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      Times Analyzed 3,000 Videos of Capitol Riot for Documentary

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      Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.On Jan 6., as rioters were attacking the U.S. Capitol, Times journalists on the Visual Investigations team were downloading as many recordings of the violence as they could find.Over the next six months, the team, which combines traditional reporting techniques with forensic visual analysis, gathered over 3,000 videos, equaling hundreds of hours. The journalists analyzed, verified and pinpointed the location of each one, then distilled the footage into a 40-minute documentary that captured the fury and destruction moment by moment. The video, the longest the team has ever produced, provides a comprehensive picture of “a violent assault encouraged by the president on a seat of democracy that he vowed to protect,” as a reporter says in the piece.The visual investigation, “Day of Rage,” which was published digitally on June 30 and which is part of a print special section in Sunday’s paper, comes as conservative lawmakers continue to minimize or deny the violence, even going as far as recasting the riot as a “normal tourist visit.” The video, in contrast, shows up-close a mob breaking through windows, the gruesome deaths of two women and a police officer crushed between doors.“In providing the definitive account of what happened that day, the piece serves to combat efforts to downplay it or to rewrite that history,” said Malachy Browne, a senior producer on the Visual Investigations team who worked on the documentary.“It serves the core mission of The Times, which is to find the truth and show it.”Haley Willis, a producer on the team who helped gather the footage, said that some of the searches required special techniques but that much of the content was easily accessible. Many of the videos came from social media platforms like Facebook, YouTube, Twitter and Parler, a platform that was popular with conservatives and later shut down. The team also collected recordings from journalists on the scene and police radio traffic, and went to court to unseal body camera footage.“Most of where we found this information was on platforms and places that the average person who has grown up on the internet would understand,” Ms. Willis said.In analyzing the videos, the team members verified the images, looked for specific individuals or groups like the Proud Boys and the Oath Keepers, and identified when and where each one was filmed. Then they put the videos on a timeline, which allowed them to reconstruct the scenes by the minute and track the key instigators.David Botti, a senior producer, said the team wanted to use this footage to explain how the riot happened, to underscore just how close the mob came to the lawmakers and to explore how much worse it could have gotten. For example, the investigation tracked the proximity of the rioters to former Vice President Mike Pence and an aide who was carrying the United States nuclear codes.“It’s rare to get an event of this magnitude that’s covered by so many cameras in so many places by so many different types of people filming with different agendas,” Mr. Botti said. “There was just so much video that someone needed to make sense of it.”Dmitriy Khavin, a video editor on the team, said he wanted viewers to feel like they were on the scene. But he also recognized the images were graphic, so he tried to modulate the pace with slower moments and other visual elements like maps and diagrams.“This event was overwhelming,” Mr. Khavin said. “So we worked a lot on trying to make it easier to process, so it’s not like you’re being bombarded and then tuning out.”Carrie Mifsud, an art director who designed the print special section, said her goal was similar, adding that she wanted to stay true to the video’s foundation. “For this project, it was the sequence and the full picture of events,” she said. Working with the graphics editors Bill Marsh and Guilbert Gates, she anchored the design in a timeline and included as many visuals and text from the documentary as possible to offer readers a bird’s-eye view of what happened.“My hope is that the special section can serve as a printed guide to what happened that day, where it started, and the aftermath, Ms. Mifsud said.For the journalists on the Visual Investigations team, it was challenging to shake off the work at the end of the day. Mr. Khavin said images of the riot would often appear in his dreams long after he stepped away from the computer.“You watch it so many times and look at these people and notice every detail and digest the anger,” he said. “It is difficult.” More

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      Can Paramount+ Succeed? One Producer Hopes to Make It So.

