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    In ‘Crime Scene,’ Joe Berlinger Investigates True-Crime Obsession

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyIn ‘Crime Scene,’ Joe Berlinger Investigates True-Crime ObsessionIn his latest Netflix docu-series, the director of foundational works like “Paradise Lost” turned his lens to the fans and web sleuths that are changing the stakes of true crime.“I’m described as a true-crime pioneer,” Joe Berlinger said. “I liked the pioneer part. The true crime thing makes me a little nervous.”Credit…Dina Litovsky for The New York TimesFeb. 12, 2021, 9:54 a.m. ETThis article contains mild spoilers for the Netflix series “Crime Scene: The Vanishing at the Cecil Hotel”It’s hard to find much that is redeeming in true-crime documentaries these days. They tend to showcase humanity’s worst, there’s a seemingly endless supply, and they’re generally so repetitive that it’s hard to tell one from another. On Netflix, you can watch the four-part “Night Stalker,” about the Los Angeles serial killer Richard Ramirez, and then click over to the four-episode “Crime Scene: The Vanishing at the Cecil Hotel,” in which Ramirez makes a cameo.But “Crime Scene,” directed by the true-crime veteran Joe Berlinger, has some other guest stars, and they make the enterprise a little different than most. One is the title character, the towering Cecil Hotel in downtown Los Angeles. Located in the city’s drug-and-crime-infested Skid Row area, and known for its history of horrors, the Cecil has stories to tell.So do the supporting players. One by one they bear witness to what they haven’t seen, peering out from their computer screens and offering explanations and verdicts. The police covered up the crime. The death metal singer killed her. Wait, it’s just like that one horror movie. Or maybe it’s a ghost story.They are web sleuths, and together they form a sort of uninformed Greek chorus in “Crime Scene,” which premiered on Wednesday. It covers the well-chronicled 2013 disappearance of Elisa Lam, a 21-year-old Canadian tourist. But the story ends up being more about the nature of truth and mass speculation — and about the ethics of true crime, generally — than about any particular crime.Surveillance footage from the Cecil Hotel the night of Elisa Lam’s disappearance became a source of rampant speculation and conspiracy theory among a community of self-appointed web sleuths.Credit…Netflix“The sleuths are very integral to the structure of the show because what’s interesting for me is perception,” Berlinger said in a telephone interview last week. “I wanted the viewer to really experience it the way the web sleuths did in terms of putting together information and the rabbit holes they went down.”Berlinger, who frequently works with Netflix but also does projects with other networks, has been at this for a while, since well before true crime documentaries flooded the airwaves and streaming platforms.In 1992, he and Bruce Sinofsky debuted “Brother’s Keeper,” the wrenching tale of a barely literate farmer accused of murdering his own brother. In 1996, he and Sinofsky released “Paradise Lost: The Child Murders at Robin Hood Hills,” which interrogated the circumstantial evidence that put three Arkansas teenagers in prison, accused of killing and mutilating three young children. Berlinger and Sinofsky made three “Paradise Lost” films altogether, and the teenagers, widely known as the West Memphis Three, were eventually set free.This would seem to be a far cry from “Cecil Hotel,” whose eight-year-old central mystery can be solved by anyone with an internet connection. But Berlinger sees commonalities. For one, those web sleuths.The web wasn’t what it is now in 1996. But Berlinger remembers those who went online, pre-social media, and provided important information about the West Memphis Three. “People can see that these kinds of investigations by regular people can lead to some positive outcomes,” he said.That’s not really the case in “Cecil.” The sleuths go after a death metal artist and ruin his life with false accusations (a touch of satanic panic with echoes of “Paradise Lost,” in which the prosecution uses the West Memphis Three’s taste in heavy metal to help build its case). They obsess over a piece of elevator surveillance footage, seeing proof of evidence tampering where none existed. They accept seemingly every explanation except the simplest one. In general, they get in the way.Some feel the true-crime genre gets in the way as well — of other kinds of documentary and of storytelling in general.A grand Beaux Arts establishment when it was built in 1924, the 700-room Cecil gradually declined into a hub of crime and homelessness.Credit…Netflix“Media companies have grown dependent on the genre,” said Thom Powers, the documentary programmer for the Toronto International Film Festival, in an email. (Powers is a fan of Berlinger, and has programmed his work in the past). “I worry that it’s becoming escapist entertainment that depletes resources from other stories.”“At its worst, the true-crime genre is law enforcement propaganda,” he continued. “The storytelling is so preoccupied with lurid crime details, it rarely pulls back to study larger dynamics.”Even Berlinger has reservations about the genre. His recent body of work comprises several TV docu-series about sensational crimes, including “Conversations With a Killer: The Ted Bundy Tapes,” “Unspeakable Crime: The Killing of Jessica Chambers” and “Jeffrey Epstein: Filthy Rich.” But call him a true-crime filmmaker and he bristles.“I’m described as a true-crime pioneer,” he acknowledged. “I liked the pioneer part. The true-crime thing makes me a little nervous because I think of myself more as a social justice filmmaker spending a lot of time in the crime space.”He added: “I do think there’s a lot of irresponsible true crime being done where there’s no larger social justice message or there’s not a larger commentary on society. It’s just about wallowing in the misery of somebody else’s tragedy without any larger purpose.”The Cecil has tremendous symbolic value connected to the social history and issues of its surroundings. A grand Beaux Arts establishment when it was built in 1924, the Cecil, which is no longer open, gradually declined along with its neighborhood. The area now called Skid Row developed into a hub of crime and homelessness in the ’30s, and the Cecil, a 700-room behemoth, became known for cheap residential accommodations and tawdry doings. Drugs, prostitution and suicides were common. In 1964, the body of a well-liked retired telephone operator, Goldie Osgood, was found raped, stabbed and beaten in her room. The crime was never solved.“There’s a lot of irresponsible true crime being done where there’s no larger social justice message,” Berlinger said. “It’s just about wallowing in the misery of somebody else’s tragedy.”Credit…Dina Litovsky for The New York TimesRamirez, the serial killer, was a guest; he reportedly would go there after a tiring night of killing, throwing his bloody clothes in a nearby dumpster before returning to his room. So was the prolific Austrian serial killer Jack Unterweger, who, posing as a journalist, continued his spree in Los Angeles by killing three sex workers.It’s not hard to summon a dark aura around the hotel, and many media accounts have done just that.“It’s been shown as a really dark place, with Richard Ramirez having been there and of course Elisa Lam,” said Amy Price, the hotel general manager from 2007 to 2017, in a recent phone interview. She also appears in the series. “But I thought how they presented everything was authentic and very fair.”For all that has happened at the Cecil, without Lam’s disappearance there would be no documentary, and probably very little interest in the hotel today. The web sleuths, none of whom have met her, profess their love and affection for her. They, and the series, pore over the elevator video as if it were the Dead Sea Scrolls. We watch, over and over again, as Lam punches a row of elevator buttons and squishes herself into a corner of the elevator, then exits and makes some odd hand gestures. Surely this must all mean something.Or, maybe not. And here’s where you either stop reading (assuming you haven’t already Googled the case) or continue on to the not-terribly-mystical conclusion. In the end, yes, the Cecil was a crime scene. Many times over. But it appears there was nothing criminal about the Lam case, which was, according to investigators, a sad accident.Asked how he reconciles his more high-minded ideals with the true-crime genre’s imperative to entertain, Berlinger pointed to the fact that “Cecil” tackles subjects that go beyond the corpse at its core, including cyberbullying, homelessness and mental illness. But he also knows true-crime viewers are tuning in for the more lurid details, and sometimes that gives him pause.“I do ask myself, if, God forbid, something happened to me or my family, would I want someone to tell that story?” he said in a follow-up email. “If I’m being totally honest, I would only want that if the telling of that story had a larger purpose than just ‘entertainment.’”Is Berlinger having it both ways? Perhaps. But so is any news article about the series, as the layers of meta-critique pile up. With “Cecil,” he argued, playing to that true-crime imperative is exactly why it works.“In some ways, we’re being very self-reflexive in using the conventions of true crime to seemingly tell a true-crime mystery,” Berlinger said by phone. “Then, we turn it on its head at the end.”He added: “I thought it was appropriate and interesting to choose a crime that actually isn’t a crime, with a perception that something nefarious happened but, in fact, it wasn’t a crime at all.”That’s certainly one way to tweak the true-crime genre. Just remove the crime.AdvertisementContinue reading the main story More

