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    For a ‘Cobra Kai’ Star, There’s Nothing a Good Basket Won’t Fix

    AdvertisementContinue reading the main storySupported byContinue reading the main storyWhat I LoveFor a ‘Cobra Kai’ Star, There’s Nothing a Good Basket Won’t Fix‘I have a hard time saying no to a basket,’ said the actor Courtney Henggeler, explaining her approach to decorating her family’s Long Island rental.Courtney Henggeler’s Evolving Aesthetic13 PhotosView Slide Show ›Adam Macchia for The New York TimesFeb. 16, 2021, 5:00 a.m. ETSmart mothers know better than to bring their young children on trips to the grocery store. The little ones tend to lobby vigorously for things that, in the end, will benefit no one but the family dentist. And they probe, at high volume, matters that Mommy may not want to discuss in public.Courtney Henggeler can speak with some authority on this topic. Not long ago, she was wheeling her cart through the supermarket when her 4-year-old son, Oscar, loudly asked, “Why do we have so many houses?”“People who were listening must have thought we were very wealthy,” said Ms. Henggeler, 42, who co-stars in the hit Netflix series “Cobra Kai,” a spinoff of 1984’s “The Karate Kid.” (She also appeared on “The Big Bang Theory” as Sheldon’s twin sister, and had a recurring role in the first few seasons of “Mom.”) “It’s just that we move around. I film ‘Cobra Kai’ in Atlanta, and we were in a house for three months one year, and the next year we were in another house.”Oscar may be relieved to know that his family — until recently based in Los Angeles, also in a series of rentals — is zeroing in on a permanent address. A year or so ago, Ms. Henggeler, who grew up in the Poconos and in Seaford, Long Island, and her husband, Ross Kohn, a movie producer who was raised in Westchester, decided to move back to New York and settle there to be closer to Ms. Henggeler’s ailing mother.The plan: to rent for a few years and then build their dream house.Courtney Henggeler, 42, one of the stars of the Netflix series “Cobra Kai,” lives with her family in a rented house in Huntington, N.Y. “I love the doors, I love the moldings, I love the big windows,” she said.Credit…Adam Macchia for The New York TimesCourtney Henggeler, 42Occupation: ActorIn the pink: “It was very important to me to have a soft-pink bedroom for my daughter. Poor kid. She’s probably, like, ‘I just want a blue wall, Mom.’”“I’d been to a million weddings before I got married, so I kind of figured out what I wanted and didn’t want for my own wedding,” said Ms. Henggeler, who married Mr. Kohn in 2015 and had a second child, a daughter, Georgie, almost two years ago. “I felt the same about houses. I’ve lived in so many that I kind of knew what I wanted.”What she wanted from a rental “seemed kind of absurd, and my husband looked at me as if I had five heads. But I said, ‘We’ll find it.’”They found it — and more — in the form of a brand-new transitional colonial in Huntington, N.Y. It had four bedrooms. She would have settled for two bathrooms, but got four and a half. A light, bright kitchen with a six-burner stove? Check. Crown moldings? (In abundance.) Dark hardwood floors? (Be still, her heart.)“I never knew how important flooring was,” she said. “My previous homes had orange-y wood. I stay up at night looking at wood flooring on Instagram.”The backyard is smaller than she would have liked, as is the sole bathtub. Family baths, a favorite routine, are now on hold. But those deficiencies were offset by the basement exercise room (“I was like, ‘Who am I, with a gym in my house?’”); the radiant-heat floors in the bathroom (“My children are now, like, ‘I can’t live without heated floor, Mommy,’ and I’m, like, ‘Me, too,’”); the central vacuum system (“What a princess I’ve become; I can’t live without this now, either”); and the kitchen’s instant hot-water dispenser.The foyer is “actually my favorite little spot in the house,” she said.Credit…Adam Macchia for The New York TimesBut Ms. Henggeler was thrilled practically senseless by the foyer, which she has outfitted with a bench and a pillow. “It’s actually my favorite little spot in the house,” she said. “In the house we left in Los Angeles, you walked in and you were immediately in the living room, and that drove me bonkers.”But wait! There’s more: a mudroom. “I always wanted one,” she said. “I love what people do with them. A mudroom is a functional space, but you can have fun with it.”Her idea of fun, in this case, centers on baskets — on coat hooks, under the bench, holding gloves and scarves and grocery bags. “I have a hard time saying no to a basket,” she said. “It’s probably the thing I bought most of for this house. My attitude is: Let’s make it beautiful.”Mr. Kohn’s