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      Five Action Movies to Stream Now

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      This month’s picks include brotherly revenge, ghoulish specters and more.‘24 Hours with Gaspar’Stream it on Netflix.A taut revenge action fable, the Indonesian director Yosep Anggi Noen’s “24 Hours with Gaspar” features scintillating choreography. For years Gaspar (Reza Rahadian) has been searching for his childhood best friend, Kirana (Shofia Shireen), who was kidnapped and sold by her sex-trafficking father, Wan Ali (Iswadi Pratama). To find answers, Gaspar, a detective, works with a fight club owner named Agnes (Shenina Cinnamon), a strategy that works well until the device that helps Gaspar’s heart function is broken in an electrifying fight, eloquently lit to capture the silhouettes of limber bodies swinging to deadly effect. Now he has only 24 hours to live.The second half of Noen’s film is a heist flick: Gaspar cobbles together an unlikely team to rob Wan Ali’s jewelry store where a legendary black box capable of granting any wish is rumored to reside. The film culminates in a rugged all-out brawl at a fight club, which is crosscut with Gaspar confronting Wan Ali in a fight that’s emblematic of the film’s existential poeticism.‘Anti-Drug Operation’Stream it on Hi-Yah!Spanning 71 minutes, “Anti-Drug Operation,” by the Chinese director Yan Yuchao, packs a big punch in a small package. After the sudden murder of their mother, two young brothers take separate paths: One becomes the drug-busting cop Captain Lin (Li Bin); the other, Lin Lang (Lang Feng), becomes a drug lord. The plot follows the brothers as adults, as Captain Lin tries to save his sibling before the dangerous gangster Zhong Hu (Xiao Mi) — the man who killed their mother — murders him.Despite their different moral codes, the brothers share a bond that eventually puts both in danger, leading to a major raid. Slowed to the speed of molasses, a scene at a rural narcotics lab becomes a site for high drama. Yan shoots oblique angles that accentuate the fighting power of Captain Lin and Lin Lang to devastating effect.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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      Mike Tyson to Fight Jake Paul in Match on Netflix

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      The July bout between Mr. Tyson, the former world champion, and Mr. Paul, the influencer turned boxer, is part of Netflix’s push into “sports-adjacent” live events.At age 58, Mike Tyson will be getting back in the boxing ring.Mr. Tyson, the former world heavyweight champion, whose career was marred by issues in and out of the ring, will take on the social media influencer turned boxer Jake Paul on July 20 in a match that will be streamed live on Netflix, the company announced on Thursday.The bout, at AT&T Stadium in Arlington, Texas, will be the first fight for Mr. Tyson since 2020, when he and Roy Jones Jr., also a former world boxing champion, fought to a draw in an exhibition match.The event will be another step in Netflix’s aggressive push into live “sports-adjacent programming,” which has the potential to draw large audiences without the kind of investment that streaming games from professional sports leagues requires. The company recently reached a multibillion-dollar, 10-year deal for the exclusive rights to stream World Wrestling Entertainment’s flagship weekly wrestling show, “Raw.”The made-for-streaming boxing spectacle was brought about through a partnership between Netflix and Mr. Paul’s Most Valuable Promotions, the company he established in 2021 with Nakisa Bidarian to disrupt combat sports. He and Mr. Tyson will be paid about the same for the fight, but the parties would not reveal the amount.Mr. Paul, 27, began boxing in 2018 and has seen his star rise on his way to a 9-1 record. His last fight was on Saturday night, when he stopped Ryan Bourland in the first round.Jake Paul, left, defeated Ryan Bourland on Saturday to improve his boxing record to 9-1.Al Bello/Getty ImagesWe 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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      2024 SAG Awards Red Carpet: See the Best Fashion Looks

