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Golden Globes: The Projectionist’s TakeawaysSacha Baron Cohen with his wife, Isla Fisher.Christopher Polk/Agence France-Presse — Getty ImagesWant a catch-up on last night’s Golden Globes? It was a weird one — and considering how weird a typical Globes ceremony is, that’s saying something.Watch the standout moments → More
#masthead-section-label, #masthead-bar-one { display: none }Awards SeasonGolden Globes: What HappenedBest and Worst MomentsWinners ListStream the WinnersRed Carpet ReviewAdvertisementContinue reading the main storySupported byContinue reading the main storyGolden Globes 2021: Where to Stream the WinnersNearly all of the big winners from the evening are available to stream. Here’s a look at where to find them and what The Times first had to say about them.Sacha Baron Cohen in “Borat Subsequent Moviefilm,” which won the award for best musical or comedy at the Golden Globes.Credit…Amazon StudiosMarch 1, 2021, 11:31 a.m. ETDuring a normal year, when many of the awards-contending movies are released late in the season, home viewers often have to wait for a month or two to catch the winners on various streaming services. But the one benefit to an awards show during a pandemic year is that all the winners are immediately available — or so we might have assumed.To the surprise of many Golden Globes prognosticators — and to the actress herself — Jodie Foster won best supporting actress for “The Mauritanian,” a 9/11-themed legal drama that’s currently in theaters, but will arrive on VOD on Tuesday, March 2nd. (Our critic, Jeannette Catsoulis, would advise you to proceed with caution.) Otherwise, the night’s big winners on the film side are scattered among the streaming giants, with “Nomadland” and “The United States vs. Billie Holiday” on Hulu, “Borat Subsequent Moviefilm” on Amazon Prime and “The Trial of the Chicago 7,” “Ma Rainey’s Black Bottom” and “I Care a Lot” on Netflix.The awards were not distributed quite so democratically for the TV slate, where the fourth season of Netflix’s “The Crown” took best drama as well as prizes for three of the four acting categories. Netflix also has The Queen’s Gambit,” which won for best limited series or TV movie and for Anya Taylor-Joy’s performance as an American chess grandmaster of humble origins. And the service is streaming all six seasons of the best musical or comedy winner “Schitt’s Creek.”Here’s a guide to the major-category winners that are currently a click away, along with excerpts from their New York Times reviews or features.Movies‘Nomadland’Won for: Best picture, drama; best director“In a fine Emersonian spirit, the movie rebels against its own conventional impulses, gravitating toward an idea of experience that is more complicated, more open-ended, more contradictory than what most American movies are willing to permit.” (Read the full Times review by A.O. Scott.)Where to watch: Stream it on Hulu.‘Borat Subsequent Moviefilm’Won for: Best musical or comedy; best actor, musical or comedy“Would I call this the best movie of 2020, from the standpoint of cinematic art? Look, I don’t know. It’s been a weird year. But I would insist that this sequel to a cringey, pranky, 14-year-old classic is undeniably the most 2020 movie of all time.” (Read the full Times article on the Best Movies of 2020, in which A.O. Scott put Sacha Baron Cohen’s satire at #1.)Where to watch: Stream it on Amazon Prime.‘The Trial of the Chicago 7’Won for: Best screenplay“‘The Trial of the Chicago 7’ is a mixed bag. While [Aaron] Sorkin draws some of his dialogue from court transcripts, he also exercises the historical dramatist’s prerogative to embellish, streamline and invent. Some of the liberties he takes help to produce a leaner, clearer story, while others serve no useful purpose.” (Read the full Times review by A.O. Scott.)Where to watch: Stream it on Netflix.‘Ma Rainey’s Black Bottom’Won for: Best actor, drama“Of course it’s hard to watch Levee — to marvel at [Chadwick] Boseman’s lean and hungry dynamism — without feeling renewed shock and grief at Boseman’s death earlier this year. And though ‘Ma Rainey’s Black Bottom’ has been around for a long while and will endure in the archive, the algorithm and the collective memory, there is something especially poignant about encountering it now.” (Read the full Times review by A.O. Scott.)Where to watch: Stream it on Netflix.