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      Like so many other writer-directors, Alex Kurtzman grew up worshiping film.But he is adaptable — and in the streaming era, that is a very lucrative trait.Mr. Kurtzman, the onetime writer of the “Transformers” movies and the director of the 2017 film “The Mummy,” recently renegotiated his deal at CBS Studios into one of the richest there. Under the $160 million, five-and-a-half-year agreement, he will continue to shepherd the growing “Star Trek” television universe for ViacomCBS’s Paramount+ streaming platform.He will also create shows, including a limited series based on “The Man Who Fell to Earth,” which he will direct for Showtime, and the long-awaited adaptation of Michael Chabon’s Pulitzer Prize-winning novel, “The Amazing Adventures of Kavalier & Clay.” That limited series is likely to be sold to an outside streaming service.Mr. Kurtzman’s deal is the latest in a string intended to give prolific producers, like Shonda Rhimes and Ryan Murphy for Netflix and Jordan Peele with Amazon Studios, free rein to create content that can feed insatiable consumer appetites and hopefully boost subscriptions for streaming. This one puts the ambitions of CBS Studios — the production arm for the networks and channels under the ViacomCBS umbrella — squarely in the hands of the 47-year-old Mr. Kurtzman.“From the first meeting I had with Alex, it was so obvious to me that he’s our future,” George Cheeks, the president and chief executive of the CBS Entertainment Group, said in an interview. “The guy can develop for broadcast. He can develop for premium streaming, broad streaming. He understands the business. He’s got tremendous empathy. He’s creatively nimble.“When you make these investments,” Mr. Cheeks continued, “you need to know that this talent can actually deliver multiple projects at the same time across multiple platforms.”“Star Trek: Discovery” is one of five “Star Trek” shows that Mr. Kurtzman has produced.Michael Gibson/CBSThe road ahead won’t be easy for ViacomCBS. Its fledgling Paramount+ was a late entry into streaming, and is essentially a rebranded and expanded version of CBS All Access. The company promotes the service’s news and live sports, including National Football League games, along with “a mountain of movies.” (“A Quiet Place 2” debuted on it on July 13.) But Paramount+, in combination with a smaller Showtime streaming offering, had just 36 million subscribers as of May.While it hopes to reach 65 million to 75 million global subscribers by 2024, that’s still a far cry from Netflix’s worldwide total of almost 210 million and the nearly 104 million for Disney+. Even NBCUniversal announced on Thursday that it had 54 million subscribers for its Peacock streaming service, thanks to an Olympic push.And with consolidation mania consuming Hollywood, many analysts are not confident that ViacomCBS will be able to continue to compete with the larger companies on its own.“I think it’s hard to imagine any of these companies going it alone; I think they are all too small,” said Richard Greenfield, an analyst at LightShed Partners. “The challenge, whether it’s Peacock, Paramount+, Disney+ or Hulu, is that all of these companies are still conflicted over what do they put on linear TV, what do they put in a movie theater and what do they put on streaming.“Netflix, Amazon and Apple do not have that debate every day,” he added. “All their assets go into one thing. Here, they have to balance, and that makes all of their streaming services suboptimal.”Those corporate considerations don’t seem to bother Mr. Kurtzman. Rather than bemoaning the diminished state of movies or anguishing over the lack of viable buyers as the market shrinks, he said he was finding the current climate to be creatively invigorating and remarkably fluid.Mr. Kurtzman said he wanted to make the “Star Trek” universe as expansive as the Marvel universe.Philip Cheung for The New York Times“I do believe that the line between movies and television is gone now, and that to me is a tremendous opportunity,” he said in an interview. “For me and for showrunners like me, we can tell stories in a new way. We are not limited by the narrow definition of how you tell a story — something must be told in 10 hours, or something must be told in two hours.”Mr. Kurtzman began working with CBS in 2009 when he developed the reboot of “Hawaii Five-0” with his former writing partner, Roberto Orci. In 2017, he began reimagining the “Star Trek” universe for the company, building on his familiarity with the franchise after co-writing the two J.J. Abrams-directed “Star Trek” movies several years earlier.Since then, he has produced five shows in the universe initially imagined in the 1960s by Gene Roddenberry, and all will be on Paramount+. They are “Star Trek: Discovery”; “Star Trek: Picard”; “Star Trek: Lower Decks”; “Star Trek: Prodigy,” which will debut in the fall; and “Star Trek: Strange New Worlds,” set for release in 2022. ViacomCBS says “Star Trek: Discovery” and “Star Trek: Picard” are among the most watched original series on Paramount+.Also in the works are “Section 31,” starring Michelle Yeoh, and a show built around the “Starfleet Academy,” which will be aimed at a younger audience.But how much “Star Trek” does one planet need?“I think we’re just getting started,” Mr. Kurtzman said. “There’s just so much more to be had.”He recently finished a four-month shoot in London for the first half of “The Man Who Fell to Earth,” a 10-episode series based on the 1976 David Bowie film. Chiwetel Ejiofor plays a new alien character who arrives on Earth at a turning point in human evolution.Mr. Kurtzman said he loved the experience of working on the series, buoyed by the fact that the pandemic allowed him and his writing partner, Jenny Lumet, the opportunity to complete all the episodes before production began.“I would absolutely not be doing anything differently if we were making this as a film,” he said. “I’m working with movie stars in three different countries, shooting sequences that are certainly not typical television sequences, all of which I can only do because of my experience working in films.”Ms. Lumet met Mr. Kurtzman in 2015. He requested getting together after seeing the film “Rachel Getting Married,” which she wrote. Ms. Lumet said she was surprised that this “sci-fi robot guy in khakis” was interested in meeting her at all.“All he wanted to do was talk about tiny moments, tiny real moments in movies and tiny moments in television shows, and he was so gentle and willing to listen,” she said. “Usually, the robot guys aren’t willing to listen to anything, and that’s all he wanted to do. It was really cool.”The two have worked on everything from “Star Trek: Discovery” and “Star Trek: Strange New Worlds” to the short-lived “Clarice” and “The Man Who Fell to Earth.” Next, they plan to tackle the story of Ms. Lumet’s grandmother Lena Horne in a limited series for Showtime.Those around Mr. Kurtzman credit his early experience in television (“Alias,” “Fringe,” “Sleepy Hollow”) for giving him the ability to manage multiple projects at one time without appearing to be overwhelmed. “He has an almost supernatural ability to keep separate train tracks in his head, this show, this show and this show, and he can jump from one to the other,” Ms. Lumet said. “He is one of the few people who can keep all the trains running.”His work as a film screenwriter began on Michael Bay’s 2005 film, “The Island.” Soon, he and Mr. Orci were being called “Hollywood’s secret weapons” for their ability to crack scripts on lucrative existing properties that others couldn’t (like “Transformers”). That led him to consider “Star Trek” in the same expansive terms that Marvel Studios views its cinematic universe. It’s a strategy that CBS Studios thoroughly endorses.Mr. Kurtzman wrote two “Star Trek” films with Roberto Orci, right. J.J. Abrams, middle, directed both.Zade Rosenthal/Paramount PicturesDavid Stapf, president of CBS Studios, points to “Star Trek: Prodigy” as an example. The animated show, one of the first animated “Star Trek” shows geared at children, is set to debut in the fall on Paramount+ before moving to Nickelodeon.“It obviously builds fans at a much younger generation, which helps with consumer products,” Mr. Stapf said. “But it’s also a smart way to look at building an entire universe.”To Mr. Stapf, who has overseen CBS Studios since 2004, the “Marvelization” of “Star Trek” can mean many things.“Anything goes, as long as it can fit into the ‘Star Trek’ ethos of inspiration, optimism and the general idea that humankind is good,” he said. “So comedy, adult animation, kids’ animation — you name the genre, and there’s probably a ‘Star Trek’ version of it.”That’s good news to Mr. Kurtzman, who wants to get much weirder with the franchise, which will celebrate its 55th birthday this year. He points to a pitch from Graham Wagner (“Portlandia,” “Silicon Valley”), centered on the character Worf, that he calls “incredibly funny, poignant and touching.”“If it were up to me only, I would be pushing the boundaries much further than I think most people would want,” he said. “I think we might get there. Marvel has actually proven that you can. But you have to build a certain foundation in order to get there and we’re still building our foundation.” More

