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      Zahn McClarnon on the New Season of ‘Dark Winds’

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      Zahn McClarnon, who plays a Navajo cop in AMC crime drama, talks about the coming third season, which is moodier and more mystical than previous ones.“Dark Winds,” the AMC desert-noir drama centered on a Navajo Tribal Police force in 1970s New Mexico, has been widely acclaimed since its debut in 2022, and viewing numbers have also been solid. An average of 2 million people tuned in for each episode, AMC said, good enough for the second season to rank among the 10 most-watched cable dramas in 2023. Then last year, the series received the well-known Netflix bump after its first two seasons arrived on the service in August, landing in the Top 10 of Nielsen’s overall streaming chart.Now AMC will see how many new fans follow “Dark Winds” back to its home platform: The third season premieres Sunday on AMC and AMC+ — it has already been renewed for a fourth — with more murder and mysteries for the stoic tribal cop Joe Leaphorn, played by Zahn McClarnon, to investigate.Leaphorn has been a noble figure in the series, and critics have given particular praise to McClarnon’s performance as well as the show’s evocative mix of crime drama, poignant family dynamics and authentic portrayals of Navajo traditions and culture. But at the end of Season 2, Leaphorn left his foe to die in the desert, and the new season finds him grappling with the consequences of that decision.“Joe is definitely struggling quite a bit with a lot of fear and anxiety over some of the choices that he’s made in the past, specifically last season,” McClarnon said in an interview.Season 3 in general is darker and more mystical than the first two. Leaphorn’s sidekick, Jim Chee (Kiowa Gordon), is haunted by past traumas and abandonment. (“Dark Winds” is based on Tony Hillerman’s Leaphorn and Chee novels.) The former deputy Bernadette Manuelito (Jessica Matten) is now a Border Patrol agent investigating a human trafficking ring. Back on the reservation, two Native boys have disappeared, leaving behind only a bicycle and a patch of blood. And as Leaphorn investigates the harrowing case, he is pursued by — and pursuing — a demonic, mythical Native monster known as Ye’iitsoh.Other potential bad actors include a fifth-generation oilman who may have a sinister side hustle, played by the veteran character actor Bruce Greenwood. Jenna Elfman is another notable addition to the cast, as a visiting F.B.I. agent investigating the disappearance of the man Leaphorn left in the desert.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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      Randall Park on the Kendrick Lamar Track He Loves to Drive to in L.A.

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      The actor isn’t sure he’d make a great F.B.I. agent, though he’s playing one again in the new TV series “The Residence.”When Randall Park was first approached about playing an F.B.I. agent in Netflix’s new murder mystery series, “The Residence,” his first thought was: Another one?“I just didn’t want to do the same thing,” said Park, 50, who has a recurring role as Agent Jimmy Woo in the Marvel Cinematic Universe, appearing in “WandaVision,” “Ant-Man and the Wasp” and its sequel, “Ant-Man and the Wasp: Quantumania.”After he read the script for “The Residence,” which begins streaming on March 20, he reconsidered. “I couldn’t stop thinking about it,” he said. And when he found out that Uzo Aduba would be starring in it, “I was like, ‘Oh gosh, yes, I know I want to do this for sure.’”He’s not sure he’d be a good secret agent in real life, though.“Well, maybe, because I am pretty calm under pressure,” he said. “But then again,” he added, “I’ve never held a real gun.”In a phone conversation from his home in Los Angeles’s Studio City neighborhood, where he lives with his wife, the actress Jae Suh Park, and their 12-year-old daughter, Ruby, Park shared a list of favorites inspired by his native Los Angeles. It includes his go-to Korean place, his favorite running routes and the locally made condiment he puts on absolutely everything. These are edited excerpts.Los AngelesIt’s been on my mind a lot because of the recent fires, and also because I’ve just been traveling a lot and missing home. L.A. gets a bad rap in a lot of ways. People label it as superficial, or too Hollywood, but L.A. is so much more than Hollywood. It’s a big city with different enclaves and different experiences.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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      ‘Yellowjackets’ Season 3, Episode 5 Recap: Taking Aim

