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      Stream These Great Movies Before They Leave Netflix in September

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      This month’s losses for U.S. subscribers include some of the most beloved titles and characters ever to grace a screen.The titles leaving Netflix in the United States are a real smorgasbord this month, from genre movies to children’s fare to two of the most beloved Oscar winners in cinematic history. (Dates indicate the final day a title is available.)‘Colette’ (Sept. 12)You may think you know what you’re getting when you click “play” on a period literary biopic starring Keira Knightley — but the director Wash Westmoreland is delightfully uninterested in hewing to expectations. This is no ordinary period literary biopic, because the French writer Colette was no period literary figure; she was an ahead-of-her time scribe and an unapologetically bisexual hedonist whose lust for life made for especially lively prose. Knightley is clearly having a good time subverting her prim-and-proper persona, while Dominic West is deliciously doofy as the man who brings her out of her shell before receding into her long shadow.Stream it here.‘Annihilation’ (Sept. 29)The writer and director Alex Garland is a rare creator of science fiction who truly seems interested in the “science” piece of the puzzle; unlike many of his contemporaries, who use the tools of futuristic fare as window dressing for mediocre action and adventure, he crafts films of ideas, approaching the possibilities of future technologies and alien interactions with contemplation and intellectual heft. Like his “Ex Machina” before it, this adaptation of the novel by Jeff VanderMeer is also as interested in character as it is in genre (if not more so), focusing on a biologist (a fine, and occasionally ferocious, Natalie Portman) who is investigating a possible alien life force while also grappling with the recent death of her husband (Oscar Isaac). Jennifer Jason Leigh, Gina Rodriguez and Tessa Thompson round out the cast.Stream it here.‘Clear and Present Danger’ (Sept. 30)Harrison Ford’s second outing as Tom Clancy’s venerable hero Jack Ryan is a tense, well-crafted geopolitical thriller. Newly appointed as the C.I.A.’s acting deputy director, Ryan uncovers a scorcher of a secret: a covert war, conducted by intelligence operatives against a Columbian drug cartel, authorized at the top levels of the U.S. government. Willem Dafoe, Joaquim de Almeida and the “Mission: Impossible” favorite Henry Czerny are among the evil-doers, while James Earl Jones returns as Ryan’s boss and confidante. Ford’s “Patriot Games” director, Phillip Noyce, also returns, a director so deft at putting together a suspense sequence that he manages to generate nail-biting tension with a scene about deleting some files.Stream it here.‘Lawless’ (Sept. 30)The director John Hillcoat and the musician-turned-screenwriter Nick Cave reunited after the triumph of “The Proposition” (2005) for this 1930s crime film with a phenomenal cast, including Jason Clarke, Jessica Chastain, Tom Hardy, Shia LaBeouf, Gary Oldman, Guy Pearce and Mia Wasikowska. Cave’s story, adapted from the historical novel “The Wettest County in the World” by Matt Bondurant, concerns the bootlegging Bondurant brothers (Clarke, Hardy and LaBeouf), who find their business interests threatened by a crooked U.S. Marshal (Pearce) and a rival bootlegger (Oldman), among others. The period costumes and settings are stunning, and the sprawling cast meshes nicely; Hardy is especially strong as a man of few words but furious fists.Stream it here.‘A League of Their Own’ (Sept. 30)This 1992 smash, directed by Penny Marshall, is based on the true story of the All American Girls Professional Baseball League, formed in 1943 to help keep the national pastime going while World War II pulled male ballplayers out of the majors. Geena Davis stars as Dottie Hinson, star catcher of the Rockford Peaches, and Tom Hanks as Jimmy Dugan, the former baseball star and current drunk who coaches the team when he’s sober (which is infrequent). With able support from Jon Lovitz, Madonna, Lori Petty, David Straitairn and many more, this one is smoothly assembled, sensitively acted and riotously funny.Stream it here.‘Nanny McPhee’ (Sept. 30)A decade after winning the Oscar for her screenplay adaptation of “Sense and Sensibility,” Emma Thompson returned to the typewriter to pen the film version of a slightly less venerated literary property: the “Nurse Matilda” children’s novels, by the British author Christianna Brand. But it doesn’t feel like slumming; Thompson invests her screenplay with all the winking wit you would expect, and she absolutely goes for broke in her performance of the title role, a kind of warts-and-all Mary Poppins. The director Kirk Jones orchestrates the chaos with a sure hand.Stream it here.‘Rocky I-V’ (Sept. 30)The first five films of the Rocky franchise — starring, written and sometimes directed by Sylvester Stallone — vary wildly in style, quality and critical and commercial reception. But taken together, they create a fascinating portrait of mainstream American moviemaking from the late 1970s to the early ’90s, as the modest, character-driven drama of the 1976 original slowly but surely gave way to the montage-heavy, jingoistic bombast of “Rocky IV” from 1987. But for better or worse, each film offers its own pleasures, from the specificity of Stallone’s dialogue to the richly played supporting characters (particularly Talia Shire’s Adrian and Carl Weathers’s Apollo Creed) to the crowd-pleasing closing bouts.Stream “Rocky” here, “Rocky II” here, “Rocky III” here, “Rocky IV” here and “Rocky V” here.‘Star Trek’ / ‘Star Trek Into Darkness’ (Sept. 30)When J.J. Abrams was announced as the director of a newly rebooted series of “Star Trek” films, he was still best known for his television work. The decision smacked of some desperation; after several “Star Trek” television spinoffs and numerous big-screen resurrections, what could anyone (let alone a not-yet-proven filmmaker) add to the mythos of the original “Enterprise” crew? But Abrams’s inaugural 2009 entry was an absolute treat, a sleek, well-cast popcorn picture that reinvigorated the original characters and story while also playing appropriate tribute. The 2013 follow-up, “Into Darkness,” is less successful but still an entertaining diversion, particularly for Benedict Cumberbatch’s take on Ricardo Montalbán’s villainous “Khan.”Stream “Star Trek” here and “Star Trek: Into Darkness” here.‘Titanic’ (Sept. 30)The 1912 sinking of the Titanic luxury cruise liner remains a source of fascination (and tragedy) in American culture, thanks in no small part to the long shadow cast by James Cameron’s 1997 Oscar winner and box office champion. It’s the kind of film that can be described only as “old fashioned”— not as a slam but simply as a statement of fact. Cameron so deftly mixes spectacle and special effects with poignant human interest (thanks primarily to the warmth and chemistry of its stars, Leonardo DiCaprio and Kate Winslet) that one is legitimately reminded of “Lawrence of Arabia” and “The Bridge on the River Kwai.” It’s a throwback epic, and its appeal has proved timeless.Stream it here.‘Warm Bodies’ (Sept. 30)We’ve seen no shortage of zombie horror in the 21st century, from “28 Days Later” — written by the aforementioned Garland — to the “Dawn of the Dead” remake to the (paradoxically) unkillable “Walking Dead” series and its many spinoffs. But we haven’t seen very many zombie rom-coms, which makes this 2013 charmer from the writer and director Jonathan Levine (“Long Shot”) all the more commendable. Adapting the novel by Isaac Marion, Levine tells the story of R (Nicholas Hoult, later of “The Great”), a zombie who falls hard for the still-living Julie (Teresa Palmer). Well, every relationship has its issues.Stream it here. More

