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    ‘Dinner for One,’ a German New Year’s TV Tradition, Moves Online

    The British comedy short has aired annually in Germany and other European countries for decades. Now, members of Gen Z are having fun with it on social media.“OK, the butler’s setting the table,” the YouTuber Ryan Wass begins, skeptically.In his video “American Reacts to ‘Dinner for One’ (First Time Watching),” which he uploaded 11 months ago and now has 180,000 views, Wass takes a look at the beloved cult comedy short on the recommendation of one of his followers. It’s part of a longstanding tradition for the creator: On his YouTube channel “Ryan Reaction,” Wass films himself being introduced to local German idioms, customs and old movies and TV programming from the perspective of an unwitting American viewer who responds with confusion and awe.But “Dinner for One” is no ordinary slice of quirky German culture. The 18-minute, black-and-white comedy of manners, filmed in 1963, is about a quintessentially British butler orchestrating a solo birthday celebration for his 90-year-old employer, the cheery Miss Sophie (May Warden), whose closest friends and customary guests have all long since passed away. (The butler, James, played by the comedian Freddie Frinton, is obliged to fill in for the missing attendees, including quaffing each of their drinks.) It’s very British in style and setting, and, apart from a brief German introduction, the action plays out in English.“I have more questions than I did before it started,” Wass says as the screening comes to an end, burying his face in his hands. “Like, how is this a German tradition?”

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    @beac_basti Was sind so eure Vorsätze fürs neue Jahr❓ #silvester #neujahr #dinnerforone #dönerforone ♬ Originalton – Sebastian 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?  More

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    A ‘Polar Express’ Character Comes to Life

    Nia Wilkerson has spent years hearing that she looks like the girl from “The Polar Express.” On TikTok, she’s leaning into it.“Oh my God! You’re the girl from ‘The Polar Express,’” a tourist yelled at Nia Wilkerson.Dressed in a pink nightgown, Ms. Wilkerson was dancing in front of the Christmas tree at Rockefeller Center in Midtown Manhattan for a TikTok video.Over the course of the next two hours on Monday afternoon, dozens more people stopped and stared. Many of them filmed her from afar or asked to take selfies with her.“Wait, are you really the girl from the movie?” a passer-by asked.The answer to that question is no. Ms. Wilkerson, a senior at St. John’s University in Queens, was 3 years old in 2004, when “The Polar Express” was released.The movie, a box office hit directed by Robert Zemeckis that was based on a children’s book by Chris Van Allsburg, has long drawn criticism because of its brand of motion-capture animation, which gives its characters an eerie, zombified look.Hero Girl in a scene from “The Polar Express,” a 2004 movie made with motion-capture animation that has been criticized for the odd look of its characters.Ms. Wilkerson, 22, said that ever since she was an elementary school student in Woodbridge, Va., people had been telling her she looks like Hero Girl, a character in the film who is also known as Holly. Later, a high school crush pointed out the resemblance.“That was heartbreaking,” she joked.Since then, Ms. Wilkerson, who stands five foot tall, has come to embrace her digital doppelgänger. This is the fourth holiday season she has spent making TikTok videos in the guise of Hero Girl. Each year, her popularity has grown. She now has nearly a 250,000 followers.

    @niasporin ♬ original sound – $ Ms. Wilkerson said she got the idea after seeing another woman on TikTok cosplaying as the character. “But she didn’t really look like her,” she said.In “The Polar Express,” Holly wears pigtails and a patterned pink nightgown. Ms. Wilkerson goes with a variation on the look for her TikToks.“It’s a seasonal gig,” she said, adding that she was recently swarmed by people in Elmo costumes while making a video in Times Square.Ms. Wilkerson posed with her fans in Rockefeller Center.Scott Rossi for The New York TimesAccompanying her on Monday were several of her St. John’s classmates, who acted as her unpaid film crew. “My friendship is my payment,” Ms. Wilkerson joked, adding she had bought the group food at the campus dining hall during the weeks of filming.She used to suffer from social anxiety, she said, but her TikTok alter ego has helped her overcome it. “No one in New York cares,” she said. “I would never do this anywhere else.”Ms. Wilkerson, who is studying television and film at St. John’s, has found ways to profit from her 15 minutes of seasonal fame. She participates in TikTok’s creator fund, a program that the company uses to pays certain people who make videos for the platform, she said. Musicians have reached out to her about making videos, she added. Her rate is about $250 per video, she said. Outside of the holiday season, she makes videos on other topics, but her views drop off precipitously.While most of the feedback has been positive, Ms. Wilkerson said she no longer read the replies to her videos, after having seen too many racist comments. Still, there have been upsides to her social media fame, like a recent collaboration with @jerseyyjoe, a popular TikTok creator known for his dance moves who sometimes makes videos dressed as Hero Boy from “The Polar Express.”

    @jerseyyjoe The duo you never expected 🤣🚊🔥 ( DC: ME ) #jerseyclub #jerseyyjoe #jersey #trend #viral #fyp ♬ the polar express jersey club – Ali Beats After an afternoon of shooting, Ms. Wilkerson and her friends discussed their upcoming final exams while waiting for an F train on a subway station platform. Ms. Wilkerson mentioned an earlier subway video, during which she had accidentally kicked a passenger.After boarding a rush-hour train car, they wriggled into formation to film another TikTok. One of Ms. Wilkerson’s friends, Amanda Gopie, 20, pointed at a sign that read: “Don’t be someone’s subway story. Courtesy counts.”“That’s you,” Ms. Gopie said, to laughs from the others in the group.As the F train rolled toward Queens, Ms. Wilkerson and her friends recorded themselves singing “When Christmas Comes to Town,” a song from “The Polar Express.”“The best time of the year, when everyone comes home,” Ms. Wilkerson began.As her friends joined in to form a shaky chorus, a few riders perked their heads up in recognition. One told the singers to work on their pitch. The group decided they’d try another take. More

