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    ‘Good Omens’ Season 3 Cut Short Amid Allegations Against Neil Gaiman

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    The series is the third production linked to the author to face turmoil after allegations made by five women surfaced this summer.“Good Omens,” a series based on a novel by the author Neil Gaiman written in collaboration with Terry Pratchett, will return for a third and final season, but it will consist of only one episode, Prime Video announced on Friday.“Good Omens” is the third production to face turmoil this year amid allegations, including claims of sexual assault, that five women have made against Mr. Gaiman relating to conduct from 1986 to 2022.The final season of the series will be truncated to one 90-minute episode, and Mr. Gaiman, who contributed to the writing of the final series, will not be working on the production, according to Amazon MGM Studios.The production company did not comment on why Mr. Gaiman, 63, will not be involved. Mr. Gaiman, who also did not respond to a request for comment on Friday, has previously denied any wrongdoing.The first two seasons of “Good Omens” included six episodes each. The changes to the final season of the series came after two other productions related to Mr. Gaiman were halted earlier this year.The actor Michael Sheen in “Good Omens.” Chris Raphael/Amazon StudiosThe allegations played a role in pausing the production of “The Graveyard Book,” an adaptation of the young adult novel by Mr. Gaiman, according to a person at Disney, adding that the allegations were not the sole reason that the production was paused. Disney would not provide any additional reasons.“Dead Boy Detectives,” a TV series based on a comic book by Mr. Gaiman, will not return for a second season, according to Netflix, which did not say why.The turmoil in the productions linked to Mr. Gaiman has come after the five women spoke on the podcast “Master: The Allegations Against Neil Gaiman.”There are no publicly known lawsuits or open police investigations related to the allegations. Lawyers representing Mr. Gaiman did not immediately respond to requests for comment on Friday.Mr. Gaiman is the author of dozens of works, including the “The Sandman” and the novella “Coraline,” which became a popular animated film. Mr. Gaiman’s works have earned many accolades, including multiple Hugo Awards, the Newbery Medal and the Carnegie Medal.“Good Omens,” which premiered in 2019, tells the story of the friendship between Aziraphale, a fussy angel played by Michael Sheen, and Crowley, a demon played by David Tennant. The final episode will star Mr. Sheen and Mr. Tennant, according to Amazon MGM Studios.Production on the final episode of “Good Omens” will begin in early 2025, and it will premiere on Prime Video. More

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      Netflix Adds Disclaimer to Indian Show After Anger Over Hijacker Names

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      The series, based on a 1999 plane hijacking, prompted backlash on social media. Critics claimed it wrongly portrayed the Islamist hijackers as Hindus.Netflix expanded a disclaimer for Indian audiences with a fictional series inspired by the 1999 hijacking of a plane by Islamist militants, after social media users and a high-ranking member of India’s ruling party accused it of portraying the hijackers as Hindus.“IC 814: The Kandahar Hijack,” released last week, became the latest production by a Western streaming giant to find itself in the cross hairs of India’s Hindu nationalist movement, which has been accused of building up an increasingly intolerant atmosphere in the country.The series shows five Islamist militants hijacking an Indian Airlines flight from Nepal to India, and their interactions with the plane’s crew and passengers. In the show, the hijackers refer to themselves by code names, including “Shankar,” a common name for Hindu men.That prompted anger among many social media users, with some accusing the producers of playing down the Muslim identity of the hijackers. A national official of the ruling Bharatiya Janata Party, Amit Malviya, said the series’ use of the hijackers’ aliases “legitimized their criminal intent.”“Decades later, people will think Hindus hijacked IC-814,” Mr. Malviya, who oversees information technology and social media for the B.J.P., wrote on X on Monday.India’s Ministry of Information and Broadcasting summoned a Netflix executive to discuss the government’s grievances about the show, according to local media reports.“For the benefit of audiences unfamiliar with the 1999 hijacking of Indian Airlines Flight 814, the opening disclaimer in India has been updated to include the real and code names of the hijackers,” Netflix said in a statement on Tuesday.During the actual hijacking of the flight, over eight days, the militants forced the pilots to fly the plane to a number of locations, including Dubai, and then Kandahar, Afghanistan, which was ruled by the Taliban at the time. The plane’s passengers were freed after India released three Pakistanis who had been held under terrorism charges.The Indian government said at the time that the five hijackers were from Pakistan and used code names, including “Shankar,” in front of the passengers and crew to conceal their identities.Before the show’s release on Aug. 29, its director, Anubhav Sinha, told Scroll, an Indian news site, that his goal was to present the event “exactly in the manner in which it happened.”The updated disclaimer on Netflix now says the series “does not make any claims of authenticity or historical correctness” of the events featured in it. It also lists the hijackers’ real names: Ibrahim Athar, Shahid Akhtar Sayed, Sunny Ahmed Qazi, Mistri Zahoor Ibrahim and Shakir.This is not the first time major streaming platforms have faced pressure from Hindu nationalists in India.Netflix in January removed a film after Hindu nationalists said it mocked Hinduism. The makers of a 2021 Amazon series cut some scenes after critics accused them of disrespecting Hindu gods. More