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      5 Stand-Up Comedy Specials to Stream for the Labor Day Weekend

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      Todd Barry, Tracy Morgan, Sasheer Zamata, Chris Fleming and Jason Fried riff on weird characters, middle age, lost histories and more.Todd Barry, ‘Domestic Shorthair’Stream it on YouTubeTodd Barry speaks fluent sarcasm. After decades of refinement, honing his low-key deadpan into something flexible and distinctive, he can turn a sentence inside-out with the mildest shift in intonation, instantly divorcing what he says from what he means. The pivots in his jokes are subtle but crisp. Ever since David Letterman retired from late night, sarcasm has no better champion. Barry starts waving its flag as soon as the applause settles down on his very funny new special. “That is the type of forced fraudulent crowd response that will propel this whole show,” he says, enough of a hint of a smile to soften the blow.Barry is a taut joke teller more than a yarn-spinner. But his punchlines emerge from anecdotes filled with details about curious characters he’s met, tales that have the quirkiness and surprise of what you find in a sensitively observed short story. There’s the Uber drive who apologizes for not talking during the ride, the waiter who warns against the Italian dressing in a whisper and the cabinet salesman who says he loves his job because it allows him to eat with his customers. He filters the slightest interactions with them through his arch responses, mocking but not mean. His real adversaries are not people but hyperbole, nonsense or any pointless excess of emotion. And some of his most unexpected laughs are in his own mixing up of mountains and molehills. “My printer broke recently,” he said, gently shifting gears to a parody of concern. “Sorry to bum you out.”Tracy Morgan, ‘Takin’ It Too Far’Stream it on MaxIt’s been a rough couple of years for Tracy Morgan, the veteran comic, “30 Rock” scene stealer and all-time great talk-show guest. He almost died after being hit by a Walmart truck, then during the pandemic, his marriage fell apart. In his baggy new special, he says his wife “took that social distancing too far.”If you were looking for a bracing and introspective hour on his troubles, you came to the wrong place. Morgan just brings up his problems to crack wise about them. There is little attempt at timeliness (the expiration date on jokes about the slap at the Oscars has passed) or ambitious set pieces with tight jokes snapping into place. This is a comic coasting on charisma, which he can do as well as anyone. His main subject is middle age. He’s out to prove you don’t need to be mature in your 50s. Instead, he doubles down on sex and fart jokes, yanking his shirt up, rubbing his belly, finishing with a dozen or so minutes on what it’s like to sleep with older women. Ultimately, there’s no escaping the fact that aging changes you. Morgan confesses he pushed a lap dance away at a strip club, shouting: ‘You know my sciatica flared up!”Sasheer Zamata, ‘The First Woman’Stream it on YouTubeWhy does everyone know Amelia Earhart but not Jerrie Mock, the first woman to fly solo around the world? According to the comic Sasheer Zamata, whose second stand-up special is full of hidden histories, it boils down to marketing. Mock kept to herself, saying, “The kind of person who enjoys being alone in a plane is not the kind who enjoys being continuously around other people.” Zamata says she doesn’t “like going places or doing things,” so perhaps she can relate. Earhart married her publicist, and Zamata calls her the “original Kim Kardashian.”Her digression, filled with punchlines, is just one example of how this special unpacks lost or taboo stories. The political centerpiece of the set is about how we should talk more about female sexuality, especially for girls. She relates a story about masturbating for the first time with a lint roller, then opens the topic to the audience, resulting in some colorful crowd work. Zamata, a former “Saturday Night Live” cast member, turns jokes into carefully crafted vignettes, often hinging on a twist that leads her to widen her eyes for a long pause. She’s a poised performer, effortlessly moving from crowd work to dating tales to political gibes. Her description of being hit by a car becomes a peg for how people (including doctors) ignore Black women when describing pain but pay attention to them on the question of what is cool. Her solution? Black women should champion illness (“Sickle cell is sick as hell!”), and disease will be “gentrified out of our bodies.”Chris Fleming, ‘Hell’Stream it on PeacockWhenever a new Chris Fleming video appears on my feed, I stop and pay attention. In a scroll of sameness, he’s thrillingly unexpected, a shaggy-haired Los Angeles absurdist who often begins with an offhand and narrow idea (sitting in his car, considering the appeal of Adam Driver, say), then riffs on it with a gusto and flamboyance that accumulates its own comic momentum. His is a pointedly niche sensibility but responsible for some of the biggest laughs I have had on social media. His debut, a scattershot affair that mixes a performance at a theater with sketches, has some very funny oddball ideas, like his celebration of the Nissan Cube as the “one true asexual icon in American culture.”His precise dissection of basic families who think they’re really eccentric is a characteristic hobby horse. But these bursts of lunacy don’t build on one another. In the translation to long form, the pacing gets a little slack. Part of the problem might be editing (you must kill your darlings, especially when they involve sketches that go on too long) and an undercooked overall conceit. Fleming can’t seem to entirely decide if his aesthetic is going to be polished or ragged, his material revealing or purely absurd. He’s smart enough to commit to the personal and the weird, but absurdity requires its own rigor.Jared Fried, ‘37 & Single’Stream it on NetflixIn the crowded field of dating jokes, Jared Fried, an amusingly hyperventilating self-deprecator exploring red flags, online profiles and tensions between millennials and Generation Z, distinguishes himself in a couple of ways. In his very strong act-outs, he does an inspired impression of fake laughing that projects real discomfort. It gooses a familiar bit about married people talking to singles about the perils of matrimony into something spiky and layered. Secondarily, not since Leslie Jones has a comic done more with bulging eyes. While dead eyes can kill an act, expressive ones can illuminate it. More