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    Madonna Lived to Tell

    Inspired by an Instagram account dedicated to AIDS, the singer mounts a moving and trenchant piece of political theater for her “Celebration” tour.Shining out from the Instagram slag heap, amid the endless A.I. selfies and reaction reels, is an account so quiet in presence and noble in intention that it is sometimes hard to believe it exists. The account, The AIDS Memorial, is an evolving testament, told in photographs, videos and user stories, to lives lost to a devastating and, it can occasionally seem, forgotten epidemic.The stories and photos are of lovers, parents, children, relatives, acquaintances and friends taken by the disease, and they are edited — and more generally guided into existence — by one man, Stuart Armstrong, from his home outside Edinburgh. To date, Mr. Armstrong has posted more than 11,000 of these tales, and if you are aware of them at all, that may owe to one woman: Madonna.The 65-year-old singer was early among the 269,000 followers of The AIDS Memorial. And, if it did not inspire her outright, the Instagram account served as the basis for a showstopping element of her current “Celebration” tour, which comes to Barclays Center in mid-December. That is, a photo montage depicting a fraction of the 40 million people who, according to World Health Organization statistics, have succumbed to the disease.“One of the most successful and important works of AIDS art in our time,” the writer Sarah Schulman — whose 2012 memoir, titled “The Gentrification of the Mind,” depicts 1980s New York in the grip of AIDS — said of The Aids Memorial. By extension, Madonna’s choice to deploy the montage early in each “Celebration” performance as a backdrop for a rendition of the 1986 song “Live to Tell” is as politically trenchant as it is deeply personal. The first image in what proliferates into a vast photo mosaic is of Madonna’s close friend Martin Burgoyne, the British-born artist who managed the singer’s first club tour and who died of AIDS-related complications in 1986 at 23.“One of the things she was saying was that she wanted to pay tribute not just to friends and famous people but to all the people who were lost to the disease,” said Sasha Kasiuha, 29, a Ukraine-born director commissioned by Madonna to orchestrate the video effects. What she also aimed for, Mr. Kasiuha said, was an evocation of the terrors that prevailed in New York and elsewhere during the period from the disease’s first mention in The New York Times in 1981 as an unnamed outbreak of “rare cancer seen in 41 homosexuals” to the mid-2000s, when AIDS deaths peaked.Not only did major American metropolises become graveyards, as Madonna (who did not respond to requests to her representatives for comment) posted to her own Instagram account, a significant number of those affected by the disease in the days when a positive H.I.V. diagnosis equaled a death sentence, suffered dreadfully, becoming pariahs as they experienced what the singer characterized as destitution and abandonment by their families.“Two generations of incredible artists were decimated, along with the audiences that understood that art … all gone,” said the D.J. Honey Dijon, who has opened for Madonna on several “Celebration” tour dates. “I think of Madonna and what she lost and endured, and I think her perseverance is admirable.”“They just died and died and died,” Stuart Armstrong said in 2017.Kevin Mazur/WireImage for Live NationBut it was not only artists, as Ms. Schulman said, or people of note. It was ordinary folks from all walks of life and of every gender orientation, so many dead (more than 100,000 in New York City alone) that even memory of them has tended to be erased. “It’s up to the living to carry their name,” she said.Almost by default, the task of keeping those names and remembrances alive in a largely amnesiac culture fell to volunteers like Mr. Armstrong.“I had a personal affinity for the subject, but I kept trying to avoid it,” he said, declining to elucidate. “I thought, I’ll just post a few and see what happens, and then it went on and on and on.”The original 1,000 followers multiplied exponentially after the account was cited in i-D magazine in 2017, where Mr. Armstrong said of the disease’s casualties, “They just died and died and died.”As the numbers grew, so, too, did the stories of women, men and trans people, celebrated or anonymous, some as famous as Freddie Mercury, others as obscure as John Schultz, a writer and apparent hell-rake whose best friend, Katrina del Mar, vividly remembered being eighty-sixed with him at nightspots — like Boots & Saddle and King Tut’s Wah Wah Hut — across the city.“Huge emotional moment during Madonna’s #LivetoTell, her moving tribute to all those lost to AIDS especially those that had touched her life,” wrote the Soft Cell singer Marc Almond on Instagram. “When Martin Burgoyne’s face appeared on a huge screen, I’m not ashamed to say that I had tears running down my face.”There are tales of men like Bill Powell of Knoxville, Tenn., “a savior of old buildings, stray dogs and lost souls”; of April Renee Dunaway, seen on Instagram and now in Madonna’s tour performances as a young mother, holding aloft her infant and posted to the account by her child, now the drag performer #trinitythetuck.It was back in April that Madonna’s team began working quietly with Mr. Armstrong to contact and obtain from the original contributors consent to include personal images of their loved ones in the “Celebration” tour. Among the goals, Mr. Kasiuha said, was saving a community marginalized in life from being banished altogether from cultural memory.“Younger audience born after the ’90s didn’t have to experience or know much about what was happening, that feeling of having friends, family all around them dying,” he said. “We wanted to go from the big, strong portraits to images that got smaller and smaller so you could begin to understand the scale.”In all, roughly 300 of these drawn from The AIDS Memorial. And at every performance, as a raft of YouTube videos attest, the emotional reaction has been similar. “People are overwhelmed,” Mr. Kasiuha said. “That was something Madonna emphasized. She wanted to remind people of how precious life is.” More

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    Taylor Swift Beats Out Bad Bunny in 2023’s Spotify Wrapped

    The “Midnights” singer ended Bad Bunny’s three-year reign as the music platform’s most-streamed star.Don’t you just love the holiday season? Diwali. Thanksgiving. Hanukkah. Christmas. And, uh, Spotify Wrapped Day.On Wednesday, the platform released its highly detailed annual survey of its listeners’ streaming habits. As in previous years, the Spotify data dump was a social media occasion, giving music fans the stats they need to show off their taste and perhaps pick fights with those who do not share it.The data showed that Taylor Swift was the most-streamed artist on Earth in 2023, with more than 26.1 billion streams on Spotify, the company said. She is the first female artist to claim the top spot since the platform started Spotify Wrapped in 2015.Bad Bunny, Spotify’s top-streamed artist for the last three years, was the runner-up. It was not a close second, according to Sulinna Ong, Spotify’s global head of editorial.“Bad Bunny has had an enormous year and is still very much leading the cultural conversation,” Ms. Ong said in an interview. “I think what’s significant this year, and what I have loved seeing, is the dominance of female artists, not just in music, but actually in the cultural conversation, like with the ‘Barbie’ movie. That’s been the tone of 2023.”The rest of the global top five included The Weeknd, Drake and Peso Pluma. In the United States, Ms. Swift was No. 1, followed by Drake, Morgan Wallen, The Weeknd and Bad Bunny.Some fans expressed embarrassment on social media concerning their 2023 listening habits.SpotifyIn the days before the Spotify Wrapped announcement, the music platform dropped hints on billboards in 21 cities, including São Paulo, Brazil; Jakarta, Indonesia; and New York. Swifties began trying to decode them for hidden messages.On TikTok, fans traded theories about an online image that seemed to show Ms. Swift with orange-tinted hair. Some of them offered the theory that the color orange signaled the imminent arrival of an album, “Karma,” that some of her supporters believe is locked in a vault.Ms. Swift did not drop a secret album on Wednesday, but did make a track, “You’re Losing Me (From The Vault),” available for the first time on streaming platforms. She also recorded a short thank you video, which is available to some Spotify users as part of the Wrapped campaign.Numerous other artists, including Dolly Parton and SZA, recorded thank you videos this year and released them to select Spotify users on Wednesday, Ms. Ong said.The Wrapped campaign involves a complicated calculus of streaming data and listening habits. User data is tracked from January until just a few weeks before the campaign is released to provide an accurate, and surprisingly introspective, depiction of what went into listeners’ ears over the last 11 months.Spotify’s release of listener data, which is designed to be easily shareable on social media, doubles as a marketing push. Apple Music, a rival platform, has its own year-end campaign, Replay, but it has yet to elicit the same online response.On X and other platforms on Wednesday, Swifties traded notes on how many minutes they had spent in 2023 listening to their favorite singer.“So Spotify wrapped is out and I can’t say I’m shocked! 116,000 minutes!” wrote one.“I spent 40,952 minutes with taylor this year,” another fan wrote. “maybe i need to calm down.”Not everyone shared in the excitement about Ms. Swift’s statistical victory.“Happy Spotify Wrapped Day to all who celebrate. Many blessings,” wrote a non-fan. “Except to those of you who have Taylor Swift in your top 5.”Other people seemed embarrassed by their own streaming data: “i love spotify wrapped season,” an X user posted, “because its just me going ‘OH NO’ to every one of my top artists.” More

