Peacock Services

Subterms

    More stories

    • 113 Shares149 Views

      in Movies

      ‘The Killer’ Review: John Woo With a French Twist

      by

      Woo’s new version of his Hong Kong action movie “The Killer,” starring Nathalie Emmanuel and Omar Sy, may be a remake, but it’s not a retread.When he started a run of contemporary action movies in the early 1980s, the Hong Kong director John Woo forged a personal mode influenced by the stylized violence of American directors like Sam Peckinpah and Don Siegel (see the shootouts in “The Getaway” and “Dirty Harry”), and the mentholated cool of the French filmmaker Jean-Pierre Melville (à la the existential assassin of “Le Samouraï”). Before taking up in Hong Kong again in 2008, Woo created some galvanizing work in the United States: “Face/Off” (1997) and “Mission: Impossible 2” (2000).It is exhilarating, then, to see him set his sights on Paris with a remake of his 1989 Hong Kong classic, “The Killer.” He depicts the City of Lights with a loving, romantic eye.Woo’s original starred the incredibly charismatic Chow Yun-fat as the title assassin, a hired killer with an ethos who makes some sacrifices on behalf of a young woman he accidentally blinded during a shootout. (Woo has more than a touch of Chaplin’s “City Lights” in him, too.) One challenge for a remake would be finding a younger lead actor to match Chow’s magnetism. There is none, and Woo knows it as well as we do; hence, the film’s rather delightful surprise of gender-switching the title character.The British actress Nathalie Emmanuel plays the soulful marauder Zee, and man, does she cause a ruckus. The film’s first big blowout, in a cabaret-bar, features quarts of spilled blood, a skyscraper’s worth of shattered glass and mirrors, slow-motion flying bullets and, yes, a mishap in which a cabaret singer named Jenn (Diana Silvers) is blinded. Zee is a little more coldblooded than Jeffrey was in 1989; at first she tries to get rid of the singer rather than help her.Zee’s contractor, Finn, played by Sam Worthington, isn’t pleased that the singer was allowed to live. Zee is confused — she always asks before taking a job whether her future victims deserve to die. Finn tells her that this one had it coming. But Zee insists on keeping Jenn alive, despite the shadowy forces trying to wipe her out.Omar Sy plays Sey, a French cop who will, of course, form an uneasy alliance with Zee. (Woo’s world is like the one Mick Jagger’s devil envisions: Every cop is a criminal and all the sinners saints. Sort of.) Sy projects assuredness and vulnerability in almost equal measure.Emmanuel, best known as Missandei, the trusted adviser to Daenerys in “Game of Thrones,” conveys a smooth, chameleonic expertise. As in the first film, the killer spends a lot of time in a moody, deconsecrated church, which is, of course, kitted out with a complement of doves — Woo’s favorite symbolic animals. The direction is energetic, incorporating frantic flashbacks and resourceful split-screen perspectives, and the plot adds several new twists not found in the first movie. Rest assured, this may be a remake, but it’s not a retread.The KillerRated R for — guess — violence. Running time: 2 hours 6 minutes. Watch on Peacock. More