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      Lily Gladstone, Cillian Murphy and Margot Robbie led the celebrity fashion brigade.A few short months ago, members of the Screen Actors Guild wore jeans, shorts and T-shirts while carrying picket signs in the last days of a lengthy strike. On Saturday, they were at their red-carpet best as they arrived at the Shrine Auditorium in Los Angeles for the 30th annual Screen Actors Guild Awards.Before the ceremony, which is streaming on Netflix for the first time, Lily Gladstone, Jeremy Allen White, Margot Robbie, Cillian Murphy, Selena Gomez, Ali Wong, Ayo Edebiri and a host of other film and television stars took a moment to pose on the red carpet. The looks ran the gamut, from sober black and white to the wildly colorful. Scroll on to see the full celebrity fashion report.Lily Gladstone, nominated for outstanding performance by an actress in a leading role for “Killers of the Flower Moon.”Jordan Strauss/Invision, via Associated PressCillian Murphy, nominated for outstanding performance by an actor in a leading role for “Oppenheimer.”Valerie Macon/Agence France-Presse — Getty ImagesMargot Robbie, nominated for outstanding performance by an actress in a leading role for “Barbie.”Valerie Macon/Agence France-Presse — Getty ImagesColman Domingo, nominated for outstanding performance by an actor in a leading role for “Rustin.”Frazer Harrison/Getty ImagesAnne Hathaway, a presenter.Jordan Strauss/Invision, via Associated PressIssa Rae, one of the hosts (with Kumail Nanjiani) of the SAG show.Frazer Harrison/Getty ImagesAli Wong, nominated for outstanding performance by an actress in a TV movie or limited series for “Beef.”Caroline Brehman/EPA, via ShutterstockJeremy Allen White, nominated for outstanding performance by an actor in a comedy series for “The Bear.”Valerie Macon/Agence France-Presse — Getty ImagesCarey Mulligan, nominated for outstanding performance by an actress in a leading role for “Maestro.”Frazer Harrison/Getty ImagesJeffrey Wright, nominated for outstanding performance by an actor in a leading role for “American Fiction.”Frazer Harrison/Getty ImagesDa’Vine Joy Randolph, nominated for outstanding performance by an actress in a supporting role for “The Holdovers.”Frazer Harrison/Getty ImagesBradley Cooper, nominated for outstanding performance by an actor in a leading role for “Maestro.”Frazer Harrison/Getty ImagesSterling K. Brown, nominated for outstanding performance by an actor in a supporting role for “American Fiction.”Jordan Strauss/Invision, via Associated PressEmily Blunt, nominated for outstanding performance by an actress in a supporting role for “Oppenheimer.”Jordan Strauss/Invision, via Associated PressDanielle Brooks, nominated for outstanding performance by an actress in a supporting role for “The Color Purple.”Valerie Macon/Agence France-Presse — Getty ImagesPenélope Cruz, nominated for outstanding performance by an actress in a supporting role for “Ferrari.”Jordan Strauss/Invision, via Associated PressSelena Gomez of “Only Murders in the Building,” a nominee for outstanding performance by an ensemble in a comedy series.Frazer Harrison/Getty ImagesHalle Bailey of “The Color Purple,” a nominee for outstanding performance by a cast in a motion picture.Valerie Macon/Agence France-Presse — Getty ImagesElaine Welteroth, a host of Netflix’s red-carpet preshow.Jordan Strauss/Invision, via Associated PressTan France, a host of the red-carpet preshow, and his outrageous bow tie.Jordan Strauss/Invision, via Associated PressAyo Edebiri, nominated for outstanding performance by an actress in a comedy series for “The Bear.”Frazer Harrison/Getty ImagesAriana Greenblatt of “Barbie,” a nominee for outstanding performance by a cast in a motion picture.Frazer Harrison/Getty ImagesSheryl Lee Ralph of “Abbott Elementary,” a nominee for outstanding performance by an ensemble in a comedy series.Frazer Harrison/Getty ImagesMeryl Streep of “Only Murders in the Building,” a nominee for outstanding performance by an ensemble in a comedy series.Frazer Harrison/Getty ImagesAmerica Ferrera of “Barbie,” a nominee for outstanding performance by a cast in a motion picture.Frazer Harrison/Getty ImagesTracee Ellis Ross of “American Fiction,” a nominee for outstanding performance by a cast in a motion picture.Frazer Harrison/Getty ImagesReese Witherspoon of “The Morning Show,” a nominee for outstanding performance by an ensemble in a drama series.Mike Blake/ReutersGreta Lee of “The Morning Show,” a nominee for outstanding performance by an ensemble in a drama series.Jordan Strauss/Invision, via Associated PressLaverne Cox wore a vintage Alexander McQueen piece as part of her ensemble.Jordan Strauss/Invision, via Associated PressElizabeth Debicki, nominated for outstanding performance by an actress in a drama series for “The Crown,” in Giorgio Armani.Jordan Strauss/Invision, via Associated PressPedro Pascal, nominated for outstanding performance by an actor in a drama series for “The Last of Us.”Caroline Brehman/EPA, via ShutterstockTyler James Williams of “Abbott Elementary,” a nominee for outstanding performance by an ensemble in