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    The Artist Who Photoshops Paddington Into Everything

    For nearly 1,000 straight days, Jason Chou has inserted Paddington, the anthropomorphized bear, into absurd situations. He has no plans to stop.Paddington is the busiest bear in Hollywood.While fans wait another year for the third installment of his film franchise, Paddington has found time for roles opposite Anthony Hopkins, Tom Hanks and Robert De Niro. He celebrated a goal with Ted Lasso, slipped on a spacesuit for “Interstellar” and appeared onstage with David Byrne. He devoured spicy wings on “Hot Ones,” cracked open a children’s book with LeVar Burton on “Reading Rainbow” and recently joined Thanksgiving feasts with characters from “Peanuts,” “The Sopranos” and “The Simpsons.”It is a daunting schedule made possible by the hard work and creativity of Jason Chou, a self-described Paddington enthusiast, who has spent nearly three years harnessing the magic of Photoshop to teleport the marmalade-loving, escapade-seeking, hard-staring bear into scenes from popular films and television shows.“At this point, I feel like some people anticipate it every day,” said Mr. Chou, 27, a student at Gnomon, a visual effects school in Los Angeles, “and it’s hard to let them down.”Mr. Chou, who has created a Paddington-related post every day since March 2021, is nearing a milestone: his 1,000th post, which, barring a Paddington-esque misadventure, will go live on Sunday. (The posts often appear after midnight on the East Coast.) Mr. Chou’s work lives on X, formerly known as Twitter, where he has more than 340,000 followers under his handle, @jaythechou, and where he has pledged to “Photoshop Paddington into a movie, game, or TV show until I forget.”Thanks to the work of Mr. Chou, Paddington has appeared in “Scream,” “28 Days Later,” “Halloween” and “Home Alone.”Jason ChouThe milestone is, if nothing else, one of the internet’s more unusual feats of endurance. (He has yet to forget.) In a telephone interview, Mr. Chou described his creative process.“I basically just try to fit him into a scene,” he said.Few people have Mr. Chou’s persistence, but Geoffrey Palmer, another internet artist, is one of them. Inspired by Mr. Chou’s work, Mr. Palmer has, for the past couple of years, spent a few minutes each weekday morning photoshopping Paddington into various tableaus from Magic: The Gathering, the fantasy card game.Yes, Mr. Chou has spawned a Paddington Photoshop coaching tree.“Anyone who loves Paddington is probably a good person,” Mr. Chou said.Mr. Palmer, 38, who makes television commercials for a mattress company, described Paddington as “a purely good thing that exists,” which helps explain why any of this works.As a beloved character from children’s books, animated television shows and now a film franchise — “Paddington in Peru,” the third film of the series, will be released in the United States in January 2025 — Paddington is known for his innate curiosity, which often lands him in sticky situations.Paddington hasn’t been seen on the big screen since 2017, but Mr. Chou, a visual effects student in Los Angeles, has kept the beloved character on the move.Elizabeth Lippman for The New York Times“He sort of steps through all these different scenes in wonderment,” said Mr. Palmer, who lives in Prior Lake, Minn. “So it feels natural that Paddington would suddenly be in ‘The Godfather’ or in the Magic: The Gathering multiverse. I think it’s the whimsy of it that people appreciate and connect with so much.”Mr. Chou has always sought to stay true to Paddington’s principles.“Even in some of the action scenes, I kind of find myself saying: ‘Oh, Paddington! Don’t do this!’” he said. “I’m scared that one of these days I’m going to accidentally turn Paddington into a bad guy or something.”Mr. Chou’s winding path to Paddington traces back to a childhood love of the original “Star Wars” trilogy. His mother fed his obsession by presenting him with a boxed set of the movies, which included a DVD devoted to special effects.“I watched that all day,” Mr. Chou said.Soon enough, Mr. Chou was making his own animations with clay, and he continued to pursue his artistic interests in high school and at the University of California, Irvine, where he studied film and video production. It was while Mr. Chou was a student there that the seeds of his Paddington opus were sown.Inspired by Mr. Chou, Geoffrey Palmer began inserting Paddington into images from the Magic: The Gathering universe. His version of Progenitus came after a request from Mr. Chou.Geoffrey PalmerHe recalled being stuck on a freeway in Southern California one winter afternoon in 2018. He was feeling anxious about school and about finding a job, and the traffic — well, the traffic was brutal.“I thought: You know what? I’ll just go watch a movie,” he said.Mr. Chou pulled off the freeway and found a cinema, which happened to be showing “Paddington 2.” The woman at the concessions stand told him that he would love it. Mr. Chou had no idea that Paddington’s escapades would affect him so profoundly.The consistency of Paddington’s character resonated with him. Throughout the film, Paddington remains his bighearted, accident-prone self even as those around him change — and change for the better, often because of their interactions with him. Consider the unlikely friendships he makes in a prison full of hardened criminals. (Spoiler: Paddington goes to prison.)“But he just keeps doing his thing,” Mr. Chou said. “And no matter how many obstacles you throw at him, the power of being polite and being kind gets him through everything. I just felt so happy at the end.”A few years later, with free time during the pandemic, Mr. Chou was a regular visitor to Reddit. Social media challenges were in vogue, and Mr. Chou acknowledged that he “needed something to do.” So he photoshopped a giant Paddington into a scene from “Godzilla vs. Kong” and posted it to a film-related subreddit, pledging to do something similar every day.“Paddington 2” was critically acclaimed and grossed more than $200 million worldwide. The third installment of the film franchise, “Paddington in Peru,” will be released in the United States in January 2025.Getty Images“It was sort of light and fun content, to cheer people up,” Mr. Chou said. “And it kept growing.”The subreddit quickly turned into a forum for “film nerds to just kind of geek out about a photoshopped bear in their favorite movies,” said Jarick Simbol, one of Mr. Chou’s avid followers.Mr. Simbol, 28, used the platform Letterboxd to catalog the films and television shows that Mr. Chou used in his ever-expanding Paddington portfolio, which gained an even broader audience once Mr. Chou made the move to Twitter about six months into the experiment.Mr. Simbol tracked Mr. Chou’s posts for 665 straight days, before life got in the way.“I got a new job, ended up having to work long hours and just couldn’t keep up,” said Mr. Simbol, who lives in Long Beach, Calif., where he works in the video game and e-sports industry. “I mean, I was just writing things down. He’s actually doing the work. I think it’s genuinely impressive.”Since the start, Mr. Chou has prioritized consistency.“I do one a day,” said Mr. Chou, who hopes to work in the film industry. “And it doesn’t bother me if it doesn’t get a lot of views, because that might affect the way I do things.”Mr. Chou has had to get creative to come up with new images every day for nearly three years. His dedication has attracted a large following on social media.Elizabeth Lippman for The New York TimesAnd while he dabbled in Patreon, the monetization service for artists, he quickly abandoned that effort. He didn’t get into the Paddington Photoshop business for the money — or for fame, though he did sound bummed that Paddington doesn’t follow him on X.“There must be a reason,” Mr. Chou said.Neither Paddington nor his representatives at StudioCanal, the French production house that oversees the “Paddington” franchise, responded to requests for comment.At this august stage of the series, Mr. Chou is facing challenges. Atop the list: He initially wanted to avoid using the same television show or film more than once, but that pool becomes shallower by the day.“I kind of boxed myself in,” Mr. Chou said.So he has made exceptions, while expanding his oeuvre to include video games and the occasional album cover. For example, there was a recent homage to Taylor Swift: “1989 (Paddington’s Version).”“In terms of an end goal, I don’t think there is one,” Mr. Chou said. “I would just feel bad if I stopped.” More

