What to stream: ‘1923' returns, Tate McRae, ‘Reacher,' Baldwins' reality show and a ‘Suits' spin-off
A modern reimagining of the graphic novel 'The Crow' starring Bill Skarsgård plus Canadian pop musician Tate McRae offering her third album are some of the new television, films, music and games headed to a device near you.
Also among the streaming offerings worth your time as selected by The Associated Press' entertainment journalists: NBC has a new 'Suits' spin-off series, Robert De Niro stars in a limited series for Netflix called 'Zero Day' and there's a full production of 'Hamlet' inside the violent, bloody, video game world of 'Grand Theft Auto.'
NEW MOVIES TO STREAM FEB. 17-23
— An inventive spin on the 'pandemic production,' 'Grand Theft Hamlet' finds two actors attempting to stage a full production of 'Hamlet' inside the violent, bloody, video game world of 'Grand Theft Auto.' Shot entirely inside the game, Pinny Grylls and Sam Crane's movie won the best documentary prize at the South by Southwest Film Festival. AP Film Writer Jake Coyle observed that, 'When Shakespeare wrote of the 'slings and arrows of outrageous fortune,' he may not have imagined the threat of a python loose in a bar or Hamlet wrestling with whether 'to be' on a helipad. Yet 'Grand Theft Auto' might be an oddly appropriate venue for a play where nearly everyone dies.' It begins streaming on Mubi on Friday, Feb. 21.
— The modern reimagining of the graphic novel 'The Crow' starring Bill Skarsgård and directed by Rupert Sanders makes its debut on Starz on Wednesday. It was not exactly well-received by critics when it debuted in the dregs of late August, overshadowed by the 1994 film starring Brandon Lee. Mark Kennedy wrote in his AP review that ''The Crow' isn't bad — and it gets better as it goes — but it's an exercise in folly. It cannot escape Lee and the 1994 original even as it builds a more allegorical scaffolding for the smartphone generation.'
— AP Film Writer Lindsey Bahr
NEW MUSIC TO STREAM FEB. 17-23
— Canadian pop musician Tate McRae offers her third album, 'So Close to What.' Her latest single, 'Sports Car' follows '2 Hands' and 'It's Ok I'm Ok' which hit No. 20 on the Billboard Hot 100. The 15-track album also includes a collaboration with her boyfriend, The Kid LAROI, called 'I Know Love' and there's another collaboration with Flo Millo. The album will chart 'the journey of growing up when the road ahead feels infinite.'
— Roddy Ricch returns with his third album as well on Friday, Feb. 21. 'The Navy Album.' The Compton rapper, who appeared on Kendrick Lamar's 'GNX,' has put out a few singles from the new collection, including 'Survivor's Remorse' and '911.' The latest is 'Lonely Road,' with a video of him cruising through the city seeing angels and the lyrics: 'Roddy rap like the rent due/Roddy tell 'em the whole truth.'
NEW SHOWS TO STREAM FEB. 17-23
— Trouble once again finds Jack Reacher in season three of the popular Prime Video series, 'Reacher,' based on novels by Lee Child. Alan Ritchson stars as a former U.S. Army military police officer who prefers to live life as a nomad, with no permanent residence, no belongings (except a toothbrush) and no responsibilities. Reacher's desire to be a loner is often derailed by his honor and aversion to bullies. He steps in to help others, getting mixed up in conspiracies and cover-ups. The new season drops Thursday and is based on Child's seventh novel about the character called 'Persuader.'
— Robert De Niro stars in a new limited series for Netflix called 'Zero Day,' premiering Thursday. Former NBC news president Noah Oppenheim and New York Times reporter Michael Schmidt are co-creators. The political conspiracy series is centered around a global cyberattack and features an impressive main cast including Angela Bassett, Joan Allen, Jesse Plemons, Lizzy Caplan, Connie Britton, Dan Stevens and Matthew Modine. Last May, De Niro was caught on camera yelling at anti-Israel protesters and some social media users quickly described the two-time Oscar winner as making a statement about the Israel-Hamas war. Netflix clarified that De Niro was actually rehearsing a scene for the show.
— Tom Hanks, also a two-time Oscar winner, narrates a 10-episode nature series for NBC called 'The Americas.' From the executive producers of 'Planet Earth' and scored by Hans Zimmer, 'The Americas' highlights the natural beauty and wildlife in North and South America. It took more than five years and 180 expeditions to complete the project which debuts Sunday, Feb. 23 and streams on Peacock.