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      The teens make a tough decision about Coach Ben. The adults say goodbye the only way they know how.Season 3, Episode 5: ‘Did Tai Do That?’The title of this week’s episode of “Yellowjackets” is a bit goofy, particularly for an installment in which the girls decide to kill Ben by firing squad.The episode is called “Did Tai Do That?” — which you have to say in the voice of Steve Urkel, from the ’90s sitcom “Family Matters,” for it to make sense. The title is a homage to a reference that Teen Van makes to Teen Tai in the woods. After drawing the King of Hearts from a deck of cards, Tai has been tasked with firing the gun that will kill their coach. Despite believing he is guilty, she is, of course, struggling with this.Van suggests bringing out the sleepwalking version of Tai, who is haunted by the man with no eyes. The idea is that if Tai became possessed by this mysterious other, she could kill Coach Ben without feeling bad about it. Van compares it to when the dorky Steve Urkel transformed into his suave alter ego, Stefan Urquelle.The contrast between the darkness of the circumstances and the silliness of the analogy is jarring, but so is the entire episode, which jolts back and forth between horror in the ’90s and quirky caper in the 2020s. It also reflects the Yellowjackets’ changing attitudes toward death. As teens they still seek ways to manage the deep pain they feel over any decision to take a person’s life. As adults they have become numb.In the present, they barely seem to have any sorrow over Lottie’s death. They react to the news with a shrug. Her demise is just another mystery for them to solve. In the past, they are agonizing over their decision to murder Ben. Over the years, they have grown so accustomed to — and traumatized by — having people they know perish that death has just become a game for them.That’s at least how both Misty and Shauna seem to treat the news of Lottie’s deadly fall. Misty goes immediately into citizen detective mode, visiting Lottie’s body at the morgue and then gathering her former teammates together to announce that she is launching an investigation. Shauna, still reeling from her own near-death freezer experience, points the finger at Misty, who, in turn, is so offended that she tries to storm out of her own house.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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      George Lowe, Kvetchy Voice of Cartoon Network’s Space Ghost, Dies at 67

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      He was the secret weapon behind a modern cult-classic series that reimagined the 1960s intergalactic superhero as temperamental talk show host.George Lowe, the actor who voiced the superhero-turned-talk-show-host Space Ghost on “Space Ghost: Coast to Coast” on the Cartoon Network for nearly two decades, died on Sunday in Lakeland, Fla. He was 67.His agent, Christy Clark, confirmed the death. His family said in a statement that Mr. Lowe had a challenging recovery after undergoing elective heart surgery in November.“Space Ghost: Coast to Coast” was the first fully original program for Cartoon Network and the spark that led to the creation of Adult Swim, the network’s late-night programming block. The show, which ran for 11 seasons from 1994 until 2012, reimagined Space Ghost, the title character from a 1960s Hanna-Barbera superhero cartoon, as a temperamental talk show host, in a new format that mixed animation and live action.Produced on a minimal budget, “Space Ghost: Coast to Coast” featured off-the-wall interviews with celebrity guests.Cartoon NetworkThanks to an enviable lineup of guests — Weird Al Yankovic, Beck and Sarah Jessica Parker were among the celebrities who made appearances — and decidedly off-the-wall interview questions (“Are you getting enough oxygen?” Space Ghost once asked Hulk Hogan), the show became a cult favorite among teenagers and young adults, helping launch Adult Swim into the stratosphere.At the heart of it all was Mr. Lowe. Dave Willis, a writer and producer on the show, said Mr. Lowe had a “big, booming movie-trailer voice” and approached the role like the morning drive-time D.J. he had been before he got into voice work. His relatable and highly entertaining kvetching, Mr. Willis said, helped shape Space Ghost’s new persona.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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      No Diamonds Here, but These Gemstones Still Shine