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      Scarlett Johansson Sues Disney Over ‘Black Widow’ Release

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      The star said making the film available on Disney+ at the same time it opened in theaters “dramatically” lowered box office revenue, which could cost her tens of millions of dollars.Never cross a super-assassin: Scarlett Johansson, who has played the Marvel character Black Widow in eight blockbuster films, sued the Walt Disney Company on Thursday over its pandemic-era streaming strategy. The lawsuit marked a sharp escalation in a festering standoff between movie actors and media companies over compensation in the streaming age.The complaint, filed in Los Angeles Superior Court, claims that Disney breached her contract when it released “Black Widow” simultaneously in theaters and on Disney+ earlier this month. Ms. Johansson’s suit said that Disney had promised that “Black Widow” would receive an exclusive release in theaters for approximately 90 to 120 days and that her compensation — based largely on bonuses tied to ticket sales — was gutted as a result of the hybrid release. Simultaneous availability on Disney+, where subscribers could watch the film instantly (and have permanent access to it) for a $30 surcharge, “dramatically decreased box office revenue,” Ms. Johansson said in the suit.“There is no merit whatsoever to this filing,” Disney said in a statement.Over its first three days in theaters, “Black Widow” collected $158 million at theaters worldwide and took in about $60 million on Disney+ Premier Access. Total ticket sales now stand at $327 million, the lowest total for a Marvel Studios release since 2008, when “The Incredible Hulk” collected $265 million (or $341 million in today’s dollars). Disney has not given a running total for Disney+ sales of “Black Widow.”Making “Black Widow” available on Disney+ could cost Ms. Johansson more than $50 million, according to two people briefed on her contract, who spoke on the condition of anonymity to discuss the private agreement. That is how much Ms. Johansson would have made if “Black Widow” had approached $1 billion in global ticket sales; “Captain Marvel” and “Black Panther” both exceeded that threshold in prepandemic release.Films released during the pandemic — including those that have received exclusive theatrical releases — have largely disappointed at the box office, with many consumers demonstrating a reluctance to return to theaters. The entire film ecosystem has been hurt as a result: cinema chains, stars, studios.Disney has cited the coronavirus as a reason for releasing movies like “Black Widow” simultaneously in theaters and on Disney+ Premier Access.Jay Maidment/Marvel Studios, via Disney“First, Disney wanted to lure the picture’s audience away from movie theaters and towards its own streaming service, where it could keep the revenues for itself while simultaneously growing the Disney+ subscriber base, a proven way to boost Disney’s stock price,” the suit, which was first reported on by The Wall Street Journal, claimed. “Second, Disney wanted to substantially devalue Ms. Johansson’s agreement and thereby enrich itself.”Disney’s statement called the lawsuit “especially sad and distressing in its callous disregard for the horrific and prolonged global effects of the Covid-19 pandemic.” The company added, “Disney has fully complied with Ms. Johansson’s contract and furthermore, the release of ‘Black Widow’ on Disney+ with Premier Access has significantly enhanced her ability to earn additional compensation on top of the $20 million she has received to date.”“Black Widow” was initially scheduled for exclusive theatrical release in May of last year. Disney ended up postponing the film’s release three times as the pandemic dragged on.Disney, citing the ongoing coronavirus threat, ultimately decided to release several major movies simultaneously in theaters and on Disney+ Premier Access. It used the strategy in May for “Cruella,” which starred Emma Stone and took in $221 million worldwide. (Disney has kept Disney+ revenue for “Cruella” a secret.) On Friday, Disney will give the same treatment to “The Jungle Cruise,” a comedic adventure that stars Emily Blunt and Dwayne Johnson. It is not known if Ms. Stone, Ms. Blunt or Mr. Johnson renegotiated their contracts with Disney as a result.In December, WarnerMedia kicked a hornet’s nest by abruptly announcing that more than a dozen Warner Bros. movies — the studio’s entire 2021 slate — would each arrive in theaters and on HBO Max. The decision prompted an outcry from major stars and their agents over the potential loss of box office-related compensation, forcing Warner Bros. to make new deals. It ultimately paid roughly $200 million to thwart the rebellion.The deeper question is this: If old-line studios are no longer trying to maximize the box office for each film but instead shifting to a hybrid model where success is judged partly by ticket sales and partly by the number of streaming subscriptions sold, what does that mean for how stars are paid — and where they make their movies?The traditional model, the one that studios have used for decades to make high-profile film deals, involves paying small fees upfront and then sharing a portion of the revenue from ticket sales. The bigger the hit, the bigger the “back end” paydays for certain actors, directors and producers.The streaming giants have done it differently. They pay more upfront — usually much, much more — in lieu of any back-end payments, which gives them complete control over future revenue. It means that people get paid as if their projects are hits before they are released (or even made).Ms. Johansson’s suit also took direct aim at Bob Chapek, Disney’s chief executive, and Robert A. Iger, Disney’s chairman, by citing the stock grants given to them as rewards for building Disney+, which has more than 100 million subscribers worldwide. “Disney’s financial disclosures make clear that the very Disney executives who orchestrated this strategy will personally benefit from their and Disney’s misconduct,” the complaint said.According to the suit, Ms. Johansson’s representatives approached Disney and Marvel in recent months with a request to renegotiate her contract. “Disney and Marvel largely ignored Ms. Johansson,” the suit said. More