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    Who’s That Wonderful Girl? How “Nanalan’” Found New Success on TikTok

    She’s Mona, the puppet heroine of “Nanalan’,” an old Canadian children’s show that has found a new audience on TikTok.“Nanalan’” hasn’t been on TV in years, but it’s the hottest show on TikTok.A Canadian children’s program that made its debut in 1999, it has had a resurgence in recent weeks, thanks to its growing popularity on the social media platform, where it has been watched millions of times.A big part of the show’s appeal lies in its fiendishly catchy songs. One of them includes the lines: “Who’s that wonderful girl? Could she be any cuter?”The girl in question is Mona, a little green puppet with pigtails sticking out from both sides of her head. No, she could not be any cuter.The “who’s that wonderful girl?” earworm comes from a scene in which Mona enters a room dressed as a princess. Her grandmother, Nana, is singing the song while accompanying herself on organ. Nana’s dog, Russell, then appears in the garb of a royal courtier.The clip took off in mid-October, after a TikTok user posted it with the caption “When the clothes you ordered arrive and you treat the family to a fashion show.” The video has been viewed over 9.5 million times.

    @nanalanofficial Thewhole video can be viewed on Nanalan Official yu Tube #whosethatwonderfulgirl #wonderfulgirl #nanalan #princess #barbie ♬ original sound – nanalan’ official “Nanalan’” joined TikTok, YouTube and other social media platforms this year. But it didn’t make much of an impression until the video of Mona in her princess regalia began circulating, said Jamie Shannon, who created the show with Jason Hopley. The pair started making “Nanalan’” shorts in 1999, and the series ended up airing on CBC, Nickelodeon and PBS for Kids.In addition to reposting old content, Mr. Shannon, 51, has started making new videos with the “Nanalan’” puppets for social media. He discussed the show’s newfound audience and weighed in on why nostalgia reigns supreme online. The conversation has been edited and condensed.How did you get into the puppet business?I was traveling in Europe, I think it was 1990, and Jim Henson passed away. He was such a big part of my childhood. And I was like, “Well, that’s exactly what I want to do.” I was already kind of a puppet maker and an actor. So I kind of combined it all.For many people online, this is their introduction to your show. What should they know?It’s wild. Fifty-two percent of our audience on TikTok is American. “Nanalan’” is short for Nana Land, which is what I called my nana’s backyard. It’s about a little girl in that backyard. Mom drops Mona off at her nana’s everyday and goes to work, just like a lot of people’s situations. We were so lucky to do it without scripts, improvised.When did the show end?In 1999, we made the original set of three-minute shorts. We did that again in, I think, 2000. In 2003, we made a bunch of half-hour episodes, and that was it.Jason Hopley, left, and Jamie Shannon, the creators of “Nanalan’,” film a scene featuring the puppets Nana and Mona.via Jamie ShannonUntil social media discovered “Nanalan’.”We had a huge viral breakout in 2016 as well. Somebody did this hilarious thing. In one of the three-minute episodes, Mona’s describing the garden to Russell: “There’s a cooshie and a peepo.” Someone put the words up on the screen, just the silly words and then it went crazy on Tumblr. It became one of these things where people were like, “Try not to laugh.”Sorry — a peepo?A pea pod. I’m trying to imitate a kid imitating what a parent told them, but they don’t quite remember the word.Why do you think TikTok has embraced Mona?The world is so, so difficult and scary right now, and the show’s very comforting. Everything looks soft. There’s no special effects. It heralds to what I think people want to see, which is just something that’s real and authentic in the, you know, fake, fake, fake world. Everything’s A.I., and people don’t know what’s real.

