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      What to Watch This Weekend: A Riveting True-Crime Drama

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      “Mr. Bates vs. the Post Office,” premiering Sunday on PBS, is a shattering mini-series about a real-life injustice.Toby Jones stars in “Mr. Bates vs. the Post Office.”ITV StudiosLegal thrillers and true-crime sagas often succeed at generating momentum but fail at conveying genuine humanity. “Mr. Bates vs. the Post Office,” debuting Sunday at 9 p.m. on PBS (check local listings), succeeds at both; it is a tender and shattering drama and a tense, twisty legal story.Toby Jones stars as Alan Bates, a British sub-postmaster who radiates decency and integrity. He’s convinced — as are we, immediately — that his new Post Office-issued kiosk is the source of grave accounting errors, but dozens of calls lead him nowhere. He is told, repeatedly, that he’s the only person encountering any problems, and the Post Office fires him and accuses him of theft. With the support of his thoughtful wife, Suzanne (Julie Hesmondhalgh, superb), he vows to clear his name.Thus begins a 20-year saga, one of baffling malfeasance by the British Post Office that led to widespread suffering, with hundreds of people falsely accused of crimes. The sub-postmasters were contractually responsible for the perceived shortfalls, which sometimes amounted to tens of thousands of pounds. Some, like Jo (Monica Dolan), pleaded guilty just to avoid jail time. Some served prison sentences not just for crimes they did not commit, but crimes that did not even occur. Some filed for bankruptcy; some died from suicide.“We just gotta trust in the British justice system, and everything’ll be all right,” says Lee (Will Mellor), one of the victims. He might as well be the guy in the horror movie who asks “what’s the worst that could happen?” before walking into a chain saw. When Alan finally manages to organize an advocacy and support group, we get our first glimmers of hope and relief barely poking through the Kafkaesque, viciously punitive morass.“Mr. Bates vs. the Post Office” is true story, but in tabloid parlance, it is an unbelievable true story — the injustice it depicts is so outrageous that it defies comprehension. The show’s real sense of reality, then, flows forth from precise portraiture by the show’s writer, Gwyneth Hughes, and from intimate, grounded performances by Jones and Dolan. By the end of the four episodes, I knew all the characters so well I swear I could pick out birthday presents for them, the heroes and villains both. More

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      In ‘Ripley’ on Netflix, the Con Man Gets the Art House Treatment

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      Andrew Scott stars in a Netflix series that looks like what you might get if Antonioni or Resnais had directed a season of “The White Lotus.”Patricia Highsmith’s 1955 novel “The Talented Mr. Ripley” sets its dark action in a succession of colorful Italian locales: the Amalfi coast, San Remo, Rome, Palermo, Venice. Movies based on the book, like René Clément’s “Plein Soleil” (released in the United States as “Purple Noon”) and Anthony Minghella’s “The Talented Mr. Ripley,” have taken the opportunity Highsmith gave them to capitalize on sun and scenery. The audience gets its brutal murders and brazen deceit wrapped in bright visual pleasure.For “Ripley,” an eight-episode adaptation of the book that premieres on Netflix on Thursday, Steven Zaillian has decided to do without the color. Shot — beautifully — in sharply etched black and white by the Oscar-winning cinematographer Robert Elswit (“There Will Be Blood”), “Ripley” offers a different sort of pleasure: the chilly embrace of the art house.Reflecting what the more high-minded filmmakers of the show’s time period (it is set in 1961) were up to, Zaillian, who wrote and directed all the episodes, takes an approach that harmonizes with Elswit’s austerity. The entire season moves along sleekly — you could say somnolently — at the same measured pace, with the same arch tone and on the same note of muted, stylish apprehension. Highsmith’s pulpy concoction, with its hair-trigger killings and sudden reversals, is run through a strainer and comes out smooth. It feels like what you might get if the early-’60s Antonioni or Resnais had directed a season of “The White Lotus.”And Zaillian appears to have asked his actors to practice a similar restraint. Their overall affect isn’t flat, exactly, but it’s within a narrow range, with physicality tightly reined in and the eyes asked to do a lot of work. When you have the eyes of Andrew Scott, the gifted Irish actor (“Sherlock,” “Fleabag”) who plays Tom Ripley, that’s not a big problem.Zaillian has been faithful, in broad outline, to Highsmith’s story. Ripley, a slacker and a con man grinding out a living in postwar New York, is sent to Italy to try to persuade a trust-funded idler to come home and take over the family business. He has only a passing acquaintance with his target, Dickie Greenleaf (Johnny Flynn), but in the first of a long series of misunderstandings and lucky strokes that go Ripley’s way, Greenleaf’s father thinks they are good friends.Highsmith’s novel is a training manual for the sociopath: Once Ripley sees the indolent lives led by Greenleaf and his sort-of girlfriend, Marge Sherwood (Dakota Fanning), in a picturesque fishing village on the Amalfi coast, he ups his game from tedious grifting to full-contact identity theft. Wedging himself between Dickie and Marge, he becomes obsessed — an obsession in which the lines between befriending Dickie, sponging off Dickie and becoming Dickie are progressively erased.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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      Late Night Rebuts Trump’s Call for ‘Christian Visibility Day’