‘The United States vs. Billie Holiday’Won for: Best actress, drama“Andra Day, who plays Holiday, is a canny and charismatic performer, and the film’s hectic narrative is punctuated with nightclub and concert-hall scenes that capture some of the singer’s magnetism. Rather than lip-sync the numbers, Day sings them in a voice that has some of Holiday’s signature breathy rasp and delicate lilt, and suggests her ability to move from whimsy to anguish and back in the space of a phrase.” (Read the full Times review by A.O. Scott.)Where to watch: Stream it on Hulu.‘I Care a Lot’Won for: Best actress, musical or comedy“An unexpectedly gripping thriller that seesaws between comedy and horror, “I Care a Lot” is cleverly written (by the director, J Blakeson) and wonderfully cast. Marla is an almost cartoonish sociopath, and [Rosamund] Pike leans into her villainy with unwavering bravado.” (Read the full Times review by Jeannette Catsoulis here.)Where to watch: Stream it on Netflix.‘Judas and the Black Messiah’Won for: Best supporting actor“‘Judas and the Black Messiah’ represents a disciplined, impassioned effort to bring clarity to a volatile moment, to dispense with the sentimentality and revisionism that too often cloud movies about the ’60s and about the politics of race.” (Read the full Times review by A.O. Scott.)Awards Season More
#masthead-section-label, #masthead-bar-one { display: none }Awards SeasonGolden Globes: What HappenedMoments and AnalysisGlobes WinnersGolden Globes ReviewAdvertisementContinue reading the main story‘Nomadland,’ ‘Borat Subsequent Moviefilm’ and ‘The Crown’ Led a Remote Golden GlobesEmma Corrin, as Princess Diana, wins her first Golden Globe for ‘The Crown.’Feb. 28, 2021, 9:20 p.m. ETFeb. 28, 2021, 9:20 p.m. ETEmma Corrin accepts her award for best performance by an actress in a television series, drama.Credit…NBCEmma Corrin’s uncanny and sympathetic portrayal of Princess Diana on Season 4 of Netflix’s “The Crown” — aptly nicknamed “The Diana Season” — earned her a Golden Globe for best performance by an actress in a television series, drama. This was her first Golden Globe nomination.After thanking the H.F.P.A., and the show’s cast and crew in her acceptance speech, she thanked the princess. “Most of all, thank you so much to Diana,” said Corrin, 25, who originated the role and plays the princess from the ages of 16 to 28. “You have taught me compassion and empathy beyond any measure that I could ever imagine, and on behalf of everyone who remembers you so fondly and passionately in our hearts, thank you.”[embedded content]When she was cast in the role, Corrin was a recent graduate of Cambridge University and a relatively unknown actress. On Sunday night, she beat an impressive roster of nominees including her co-star Olivia Colman, who plays Queen Elizabeth II, and Jodie Comer from “Killing Eve.”Corrin — who played opposite Josh O’Connor, who returned in Season 4 as Charles, Prince of Wales — dazzled viewers by capturing many of the princess’s mannerisms, like those just-so head tilts, and by tackling some of Diana’s biggest struggles, including her battle with an eating disorder, the disintegration of her marriage and the birth of her sons. But embodying Diana, who died in 1997 at age 36, an international superstar who had been covered relentlessly in the tabloids, was hugely demanding. And so, Corrin decided to make the depiction her own.“It’s very difficult; it’s a lot to take on and a lot of pressure, especially as we get close to when it comes out,” she told The New York Times last year. “I never went into this thinking I wanted to embody or mimic her,” she said. “I think of her more as a character, and this is my interpretation of her.”Next season, the role of Diana will be taken over by Elizabeth Debicki, who will most likely portray the princess’s final years.AdvertisementContinue reading the main story More
#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyWhat’s on TV This Week: ‘Soul of a Nation’ and ‘Ghostbusters’A newsmagazine featuring a look at Black life in America premieres on ABC. And the “Back to the Future” trilogy airs on AMC.March 1, 2021, 1:00 a.m. ET More
#masthead-section-label, #masthead-bar-one { display: none }Awards SeasonGolden Globes: What HappenedMoments and AnalysisGlobes WinnersGolden Globes ReviewAdvertisementContinue reading the main storySupported byContinue reading the main storyGolden Globes Winners 2021: The Complete ListHere are the winning films, TV shows, actors and production teams at the 2021 Golden Globe Awards.Frances McDormand as Fern in “Nomadland,” which won the award for best motion picture, drama.Credit…Searchlight Pictures/HuluPublished More