    • 175 Shares169 Views

      in Television

      ‘Homicide’ Is One of the Best TV Shows Ever. And It Is Finally Streaming

      by

      For years, the foundational cop drama, based on the book by David Simon (“The Wire”), languished in DVD-only purgatory. No longer.Pop the champagne, ring the bells, dance the jigs, cancel all other plans: A time of great rejoicing is here. “Homicide: Life on the Street,” one of the greatest shows in TV history, is finally streaming (on Peacock). So long we wandered in darkness, begging for its return. How we lamented its absence while the years rolled by, our cries growing louder and more sorrowful. But now at last we feast.“Homicide” debuted in 1993 with a tense, inventive nine-episode first season. Executive produced by Tom Fontana, Barry Levinson and Paul Attanasio, and based on the book by David Simon, the show often has a jangly, jumpy feel. Its instantly recognizable bloopy phones ring-ring in the background, and quick and distinctive edits keep the rhythm unpredictable — as if scenes were following the cadence of thoughts, not the cadence of shows. The series blends gallows humor and cynicism with operatic emotion and soaring monologues, and the signature interrogation scenes play out like seductions, like battles, like debates, like dances.The show is set in Baltimore and feels true to time and space in a way network cop shows no longer do. Everything is kind of grimy, yellowing before our eyes from the omnipresent cigarette smoke and general neglect, and you can hear how deflated the cushions on the chairs are at the precinct house.Characters remark often on the heat or the cold or the way a place smells, and the costuming is both naturalistic and specific, as if the characters really picked out their outfits themselves. This rewatch in particular, I was struck by how much touching there is on the show — how often the characters touch one another but also how often they interact physically with the set or props, knocking on tables and thumbing folders. That sense of contact anchors us, giving us a sense of solid-wood realism.The term “cop show” is frequently synonymous with “formulaic,” but “Homicide” is anything but. Some crimes stay with the show for its entire run, others for only an episode, and the depth and detail of all the one-off characters is unflagging, even when the show meanders a bit in later seasons. Andre Braugher’s performance as Frank Pembleton, the brilliant detective wrestling with his faith and purpose, is often the highlight, but all the acting here is top-notch. A symphony requires many instruments.If you want to watch one episode to get a taste for the show, watch Season 1, Episode 6, “Three Men and Adena,” in which Pembleton and his partner, Bayliss (Kyle Secor, also fantastic), interrogate a suspect (Moses Gunn, superb) for hours on end. If you want to watch five episodes and don’t care as much about self-spoiling, watch the first block of Season 3: “Nearer My God to Thee,” “Fits Like a Glove” and “Extreme Unction” follow the investigation into a serial killer, one who gets under Pembleton’s skin to an unusual degree; then “Crosetti” tells a more searing and intimate story, followed by “The Last of the Waterman,” which sends Melissa Leo’s guarded, thoughtful Kay Howard to her hometown on the Chesapeake Bay.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

    • 138 Shares99 Views

      in Television

      ‘Homicide: Life on the Street’ Will Finally Be Available to Stream

      by

      The celebrated 1990s police procedural is coming to Peacock in August.The critically acclaimed 1990s police procedural “Homicide: Life on the Street” will soon be available to stream in its entirety.All seven seasons of the crime drama, which ran on NBC from 1993 to 1999, as well as the 2000 film “Homicide: The Movie,” which served as the series finale, will arrive on Peacock on Aug. 19. The show has been syndicated over the years and has been released on DVD, but its absence from streaming services — thanks largely to the challenge of securing music rights, a frequent sticking point in streaming deals — has long been lamented by fans.“Homicide” was based on a book by David Simon — then a Baltimore Sun reporter who had spent a year shadowing the Baltimore Police Department’s Homicide Unit. The series — along with “NYPD Blue,” which also premiered in 1993 — infused the cop genre with more grit and moral ambiguity, setting the stage for hard-edge cable dramas like “The Shield” and Simon’s own “The Wire,” one of the most celebrated series of all time.“Homicide” was created by Paul Attanasio and executive produced by Barry Levinson, among others. (Simon was a producer.) Tom Fontana, who would go on to create the prison drama “Oz,” was the showrunner. “Homicide” had a devoted core following during its run but was never a ratings darling. It stayed on the air for seven seasons, winning four Emmy Awards out of 17 nominations and three Peabody Awards. It also boasted a memorable cast that included Andre Braugher, who won an Emmy for his role as Detective Frank Pembleton; Melissa Leo; Richard Belzer; and Giancarlo Esposito.As the streaming boom resurfaced beloved titles from throughout TV history, “Homicide” regularly appeared on lists of shows fans most wanted to see come to a service. Simon previewed its arrival in a June post on X.“Word is that NBC has managed to finally secure the music rights necessary to sell ‘Homicide: Life On The Streets’ to a streaming platform,” he wrote, adding later in a reply: “I did nothing. Tom Fontana, Barry Levinson and [the producer] Gail Mutrux undertook the lobbying effort.” More