outerwear apparently falls well short of that standard. “Ross wants to hang his jacket in the mudroom, and I tell him to put it in the closet,” Ms. Henggeler said.Another example of their differing views on décor: He likes a modern look with clean lines, while she gravitates toward old houses and feminine touches. “I came into the relationship with a lot of sparkly things,” she said.Out of regard for her husband’s feelings, she has designated Georgie’s room her “girlie-girl outlet,” painting it a blush-rose and using it as a repository for treasures from her own childhood, among them a mirror, some books and framed pictures. Ms. Henggeler sums it up nicely: “The room looks like my apartment would look now if I hadn’t married a man who doesn’t want to live in a house with pink.”Ms. Henggeler painted the nursery for her daughter, Georgie, pink — her own favorite color.Credit…Adam Macchia for The New York TimesBut she understands the appeal of a different palette. She loves how the slate-gray walls in the dining room set off the collection of Jim Marshall rock-star photographs she inherited from her godfather.She says her aesthetic is evolving — though how exactly she isn’t quite sure, apart from moving in the direction of the California-chic look embodied by the designer Jenni Kayne.She is contemplating the acquisition of a chaise longue for the living room. It will take over the spot that was, until recently, filled by a mattress that she and Mr. Kohn bought for the first home they shared. “We didn’t want to take it to the curb until garbage-collection day, so we put it in here. But our kids loved jumping on it, and it stayed for another seven months,” Ms. Henggeler said.“At the moment,” she added, “I’m in the there’s-nothing-a-throw-blanket-won’t-fix phase of design.”For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: @nytrealestate.AdvertisementContinue reading the main story More

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    Lana Condor Says Goodbye to ‘To All the Boys’

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixLana Condor said she wanted to show her character “stepping into the world as a young woman choosing herself for the first time.”Credit…Ricardo Nagaoka for The New York TimesSkip to contentSkip to site indexExit InterviewLana Condor Says Goodbye to ‘To All the Boys’The actress discusses being one of the few Asian-Americans to headline a rom-com and pushing to make Lara Jean more independent.Lana Condor said she wanted to show her character “stepping into the world as a young woman choosing herself for the first time.”Credit…Ricardo Nagaoka for The New York TimesSupported byContinue reading the main storyFeb. 12, 2021, 2:31 p.m. ETThe first two films in the Netflix trilogy “To All the Boys I’ve Loved Before” pretty much checked every box on the teen rom-com boy-drama bingo card: a boy next door, a boy doomed to be on the losing end of a love triangle and, most important, the boy who helps hatch a fake dating plot that inevitably becomes … not so fake.So when it came time to film the final installment, Lana Condor, who plays Lara Jean, the girl at the center of it all, was just about ready for a change of pace: “It’s called ‘To All the Boys,’” the actress, 23, said in a Zoom interview on Monday. “It’s been about the boys. From Day 1. We get it.”“To All the Boys: Always and Forever,” which begins streaming Friday, sets aside Team Josh and Team John Ambrose and Team Peter in favor of Team Lara Jean, as she finds herself on the brink of some major life decisions with high school graduation approaching. She’s come a long way from the hopeless romantic who wrote down her feelings in sweeping love letters rather than acting on them, a habit that set off the antics of the first film when the letters inadvertently made their way to their recipients.Condor in character as Lara Jean, in the final installment of the trilogy.Credit…Sarah Shatz/NetflixA lot has changed for Condor, too. She became a star overnight with the first installment, in 2018, and post-“To All the Boys,” she’s set to star in and executive produce a new comedy series for Netflix.But first, after several years of a whirlwind work schedule, she’s focused on settling into her new home in Seattle with her boyfriend, the actor Anthony De La Torre, and her dog, Emmy. As she prepares to say goodbye to the character that has defined her career so far, Condor discussed what it means to be one of the few Asian-American actresses to headline a romantic comedy and why the Lara Jean of “Always and Forever” is her favorite. These are edited excerpts from the conversation.This time last year, you surprised fans at the Paris Theater in New York for a screening of the second film of the trilogy — an experience that seems pretty