— Harrison Ford and Helen Mirren reprise their roles of Jacob and Cara Dutton in season two of Taylor Sheridan's '1923' for Paramount+ starting Sunday, Feb. 23. The story is a prequel to 'Yellowstone' about early members of the Dutton family laying claim to their Montana land. The new episodes come after a long wait due to the Hollywood strikes and will conclude this chapter in the Dutton-verse.
— NBC ordered a new 'Suits' series after the original version that aired on USA became the most-streamed show of 2023 thanks to its availability on Netflix and Peacock. 'Suits LA' stars Stephen Amell ('Arrow,' 'Heels') and centers on a successful law firm on the West Coast that specializes in entertainment and criminal cases. While this version does not feature former 'Suits' cast member Meghan, Gabriel Macht does reprise his role as master negotiator and New York superlawyer, Harvey Specter, for a few episodes. 'Suits LA' premieres Sunday, Feb. 23 after 'The Americas' and will stream on Peacock.
— Alec and Hilaria Baldwin continue their push and pull with the spotlight with a new TLC reality series called 'The Baldwins.' A trailer for the series shows the chaos of a family with seven kids under the age of 11, not to mention the emotional toll of a 2021 death on the New Mexico set of Baldwin's movie 'Rust.' Baldwin was rehearsing a scene when the gun he was holding fired, hitting cinematographer Halyna Hutchins and director Joel Souza. Hutchins died from her injuries and Souza was wounded. Baldwin was charged with involuntary manslaughter, and a judge dismissed the case last July. The actor has since filed a lawsuit for malicious prosecution and civil rights violations. 'The Baldwins,' premieres Sunday, Feb. 23 on TLC and also streams on Max.
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Yahoo
33 minutes ago
- Yahoo
Misty Copeland broke barriers in ballet. Now she's retiring and moving to ‘the next stage'
NEW YORK (AP) — Ten years ago this month, Misty Copeland sat in front of a hastily arranged news conference at American Ballet Theatre, fighting back tears of pride over her new role: principal dancer. 'This is it,' she said, with emotion. 'This has been my dream since I was 13.' The occasion was highly unusual — normally, when a dancer is promoted, a brief press release is issued. But this was Copeland, a crossover star with fame far beyond the insular world of ballet. And now she was becoming the first Black female principal in the company's 75-year history — just days after her New York debut as the lead in 'Swan Lake' brought a refreshingly diverse, packed audience to the Metropolitan Opera House. Now, a decade and many accomplishments later, Copeland is retiring from the company she joined as a teenager. 'It's been 25 years at ABT, and I think it's time,' Copeland, 42, told the Associated Press last week ahead of Monday's official announcement of her move. 'It's time for me to move to the next stage.' The company is planning a splashy farewell on Oct. 22, featuring performances by Copeland — for the first time in five years — and other dancers. There will be speeches and film clips. And Copeland, who's been heavily involved in the planning, will get a chance to venture one more time onto that balcony in Verona; she'll dance again in the beautiful 'Romeo and Juliet' pas de deux. Honorary chairs for the evening will be Caroline Kennedy and Oprah Winfrey. A lot has happened in a quarter-century. Copeland, whose success brought new energy to an art form that has always been overwhelmingly white, has authored a number of books, including a memoir and and several works for young people. The second installment of 'Bunheads' arrives in September, and more are already planned in a series she calls 'a reflection of my journey, showing the range of cultures and types of people that can be a part of the ballet world.' Copeland has also made a short film with her production company. And her philanthropic organization, The Misty Copeland Foundation, works on increasing diversity in the dance world and giving more kids who grew up economically disadvantaged, like she did, the chance to dance. 'It was so important for children growing up and seeing somebody like Misty and saying, 'Oh my gosh, she looks like I do,'' says Susan Jaffe, ABT's artistic director, who is overseeing the farewell performance. 'Through her books, through her lectures, even her endorsements, she has really been a trailblazer." Still, progress moves slowly. When Copeland exits ABT, there will no longer be a Black female principal dancer at the company — nor at many ballet companies around the globe. Copeland discussed that continued challenge in the dance world, among other topics, in the AP interview last week. Remarks have been edited for clarity and brevity. AP: What does this moment mean? Is ballet a chapter that's now ending for you? COPELAND: You know, I've become the person that I am today, and have all the opportunities I have today, because of ballet, (and) because of American Ballet Theatre. I feel like this is me saying thank you to the company. So it's a farewell. (But) it won't be the end of me dancing. … Never say never. AP: You've told your story over the years, in multiple ways, of