    • 113 Shares99 Views

      in Television

      ‘Love Island USA’ Finds Its Magic Formula for Success

      by

      A new host, an embrace of social media and some excellent casting led to the former also-ran becoming the summer’s buzziest show.There is no shortage of dating reality shows, but this summer one is receiving the majority of the buzz. “Love Island USA,” an American spinoff of a popular British dating show, is dominating social media discourse, breaking streaming records and making fans out of even the most curmudgeonly anti-reality TV watchers.The show, which streams on Peacock, gathers a group of contestants, called islanders, into a luxury villa (this season is in Fiji) and tasks them with coupling up, either out of true love, friendship or simple survival. Islanders who are single were kicked out of the villa, and every so often American viewers have been asked to vote out their least favorite couple. In Sunday night’s season finale, the pair voted “most compatible,” will win a cash prize of $100,000.The show is captured through 80 to 90 cameras installed around the villa, which feed footage to a war room at the resort’s reception area. There, a crew of 450 producers, editors and postproduction executives make decisions about what footage will make the cut.“What’s shot on a Monday is delivered to the network on a Tuesday, and it works that way every day for a six-week run,” Simon Thomas, an executive producer at ITV Entertainment, the production company for “Love Island,” said in an interview.Though “Love Island USA” has been on air since 2019, this season — its sixth — has been by far the most successful. The first three seasons, which aired on CBS, received moderate viewership but did not live up to the success of the original British version. This season, the show has been the top reality series across all streaming platforms since its start on June 11, according to preliminary data from Nielsen. The show has also dominated social media, overshadowing Peacock’s other fan favorites like “The Traitors.”Ariana Madix’s supportive approach as host has been a huge hit with viewers.Ben Symons/PeacockWe 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

    • 138 Shares169 Views

      in Movies

      Chucky, Queer Icon? Peacock Includes Killer Doll in Pride Month Collection.

      by

      A graphic on the Peacock home screen seemed to induct the killer doll into the gay pantheon. His creator, however, says Chucky’s queer credentials are well established.During Pride Month, it can seem as if their faces are everywhere: Madonna, James Baldwin, Elton John, Judy Garland, Grace Jones, Bea Arthur. The well of queer icons is as deep as it is colorful. But how about Chucky, the homicidal redhead doll?Chucky, the killer doll who first appeared in the 1988 horror film “Child’s Play,” was thrust into the L.G.B.T.Q. spotlight this month when Peacock, NBCUniversal’s streaming service, displayed a banner on its home screen advertising a collection of queer-themed movies and TV shows. The image included the demonic doll, as well as the evergreen gay icons Cher and Alan Cumming, beside the words “Amplifying LGBTQIA+ Voices.”Through the years, viewers have come to learn quite a bit about the horror movie character, watching him navigate companionship (“Bride of Chucky”) and parenthood (“Seed of Chucky”). But many seem to have been taken by surprise that he was also a queer ally.In the first season of the TV series “Chucky,” one of several “queer horror” offerings in Peacock’s Pride collection, the doll reveals to Jake, a gay teenager who bought him at a yard sale, that he has his own queer, gender-fluid child.“You’re cool with it?” Jake asks.“I’m not a monster, Jake,” the doll responds. Chucky, it seems, is a PFLAG parent.Also in Season 1 of the TV show, Chucky is living his life — including his sex life — in a woman’s body, and he remarks on how interesting it has been. Chucky has broadened his sexual horizons.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

    • 100 Shares179 Views

      in Television

      No Sophomore Slump for ‘We Are Lady Parts’

      by

      The comedy about a Muslim punk band returns for a raucous encore.For the early punks, many of them white British blokes, their music was about declaring themselves outside the larger society. The Sex Pistols dreamed of “anarchy for the U.K.” The Clash howled for “a riot of my own.” To be punk was to give offense, to make one’s self unpalatable, to choose to stand apart.But what is punk when your society has already made you an outsider? This is the musical question that the raucous, cheeky comedy “We Are Lady Parts,” returning Thursday for its second season on Peacock, seeks to answer.The first season, back in 2021, introduced Lady Parts, a punk band of Muslim women in London: Saira (Sarah Kameela Impey), the caustic lead singer; Ayesha (Juliette Motamed), the fearsome drummer; and Bisma (Faith Omole), the earth-motherly bassist. Together with their manager, Momtaz (Lucie Shorthouse), a savvy Malcolm McLaren in a niqab, they recruit a reluctant lead guitarist, Amina (Anjana Vasan).Amina is no one’s idea of a rock star, least of all her own. She is an introverted microbiologist who worships Don McLean, with a severe case of stage fright that causes her to heave her guts while performing — and not in a defiant, Iggy Pop way. (Vasan gives Amina an engaging nerd-hero energy, similar to Quinta Brunson in “Abbott Elementary.”)Over the six-episode season, Amina finds that Lady Parts gives her a way of defining herself rather than being defined, whether by the conservative suitors who tell her “Music is haram” or by her free-spirited mother (Shobu Kapoor), who wishes Amina would wait to seek a husband.The root conflicts of “We Are Lady Parts” are familiar rock-band woes — having no money, having no gigs, being judged by family and by hipsters. This is where making the series about Muslim women rockers accomplishes more than representational box-ticking: It makes an old story new and nuanced.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