a comedy series.Frazer Harrison/Getty ImagesChris Perfetti of “Abbott Elementary,” a nominee for outstanding performance by an ensemble in a comedy series.Valerie Macon/Agence France-Presse — Getty ImagesErika Alexander of “American Fiction,” a nominee for outstanding performance by a cast in a motion picture.Frazer Harrison/Getty ImagesBrie Larson, nominated for outstanding performance by an actress in a TV movie or limited series for “Lessons in Chemistry.”Valerie Macon/Agence France-Presse — Getty ImagesUzo Aduba, nominated for outstanding performance by an actress in a TV movie or limited series for “Painkiller.”Frazer Harrison/Getty ImagesJessica Chastain, a presenter, in Giorgio Armani.Valerie Macon/Agence France-Presse — Getty ImagesKelley Curran of “The Gilded Age,” a nominee for outstanding performance by an ensemble in a drama series.Valerie Macon/Agence France-Presse — Getty ImagesBen Ahlers, a nominee for outstanding performance by an ensemble in a drama series, wore an outfit beyond the wildest sartorial dreams of the character he plays on “The Gilded Age.”Mike Blake/ReutersKaren Pittman of “The Morning Show,” a nominee for outstanding performance by an ensemble in a drama series.Valerie Macon/Agence France-Presse — Getty ImagesDominic Sessa, a relative newcomer to the red carpet, dressed in black to represent “The Holdovers.”Valerie Macon/Agence France-Presse — Getty ImagesMatty Matheson of “The Bear,” a nominee for outstanding performance by an ensemble in a comedy series.Mike Blake/ReutersHannah Leder of “The Morning Show,” a nominee for outstanding performance by an ensemble in a drama series.Jordan Strauss/Invision, via Associated PressEdwin Lee Gibson of “The Bear,” a nominee for outstanding performance by an ensemble in a comedy series.Frazer Harrison/Getty ImagesAlan Ruck of “Succession,” a nominee for outstanding performance by an ensemble in a drama series.Frazer Harrison/Getty ImagesAuliʻi Cravalho of “Mean Girls.”Frazer Harrison/Getty ImagesLinda Emond of “Only Murders in the Building,” a nominee for outstanding performance by an ensemble in a comedy series.Mike Blake/ReutersMichael Cyril Creighton of “Only Murders in the Building,” a nominee for outstanding performance by an ensemble in a comedy series.Valerie Macon/Agence France-Presse — Getty ImagesCorey Hawkins of “The Color Purple,” a nominee for outstanding performance by a cast in a motion picture.Frazer Harrison/Getty ImagesWilliam Belleau of “Killers of the Flower Moon.”Frazer Harrison/Getty ImagesCara Jade Myers of “Killers of the Flower Moon.”Frazer Harrison/Getty ImagesNestor Carbonell of “The Morning Show,” a nominee for outstanding performance by an ensemble in a drama series.Frazer Harrison/Getty ImagesTaissa Farmiga of “The Gilded Age,” a nominee for outstanding performance by an ensemble in a drama series.Frazer Harrison/Getty ImagesZachary Golinger of “Barry,” a nominee for outstanding performance by an ensemble in a comedy series.Jordan Strauss/Invision, via Associated PressJuno Temple of “Ted Lasso,” a nominee for outstanding performance by an ensemble in a comedy series.Valerie Macon/Agence France-Presse — Getty ImagesRobert Wisdom of “Barry,” a nominee for outstanding performance by an ensemble in a comedy series.Caroline Brehman/EPA, via ShutterstockThe writer and performance artist Alok Vaid-Menon.Caroline Brehman/EPA, via ShutterstockAndre Hyland of “Barry,” a nominee for outstanding performance by an ensemble in a comedy series.Caroline Brehman/EPA, via ShutterstockAnthony Carrigan of “Barry,” a nominee for outstanding performance by an ensemble in a comedy series.Frazer Harrison/Getty Images More

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      Netflix’s ‘Avatar: The Last Airbender’ Can’t Match the Original

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      Netflix’s latest attempt to capture the magic of a beloved animated series has some strong performances but falls well short of the original.Nickelodeon’s 2005 series “Avatar: The Last Airbender” was a sprawling odyssey that combined intricate world-building, meticulous references to Asian and Native cultures, lively humor and sharply plotted drama, all animated in a charming, anime-inspired style. It was an unqualified success, attracting millions of viewers and heaps of critical praise. The series introduced a world so rich, complete and full of its own histories and myths and traditions that it never needed a follow-up.But we know that’s not how things work.In 2010 there was the famously whitewashed live-action film “The Last Airbender,” which was, deservedly, met with a ferocious torrent of fan-fury. The sequel series, “Avatar: The Legend of Korra,” was more