AdvertisementContinue reading the main storySupported byContinue reading the main story‘Allen v. Farrow’ Episode 2 Recap: A Family Torn ApartSeven months after the shocking discovery of Woody Allen’s relationship with Soon-Yi Previn, he was accused of sexually abusing Dylan Farrow.From left, Moses Farrow, Soon-Yi Previn, Dylan Farrow and Woody Allen.Credit…HBOFeb. 28, 2021At the end of Episode 1 of “Allen v. Farrow,” the HBO documentary series that investigates the decades-old sexual abuse accusations by Woody Allen’s adopted daughter, Dylan Farrow, the family has just started to cope with the revelation that Mr. Allen and Soon-Yi Previn were involved in a secret relationship.In January 1992, Mia Farrow, Ms. Previn’s mother and Mr. Allen’s girlfriend, discovered nude photos of Ms. Previn, who was then in college, at Mr. Allen’s apartment.The second episode examines the fallout from that discovery and Dylan Farrow’s allegations that her father sexually assaulted her in August 1992, when she was 7 years old.After the first episode premiered, a spokesperson for Mr. Allen and Ms. Previn, who have been married for more than 20 years, released a statement saying the series was “riddled with falsehoods” and suggesting that the filmmakers did not give them ample notice to respond to it. The publisher of Mr. Allen’s recent memoir, “Apropos of Nothing,” also objected to the inclusion of snippets from the audiobook, which it says were used without permission.The filmmakers said in a statement on Wednesday that Mr. Allen and Ms. Previn were approached in December and were given two weeks to confirm their interest in an on- or off-camera interview. A representative confirmed that they had received the request but did not respond to it, the statement said. Mr. Allen has denied ever having been sexually inappropriate or abusive toward Dylan Farrow.Here is what we saw on Sunday night, in Episode 2.A fixation on a certain kind of romanceThis episode, using interviews with journalists and clips from Mr. Allen’s films, explores Mr. Allen’s focus on romantic relationships between older men and younger women.In addition to the films with that theme that have been produced (“Husbands and Wives,” “September”), the episode considers those that did not make it to the screen and that reside in the Woody Allen archive at Princeton University. The archive contains multiple versions of film scripts and pages of ideas with notes in the margins. Richard Morgan, a freelance journalist who examined the archive for The Washington Post, said in the documentary that it reveals a “focus” on “very young women.”The episode includes an interview with Christina Engelhardt, a woman who says she started a relationship with Mr. Allen when she was 17 years old and he was in his early 40s. Ms. Engelhardt, who was a model as a teenager, said she believes their relationship was the basis for “Manhattan,” Mr. Allen’s acclaimed 1979 film that centers on a romance between a high school girl and a man — played by Mr. Allen — who is older than her father.She says in an interview with the filmmakers that her relationship with Mr. Allen, which she said lasted until she was 23, has “taken a toll” on her, affecting her later relationships. She says the experience also made her a “supervigilant mother.”Dylan FarrowCredit…HBOThe aftermath of the photosAfter Ms. Farrow discovers the nude Polaroids of Ms. Previn, the family is in shock. Daisy Previn, one of Ms. Farrow’s daughters, recounts how she told her sister, Soon-Yi, that she should come back to the family — that their mother would forgive her — and how Soon-Yi went in another direction, to Mr. Allen.Ms. Farrow recalls a moment that she was “not proud” of from around this time: She found Soon-Yi talking to someone on the phone and, assuming it was Mr. Allen, Ms. Farrow said she “pounced on her,” slapping Soon-Yi on the side of the face and the shoulder. (In 2014, Moses Farrow, Mia and Woody’s son, told People magazine that his mother bullied the children and hit him. Moses, who has sided with his father in saying that he does not believe that Dylan was molested, has not participated in the docuseries.)Part of a taped phone conversation between Ms. Farrow and Mr. Allen from the summer of 1992 is included in the episode. Ms. Farrow says she decided to record it because she thought Mr. Allen had already taped one of their phone calls. In the conversation, Ms. Farrow and Mr. Allen argue about what they should say to the media if his relationship with Ms. Previn becomes public.Fletcher Previn, one of Ms. Farrow’s older children, tells the filmmakers that during this time, his opinion of Mr. Allen shifted dramatically.