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      ‘One Piece’ Review: Netflix Tries to Translate the Anime Magic (Again)

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      Remember the live-action, English-language “Cowboy Bebop”?With “One Piece,” Netflix repeats history, and there isn’t much evidence that it paid attention to what happened the first time around.“Cowboy Bebop” was a cult-favorite Japanese animated series that fetishized cool American jazz and film noir and Hollywood westerns, and in 2021 Netflix returned the cultural homage by making an American live-action adaptation. It wasn’t a disaster, but it quickly fell from sight.“One Piece” is a remarkably endurable manga and anime franchise — more than 500 million books sold, 1,073 television episodes and counting — that applies a slapstick, Buster Keaton-like visual energy to an adventure story with roots in Hollywood swashbucklers and musicals like “Captain Blood” and “The Crimson Pirate.” So once again Netflix has been moved to produce an American live-action remake, whose eight episodes premiered on Thursday.The original “Cowboy Bebop” and “One Piece” are very different creatures, but they have something important in common: They are propelled by style. Texture, composition, sound and movement engage us and trigger our emotions; the moody revenge plot of “Bebop” and the rousingly affirmative coming-of-age story of “One Piece” are just serviceable scaffoldings.There’s no reason a live-action version of either anime couldn’t find its own distinctive style. But neither of these shows managed it; if anything, they seem to have avoided the attempt. To an even greater extent than the Netflix “Cowboy Bebop,” the Netflix “One Piece” feels bland and generic. It may satisfy fans of the original who are happy to see events more or less faithfully replicated, but most of the verve and personality of the anime are gone, replaced by busyness, elaborate but uninteresting production design and — a sign of the times — an increased piety regarding the story’s themes of knowing and believing in yourself.Set in a fantastical world made up mostly of ocean and patrolled by colorfully named pirate crews, some of them made up of fish-men, “One Piece” centers on a young wannabe pirate named Monkey D. Luffy (Iñaki Godoy). Pursuing his childhood dream of becoming king of the pirates and finding a perhaps mythical treasure called the One Piece, he gradually gathers a crew of young misfits like himself, with unhappy pasts and missions that define them: to be the world’s greatest swordsman, or to locate a (perhaps mythical) seafood paradise.From left, Emily Rudd, Iñaki Godoy and Mackenyu form part of a crew of misfits driven by personal missions.NetflixIn addition to unnaturally high spirits and an utter refusal to take no for an answer, Luffy is defined by his ability to stretch his limbs across long distances (handy when throwing punches) and to absorb punishment, the results of eating a forbidden fruit that made his body rubberlike. This bit of comic inspiration by the character’s creator, the Japanese artist Eiichiro Oda, makes Luffy physically and psychologically congruent — he is elastic and indestructible in every way.The series does a more than creditable job of recreating Luffy’s rubbery abilities, and Godoy (a Mexican actor who appeared in the Netflix series “Who Killed Sara?” and “The Imperfects”) is a decent match with the animated character in look and temperament.But there’s not much beyond that for him to play, and the same goes for the rest of the cast, which includes capable performers like Mackenyu as the swordsman, Roronoa Zoro, and Taz Skylar as the piratical chef, Sanji. Depth of writing isn’t make or break amid the carnival atmosphere of the anime, delivered in 20-minute dollops of sensation, but the thinness of the characterizations becomes much harder to ignore in the more deliberate, more ordinary Netflix telling, with the story reshaped into hourlong episodes.That reshaping — the eight episodes correspond to roughly the first 45 episodes of the anime — was surely a major effort, and it would be understandable if there wasn’t a lot of time or energy left over for actually reimagining the material for live actors and constructed sets. The show’s developers and showrunners, Matt Owens and Steven Maeda, were able to wrestle the story to a draw. But they don’t capture the corny, goofy spirit of the anime, and without that the generalities about living your dream and making way for a new generation just sit there gathering dust.The fates of “One Piece” and “Cowboy Bebop” are, perhaps, a likely consequence of big-box streaming. Taking a show that has found a fanatical following and remaking it with the widest possible audience in mind means making it for no particular viewer at all. More