    @nanalanofficial Replying to @Brooke backyard dance party #nanalan #dance #puppets #deli #delidancechallenge ♬ original sound – BREANNA🩷 Mona recently joined Cameo, a platform that allows celebrities to send video messages to fans for a fee. What’s that like?I was trying to join Cameo so long ago, and I guess they weren’t accepting puppets. It’s great, I love it. It’s like four or five videos a day. Touching stuff, too. People say, “Grandma died, can you …?” So I do a lot of pep talks. More

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    Russell Brand’s Alternate Reality

    On Sept. 12, four days before he was expected at the Troubadour Wembley Park Theater for another sold-out show, Russell Brand asked his fans for a favor. “I’ve always struggled with authority and being told what to do,” he wrote to ticketholders, attaching a questionnaire for a planned bit with his audience. “Even when it comes to something small like being offered a seat by a doctor, I’ll purposefully refuse rather than comply. Tell me about your relationship with authority — whether you tend to yield to authority or fight it.”Listen to This ArticleOpen this article in the New York Times Audio app on iOS.At the time, Brand’s more-than-two-decade quest for lasting attention had been proceeding apace along two tracks. In mainstream entertainment circles, at home and abroad, he remained the fading but still bankable British comedian whose selectively confessional accounts of heroin addiction and promiscuity made him an avatar of a very mid-aughts sort of fame — the guy who played a rocker version of himself in the 2008 film “Forgetting Sarah Marshall” and would later marry Katy Perry (it was brief). But for those partial to Brand’s midlife canon, he had come to resemble something more like a political sage.With Jesus-length hair, multidenominational tattoos and promises of unspecified revolution, Brand, 48, had in recent years been reaching millions daily across a media and wellness empire, fusing the downward-facing dogmatism of a proper guru with the cold efficiency of the YouTube algorithm. His remit was nothing less than “a social-political-spiritual movement,” he told listeners. His prime offering was a trove of foreboding and regularly misleading videos from his flagship series, “Stay Free with Russell Brand,” lobbed at a cumulative social media following of more than 20 million. His episode titles charted the ideological swerve of a man who once used his celebrity to elevate progressive causes: “STATE OF FEAR! COVID Propaganda EXPOSED!” “Leaked Audio PROVES Trump Right!”For the past year, Brand’s recording studio in the Oxfordshire countryside has been blessed as an emerging nerve center of the American right, or at least the anti-anti-right, with a procession of presidential candidates beaming in. In July alone, Brand interviewed Ron DeSantis, who compared Brand favorably to loathsome “corporate journalists”; hyped a pull-up contest with Robert F. Kennedy Jr., conservative media’s favorite lapsed Democrat and Covid conspiracy theorist; and scored the first sit-down with Tucker Carlson after the host’s dismissal from Fox News. “Maybe I’ve just been called a right-wing crazy for so long that I thought I was,” Carlson told me recently. “But if I agree with pretty much everything Russell Brand says, I don’t know what I am.”In July, Brand scored the first sit-down with Tucker Carlson after the host’s dismissal from Fox News.Screenshot from RumbleLike Joe Rogan, the carnivorous pooh-bah of this intellectual space, Brand appeared interested in teaching a certain kind of man how to be a certain kind of man, mining the tension between think-for-yourself riffs and listen-to-me conclusions. (Brand has been a repeat guest on Rogan’s podcast.) Unlike Rogan, he appeared to model a more expansive vision of manhood — vegan, sober, Aldous Huxley-quoting. The event in Wembley, part of a tour scheduled for late summer and early fall, seemed designed to accentuate Brand’s overlapping profiles: electric live performer and terminally online click-hunter. As with much of his output lately, the marketplace would help dictate his direction. The tour was called “Bipolarisation” for two reasons, he joked: because people would be polled and “because I’m severely mentally ill.” His September email to attendees requested answers to several related prompts. “What’s the strangest way you’ve yielded to or gone against authority?” the first question read. “What’s the weirdest/naughtiest/most embarrassing thing you’ve done in reaction to being told what to do?” another asked.Three days later, Brand’s followers received a less whimsical communication. In a prebuttal video posted across his social media, Brand said he was about to face “very serious allegations that I absolutely refute,” without detailing them. He insisted that all past relationships were consensual. He darkly suggested that “another agenda” might be at play, noting that supporters had long warned him about “getting too close to the truth.” The next day, Sept. 16, The Sunday Times, The Times of London and Channel 4 Dispatches published a yearslong joint investigation in which four women accused Brand of sexual assault between 2006 and 2013. The accounts were specific, revolting and, in some cases, bolstered by medical records and other contemporaneous evidence. The accusers included a woman who was 16, the British age of consent, during her relationship with Brand, who was in his early 30s. She said Brand once forced her to perform oral sex as she strained to push him off, stopping only after she punched him in the stomach. There was a time, as recently as a few years ago, when this sort of reputational earthquake almost certainly would have followed the dutiful rhythms of celebrity crisis management: performative introspection, nominal contrition (often paired with a narrow denial of the most grievous offenses), a pledge to disappear for a while. Instead, Brand’s story quickly became a self-evident data point in two divergent realities. In the first, the one still tethered at least somewhat to traditional notions of scandal and consequence, Brand was an overnight pariah and criminal suspect. The police in London opened investigations. More women came forward, including an extra on Brand’s 2011 film “Arthur,” who filed a civil suit in New York claiming that Brand assaulted her in a bathroom on set. Brand’s management company almost immediately dropped him. YouTube suspended him from making money from his channel, which has more than six million subscribers. A parliamentary committee chairwoman wrote to Rumble, the video platform that caters to the right and exclusively carries Brand’s full episodes (shorter clips still appear on YouTube), expressing concern that he might continue to profit there and “undermine the welfare of victims.”In the second reality, the victim was Brand, and his welfare was suddenly the concern of many, from the powerful new friends he has made to the “awakening wonders” (as he addresses his flock) refusing to abandon him. His example has become a repentance-free case study in a very 2023 template for public survival, a post-post-#MeToo lesson in the spoils and fortifications available to those who are thought to be scorned by the right people. “Criticize the drug companies, question the war in Ukraine, and you can be pretty sure this is going to happen,” Carlson said of Brand on X (formerly Twitter), to which Elon Musk, the site’s reply-guy owner, responded: “Sure seems that way!” Rumble also posted on X, calling the parliamentary letter a “deeply inappropriate” intrusion of the state. Already, for those who support Brand and those who do not, his fate is being processed as a kind of referendum — on who gets to decide what happens to the accused; on what a preternaturally charismatic figure can talk himself into or out of; on the limits, or limitlessness, of tribal loyalty.Brand leaving the Troubadour Wembley Park theater in London in September. He performed just hours after sexual assault allegations were made public.James Manning/Press Association, via Associated PressThough the balance of his live tour was scrapped within days, Brand kept one last date, Sept. 16 in Wembley, hours after the allegations landed. “You came,” he said to a crowd of about 2,000, according to the BBC, walking out to “You Don’t Own Me,” the feminist standard performed by Lesley Gore. He told his guests he loved them and talked about teaching his young children to be skeptical. One fan held a sign reading, “We stand by you.” Another threatened to kick down a ladder carrying paparazzi outside. And by the end of the night, the room had a new answer to Brand’s preshow queries.How had they most memorably snubbed authority? How had they responded when told what to do and think?With a standing ovation for a freshly accused predator.More than a week after the allegations, “Stay Free” returned, unbowed but discernibly altered. Brand appeared alone, his bare chest visible beneath a largely unbuttoned white button-down. The show credits, which once ran about 20 names deep, were gone — not necessarily because Brand’s whole team was but perhaps because associating with him had become more