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    Hope Hicks Reluctantly Confronts the Man She ‘Totally Understands’ in Court

    The dramatic appearance of Ms. Hicks, once one of Donald J. Trump’s closest aides, riveted the audience. During her testimony, she blinked back tears.In the unceasing reality show that is Donald J. Trump’s life, his Manhattan criminal trial has functioned as something of a reunion episode, where supporting players return to confront the protagonist and relive memorable moments from seasons past. On Friday, the audience in the courtroom tensed when prosecutors announced the next person to testify on their behalf: Hope Hicks.She was not a surprise witness. But this felt like a very special guest.Ms. Hicks’s role in the Trump Show dates to 2015, when, as a 26-year-old with no political experience, she was plucked from Ivanka Trump’s clothing line to serve as press secretary to what then seemed a quixotic bid for the presidency.They were an odd pairing from the start. He was the carnival-barker candidate with a penchant for provocation. She was the meticulously dressed, unfailingly polite aide, a former fashion model who developed a nuanced awareness of, and bottomless patience for, her mercurial charge. “She totally understands him,” Paul Manafort, Mr. Trump’s one-time campaign manager, said in 2016.Unlike other aides, she never had a falling out with Mr. Trump (or wrote a tell-all memoir), serving as the White House communications director and returning for the final year of his administration. But their closeness took a hit when it emerged in 2022 that she had voiced anger in a text message to a colleague over the fallout on Mr. Trump’s staff from the Jan. 6, 2021, attack on the Capitol.Mr. Trump was displeased.That rift may explain why Ms. Hicks, 35, looked visibly uncomfortable as she took the stand Friday morning and, in a notably soft voice, admitted to feeling “nervous.” This, she testified, would be the first time she had spoken in Mr. Trump’s presence in nearly two years.Ms. Hicks, who was reared in the buttoned-up community of Greenwich, Conn., the daughter and granddaughter of public relations men, has long prized discretion, even amid a White House that could be shockingly indiscreet. It was obvious on Friday that her return to the spotlight was not by choice.Who Are Key Players in the Trump Manhattan Criminal Trial?The first criminal trial of former President Donald J. Trump is underway. Take a closer look at central figures related to the case.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 Voice of a Hundred Faces: Dee Bradley Baker’s ‘Star Wars’ Journey

    With “The Bad Batch” ending this week on Disney+, the man who has voiced hundreds of “Star Wars” characters over the past two decades looks back on his run.For “Star Wars” fans who have seen only the theatrical blockbusters, clone troopers are peripheral figures, at most recalled as the title menace in “Attack of the Clones,” from 2002. But over the past two decades they have become essential to the franchise, the pillar of animated “Star Wars” series including “The Clone Wars,” “Star Wars Rebels” and most recently, “The Bad Batch.”And in that time one man has been essential to the clones: Dee Bradley Baker, who has voiced them all.Not all of the shows — all of the clones, hundreds of them since getting cast for “Star Wars: The Clone Wars,” which debuted in 2008 with a feature film and an animated series that lasted for seven seasons. Now Baker’s incredibly prolific gig, which also included plenty of non-clone roles, has finally come to an end: “The Bad Batch,” the “Clone Wars” sequel series, concludes its three-season run on Disney+ this week, and there are no plans for more clone shows.“It’s been wonderfully gratifying to go on this journey,” Baker said.Baker, 61, has been a voice actor for nearly 30 years, working on series like “Dexter’s Laboratory,” “American Dad,” “Codename: Kids Next Door” and “Space Jam.” Before “Star Wars,” he almost exclusively played funny parts: He voiced every animal in “Avatar: The Last Airbender,” Perry the Platypus in “Phineas & Ferb” and creatures in live-action projects like Sebastian the rat in “The Suicide Squad.”“I would get cast as more young, energetic and comedic because that’s how I thought of myself,” Baker said. The “Star Wars” shows “pulled so much more from me as an actor because it asked things of me I wouldn’t even think of.”“Nothing can be more fun than to play in the universe that captured your imagination as a kid,” Baker said.Jesse Grant/Getty ImagesMany of the dramatic and emotional stories early on in “The Clone Wars” involved the clone troopers. After all, it is easier to kill a replaceable clone, one of millions, than a Jedi who also shows up in the theatrical movies.Though the series was on Cartoon Network and aimed at kids, the war stories were intense and put the increasingly hard-bitten clones through one wringer after another. One story arc channels the novella “Heart of Darkness”: The troopers are led by a ruthless Jedi General in a jungle planet, until the general’s constant sacrifice of lives leads to insurgency. One episode was directed by Walter Murch, the Oscar-winning sound designer behind the Vietnam War epic “Apocalypse Now,” itself inspired by “Heart of Darkness.”