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      H.B.O. Is Tackling Religion in the Most Remarkable Ways

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      “Righteous Gemstones” remains a surprisingly complex (and hilarious) take on American faith.It’s hard to find a doctrine that better explains this country’s political and cultural trajectory over the past 50 years than the so-called prosperity gospel, which reversed the old dogma in one key, seductive way: It came to interpret the attainment of worldly wealth and privilege as proof of spiritual exceptionalism, the rewards of a life lived righteously. Jesus says in Matthew 19:24: “And I say again unto you — it is easier for a camel to go through the eye of a needle than for a rich man to enter into the kingdom of God.” But across the end of the 20th century, any number of figures built immense and lucrative flocks by coming at that problem from a very different direction: a promise, perhaps, that you might look great crossing into heaven in a camel-hair suit. That this sentiment aligned so well with politically ascendant strains of conservatism may or may not be coincidence, but the net effect was the same. There is the elevation of wealth as a sign of virtue. There is the sense that if only those in need had been more righteous, they, too, might have been blessed. There is, in short, the long, strange trajectory of American temperament that has, on some level, brought us to HBO’s “The Righteous Gemstones.”“Gemstones,” the brainchild of the writer-performer Danny McBride, is the story of a megachurch’s descent into corruption and chaos, rendered in the cheerfully unruly tradition of Mark Twain. Audiences may respond to McBride most immediately as a comedian of great physical gifts, but he is also a satirist of increasingly subtle intelligence, and there is a startling, possibly underappreciated depth to this critique of wealth, power and spirituality.That’s not to suggest that the show, which recently ended its third season, is averse to over-the-top parody. In one memorable moment from this summer, we’re presented with a flood of lights, hip-hop dancers and brute-force gospel music as a silver-haired preacher — a onetime child evangelist still known as Baby Billy — steps forward to host the first episode of “Baby Billy’s Bible Bonkers,” a liturgical quiz show that, as people keep pointing out, is a carbon copy of “Family Feud.” Moments later, the production is interrupted by a horde of locusts descending on the building. This — the profane, the sacred and the apocalyptic — is the world of “Gemstones,” condensed.This is a portrait of damaged people born into the redemption business, trying to find anything redeemable about themselves.The show bears obvious similarities to its critically fetishized network peer “Succession.” In each, we focus on three entitled siblings, potential heirs to an empire built by their charismatically imperious father, and their desire, real or imagined, to transcend the implications of their birthright. But while the Roys of “Succession” are armored with stylish nihilism, the three Gemstone offspring, lieutenants in the family’s sprawling spiritual operation, are less mannered and far more relatable. Even as they behave badly, even appallingly, you can sense their maladroit grasping for the morality they’ve always understood to be interchangeable with their privilege. Television’s depictions of religion have often leaned either toward po-faced dogma or scouring atheism, but here is one that dares to split the difference. McBride has made a career of playing swaggering Southern blowhards, inhabiting them with such familiarity that they transcend simple mockery and become almost poignantly human; “Gemstones,” too, has a fondness for its characters that runs parallel to the humor it wrings from their failings.And the Gemstone children definitely have failings. The eldest, Jesse, is a pompous hothead whose default response to any insult is light violence and who, despite his persona as a family man, has enjoyed the sort of hard-partying lifestyle that would make early-1970s Led Zeppelin blush. His sister, Judy, is a flamethrowing libertine with a staggeringly foul mouth and a tendency to transgress against her lovingly milquetoast husband. The youngest, Kelvin, is comparatively sweet but locked in a closet of his own making, profoundly in love with his best friend and prayer partner. Like a staging of “King Lear” at a monster-truck rally, the show has a loneliness that undergirds its berserk energy. Much of it is delivered by John Goodman, who brings a touching pathos to the role of the church’s patriarch, Eli Gemstone — a man of humble beginnings whose best intentions toward his kin only seem to multiply their avarice and shamelessness. There is also the conscience of the family, his deceased wife, Aimee-Leigh, seen only in flashback. (And, once, as an ill-advised hologram.) We see her counsel that “money ain’t everything,” but these words float by, unheeded, against the ever-escalating scale and spectacle of the Gemstone Salvation Center or the family’s own theme park. Their Ferris wheels and roller coasters have replaced precisely the kind of down-home, small-town, tiny congregations that represent the family’s own roots, but the Gemstones are masters of a great American skill: They can see themselves as the salt of the earth even while surrounded by Croesus-like wealth.This year, “Succession” concluded its final season on a bracingly cynical note, suggesting that its four seasons of familial infighting were little more than a meaningless sideshow in one cul-de-sac of the corporate world. “Gemstones,” by contrast, has come to hint at a better future. Some of the first season’s action involved Jesse’s oldest son, Gideon, having scandalized the family by lighting out to Hollywood to become a stuntman. By Season 3, he is firmly back in the fold, demonstrably more mature than his own father and serving as Eli’s chauffeur. The affection that develops between the two characters culminates in the season’s finale, in which Gideon asks his grandfather if he might teach him to be a preacher — as if suggesting that the dysfunction of today’s Gemstones might be a generational blip brought on by the distorting effects of wealth and power. At its most serrated, the show has satirized the unrepentant predation that marked the heights of televangelism, as churches were remade into spiritual money-laundering operations. At its most generous, though, it has been remarkably forgiving, letting each sibling fumble toward something like self-awareness. This is a portrait of damaged people born into the redemption business, trying to find anything redeemable about themselves, continually held back by the profit motive. This is not the only fascinating vision of the church on HBO these days. There is also “Somebody Somewhere,” which recently finished its second season. Bridget Everett plays Sam, a truculent self-styled outcast who has returned to her small Kansas hometown following the death of her sister. In a cheerful twist on the usual Hollywood portrayals of “flyover” Christian America, Sam finds companionship in a church-adjacent “choir practice,” where she joins her best friend, Joel, who is both deeply devout and openly gay. In the Season 2 finale, Sam — blessed with an extraordinary singing voice she has become reluctant to use publicly — belts out “Ave Maria” at the wedding of a trans man and a cis woman. This is a rare representation of the way religious fellowship connects and enriches communities of many sorts. Tonally, it approaches the polar opposite of “Gemstones,” but what the two series share is a knack for finding the strangeness and nuance in American religion, a topic Hollywood has more often regarded as a zero-sum contest between the wholesome and the heretical. True salvation, both programs understand, may be someplace in between.Opening illustration: Source photographs by Jake Giles Netter/HBO More