how you rose from difficult circumstances to this unique position in dance. What impact have you seen? COPELAND: I've noticed that the conversation is not something we shy away from anymore in terms of the lack of equity, the lack of diversity in this (dance) world. That's one of the biggest shifts I've seen … a lot of young people that just can imagine being part of it in some way. They can imagine stepping into Lincoln Center and being at the Metropolitan Opera House. AP: You became the first Black female principal at ABT in 2015. But there haven't been any more named since then. Does it concern you that progress has maybe been slow in that area? COPELAND: It's definitely concerning, and I think I've just gotten to a place in my career where there's only so much I can do on a stage. There's only so much that visual representation like that can do. I feel like it's the perfect timing for me to be stepping into a new role, and hopefully still shaping and shifting the ballet world and culture. AP: Who are some of the partners you've most enjoyed working with? COPELAND: I think about my partnership with (former ABT principal) Roberto Bolle and him giving me so many opportunities to travel the world with him … (Former ABT principal) Marcelo Gomes, he's been such a such a big part of my journey, and of course Herman Cornejo. We've had a beautiful partnership throughout my career and I'm excited to dance with him again (at the October farewell,) AP: Three years ago you became a parent (to son Jackson). How has that changed your perspective? COPELAND: It's made me even more patient. I just have a lighter and brighter outlook on life because it's just such an incredible thing to experience and witness... I think ballet has prepared me for being a mother in so many ways. I think it's ... prepared me for life and being resilient and patient and sensitive and empathetic and strong, and all of these things. AP: Does your son know who you are? COPELAND: He doesn't understand at all! (laughs) He's seen very little of me dancing. … But he's very drawn to it. He is a mover. He's very athletic. He is so drawn to music. He started violin on Monday. We live in the museums. He really is drawn to art. I think he's definitely on the artist's track. AP: So you've got the foundation, you've got the writing career, the production company. Which of those areas do you think you'll be focusing most on? COPELAND: It's been pretty evenly split between all of then. I think it just depends on what's at the forefront and what needs my focus. ... But it's exciting to be able to utilize dance in so many different mediums, and to me, that's how you get true diversity — by giving people different entry points into learning about dance and feeling like they can be a part of it, which has been my goal. How do I bring dance to as many people as possible in a way that really works for them? AP: You've always not only spoken about, but acted on the importance of diversity, equity and inclusion, and initiatives that promote that. Are you concerned that this is getting more difficult? COPELAND: It's a difficult time. And I think all we can really do is keep our heads down and keep doing the work. … we're fortunate in that way that we've built great relationships and can continue to do the work right now through my foundation. There's no way to stop the people that feel passionate about this work. We will continue doing it. It is so necessary for the well-being of our societies and communities. I think there are times to speak out and yell from the rooftops. And for me, I feel like this is a time to keep my head down and really stay focused and do the work.
San Francisco Chronicle
an hour ago
- San Francisco Chronicle
At this museum, no one will shush you, and you can touch the objects
LONDON (AP) — A museum is like an iceberg. Most of it is out of sight. Most big collections have only a fraction of their items on display, with the rest locked away in storage. But not at the new V&A East Storehouse, where London's Victoria and Albert Museum has opened up its storerooms for visitors to view — and in many cases touch — the items within. The 16,000-square-meter (170,000-square-foot) building, bigger than 30 basketball courts, holds more than 250,000 objects, 350,000 books and 1,000 archives. Wandering its huge, three-story collections hall feels like a trip to IKEA, but with treasures at every turn. The V&A is Britain's national museum of design, performance and applied arts, and the storehouse holds aisle after aisle of open shelves lined with everything from ancient Egyptian shoes to Roman pottery, ancient Indian sculptures, Japanese armor, Modernist furniture, a Piaggio scooter and a brightly painted garbage can from the Glastonbury Festival. 