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      Universal Pictures Spends Big for New 'Exorcist' Trilogy

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      The deal, expected to be announced this week, is for more than $400 million and is a direct response to the streaming giants that are upending the film industry’s economics.LOS ANGELES — Heads are spinning in Hollywood: Universal Pictures and its streaming-service cousin have closed a $400 million-plus megadeal to buy a new “Exorcist” trilogy, signaling a sudden willingness to compete head-on with the technology giants that are upending entertainment industry economics.Donna Langley, the film studio’s chairwoman, teamed with Peacock, NBCUniversal’s fledgling streaming service, to make the purchase, which is expected to be announced this week, according to three people briefed on the matter. These people, who spoke on the condition of anonymity to discuss the still-private deal, said the price was in the vicinity of the $465 million that Netflix paid in March for two sequels to the 2019 whodunit “Knives Out.”Universal had no immediate comment.The “Knives Out” and “Exorcist” deals — both negotiated by Bryan Lourd, the Creative Artists superagent — solidify a new streaming gold rush. The eye-popping talent paydays of 2017 and 2018, when Netflix scooped up big-name television creators, have migrated to the film world.The proliferation of streaming services and their scramble for subscribers has driven up prices for established film properties and filmmakers. At the same time, traditional movie companies are under more pressure than ever to control those same creative assets; moviegoing has been severely disrupted by the pandemic and may never fully recover.Linda Blair as the possessed Regan in the original “Exorcist,” which was nominated for 10 Academy Awards, including best picture.Warner Bros. Entertainment, via Associated PressIt is surprising, however, that Universal and Peacock have come to the table in such a major way. NBCUniversal, which is owned by Comcast, has started to devote more resources to the little-watched Peacock. Programming from the Tokyo Olympics is available on the service, for instance. But Hollywood has heretofore viewed the year-old Peacock as unwilling to compete for top-tier movie deals.Universal’s decision to revisit “The Exorcist” is striking in and of itself. The R-rated 1973 film about a baffled mother (Ellen Burstyn) and her demonically possessed daughter (Linda Blair) was a global box office sensation — “the biggest thing to hit the industry since Mary Pickford, popcorn, pornography and ‘The Godfather,’” as Vincent Canby wrote in The New York Times in 1974. It has become a cultural touchstone, the type of film that fans and critics guard as sacrosanct.Universal is not remaking “The Exorcist,” which was directed by William Friedkin from a screenplay that William Peter Blatty adapted from his own novel. But the studio will, for the first time, return the Oscar-winning Ms. Burstyn to the franchise. (Two forgettable “Exorcist” sequels and a prequel were made without her between 1977 and 2004.) Joining her will be Leslie Odom Jr., a Tony winner for “Hamilton” on Broadway and a double Oscar nominee for “One Night in Miami.” He will play the father of a possessed child. Desperate for help, he tracks down Ms. Burstyn’s character.Suffice it to say, Satan is not thrilled to see her again.David Gordon Green, known for Universal’s blockbuster 2018 reboot of the “Halloween” horror franchise, will direct the new “Exorcist” films and serve as a screenwriter. The horror impresario Jason Blum (“Get Out,” the “Purge” series) is among the producers, along with David Robinson, whose company, the independent Morgan Creek Entertainment, has held the “Exorcist” movie rights. The Blumhouse film executive Couper Samuelson is among the executive producers. (Blumhouse has a first-look deal with Universal.)The first film in the trilogy is expected to arrive in theaters in late 2023. Under the terms of the deal, the second and third films could debut on Peacock, according to one of the people briefed on the matter.Donna Langley, Universal’s chairwoman, and the horror maestro Jason Blum, who will help produce the new trilogy.Alberto E. Rodriguez/Getty Images for CinemaconIn a business sense, the deal reflects the boldness of Ms. Langley, chairwoman of the Universal Filmed Entertainment Group. In the wake of the pandemic, which brought movie production to a halt, she led an effort to develop safety protocols to get the assembly lines moving again. In the case of “Exorcist,” she led a push inside NBCUniversal to pull off the big-money deal.The cost of the package is so high because Ms. Langley and her deals maven, Jimmy Horowitz, did not play by Hollywood’s old economic rules; they took a risk and played by new ones — those used by streaming insurgents like Netflix, Amazon and Apple to outbid traditional film companies, at least until now.The old model, the one that studios have used for decades to make high-profile film deals, involves paying fees upfront and then sharing a portion of the revenue from ticket sales, DVD purchases and television rerun licensing around the world. The bigger the hit, the bigger the “back end” paydays for certain talent partners.The streaming giants have done it differently. They pay more upfront — usually much, much more — in lieu of any back-end payments, which gives them complete control over future revenue. It means that talent partners get paid as if their projects are hits before they are released (or even made). The risk for talent: If their projects become monster hits, they do not get a piece of the windfall. More