“He went from a father figure to a person who is a predator that we have to keep out of the house and protect ourselves from,” Mr. Previn said.Aug. 4, 1992Amid this chaos, the family went to their Connecticut country house, and despite the rift between Ms. Farrow and Mr. Allen, he had a legal right to see Dylan and Moses Farrow because he had adopted them in 1991..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-rqynmc{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:0.9375rem;line-height:1.25rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-rqynmc{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-rqynmc strong{font-weight:600;}.css-rqynmc em{font-style:italic;}.css-yoay6m{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}@media (min-width:740px){.css-yoay6m{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-1pd7fgo{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-1pd7fgo{padding:20px;width:100%;}}.css-1pd7fgo:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1pd7fgo{border:none;padding:20px 0 0;border-top:1px solid #121212;}.css-1pd7fgo[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-1pd7fgo[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-1pd7fgo[data-truncated] .css-5gimkt:after{content:’See more’;}.css-1pd7fgo[data-truncated] .css-6mllg9{opacity:1;}.css-k9atqk{margin:0 auto;overflow:hidden;}.css-k9atqk strong{font-weight:700;}.css-k9atqk em{font-style:italic;}.css-k9atqk a{color:#326891;-webkit-text-decoration:none;text-decoration:none;border-bottom:1px solid #ccd9e3;}.css-k9atqk a:visited{color:#333;-webkit-text-decoration:none;text-decoration:none;border-bottom:1px solid #ddd;}.css-k9atqk a:hover{border-bottom:none;}Understand the Allegations Against Woody AllenNearly 30 years ago, Woody Allen was accused of sexually abusing Dylan Farrow, his adoptive daughter. A new docuseries re-examines the case.This timeline reviews the major events in the complicated history of the director, his children and the Farrow family.The documentary filmmakers Kirby Dick and Amy Ziering spoke about delving into this thorny family tale. Dylan Farrow wrote an open letter in 2014, posted by the New York Times opinion columnist Nicholas Kristof, recounting her story in detail.Our book critic reviewed Mr. Allen’s recent memoir, “Apropos of Nothing.”A.O. Scott, co-chief film critic, grappled with the accusations and his complicated feelings on the filmmaker in 2018. The episodes include a mixture of interviews and court testimony from those who were present on Aug. 4, 1992, the day that Dylan Farrow says her father assaulted her. Mia Farrow had gone to the store with Casey Pascal, a family friend whose children and babysitter were at the house that day. Sophie Bergé, a French tutor staying with the family that summer, said that Mr. Allen arrived while they were running errands.On that day, there were about 20 minutes during which Dylan Farrow could not be found, according to 1993 testimony in the custody case from Kristi Groteke, the babysitter for the Farrow children. Ms. Groteke said in court that she looked for Dylan throughout the house but could not find her.When Ms. Farrow and Ms. Pascal returned home, Ms. Farrow said, she noticed that Dylan was not wearing underpants and asked her babysitter to get a new pair.The day afterOn Aug. 5, Ms. Pascal said that she called Ms. Farrow to tell her that the Pascals’ babysitter, Alison Stickland, had witnessed something that disturbed her: Dylan Farrow sitting on the couch, with Mr. Allen, on his knees, his head buried in his daughter’s lap.Ms. Farrow tells the filmmakers that when she asked her daughter what had happened, Dylan confirmed that Mr. Allen had put his head in her lap and that he had also taken her up to the attic and touched her “privates.” Ms. Farrow says she decided to film her daughter’s account because she wanted to tell Dylan’s therapist, who was away for the summer.That footage, which is being shown publicly for the first time in this series, later became the subject of controversy: Some thought it was clear evidence that Dylan Farrow was telling the truth, while others saw it as evidence that Ms. Farrow had coached her daughter on what to say.In the video, Dylan Farrow says that in the attic, her father told her, “Do not move, I have to do this,” and that if she stayed still, they could go on a trip to Paris.Dylan Farrow, now 35 years old, says in the documentary she remembers that during the assault, she focused her attention on her brother’s train set.AdvertisementContinue reading the main story More
