Netflix

Now that The Crown has finished (for the time being, at least), production companies are scrabbling about for replacements. Perhaps inevitably, the biggest royal story of the past few years — Prince Andrew’s disastrous 2019 interview with Emily Maitlis on the BBC’s Newsnight program — has now been made into two separate shows this year. The Netflix offering, Scoop, focused on Sam McAlister — and was, far from coincidentally, based on McAlister’s memoir. Now Amazon Prime has entered the fray with a three-part series that follows in the wake of the peerless A Very English Scandal and the lesser A Very British Scandal. Whatever next?

If you have a Netflix subscription, then you’ll quite probably be tempted to watch the new $150 million Beverly Hills Cop film. The movie is snappily subtitled Axel F — the name of the would-be iconic Axel Foley character, equally snappily embodied by Eddie Murphy, returning to play the part for the first time in three decades. In truth, the movie is an undemanding and entertaining watch that flies by in a couple of inconsequential hours. Directed by debutant filmmaker Mark Molloy, it brings Foley back to Beverly Hills — via some complicated plot mechanics that don’t need to concern anyone but the most anxious viewer — in order to become involved in a police corruption scandal.

The much-anticipated new Benedict Cumberbatch series on Netflix, Eric, initially sounds as if it could have been made at any point in the past four decades. Bankable leading man whose character is battling substance abuse issues and mental instability; check. Diverse supporting cast including at least one character who is not only struggling against racial prejudice but homophobia too, check. Gritty-yet-faintly exotic setting, in this case the pre-Giuliani New York of the Eighties, check. But there is another element in Abi Morgan’s psychological thriller that throws a spanner in the works, in the form of the eponymous Eric.

It must be nice to be Netflix CEO Ted Sarandos. Not only is he paid a truly eye-watering amount of money to be in his job (roughly $50 million a year, according to reports), but because of his company’s pre-eminent position in the streaming market, he is interviewed, largely uncritically, by major news titles, even when he says things that are obviously either wrong or deeply stupid. Thus it has proved in a recent conversation with the New York Times, in which he announced, of last year’s hits Barbie and Oppenheimer, “Both of those movies would be great for Netflix. They definitely would have enjoyed just as big an audience on Netflix.” To add insult to injury, he declared that the size of a screen was all but irrelevant, saying, “My son’s an editor.

It was once the case that, if a planned film in a two- or three-movie series came out and wasn’t very good, the remaining films would be scrapped. The world has changed with the advent of streaming, and even though Zack Snyder’s Rebel Moon — Part One: A Child of Fire was greeted with critical contempt, its sequel Part Two: The Scargiver has slid onto Netflix, only to be met with, you guessed it, yet more dismay and horror.

Only a few short years ago, I was a professional bartender working for Michelin-star chefs in fine-dining restaurants and, eventually, serving the social elite in five-star hotels. Most of the known names were genial. Killer Mike and El-P of Run the Jewels were gentlemen. So too were Thundercat and Anderson .Paak — who were particularly keen on my margaritas. Some night porter friends anticipated trouble when they heard Nicki Minaj was staying, but found her to be extremely down to earth, pleasant and normal. Others, however, were not.

At a time when most streaming shows front-load their first episode with all the drama, intrigue and titillation so that the audience will keep on watching, the opening of Steven Zaillian’s Ripley is almost comically counterintuitive. We see Andrew Scott’s Tom Ripley lugging a corpse down a flight of stairs, without explanation as to who he is or who his victim is, and then we begin the series proper, filmed (by There Will Be Blood cinematographer Robert Elswitt) in crisp black and white. Over the course of eight episodes, Zaillian follows Highsmith’s first Ripley novel, The Talented Mr. Ripley, reasonably closely, albeit with ornamentations and digressions. But if you had any expectation that this would be an edge-of-seat thriller, well, think again.

With strikes over, the streaming model still wobbling and Barbiemania in the rear-view, 2024 looks sety to be an interesting year for film and TV. To start, two superhero movies. Last year saw superheroes die at the box-office — apart from Guardians of the Galaxy Vol. 3, every superhero film bombed, with Blue Beetle, Aquaman: The Lost Kingdom, The Flash and The Marvels losing tens to hundreds of millions. Because of this, there are far fewer superhero films releasing in 2024. But two of the most anticipated and interesting films to come happen to be of that genre. They’re both sequels, R-rated, somewhat odd and are going to be hits, as were the films they follow; but otherwise, they couldn’t be more different. I’m speaking of Deadpool 3 and Joker: Folie à Deux.

Ross Anderson, life editor Silo, Drops of God and Hijack As I wrote early this year in our pages, Apple TV+ is probably the most under-appreciated streaming service available, with a very high batting average for its output. Bad Sisters was far funnier than I expected, The Super Models was just fantastic, and Boom! Boom! The World vs. Boris Becker is almost as long as its title, but is also the best sports documentary I’ve seen in years. But the three best shows I watched though it were Silo, Drops of God and Hijack.

Netflix’s royal saga The Crown has been one of its biggest hits of the past few years. Sacrificing subtlety for big, dramatic arcs, with award-winning performances by a cast that has, in a stroke of genius on the part of its creator Peter Morgan, changed every two seasons, it’s been the most gripping and rich account of the post-war British royal family ever put on screen. It has been helped both by an enormous budget and the useful way in which the present-day battles between Prince Harry and Meghan Markle and the rest of the Firm have come to mirror The Crown’s increasingly eventful power struggles among the various branches of the family.

Say what you like about Netflix’s The Crown, now coming into its final series — the first four episodes launch on the service today, with the concluding half-dozen coming next month — but it is one of the few shows that has combined winning truckloads of awards with compelling its viewers to have an opinion on its often surprising manipulations of history. Its creator Peter Morgan has been both praised and vilified for the liberties with fact he has taken, all of which he has dismissed on the grounds that he is creating fact-based entertainment, rather than a documentary series. That invention can often illuminate, rather than obscure, the workings of the forever secretive British royal family.