foreign now. How does it feel looking back?That was really emotional and made me feel just overwhelmed with joy. I’ve put so much of myself into these movies because I love them. And they’ve also changed my life. But looking back, I was running on fumes at that point, because it was shooting the movies back-to-back and then going on the big press tour. I wish that I had taken it all in and really been present.Before auditioning, Condor read the novel the first film was based on. She remembers thinking, “This is an Asian-American girl falling in love and this is something we need to see.”Credit…Ricardo Nagaoka for The New York TimesWhat was making this last film like for you?I remember thinking, “How did I get here?” I wanted nothing more than to finish it the way that I would be super proud of Lara Jean. So I was just hellbent; I was constantly talking to the director and the producers and writers and everyone like, “You guys, we need to show her stepping into the world as a young woman choosing herself for the first time.”It was a crazy emotional experience, because the last few years have been the greatest ups and the greatest downs of my life. [She has said she felt burned out after the first film.] I love the movies, the friends I made in the movies, the story — I love the color scheme of our movies, the pinks and the teals. So knowing it’s the last time I’ll be in the bedroom, the last time I’ll be in the school, all these things that I’ve been spending so much time in in the past three years, is emotional. I’m going to miss it a lot.What was it like filming in Korea?We went during typhoon season. So I was like, who thought of this? But it was amazing. We were just shooting touristy things, so we got to shoot at all locations that we would have gone to as normal tourists. We would meet people on the street and people would walk into the shot as we’re filming and just be like, “Oh hi! I love your movie!” And we’d be like, “You’re in it.”Condor and Noah Centineo in “To All the Boys I’ve Loved Before,” the first film in the series.Credit…NetflixHow did you feel about the way Lara Jean’s story came to an end?Something I’m the most proud of is she never really loses her weird little -isms and quirks, and she never loses or changes her personality. That’s really hard not to do when you’re in high school. Yes, the Lara Jean we see in the third movie is a grown Lara Jean, and she’s different in that she has life experience now, but ultimately the things that make her her, she never let go of.Did you get to keep any of the clothes?Did I get to keep any of the clothes? No. Did I steal the clothes? Yes. We spent hours and hours for every outfit making it perfect, because we saw from the first movie that girls actually went out to buy the outfits.In the third movie, they have this bowling jersey that we mimic from “The Big Lebowski,” so I have that. I have the hatbox, which is not a piece of clothing, but I wasn’t going to leave the set without it. I have this blue silk jacket that she wears during a scene with Peter [in Part 1] when she’s talking about people leaving — “The more people you let into your life, the more that can walk right out.” I love that. I took a pair of jeans, which is not exciting, but it’s very hard to find a good pair of jeans.The movies are based on Jenny Han’s books, and it’s fun spotting her cameos in each film — what has your relationship with her been like for the past few years?She’s like my sister. We’re always on the phone for hours and hours. When we first were talking years ago, she said, “I just want you as Lana and as a young Asian-American girl to have the same opportunities that Jennifer Lawrence as Katniss would have or Kristen Stewart as Bella from ‘Twilight.’” And that was before we even knew we would have three movies. I’ve never had anyone say that to me, particularly as an Asian-American actress — almost to the point where I was like, is that even possible?Next up for Condor is a Netflix comedy series that she’s set to star in and executive produce.Credit…Ricardo Nagaoka for The New York TimesWas that representation aspect top of mind for you when making the movies? Did it add any extra pressure?I read the book immediately before the audition, and that’s when I was like, OK, this I have to have. Because this is an Asian-American girl falling in love and this is something we need to see.But when we were making the movies, it almost was like I was just being Lana. Because ultimately, it’s about a young girl falling in love and showing that anyone can fall in love. So I think that it was in my mind, but it also wasn’t. Because I don’t walk around in life like, Asian Lana going to the store, Asian Lana going to pick up food, Asian Lana walking my dog.We’ve reached the end of what