“Voice acting is acting, you need the same skill and the same talent,” said Ashley Eckstein who played Ahsoka Tano. (This central “Clone Wars” character last year became the center of a live-action show, “Ahsoka,” starring Rosario Dawson.)“It can even be harder and more difficult to do voice acting,” Eckstein continued. “Dee and I had to do some deeply emotional and action-packed scenes, and we had to stand still behind a microphone. You can’t act it out or move around. You have to convey all of it just through your voice.”“The Clone Wars” was followed by “Star Wars Rebels,” which follows a small Rebel crew that eventually includes a group of surviving clones, and “The Bad Batch,” centered on a squad of “defective” clones with even more distinct personalities.Baker voiced a menagerie of creatures in “The Clone Wars.” He said his improv background prepared him for the odd sounds “Star Wars” shows require and for moving quickly between characters.Lucasfilm/Disney+One obstacle to making clone troopers compelling is the challenge of differentiating them. (They are, after all, clones.) There were small attempts from the beginning to make them distinct from a design standpoint. The creators gave them colorful armor and insignia to contrast them with the Empire’s more well-known stormtroopers, according to Dave Filoni, who was supervising director and an executive producer of “The Clone Wars” and is now the chief creative officer of Lucasfilm.“They were able to express their individuality, where stormtroopers are individuals taken into service and stripped of their personality and identity,” Filoni wrote in an email. Still, a look is little without the voice and personality that goes with it, and Baker’s performance was a big reason the characters became so central.The first test to see if Baker voicing all the clones would work came in “Rookies,” the fifth episode of “The Clone Wars.” The episode came from an idea by George Lucas, who wanted to do an episode of just clones, and follows a group of cadets who come together as a squad and stave off a droid invasion.As Henry Gilroy, the show’s head writer, recalled, “That recording session was actually a revelation, for we realized that we could write anything for the clones to do with story and character and Dee would execute to perfection.”The clones soon went from being one-off characters with little personality to proper members of the expanded cast, with their own emotional and dramatic arcs that carried on throughout the show’s seven seasons and into “The Bad Batch.” (The character Echo is the last surviving member of that rookie squad.)Baker comes up with one or two defining qualities for each clone to help differentiate them.Lucasfilm/Disney+All the clones are based, fittingly, on the same voice: the one Baker created to play Captain Rex, the second-in-command to Anakin Skywalker and his closest friend in “The Clone Wars,” after Obi-Wan Kenobi. Baker would settle on one or two defining qualities for each clone — rank, age, attitude, quirk — to guide his performances. He used to record one clone at a time, going through an entire script with one and then doing the same with the next and so on until an episode was done. But as “The Clone Wars” developed more complex arcs, he took a faster, more daunting approach. “I would start to play all of them and just jump back and forth,” Baker said. “I just read through the scenes straight through as if they’re characters playing out a scene, but it’s just me going from one voice to the other.”Michelle Ang, who stars in “The Bad Batch” as Omega, is amazed by this process. “He can not only perform the different personalities, but hold five different viewpoints of all the ‘Bad Batch’ characters and argue for each one,” she said. “It feels like there are four distinct people I’m working with.”Eckstein called Baker a mentor, comparing their relationship to that of Ahsoka, her young Padawan character, and Baker’s seasoned Captain Rex. “He taught me the ways of the Force, the ways of voice acting,” she said. When she too was asked to play multiple characters in the same episodes, “I learned from Dee, who is brilliant at doing that.”Baker, who started out in comedy, said improv helped train him to embrace the odd vocalizations “Star Wars” shows can require and to move fluidly between characters.“I am not so much prepared as I’m ready,” he said. “You want to be open and available to steer this and configure that in a way that the writers you’re working with want things to go. You can’t prepare for it. You get that in the immediate human connection of now, and that is inherently improvisational.”The end of “The Bad Batch” is the end of an era, even if other “Star Wars” roles eventually come Baker’s way, like the upcoming video game “Star Wars Outlaws.” Though characters like Ahsoka Tano live on in live-action, and Captain Rex made a cameo in “Ahsoka,” “The Bad Batch” characters were the last characters that Lucas, the “Star Wars” mastermind who is no longer involved with the franchise, had direct input on. The significance of this isn’t lost on Baker.“I’ve loved ‘Star Wars’ since I was a kid,” he said. “Nothing can be more fun than to play in the universe that captured your imagination as a kid.” More