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      HBO and HBO Max Subscribers Seen Reaching 73 Million in 2021

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      AT&T may not want HBO Max anymore, but the streaming platform is gaining traction with customers.HBO and HBO Max, home to genre-bending franchises such as “Game of Thrones” and “The Sopranos” and Hollywood blockbusters like “Wonder Woman 1984,” have added 10.7 million customers in a little over a year, with 2.8 million coming in the three months ending in June, AT&T reported on Thursday. Those figures include both HBO Max and the HBO TV channel.The company has 67.5 million subscribers to HBO and HBO Max, with 47 million in the United States. AT&T, which has struck a deal to sell its media businesses, expects HBO and HBO Max will have between 70 million and 73 million customers by the end of the year, exceeding earlier predictions.Netflix, the most popular streaming service, has 209 million subscribers, with about 66 million in the United States. It gained customers in the second quarter, but growth has considerably slowed and it lost 430,000 subscribers across the United States and Canada, a sign that cracks are beginning to show in the streamer’s long-held dominance.Speaking on the broader streaming industry, Jason Kilar, the chief executive of AT&T’s media arm, WarnerMedia, said in an interview: “The only thing I can promise you is change. There is no doubt that change is coming, and that’s appropriate because we live in a dynamic time.”WarnerMedia, which includes CNN, the Warner Bros. film and television studios and the Turner cable networks, is about to become the property of Discovery Inc., as media companies continue to gobble each other up in an effort to take on Amazon, Apple, Facebook and Google. The deal, which is expected to close around the middle of next year, will create the second-largest media business in the United States, behind the Walt Disney Company and ahead of Netflix and NBCUniversal.Mr. Kilar, who learned of the acquisition only weeks before it would be announced, could be out of a job after the deal closes.Both companies are prohibited from working together until the merger is approved by government regulators, including striking any employment agreements. Still, such deals often involve tacit arrangements about leadership. Mr. Kilar said that he had met socially with David Zaslav, the head of Discovery, but that he hadn’t broached the topic of his employment.“David and I have known each other for a long time,” he said, “and I think it’s fair to say there’s a lot of shared respect between the both of us.”Mr. Kilar, who took charge of the company only 15 months ago, said he did not have plans to step away. “There will be a point where I pick my head up next year where I think about this topic,” he continued. “But I certainly don’t intend to do it until 2022.”Jason Kilar, the chief executive of WarnerMedia, in Dallas last December.Allison V. Smith for The New York TimesMr. Kilar, who was the founding chief executive of Hulu, is considered within Hollywood to be a bit of an iconoclast. In 2011, he broadsided the industry with a now-famous manifesto on the future of entertainment that, to many, came across as a blistering critique of Hulu’s corporate ownership.The post panned traditional TV for running far too many commercials. Mr. Kilar also blasted cable, predicting that viewers would eventually drop expensive packages.After Mr. Kilar joined WarnerMedia, he quickly shuffled the executive ranks and cut costs in an effort to streamline the business.Then he angered Hollywood (again) by breaking with tradition and releasing the entire 2021 lineup of Warner Bros. films on HBO Max on the same day they were scheduled to appear in theaters. The move would have cost some of Hollywood’s biggest players back-end profits — the commission that top-flight producers and stars earn based on box office receipts — but the company quickly worked out deals to make sure they would be paid.Unlike Netflix, Disney+ and HBO Max and other new entrants into streaming have legacy agreements with cable distributors and Hollywood studios that prevent a more full-throated approach to making films and TV shows immediately available online.For Mr. Kilar, the move wasn’t about upsetting Hollywood, but rather was part of a larger strategy to goose HBO Max.It seems to have worked. The release of made-for-the-big-screen spectacles like “Godzilla vs. Kong” on HBO Max helped to increase the service’s customer rolls.Mr. Kilar intends to keep up that strategy through 2022. Warner Bros. will release 10 films exclusively for the streaming platform. And big-budget films like “The Batman,” a reimagining of the comic book character starring Robert Pattinson, will have relatively short windows in theaters of 45 days before they show up on HBO Max, according to Mr. Kilar.“That’s very, very different than the way the world operated in 2019,” he said. “Ultimately, I do think that as long as you’re thoughtful about it, change could be very, very good for not only the customers but also the people we get to work with.” More