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      “This is America, buddy. Every day is ‘Christian Visibility Day,’” Desi Lydic said on Wednesday’s “Daily Show.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.‘Finally, a Christian Holiday We Can Celebrate’During a rally in Wisconsin on Tuesday, former President Donald Trump criticized President Biden for acknowledging Transgender Day of Visibility, which is observed every March 31. This year, that also happened to be Easter Sunday. Trump said he wanted Election Day, on Nov. 5, to be “Christian Visibility Day.”“This is America, buddy. Every day is ‘Christian Visibility Day,’” Desi Lydic said on “The Daily Show.”“Yes, finally, a Christian holiday we can celebrate.” — JIMMY KIMMEL“Former President Trump yesterday criticized President Biden for proclaiming Easter Sunday as Transgender Day of Visibility and said, ‘Such total disrespect to Christians.’ And if you’re going to disrespect Christians, you might as well make some money off it.” — SETH MEYERS“I love that he’s somehow the Christian candidate. Trump — not only does he not go to church, he didn’t even go to church on Easter Sunday.” — JIMMY KIMMEL“Yes, by total coincidence, Trans Visibility Day happened to fall on Easter this year. Which seemed like, I don’t know, a good fit to me. I mean, Jesus did identify as the Father, the Son and the Holy Spirit. So, live your truth, queen!” — DESI LYDIC“Trump aside, I have a question for the actual religious conservatives: Why are you so upset about this? Trans Visibility Day had no effect on your Easter. Nobody was at church like, ‘Well, we were going to celebrate the Resurrection, but instead, everyone line up for your gender reassignment surgery. Please, leave your penis in the collection basket.’” — DESI LYDIC“And, for what it’s worth, there’s a false premise at the heart of this entire controversy, which is that there’s even a conflict between trans people and Christianity to begin with. There isn’t. In fact, the Bible doesn’t say anything about trans people. It does, however, say to love thy neighbor and to not judge other people, and perhaps the most famous of Bible verses, ‘Please do not sell me for $59.99 to pay off your rape fines. Amen.’” — DESI LYDICThe Punchiest Punchlines (It’s Moon O’Clock Somewhere Edition)“We have just learned that the White House has directed NASA to create a time standard for the moon. Though, obviously, they’re going to need two: Moon Standard and Moonlight Savings Time.” — STEPHEN COLBERT“The moon is getting its own time zone because scientists need a time-keeping benchmark for lunar spacecraft and satellites that require extreme precision for their missions. But it’s also going to be great for anyone who needs an excuse to day drink. Hey, it’s Moon O’Clock somewhere.” — STEPHEN COLBERT“This sounds like a fake project Trump would have given Mike Pence to keep him busy.” — JIMMY KIMMELWe 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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      Demetri Martin’s Netflix Comedy Special Confronts His Veteran Career