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      With New FX Sitcom ‘English Teacher,’ Brian Jordan Alvarez Takes Another Leap

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      For over a decade, Brian Jordan Alvarez has been bootstrapping his way across platforms and screens big and small, collecting fans and followers.In the early days, he starred with friends in short comedic sketches he posted on YouTube. Then in 2016, on a paltry budget of around $10,000, he created “The Gay and Wondrous Life of Caleb Gallo,” a five-part comedy web series about a misfit group of queer friends in Los Angeles. Alvarez wrote and directed it, and starred as the title character.“Caleb Gallo” quickly found an audience. It was shown at the Tribeca Film Festival that year, earned a Gotham Award nomination and topped IndieWire’s list of best web series of 2016, edging out Jerry Seinfeld’s “Comedians in Cars Getting Coffee.” The next year, Alvarez landed a recurring role in the three-season revival of “Will & Grace,” as the fiancé, then husband, of Jack McFarland (Sean Hayes).In 2023 he leveled up again, starring alongside Allison Williams in the horror comedy box office smash “M3gan” and reaching new heights of virality with a stable of absurdist face-filtered characters. The most famous of them, the bug-eyed, duck-lipped pop star TJ Mack, delighted millions on TikTok and Instagram with the earworm “Sitting” (pronounced “Sittim”).Alvarez plays an English teacher at a high school in Austin, Texas, who is navigating relationships and discussions of hot-button topics.Richard Ducree/FXNow Alvarez is taking another major leap: “English Teacher,” a feel-good sitcom with an edge that he created and stars in, debuts on FX on Sept. 2.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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      What to Expect From Wednesday’s Emmy Nominations

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      The top nominees are announced at 11:30 a.m. ET. “Shogun” and “The Bear” are poised to have a big day.Just six months after a strike-delayed ceremony, the Emmys are back.Nominations for television’s most prestigious award show will be unveiled on Wednesday morning. “Shogun,” the lush period drama, and “The Bear,” the anxiety-inducing comedy, are poised to have a big day. Netflix’s “Baby Reindeer” is expected to stand out among limited series.There is a considerable cloud hanging over Emmy nomination day this year. Last year’s double strikes, along with several years of cost cutting, have put the industry in the throes of a contraction. The Peak TV era is now firmly in the rearview mirror. To wit, the number of shows submitted for Emmy consideration this year plummeted.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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      Netflix and Amazon Drive Bump in TV Show Market

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      Netflix and Amazon are driving a small bump in the market for TV shows after a major slowdown.It has been nearly seven months since Hollywood resolved its strikes, but momentum still hasn’t taken hold in the entertainment industry. “Survive till ’25” has become an informal slogan among entertainment workers.But the global market for ordering new TV shows is beginning to show some signs of life, and it’s been overwhelmingly driven by two players — Netflix and Amazon.Netflix greenlit more scripted television projects through the first quarter of this year than in any quarter since 2022, according to Ampere Analysis, a research firm. Amazon had its most active quarter since Ampere started tracking market activity five years ago, the firm said.Many of their competitors are still taking a more cautious approach. As a result, Netflix and Amazon collectively accounted for 53 percent of the scripted television series orders among the major studios through the first three months of the year, according to Ampere.Most of the series orders have been made internationally. Netflix has been particularly active in Britain, Germany, Spain and South Korea, the research showed, while Amazon has been investing aggressively in India.Netflix and Amazon have also purchased more projects in the United States compared with the tail end of 2023, but the increases have been more modest. Netflix had its most active quarter domestically since the first quarter of last year. Amazon had its biggest quarter since the spring of last year, according to the research.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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      HBO Could Use a Hit and ‘House of the Dragon’ Could be the Answer