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      ‘One Piece’ Creator Hopes Live-Action Series Will Defy ‘a History of Failure’

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      On Thursday, an eight-part adaptation of Eiichiro Oda’s pirate comedy-adventure “One Piece” will make its Netflix debut. The stakes are high: Millions of fans want to see if the showrunners, Matt Owens and Steven Maeda (whom Oda describes as “‘One Piece’ superfans”), succeeded in converting the beloved manga and anime series to live-action. Although some viewers over 30 may not recognize the title, “One Piece” is one of the most popular entertainment franchises in the world.Since July 1997, when it began appearing in the Japanese manga magazine Weekly Shonen Jump, “One Piece” collections have sold more than 516 million copies worldwide. An animated TV series notched its 1,000th episode earlier this year, and there have been numerous TV specials, light novels and video games; fans discuss “One Piece” trivia on countless websites. The 15th theatrical feature, “One Piece Film: Red,” was the No. 1 box-office hit in Japan in 2022, outdrawing “Top Gun: Maverick.”Netflix held the fan screening in Santa Monica, Calif. The “One Piece” franchise is enormously popular, with more than 516 million books sold and numerous anime series and movies released.Yuri Hasegawa for The New York TimesOda is extremely private — he does not allow his face to be photographed, if he can help it — but he talked about “One Piece” in a rare interview from Los Angeles. Speaking through the interpreter Taro Goto, he discussed the origins of “One Piece,” casting its hero for TV, and the film that changed his mind about live-action adaptation. These are edited excerpts from the conversation.When it comes to adapting a phenomenally popular manga and anime series like “One Piece” to live action, what do you have to keep in mind?A live-action adaptation of a manga doesn’t simply re-enact the source material on a one-to-one basis: It involves really thinking about what fans love about the characters, the dynamics among them — and being faithful to those elements. A good live-action show doesn’t have to change the story too much. The most important thing is whether the actors can reproduce the characters in a way that will satisfy the people who read the manga. I think we did it well, so I hope audiences will accept it.Colton Osorio, left, and Peter Gadiot in “One Piece,” premiering Thursday on Netflix.NetflixYou’ve said you wanted to be a manga artist since you were in elementary school. How did “One Piece” begin?I set out to draw the manga I wanted to read when I was young. When I started, I had to draw things that didn’t exist to get attention. There were plenty of heroes who fight the demons and save the world; the market was saturated with that kind of story. I wanted to do something different but relatable. I understood that I had been supported and helped by a lot of people to get to where I was, so friendship became a central theme.The hero of the story is Monkey D. Luffy (it rhymes, appropriately, with “goofy”), who is determined to become King of the Pirates by finding a fabulous treasure known as the One Piece. Luffy is warmhearted, upbeat and ferociously devoted to his friends, but he’s no matinee idol. How did you design him?I knew I wanted to write a pirate manga, and just drew from instinct the kind of young boy I imagined in the role. As the adventure continued, I realized that various kinds of pirates would appear, so I decided to give Luffy a face that would be very easy to draw. Later, when I had to give autographs and needed to sketch Luffy, it was easy to do.“One Piece” includes strong female characters like Nami, played in the series by Emily Rudd. (With Mackenyu Arata, center, and Iñaki Godoy.)NetflixSomething that sets “One Piece” apart from many adventure manga is the powerful, capable women in the story, including the archaeologist Robin and Nami, the navigator.There are many strong women in the world of “One Piece” — women with intelligence like Robin, or with abilities like Nami. There are even attractive and strong women among the enemy pirates. In the manga I read as a kid, there was always a point where the heroine existed just to be rescued. That didn’t sit well with me; I didn’t want to create a story about women being kidnapped and saved. I depict women who know how to fight for themselves and don’t need to be saved. If a moment comes where they’re overpowered, their shipmates will help them out, and vice versa.As a boy, Luffy ate the accursed gum-gum fruit and it turned his body into rubber, allowing him to deliver fantastic stretchy kicks and punches in fights. Isn’t he better suited to animation than to live action?When I first started, I didn’t think there was any point in drawing a manga that could be remade in live-action. But when I saw the movie “Shaolin Soccer,” it felt like a manga-esque world brought to life. I changed my mind. I realized times had changed, and there was technology available that could make a live-action “One Piece” happen. So I shifted to finding the right partner to bring the manga to life.Actors have portrayed Luffy and his crew in stage shows and even in a Kabuki play. But attempts to adapt popular anime into American live-action movies and series have generally been unsuccessful, as in the widely panned “Ghost in the Shell” (2017) and the short-lived “Cowboy Bebop” (2021). Did that worry you?Various manga had been made into live action, but there was a history of failure; no one in Japan could name a successful example. Would fans of “One Piece” — and viewers who don’t know the manga — accept it? Perhaps it was time to search for the answer. Thankfully, Netflix agreed that they wouldn’t go out with the show until I agreed it was satisfactory. I read the scripts, gave notes and acted as a guard dog to ensure the material was being adapted in the correct way.Oda said casting Luffy was the biggest challenge. “I didn’t expect to find anyone quite like Iñaki Godoy,” he said.NetflixLuffy is not the brightest doubloon in the dead man’s chest, but he’s an endearing character: He’s impulsive and happy-go-lucky until some villain threatens his friends or menaces someone weaker — then it’s a fight to the finish. Was he difficult to cast?I thought the biggest challenge was going to be finding somebody to play Luffy — I didn’t expect to find anyone quite like Iñaki Godoy. When I first created Luffy, I drew the most energetic child I could imagine: a normal child on the outside, but not at all normal on the inside. Iñaki was just like the person I drew; he felt absolutely natural. Before I saw the first cut of the show, a lot of my notes were based on how the manga Luffy would act. But after seeing Iñaki’s performance, I was able to shift gears and give notes on how the live-action Luffy should act.The live-action “One Piece” uses more extensive dialogue than the manga or the animated series, which focus more on the visuals.In a manga, the more dialogue you put in, the less space you have to draw, so I cut the words as much as possible. But when people actually talk, the conversations are different. In live-action dramas, there’s always a lot of dialogue. If the characters spoke in real life, their speeches would have the natural feel that’s in the scripts. I’m very happy about how that turned out.Over the last 26 years, you’ve drawn thousands of pages of the manga as well as magazine covers, book covers and posters. You still draw in ink on paper; have you ever considered switching to digital?Everyone is drawing digitally now and it’s not that I’m not interested in it, but for some reason readers tend to take that work a little lightly. I enjoy the experience of drawing by hand, and I expect I’ll continue using hand drawing for the duration of “One Piece.”You’ve spoken with enthusiasm about the possibility of a second season of the live-action series, and “One Piece” collections continue to appear on best-seller lists around the world. When you started Luffy’s saga back in 1997, did you ever imagine it would run for more than 25 years?I never thought “One Piece” would last this long: When I began, I imagined it might run for five years. But it was my first time doing something serialized, and I found that as I kept writing, the characters took on lives of their own. Before I knew it, they were writing the story for me, and it just kept going. More

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      The Best True Crime Podcasts and Documentaries to Stream Now