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    Schneider Sues ‘Quiet on Set’ Producers for Defamation

    In the suit, lawyers for the former Nickelodeon producer called the documentary a “hit job” that had falsely painted him as a “child sexual abuser.”The television producer Dan Schneider filed a defamation lawsuit on Wednesday against the creators of the documentary series “Quiet on Set,” which aired accounts of sexual abuse and other inappropriate behavior on sets at Nickelodeon, where Schneider was once a star creator of content.The five-episode series, “Quiet on Set: The Dark Side of Kids TV,” included interviews from former employees who denounced Schneider as a boss and objected to sexualized humor in his shows, leading him to release a video in March in which he apologized for some of his behavior on the job, such as soliciting massages on set from staff members.But the show also focused on Nickelodeon employees who had been convicted of child sex crimes — including Brian Peck, a dialogue coach for Nickelodeon, who was sentenced to prison for sexually abusing the “Drake & Josh” star Jared Drake Bell.Schneider’s lawsuit accuses the documentary of improperly conflating him with those who had been convicted of abusing children and took issue with segments of the series that his lawyers said “falsely and repeatedly state or imply that Schneider is a child sexual abuser.”“Schneider will be the first to admit that some of what they said is true,” the lawsuit, filed in Los Angeles Superior Court, said of the filmmakers. “At times, he was blind to the pain that some of his behavior caused certain colleagues, subordinates and cast members. He will regret and atone for this behavior the rest of his life. But one thing he is not — and the one thing that will forever mar his reputation and career both past and present — is a child sexual abuser.”Schneider declined to be interviewed for the series, instead issuing a statement that was included in the documentary, in which he denied various accusations leveled against him and said that “everything that happened on the shows I ran was carefully scrutinized by dozens of involved adults.”The listed defendants in the case include Warner Bros. Discovery, which owns Max, where the series was streamed; Maxine Productions and Sony Pictures Television, which produced it; and Mary Robertson and Emma Schwartz, who directed the series. None of the parties immediately responded to a request for comment.Calling the series a “hit job,” the lawsuit said that in several instances viewers were led to inaccurately infer that he was a child sexual abuser, including in the trailer, in which a series of photos and video clips of Schneider are followed by the advertisement of a “true crime event.”“The harm to Schneider’s reputation, career, and business, to say nothing of his own overwhelming emotional distress, cannot be understated,” said the lawsuit, which seeks an unspecified amount of damages.The lawsuit said that Schneider’s legal representatives had sent a letter demanding that the series “not include any statements that allege or imply that Schneider engaged in any criminal or sexual misconduct,” and that the defendants’ lawyer responded that there were no “statements” that defamed him.Starting in the 1990s, Schneider created, scripted and produced a string of hits for Nickelodeon including “All That,” “The Amanda Show,” “Drake & Josh” and “Zoey 101.”But in the spring of 2018, Schneider and Nickelodeon suddenly issued a joint statement announcing their separation. Almost overnight, he largely disappeared from public view.In 2021, The New York Times reported that before that announcement, ViacomCBS, the parent company of Nickelodeon, had investigated Schneider and found that many people he worked with viewed him as verbally abusive. The company’s review found no evidence of sexual misconduct by Schneider.The recent documentary series included information about how Schneider and Nickelodeon parted ways, and reported that the investigation into his conduct “did not find any evidence of inappropriate sexual behavior” or “inappropriate relationships with children.”The series was a ratings hit and stirred up conversations about the appropriateness of some of the material on children’s television. Critics said the shows contained barely veiled sexual innuendo, and Schneider, in his apology video, said he would be willing to cut out parts of the show that were upsetting to people, years after they first aired. At the same time, though, he suggested that the criticism came from adults looking at jokes written for children “through their lens.” More

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    The Best Movies and TV Shows Coming to Amazon, Disney+, Hulu, Apple TV+ and More in May