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      in Music

      A Rap Song Lays Bare Israel’s Jewish-Arab Fracture — and Goes Viral

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      A Jew and a Palestinian sling slurs at each other, giving voice to hidden prejudice with the aim of overcoming it.BEIT YEHOSHUA, Israel — Uriya Rosenman grew up on Israeli military bases and served as an officer in an elite unit of the army. His father was a combat pilot. His grandfather led the paratroopers who captured the Western Wall from Jordan in 1967.Sameh Zakout, a Palestinian citizen of Israel, grew up in the mixed Arab-Jewish town of Ramla. His family was driven out of its home in the 1948 war of Israeli independence, known to Palestinians as the “Nakba,” or catastrophe. Many of his relatives fled to Gaza.Facing each other in a garage over a small plastic table, the two hurl ethnic insults and clichés at each other, tearing away the veneer of civility overlaying the seething resentments between the Jewish state and its Palestinian minority in a rap video that has gone viral in Israel.The video, “Let’s Talk Straight,” which has garnered more than four million views on social media since May, couldn’t have landed at a more apt time, after the eruption two months ago of Jewish-Arab violence that turned many mixed Israeli cities like Lod and Ramla into Jewish-Arab battlegrounds.By shouting each side’s prejudices at each other, at times seemingly on the verge of violence, Mr. Rosenman and Mr. Zakout have produced a work that dares listeners to move past stereotypes and discover their shared humanity.Mr. Rosenman, 31, says he wants to change Israel from within by challenging its most basic reflexes. “I think that we are scared and are controlled by fear,” he says.Mr. Zakout, 37, wants to change Israel by overcoming their forebears’ traumas. “I am not emphasizing my Palestinian identity,” he says. “I am a human being. Period. We are human beings first.”At first viewing, the video seems like anything but a humanistic enterprise.Mr. Rosenman, the first to speak, launches into a relentless three-minute anti-Palestinian tirade.“Don’t cry racism. Stop the whining. You live in clans, fire rifles at weddings,” he taunts, his body tensed. “Abuse your animals, steal cars, beat your own women. All you care about is Allah and the Nakba and jihad and the honor that controls your urges.”The camera circles them. A guitar screeches.Mr. Zakout tugs at his beard, looks away with disdain. He’s heard it all before, including that oft-repeated line: “I am not a racist, my gardener is Arab.”The duo recorded the song in March and the video in mid-April. Arab-Jewish riots broke out in Israeli cities soon after.Dan Balilty for The New York TimesThen Mr. Zakout, his voice rising, delivers the other side of the most intractable of Middle Eastern stories.“Enough,” he says. “I am a Palestinian and that’s it, so shut up. I don’t support terror, I’m against violence, but 70 years of occupation — of course there’ll be resistance. When you do a barbecue and celebrate independence, the Nakba is my grandmother’s reality. In 1948 you kicked out my family, the food was still warm on the table when you broke into our homes, occupying and then denying. You can’t speak Arabic, you know nothing of your neighbor, you don’t want us to live next to you, but we build your homes.”Mr. Rosenman fidgets. His assertive confidence drains away as he’s whisked through the looking-glass of Arab-Jewish incomprehension.The video pays homage to Joyner Lucas’s “I’m Not Racist,” a similar exploration of the stereotypes and blindness that lock in the Black-white fracture in the United States.Mr. Rosenman, an educator whose job was to explain the conflict to young Israeli soldiers, had grown increasingly frustrated with “how things, with the justification of past traumas for the Jews, were built on rotten foundations.”“Some things about my country are amazing and pure,” he said in an interview. “Some are very rotten. They are not discussed. We are motivated by trauma. We are a post-traumatic society. The Holocaust gives us some sort of back-way legitimacy to not plan for the future, not understand the full picture of the situation here, and to justify action we portray as defending ourselves.”For example, Israel, he believes, should stop building settlements “on what could potentially be a Palestinian state” in the West Bank, because that state is needed for peace.Looking for a way to hold a mirror to society and reveal its hypocrisies, Mr. Rosenman contacted a friend in the music industry, who suggested he meet Mr. Zakout, an actor and rapper.They started talking in June last year, meeting for hours on a dozen occasions, building trust. They recorded the song in Hebrew and Arabic in March and the video in mid-April.Their timing was impeccable. A few weeks later, the latest Gaza war broke out. Jews and Arabs clashed across Israel.Their early conversations were difficult.They argued over 1948. Mr. Zakout talked about his family in Gaza, how he missed them, how he wanted to get to know his relatives who lost their homes. He talked about the Jewish “arrogance that we feel as Arabs, the bigotry.”Mr. Zakout and Mr. Rosenman have become fast friends and are at work on a second project.Dan Balilty for The New York Times“My Israeli friends told me I put them in front of the mirror,” he said.Mr. Rosenman said he understood Mr. Zakout’s longing for a united family. That was natural. But why did Arab armies attack the Jews in 1948? “We were happy with what we got,” he said. “You know we had no other option.”The reaction to the video has been overwhelming, as if it bared something hidden in Israel. Invitations have poured in — to appear at conferences, to participate in documentaries, to host concerts, to record podcasts.“I’ve been waiting for someone to make this video for a long time,” said one commenter, Arik Carmi. “How can we fight each other when we are more like brothers than we will admit to ourselves? Change won’t come before we let go of the hate.”The two men, now friends, are at work on a second project, which will examine how self-criticism in a Jewish and Arab society might bring change. It will ask the question: How can you do better, rather than blaming the government?Mr. Zakout recently met Mr. Rosenman’s grandfather, Yoram Zamosh, who planted the Israeli flag at the Western Wall after Israeli paratroopers stormed into the Old City in Jerusalem during the 1967 war. Most of Mr. Zamosh’s family from Berlin was murdered by the Nazis at the Chelmno extermination camp.“He is a unique and special guy,” Mr. Zakout said of Mr. Zamosh. “He reminds me a little of my grandfather, Abdallah Zakout, his energy, his vibes. When we spoke about his history and pain, I understood his fear, and at the same time he understood my side.”The video aims to bring viewers to that same kind of understanding.“That’s the beginning,” Mr. Zakout said. “We are not going to solve this in a week. But at least it is something, the first step in a long journey.”Mr. Rosenman added: “What we do is meant to scream out loud that we are not scared anymore. We are letting go of our parents’ traumas and building a better future for everyone together.”The last words in the video, from Mr. Zakout, are: “We both have no other country, and this is where the change begins.”They turn to the table in front of them, and silently share a meal of pita and hummus. More