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      Four picks across television, film and podcast that will take American viewers and listeners to places with vastly different systems and understandings of justice.The true crime genre can often feel very America-centric: Crimes that take place in the United States, with American perpetrators, victims and investigators. So the systems at play — political, legal, cultural, press — are all anchored to a similar playbook, and the failures and successes of these systems can feel repetitive.But lately, more documentaries and podcasts take audiences far from American shores and immerse them in societies with very different customs and expectations — and little in common with how crimes are approached, understood, pursued and solved in the United States. Here are four picks that will transport American viewers and listeners.Documentary Mini-Series“Wanted: The Escape of Carlos Ghosn”This four-part docuseries on Apple TV+ takes viewers on a well-paced ride between Japan, France and Lebanon that involves an escape almost too fantastical for Hollywood. At its center is Carlos Ghosn, a Lebanese chief executive, born in Brazil and raised in Lebanon and France, with a Midas touch when it came to automakers. Among other feats, he brought Nissan back from the brink of failure about 25 years ago. By doing so, he became a glitzy and beloved figure in Japan, until he was arrested there for alleged financial wrongdoings.Along the way — through interviews with journalists, Ghosn’s wife, his associates (business and otherwise) and Ghosn himself — the stark differences in how executive compensation, justice, surveillance and criminal investigations are thought of and handled in these various countries are on display.Documentary Film“Missing: The Lucie Blackman Case”Lucie Blackman, as seen in an undated handout photo released by the British Embassy in Tokyo.British Embassy, via Associated PressThe police processes of Japan are explored from another angle in this Netflix documentary, which tells the story of Lucie Blackman, a 21-year-old British woman who was living and working in Tokyo when she went missing in 2000. Immediately after, her distraught family, led by her unyielding father, traveled there and — after proving that they would not be dismissed or diminished — spurred a massive search for her.Cultural clashes frustrate the family and complicate the effort, and you may finish this documentary with as many questions as when you started (though they will be very different questions). Unlike many true-crime stories, there is closure to the case, and the outcome is shocking.Podcast“Notes on a Scandal”In this podcast, one of Pakistan’s first in the true crime realm, we travel to Karachi in the late 1960s and early ’70s, when the city’s lust-fueled nightlife and high-society scandals would rival the most sensational eras of Hollywood or New York.This story has it all: the mysterious death of a tortured poet, Mustafa Zaidi, whose body was found next to his unconscious muse and lover, the socialite Shahnaz Gul, renown for her beauty; a rumored suicide pact; an exhumation; a murder trial; breathless media coverage; and even revenge porn, which was not digital as we understand it today, but printed on thousands of fliers.The show’s hosts, Tooba Masood and Saba Imtiaz, Pakistan-based journalists, have been researching the circumstances surrounding Zaidi’s death for years. Over two seasons, they share their findings in great detail, attempt to apply logic to the gossip of that time and debate the legitimacy of the possible scenarios. This is an independent podcast, and some might find the format — a conversation between the hosts, with a couple of notable guests in Season 2 — simplistic, but there is nothing simple or boring about the tale they’ve resurfaced.“Rough Translation: Love Commandos”In India, arranged marriage, as its known in the West, is simply known as marriage — but marrying for love, which still accounts for only a small fraction of marriage there, is an anomaly called “love marriage.” As we learn in “Love Commandos,” the final season of NPR’s “Rough Translation” podcast, love marriage can be a dangerous, even deadly, proposition for the young couples who follow their hearts instead of their parents’ wishes.In this five-episode podcast — hosted by Gregory Warner, guest-hosted by Mansi Choksi and drawing on years of reporting by the NPR correspondent Lauren Frayer — listeners are taken to modern-day India, where a mysterious Delhi-based group called Love Commandos has for about a decade offered shelter and safety to those who marry for love. Now, its leader, Sanjoy Sachdev, is facing allegations of extortion. As Warner puts it, “Escape is far from the same thing as freedom.”Over five episodes, we hear from couples who’ve lived at the Love Commandos compound and from Sachdev himself. But the possible crimes perpetrated by Sachdev in many ways take a back seat to some of the painful details that illustrate the prevalence and normalization of fear, harassment, abuse and human rights violations seemingly inherent to love marriages — details that abound in nearly every story told. More