#masthead-section-label, #masthead-bar-one { display: none }At HomeWatch: ‘WandaVision’Travel: More SustainablyFreeze: Homemade TreatsCheck Out: Podcasters’ Favorite PodcastsCredit…Yoshi SodeokaHow the Pandemic Stalled Peak TVWhere’s “Succession”? “Atlanta”? After the number of scripted shows fell for the first time in a decade, Hollywood hopes to satisfy a restless audience with less costly fare.Credit…Yoshi SodeokaSupported byContinue reading the main storyFeb. 28, 2021, 5:00 p.m. ETWhat would we be watching in an alternate, pandemic-free universe?One choice would be the third season of “Atlanta,” the critically adored show created by Donald Glover, which would have made its debut a few weeks ago. Viewers would have also learned the latest in the saga of the Roy family on “Succession,” or could have tuned in to see the portrait of Monica Lewinsky and Bill Clinton in the new installment of “American Crime Story.”The new seasons of those shows were postponed, and they won’t be available any time soon. The pandemic created a break in the boom time known as Peak TV, a gilded entertainment age of limitless home-viewing options ushered in by deep-pocketed tech companies and the cable networks desperate to keep up.Nearly a year ago, when the full force of the coronavirus pandemic hit the United States, home viewing became the main leisure activity for those who found themselves working remotely and unable to go out in their off hours.Cable news scored record ratings. Unscripted series like “Tiger King” and “Too Hot to Handle” became some of Netflix’s most-watched shows. Vintage escapist favorites like “The Golden Girls” had a resurgence.As the virus continued to ravage the country, viewers found relief in new seasons of “The Mandalorian” and “The Crown,” as well as newcomers like “Bridgerton” and “The Queen’s Gambit.”But pandemic-related production delays, which all but shut down the filming of scripted shows and films for much of 2020, have started to have an effect. The number of premieres of American scripted shows nose-dived in the second half of last year, a trend that is likely to continue for several months. And in 2020, for the first time in a decade, there were fewer new scripted shows to watch than in the previous year.“The disruption of the pipeline is being manifested now,” said Matt Roush, a senior critic at TV Guide Magazine. “Now there are only a couple things a month to get excited about, versus getting excited a couple times a week before.”A Sudden DropThe rise of cable put a dent in the traditional broadcast TV schedule, one of fall premieres and springtime finales, that had dictated viewing habits for decades. And the entry of Netflix and other streaming services smashed what was left of the old model. Audiences got used to new shows popping up all the time.From 2009 to 2019, the number of scripted shows in the United States went up each year, according to the research department of the cable network FX, one of the few organizations that kept track of the boom. In 2009, there were 210 scripted shows, according to FX. By 2019, there were 532, a 153 percent jump.Before the pandemic, 2020 looked as if it would be the biggest year ever, thanks, in part, to the arrival of the streamers Disney+, Apple TV+, Quibi, HBO Max and Peacock.From January to May, 214 adult-oriented American scripted shows had their premieres, according to Ampere, a research firm that tracks television distribution and production activity. That number was more than all the scripted shows in 2009. And it was a 32 percent jump over the number of scripted programs that made their debuts in the equivalent period of 2019.In June, the industry hit a wall. In the second half of the year, premieres of scripted shows dropped 28 percent from the same period in 2019. The effect was most apparent in September, a big month for debuts. In September 2019, 86 shows had their premieres in the United States. A year later, that number fell to 35.