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      in Theater

      Theater to Stream: ‘The Wolves,’ and More Archival Treasures

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      Productions from the National Theater in Britain, a project from Billy Porter and a Yiddish musical celebration are among the highlights.Most Broadway productions disappear into that hazy province known as collective memory once they have closed. That’s the ephemeral beauty of theater, of course — yet wouldn’t it be great to be able to revisit some of your favorite stage moments, or share them with friends?Off Broadway shows are even more elusive, which is what makes Lincoln Center Theater’s initiative Private Reels so precious. For the past few months, newly edited archival recordings of productions have been made available to stream, and the latest is Sarah DeLappe’s “The Wolves,” which follows high school girls on a soccer team as they warm up before games. The play has been something of a success story: It was a Pulitzer Prize finalist in 2017; Lila Neugebauer’s production had three Off Broadway runs (including the one that will be online, at the Mitzi E. Newhouse Theater); and it is done all over the United States and abroad. Thursday through Aug. 15; lct.orgNational Theater at HomeOn a much different scale is the National Theater in Britain, which pioneered live broadcasts of its shows in movie theaters before seamlessly moving into home streaming last year. Every time you think the well has run dry, the company pulls out more goodies from its vaults. If you are a fan of Michaela Coel’s acclaimed series “I May Destroy You,” you may want to check out her earlier, and often very funny, solo show “Chewing Gum Dreams” (adapted for TV as “Chewing Gum”). Also worth checking out are Chiwetel Ejiofor in Carol Ann Duffy’s adaptation of the medieval morality play “Everyman,” and Ivo van Hove’s stunning revival of the Arthur Miller drama “A View From the Bridge,” which came to Broadway in 2015. ntathome.comChiwetel Ejiofor, center, in Carol Ann Duffy’s “Everyman.”Richard Hubert Smith‘Sanctuary’Billy Porter wears many hats, all of them fabulously. He may be famous for his performances in “Kinky Boots” on Broadway and “Pose” on television — not to mention elsewhere — but he is also a director and a writer. He has a memoir coming out this fall, and he was also the author of the autobiographical “Ghetto Superstar” and “While I Yet Live.” His latest project is the book for this new gospel musical, with a score by Kurt Carr. The show is getting a virtual outing as part of the New York Stage and Film season, with a cast featuring Deborah Cox, Bryan Terrell Clark, Ledisi, Virginia Woodruff and the choir Broadway Inspirational Voices. July 29-Aug. 2; newyorkstageandfilm.orgPTP/NYCIn normal times, PTP/NYC is a regular on New York’s summer stages, presenting some of the city’s beloved hot-weather entertainment: thorny, often experimental plays by the likes of Caryl Churchill and Howard Barker. As the company remains virtual this summer, its so-called Season 34 ½ continues with “Standing on the Edge of Time,” a collage of texts by such writers as Churchill, David Auburn, Tony Kushner and Mac Wellman (Saturday through July 27), followed by “A Small Handful,” an exploration of Anne Sexton’s poetry with music by Gilda Lyons. (Aug. 13-17). ptpnyc.org‘Judgment Day’In the Berkshires this summer, Barrington Stage Company is welcoming audiences both indoors and outdoors. But it also continues to offer online programming with the return of last year’s popular reading of this Rob Ulin comedy, boosted by an ace cast including Jason Alexander, as a lawyer who may or may not be dead, and Patti LuPone as an angel, along with Santino Fontana and Michael McKean. July 26-Aug. 1; barringtonstageco.org‘An Almost Holy Picture’Heather McDonald’s play explores faith and parenting via the character of Samuel Gentle. A former minister turned church groundskeeper, he ponders his life, most notably a terrible tragedy, and his relationship with his daughter. It’s an ambitious solo show — Kevin Bacon performed it on Broadway in 2002 — and Everyman Theater in Baltimore is presenting it with its company member Bruce Randolph Nelson. Through Aug. 22; everymantheatre.orgBruce Randolph Nelson in the solo show “An Almost Holy Picture.”DJ Corey‘A Yiddish Renaissance: A Virtual Concert Celebration’Once upon a time, Yiddish-language theater thrived in the East Village and on the Lower East Side of Manhattan. National Yiddish Theater Folksbiene keeps this history alive — often with surprising results, like when the company scored a hit with a Yiddish production of “Fiddler on the Roof” that set off waterworks among many audience members. That show will be featured in this virtual concert from the company, along with nods to the likes of “Di Goldene Kale” (“The Golden Bride”), “On Second Avenue” and “Di Yam Gazlonim!” (that would be the Yiddish “Pirates of Penzance,” of course). If you tapped your foot at any of those shows, it’s largely thanks to the longtime arranger, conductor ​​and artistic director Zalmen Mlotek, whom the event is honoring. July 26-30; nytf.org‘We Live On’The journalist Studs Terkel’s interview collections were filled with “provocative insights and colorful, detailed personal histories from a broad mix of people,” as The New York Times put it in his obituary, in 2008. No wonder his vivid books are such rich sources for documentary theater. “Working: People Talk About What They Do All Day and How They Feel About What They Do,” from 1974, became the musical “Working.” And now, the Actors’ Gang Theater in Los Angeles is premiering a three-part show based on Terkel’s “Hard Times: An Oral History of the Great Depression” — a 1970 anthology that also inspired Arthur Miller’s play “The American Clock.” Like “Working,” which keeps being updated, this project adds accounts by the cast, under Tim Robbins’s direction, to those collected by Terkel (some of which feature familiar names like Dorothy Day and Cesar Chavez). Thursday through Sept. 4; theactorsgang.com More