    • 113 Shares149 Views

      in Television

      With ‘We Are Lady Parts,’ Nida Manzoor Rocks On

      by

      “Silliness is hugely important to me,” said the writer, whose comedy about a Muslim female punk band has won awards and challenged stereotypes.When the writer-director Nida Manzoor began dreaming up Season 2 of “We Are Lady Parts,” the comedy about an all-female Muslim punk band, one of her earliest ideas was a song: “Malala Made Me Do It,” a neo-Western hype track celebrating the activist Malala Yousafzai. And then she had another idea: Maybe she could get Malala, whom she had met briefly at a talk, to star in the video.She wrote Yousafzai a love letter. To Manzoor’s surprise, Yousafzai, who loves comedy, responded. And this is why, in the second episode of the new season of “We Are Lady Parts,” which premieres on Thursday on Peacock, Yousafzai appears on a horse, resplendent in a white cowboy hat, while the band irreverently sings her praises: “Nobel Prize at 17/the baddest bitch you’ve ever seen.”Directing her idol brought on some fan-girl panic. “I was, like, totally not cool,” Manzoor said. “But it was joyful to work with her.”Joy has been an animating force for Manzoor, 34, the assured and wildly original creator of “We Are Lady Parts” and “Polite Society,” a martial arts film about a teenage girl rebelling against her sister’s arranged marriage. In a moment where nearly everything onscreen feels like a reboot, a reprise, a retread, a spinoff, Manzoor’s works (an urban Muslim musical comedy, a surreal teenage eugenics-addled action caper) reliably feel like nothing else, each a microgenre unto itself.“I like to just make the genre smaller and smaller and be the only one in there,” Manzoor said one morning in early May, speaking on a video call from her home in Bristol, England. She wore a blazing orange sweater over a bright green shirt and her affect was by turns giddy, introspective, confiding, resolute. Her work resists generalization — Manzoor resists it, too.In Manzoor’s 2023 martial arts film “Polite Society,” a teenage girl rebels against her sister’s arranged marriage. Parisa Taghizadeh/Focus FeaturesWe 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