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    ‘Strip Down, Rise Up’ Review: An Emotional Spin

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘Strip Down, Rise Up’ Review: An Emotional SpinThis Netflix documentary looks at a pole dancing class led by the celebrity instructor Sheila Kelley.A scene from the documentary, “Strip Down, Rise Up,” directed by Michèle Ohayon.Credit…NetflixFeb. 5, 2021, 7:00 a.m. ETStrip Down, Rise UpDirected by Michèle OhayonDocumentaryR1h 52mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Meet two dozen women who brave full exposure. The pole dancing students in the awkward, but intimate Netflix documentary “Strip Down, Rise Up” have allowed Michèle Ohayon, an Oscar-nominated filmmaker (“Colors Straight Up”), and her crew of mostly women, to observe their six-month introductory class guided by the celebrity instructor Sheila Kelley, who once prodded Conan O’Brien to twirl on late night TV.The opening montage announces that erotic dance heals the female psyche from wounds inflicted by shame and trauma, and then sets out to prove it, thrust by thrust. Platform spike heels become an obvious metaphor for relearning how to strut. Ohayon is a disciple herself, hence the infomercial vibe.[embedded content]Kelley’s lessons morph into group therapy sessions, where her pupils shed more tears than clothing. (The one girl who’d simply joined for kicks quits.) But those with enough trust to bare their histories — betrayals, sexual abuse, mastectomies, weight gain, insecurities, repressive religious households — seize ownership over their bodies. These scenes are genuinely moving: a 50-year-old widow purges the pain of her late husband’s affair, a survivor of abuse by Larry Nassar, the disgraced Olympic doctor, reconnects with her limbs. It’s a pity, then, that Ohayon’s choppy structure rotates through her subjects like amateur night. Each has a few minutes to reveal their scars before the jukebox replays the same inspirational maxims.Elsewhere, “Strip Down” interviews women with a different approach, including a Cirque du Soleil performer focused on gravity-defying artistry and an athlete who knee-spins on street signs to rebrand pole dancing as public sport. The athlete, an ex-Mormon with her own hurtful past, hopes her competition piece, set to a poem by Rupi Kaur, will bring the judges to tears. But it’s a testament to Ohayon’s empathy that she measures winning a silver medal at the Golden Gate Pole Championships as equal to that of a class participant struggling to climb the pole at all until she gets a boost from five of her new friends.Strip Down, Rise UpRated R. Running time: 1 hour 52 minutes. Watch on Netflix.AdvertisementContinue reading the main story More

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    The Best Movies and TV Shows New to Netflix, Amazon and Stan in Australia in February