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      For all the repellent narcissism of its members, the family of HBO’s “The Righteous Gemstones” has been a deeply humanizing example of evangelical Christian faith.An early scene in the coming season of HBO’s “The Righteous Gemstones” showcases the newest product in a long and somewhat troubled line of consumer goods from the fictional first family of televangelism.These “luxury” enclosures, called Prayer Pods, offer sanctuary from the din and prying eyes of public spaces, starting at $1 a minute. “A tiny little, eensy, teensy, weensy bit of Christ when you need him the most,” says Jesse Gemstone, the oldest of the three Gemstone children.But sales of the pod tank when word gets out that nonbelievers are using them to meet less virtuous, self-gratifying needs. On Reddit, people start calling them “squirt yurts.”The Prayer Pod is a signature plot device from the mind of Danny McBride, the “Gemstones” creator, who also stars as Jesse, a sometimes lovable blowhard and a legend in his own mind. Like his brother and sister, with whom he constantly bickers over control of the Gemstone empire, Jesse has been handed immense wealth and privilege but somehow thinks he deserves more.Since the show debuted in the summer of 2019, McBride has developed Jesse and the sprawling Gemstone brood into some of the most outrageous satirical characters on television. On Sunday, the story arc of the Gemstones bends toward its conclusion with the premiere of the fourth and final season and a plot twist introducing Bradley Cooper as the newest relative.From left, Kelton DuMont, Skyler Gisondo and Gavin Munn as the children of Amber and Jesse Gemstone (Cassidy Freeman and Danny McBride) in “The Righteous Gemstones.”Connie Chornuk/HBOWe 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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      ‘Housewife of the Year’: Contestants Look Back in Dismay

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      Ciaran Cassidy’s film revisits an Irish television show that judged stay-at-home moms on budgeting and appearance.There’s a temptation, when making a documentary about some obviously retrograde practice from the past, for filmmakers to treat their subject like something to gawk at. Can you believe how backward earlier generations were? Let’s all point and stare and wince.“Housewife of the Year” (in theaters), directed by Ciaran Cassidy, could very easily have gone in that direction. The film is about (and named after) a live, prime-time televised competition that took place from 1969 to 1995 in Ireland — and it’s pretty much what it sounds like. Women, generally married and raising a large family, were judged on qualities ranging from sense of humor and civic-mindedness to budgeting, preparing a simple meal and, of course, keeping up their appearance. All of this, the movie briefly explains via text onscreen, can be seen as an effort to prop up the social order in a deeply religious, deeply traditionalist country where it was virtually impossible for a married woman to maintain many kinds of employment. “The state shall endeavor to ensure that mothers shall not be obliged by economic necessity to engage in labour to the neglect of their duties in the home,” Article 41.2 of the Irish Constitution proclaims. The competition helped reinforce those values.As Irish society changed, especially with respect to women’s rights and reproductive freedoms, the competition eventually turned into “Homemaker of the Year,” open to all genders. But that’s not the focus of the documentary, nor is there ponderous narration explaining to us what happened. Instead, “Housewife of the Year” focuses on two main ways of telling its story. The first is archival footage from the competition, which reinforces how much of it focused on patronizing and even belittling the women as they participated, via the male host, Gay Byrne, interviewing them onstage. It’s remarkable to watch.But woven throughout are present-day interviews with many of the participants, now much older, who see things differently than they probably did back then. They tell stories of what was really going on in the background: alcoholic or deadbeat husbands, economic catastrophes, backbreaking labor. One woman, Ena, talks about having given birth to 14 children by the time she was 31, owing largely to the ban on contraception.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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      ‘When No One Sees Us’ Is a Rich and Gorgeous Spanish Crime Drama