complicated. “The corporatist state and global media war against free speech is in full swing!” Brand told his listeners. “How do I know? Take a guess.”Seated at a desk, with a “Daily Show”-style prosecutorial montage of videos and text, Brand blamed the “collusion between big tech and government” and a “centralist state and globalist elite” that he suggested was persecuting him. He discussed the letter from Parliament, alleging ties between its author and Google (“a competitor to Rumble”). He welcomed Jimmy Dore, another conspiracy-theory-minded comedian-podcaster, for a remote interview, thanking him for a mood lift “at a time where I plainly need it.” “Stay strong,” Dore said. This booking choice was notable. Dore, who has himself been accused of sexual harassment, is among a cluster of high-profile Brand supporters who seem particularly invested in the idea that false or agenda-led accusations are an occupational hazard for their lot. Andrew Tate, the misogynist mega-influencer awaiting trial on rape and human-trafficking charges in Romania, tagged Brand on X: “Welcome to the club.” Donald Trump Jr., whose father has been serially accused, posted a meme on Instagram showing the former president, Brand, Tate and Julian Assange, the WikiLeaks founder, who was accused of rape. “Notice a pattern?” the meme read, alongside Trump Jr.’s caption: “One day they’ll be coming for you. I don’t believe in this much coincidence and neither should you.” For Brand’s audience, long encouraged to consider his voice too dangerous for entrenched interests to abide, the allegations stand as proof of concept, only making him more credible. “Enough of us know what’s going on here,” one commenter assured him upon his return. “No wonder they’re trying to silence you,” another posted on an October video that criticized President Biden.“It’s almost like cancel capital,” Nick Marx, a professor of film and media studies at Colorado State University and the co-author of a book on right-wing comedy, told me. “It’s something he recognizes as having a value distinct from money.” With Trumpian verve, Brand has reframed accusations against him as an act of war against everyone who backs him. “They’re out to get you,” he told his audience in November, citing “censorial forces” like YouTube and quoting from Kafka’s “The Trial.” “I’m just in the way.” And like the former president, Brand has channeled lessons from his early rise, betting on his basest self — and on the accommodations and calculations that those around him have always made.Since his public beginnings, Brand has derived his power from appearing to get away with something, from saying and doing what others never would. His fame was entwined with an almost ostentatious misogyny, a sizzle reel of mistreated women and gleefully poor taste for which he was broadly celebrated. His best-selling 2007 memoir relayed such rollicking tales as breaking the phone of a Turkish sex worker mid-encounter because the ringing bothered him. The British tabloid The Sun saluted him as its Shagger of the Year from 2006 to 2008. A breezy 2008 GQ profile winked at the “souvenir” that Brand acquired at a photo shoot (“her name is Penny”) and shared an anecdote from another romantic partner who claimed he told her, “I’m Russell Brand — I can do anything I like.” Brand denied this, semantically. “That may be the informing attitude,” he told the magazine, “but that’s never explicitly stated.”Brand with the singer Katy Perry, to whom he was briefly married, at the premiere of “Get Him to the Greek” in 2010. Kevin Winter/Getty ImagesEven scandal generally served Brand’s ends. In 2008, he and a co-host set off a national uproar after broadcasting on Brand’s BBC radio show the prankish voice messages they left for Andrew Sachs, a beloved former actor on “Fawlty Towers.” Sachs’s granddaughter Georgina Baillie was in a relationship with Brand in her early 20s. The messages to Sachs included singsongy Brand lyrics: “It was consensual/and she wasn’t menstrual.” Suspensions followed. Gordon Brown, the sitting prime minister, scolded him. Brand eventually resigned. His cad-for-the-masses legend grew anyway. “He was being very much rewarded,” Baillie, now 38, told me. “It didn’t even occur to me that I deserved an apology.”In interviews, people who know Brand described him to me as someone almost pathologically incapable of not having an audience and willing to do virtually anything to keep it. He has often admitted as much, joking that he could be whatever his followers wanted. “Are you unapologetically yourself?” he asked in August. “Because I’m not. I’m apologetically myself. ‘Hello, I’m me. Is this OK with everyone? I can change it if you want.’” (Brand and a longtime associate did not respond to an interview request or fact-checking queries.)In the 2008 GQ piece, Brand identified one clear gift (“attracting attention”) and warned playfully that his wider influence should be curbed. “I don’t think for a minute that I should be the person that comes up with how we organize a new postapocalyptic order,” he said, “because I think I’d exploit it to get girls.”When Brand speaks now about forging a new social order, he attributes his rise as a media force, accurately enough, to a collapse of faith in traditional institutions. Left unsaid is that Brand himself was a creation of legacy gatekeepers and their customers — the media companies that employed him, the outlets that toasted him, the viewers who couldn’t resist — and a leering testament to their priorities. What has lingered for some lately is not how so many people missed the signs about him but why they seemed so eager to ignore them. In recent months, two former employers, the BBC and Channel 4, announced internal inquiries into Brand’s past workplace behavior. Channel 4, where Brand was accused of flashing a female colleague, aired the investigative documentary about him in September. Its title: “In Plain Sight.”“It was this wash of devil-may-care, it’s-exciting-to-push-boundaries-or-just-have-no-boundaries, and women were less than,” Shaparak Khorsandi, an early peer of Brand’s on the comedy circuit, told me of the era that made him. “Yet a man behaving absolutely appallingly was given endless television and radio contracts.”The subject of the day in December 2014 was immigration, and the lineup for a BBC political panel was suitably formidable: a Conservative member of Parliament, another from Labour, a Sunday Times columnist. But two combatants stood out: Nigel Farage, then the leader of the U.K. Independence Party, reprising his argument that new entrants to Britain were a dangerous resource drain, and Brand.“There is a corrupt group in our country using our resources, taking away our jobs, taking away our housing, not paying taxes,” Brand agreed. But it was “the economic elite” funding Farage’s party. “His mates in the city farted,” Brand continued; Farage was “pointing at immigrants” and “holding his nose.” The studio audience roared.Raised as a working-class “bloke” in his frequent telling, Brand had long angled to amplify his voice on the left, infusing early appearances with sometimes deliberately shocking allusions to global affairs. He has delighted in claiming that on Sept. 12, 2001, while employed as a presenter at British MTV, he showed up at work dressed as Osama bin Laden. The following spring, he was detained by the police after fully disrobing at a protest in Piccadilly Circus, “explaining himself by mentioning ‘ecological,’ ‘Armageddon’ and ‘culture’ without making a great deal of sense,’” according to a news report from the time. (“Oh, God,” an MTV spokeswoman said then. “That sounds like Russell.”)Brand speaking in Parliament Square in London during a protest against the Conservative Party’s austerity policies in 2015.Tim Ireland/Associated Press“Even before he was famous, he sort of fancied himself a bit of a Che Guevara,” Khorsandi told me. After he was famous, Brand expanded his political footprint proportionally. In 2012, he was invited to testify before a parliamentary committee on drug policy, walking the halls in a black tank top and bolero hat. The same year, he developed a short-lived talk show for American TV, FX’s “Brand X With Russell Brand,” appearing with Matt Stoller, a liberal policy researcher. (The men met while Brand was shooting “Forgetting Sarah Marshall,” which Stoller’s brother, Nicholas, directed; they reconnected in 2011 at the Occupy Wall Street protest at Zuccotti Park in New York.) “They wanted to do a more radical version of ‘The Daily Show,’” Stoller told me of “Brand X” in August. “It was a bad show.”Brand’s political breakthrough came in a viral BBC interview in 2013 with Jeremy Paxman, one of Britain’s most fearsome questioners. Paxman appraised Brand as a “trivial man” whose calls for revolution and apathy about voting gave him away. “You’ve spent your whole career berating and haranguing politicians,” Brand responded. “Then when someone like me, a comedian, goes, ‘Yeah, they’re all worthless — what’s the point in engaging with any of them?’ you sort of have a go at me because I’m not poor anymore.” The exchange enshrined Brand as perhaps the nation’s foremost lefty. “It had a massive impact,” George