sinister. Ovredal builds dread with genuine skill (and without resorting to cheap thrills), and the performances are top-notch, with the “Succession” favorite Cox doing particularly stellar work as an old pro who thinks he’s seen it all and is quickly proven wrong.‘A Walk Among the Tombstones’ (March 16)Stream it here.The pedigree for this 2014 neo-noir thriller is mighty impressive: It is based on a novel by the respected and prolific crime novelist Lawrence Block and adapted and directed by Scott Frank (“Out of Sight,” “Minority Report,” “The Queen’s Gambit”). But because the star is Liam Neeson, and because the picture was released just as viewers were beginning to sour on his “Taken” sequels and re-treads, it was dismissed by the adult audience that might appreciate it most. Neeson stars as Block’s most durable hero, the former cop-turned-private investigator (and recovering alcoholic) Matthew Scudder, here investigating a brutal murder that opens up a complicated series of kidnappings, slayings and secrets. Moody and melancholy, it is possibly the best film of the Neeson-aissance.‘Oldboy’ (March 24)Stream it here.Perhaps the most popular (at least on these shores) and most influential film of the “New Korean Cinema” movement of the 1990s and 2000s, this artful and aching revenge thriller from the director Park Chan-wook (“The Handmaiden”) concerns a seemingly straight-arrow businessman, Dae-su (Choi Min-sik), who wakes up from a drunken blackout locked in some kind of private prison. He is kept there for 15 years, never allowed to know who put him there or why, so when he is unceremoniously released, he decides to get those answers himself. In the post-“Pulp Fiction” film landscape, Chan-wook’s action set pieces and unflinching violence made him a hero of young cinephiles around the world. But what makes “Oldboy” special, and what makes it stick, is its poignancy; “Oldboy” wonders genuinely what it would be like to lose so much of one’s life, and what kind of madness might follow suit.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Zoe Saldaña Makes Apology After Winning Oscar for ‘Emilia Pérez’

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      The Spanish-language musical from Netflix saw its grand hopes fizzle after derisive social media posts from its star resurfaced.Just six weeks ago “Emilia Pérez” got 13 Oscar nominations, more than any other film this year. Its lead actress, Karla Sofía Gascón, made history by becoming the first openly trans actor to be nominated and the film, a musical about a Mexican cartel boss, was seen as a real contender to win the Academy Award for best picture.It did not work out that way.Collapsing under the weight of award-season scandal after derogatory comments resurfaced that Gascón had posted years ago on social media, “Emilia Pérez” wound up winning just two Oscars: for best supporting actress and best original song (“El Mal”).Its travails became a punchline during the opening monologue from the evening’s host, Conan O’Brien. “Little fact for you: ‘Anora’ uses the F-word 479 times,” he said. “That’s three more than the record set by Karla Sofia Gascón’s publicist.”And even when its winners were supposed to be getting feted, they faced some of the only pointed questions of the night. Inside the press room, Cristina Ibañez, a journalist for a Mexican publication, confronted Zoe Saldaña, who won for best supporting actress, telling her bluntly that “Emilia Pérez” was “really hurtful for us Mexicans.” (The film, by the French writer-director Jacques Audiard, drew criticism in Mexico for its depiction of the country and the fact that few Mexicans were involved in the production.)“First of all, I am very, very sorry that you and so many Mexicans felt offended,” Saldaña said. “That was never our intention. We came from a place of love, and I will stand by that.”“I’m also always open to sit down with all of my Mexican brothers and sisters and with love and respect, have a great conversation on how ‘Emilia’ could have been done better,” she added later.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More