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      Even the small characters in this complex and sometimes humorous mystery on Max are rendered with the utmost specificity and affection.The Spanish series “When No One Sees Us,” beginning Friday on Max, is one of the better foreign-crime dramas in ages — focused, beautiful, sturdy but artful. The show is set in a small town in Spain where there is a U.S. Air Force base, and the story unfolds during Holy Week, which adds to the sense of import and impending crisis.“No One” (in Spanish and English, with subtitles) is the tale of two cops and two investigations, one local and one foreign. Lucía (Maribel Verdú) is the Spanish cop with a testy teenage daughter, a deteriorating mother-in-law and a phone that never stops ringing. She’s looking into a startling ritualistic suicide and an emerging drug ring. Adding to her to-do list is Magaly (Mariela Garriga), a high-ranking investigator for the U.S. military, brought in to find a missing airman who might be part of an intelligence breach.Like many fancy contemporary crime shows, some of the action here, including the denouement, unfolds during distinctive local festivals — in this case Nazarene processions, in which some celebrants don tall, pointy hoods while others carry a massive wooden float bedecked with candles and religious statutes. The show is brimming with Catholic imagery, and characters have ecstatic religious experiences, both sober and drug-induced. “Let’s go do some penance,” one guy sighs as he heads out to see his in-laws.The show is gorgeous to behold, bright and sunny and rich in detail; people’s cars, their gaits, the way they smooth their hair down when taking off a hat, those things all add up. “No One” is also full of life and humor. Plenty of shows have Type A female characters whose quirk is an obsession with junk food, but here that is taken to a realer and more painful place as a straight-up eating disorder. Small characters are sketched with fascinating specificity and affection, so much so that one wants to prolong the mystery just to spend more time with everyone.There are eight episodes, satisfying and engrossing — and without that hot-boxed misery and gloom that so many crime dramas confuse for substance. More

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      International TV Series to Stream Now: ‘The Leopard,’ ‘Newtopia’ and More

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      New international series include an espionage thriller on Max, a horror comedy on Prime Video and a new Netflix adaptation of “The Leopard.”The United States’ relationships with the rest of the world’s nations are fluid right now, but one thing is for sure: We keep importing their television shows. Here are some recent additions to what appears to be an increasingly large trade imbalance, at least when it comes to scripted series.‘Dog Days Out’With “Bluey” on a hiatus, this cheerfully mesmerizing South Korean cartoon — it’s like a crackerjack action blockbuster for toddlers — can fill the animated-puppies vacuum. You might even consider the lack of hyper-articulate dialogue to be an advantage: There’s something restful about a soundtrack that consists of smashes, crashes and a variety of canine shrieks and laughter.On an idyllic suburban cul-de-sac rendered in candy-colored 3-D animation, the puppies come out to play when their barely seen masters are away and destroy everything they can get their paws on. Joining them in the slapstick mayhem are their toys, including a rainbow-hued chew doll that instigates much of the trouble; opposing them are curmudgeonly birds and crafty rodents. Many shows for preschoolers feature the same kind of nonstop action, but the animators at the South Korean studio Million Volt execute this one with a combination of fluid style and infectious spirit that can hook the unwary adult. (Netflix)“Dog Days Out” is a new animated slapstick kids show on Netflix. Netflix‘Douglas Is Cancelled’Steven Moffat of “Sherlock” and “Doctor Who” wrote this dark four-episode comedy which, consciously or not, pulls a bait and switch. Starring Hugh Bonneville as Douglas, a popular broadcaster anonymously accused of having told a sexist joke, it begins as a brittle farce about the comfortably entitled running afoul of cancel culture and social media mobs. But then it shifts, becoming a sometimes didactic and unconvincing, sometimes powerful and unsettling, examination of men’s corrosive treatment of women.Moffat, who can be a very clever writer, takes the male repertory of gaslighting, stonewalling and veiled aggression and turns it against the men in his story in amusing ways. It’s also noticeable, though, how the targets of the most pointed satire tend to be young women, and how the best roles are written for middle-aged men. Karen Gillan, as Douglas’s on-air partner, and Alex Kingston, as his wife, are fine in fairly monochromatic parts. But the spotlight is on Bonneville, who is excellent as always; Simon Russell Beale, who is hilarious as Douglas’s diffidently loathsome agent; and Ben Miles, who is chilling as an utterly cynical producer. (BritBox)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