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      In his new Netflix special, “Demetri Deconstructed,” he tries a more conceptual approach than the simplicity he was known for.A comedy career can be a tricky puzzle. You must evolve to stay relevant and interesting, but change too much and fans will revolt.The prolific stand-up Demetri Martin, 50, has always had the mind of a puzzle-maker and a knack for paradox. A characteristic joke: “I am a man of my word: That word is unreliable.” In “Demetri Deconstructed” (Netflix), the inventive seventh special of what has become a major, joke-dense career, he seems to be answering a riddle: How does an eternally boyish alternative comedian mature into middle age?Martin steers clear of common temptations like storytelling or culture war or revelation. He is now married with kids, but he’s not the kind of comic to tell jokes about parenting. After two decades, including three books and a movie, “Dean” (2016), he directed and starred in, we barely know him. The move he’s making with the new special is away from a lodestar: simplicity. His jokes always sought out absurdity in as few words as possible; the delivery was unvarnished and there was little physicality. His floppy hair and crisp bluejeans are so consistent that they have become a kind of uniform.Embracing the increasingly cinematic aesthetic of stand-up specials, his new hour, which he directed and is actually closer to 50 minutes, takes his act and wraps it around an intricate high concept. The first step to this move was in his previous special, “The Overthinker” (2018), which was funnier, if less radical. The theme there was in the title, and he illustrated it through the formal device of occasional interruptions with narration that represented his inner voice.In one bit, his narrator wondered what the cartoon sitting on an easel next to him onstage would like from the balcony, which led to a shot from farther back where you couldn’t make out the picture at all. This perspective shift was heady: It wouldn’t get a big laugh but made for a memorable critique of comedy in big rooms and a self-mocking joke about how not everyone would get him.“Demetri Deconstructed” doubles down on such experiments. Instead of occasional intrusions of thought, the conceit here is that the special takes place entirely inside his mind, allowing for a more surreal visual language. A framing device has him hooked up to an EEG of sorts with a dubious doctor who wants him to imagine a comedy show. (Think “The Matrix” but for comedians.)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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      in Movies

      Eli Noyes, Animator Who Turned Clay and Sand Into Art, Dies at 81

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      His innovative stop-motion animation influenced a generation of filmmakers, including the creators of Wallace and Gromit.Eli Noyes, a filmmaker whose use of clay and sand in stop-motion animation garnered an Oscar nomination and shaped the aesthetic of Nickelodeon and MTV during the early days of cable television, died on March 23 at his home in San Francisco. He was 81.His wife, the artist Augusta Talbot, said the cause was prostate cancer.Mr. Noyes made his first film, “Clay or the Origin of Species,” in 1965 as an undergraduate student at Harvard. To the accompaniment of a jazz quartet, clay model animals whimsically portray evolution in the movie, which lasts just under nine minutes.Though stop-motion filmmaking had existed for decades and clay was used in the 1950s to create animated characters like Gumby, directors and cinephiles credited Mr. Noyes’s rookie effort with reviving interest in the technique at a time when hand-drawn characters were more popular.“Clay or the Origin of the Species” (1965), Mr. Noyes’s first film, was nominated for an Academy Award.via Noyes familyThe film was nominated for an Academy Award for best animated short subject.“This recognition served as a tremendous boost to the credibility of clay as an animation medium, bulldozing a path for even greater works,” Rick Cooper, a former production manager for Will Vinton Productions, a Claymation film company, wrote in the journal Design for Arts in Education.Peter Lord, a founder of Aardman Animations, the English studio that used clay in the production of the “Wallace and Gromit” films, “Chicken Run” and other popular animated features, recalled seeing “Clay or the Origin of Species” on British television when he was getting started as a filmmaker.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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      Lizzo Says She Is Not Leaving Music Industry After ‘I Quit’ Post

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      Lizzo clarified that she was not quitting music after writing on Instagram last week that she was “starting to feel like the world doesn’t want me in it.”Lizzo, the Grammy Award-winning singer, clarified on Tuesday that she was not quitting the music industry, days after her social media post saying “I QUIT” led some fans to speculate that she was ending her music career.In a video posted on social media, Lizzo said she was not leaving the music business and instead was quitting “giving any negative energy attention.”“What I’m not going to quit is the joy of my life, which is making music, which is connecting to people, cause I know I’m not alone,” she said in the video. “In no way shape or form am I the only person who is experiencing that negative voice that seems to be louder than the positive.”She continued: “If I can just give one person the inspiration or motivation to stand up for themselves, and say they quit letting negative people win, negative comments win, then I’ve done even more than I could’ve hoped for.”Speculation that Lizzo was leaving the industry arose after she posted a message on Instagram on March 30 that ended with the words: “I QUIT.”“I’m getting tired of putting up with being dragged by everyone in my life and on the internet,” she wrote in the initial post. “All I want is to make music and make people happy and help the world be a little better than how I found it. But I’m starting to feel like the world doesn’t want me in it.”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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      in Television