in touch with the original, but still unnecessary. And the same can be said for Netflix’s “Avatar: The Last Airbender,” the streamer’s latest big money, live-action adaptation that proves just how difficult it is to capture the magic of a beloved original.Like the original series, Netflix’s “Avatar: The Last Airbender” also takes place in a fictional Eastern world of four nations: Air Nomads, Water Tribe, Earth Kingdom and Fire Nation. In this world a select group of people from each nation are “benders,” able to manipulate their element. For a century the Fire Nation has waged a winning war against the others — during which time the only hope for peace, the avatar, the sole master of all four elements, disappeared. When two Water Tribe siblings, Katara (Kiawentiio) and Sokka (Ian Ousley), discover the prodigal avatar, a 12-year-old Air Nomad named Aang (Gordon Cormier), the three embark on a journey to complete Aang’s training so they can save the world from the threat of the Fire Nation.This “Avatar” attempts to condense several story lines, many of which are spread out across dozens of episodes in the robust sprawl of the original, into a tight eight episodes. Some of the economies the adaptation uses in fusing certain narratives — making new connections and throughlines among stories that were originally set in different locales, for example — is neatly done. And thanks to the involvement of the creators, Michael Dante DiMartino and Bryan Konietzko, each subplot, even when moved or modified, remains faithful, if not exactly in detail then absolutely in spirit, to that of its animated counterpart. The show is also full of carefully placed Easter eggs from the original. Something as minor as a background character’s passing mention of the Avatar encountering some “canyon crawlers” in an episode will immediately clue fans in to the dangerous beasts Team Avatar faced in Episode 11 of the Nickelodeon version.But “Avatar” also tries so desperately to rework its stories that the pacing often suffers; adventures become a bit too convoluted, and there’s so much stacked action that it’s easy to lose track of the stakes and sense of urgency in any one plotline.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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      Paramount Lays Off Hundreds of Workers

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      The company, which is moving away from traditional TV, lost more than $1 billion last year at its streaming division.Paramount, the owner of TV networks like Nickelodeon, MTV and Comedy Central, is laying off hundreds of employees, cutting costs as it continues its painful transition away from traditional television.About 3 percent of the company’s roughly 24,500 employees will be affected by the layoffs, according to a person familiar with the cuts, who spoke on condition of anonymity to discuss sensitive corporate information.Bob Bakish, Paramount’s chief executive, said in a memo to employees that the cuts were part of a bid to “return the company to earnings growth.”“While I realize these changes are in no way easy, as I said last month, I am confident this is the right decision for our future,” Mr. Bakish wrote. “These adjustments will help enable us to build on our momentum and execute our strategic vision for the year ahead — and I firmly believe we have much to be excited about.”Paramount is at a crossroads. The company’s controlling shareholder, Shari Redstone, is considering selling her stake in the company, a deal that could bring decades of family ownership to an end. Skydance, the media company that helped produce Paramount franchises like “Top Gun” and “Mission Impossible,” has expressed interest, but no deal has yet materialized.Like all its peers in traditional media, Paramount has struggled to keep pace with Netflix as streaming services supplant traditional TV and moviegoing. The company’s biggest streaming service, Paramount+, has not yet become profitable, putting a drag on the company’s profits. Paramount’s streaming division, which also includes the ad-supported service Pluto TV, lost more than $1 billion last year.Though viewership of Paramount’s cable networks is in decline, parts of its TV business remain resilient. Paramount’s CBS network, which broadcast the Super Bowl on Sunday, generated record ratings for the game, which saw the Kansas City Chief defeat the San Francisco 49ers in overtime. About 123.4 million people watched the game, according to Nielsen, up from 115.1 million the year before. More

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      Stream These 11 Movies Before They Leave Netflix in February