    • 163 Shares189 Views

      in Movies

      Best Movies and TV Shows Streaming in January: ‘Echo,’ ‘True Detective’ and More

      by

      We’ve rounded up of the titles most worth checking out in the coming month, including an adaptation of “The Expatriates” and the return of “True Detective.”Every month, streaming services add movies and TV shows to its library. Here are our picks for some of January’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)New to Amazon Prime Video‘Expats’Starts streaming: Jan. 26Based on Janice Y.K. Lee’s best-selling novel “The Expatriates,” this low-key melodrama is set in Hong Kong, where three very different Americans find their lives intertwining. Nicole Kidman plays Margaret, a socialite and mother whose seemingly idyllic world has been recently marred by tragedy. Sarayu Blue is Hilary, Margaret’s once-close friend, who has drifted away as her own domestic situation has soured. And Ji-young Yoo is Mercy, a younger working woman who takes jobs that put her in the orbit of the rich. The indie filmmaker Lulu Wang (best-known for “The Farewell”) serves as a writer, director and creative supervisor for the miniseries, which is about women enduring crises big and small while trying to make homes for themselves in a foreign land.Also arriving:Jan. 5“Foe”“James May: Our Man in India”Jan. 12“Role Play”“Uninterrupted’s Top Class: The Life and Times of the Sierra Canyon Trailblazers”Jan. 19“Dance Life” Season 1“Hazbin Hotel” Season 1Jan. 23“Kevin James: Irregardless”New to AMC+Clive Owen brings the classic Dashiell Hammett character Sam Spade to the South of France in “Monsieur Spade.”Jean-Claude Lother/AMC‘Monsieur Spade’Starts streaming: Jan. 14The writer-director-producer Scott Frank follows up his hit drama “The Queen’s Gambit” with this offbeat mystery series, created and written with Tom Fontana, the creator of “Oz.” Clive Owen plays Dashiell Hammett’s famed detective Sam Spade, who in the show’s first episode moves to a sleepy village in the South of France in the early 1960s and settles into semiretirement. But Spade’s neighborly interest in the locals’ lives eventually gets him back into the snooping business — especially after a horrific crime at a nearby convent outrages the community. Frank and Fontana are aiming for a soft-boiled Euro-noir vibe with “Monsieur Spade,” staging this story of murder and regret against a backdrop of vineyards and villas.Also arriving:Jan. 4“Sanctuary: A Witch’s Tale”Jan. 8“Cheat”Jan. 12“Destroy All Neighbors”Jan. 15“Alex Rider” Seasons 1 & 2Jan. 22“The Guff” Seasons 1 & 2Jan. 26“Suitable Flesh”Jan. 29“Crossroads” Season 2“No Offense” Seasons 1-3New to Apple TV+‘Criminal Record’ Season 1Starts streaming: Jan. 10The British writer-producer Paul Rutman (creator of the historical drama “Indian Summers” and a writer for the cop show “Vera”) continues his fascination with brutal crime and social divisions in his new series “Criminal Record,” a modern murder mystery in which the perception of the evidence differs depending on who is doing the examining. Cush Jumbo plays Detective Sergeant June Lenker, who while following up on a phoned-in tip becomes convinced that one of her superiors — Detective Chief Inspector Daniel Hegarty (Peter Capaldi) — intentionally nabbed the wrong man in an old case. Lenker’s drive to see justice done sets her against the London police force’s old guard, who suggest that as a Black woman with less experience, she may be looking for bias where none exists.‘Masters of the Air’Starts streaming: Jan. 26A companion piece to the popular, award-winning World War II dramas “Band of Brothers” and “The Pacific,” this miniseries covers the men of the 100th Bomb Group, who suffered heavy casualties while running crucial missions deep into Nazi territory. Austin Butler stars as a handsome officer who heads overseas with visions of glory and soon finds that the realities of combat are more challenging and devastating than he could have imagined. As with the earlier series, this new one (produced again by Gary Goetzman, Tom Hanks and Steven Spielberg) is an ensemble piece, showing how camaraderie helps fighting men endure. “Masters of Air” also features an all-star team of directors drawn from the acclaimed indie film and prestige TV ranks, including Cary Joji Fukunaga, Dee Rees, Tim Van Patten and the duo Anna Boden and Ryan Fleck.New to Disney+Alaqua Cox in the new Marvel series “Echo,” a spinoff of the series “Hawkeye.”Chuck Zlotnick/Marvel Studios, via Disney+‘Echo’Starts streaming: Jan. 9The television arm of the Marvel Cinematic Universe is going through changes, moving away from having every movie and TV series connect closely to a larger transmedia narrative. Although “Echo” is a spinoff from the Avengers-adjacent miniseries “Hawkeye” — with Alaqua Cox reprising her role as a deaf Native American with the power to mimic other people’s fighting styles — and although it will feature the Marvel villain Kingpin (Vincent D’Onofrio), the show is meant to stand alone, appealing even to viewers who have never even heard of the likes of Daredevil or She-Hulk. “Echo” will be available on both Hulu and Disney+. It is the first TV-MA Marvel series, reflecting its more mature story, about a woman who has to reckon with her past in Oklahoma in order to get some killers off her trail.