    “The Idea of You,” “Scrublands,” “The Big Cigar” and “Hacks” are streaming.Every month, streaming services add movies and TV shows to its library. Here are our picks for some of May’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)New to Amazon Prime Video‘The Idea of You’Starts streaming: May 2Anne Hathaway plays a middle-age woman on a wild, globe-hopping adventure with a new lover in this romantic dramedy, based on Robinne Lee’s best-selling novel. Hathaway stars as Solène, who accompanies her teenage daughter to Coachella, where she meets and discovers an instant rapport with Hayes Campbell (Nicholas Galitzine), a 24-year-old lead singer of a mega-popular boy band. The movie’s director, Michael Showalter — who also co-wrote the screenplay with Jennifer Westfeldt — has shown a facility with blending low-key humor and realistic relationship angst in his films “The Big Sick” and “Spoiler Alert.” So while “The Idea of You” features fabulous-looking people and catchy songs, it’s mostly about how the two leads’ genuine yearning for each other helps them withstand some uncomfortable public scrutiny.Also arriving:May 9“The GOAT” Season 1“Maxton Hall: The World Between Us”May 16“Outer Range” Season 2May 23“The Blue Angels”“The 1% Club”May 24“Dom”May 31“The Outlaws” Season 3Jay Ryan in “Scrublands.”Sundance NowNew to AMC+‘Scrublands’ Season 1Starts streaming: May 2In the opening sequence of this Sundance Now mystery series, a priest (Jay Ryan) in a run-down Australian Outback town pulls out a rifle after Sunday services and kills five of his congregants. One year later, a burned-out investigative journalist (Luke Arnold) is assigned to write a short article about how the community is recovering from the trauma. But thanks to a helpful local (Bella Heathcote), the reporter quickly realizes that the official story about what happened that Sunday may be wrong. Based on a Chris Hammer novel and directed by Greg McLean (best-known for the Aussie horror classic “Wolf Creek”), the moody and twisty “Scrublands” is about a town with dark secrets and a man who risks his life and career to expose them.Also arriving:May 3“Skeletons in the Closet”May 12“Anne Rice’s Interview With the Vampire” Season 2May 13“Harry Wild” Season 3We 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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    ‘Guilt’ Review: When the Lights Go Out in Edinburgh

    The final season of Scotland’s most notable TV drama, on PBS’s “Masterpiece,” is a suitably twisty and sardonic send-off for the battling McCall brothers.Contains spoilers for Seasons 1 and 2 of “Guilt.”“Guilt,” a pioneering series in Scottish television — it was the first drama commissioned by the newly formed BBC Scotland channel in 2019 — has built an audience well beyond its borders. A melancholy tale of family dysfunction presented as a complicated crime thriller, it combines British regionalism with peak TV-style poker-faced comedy in a way that has made it a critical darling around the world.Created and written by Neil Forsyth, “Guilt” has arrived in dense, lively four-episode bursts; the third and final season has its American premiere on PBS’s “Masterpiece” beginning Sunday. Each installment has been organized around a psycho-philosophical theme: first guilt, then revenge in Season 2, and now, as Forsyth described it in a BBC interview, redemption.But the pleasure of the show does not come from diagraming its moral lessons (unless that’s your thing), or from unwinding Forsyth’s sometimes maddeningly convoluted plots, which entangle sons and daughters of Edinburgh’s rough-and-tumble Leith district with the city’s gangsters, cops and politicians.What makes “Guilt” worthwhile is Forsyth’s knack for creating characters who work their way into our affections, less by their actions than by their unconscious, soul-deep responses to life in the grim confines of Leith and the promise of something better in Edinburgh’s more comfortable precincts.At the center of the web are Max and Jake McCall (Mark Bonnar and the marvelous Jamie Sives), brothers with very little use for each other who become bound in a seemingly endless cycle of lies, danger and recrimination. It begins in the opening minutes of Season 1 when Jake, with Max in the car’s passenger seat, accidentally runs into an old man, killing him. Jake, a gentle soul with an encyclopedic knowledge of pop music (he could have wandered in from a Nick Hornby novel), wants to call the police; Max, a rapacious lawyer with a near-sociopathic lack of empathy, says no.This is the original sin for which the brothers are still paying. Covering up their hit-and-run homicide embroils them with the Lynches, a married pair of quietly vicious gangsters whom Max and Jake are both on the run from, and scheming to take down, across the show’s three seasons. While the brothers work together for survival, they are also at each other’s throats, taking turns ruefully betraying each other, leading to imprisonment, exile and worse.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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    Disney Scrapped ‘The Spiderwick Chronicles.’ Roku Saved It.