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyThe Best Movies and TV Shows New to Netflix, Amazon and Stan in Australia in FebruaryOur streaming picks for February, including ‘Parks and Recreation,’ ‘News of the World’ and ‘Bliss.’‘Parks and Recreation’Credit…NetflixFeb. 1, 2021Every month, streaming services in Australia add a new batch of movies and TV shows to its library. Here are our picks for February.New to NetflixFEBRUARY 1‘Parks and Recreation’ Seasons 1-7With all the social and political unrest around the world, now is as good time as any to revisit this refreshingly optimistic sitcom. Set in the dysfunctional Middle American city of Pawnee, the show stars the very funny Amy Poehler as Leslie Knope, a midlevel bureaucrat who motivates a community of skeptics and kooks into making their town more livable. Though “Parks and Recreation” mostly focuses on the relationships between its cast of lovable eccentrics, it’s also about how good-hearted and determined civil servants can make a difference.FEBRUARY 2‘Kid Cosmic’Although the animated science-fiction/superhero series “Kid Cosmic” sprang from the mind (and the pen) of “The Powerpuff Girls” creator Craig McKracken, it looks and feels different from the work he’s done before. This is a more serialized adventure, featuring a group of misfits from a New Mexico desert town who rely on superpowered alien jewels to fight off invaders from outer space. “Kid Cosmic” has a remarkable design, with its loosely sketched lines and pale colors resembling fading old fantasy magazines and comic books.FEBRUARY 3‘Firefly Lane’Based on Kristin Hannah’s popular tear-jerker novel, “Firefly Lane” stars Katherine Heigl as a glamorous but lonely TV personality. Sarah Chalke plays her longtime best friend, whose own life as a wife and mother has recently been disrupted by divorce. The series frames these two women’s diverging situations as a kind of existential mystery. Frequent flashbacks to the characters’ teenage and young adult years allows viewers to make key connections between the troubles of the past and the anxieties of the present.‘Malcolm & Marie’Credit…NetflixFEBRUARY 5‘Malcolm & Marie’The writer-director Sam Levinson — best-known for the social satire “Assassination Nation” and the provocative teen drama series “Euphoria” — shot his intimate, two-character “Malcolm & Marie” during the pandemic. John David Washington and Zendaya play a bickering couple, airing their grievances over the course of one tense night. Levinson cenhances the stripped-down story by shooting his two striking-looking actors in handsome black-and-white, making a movie that echoes the low-budget psychodramas of the indie film pioneer John Cassavetes.FEBRUARY 10‘News of the World’How did it take so long to get Tom Hanks into a western? In “News of the World,” Hanks plays Captain Jefferson Kyle Kidd, a veteran of the U.S. Civil War, who in the 1870s ekes out a living riding from town to town, reading newspapers to the locals. Helena Zengel plays Johanna, a preteen kidnap victim whom Kidd tries to return to her family. Based on a Paulette Jiles novel, this film has an episodic structure, designed to lead viewers through a tour of a postwar America still deeply divided. Hanks is the sturdy anchor for a winding story.‘To All the Boys: Always and Forever’Credit…NetflixFEBRUARY 12‘To All the Boys: Always and Forever’In Netflix’s energetic and emotional movie adaptations of Jenny Han’s novel “To All the Boys I’ve Loved Before” and its two sequels, Lara Condor plays a lovestruck teenager named Lara Jean Covey, while Noah Centineo plays her college-bound crush Peter. Last year’s “P.S. I Still Love You” introduced some complications to the first film’s happy ending; and now the third and final part in the trilogy, “Always and Forever” tells the story of how Lara Jean and Peter handle an unexpectedly complicated transition from high school to college.FEBRUARY 19‘I Care a Lot’Don’t look for any sympathetic characters in J Blakeson’s “I Care a Lot,” a blackly comic neo-noir film in which two oddly charismatic creeps try to outwit one another. Rosamund Pike plays a high-class grifter, who exploits the systemic flaws in the elder-care industry to make money off the helpless. Peter Dinklage plays a drug kingpin living under an assumed name, who risks revealing himself when his mother (Dianne Wiest) gets caught up in the scam. Like Blakeson’s entertainingly nasty 2009 debut film “The Disappearance of Alice Creed,” this is a well-acted and twisty movie, made for audiences who enjoy watching clever folks be shamelessly awful.FEBRUARY 23‘Pelé’This documentary about the legendary Brazilian footballer Edson Arantes do Nascimento, known as Pelé, is focused primarily on his four World Cup appearances, from 1958 to 1970. Between those years, he went from being an unknown teen from a poor São Paulo neighborhood to becoming universally acknowledged as one of the best ever. The “Pelé” directors Ben Nicholas and David Tryhorn have a wealth of exciting footage of the man in action, but their film is just as much about how Brazil and the world changed during the 1960s.FEBRUARY 24‘Ginny & Georgia’Fans of “Gilmore Girls” should find a lot to like about “Ginny & Georgia,” a drama about a precociously mature teenage girl (Antonia Gentry) and her more free-spirited and libertine mother (Brianne Howey), who are both adjusting to a new life in a quaint New England town. In a reversal of the “Gilmore Girls” premise — where the mom was born of privilege and then fled to a more middle-class existence — in “Ginny & Georgia” the family has seen hard times and is now striving for something better. The core of the show remains the often shaky relationship between a strong-willed parent and her equally headstrong child.Also arriving: “Tiffany Haddish Presents: They Ready” Season 2 (February 2), “Black Beach” (February 3), “Hache” Season 2 (February 5), “Invisible City” (February 5), “The Last Paradiso” (February 5), “Little Big Women” (February 5), “Space Sweepers” (February 5), “Strip Down, Rise Up” (February 5), “Crime Scene: The Vanishing at the Cecil Hotel” (February 10), “The Misadventures of Heidi and Cokeman” (February 10), “Capitani” (February 11), “Red Dot” (February 11), “Squared Love” (February 11), “Buried by the Bernards” (February 12), “Nadiya Bakes” (February 12), “Xico’s Journey” (February 12), “Hello, Me!” (February 15), “Behind Her Eyes” (February 17), “Tribes of Europa” (February 19), “2067” (February 19), “Classmates Minus” (February 20), “High-Rise Invasion” (February 25), “Bigfoot Family” (February 26), “Caught by a Wave” (February 26), “Crazy About Her” (February 26).New to Stan‘Punky Brewster’Credit…StanFEBRUARY 3‘Race to Perfection’The archivists for Formula One auto racing have emptied out their vaults for this seven-part docu-series, which covers the past 70 years of the sport from multiple angles. Packed with original interviews and exciting vintage footage, “Race to Perfection” documents both the history and the evolution of various aspects of racing: from the advances in technology to the personalities of the drivers to some of F1’s most controversial incidents. It’s pitched at longtime fans and novices alike.FEBRUARY 5‘The Virtues’The writer-director Shane Meadows and the actor Stephen Graham are frequent collaborators, best known for their decade-spanning “This Is England” series. The pair reunites for the four-part mini-series “The Virtues,” a heavy drama about a man belatedly confronting childhood trauma. Graham plays an alcoholic whose life is in utter disarray when he returns home to reconnect with his estranged sister. The trip reminds him of incidents he’d long-suppressed, while also pushing him toward a woman (Niamh Algar) with issues of her own.FEBRUARY 12‘Clarice’This thriller series’s title character should be familiar to fans of either the novel or the movie “The Silence of the Lambs.” The show is set one year after the events of “Silence,” and follows the FBI agent Clarice Starling (Rebecca Breeds) as she tackles new cases. Expect a mix of short and longer narrative arcs, splitting the difference between a traditional TV procedural and the more novelistic serialized approach. But don’t expect any direct mention of the infamous serial killer Hannibal Lecter; the character’s rights are owned by a different production company.FEBRUARY 26‘Punky Brewster’In its original incarnation, the 1980s sitcom “Punky Brewster” starred Soleil Moon Frye as an abandoned child, taken in by a cranky old widower and raised with the help of some kindly neighbors and teachers. Frye returns for the revival, playing Punky now as a quirky divorced mother, who upends her family’s life when she considers become a foster parent to a kid a lot like herself. Some of the original cast members will appear, in a series that aims to charm and uplift.Also arriving: “Doll & Em” Seasons 1-2 (February 2), “The Pleasure Principle” (February 4), “The Green Mile” (February 9), “Hassel” (February 11), “Chasing Life” Seasons 1-2 (February 12), “Lucy” (February 12), “Ex Machina” (February 15), “United 93” (February 17), “Perfect Places” (February 18), “The First Team” (February 19), “Children of Men” (February 21), “Casino” (February 23), “Indian Summers” Seasons 1-3 (February 23), “Angel of Death” (February 25), “Scarface” (February 26), “American Gangster” (February 27).New to Amazon‘Bliss’Credit…AmazonFEBRUARY 5‘Bliss’Owen Wilson plays a lonely, hopeless man named Greg in the writer-director Mike Cahill’s haunting science-fiction drama “Bliss.” Greg is experiencing a run of bad luck when he meets Isabel (Salma Hayek), who persuades him that they’re both actually living in a computer simulation. Cahill makes both Greg’s dreary “real” world and Isabel’s more utopian version seem equally valid, leaving the audience wondering until the end whether she’s savvy or crazy. Along the way, he raises pointed questions about whether humans need some kind of misery in their lives to achieve happiness.‘Tell Me Your Secrets’The lives of three very different characters — a woman on the run (Lily Rabe), a desperate mother (Amy Brenneman), and a sexual predator (Hamish Linklater) — intersect in this mystery/suspense series. As a crime from the past draws this trio closer together, they each reveal secrets about themselves they would’ve rather kept hidden, while also learning more about their friends and neighbors than they may have wanted to know. “Tell Me Your Secrets” is about the lies and delusions that sustain some people; and about what happens when they’re finally told the truth.Also arriving: “The Map of Tiny Perfect Things” (February 12).AdvertisementContinue reading the main story More