Monbiot, a well-known environmentalist and writer, told me. “It galvanized people. It galvanized me.”In short order, Brand was hailed as a kind of crossover intellectual, validated by authors and thinkers who schlepped to his East London home to appear on his popular YouTube series, “The Trews,” a portmanteau of “true” and “news.” Academics said they could become entranced by Brand’s free-associative conviction on their subjects, even when he sounded only semi-sensical — absorbing the quick-draw wit and baroque vocabulary of a host liable to deploy “perspicacity” or “effulgent” off the cuff. “I actually remember thinking at the time, Oh, this is how a new religion would start,” Edward Slingerland, an expert on ancient Chinese thought now teaching at the University of British Columbia, told me of their interview.For activists, Brand became a treasured ally, showing up at rallies — to oppose austerity, protect tenants, support firefighters — and invariably attracting cameras. He also began ingratiating himself with more mainstream politicos, at one point initiating a correspondence with Bill de Blasio, whose 2013 mayoral victory in New York had briefly stirred the left. “I do remember thinking of him as a fellow traveler,” de Blasio told me. In 2015, Ed Miliband, then the Labour Party’s leader, made a pilgrimage to Brand’s home for the web series, hoping to reach younger voters within its seven-figure following. Both men came to rue their choices. “Obviously knowing what I know now, I regret doing it,” Miliband said after the assault allegations. Brand’s second thoughts arrived sooner, when his imprimatur could not prevent a Conservative election triumph. “My only regret,” he said afterward, “is I thought I could be involved.”If Brand felt disillusioned, he was not alone on the British left. “They used Russell,” Monbiot said of Labour. “But they never embraced him.” Brand has since resolved to live “beyond all political systems.”Among onetime admirers, the most generous interpretation for Brand’s political transformation is bleak but straightforward: Today’s version of him is the logical upshot of social media incentives, boundless ego and a bespoke personal radicalism that was always a little ominously amorphous. (“I don’t know how to describe Russell’s politics,” Marianne Williamson told me in August, warmly recounting the fund-raiser he helped host for her during the 2020 Democratic presidential primary.) In this reading, Brand is simply who we told him to be — or at least what the algorithm did. He has been known to track his trend lines on social media obsessively, staying apprised of follower counts and video performance. A job posting on Brand’s website earlier this year for a “YouTube Optimiser” was bracingly explicit: The task was to juice viewership and propose topics “based upon topics covered by similar channels and those that our audience watch.” This is the path from interviewing favored commentators of the right, like Ben Shapiro or Jordan Peterson, to having those videos recommended to fans of Ben Shapiro and Jordan Peterson, to sounding increasingly like Ben Shapiro and Jordan Peterson.“You can either try to drive the masses or be driven by them,” Faiz Shakir, the 2020 campaign manager for Bernie Sanders, told me after appearing on Brand’s show in August to push his labor-supporting nonprofit. “He’s more driven by them. It’s ‘Here’s where I think they already are.’”Brand has said that at least half his viewers are in the United States. After he interviewed DeSantis last summer, a person close to the campaign’s decision-making told me the host was seen as a conduit to men under 45, especially those who were not lifelong Republicans. On air, Brand can sound occasionally uncomfortable with his new constituency. Last year, he pressed Peterson to “prioritize compassion” rather than antagonize trans people. In the otherwise slobbering session with DeSantis, Brand almost begged him to agree that imposing an ideology on others was illiberal. “What about the freedom of those opposed?” Brand asked. But such flashes have been rare. In 2015, Brand called Trump a joke whose “punchline is a worse world for everyone”; by this February, he was posing with Trump Jr. at a Rumble event in Florida. He once quoted Gandhi on nonviolent protest; now he mocks those “clutching their pearls over Jan. 6.” Jeff Krasno, a former manager of Brand’s, suggested on his own podcast in September that Brand has by now “likely drunk his own kombucha,” adding, “there’s a clear business rationale for the content that Russell generates.”The Republican presidential candidate Ron DeSantis appeared on “Stay Free With Russell Brand” in July.Screenshot from RumbleOnstage, Brand has prided himself on a thrill-seeking gameness. “You have to be truthful and honest,” he has said of his comedy, “self-aware and willing to take risks.” Yet in many ways, Brand’s reinvention was exceedingly safe. He would be rewarded for playing the hits, for doing the expected. He would be cancel-proofed, if it came to it, with an army of backers primed to distrust anyone who attacked him.This is the less charitable read on Brand’s evolution: His alt-rightward drift — and his escalating insistence that mainstream outlets were corrupt agents of the status quo — has coincided roughly with the investigative journalism of mainstream outlets he now calls corrupt agents of the status quo. According to The Times of London, the reporting began in 2019, and Brand’s team was made aware of one assault allegation in 2020. In the years since, Brand has been “setting himself up more and more as the lone voice of truth,” Monbiot, Brand’s former progressive ally, told me. “It would definitely align with an attempt then to exonerate himself using the same argument.”Even privately, though, Brand’s orbit seems increasingly paranoid. After the allegations were made public, Brand’s father, Ron, wrote to Monbiot, who previously criticized Brand’s political shifts, to suggest that no one was safe from whatever plot had ensnared his son. “Do you think you could be next?” Ron Brand asked, according to messages Monbiot shared with me. The elder Brand later sent a conspiracy video about the World Health Organization and the World Economic Forum, two favorite targets for Brand and others who use “globalist” unironically. Tucker Carlson, who said that he and Brand have been speaking often, told me the allegations against Brand were “inevitable,” suspicious and cynically engineered to play on the debauched past of a man who is now remarried with children. “We’re leaving the part of history where people try to persuade each other in good faith,” Carlson said. “We’re entering the part where we just throw our opponents in jail or accuse them of crimes.”So far, Brand’s podcast guests have likewise stayed loyal. In an industry rife with voices insisting they are about to be silenced, loudly saying the things they swear you can’t say anymore, Brand represents a rousing spectacle, Staying Free despite the designs of a sinister “they.” “The cancelers of the world seem with each passing week to become more and more crap at their jobs,” the writer Matt Taibbi said on Substack in October, promoting his interview with the “conspicuously still-breathing Russell Brand.” Teasing an interview in November with Alex Jones of Infowars, who has described the assault allegations against Brand as a vast conspiracy, Brand suggested a kinship: “Have you noticed,” he said, raising two fingers for scare quotes, “how many of the wild Alex Jones ‘conspiracy theories’ have come to pass?”More than anything else, Brand is testing a tantalizing kind of liberty before a group that reveres the word. He has hinted about a financial crunch since YouTube began blocking his profits, telling viewers on Rumble that he is “plainly in a position where your direct support is going to be incredibly valuable.” But if Brand’s strategy is successful — if he can subsist without the institutions that long sustained him, the collaborators who abandoned him, the former fans who might wince through his movie scenes now — there is a new kind of power in that freedom, and a new kind of freedom in that power.“We’re planning a movement so that we can form new communities as the apocalypse apparently unfolds before our very eyes,” he told listeners on Oct. 26. “Without you, we are nothing.” The episode turned moments later to another aspiring movement leader: Vivek Ramaswamy, a returning guest and the first presidential candidate to appear with Brand after the allegations. Speaking from Iowa, midcampaign, Ramaswamy called for a “great uprising” against establishment forces. “It’s when they tell you to shut up that you have to actually grow the spine to be more vocal than ever,” Ramaswamy said.“I can see why there would be an appetite to censor you,” Brand replied admiringly. The host thanked his guest for “elevating the caliber of the conversation” in his “stream of freedom.” He previewed future episode subjects: the Covid lab-leak theory, another chat with Jordan Peterson, “the necessity for radicalism in politics.” Then he made a promise.“Next week,” Brand vowed, raising his open hands, “the revolution will grow a little stronger.” More