“Last year saw a stalling of what seemed like unstoppable growth for scripted content,” said Fred Black, a senior analyst at Ampere.Nearly every platform, broadcast network and cable channel has taken a hit, according to Ampere. Even the prolific Netflix had fewer American scripted shows in the second half of last year. And the industrywide decline continued into January, Mr. Black said.For some people in Hollywood, not to mention many viewers, the pause is not unwelcome.“The more and more and more thing — who was that good for?” said Willa Paskin, a TV critic at Slate and a host of its “Decoder Ring” podcast. “We are ravenous content monsters, but isn’t it nice to have it be chiller and have some time to get to catch up on something?”Naomi Fry, a staff writer at The New Yorker who covers pop culture and television, said: “For the last year, it feels as if we’ve been watching TV on a plane. We’re kind of locked in a vortex, flipping between various options. You’re waiting for time to pass. Some of it is very good, but there’s also a sense of glut and not a sense of excitement and specialness about it.”One reason for the drop is obvious: With productions shut down, new seasons could not be completed in time. But there was another reason, executives and agents said. When filming resumed, extensive safety protocols for actors and crews added roughly 30 percent to most production budgets, said Chris Silbermann, the chief executive of ICM Partners, a major Hollywood talent agency.“Everyone saw these costs pulling through the system and realized, ‘Oh, no, we’re going to have to do less,’” Mr. Silbermann said. “Stuff that was on the bubble, a lot of that stuff just went away.”The slowdown also meant a change in Hollywood negotiations.“I am now having tough production budget conversations with the streamers that I used to have with NBC, CBS, ABC and Fox,” Mr. Silbermann said. “These are like old-school budget conversations.”Several outlets fed the maw in another way, by turning to international programming. Netflix’s “Lupin,” a French thriller series, and “Call My Agent!” a French workplace dramedy, have connected with American audiences. Their success was part of a larger lockdown trend: The viewing of non-English-language titles by U.S. Netflix subscribers shot up more than 50 percent in 2020, a Netflix spokesman said.“Every show in another language is immediately better for us, because you can’t be on your phone,” Ms. Paskin, the Slate critic, said. “It just makes you pay attention.”How About a Nice Game Show?To fill the void left by the lack of scripted fare, nearly all outlets have also turned to reality programs, documentary series and even game shows, all of which are cheaper to make. Broadcast networks have given prime-time hours to shows like “Celebrity Wheel of Fortune” and “The Price Is Right at Night.” The number of unscripted shows making their debuts in 2020 increased 19 percent over the previous year, Ampere said.“Everywhere you look, there’s a game show,” said Mr. Roush, the TV Guide critic. He added that his readers had pestered him about the lack of new episodes of network standbys like “NCIS” and “Grey’s Anatomy.”With movie theaters either closed or selling limited tickets, streaming platforms have also filled in the blanks with new films that would have played on big screens for weeks or months before reaching home viewers. “Wonder Woman 1984” was the first of many WarnerMedia movies to stream on HBO Max the same day as its theatrical premiere date, and the much-anticipated Eddie Murphy sequel, “Coming 2 America,” arrives to Amazon on Friday.Some TV franchises found ways to work around pandemic shutdowns. AMC’s biggest hit, “The Walking Dead,” was scheduled to go into production in April and start rolling out its 11th and final season in October. With 22 series regulars and hundreds of extras and crew members, it is not a simple production. Then the virus struck.“We were sitting around asking ourselves, ‘What are we going to do?’” said Dan McDermott, president of original programming for AMC Networks.They decided on a scaled-down add-on to the 10th season, with six new episodes focused on individual characters that could be shot sans dozens of zombies. Those episodes went into production in October, and the first is scheduled for AMC on Sunday. The 11th season of “The Walking Dead” started filming weeks ago, with the premiere scheduled for later this year, roughly two years after the debut of the previous season.Several other AMC series fell a year behind schedule. Mr. McDermott said he had filled the holes with international acquisitions, including the British crime dramas “Gangs of London” and “The Salisbury Poisonings.”