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      The network has hit an unusually fallow period. Executives hope “House of the Dragon,” which returns Sunday, could be the start of a new winning streak.The dragons are back. And not a moment too soon.On Sunday, “House of the Dragon,” the “Game of Thrones” prequel series, will return to HBO for its second season. The show became a bona fide hit in its first season, in 2022, and helped kick off a torrid winning streak for the network that included the beloved sophomore season of “The White Lotus”; the premiere of a new hit, “The Last of Us”; and the decorated final season of “Succession.”But over the past year, HBO has encountered a fallow stretch — unusual for America’s pre-eminent premium television network.There have been disappointments (the music drama “The Idol” and the Kate Winslet-starring limited series “The Regime,” for instance), and delayed premieres because of the double Hollywood strikes last year. According to one widely used industry metric, Max, the 13-month-old streaming service that houses HBO’s shows, has plateaued during that time. One high-ranking executive at Warner Bros. Discovery, HBO’s parent company, chalked up Max’s slow start to “probably the lightest content slate we’ve ever had.”HBO’s one-year slowdown could be underscored when Emmy nominations arrive next month, usually a cause for celebration for the network. But in contrast to previous years, shows from HBO and Max will not be favorites in some of the major categories, including drama, a category that HBO dominated at the most recent Emmys.According to some award forecasters, HBO could finish third among networks in total nominations, which would be its lowest ranking since 1996. HBO executives acknowledged that they were anticipating reduced award recognition this year. But they said they were looking to the months ahead, starting with this weekend.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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      Going Behind the Scenes of ‘Popcast (Deluxe)’

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      The weekly culture roundup show, hosted by Jon Caramanica and Joe Coscarelli, celebrates its first anniversary on May 31.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.When you walk into the “Popcast (Deluxe)” recording studio on the second floor of the New York Times office in Manhattan, the first thing you notice is two colorful chairs in the center of the room with black microphones perched on the seat backs.“We were thinking ‘elevated basement,’” said Jon Caramanica, a pop music critic for The New York Times and a host of the show, a weekly culture review on YouTube. “It’s a little ‘Wayne’s World.’”Mr. Caramanica and his co-host, the Times pop music reporter Joe Coscarelli, picked out the furniture for their studio at Horseman Antiques on Atlantic Avenue in Brooklyn. The chairs are among many quirky personal touches they’ve added to the space — books, photography from their work at The Times, lots of junk food — that, like the show, blend a highbrow and lowbrow aesthetic.Both Mr. Caramanica and Mr. Coscarelli were treading new ground when they began hosting “Popcast (Deluxe),” The Times’s first video podcast, together one year ago. The show is a spinoff of “Popcast,” a weekly pop music podcast that Mr. Caramanica has hosted since 2016. For the “deluxe” version with a broader view of pop culture, the idea was to take something that was already working — the easy and playful rapport between Mr. Caramanica and Mr. Coscarelli, a frequent “Popcast” guest — and adapt it for YouTube, a video platform that podcasts were increasingly moving into.“We want to go where smart, curious, pop-culture-interested people are living,” Mr. Coscarelli said. “YouTube was the obvious next place.”The pair records on Mondays and releases segments of the conversation throughout the week on YouTube, as well as a full audio episode on Wednesdays. For the week of May 13, Mr. Caramanica and Mr. Coscarelli had decided to cover the feud between the hip-hop giants and rivals Drake and Kendrick Lamar, as well as Zendaya’s star turn in the tennis film “Challengers,” and they allowed a Times Insider reporter to observe.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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      “The Interview”: Ted Sarandos’s Plan to Get You to Binge Even More Netflix