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    ‘The Dig’ Review: Carey Mulligan and Ralph Fiennes on a Treasure Hunt

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘The Dig’ Review: Carey Mulligan and Ralph Fiennes on a Treasure HuntA small team makes a groundbreaking discovery in this fictionalized account of an actual archaeological expedition close to home.Carey Mulligan and Ralph Fiennes in “The Dig.”Credit…Larry Horricks/NetflixJan. 28, 2021, 7:00 a.m. ETThe DigDirected by Simon StoneBiography, Drama, HistoryPG-131h 52mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Carey Mulligan’s range is a thing of wonder. If you’ve already seen her as an avenging American in “Promising Young Woman,” watching her in “The Dig” may induce something like whiplash. Here she portrays, with unimpeachable credibility, Edith, an upper-class English widow and mother in the late 1930s who is fulfilling a dream too long deferred.The dream is to dig up her backyard. It’s a big one, mind you, on her estate in Suffolk, dotted by what appear to be ancient burial mounds. To this end, Edith, whose youthful interest in archaeology was squelched on account of her sex, hires Basil Brown, a determined freelance archaeologist played with stoic mien and working-class-tinged accent, by Ralph Fiennes.[embedded content]Once the work begins, it becomes clear that something big is underground — this movie by Simon Stone, and the novel upon which it’s based, is a fictionalized account of the discovery of the treasure-filled Sutton Hoo, one of the biggest archaeological finds of the 20th century.Brown’s crew increases, taking in a dashing cousin of Edith’s (Johnny Flynn, bouncing back from the grievous “Stardust”) and a discontented married couple (Ben Chaplin and Lily James). Big Archaeology tries to horn its way in. Much drama ensues.Weighty themes are considered here: the question of who “owns” history; the corrosive effects of class inequality; the potentially tragic intertwining of sexual repression and loneliness. To its credit, this consistently interesting and at times engrossing picture declines to strike any of its notes with a hammer. Trading on the great British art of understatement, it’s scrupulous, sober, and tasteful throughout.The DigRated PG-13 for themes and language. Running time: 1 hour 52 minutes. Watch on Netflix.AdvertisementContinue reading the main story More