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    Gen Z Beatles Fans Come Together on TikTok

    “Can’t believe it’s 2023 and I get the joy of hearing a new Beatles song for the first time ever,” a 23-year-old says in a video post.Eloise Smith, 23, posted a reaction video on TikTok immediately after listening to “Now and Then,” the Beatles song released on Thursday.“Can’t believe it’s 2023 and I get the joy of hearing a new Beatles song for the first time ever,” Ms. Smith, who has a forearm tattoo rendering of the band’s “Abbey Road” album cover, wrote in the video’s caption.In an interview, she added that she was a third-generation fan: Her grandmother introduced her father to the Beatles, and her father introduced them to her.“I was 1 when George Harrison died,” Ms. Smith said.Ms. Smith, a civil servant who lives in Manchester, England, said she was “thrilled” weeks ago when she heard about “Now and Then.” The ability to immediately react and connect with other fans of the band through social media has made the experience of hearing a new Beatles song richer, she added.“Rather than just being in the kind of bubble of your friends, you can speak to people all over the world about it,” she said.The Beatles came late to digital media. The group did not sell downloads of its songs at Apple’s iTunes store until 2010, seven years after it had opened for business. When streaming became the main medium for music fans, the Beatles held out once more, waiting until 2015 before making the band’s work available on Spotify, Apple Music and other platforms.The decision to go digital allowed new generations of listeners to more easily discover a group that had won the adoration of mobs of screaming fans in the 1960s. Now, Gen Z listeners regularly post Beatles-related videos on social media platforms.

    @earlgreylou i am having a big ol’ emotional moment rn #nowandthen #thebeatles ♬ Now And Then – 2023 Mix – The Beatles “This song is my Roman Empire,” one listener wrote in a TikTok post, referring to a meme claiming that men think about the Roman Empire at least once a day. In the comments of the video, several people replied that the video was making them teary. “Sobbing,” they wrote. Others said that they were excited to listen to the song with their grandparents.Skylar Moody, 24, said she spent most of Thursday trying to avoid “Now and Then” spoilers. A superfan whose social media presence is almost entirely devoted to all things Beatles, she wanted to record her reaction to her first listen, which meant waiting until she was finished with work. She kept her phone on silent all day, lest she accidentally hear a snippet of “Now and Then” while scrolling online.Ms. Moody, who lives in New Jersey and goes, fittingly, by @lucyinthesky.lar on TikTok, said she became a Beatles fan after watching “A Hard Day’s Night,” the group’s 1964 film, during a music history class in high school. She described the Beatles’ online fandom as “very diverse and also unified.”“No matter what age or demographic you’re in,” she said, “we can all come together in one agreement that we love the Beatles.”She continued: “This is where we find our people now. It’s so easy to go on social media and find a fan community of people to talk to that will understand you.”Late on Thursday afternoon, she made a reaction video of herself listening to “Now and Then” in her car. “I’m listening to the Beatles! In 2023!” she exclaimed, clutching her face through a two-minute clip in which she describes what she’s hearing.The Beatles’ company, Apple Corps, has billed “Now and Then” as the group’s “last song.” It’s the third Beatles release since John Lennon’s death in 1980, after “Free as a Bird” and “Real Love” in the mid-1990s. All three were built on home demo recordings made by Mr. Lennon.“My heart feels so heavy right now, but in a good way,” Ms. Moody said in another TikTok video, adding, “We are experiencing their last song together, and this is going to go down in history. I’m so happy that we get to share it all together and that we’re able to share our thoughts like this online with people who get it.”Ms. Smith, the civil servant in England, said that she would try not to wear out “Now and Then” in the coming days. “I’ve been kind of listening to it every once in a while, to savor it,” she said, “because it’s such a big deal.” More