What to Stream: 'Paddington in Peru,' Prince Royce, 'Mormon Wives' and Doom: The Dark Ages
Also among the streaming offerings worth your time, as selected by The Associated Press' entertainment journalists: The Dominican-American singer Prince Royce covers hit songs on 'Eterno,' the surprise Bravo hit 'Mormon Wives' returns for Season 2 and there's a new gaming chapter in the groundbreaking Doom series, Doom: The Dark Ages.
New movies to stream from May 12-18
— Brady Corbet's epic 'The Brutalist' is finally making its way to Max on Friday, May 16. The three-and-a-half-hour postwar saga won Adrien Brody the best actor Oscar earlier this year for his portrayal of László Tóth, a fictional architect and Holocaust survivor who attempts to build a new life in America. It was also awarded the best score (Daniel Blumberg) and best cinematography prizes. Director of photography Lol Crawley shot in VistaVision, a 70-year-old format famously utilized in films like 'Vertigo' and 'North by Northwest.' In her review, AP's Jocelyn Noveck wrote, 'It's about the immigrant experience, and it's about what happens when the American dream beckons, then fails. It also explores a different dream: the artist's dream, and what happens when it meets opposing forces, be they geographic displacement or cold economic calculus.'
— Paddington bear and the Brown family go on an Indiana Jones-style adventure in 'Paddington in Peru,' streaming on Netflix on Thursday. This third installment in the charming series has a few changes from its predecessors — in the filmmaker (Dougal Wilson taking over for Paul King) and Mrs. Brown (Emily Mortimer subbing in for Sally Hawkins). In his review, AP Film Writer Jake Coyle wrote that Wilson 'can't quite summon the same comic spirit' as King, but added that 'bright and buoyant, will do. If some of King's Wes Anderson-inspired pop-up book designs and skill with fine character actors is missing, the bedrock earnestness and unflaggingly good manners of its ursine protagonist remain charmingly unaltered.'
— In March 1988, the students of Gallaudet University in Washington, D.C. staged a historic protest over the appointment of a hearing president instead of one who was deaf. 'Deaf President Now!,' a documentary streaming on Apple TV+ on Friday, May 16, chronicles that moment and examines its broader impact, like how it helped pave the way for the Americans with Disabilities Act. The film's visuals and soundscape were also designed to bring audiences into the Deaf experience.
— AP Film Writer Lindsey Bahr
New music to stream from May 12-18
— Somehow, some way it has been 25 years since Britney Spears first put on a red latex catsuit and sang 'Opps!... I Did It Again' through her singular breathy tone, the title track of her sophomore album. Across the album – which includes other hits 'Lucky' and 'Stronger' – she ushered in new millennium as a zeitgeist-shaping pop superstar. Her influence in the decades that followed is unimpeachable, and on Friday, Sony will release a 25th anniversary edition of the record, complete with bonus tracks.
— Colombian-Canadian singer-songwriter Lido Pimienta returns with an ambitious new album, 'La Belleza.' It arrives five years after her breakout 'Miss Colombia,' and features the inventive artist veering into new, classical influences while maintaining her interest in Afro-Indigenous polyrhythms; the record was co-orchestrated with skilled arranger Owen Pallett. It's a step up for an artist whose embrace of the past has always placed her squarely in the future.
— The Dominican American singer Prince Royce covers hit songs on 'Eterno' – offering Spanglish, bachata-infused reimaginations of tracks like 'Killing Me Softly' as made famous by Roberta Flack, the Beatles' 'Yesterday,' Elvis Presley's 'Can't Help Falling In Love,' The Temptations' 'My Girl' and more.
— Music Writer Maria Sherman
New television to stream from May 12-18
— With shows like 'The Kardashians,' 'Vanderpump Villa' and 'The Secret Lives of Mormon Wives," Hulu is building a roster of reality TV that's quite Bravo-esq. 'Mormon Wives' was a surprise hit when it debuted last year. It's back for a second season on Thursday. The show follows the drama among a group of Mormon women living in the Salt Lake City area who have built a following on TikTok. They call their group of friends MomTok.