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      “Dune” and “Snowpiercer” are among the action epics, dramas and teen comedies leaving soon for U.S. subscribers. Watch them while you can.Family fun, action epics, historical dramas, teen comedy — there’s a little something for everyone among the titles leaving Netflix in the United States in February. (Dates indicate the final day a title is available.)‘Chicken Run’ (Feb. 14)Stream it here.With the long-awaited made-for-Netflix sequel “Chicken Run: Dawn of the Nugget” having hit the service barely six weeks ago, you’d think Netflix would have licensed the original installment for a bit longer. Frankly, they should keep it around even if there weren’t I.P. to service — this is one of the most delightful family pictures of the 2000s, a fast-paced and very funny riff on “The Great Escape” and its ilk. Assembled with the customary care and wit by the stop-motion masterminds at Aardman Animations (the crew behind Wallace and Gromit), it’s a delight for kids and grown-ups alike.‘Prometheus’ (Feb. 14)Stream it here.In 1979, the director Ridley Scott had his first big hit with “Alien,” an ingeniously conceived and cleverly executed mash-up of an alien adventure and a haunted-house horror movie. The series continued in the hands of directors like James Cameron and David Fincher, while Scott continued to hone his distinctive style; this 2012 installment was his return to the franchise. Some were disappointed that the results weren’t merely “Alien” redux, but credit to Scott for making “Prometheus” an exploration of the themes and aesthetics that preoccupied him at that point in his long career, rather than merely retreading a past success. The special effects are astonishing, the production design is spot-on and the performances (particularly Charlize Theron as a villainous upper manager and Michael Fassbender as an enigmatic android) are memorable.‘Real Steel’ (Feb. 14)Stream it here.It’s not exactly a promising premise: a washed-up boxer turned sleazy promoter finds a champion on the underground robot-boxing circuit, bonding with his estranged son in the process. To call it hypercalculated is an understatement (our critic parsed its DNA as “‘Transformers’ meets ‘E.T.’ meets ‘Rocky’ meets ‘The Champ,’” and that’s not far off), but as Roger Ebert liked to say, it’s not what a movie’s about, but how it’s about it. The director Shawn Levy orchestrates the events with earnestness, refusing the urge to look down on the material (or the audience), and he has an invaluable partner in the movie’s star, Hugh Jackman, who plays the slimy lead without pulling his punches, yet retains enough of his inherent charisma to make us root for his inevitable redemption arc.‘Operation Finale’ (Feb. 19)Stream it here.Oscar Isaac is in fine form as a tough but sensitive Nazi hunter tasked with finding and extracting Adolf Eichmann (Ben Kingsley), one of the architects of the Final Solution, from his hide-out in Argentina to stand trial in Jerusalem. This true story is efficiently dramatized by the director Chris Weitz (whose filmography, which includes such divergent efforts as “American Pie” and “About A Boy,” might not make him an obvious choice for a tough historical drama), and though Matthew Orton’s screenplay includes juicy supporting roles for the likes of Nick Kroll, Mélanie Laurent and Haley Lu Richardson, its best scenes put Isaac and Kingsley toe to toe and watch them work.‘Babylon Berlin’: Seasons 1-3 (Feb. 28)Stream it here.This German crime epic became an international sensation when it began airing in 2017 — reportedly the most expensive television program ever produced in its home country. Based on the best-selling novels by Volker Kutscher and brought to life by a trio of writer-directors (Achim von Borries, Henk Handloegten and Tom Tykwer, the latter of “Run Lola Run” and “Cloud Atlas”), this sprawling, handsomely mounted narrative is set in the underworld of Germany during the Weimar Republic, the wild and fruitful period that preceded the Third Reich. It’s dizzyingly complex and giddily entertaining, but also timely; as Handloegten noted on its premiere: “All these people didn’t fall from the sky as Nazis. They had to become Nazis.”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?  More

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      Why We Keep Rewatching ‘Gilmore Girls’