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    ‘Bridgerton’s’ Approach to Race and Casting Has Precedent Onstage

    AdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s Notebook‘Bridgerton’s’ Approach to Race and Casting Has Precedent OnstageThere’s been much discussion about the presence of Black actors in Regency England on the Netflix show, but performers of color have been playing historical roles in London theaters for decades.Golda Rosheuvel as Queen Charlotte in the Netflix series “Bridgerton.”Credit…Liam Daniel/NetflixJan. 21, 2021, 3:42 a.m. ETLONDON — As is so often the case, the theater got there first.I’m referring to the approach to race and casting in “Bridgerton,” the sartorially splendid Netflix study in hyperactive Regency-era hormones that everyone’s talking about. Much has been made of the presence across the eight-part series of Black actors populating a Jane Austen-style landscape that is usually shown onscreen as all white.In fact, as London theater observers of a certain generation can attest, this has long been common practice onstage here, across a range of titles and historical periods. That’s been true whether it’s been part of Britain’s pioneering interest in colorblind casting or, as with “Bridgerton,” when productions have played with audience expectations about race to make a point.Either way, the prevailing desire has been to fashion a theatrical world that speaks to the multicultural reality of the country. The idea behind casting a Black actor as a Maine villager (in “Carousel”) or a Viennese court composer (in “Amadeus”) isn’t documentary verisimilitude; rather, it’s to make clear that such time-honored stories belong to all of us, regardless of race.So it seems entirely logical that “Bridgerton” features Black talent — including regulars on the London stage — as nobles and royalty. Among them is Golda Rosheuvel as Queen Charlotte, a casting choice intended to reflect the view of some historians that King George III’s wife was biracial.Regé-Jean Page as Simon Basset in “Bridgerton.”Credit…Liam Daniel/NetflixAdjoa Andoh as Lady Danbury.Credit…Liam Daniel/NetflixIt’s not long in “Bridgerton” before Simon Basset, an eligible Black aristocrat, announces himself with star-making swagger, and no shortage of naked flesh, in the sultry form of newcomer Regé-Jean Page. No less commanding is the Black actress Adjoa Andoh, who arches a mean eyebrow as Simon’s mentor of sorts, Lady Danbury. (She led the cast of a 2019 production of “Richard II” at Shakespeare’s Globe that was performed entirely by actresses of color.)Watching these performers swoop onto the screen, I was reminded of the comparable dazzle some decades back when the actress Josette Simon, who is Black, made her National Theater debut in a 1990 production of Arthur Miller’s “After the Fall,” playing Maggie, a character thought to have been based on Miller’s second wife, Marilyn Monroe. Gone was that play’s previously blonde-wigged heroine: Instead, the director Michael Blakemore’s production raised new possibilities about the relationship between Miller’s male lead, the liberal-leaning lawyer Quentin, and the singing star and seductress who becomes his wife.James Laurenson and Josette Simon in “After the Fall” at the National Theater in London in 1990.Credit…Alastair Muir/ShutterstockThat show removed the play from the realm of gossip — that’s to say, how much was Miller revealing about the famously doomed actress to whom he was married? Suddenly, a comparatively minor piece from the playwright seemed both more substantial and more moving, and Simon, who went on to play Cleopatra for the Royal Shakespeare Company just a few years ago, enjoyed a deserved moment of glory.The National Theater has kept pace with “After the Fall” in its casting ever since. Two years later, Nicholas Hytner’s revelatory revival of “Carousel” brought the clarion-voiced Black actor Clive Rowe an Olivier nomination for his role as the sweet, fish-loving Mr. Snow; in 2003, another landmark Hytner staging, “Henry V,” put the Black stage and screen star Adrian Lester in the title role.That fiery modern-dress production, with its evocations of the Iraq war, reminded audiences that combat can be blind to skin color — so why shouldn’t kingship? Lester triumphed in the part, as he had across town at the Donmar Warehouse in 1996 when he became the first Black performer to play Bobby in a major production of the Stephen Sondheim-George Furth musical “Company.”Adrian Lester as Henry V at the National Theater in 2003.Credit…Ivan Kyncl/ArenaPALThese days, casting across the racial spectrum mostly passes without comment here. But it’s instructive to note the immediate retaliation, in 2018, when the theater critic Quentin Letts, then writing for the Daily Mail, questioned the Royal Shakespeare Company’s casting of Leo Wringer, a Black actor, in a forgotten restoration comedy, “The Fantastic Follies of Mrs. Rich,” written in 1700.“Was Mr. Wringer cast because he is Black?” Letts inquired rhetorically in his review. “If so, the R.S.C.’s clunking approach to politically correct casting has again weakened its stage product.” The company’s artistic director, Gregory Doran, shot back a statement comparing Letts to “an old dinosaur, raising his head from the primordial swamp.”Sometimes, as with a recent, and remarkable, “Amadeus” that featured the vibrant Black actor Lucian Msamati in the role of the Italian composer Antonio Salieri, the casting is colorblind, which means that the performer has been chosen irrespective of race. Elsewhere, as with the Young Vic’s “Death of a Salesman” in 2019, a conscious choice has been made — in that instance, to present the Loman family as Black to change our perspective on a familiar play.“Bridgerton” looks at first as if it may be taking the first route, only to counter that assumption later on, when a surprise discussion among the characters steers the drama toward the second. “Color and race are part of the show,” the series’s creator, Chris Van Dusen, told The New York Times last month.“Bridgerton” harks back to a vanished England of corsets and chastity, while nodding toward the diverse society of today. That dual focus — the ability, from its casting onward, to straddle two worlds at once — is something that has been long understood on the London stage. At a time when London playhouses remain closed, such memories are the stuff of enjoyable reflection. I only hope that, if the second season of “Bridgerton” that Netflix has hinted at ever arrives, I will be squeezing it in between visits to the theater.AdvertisementContinue reading the main story More