— After scoring big with 'The Pitt,' Max is looking to keep the momentum going with 'Duster." Co-created by JJ Abrams, the show stars Josh Holloway of 'Lost' as a getaway driver in the '70s who gets flipped by a rookie FBI agent, played by Rachel Hilson. Holloway has described the show as a throwback to when TV was less dark and more fun. It also has a groovy soundtrack. 'Duster' premieres Thursday.
— 'The Chi,' a drama about a young Black community living in Chicago's South Side returns Friday. Critics and fans have praised its portrayal of life as a Black person growing up in a rough neighborhood faced with systematic racism, violence, incarceration, and poverty. Kyla Pratt — known for playing the daughter of Eddie Murphy's character in the 'Dr. Dolittle' films and as the voice of Penny in 'The Proud Family' — joins the cast for season seven. The Chi' streams on Paramount+ with Showtime.
— We've seen Alexander Skarsgård as a tech bro on 'Succession' and an abusive husband on 'Big Little Lies.' Next, we get to see his comedic chops as a robot who gains free will in 'Murderbot' for Apple TV+. Premiering Friday, May 16, the show is based on a book series.
— Stanley Tucci is once again roaming through Italy. The Golden Globe- and Emmy-winning actor eats and meets in National Geographic's new food-travel series 'Tucci in Italy,' which premieres Sunday, May 18 and streams on Disney+ and Hulu the next day. Each episode of the first season of 'Tucci in Italy' explores a different region in Italy — from Tuscany to Trentino-Alto Adige, Lombardy, Abruzzo and Lazio. CNN canceled his 'Searching for Italy' in 2022.
— Alicia Rancilio
New video games to play week of May 12-18
— If you like your games big, noisy and unabashedly gory, id Software's groundbreaking Doom series is hard to beat. Doom: The Dark Ages, the new chapter from publisher Bethesda Softworks, takes the demon-hunting space marine — now known as the Doom Slayer — back in time, sort of. His bosses have hauled the big lug to a quasi-medieval planet that's riddled with hell portals and under siege by the most bloodthirsty monsters yet. The Slayer has his usual arsenal of spectacular weapons, including a 'saw shield' he can fling like a deadly Frisbee, and some levels let him saddle up on a cybernetic dragon. It's like a heavy metal album cover come to life, and it arrives Thursday on Xbox X/S, PlayStation 5 and PC.
— Lou Kesten
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Times
8 hours ago
- Times
Tom Lehrer obituary: devilish musical satirist
Before Tom Lehrer opened his mouth, he seemed the image of decency. Sitting at the piano in a tux as sharp as his jawline, looking a little nerdy with his slicked-back hair, large-framed glasses and bow tie, he could have fooled his listeners into thinking that they were about to hear a mild selection of show tunes. Yet as soon as his fingers hit the keys he revealed himself as the imp he really was, gleefully mocking staid mid-century morals, goading his listeners to clutch their pearls. He sang The Masochism Tango, exclaiming that 'I ache for the touch of your lips, dear/ But much more for the touch of your whips, dear.' And he sang about that bucolic way to spend a Sunday afternoon: Poisoning Pigeons in the Park. In I Got It From Agnes, he sang about the transmission of 'it', a venereal disease, through a series of increasingly depraved couplings. Masterfully avoiding recourse to a single rude word, he made eyes bulge with tell of how 'Max got it from Edith, who gets it every spring/ She got it from her daddy who just gives her everything/ She then gave it to Daniel, whose spaniel has it now/ Our dentist even got it and we're still wondering how.' He won renown among those of discerning bad taste in the Fifties and early Sixties for 37 such songs. They also included I Hold Your Hand In Mine — the seemingly sweet murmurs of a lover who has in fact murdered his darling and kept her hand as a souvenir — and When You are Old and Gray, in which, inverting Yeats's poem, he pleaded: 'So say you love me here and now, I'll make the most of that/ Say you love and trust me, for I know you'll disgust me, when you're old and getting fat.' He sang such lyrics with blithe zest and remarkable vocal dexterity, wending his way through the most tangled tongue-twisters. As if to prove a point, he arranged all the known elements to the tune of Gilbert and Sullivan's The Major General's