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      The show, which ended in 2007, was still one of the 10 most-watched shows across major streaming platforms last year, according to the research firm Nielsen.Some things have inexplicable staying power. The Hermès Birkin bag. Cheetos. Crocs.And for nostalgic millennials, there is “Gilmore Girls.” The show ended its seven-year run on the WB and CW networks in 2007, yet viewers keep returning to the familiar comfort of the fictional town of Stars Hollow, Conn., where the series was set.Netflix recorded 500 million viewing hours for the show from January to June of last year, surpassing hits like “Seinfeld” and “Stranger Things,” and data released on Monday by the research firm Nielsen showed that “Gilmore Girls” was among the Top 10 most-watched shows across the major streaming platforms in 2023.The show, which concluded the month before the iPhone was introduced, is even finding a younger audience on TikTok, where users post scenes they love and argue about their favorite romantic partners for every character.Yanic Truesdale, who played the grumpy inn concierge Michel, lovingly called it “the show that will never die.”“I’ve had hundreds, if not thousands, over the years, of people saying, ‘I got a surgery, and your show kept me going,’” he said. “Or, ‘I lost my dad,’ or ‘I lost this person, and I would watch the show and I would feel better.’”He added that he still meets fans who offer testaments to its popularity: “I’m always amazed that 10-year-olds, 15-year-olds — kids — are watching it as if it just came out.”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?  More

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      Bullying, and Suicide, in High School

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      More from our inbox:Fans of Netflix DVDs Offer Sad FarewellsFacing Up to the Spiraling U.S. DebtIf the G.O.P. Wants to Win, It Needs to Pick Candidates Who Can Sarah Blesener for The New York TimesTo the Editor:Re “Elite School Admits to Failure After Suicide of a Bullied Student” (front page, May 1), about the Lawrenceville School’s reckoning with the suicide of a student last year:Reading the article about Jack Reid’s suicide brought back unpleasant memories, as I attended the Lawrenceville School between 1968 and 1971.I was a shy, timid and closeted — even to myself — gay man. Although I received a great education, and went on to have a successful career as a judge, my three years at Lawrenceville were some of my worst.During my first year, I was called a homophobic slur in Spanish by a housemate, and another housemate wanted to fight me for no particular reason, probably because I was perceived as weak. The assistant housemaster sensed my unhappiness and asked me if I was OK, and, unfortunately, I answered that I was.To deal with my unhappiness and loneliness, I would calm myself by shaking my legs and arms before I went to sleep, in addition to gleefully marking a big “X” on my calendar after I completed another day of extreme misery.In fairness to Lawrenceville, I never disclosed my unhappiness. My heart goes out to the Reid family.I commend Lawrenceville for the steps the school is taking, albeit possibly to avoid litigation.David L. PiperMinneapolisTo the Editor:The story about Jack Reid’s suicide hit home. In the 1960s I was a ninth-grade transfer student. This particular boy spotted me as an easy target in civics class, relentlessly teasing, taunting and humiliating me, five days a week. Students laughed at me, calling me names throughout the halls.The look of shame in the eyes of the teacher was transparent, yet he never said or did anything in my defense. I was already afraid and insecure. Those daily taunts and humiliation destroyed the little self-worth I had.Twice I attempted suicide. My mother was beside herself. She pulled me out of that school and enrolled me in a private Catholic school. I somehow made it through those years only because of my mother’s love and concern rather than anything the school ever did.Bravo to the Lawrenceville School for publicly stating, “We acknowledge that more should have been done to protect Jack.” It’s long overdue for schools to finally step up and take responsibility rather than turning a continual blind eye.Marge KellerChicagoFans of Netflix DVDs Offer Sad Farewells Illustration by The New York Times. Images by Getty ImagesTo the Editor:Re “Here’s Looking at You, DVD.com,” by Pamela Paul (column, April 28):Thanks to Ms. Paul for her eloquent, bittersweet ode to DVD.com. This year marked my 15th year as a Netflix subscriber, and while my queue is a fraction of hers (I have a thing with lists — no more than 10 on there at once), my recent mandate for managing my movies has been to include only those that are not available on any streaming service. (“Altered States” was a recent rental for me, too; maybe Ms. Paul and I had the same disc!)I will treasure these last few months of deliveries. Farewell, red envelopes, but luckily I can