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    Chris Rock Re-edits a Special, and the Result Is Fascinating

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyOn ComedyChris Rock Re-edits a Special, and the Result Is FascinatingWith “Total Blackout: The Tamborine Extended Cut,” the comic effectively erases the stamp of the original director, Bo Burnham, and turns in a less intimate show.The comedian served as the director of the new version of “Tamborine.”Credit…NetflixJan. 12, 2021Updated 7:13 p.m. ETIn film, directors have all the power, less so in theater. But they are omnipotent compared with the director of the stand-up special, who, to borrow a metaphor from Chris Rock’s already essential 2018 special, “Tamborine,” has not traditionally led the band so much as stood on the side and played the tambourine.But in recent years, directors’ status has shifted, becoming more like bass players or even drummers, in part because of specials like “Tamborine,” directed with style by the innovative comic Bo Burnham. His auteur vision didn’t just showcase Rock in concert. It engaged and interpreted his work, sharpened its focus, while applying distinctive aesthetic flourishes.“Total Blackout: The Tamborine Extended Cut,” released on Netflix on Tuesday, will be fascinating for comedy nerds, not just because it adds new jokes, with almost 40 minutes of extra material from arguably the greatest living comic. It also represents a key turning point in the balance of power between comic and director, with Rock reclaiming control. He effectively erases the stamp of the director, even replacing Burnham in the credits with his own name, and produces a new special with most of the same shots, whose differences are subtle but significant.“Extended Cut” has more jokes, longer setups and more mess. Rock, who has himself directed features, even introduces a part where he misspeaks in setting up a joke, saying “bullies rule the world” when he means “nerds.” Burnham’s slick cinematic flourishes are taken out. Gone is the triple repetition, along with quick-cutting camera angles, of the first three words of the opening joke. (“You would think that cops would occasionally shoot a white kid, just to make it look good.”)But the most important contrast is in the comic’s discussion of his own infidelity. Until “Tamborine,” Rock was known as a social commentator who mostly kept his private life at a distance. But addressing his divorce and his responsibility for the failure of his marriage, Rock made the most vulnerable, introspective comedy of his career. Burnham was clearly drawn to this aspect of the set and focused on it. This material, including jokes about marriage, divorce and sex, takes up about half of the special, as opposed to around a third of the extended version.When Rock confessed his mistakes, Burnham moved into a rare close-up. And he stayed on the star’s face, with no cutaway shots, as Rock talked about cheating on his wife. When the crowd chuckled, Rock looked grave, emphasizing that he wasn’t proud. He said he knew what people were thinking: “What is wrong with men?”On this line, Burnham did something dramatic: He shrank the frame even more, moving in on Rock like a microscope, so close to him that it obscured part of his head. It’s an aggressive move, and one that both underlines the question of what is wrong with men and broadens it, giving this personal story a new weight, especially since it came out just months after the Harvey Weinstein exposé and inevitably evokes the #MeToo movement.A year later, Kevin Hart released a special, “Irresponsible,” in which he also discussed cheating on his wife. He was more oblique, briefer in his contrition, and the special cut away from him after a joke to show the crowd laughing. Whereas Burnham kept the audience out of it, “Irresponsible” took a more ingratiating route, with a shot that indicated it was OK to laugh before keeping things moving.Rock’s extended version remains tougher-minded but moves closer to this posture. He removes the extreme close-up, which, along with its role in drawing attention to the material, is something of a signature Burnham shot. He used it at the start of his direction of Jerrod Carmichael’s game-changing special “8” — whose filmic aesthetic inspired Rock to hire him. In place of that touch, Rock adds a new shot, a mouse-eye view of the star from the front of the stage partly obscured by what appears to be a member of the audience. This new angle looks up at a performer, in awe.What sticks with you in the original is the setup — the admission of cheating with three women and the specificity of the confession. In the extended cut, it’s the punchline, as Rock anticipates the audience response and contrasts the shock from women with the more blasé response of men. (“Three? That’s it? Just three?”) It’s the same joke, but the direction changes the effect.The original version of the special moved in on Rock like a microscope.Credit…NetflixThe new version is a more conventional, if unvarnished, stand-up production, but it also may be truer to the experience of the concert. As someone who saw the first theater show in 2017 on the tour that resulted in this special, I was happy to experience certain jokes again, many of which zero in on the economic angle of a hot-button issue, like his take on how “prices are the new Jim Crow.” He goes on to explain, “The Four Seasons hotel does not say, ‘No Blacks allowed.’ But a $4,000 a night hotel suite sure does.”Rock’s diagnosis of police brutality also returns to money when he says cops are poorly paid “and you get what you pay for.” The streamlined cut emphasized the personal, but the extended version is a reminder that Rock has always been a materialist alert to how the bottom-line colors almost every issue.In a departure from the swaggering, pacing Chris Rock in his big-room shows, Burnham emphasized intimacy in the quiet, jazzy open that showed us the back of the comic’s head waiting for the show to start, observing. The extended cut dispenses with this image of the solitary Rock and adds celebratory scenes hanging out with other comics. We see Eric Andre, Dave Chappelle and Arsenio Hall. The new version is also more straightforward about his fame. Rock places clips of appearances on talk shows he did to promote the special as a way to flesh out certain jokes.This new version does not erase the old one, which remains on Netflix, but it will supplant it for many fans. So while both are worthwhile, if you are going to watch one, my recommendation is to go with the original. It’s more stylish, ambitious and unusual. And its direction represents a step forward for the art, one that inches the special closer to the status of feature films.Stand-up comedians are often control freaks. It’s part of why they go into a job where you not only write your lines, but also deliver them. There are real benefits to this kind of control, but there is also virtue in collaboration, particularly for work that aims for more thematic, aesthetic and narrative complexity.The audience wants comedy that feels most authentic to the animating vision of the artist. But that is not the same thing as work done without filters or assistance. Sometimes you need other voices to help you be the best version of yourself.AdvertisementContinue reading the main story More