    Canceled by Disney before it even aired, “The Spiderwick Chronicles” found a new home at Roku and has so far “delivered results beyond expectations,” its creator said.Last summer, the writer and producer Aron Eli Coleite was on holiday in Las Vegas with his wife when he received an urgent call from Nicole Clemens, the president of Paramount Television.Coleite was the showrunner on “The Spiderwick Chronicles,” a fantasy series Paramount was producing for Disney+. The show had recently finished production on its first season, but Clemens was calling with bad news: Disney had decided to pull the plug, effectively canceling the series before it made it to air.Without warning, “The Spiderwick Chronicles” was “being turned into one of those tax write-offs that I’d heard so much about,” Coleite said in an interview. Christine McCarthy, the chief financial officer for Disney, had said on an earnings call in May 2023 that Disney was in the process of a strategic shift that would lead to downsizing and cost-cutting across the board, beginning with the removal and cancellation of some shows on their streaming platforms. “Spiderwick” was a casualty of these cuts, and “there was no fighting against it,” Coleite said. (Disney declined to comment.)Clemens said in an interview that she was shocked by the move. “We’d started a second season, and there was a lot of love and excitement for the project,” she said. “It was like, whoa.”But after facing certain extinction, “The Spiderwick Chronicles” was rescued by an unlikely savior: The Roku Channel, the ad-supported streaming platform built into the company’s smart TV interfaces and stand-alone streaming devices. All eight episodes of “The Spiderwick Chronicles” debuted on Roku last week, joining the platform’s modest but growing library of original content, including the movie “Weird: The Al Yankovic Story” and its reboot of “The Great American Baking Show.”So far the move has paid off: Roku announced on Tuesday that “Spiderwick” had the best first weekend of any on-demand title on the Roku Channel, in terms of total hours streamed. (The streamer also offers live channels and sports.) Roku declined to give specific numbers, saying only that “Spiderwick” was watched by “millions of streamers” in its first three days on the platform.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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    ‘We were going down fast’: how Benjamin Franklin saved America

    “A long life has taught me that diplomacy must never be a siege but a seduction,” says Michael Douglas’s Benjamin Franklin, raising a wine glass in a world of candlelit tables, baroque music and powdered wigs. “Think of America as a courted virgin. One that does not solicit favours but grants them. And nothing speaks to romance quite as loudly as a dowry worth half a hemisphere.”This is the first episode of Franklin, now streaming on Apple TV+, which tells the story of author, printer, postmaster, scientist, statesman and all-round Renaissance man Benjamin Franklin’s late-life secret mission to France, aimed at persuading the country to help America win the Revolutionary war and gain independence from Britain.The eight-part limited series is achingly sumptuous and splashily cast: Douglas, 79, is best known for roles including Gordon Gekko in Wall Street, Andrew Shepherd in The American President, Dan Gallagher in Fatal Attraction and Liberace in Behind the Candelabra. “Ben Franklin was as charismatic as he was complicated,” says Stacy Schiff, author of A Great Improvisation: Franklin, France, and the Birth of America, on which the series is based. “I’ve no idea how Michael did it, but in scene after scene he drives both points quietly home.“He seems to be able to speak a paragraph with the arch of an eyebrow. He spouts Franklin’s lines, channels his mannerisms, prints his pages, raises his grandson – all without recourse to a Ben Franklin makeover. I will admit that it’s startling, even a bit eerie, to hear him speaking lines of Franklin’s that I know to have slept in foreign archives for over 200 years and that have not been spoken aloud since.”Douglas’s father was a Hollywood titan; Franklin’s was a candle and soap maker from England who married twice and had 17 children. Born in Boston, Franklin left school aged 10 and began an apprenticeship in his brother’s print shop at 12. He ran away at 17, had a spell in London then set up a print shop in Philadelphia and began to publish the Pennsylvania Gazette.Franklin was a man of many talents. He helped establish Philadelphia’s first public library, police force and volunteer firefighting company and an academy that became the University of Pennsylvania. He became postmaster of Philadelphia and served as a clerk of the Pennsylvania