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      What’s on TV This Week: ‘Claim to Fame’ and ‘Family Law’

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      The ABC reality show hosted by Kevin and Frankie Jonas wraps up, as does Canadian legal drama on the CW.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Aug. 28-Sept. 3. Details and times are subject to change.MondayCLAIM TO FAME 8 p.m. on ABC. While Kevin Jonas tours with his other brothers (the Jonas Brothers), and Frankie Jonas is up to his usual TikTok shenanigans, the show they co-host, about people who have a celebrity relative, is coming to an end. After a season of challenges, detective work and the elimination of relatives of former President Jimmy Carter, Dolly Parton and Jenny McCarthy, there are four celebrity relatives left to uncover. Even though we have our suspicions (*cough* Gabe is related to Nick Cannon *cough*), some contestants like Monay have held tightly to their secret relation. On Monday, all will finally be revealed.STARS ON MARS 8 p.m. on Fox. What happens when you send some “celebranauts” (Fox’s wording, not mine) into a Mars simulation? This week we are getting the answer, as Porsha Williams Guobadia, Cat Cora, Tinashe, Paul Pierce and Adam Rippon compete to assemble a satellite tower and broadcast a message back to Earth. The stakes couldn’t be lower, as obviously they aren’t really on Mars.A still from “Once Upon a Time in Northern Ireland.”ALAMY/Alain Le GarsmeurONCE UPON A TIME IN NORTHERN IRELAND 9 p.m. on PBS (check local listings). From the late 1960s to the late 1990s, Northern Ireland saw no shortage of nationalist and sectarian violence. This new documentary series combines archival footage with profiles of people who lived through the conflict.TuesdayJUSTIFIED: CITY PRIMEVAL 10 p.m. on FX. This show is a sequel to “Justified,” with Timothy Olyphant returning as Deputy U.S. Marshal Raylan Givens. This time Givens is joined by his daughter, played by Olyphant’s real-life daughter Vivian Olyphant. The show takes place in Miami, 15 years after Givens left Kentucky. This eighth episode wraps up the first season.WednesdayA computer screen showing the Ticketmaster website.Joe Raedle/Getty ImagesSOLD OUT: TICKETMASTER AND THE RESALE RACKET 11 p.m. on Vice. If you, too, tried and failed to get tickets to Taylor Swift’s tour this year, you are no stranger to mayhem in concert sales. This Vice documentary follows malicious brokers who buy face-value tickets and sell them for much more — and how a Ticketmaster and Live Nation monopoly allows them to get away with it.ThursdayTHE GRAPES OF WRATH (1940) 9:45 p.m. on TCM. Based on the novel of the same name, this movie follows the Joad family as they head to California to start a new life after their farm in Oklahoma was seized by the government. “What we’ve been trying to say is that ‘The Grapes of Wrath’ is just about as good as any picture has a right to be; if it were any better, we just wouldn’t believe our eyes,” Frank S. Nugent wrote in his review for The New York Times.FridayFAMILY LAW 9 p.m. on The CW. This Canadian law drama has followed Abigail Bianchi (Jewel Staite) as she rehabilitated herself and her image after showing up to court drunk. This season she has continued to work at the family practice, Svensson and Svensson, while managing her crumbling marriage. The finale will put that all into perspective as she has to choose between her family’s law firm and a lucrative offer at her former firm.SaturdayTopher Grace, left, and George Clooney in “Ocean’s Eleven.”Warner Bros., via Everett CollectionOCEAN’S ELEVEN (2001) 8:30 p.m. on TBS. This movie gave us three rules to live by, or keep while committing crimes: “Don’t hurt anybody, don’t steal from anyone who doesn’t deserve it, and play the game like you’ve got nothing to lose.” The story follows Danny Ocean (George Clooney), Rusty (Brad Pitt) and their friends as they plan a heist from a casino owner who is not-so-coincidentally the lover of Danny’s ex-wife, Tess (Julia Roberts). Watch for the truly random foods — popcorn, fruit cup, lollipop? — that Brad Pitt’s character is eating in each scene.SundayTHE INCREDIBLES (2004) 6 p.m. on Freeform. This animated movie about a family of superheros who try to keep their individual superpowers under wraps gave us some amazing characters: Jack-Jack (the bizarrely strong baby of the family), Frozone (everything he touches can turn to ice) and Edna Mode (“My God, pull yourself together!”). “‘The Incredibles’ may resonate more strongly with adults than with children, as it is, at its heart, a story of midlife frustration and compromise, examining the toll that unfulfilling work can exact on a marriage, and the heady rebirth that professional satisfaction can bring,” A.O. Scott wrote in his review for The Times. If you can’t get enough of this superhero family, INCREDIBLES 2 (2018) is airing immediately after on the same channel. More