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    ‘The Office’ and ‘Grey’s Anatomy’ Top List of 2020's Most-Streamed Shows

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeHoliday TVBest Netflix DocumentariesAdvertisementContinue reading the main storySupported byContinue reading the main storyViewers’ Streaming Favorites? Old Network TV Shows“The Office,” “Grey’s Anatomy” and “Criminal Minds” each accounted for more viewing time than any other show or movie on streaming platforms last year, according to Nielsen.Credit…Illustration by The New York Times; Photos via Getty ImagesJan. 12, 2021Updated 4:20 p.m. ETForget buzzy new shows like “The Queen’s Gambit” and “Normal People.” The three series that people spent the most time watching on the major streaming platforms in the United States in 2020 all premiered on network TV more than a decade and a half ago, the research firm Nielsen found.“The Office,” “Grey’s Anatomy” and “Criminal Minds,” network shows with hundreds of back episodes available to stream on Netflix and other services, each accounted for more viewing time than any other show or movie, new or old, Nielsen said on Tuesday.The most-watched movie of the year was “Frozen II,” one of several movies that attracted viewers to Disney+ in droves. The most-watched series that premiered on a streaming service was the Netflix crime drama “Ozark,” according to Nielsen.The list seemed to confirm earlier findings that Americans favored comfort and escapist entertainment, in addition to news, as the nation confronted a public health emergency, massive social unrest and a searing presidential election.This is the first time that Nielsen — the 98-year old company that provides ratings information for broadcast and cable networks — has ranked the most-streamed shows of the year. It started releasing weekly most-streamed lists in 2020.Most Streamed in 2020 More

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    The Best Movies and TV Shows New to Netflix, Amazon and Stan in Australia in January