legislature.Franklin began researching electricity in 1748 and, in an experiment, flew a kite in a thunderstorm to prove that lightning is an electrical discharge. He came up with inventions including bifocals, the medical catheter, the odometer and the Franklin stove, a wood-burning stove that made home heating safer. For nearly a decade Franklin represented Pennsylvania in London, where he testified before the British parliament about the colony’s hatred for the Stamp Act.He returned to America as the American Revolution drew near and was a delegate at the Continental Congress. He helped draft the Declaration of Independence and signed the final document. At the same time Franklin’s illegitimate son, William Franklin, emerged as a leader of the British loyalists (he was exiled to England in 1782 for his political views).In 1776 Congress dispatched Franklin to France to secure recognition of the new United States. But it was a gamble. Why send a 70-year-old with no prior diplomatic experience who could be hanged as a traitor if caught by the British? In an email interview, Schiff, who lives in New York, explains: “Already Franklin had crossed the ocean seven times; he had more experience of the world beyond American shores than any other congressional delegate.“He was dimly understood to speak French. He was a masterful negotiator and – as the only thing the colonies had by way of a senior statesman – the unanimous choice of Congress. The obvious candidate on one side of the the ocean turned out to be the ideal one on the other; Congress had no idea they were sending a sort of walking Statue of Liberty to France, where Franklin was already a celebrity, for his scientific work.”View image in fullscreenAfter a 38-day voyage across the Atlantic, Franklin – who brought two grandsons, 16-year-old William Temple Franklin and seven-year-old Benjamin Franklin Bache – was warmly greeted as the most famous American in the world. Schiff adds: “He seemed to the French to have walked out of the pages of Rousseau; he was hailed as the man who had tamed the lightning. Mobbed on his arrival, he soon saw his portrait reproduced on walking sticks and wallpaper. The callers were continuous; he came to dread, as he put it, the sound of every carriage in his courtyard.”With New York having just fallen to the British army, Franklin threw himself into the all-important effort to secure French support for the American cause. Charming and witty, and trading on his novelty value as an “American”, he cultivated relationships with King Louis XVI, Queen Marie Antoinette and the French minister of foreign affairs, Charles Gravier, Comte de Vergennes. The TV dramatisation finds Douglas’s Franklin outfoxing British spies, French informers and hostile colleagues.Schiff reflects: “Franklin considered his eight and a half years in France the most critical – and the most taxing – assignment of his life. At the same time it’s the chapter of his life about which we know the least, partly because it takes place abroad, partly because it takes place in a foreign language, partly because the documentation for the Paris years is difficult to access.“I wanted to know how Franklin had pulled off a feat of statecraft that made the Revolution possible – and what that errand told us about Ben Franklin. Sometimes you can see a biographical subject best when he is out of context, stumbling about in a language not his own. This chapter felt a little like Franklin laid bare. He was after all on what sounded like a fool’s errand: it was his job to convince an absolute monarch to help found a republic.”Diplomats and historians still regard it as the greatest single tour of duty by an ambassador in American history. Franklin pushed a reliable button: French hatred for the British. He could also point to some battlefield successes to convince them that America had a decent chance of winning.After two years, he secured two treaties that included political recognition for the United States. The French government provided military assistance, including troops, naval support and supplies. The support was vital to the pivotal triumph of the Continental Army at Yorktown in 1781. Without French aid, the American Revolution would probably have failed; with it, the British were defeated.Douglas told the New York Times last week: “I did not realize to what degree, if it was not for France, we would not have had a free America. It would have been a colony, absolutely. We were going down fast.”View image in fullscreenOutside the White House today is Lafayette Park, where a the bronze statue is thought to portray the Marquis de Lafayette petitioning the French national assembly for help for the Americans in the fight for independence. Whenever a French president visits the White House today, the US president invariably refers to “our oldest ally”.Schiff reflects: “The war could not have been fought without the arms, money and munitions that Franklin winkled out of the French government, both before and after the 1778 alliance. At the time of Franklin’s arrival in France Washington’s army had something like five rounds of powder to a man.