'It's 5,000 years of creativity,' said Kate Parsons, the museum's director of collection care and access. It took more than a year, and 379 truckloads, to move the objects from the museum's former storage facility in west London to the new site. Get up close to objects In the museum's biggest innovation, anyone can book a one-on-one appointment with any object, from a Vivienne Westwood mohair sweater to a tiny Japanese netsuke figurine. Most of the items can even be handled, with exceptions for hazardous materials, such as Victorian wallpaper that contains arsenic. The Order an Object service offers 'a behind-the-scenes, very personal, close interaction' with the collection, Parsons said as she showed off one of the most requested items so far: a 1954 pink silk taffeta Balenciaga evening gown. Nearby in one of the study rooms were a Bob Mackie-designed military tunic worn by Elton John on his 1981 world tour and two silk kimonos laid out ready for a visit. Parsons said there has been 'a phenomenal response' from the public since the building opened at the end of May. Visitors have ranged from people seeking inspiration for their weddings to art students and 'someone last week who was using equipment to measure the thread count of an 1850 dress.' She says strangers who have come to view different objects often strike up conversations. 'It's just wonderful,' Parsons said. 'You never quite know. … We have this entirely new concept and of course we hope and we believe and we do audience research and we think that people are going to come. But until they actually did, and came through the doors, we didn't know.' A new cultural district The V&A's flagship museum in London's affluent South Kensington district, founded in the 1850s, is one of Britain's biggest tourist attractions. The Storehouse is across town in the Olympic Park, a post-industrial swath of east London that hosted the 2012 summer games. As part of post-Olympic regeneration, the area is now home to a new cultural quarter that includes arts and fashion colleges, a dance theater and another V&A branch, due to open next year. The Storehouse has hired dozens of young people recruited from the surrounding area, which includes some of London's most deprived districts. Designed by Diller, Scofidio and Renfro, the firm behind New York's High Line park, the building has space to show off objects too big to have been displayed very often before, including a 17th-century Mughal colonnade from India, a 1930s modernist office designed by Frank Lloyd Wright and a Pablo Picasso-designed stage curtain for a 1924 ballet, some 10 meters (more than 30 feet) high. Also on a monumental scale are large chunks of vanished buildings, including a gilded 15th-century ceiling from the Torrijos Palace in Spain and a slab of the concrete façade of Robin Hood Gardens, a demolished London housing estate. Not a hushed temple of art, this is a working facility. Conversation is encouraged and forklifts beep in the background. Workers are finishing the David Bowie Center, a home for the late London-born musician's archive of costumes, musical instruments, letters, lyrics and photos that is due to open at the Storehouse in September. Museums seek transparency One aim of the Storehouse is to expose the museum's inner workings, through displays delving into all aspects of the conservators' job – from the eternal battle against insects to the numbering system for museum contents — and a viewing gallery to watch staff at work. The increased openness comes as museums in the U.K. are under increasing scrutiny over the origins of their collections. They face pressure to return objects acquired in sometimes contested circumstances during the days of the British Empire Senior curator Georgia Haseldine said the V&A is adopting a policy of transparency, 'so that we can talk very openly about where things have come from, how they ended up in the V&A's collection, and also make sure that researchers, as well as local people and people visiting from all around the world, have free and equitable access to these objects. 'On average, museums have one to five percent of their collections on show,' she said. 'What we're doing here is saying, 'No, this whole collection belongs to all of us. This is a national collection and you should have access to it.' That is our fundamental principle.'
New York Times
an hour ago
- New York Times
What to watch in sports this week: NBA and Stanley Cup finals are tied, U.S. Open tees off
The week ahead is loaded with good stuff, starting right away as the off-the-rails Stanley Cup Final resumes Monday night. On Wednesday, the NBA Finals head to Indiana, knotted at 1-1. U.S. Open golf tees off Thursday. We have international soccer matches, primetime WNBA spots and the latest installment of baseball's signature rivalry. As the world around us rapidly intensifies, here is some leisure-time television to look forward to. Advertisement Does this cover every big game in the forthcoming week? Nope. It's a quick survey of the top-line stuff, and a Monday morning reminder that cool things are in our near future. Should you take it personally if your favorite sport is omitted? Never, but drop a comment to let us know what you're hyped for, or what we should consider for the next guide. Every night is a Super Bowl for someone across the sports cosmos, and we will celebrate that. Are there any restrictions to be aware of? Only if you live in a market featured on the MLB Network broadcast. This Friday's series opener between the New York Yankees and Boston Red Sox, for instance, will be blacked out for in-market households that don't have the regional carrier (YES and NESN, respectively). Will