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyThe Best Movies and TV Shows New to Netflix, Amazon and Stan in Australia in JanuaryOur streaming picks for January, including ‘Cobra Kai,’ ‘Bump’ and ‘One Night in Miami …’‘Cobra Kai’ Season 3Credit…NetflixJan. 6, 2021Every month, streaming services in Australia add a new batch of movies and TV shows to its library. Here are our picks for January.New to NetflixJANUARY 1‘Cobra Kai’ Season 3The second season of this fast-paced, nostalgia-spiked martial arts melodrama ended in a big brawl, leaving some of the show’s feuding characters nursing their wounds while others were left to deal with the consequences from the authorities. Season three picks up in the immediate aftermath of the melee, and continues to focus primarily on how all this trouble affects the lives of the series’ two main adults: Daniel (Ralph Macchio) and Johnny (William Zabka), from the 1984 movie “The Karate Kid.” As always, “Cobra Kai” balances action and angst with just a touch of tongue-in-cheek self-awareness.JANUARY 5‘History of Swear Words’Nicolas Cage brings his weirdo charisma to this fun docu-series, which delivers exactly what it promises: compact lessons in the history and etymology of our most popular profanities. Cage’s host segments and narration fill the gaps between the whimsical animated interludes and the interviews, which feature both insights from knowledgeable scholars and comments by foul-mouthed comedians. While the tone of “History of Swear Words” is goofy, the content is genuinely informative.JANUARY 7‘Pieces of a Woman’Reminiscent of other gripping “everything falls apart” dramas like “Uncut Gems” and “Marriage Story,” the at-times unbearably intense “Pieces of a Woman” stars Vanessa Kirby as an expectant mother who endures a nightmarish labor, followed by a long legal battle that tests her values and exposes the fragility of her personal relationships. An outstanding cast — which includes Molly Parker and Ellen Burstyn — brings some spark to a story that has very few moments of brightness or hope. The writer-director team of Kornél Mundruczó and Kata Wéber want audiences to live through something terrible, and to learn something from their characters’ worst experiences.‘Pretend It’s a City’Credit…NetflixJANUARY 8‘Pretend It’s a City’The director Martin Scorsese and his crew turn their cameras on the outspoken New York humorist Fran Lebowitz, and then just let her riff at length about the past, present and future of human existence. Scorsese and Lebowitz collaborated previously on the feature-length documentary “Public Speaking,” about her life and career as a writer and raconteur. But the docu-series “Pretend It’s a City” is much less formal. It’s more of an extended hangout session, edited together from different interviews and public appearances, shot all around the city — New York — that these two love the most.JANUARY 11‘Crack: Cocaine, Corruption & Conspiracy’In the 1980s, some enterprising drug traffickers figured out how to convert the high-end luxury narcotic cocaine into a form that was cheaper, more potent, and easier to mass produce. Almost overnight, crack began devastating Black communities across America, raising alarm in the media and giving a few Reagan-era politicians new ways to terrify their constituents. In Stanley Nelson’s fascinating documentary “Crack: Cocaine, Corruption & Conspiracy,” the filmmaker reflects on the origins of the epidemic, considering the many ways powerful people used it to exploit the vulnerable.JANUARY 13‘Night Stalker: The Hunt for a Serial Killer’During a booming economic era for Los Angeles in the mid 1980s, the city was terrorized by a serial rapist and murderer dubbed “the Night Stalker.” In the chilling four-part docu-series “Night Stalker: The Hunt for a Serial Killer,” some of the people involved in hunting down this criminal — eventually identified as Richard Ramirez — talk about the stress of the pursuit, and how difficult it was to catch a man whose pattern of behavior defied logic. What emerges from this story is a study of someone who seemed drawn to evil for its own sake, as the ultimate way of disturbing the peace.JANUARY 15‘Disenchantment’ Part 3The two-part, 20-episode first season of the animated fantasy spoof “Disenchantment” introduced the story of an unconventional princess nicknamed “Bean” (voiced by Abbi Jacobson), who’d rather have rowdy drunken adventures than marry some drippy prince. As the second two-part season begins, Bean’s wild wanderings around the kingdom have caused major problems for her family, provoking a crisis. The show’s creative team (led by “The Simpsons” and “Futurama” creator Matt Groening) clearly have fun riffing on the trappings of sword-and-sorcery sagas; but all the while they’ve been making a pretty good one of their own, with a story that gets more involving with each new batch of episodes.Also arriving: “Headspace Guide to Meditation” (January 1), “The Minimalists: Less Is Now” (January 1), “Nailed It! Mexico” Season 3 (January 5), “Surviving Death” (January 6), “Tony Parker: The Final Shot” (January 6), “Charming” (January 8), “The Idhun Chronicles” Part 2 (January 8), “Lupin” (January 8), “Stuck Apart” (January 8), “Bling Empire” (January 15), “Double Dad” (January 15), “Outside the Wire” (January 15), “Daughter from Another Mother” (January 20), “Spycraft” (January 20), “Call My Agent!” Season 4 (January 21), “Blown Away” Season 2 (January 22), “Busted!” Season 3 (January 22), “Fate: The Winx Saga” (January 22), “The White Tiger” (January 22), “The Dig” (January 29), “Finding ‘Ohana” (January 29), “We Are: The Brooklyn Saints” (January 29).New to Stan‘Bump’Credit…StanJANUARY 1‘Bump’In the high school dramedy “Bump,” Nathalie Morris plays Oly, a gifted Sydney teenager whose plans for her future are upended when one day she goes into labor and has a baby before any of her family members or classmates even realized she was pregnant. This situation is ripe for farce or for social satire, but here it’s played more for poignancy, as the grown-ups in Oly’s life realize they don’t know much about her — or her fellow teens, for that matter.‘Gossip Girl’ Seasons 1-6When “Gossip Girl” debuted in 2007, its twisty story of romance and betrayal among wealthy young New Yorkers became a sensation. When the co-creators Josh Schwartz and Stephanie Savage wrapped the show after six seasons, it had become hugely influential on the tone and style of high school melodramas that followed. These 121 episodes are filled with enough intrigue and emotion to overshadow a dozen imitators.‘The Watch’ Season 1Based on the beloved Terry Pratchett fantasy fiction series “Discworld,” this off-kilter police procedural is set in a futuristic city on another planet, where — in Pratchett’s books at least — multiple varieties of genre fiction and classical literature converge. The TV version strips away some of the elements of parody and homage, aiming for something more like a familiar serialized cop show, liberally spiked with anarchic zaniness. Pratchett fans may be disappointed that “The Watch” isn’t a more straightforward adaptation of the books, but newcomers might appreciate the show on its own kooky terms.‘Search Party’ Season 4Credit…StanJANUARY 14‘Search Party’ Season 4It’s hard to believe that this increasingly unclassifiable series started out as a darkly comic mystery, about a group of self-absorbed young New York pals who make a succession of terrible choices while acting as amateur detectives, investigating an acquaintance’s disappearance. As “Search Party” begins its fourth season, it’s become much deeper and heavier than it once was, with story lines that involve murder, kidnapping and courtroom drama. The one constant throughout has been the remarkable lead performance of Alia Shawkat, playing a woman whose simple boredom and disaffection have led her to serious trouble.JANUARY 15‘Survivor’s Remorse’ Seasons 1-4One of the best sitcoms of the 2010s — although it failed to draw much support from viewers or critics during its four years on the air — “Survivor’s Remorse” is about the pressures facing a young basketball star after signing his first big professional contract. The show’s creator Mike O’Malley finds plenty of humor in the culture clash that ensues when a family that used to eke out a living suddenly has millions of dollars to throw around. But this series is also impressively cleareyed about how hard it is for a promising Black athlete to find his voice when his fans would rather he shut up and play ball.JANUARY 23‘Britannia’ Season 1A sense of ancient history as an inherently alien landscape charges up “Britannia,” an action-packed drama set in the first century A.D., during the time when the Romans tried to extend their empire to the British Isles. The show contains all the sex and violence common to similar adventure series, combined with some historical inquiry into the moment when two very old civilizations pitted their strengths — and their belief systems — against one another.Also arriving: “Arrival” (January 1), “Gossip Girl” Seasons 1-6 (January 1), “8 Mile” (January 2), “Babe” (January 3), “Babe: Pig in the City” (January 3), “The Hateful Eight” (January 6), “Zoey’s Extraordinary Playlist” Season 2 (January 6), “Inglourious Basterds” (January 9).New to Amazon‘One Night in Miami…’Credit…Amazon StudiosJANUARY 15‘One Night in Miami …’The premise of Kemp Powers’ play “One Night in Miami …” goes like this: In 1964, not long after the boxer Muhammad Ali beat Sonny Liston to become the heavyweight champion, he met with his spiritual adviser Malcolm X and two of their equally famous friends — the singer Sam Cooke and the NFL star Jim Brown — in a motel room, where they talked about what they’d already accomplished and what they could do going forward to inspire Black Americans. Or at least that’s which extrapolates from these four men’s real history and friendship to imagine what their conversations must’ve been like. The director Regina King’s film version of the play is as fascinating as the idea behind it, and is brought to life by a stellar cast: Leslie Odom Jr. (Cooke), Aldis Hodge (Brown), Kingsley Ben-Adir (Malcolm) and Eli Goree (Ali).Also arriving: “Tandav” (January 15), “Jessy and Nessy” (January 22).AdvertisementContinue reading the main story More