      As ‘Ripley’ Revives the ‘Talented’ Con Man, Here Are Earlier Versions

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      “Ripley” on Netflix is the latest riff on the con-artist character the author Patricia Highsmith invented in the 1950s. Here’s a look at the earlier versions.One of fiction’s most famous impostors returns on Thursday with the debut of Netflix’s “Ripley,” the latest adaptation of a character invented in the 1950s by the author Patricia Highsmith. In eight episodes, all written and directed by the Oscar-winning screenwriter Steven Zaillian (“Schindler’s List,” “The Night Of”), a classic chameleon changes colors yet again, returning to a few core elements of Highsmith’s original creation while also boosting the creepiness quotient.Over nearly seven decades, Tom Ripley has appeared in five books by Highsmith, five films, multiple television episodes and even a radio show. He has been played by interpreters as varied as Matt Damon, Alain Delon, Dennis Hopper, John Malkovich and now, Andrew Scott. What has made him so enduring?The details change, but the foundation of the character remains the same: a con artist who becomes a killer, someone so enamored by upper-class comfort that, once he experiences it, will do anything to hang on to it. Ripley dreams of a better life for himself, which makes him relatable. What makes him fascinating is his willingness to go to murderous lengths to secure it.As a new version of Tom Ripley arrives, here is a look at how this grifter has evolved over the generations.The BooksThe character debuted in Patricia Highsmith’s “The Talented Mr. Ripley” in 1955.By the time Highsmith created Ripley, she was already an accomplished writer. She burst onto the scene in 1950 with her first novel, “Strangers on a Train,” which would be adapted into the Alfred Hitchcock film a year later. Other acclaimed Highsmith works include “The Two Faces of January,” made into a 2014 film starring Viggo Mortensen; and “Deep Water,” adapted into a 2022 film starring Ben Affleck and Ana de Armas. Using the pen name Claire Morgan, Highsmith also wrote “The Price of Salt,” renamed “Carol” for Todd Haynes’s 2015 film adaptation.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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      Kristen Wiig and Maya Rudolph Just Want You to Like Them

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      Good friends and “Saturday Night Live” alumnae, the actresses are each headlining an Apple TV+ comedy of wealth and status.Sometimes Maya Rudolph will watch a movie and marvel at how miserable an actor looks. “They’re covered in fake blood and broken glass, and they’re crying the whole time,” she said. “I don’t know how people do that for work! That looks so hard and stressful.”“And how do you get all of that glass off your skin?” her friend and former colleague Kristen Wiig said.“Listen,” Rudolph said, “glass seems tough.”This was on an afternoon in late March, and Wiig and Rudolph, who specialize in lighter, glass-free fare, were perched high over New York in the penthouse suite of a luxury hotel with a zillion-dollar view — rooftops, rivers, the Statue of Liberty in the distance. They were dressed in natural fabrics and neutrals, a far and elegant cry from the demented spandex and polyester they so often wore during their years on “Saturday Night Live.”Acquaintances since their early days in the comedy scene (they met at a bridal shower hosted by Melissa McCarthy), they were both members of the famed comedy troupe the Groundlings before they found their separate ways up the 30 Rock elevator to “S.N.L.” And they have wound in and out of each other’s lives and careers ever since: as co-stars in “Bridesmaids” (Wiig was also a writer of the movie); popping back into “S.N.L.” together; jointly presenting an Oscar. Now they are both leading Apple TV+ shows, each a comedy of wealth and status.In “Palm Royale,” which premiered on March 20, Wiig stars as Maxine, a frenzied social climber in 1960s Palm Beach. In “Loot,” which returns for its second season on Wednesday, Rudolph plays Molly, a divorcée with a multibillion dollar settlement.During a brisk chat, they discussed laughter, likability and what “Bridesmaids” taught the world. These are edited excerpts from the conversation.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