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      The Menendez Brothers: What to Know Ahead of the New Netflix Series

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      “Monsters: The Lyle and Erik Menendez Story” chronicles the trials of two brothers who killed their parents in 1989, and their aftermath. Much has changed since then.On Aug. 20, 1989, Lyle and Erik Menendez, ages 21 and 18, shot and killed their parents in the family’s Beverly Hills mansion. Both were sentenced to life in prison in 1996 after two highly publicized trials, the first of which was broadcast on the then-nascent Court TV.But in the 35 years since the crime, the public has become increasingly divided on whether the brothers were merely the stone-cold opportunists the prosecution said they were. Now Ryan Murphy — who has a longstanding knack for taking on stories at the intersection of true crime, celebrity and media — is weighing in with a new scripted version of their story, premiering Thursday on Netflix.Titled “Monsters: The Lyle and Erik Menendez Story,” the series stars Nicholas Alexander Chavez and Cooper Koch as Lyle and Erik, with Javier Bardem and Chloë Sevigny playing their parents, Jose and Kitty Menendez. It is the second installment of the Monster anthology, created by Murphy with Ian Brennan. The first focused on the serial killer Jeffrey Dahmer.A lot has happened since 1989 — including numerous documentaries, podcasts and a “Law & Order” series — as the case and cultural attitudes have evolved. Need to get caught up? Here’s a brief refresher and an update on more recent developments.The Menendez family storyFrom left, Nicholas Chavez as Lyle Menendez, Cooper Koch as Erik and Javier Bardem as Jose in a scene from the scripted series “Monsters: The Lyle And Erik Menendez Story.” Miles Crist/NetflixJose Menendez was a successful entertainment executive who fled his native Cuba for the United States on his own at the age of 16, shortly after Fidel Castro took power. He married his college girlfriend, Mary Louise Andersen, better known as Kitty. They had two sons, and after some time on the East Coast, the family settled in the Los Angeles area.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Baby Reindeer’ Wins the Emmy for Best Limited Series

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      “Baby Reindeer,” the Netflix hit based on the creator and star’s experience with a stalker, won the Emmy on Sunday for best limited or anthology series.The seven-episode limited series took off after it was released in April, resonating with audiences who became captivated by the protagonist’s story, and with the show’s searing portrayal of masculinity, predatory grooming and sexual abuse.In the show, the character Donny (played by the show’s creator, Richard Gadd), is tormented by a woman named Martha whom he first encounters while working at a bar. But Donny, an aspiring comedian who is struggling with his sexuality, refuses for weeks to entirely dismiss Martha and the attention she provides. Viewers eventually discover that some of Donny’s insecurity and hurt stem from an abusive relationship in his past.“Baby Reindeer” was viewed more than 50 million times in the four weeks after it debuted, according to Netflix. It has also earned several awards and coming into Sunday, the series had 11 Emmy nominations, having won multiple Creative Arts Emmys. Jessica Gunning, who plays Martha, also won a supporting actress Emmy on Sunday; Gadd won the lead actor and writing awards for a limited or anthology series.”If ‘Baby Reindeer’ has proved anything it’s that there is no set formula to this — that you don’t need big stars, proven I.P., long-running series, catchall storytelling to have a hit,” Gadd said in accepting the award. “Really, really, the only constant across any success in television is good storytelling — good storytelling that speaks to our times.”But “Baby Reindeer” has also caused headaches for the streamer and for Gadd: In June, a woman who says the Martha character was modeled after her brought a defamation suit against Netflix. (Netflix has said it intends “to defend this matter vigorously”; Gadd has called the story a “fictionalized retelling of my emotional journey.”)Other nominees in the category included “Fargo,” “Lessons in Chemistry,” “Ripley” and “True Detective: Night Country.” More

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      ‘Uglies’ Review: Beauty Is a Beast