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      Bob Barker, Betty White and Their Fight Over Billy the Elephant

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      Barker and White were known for supporting animal welfare but took opposite sides in a debate about the best home for an elephant.Bob Barker and Betty White were American television fixtures for decades who were united in their support of animal welfare causes but were divided about what they thought was best for an elephant named Billy.The tension between them, about a planned renovation of the Los Angeles Zoo’s elephant exhibit, became fodder for celebrity and gossip outlets. Barker, who died on Saturday, had opposed the renovation and wanted the one elephant left at the zoo at the time, Billy, to be moved to a sanctuary. White, who was deeply involved with the zoo, supported the renovation.In January 2009, Barker, Cher and Lily Tomlin spoke at a Los Angeles City Council meeting to oppose the renovation and Barker offered to pay $1.5 million to relocate Billy.Barker had opposed the exhibit for years, and in 2006 said that the elephants there had “lived in misery.”The zoo’s nonprofit partner, the Greater Los Angeles Zoo Association, responded that the zoo was the elephant’s home and that it would give Billy and other elephants “a level of personal care and state-of-the-art veterinary services they simply won’t get anywhere else,” The Los Angeles Times reported.White had a more than five-decade relationship with the zoo and was a trustee of the Zoo Association at the time of her death in December 2021. She told The New York Times in 2011 that the zoo was her home away from home and that she could drop by outside normal visiting hours.She spoke in support of the renovation at a City Council meeting and stood by the project in a 2012 interview with the zoo’s magazine, Zoo View.“It seemed like it was never going to happen, and to almost get shut down, that close to fruition — I think it was a whole week that I didn’t sleep,” she said. “But sure enough, by persevering, we got it accomplished, and it’s beautiful on both sides of the enclosure. It’s great for the elephants, and it’s great for the people.”Representatives for Barker and White did not immediately respond to requests for comment on Sunday.Animal welfare supporters, including Bob Barker, Cher and Lily Tomlin, for years argued that Billy the elephant should be removed from the Los Angeles Zoo.Richard Vogel/Associated PressThe disagreement gave rise to a rumor of a feud between the two that was published in 2009 in The National Enquirer, which cited anonymous sources saying that Barker had threatened to not attend the Game Show Awards if White attended. Neither Barker nor White appears to have addressed the rumor in public.Barker did attend the 2009 award show, where he was honored for his work on “The Price Is Right.”White, who won the award for Favorite Celebrity Player for “Million Dollar Password,” only appeared at the show in a video tribute to Mark Goodson, who produced shows including “The Price Is Right,” “Family Feud” and “Match Game.”Four years later, White tried to make amends, The National Enquirer said, again citing an anonymous source.White visiting Billy the elephant at the Los Angeles Zoo in 2008.Wally Skalij/Los Angeles Times, via Getty ImagesBilly still lives at the zoo, though a Los Angeles City Council committee said in December 2022 that after 30 years, Billy should be moved to a sanctuary.Cher and Tomlin are still supporting the effort to move Billy. The zoo said that it disagreed with the effort and that it had “complete confidence in the knowledge, skills and expertise of our entire animal care team.” More