‘Bluey’ Season 3, Part 3Starts streaming: Jan. 12It’s a major event whenever Disney+ imports any new “Bluey” episodes from Australia, where the series airs months before it hits the United States. This latest batch of 10 includes episodes in which the imaginative puppy Bluey and her sweet kid sister, Bingo, build an elaborate furniture fort, take a trip to the beach, pretend to be office workers, play a game with a store’s security monitors and more. Will America’s parents and children be patient enough to parcel out these seven-minute doses of joy over multiple days, or will they burn through them all in one night?Also arriving:Jan. 17“Siempre Fui Yo” Season 2Jan. 24“A Real Bug’s Life”Jan. 31“Choir”New to Hulu‘Death and Other Details’Starts streaming: Jan. 16The “Knives Out”/“Only Murders in the Building” trend toward colorful whodunits continues with this stylish mystery series, set mostly on a high-end cruise ship in the Mediterranean. Violett Beane plays Imogene Scott, a young woman with a tragic past, who ends up becoming the prime suspect in a tricky locked-room murder case. Mandy Patinkin plays Rufus Coteworth, a celebrity detective who 20 years earlier disappointed the adolescent Imogene with his inability to bring her mother’s killer to justice. Reluctantly, she puts her remarkable memory together with Rufus’s keen eye for detail, working with him to find out which of the wealthy, fabulously well-dressed people on a luxury liner may have harpoon-gunned a man to death.Also arriving:Jan. 3“Ishura”Jan. 4“Daughters of the Cult”Jan. 7“The Incredible Pol Farm”Jan. 9“Beyond Utopia”“Safe Home” Season 1Jan. 12“Miranda’s Victim”“Self Reliance”Jan. 17“A Shop for Killers”Jan. 18“Invisible Beauty”Jan. 22“Superhot: The Spicy World of Pepper People” Season 1Jan. 24“Tell Me That You Love Me” Season 1Jan. 28“R.M.N.”New to Max‘True Detective’ Season 4Starts streaming: Jan. 14The latest edition of the HBO crime anthology “True Detective: (now subtitled “Night Country”) has a new show runner in Issa López, who continues the series’s tradition of attracting big-time movie stars to do television. Jodie Foster plays Liz Danvers, an Alaskan police detective whose contentious relationship with her colleague Evangeline Navarro (Kali Reis) complicates their investigation into two strange, possibly intertwined cases: the murder of an Indigenous social activist and the disappearance of eight scientists from an Arctic Research Station. The stellar cast includes John Hawkes as Danvers’s slack underling, Christopher Eccleston as their fussy boss and Fiona Shaw as a local with a strange spiritual connection to this dark, desolate, wintry landscape.Also arriving:Jan. 8“Going to Mars: The Nicki Giovanni Project”Jan. 18“On the Roam”“Sort Of” Season 3Jan. 22“Rick and Morty” Season 7New to Paramount+ With Showtime‘Sexy Beast’Starts streaming: Jan. 25The arty 2000 gangster movie “Sexy Beast” became a favorite among both cinephiles and crime story aficionados for its darkly comic story of aging British crooks. This prequel TV series is set in the ’90s and catches these men and women in their heyday, when they ruled London’s underworld but also as they began heading in the directions that would later pull them apart. James McArdle plays Gal Dove, a sharp-witted hustler whose attraction to the adult film actress Deedee Harrison (Sarah Greene) gets him to start thinking about a life away from his overly intense partner Don Logan (Emun Elliott) and their boss Teddy Bass (Stephen Moyer).Also arriving:Jan. 11“SkyMed” Season 2Jan. 16“June”Jan. 19“The Woman in the Wall”New to PeacockThe title bear of the prequel series “Ted,” as voiced by Seth MacFarlane.Peacock‘Ted’ Season 1Starts streaming: Jan. 11This prequel to the writer-director Seth MacFarlane’s hit movies “Ted” and “Ted 2” jumps back to 1993, following the early misadventures of the Boston-area teenager John Bennett (Max Burkholder) and his walking, talking, swearing teddy bear (voiced by MacFarlane). As Ted joins his best buddy, Johnny, in high school, the series riffs on the old John Hughes teen misfit movies and weird family TV shows like “Alf,” in which one kid’s journey through the usual coming-of-age rituals is complicated by his unconventional domestic situation. As with the “Ted” films, MacFarlane gets laughs from the matter-of-fact way that full-sized humans interact with a small, adorable, unapologetically vulgar stuffed animal.Also arriving:Jan. 12“The Traitors” Season 2Jan. 25“In the Know” Season 1 More