Jenny Han has written for Lara Jean. But do you see a scenario in which we might see more of this story unfold, or in which you might play this character again?I think never say never. [But] the third is all I know. To me, that’s the ending. But I would really like to see Lara Jean and Peter in their mid- to late 20s. Like they’ve gone through college, and I want to see what they’re like in the work space. I have this dream that Lara Jean is working in some realm of literature, I don’t know, in New York, writing, living her life. Because I personally have this feeling that they’re going to try to make it work in college, but they’re going to have to grow separately to be fully ready to come together.But I know for a fact that they’re going to get married; they’re going to live happily ever after. I just think they might need to grow as individuals first. And then I’d love to see them meeting each other again — she’s like at a cafe writing an article for a newspaper she’s working for, and he happens to be there, and they meet again in a new way where they’re older and developed. That would be so cool. If it happens, you heard it here first.AdvertisementContinue reading the main story More

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    ‘Chappelle’s Show’ Returns to Netflix After Dave Chappelle Gets Paid

    #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‘Chappelle’s Show’ Returns to Netflix After Dave Chappelle Gets PaidThe comedian had asked fans to boycott his sketch show from the mid-2000s because of what he described as a “raw deal” from Comedy Central.“When you stopped watching it, they called me,” Chappelle said to his fans in a clip posted on Instagram on Friday. “And I got my name back, and I got my license back, and I got my show back.”Credit…Charles Sykes/Invision, via Associated PressFeb. 12, 2021Updated 1:14 p.m. ETLast fall, Dave Chappelle asked his fans to boycott his old Comedy Central sketch show, “Chappelle’s Show,” in order to put pressure on ViacomCBS to rectify his grievances over a contract he signed as a young comedian, and prominent streaming services agreed to pull the show at his request. The tactic seems to have worked.As a result of that public pressure, Chappelle, in a video posted early Friday on his Instagram, said he was paid “millions of dollars.” And “Chappelle’s Show” is now returning to Netflix and HBO Max.“When you stopped watching it, they called me,” Chappelle, 47, said in the clip. “And I got my name back, and I got my license back, and I got my show back, and they paid me millions of dollars. Thank you very much.”The issue arose in November, when Chappelle posted a video of a stand-up set in which he voiced his complaints against ViacomCBS, which owns Comedy Central. He said that the company had licensed “Chappelle’s Show” to Netflix and HBO Max without providing him any additional compensation or even informing him about the deal, something he understood to be legal under his contract but which he saw as unethical. Netflix then pulled the show at Chappelle’s request, followed by HBO Max.In the new video posted Friday, Chappelle thanked Ted Sarandos, the co-chief executive of Netflix, for having the “courage to take my show off its platform at financial detriment to his company, just because I asked him.” And he thanked Chris McCarthy, the president of ViacomCBS’s MTV Entertainment Group.In a statement, McCarthy said, “After speaking with Dave, I am happy we were able to make things right.”Officials at ViacomCBS did not disclose the details of the new arrangement. Netflix did not immediately respond to a request for comment.“Chappelle’s Show,” which had been broadcast on Comedy Central from 2003 to 2006, lasted for two full seasons before Chappelle, the show’s star and creator, walked away from it, sparking questions about how he could have abandoned what could have amounted to a $50 million deal. In 2006, after his departure, Chappelle told Oprah Winfrey in an interview that he had left the show in part because of stress and in part because he felt conflicted about the material he was producing, saying, “I was doing sketches that were funny, but were socially irresponsible.”Chappelle said that he had been a broke, expectant father when he signed the contract with Comedy Central, describing it as a “raw deal.” He framed his experience as emblematic of an immoral corporate entertainment system that mistreats artists.Now, Chappelle seems to have forgiven the company.“Finally after all these years,” Chappelle said, “I can finally say to Comedy Central, ‘It’s been a pleasure doing business with you.’”AdvertisementContinue reading the main story More

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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