“We’re discovering like, wow, there’s a lot of great content being made out there,” he said. “And it would not necessarily have enjoyed the same profile, if it were a regular year.”There is still plenty to watch. The broadcast networks are offering new episodes of “This Is Us” and “Young Sheldon,” and Disney+ is streaming new episodes of the Marvel series “WandaVision.”But with the spigot slowing as the stay-at-home period continues for millions of people, many viewers are turning to old favorites or trying shows they may have missed the first time around, like the cult NBC comedy series “Freaks and Geeks,” which became available on Hulu in January, or “The Sopranos,” a perennial HBO favorite.“People have a lot more time to watch TV,” Ms. Paskin said. “People who say, ‘Oh, I’m going to watch “The Sopranos,”’ they are looking for a project. Doesn’t that just seem very quarantine mind-set? People are home every night. It’s fun to have a project that’s painless — rewatching ‘The Sopranos.’ Are you kidding!”AdvertisementContinue reading the main story More
#masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyEmmanuel Acho to Host ‘The Bachelor’ Television SpecialMr. Acho, author of “Uncomfortable Conversations With a Black Man,” will host “After the Final Rose” after the show’s longtime host went on hiatus over comments dismissive of racism.Emmanuel Acho will host “After the Final Rose” after the announcement that the show’s longtime host, Chris Harrison, would be “stepping aside.”Feb. 28, 2021, 4:08 p.m. ETEmmanuel Acho, an author and former National Football League player, will host a post-finale special of “The Bachelor” after the show’s longtime host, Chris Harrison, said he was “stepping aside” after he made comments that were dismissive of racism.Mr. Acho, who wrote the book “Uncomfortable Conversations With a Black Man” and hosts a show by the same name, said in a statement that it was “both an honor and privilege” to host the hourlong special on March 15.“This is an incredibly pivotal episode on one of the most storied shows in television history,” he said.The installment of a Black host caps a season that featured the ABC franchise’s first Black “Bachelor,” Matt James, but has also been overshadowed by a series of controversies amid calls from the show’s fans to increase its efforts toward diversity and inclusion.Mr. Harrison’s hiatus came after an interview with Rachel L. Lindsay, the show’s first Black “Bachelorette,” in which Mr. Harrison defended racist actions by one of this season’s three finalists.The “After the Final Rose” special will “cover the current events about the franchise,” ABC said in a statement, as well as conversations between Mr. Acho, Mr. James and the three finalists.One of the finalists, Rachael Kirkconnell, has faced criticism over photos that have recently surfaced, including one of her attending an “Old South” plantation-themed ball. Ms. Kirkconnell apologized in an Instagram post, saying, “I was ignorant, but my ignorance was racist.”Mr. James said that the interview between Mr. Harrison and Ms. Lindsay “was troubling and painful to watch,” adding that “it was a clear reflection of a much larger issue that ‘The Bachelor’ franchise has fallen short on addressing adequately for years.”Mr. Harrison, who is still listed as the show’s host on its website, apologized, writing on Instagram that his comments, like his use of the term “woke police” in defending Ms. Kirkconnell, were “unacceptable.”Ms. Lindsay had suggested last week that Mr. Acho “would be fantastic” as a host for the special because he has been “very outspoken about racial injustice, for social justice, and has pretty much been the person who said, ‘I can have these uncomfortable conversations and people trust it.’”Mr. Acho said on Instagram about the announcement: “I love being a bridge for reconciliation. Our world is disconnected & divided, my goal is to unify.”Mr. Acho, an analyst for Fox Sports, is a former linebacker for the Cleveland Browns and Philadelphia Eagles football teams. He left the N.F.L. in 2016 to join ESPN as an analyst.His YouTube show, “Uncomfortable Conversations With a Black Man,” has covered topics like policing, national anthem protests and “Karens & Cancel Culture.” An episode titled “A Conversation With the Police” has more than two million views.AdvertisementContinue reading the main story More