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      Joey King plays a teenager in a dystopian world where cosmetic surgery seems to be the cure for inequality.“Uglies,” based on the young adult book series by Scott Westerfeld, presents a cheekily vapid solution to world peace: At age 16, everyone is surgically enhanced to be pretty, thus eradicating inequality and conflict.Here, pretty has a template — imagine the uncanny valley of Instagram face with shiny eyes and full cheeks. Pre-operation, the teenager Tally Youngblood (Joey King) initially can’t wait to be made over. As she chirps, “Becoming moldy and crinkly? That goes against everything we’ve been taught!”The original book in the series was first optioned in 2006, at the dawn of the dystopian young adult craze, but the genre has mildewed in the years since — and the book’s early fans are now old enough to bemoan their own wrinkles.Still, one might counter that in the years in between, cosmetic transformations became an openly acknowledged right of passage for a class of celebutante influencers — a reality that may have occurred to the screenwriters Jacob Forman, Vanessa Taylor and Whit Anderson and the director Joseph McGinty Nichol, known as McG. (One could easily imagine Kris Jenner as an adviser to Laverne Cox’s imperious Dr. Cable, the leader of the lovelies.) To help woo the current generation of 11-year-olds, McG has concocted a fantastical, glossily repellent digital landscape that glows with neon and constant fireworks, causing the film to feel at once too sincere and too artificial.King plays Tally with more conviction than the movie deserves, alongside Keith Powers and Chase Stokes as her crushes and Brianne Tju as a punkish hoverboarder who yearns to join an anti-surgery agrarian conclave whose members reach self-actualization by reading Thoreau’s “Walden.” Though viewers can’t help but notice that the rebels are also naturally telegenic.UgliesRated PG-13 for some violence and action, and brief strong language. Running time: 1 hour 40 minutes. Watch on Netflix. More

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      Why You May Never See the Documentary on Prince by Ezra Edelman

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      Dig, if you will, a small slice of Ezra Edelman’s nine-hour documentary about Prince — a cursed masterpiece that the public may never be allowed to see.Listen to this article, read by Janina EdwardsIt’s 1984, and Prince is about to release “Purple Rain,” the album that will make him a superstar and push pop music into distant realms we had no idea we were ready for. The sound engineer Peggy McCreary, one of many female engineers he worked with, describes witnessing a flash of genius during the creation of his song “When Doves Cry.” Over a two-day marathon recording session, she and Prince filled the studio with sound — wailing guitars, thrumming keyboards, an overdubbed choir of harmonizing Princes. It was the sort of maximalist stew possible only when someone is (as Prince was) a master of just about every musical instrument ever invented. But something wasn’t right. So at 5 or 6 in the morning, Prince found the solution: He started subtracting. He took out the guitar solo; he took out the keyboard. And then his boldest, most heterodox move: He took out the bass. McCreary remembers him saying, with satisfaction, “Ain’t nobody gonna believe I did that.” He knew what he had. The song became an anthem, a platinum megahit.The next sequence starts to probe the origins of Prince’s genius, how it grew alongside a gnawing desire for recognition. His sister, Tyka Nelson, a woman with owlish eyes and pink and purple streaks in her hair, appears onscreen. She describes the violence in their household growing up. How their musician father’s face changed when he hit their mother. The ire he directed at his son, on whom he bestowed his former stage name, Prince — a gift, but also a burden, a reminder that the demands of supporting his children had caused him to abandon his own musical career. Prince would risk lashings by sneaking over to the piano and plinking away at it — the son already embarked on his life’s work of besting his father, the father giving and withdrawing love, the son doing the same.Cut to Jill Jones, one in a long line of girlfriend-muses whom Prince anointed, styled, encouraged and criticized. Hers is one of the most anguished testimonies in the film, revealing a side of Prince many of his fans would rather not see. Late one night in 1984, she and a friend visited Prince at a hotel. He started kissing the friend, and in a fit of jealousy, Jones slapped him. She says he then looked at her and said, “Bitch, this ain’t no [expletive] movie.” They tussled, and he began to punch her in the face over and over. She wanted to press charges, but his manager told her it would ruin his career. So she backed off. Yet for a time, she still loved him and wanted to be with him, and stayed in his orbit for many more years. Recounting the incident three decades later, she is still furious, still processing the stress of being involved with him.In the next sequence, it’s the evening of the premiere of “Purple Rain,” the movie, which will go on to win the Academy Award for best original song score in 1985. Prince’s tour manager, Alan Leeds, was with him in the back of a limo on the way to the ceremony. He remembers one of Prince’s bodyguards turning to Prince and saying: “This is going to be the biggest day of your life! They say every star in town is there!” And Prince clutched Leeds’s hand, trembling in fear. But then, as Leeds tells it, some switch flipped, and “he caught himself.” Prince’s eyes turned hard. He was back in control. “That was it,” Leeds says. “But for maybe 10 seconds, he completely lost it. And I loved it. Because it showed he was human!” In the next shot, we see Prince emerging from the limo and walking down the red carpet in an iridescent purple trench coat over a creamy ruffled collar, his black curls piled high. He swaggers, twirling a flower, unbothered: a creature of regal remove.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Interview’: Change Can Be Beautiful. Just Ask Will Ferrell and Harper Steele.