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      in Television

      How Disney is Chipping Away at Netflix's Dominance

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      The cracks are showing in Netflix’s worldwide dominance.Netflix is still king of streaming video, but audiences are slowly shifting toward new rivals, namely the Walt Disney Company’s Disney+, according to research from Parrot Analytics.Netflix’s share of worldwide demand interest — a measure, created by Parrot, of the popularity of shows and a key barometer of how many new subscribers a streaming service is likely to attract — fell below 50 percent for the first time in the second quarter of the year.The company’s “lack of new hit original programming and the increased competition from other streamers is going to ultimately have a negative impact on subscriber growth and retention,” Parrot said in a news release before Netflix announced its quarterly earnings on Tuesday.Netflix said it had attracted 1.5 million new subscribers in the second quarter of the year, beating the low bar it had set when it told Wall Street that it anticipated adding just one million.The company said it expected to add about 3.5 million new subscribers in the third quarter, lower than the approximately 5.5 million that investors were expecting. Netflix shares fell as much as 4 percent in after-hours trading on Tuesday before bouncing back a little.The company now has 209 million subscribers, but it lost 430,000 in the United States and Canada, its most lucrative region, over the period. It now has 73.9 million subscribers in that market, with about 66 million in the United States.In a letter to shareholders, Netflix said that “Covid-related production delays in 2020 have led to a lighter first-half-of-2021 slate.” Netflix relies on creating as many different shows and films for as many different audiences as possible, and the pandemic upset that formula, forcing the shutdown of productions around the world.Traditional media players have started to consolidate, again, potentially setting off another race for talent, studio space and production resources. In May, Discovery announced that it would buy WarnerMedia from AT&T, creating the second-largest media giant, behind Disney and ahead of Netflix. Less than two weeks later, Amazon announced that it would buy Metro-Goldwyn-Mayer, home to the James Bond franchise, for $8.45 billion, a price many analysts considered rich.In the earnings call after the report, Reed Hastings, Netflix’s co-chief executive, said he didn’t think it made sense for Netflix to jump into the consolidation game. He even offered his own analysis of some of the industry’s biggest deals, including Disney’s acquisition of the bulk of Rupert Murdoch’s 21st Century Fox.“Certainly Disney buying Fox helps Disney become more of a general entertainment service rather than just a kids and family,” he said. “Time Warner-Discovery — if that goes through — that helps some, but it’s not as significant, I would say, as Disney-Fox.”Mr. Hastings’s co-chief executive, Ted Sarandos, offered a sharper critique of these megadeals. “When are they one and one equals three? Or one and one equals four?” he asked. “Versus what most of them tend to be, which is one and one equals two.”Netflix has downplayed competition concerns even as newer entrants have chipped away at its long-held grip. Disney+ more than doubled its share of demand interest in the second quarter compared with a year earlier, and Amazon Prime Video, AppleTV+ and HBO Max are also gaining, according to Parrot.In its letter to shareholders, Netflix said the industry overall was “still very much in the early days” of the transition from traditional pay television to streaming.“We are confident that we have a long runway for growth,” it said. “As we improve our service, our goal is to continue to increase our share of screen time in the U.S. and around the world.”Mr. Hastings said competition would further stoke streaming across all companies.“As you get new competition in, you get validation — more reasons to get a smart TV or unlimited broadband,” he said. “So for at least the next several years, the growth story of streaming as a whole is very intact.”But Netflix hasn’t seen any impact from the “secular competition,” Mr. Hastings said, referring to Disney or HBO. “So that gives us comfort,” he added.Netflix, he said, is really competing against traditional television, and the “shakeout” won’t happen until streaming makes up the majority of viewing. He cited the latest study from Nielsen, which showed that streaming accounts for about 26 percent of television viewing in the United States, with Netflix making up about 6 percent. Disney+ is far behind at 1 percent.In other words: If Disney+ is hurting us, we haven’t seen it.The argument that Netflix has been competing with regular television and other streamers for a long time overlooks the fact that new rivals like Disney+ and AppleTV+ are much cheaper than Netflix (and subscription television). And although those services produce far fewer originals than Netflix, they appear to be getting more bang for their buck.In the second quarter, Disney+ got a big boost of demand interest from “The Falcon and the Winter Soldier,” a series based on the Marvel Cinematic Universe, which has thoroughly dominated the box office in recent years. “Loki,” another Marvel spinoff, also helped, according to Parrot.Amazon Prime Video got a boost in the period with “Invincible,” an animated superhero series for adults. And AppleTV+ attracted new customers with three originals: “Mosquito Coast,” a drama based on the 1981 novel; “For All Mankind,” a sci-fi series; and “Mythic Quest,” a comedy series that takes place in a game developer studio.Speaking of, Netflix said this month that it planned to jump into video games. It has hired a gaming executive, Mike Verdu, formerly of Electronic Arts and Facebook, to oversee its development of new games. It’s a potentially significant move for the company, which hasn’t strayed far from its formula of television series and films.The company called gaming a “new content category” that will be a “multiyear effort” and said it would be included as part of a subscribers’ existing plans at no extra cost. Games will first appear on its mobile app, an environment that already allows for interactivity. The vast majority of Netflix’s customers watch on big-screen televisions.Gaming isn’t meant to be a stand-alone or a separate element within Netflix. “Think of it as making the core service better,” Mr. Hastings said. “Really, we’re a one-product company with a bunch of supporting elements.” More