“The world wondered, Franklin wrote, why the Americans never fired a cannon. The reason was that they could not afford to do so. Independence rested squarely on the assistance, and the alliance, that he engineered abroad.”With John Jay and John Adams, Franklin negotiated the Treaty of Paris with Britain, confirming its acceptance of a “free, sovereign and independent” United States, which was signed in 1783.But Schiff adds: “For the posting Franklin received no syllable of gratitude. Once the peace had been signed it was preferable to think that American independence had been won by America; the foreign assist was largely written out of the picture, Franklin’s French mission with it.”Franklin, who died in 1790 aged 84, does at least enjoy recognition today in books, museums, a recent Ken Burns documentary and now the Apple TV+ series directed by Tim Van Patten (Masters of the Air, The Sopranos). There is also a statue of him in front of the Old Post Office on Washington’s Pennsylvania Avenue, in front of what used to be the Trump International hotel.Indeed, in an era when American democracy seems unduly fragile, politicians and commentators are fond of recalling the story that, when exiting the Constitutional Convention, Franklin was approached by a group of citizens asking what sort of government the delegates had created. He replied: “A republic, if you can keep it.”So what would Franklin make of Donald Trump and the divisions in America today? Schiff says: “Party politics would have horrified all of the founders. Franklin believed especially fervently in selfless public service. ‘The less the profit,’ as he put it, ‘the greater the honor.’ Enough said.”
    Franklin is now showing on Apple TV+ More

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    ‘Baby Reindeer,’ Netflix’s New Stalker Drama, Is Based on a True Story

    The Netflix series is based on the real-life experience of its creator, Richard Gadd, who also stars in the show.Richard Gadd and Jessica Gunning in “Baby Reindeer.”Ed Miller/NetflixRichard Gadd created and stars in the mesmerizing, complex drama “Baby Reindeer” (on Netflix), which is based on his experience of being stalked. Here he plays Donny Dunn, an aspiring comedian and miserable bartender, living with his ex-girlfriend’s mother and stewing in regret.So one day when Martha (Jessica Gunning) sits at his bar, he feels bad for her — he sees a fellow wounded bird who deserves a moment of compassion. But Martha isn’t just a sad sack; she is a convicted stalker. Soon she is emailing Donny hundreds of times a day, harassing his family and his exes, showing up at gigs and outside his house. It’s relentless, it’s terrifying, it’s … flattering?“Reindeer” is candid and disturbing, but not lurid. On lesser shows, nuance can play like a lack of conviction, but here it is the conviction, a rebuttal to pat victimhood narratives. It delves into the absolute pits of human experience not with a sage, well-adjusted perspective but with the mischievous bravado of a prop comic at the Edinburgh Festival Fringe. (“Baby Reindeer” is adapted from Gadd’s solo show of the same title, which premiered at the festival.)We see Donny’s act bomb and bomb and bomb; to be a comedian is often one big indignity. Donny recognizes and articulates the dangers of wanting fame, how it warps his judgment but also could solve his problems. (One person knowing your darkest secret is unbearable, but a million people knowing it is stardom.) Agony and attention are bound together here — Look at me! No, not like that! — twin snakes choking the life out of their prey. The show is relentlessly, fascinatingly compassionate, answering the questions of “why would you …” and “why didn’t he just …” with probing clarity. Everyone is shaped by suffering, their choices and identities carved by humiliations large and small.The show is seven half-hour(ish) episodes, and they are the good kind of heavy.SIDE QUESTSIf you want something autobiographical and introspective about masculinity but without the horrors of stalking, all three seasons of “Ladhood” are on Hulu and the Roku Channel.If you actually love the horrors of stalking and want to add in serial murder and sultry whispers, all four seasons of “You” are on Netflix. (Only the first three are good.)If you want another fabulous show that started out at Edinburgh, it is always a good time to watch “Fleabag.” Both perfect seasons are on Amazon. More