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      How well do we know our friends? Our neighbors? Ourselves? In the new documentary “Will & Harper,” which opens in select theaters on Sept. 13 and will stream on Netflix starting Sept. 27, the superstar comedian Will Ferrell and his best friend and frequent collaborator, Harper Steele, take a New York-to-California road trip together to try to answer those questions.Listen to the Conversation with Will Ferrell and Harper SteeleThe superstar comedian and his best friend and collaborator discuss the journey that deepened their friendship.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio AppHitting the highway on a quest for meaning is a classic American story, but it hasn’t been told in exactly this fashion before: Steele is a trans woman who came out to her friends, including Ferrell, two years ago. That was after years as a comedy writer, many of them at “Saturday Night Live,” where they both worked and where Steele eventually became a head writer. The two friends explained to me that the show wasn’t always the easiest environment, though they have different reasons for saying so. They also experienced some ups and downs on their cross-country drive, which gave them a chance to talk through what Steele’s transition means for their friendship and to get a clearer sense of how their fellow Americans feel about transgender identity.As you might expect, the film’s soul-searching often comes wrapped in laughs. But given the politicization of trans rights, even situations the duo set up for silly comedy can turn tense. There’s a key scene in the documentary in which Steele and Ferrell stop for what they hope is a goofy eating challenge at a rowdy Texas steakhouse. It does not wind up being goofy.That scene, and this emotionally wide-ranging film, evoked feelings in me that work by Will Ferrell hasn’t before. (And I say that as someone who will happily argue for the deeper resonance of his gloriously idiotic “Step Brothers.”) But as “Will & Harper” the movie and Will and Harper the people attest, change can very often be a good and necessary thing — a funny one too.The hard-hitting first question: How did you become friends? Ferrell: We became friends at “Saturday Night Live.” We were hired in the summer or fall of 1995, and we were all this brand-new group. No one knew each other, and one day Harper and I went to lunch. A very pivotal lunch for me. More

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      That’s a Great Reality TV Set. Let’s Use It Again.

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      “The Circle” is one of many current shows using the same state-of-the-art production hub to shoot a variety of international versions.In “The Circle,” a reality competition show on Netflix, a group of strangers are sequestered for days inside a multistory apartment complex, angling to survive rounds of eliminations to win a cash prize, much like “Big Brother.” The twist is that the players can’t see or hear one another, and must communicate via text — people might not be what they seem, and anyone, at any time, could be catfishing.As it turns out, “The Circle” has been doing some impersonation of its own, with one sleek setting standing in for a local building across several international versions of the show.The neon-lit compound — which was initially a housing block in Salford, England, before moving, in 2023, to a complex in Atlanta, Georgia — has not only been the set for the series’ flagship American edition, which returns to Netflix for a seventh season on Sept. 11. It has also been used for “The Circle Brazil,” France’s “The Circle Game,” the British version of “The Circle” and its 2020 spinoff “The Celebrity Circle.” With minimal adjustments, the show can look like it’s located virtually anywhere in the world.“We need a building with 10 rooms, without noise bleed, that looks great, is in a cool location, and that can house a team of 200 people in the basement,” Jack Burgess, an executive producer on “The Circle,” said in a recent interview. “That’s a hard thing to find, so of course you want to make the most of it.”“The Circle” is one of many current reality programs taking advance of international production hubs: state-of-the-art bases where multiple production companies can pool resources to make versions of a show tailored to a variety of global markets.The “Circle” building for the upcoming seventh season of the U.S. show. via NetflixWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      In ‘Nobody Wants This,’ Adam Brody Keeps the Faith