fill the void with a combination of fond memories and frequent trips to the New York Public Library DVD stacks (and pray to the lords of corporate do-gooding that Netflix donates its DVD inventory to libraries).Kevin ParksNew YorkTo the Editor:One point Pamela Paul didn’t mention is the superior image and sound quality of DVDs, especially Blu-ray. The colors are much richer, the blacks are blacker and the audio is much fuller. Filmmakers put incredible effort into the look and sound of their art.Luckily I live a few blocks from one of San Francisco’s last video rental stores, Video Wave of Noe Valley. Not only does Colin Hutton, the proprietor, carry hundreds of titles unavailable via the internet, but he also has an encyclopedic knowledge of the films.Whenever I want to watch a movie in which the cinematography and audio design are critical, I walk down the street to pick up a shiny disc.Michael FasmanSan FranciscoThe writer is a filmmaker.To the Editor:I loved this piece. It echoed my feelings and experiences with DVD.com. But there is another layer no one seems to be talking about.I live in a rural area of western North Carolina. I have no cellular service at my house, and my internet connection is via a very slow satellite service and has a data cap. Both the slowness of the connection and the low data cap prevent us from being able to stream anything but fairly short YouTube videos. And those eat up our data allotment pretty quickly. Forget trying to stream an HD movie.As Pamela Paul indicated, we won’t purchase a DVD that we would only watch once.I’m sure we aren’t the only family in America in this situation. So what are we to do? It’s depressing and frustrating.Kimberly Baldwin WhitmireFranklin, N.C.Facing Up to the Spiraling U.S. DebtSenate Republicans hold a news conference outside the Capitol to urge passage of legislation to raise the debt limit and cut federal spending.Chip Somodevilla/Getty ImagesTo the Editor:Re “The Cowardice of the Deficit Scolds,” by Paul Krugman (column, May 9):It is time to face up to massive U.S. debt that both Presidents Trump and Biden helped accelerate.Many years ago, Mr. Krugman and others accused President George W. Bush and me of trying to privatize Social Security. The rhetoric poisoned the well for Social Security reform, which even Mr. Biden was suggesting was then needed. Reforms would have greatly improved today’s U.S. financial position.The “scolds” I know believe that long-term deficit reduction requires lower expenditures and higher revenues. Having managed four government agencies, I would add better management by political appointees and Congress to proactively address the challenges.We have to raise the debt ceiling, but we need to stop the U.S. debt doubling over the next 10 years. That is not “extortion” or “blackmail.” It is acting to safeguard America’s future.James B. LockhartGreenwich, Conn.The writer is a senior fellow at the Bipartisan Policy Center. He was director of the Federal Housing Financial Agency and the Office of the Federal Housing Enterprise Oversight, principal deputy commissioner of Social Security and director of the Pension Benefit Guaranty Corporation.If the G.O.P. Wants to Win, It Needs to Pick Candidates Who CanRon DeSantis has cast himself as more electable than Donald J. Trump, but for years Republican primary voters have cast ballots with their hearts, opting for hard-liners who lose in general elections.Scott Eisen/Getty Images; Christopher Lee for The New York TimesTo the Editor:“DeSantis’s Electability Pitch Wobbles, Despite G.O.P. Losses Under Trump” (news article, April 23) describes the angst many Republicans feel about the electability of their candidates and the fact that they are losing many elections they feel were winnable.The answer to their problem should be very evident: The majority of Americans favor sensible gun control, including the banning of assault rifles. The majority of Americans favor women’s reproductive rights. The majority of Americans deplore the vicious tone of American politics that prevails today. The majority of Americans do not believe the idiotic conspiracy theories that abound.Yet the Republican Party continues to run candidates who cater to the morally and financially bankrupt National Rifle Association, who seek to eliminate completely a woman’s right to choose, who sow chaos with their nasty political rhetoric and who continue to push the completely ridiculous lie that Donald Trump won in 2020.If the Republican Party ever wants to regain its status as a mainstream, serious participant in governance, it needs to jettison these fringe types it continues to trot out as candidates.Bill GottdenkerMountainside, N.J. More