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      If you’re anything like me, you probably spent some large portion of this week sitting on your couch watching Netflix. I love rom-coms — my latest obsession is a Turkish series called “Thank You, Next” — and the more rom-coms I watch, the more of them Netflix feeds to me. Maybe you’ve had this experience with sports documentaries, or thrillers, or biopics. It’s something we’ve all gotten used to. Which means, as I’m pressing play on whatever comes up next, I’m not really thinking about the people who are deciding what I’m consuming. And that’s why I wanted to talk to Ted Sarandos.Listen to the Conversation With Ted SarandosNetflix won the streaming battle, but the war for your attention isn’t over.Sarandos, 59, has been at Netflix for 24 years, nearly as long as Reed Hastings, one of the company’s two founders. He is now co-chief executive and is in charge of Netflix’s creative output. He oversaw the company’s early expansion into streaming and pioneered the binge watch. Under him, Netflix developed that powerful algorithm that knows just what to serve up next. He was also the guy who greenlit Netflix’s early original productions, like “House of Cards,” making Netflix into a studio, not just a platform. And he has led the company as it has ventured into reality TV, prestige film and live entertainment — including a just-announced deal to broadcast some of the N.F.L.’s Christmas Day games.Sarandos seems to be very good at giving us more of what we want. And after a crackdown on password-sharing (which Sarandos tells me is still in progress), his company has come out on top in the crowded streaming wars (if you set aside YouTube, which Sarandos does not). That doesn’t mean everything is rosy all the time now — the company has had several rounds of layoffs in the past few years — but Sarandos, along with his co-chief executive, Greg Peters, has put Netflix in a dominant position. Has this been good for us? Or for culture? When we talked recently, with viral clips of Netflix’s Tom Brady roast flying all over the internet, I asked him.You have an unusual background for a Hollywood or tech C.E.O. I would agree with that assessment. My parents had four kids in their 20s. So these were kids raising kids really. Our house was always chaos. And my only escape from that chaos was that little box. I watched a lot of television. Most of my upbringing, we never had all the utilities on at the same time. So the gas would be cut off, and then the phone would be cut off, and the electric, but never all simultaneously. But for some reason we had a VCR. And total happenstance, the second video store in the state of Arizona opened up two blocks from my house.Do you remember the first thing you ever checked out in the video store? Yeah, it was a filmed version of the Willie Nelson Fourth of July picnic. [Laughs.] More

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      ‘Bridgerton’s’ Nicola Coughlan on Her Season 3 Glow Up

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      The stars of the Shondaland series, streaming on Netflix, are given very different looks when they’re promoted from the supporting cast — a phenomenon fans have dubbed “the Bridgerton glow-up.”When the actress Nicola Coughlan joined the cast of Shondaland’s period costume drama “Bridgerton,” as the young socialite and secret gossip pamphleteer Penelope Featherington, the hair and makeup artist Marc Pilcher informed her that the creative brief they had for her character was only one word: “dowdy.”Penelope, the demure youngest daughter of the domineering matriarch Lady Portia Featherington, was to be done up in garish pastel dresses and gaudy jewelry, with a hairdo clogged with curls — none of it particularly flattering. “For the first two seasons, the objective, in the nicest way, was not meant to make me look nice,” Coughlan said in a recent interview. “A lot of the Featherington aesthetic was a ‘more is more’ approach.”A supporting player through the show’s first two seasons, Penelope is the main character of Season 3, which begins streaming May 16 on Netflix. And as she has moved into the spotlight, her entire style has been altered: a transformation that fans of the show refer to as the “Bridgerton glow-up.”Gone are the canary-yellow gowns and tacky headpieces. She’s now wearing milder colors and less ostentatious jewelry, and her hairstyles are looser and more elegant. In short, she is no longer dowdy. “At the first fitting for Season 3, I got teary-eyed,” Coughlan said. “It felt like a ‘Pretty Woman’ moment. They were finally going to let me shine.”In Season 1, the brief for Nicola Coughlan’s character was a single word: “dowdy.”Liam Daniel/NetflixIn Season 3, as the leading lady, Coughlan gets a romantic look that showcases Penelope’s growing confidence.Laurence Cendrowicz/NetflixThis kind of stylistic reinvention has become common practice on a series known for rotating actors in and out of its sweeping ensemble, and adapting their appearances accordingly. “When the transition is made from side character to leading character, we think a lot about what story it is we’re trying to tell,” the showrunner and executive producer Jess Brownell explained. When it comes to styling, she said, “it’s a lot more heady when it comes to the main characters.”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