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      Adam Brody’s bar mitzvah was held six months late. It was barely held at all. This was in San Diego, Calif., in the early 1990s, and Brody, who spent most of his free time surfing, attended Hebrew school only under duress. He knew few other Jews.“I wanted long, straight blond hair,” he said. “All my idols were named Shane.”A decade later, after a cursory stint at community college, an impulsive move to Los Angeles, a handful of television one-offs and a brief arc on “Gilmore Girls,” Brody became the most famous Jewish (well, half Jewish) high schooler in America. (He was actually 23, which made the fandom a little tricky.) Starring as Seth Cohen on the sun-kissed teen romantic dramedy “The O.C.,” he played a curly-haired heartthrob, responsible for introducing the holiday portmanteau “Chrismukkah” into the lexicon.“Adam has that quality of it being very Adam,” said Valerie Faris, the director of “Nobody Wants This.” “But at the same time, it’s perfect for the character too.” Josh Schwartz, a creator of “The O.C.” put a lot of himself into Seth. But Brody, he said in an interview, brought charisma and a surfer cool to a character who could have come off as merely nerdy. “He’s an aspirational Jew,” Schwartz joked of Brody.The “O.C.” ended four years later. (Beachy TV can accommodate only so many car crashes and love triangles, and 20-somethings can’t play teens forever.) Brody worked steadily for the next two decades, darting between film and television. Mostly he played variations on a theme, the nice guy, although they aren’t always so nice. As he reminded me over lunch in Santa Monica, “I’ve played my fair share of rapists and murderers.”But Brody’s gift is for comedy — comedy flecked with emotional complication. He reminded viewers of this in the 2022 limited series “Fleishman Is in Trouble,” in which he plays another aspirational Jew, a likable finance guy. (This is harder than it looks.) He is now the star of “Nobody Wants This,” a Netflix romantic comedy about Noah (Brody), a Los Angeles rabbi, who falls for Joanne (Kristen Bell), an outspoken non-Jewish podcaster. It premieres on Sept. 26.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Terminator Zero’ Reinvigorates a Weary Franchise

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      The Netflix anime series channels familiar themes without feeling like a retread.“Terminator 2: Judgment Day” was a megahit in 1991, and every installment of the franchise since has been at least a little disappointing. Until now: The Netflix anime series “Terminator Zero” is a smart take on the lore, channeling familiar themes without feeling like a retread.Developed by Mattson Tomlin, “Terminator Zero,” does not focus on Sarah and her son, John Connor, the protagonists of James Cameron’s first two movies and many of the follow-ups. (The short lived Fox show “Terminator: The Sarah Connor Chronicles” was actually pretty fun.)Instead, “Terminator Zero” takes place in Japan and centers on a scientist named Malcolm Lee, voiced in the English dub by André Holland, who gives the character the requisite gravitas for his philosophizing. It is 1997, which “Terminator” fans will recognize as a significant year: That’s when the so-called “Judgment Day” takes place and the artificial intelligence known as Skynet turns on humanity and launches a nuclear attack. Malcolm knows this is coming and has built a competing A.I. he calls Kokoro, voiced by Rosario Dawson.At the same time, Malcolm’s three children and their nanny (Sumalee Montano) are being pursued by two visitors from the future: A Terminator (Timothy Olyphant) — this one comes with a crossbow arm — and a resistance fighter (Sonoya Mizuno). Their true target is Malcolm, because of the impact he might have on potential futures.Directed by Masashi Kudō, there is a haunting beauty to “Terminator Zero,” particularly when Malcolm consults with Kokoro in his lab. As the A.I. debates the case for humanity’s survival with its tormented creator, it is personified by multiple ghostly hovering figures. The score by Michelle Birsky and Kevin Henthorn, a lighter riff on Brad Fiedel’s clanging “Terminator Theme,” is less abrasive but often even more chilling.Through a mixture of stunning animation, extravagantly bloody action and heady philosophical questions — What kind of future is worth fighting for? Who is worth sacrificing for the greater good? — “Terminator Zero” breathes new life into a franchise that has often seemed stuck in a time loop of its own. More