you get in trouble if you miss any of these matches? That's a clown question. Programming on ABC and ESPN is also available on ESPN+. NBC's U.S. Open coverage can be streamed on Peacock. When: Monday, 8 p.m. ET Why you should watch: Friday night's Game 2 epic should be immortalized in hockey history. Breathe in: There were five goals netted in the frantic first period. Breathe out: Both sides tightened up and allowed just three scores across the second and third. Breathe in again: Corey Perry's improbable game-tying goal with 18 seconds made for Edmonton euphoria. And breathe out once more: Brad Marchand's stunner in double-overtime tied the series and silenced all of Alberta. The Stanley Cup odyssey now shifts to the Sunshine State. Game 4 will also be in Florida on Thursday, and Game 5 is slated for a Saturday night return to Canada. When: Tuesday, 8 p.m. ET Why you should watch: The strutting reigning champs are undefeated through their first fifth of the WNBA season. New York hosts Tuesday's action at a perfect 8-0, and the Liberty are absolutely balling in Brooklyn so far. They open the week No. 1 in, well, so many things: points per game, offensive and defensive efficiency, field goal percentage, 3-point shooting and blocked shots. The seafoam wagon has a plus-24 net rating; the next-closest team, the Minnesota Lynx, is at plus-13.4. Bask in the greatness. For what it's worth, Chicago is second in pace of play and first in offensive rebounding. This will be big-on-big energy, as Angel Reese and Kamilla Cardoso go against Breanna Stewart and Jonquel Jones. When: Wednesday, 8:30 p.m. ET Why you should watch: These playoffs have been a bona fide banger. The buzzer-beaters, the seeding upsets, the many (many) 20-point comebacks. It seems only right that affairs are tied up after the first home leg in Oklahoma City. Tyrese Haliburton saved the most clutch moment of his unprecedented clutch run for Game 1 of the NBA Finals, but Shai Gilgeous-Alexander cruised to a win Sunday night. Indy and OKC are both kinetic, switchable, home-grown and forward-thinking teams. The fast-paced mirror match will be extra turned up at the Pacers' Fieldhouse. We'll then stay in Hoosier territory for Game 4 on Friday. When: Thursday-Sunday Why you should watch: Now, for something major. Bryson DeChambeau won his second U.S. Open title last year, surviving the narrowest of finishes with Rory McIlroy. In fact, each of the tournament's past four champions triumphed by just a single stroke — Wyndham Clark over McIlroy in 2023, Matt Fitzpatrick over Scottie Scheffler and Will Zalatoris in 2022, and Jon Rahm over Louis Oosthuizen in '21. Rounds go Thursday through Saturday before Sunday's Open finale. When (Eastern): Friday 7:10 p.m. | Saturday 7:15 p.m. | Sunday 1:35 p.m. Why you should watch: May we interest you in some dingers? Wholesale, industrial-sized shipping containers of dingers, really. These two East Coast archenemies went all out in this weekend's three-game series. New York won the first contest, 9-6; star batters Jazz Chisholm Jr., Paul Goldschmidt and Rafael Devers each went yard. Then Boston bounced back in the Saturday showcase, winning 10-7 behind five RBI from Trevor Story. And the Sox stole the rubber match in the Bronx on 'Sunday Night Baseball.' That game was unhinged — eight combined homers and 49 total bases. Off to Fenway Park for this weekend's re-do. Aaron Judge is essential summertime viewing as he goes for baseball's Triple Crown. When: Saturday and Sunday Why you should watch: Monday and Tuesday give us some World Cup qualifying action, but it's all about Concacaf come Saturday and Sunday. Matchday 1 kicks off with Mexico and the Dominican Republic, followed by the USA against Trinidad and Tobago. Together, USMNT and 'El Tri' have lifted the last 12 trophies. The initial group stage play has Mexico in Inglewood's SoFi Stadium and the U.S. in San Jose's PayPal Park. USA then goes to Austin for its second match and finishes in 'Jerry World' (Dallas) on June 22. Mexico plays Suriname in the Dallas Cowboys' mega-arena next week, then wraps up Group A in the Las Vegas Raiders' Allegiant Stadium. Decorated keeper Guillermo Ochoa leads Mexico with 151 international caps; captain center-back Tim Ream tops the Americans with 68 caps. 1990: Monica Seles made a grand entrance at the top of women's tennis. From Robin Finn in the New York Times: 'The girl with the biggest grunt in the game and tennis strokes lifted from the blueprints in her father's physics textbook swiftly and noisily rendered a rainy afternoon in Paris historic today. Seles, the teen-age terror whose two-fisted ground strokes have spelled a special kind of double trouble ever since she burst upon the scene here last year, became the youngest women's champion in French Open history when she ran roughshod over top-seeded Steffi Graf, 7-6, 6-4.' Streaming links in this article are provided by partners of The Athletic. Restrictions may apply. The Athletic maintains full editorial independence. Partners have no control over or input into the reporting or editing process and do not review stories before publication. (Photo of Connor McDavid and Gustav Forsling: Leila Devlin / Getty Images)