Song. Part of the joy of listening to him sing was the thrill of hearing him vault such high hurdles as 'Europium, zirconium, lutetium, vanadium/ And lanthanum and osmium and astatine and radium/ And gold, protactinium and indium and gallium/ And iodine and thorium and thulium and thallium.' Lehrer was such a confident performer that his songs could seem like spontaneous outbursts, but really he laboured over them intently, shaving off spare words and notes until they were as elegant as equations. A Harvard mathematician who retreated from the limelight back to his alma mater, he found the same satisfaction in fitting a satirical message into verse as he did in solving such abstruse mathematical problems as 'the number of locally maximal elements in a random sample'. Many of his songs originated as party pieces to play to his friends at Harvard, where he matriculated in 1943 at only 15. He made a record of a dozen of his songs to give to them as a memento, hoping to sell the rest of the 400 copies at gigs. Having managed to sell them in a couple of days, he printed more, and employed freshmen to help him to dispatch them by mail order. His fame spread by word of mouth, and by 1954 he had sold 10,000 records. He also began playing in nightclubs such as The Blue Angel in Manhattan and the Hungry I in San Francisco, and at benefits for liberal and anti-war groups. A left-winger of the strait-laced sort who would soon be drowned out by the hippy movement, he endeared himself to his comrades with an 'uplifting song in the tradition of the great old revival hymns' about nuclear annihilation. It went: 'We will all go together when we go/ What a comforting fact that is to know/ Universal bereavement, an inspiring achievement/ Yes we will all go together when we go.' By 1957 he was performing at Carnegie Hall. Lehrer's fame reached Britain that year, when Professor JR Sutherland, awarding an honorary music degree to Princess Margaret from the University of London, let it be known that she was a fan of his music. Talk of his songs spread through university papers and record shops, prompting the BBC to ban most of them from the airwaves the following year. In 1959 he recorded a second album, More of Tom Lehrer, and sold out several venues in the United Kingdom. Yet it was at this moment that he began to tell his friends he wanted to stop performing. He had never gone out of his way to seek fame. At Harvard, once inundated with invitations to perform at parties, he had doubled his fee. The number of invitations halved, which suited him just fine. At the end of 1959, having toured Australia, and the UK once more, he decided to let his records earn his living for him, and return to Harvard to try to finish his PhD. He soon concluded, however, that he had nothing original to offer academia, and gave up on the PhD in 1965. He continued to dabble with songwriting, submitting tapes of his music to That Was the Week That Was — a precursor to Saturday Night Live — and releasing a third album, That Was the Year That Was. But it tired him to tour the world, playing the same songs over and over, and he all but gave it up. On a short tour of Scandinavia in 1967 he joked that all of his songs were 'part of a huge scientific project to which I have devoted my entire life, namely, the attempt to prolong adolescence beyond all previous limits', but it seemed that experiment had reached its conclusion. It was not only out of weariness that he retreated from the limelight, but out of a sense that popular culture had left him behind. His brand of dissent — droll, insouciant, recognisably an undergraduate parlour game — seemed an anachronism to the earnest and righteous rebels of the counterculture. About them he joked, 'It takes a certain amount of courage to get up in a coffee house or a college auditorium and come out in favour of the things everybody else is against, like peace and justice and brotherhood and so on.' Contrary to a biographical note on one of his LPs, Thomas Andrew Lehrer was not 'raised by a yak, by whom he was always treated as one of the family', but born in Manhattan in 1928, the son of Morris Lehrer, a non-practising Jew and necktie manufacturer whose Gilbert and Sullivan records he would listen to constantly, and Anna (née Waller). He began piano lessons at the age of eight, and spent the summers of his boyhood at Camp Androscoggin in Maine, where he bumped into a younger boy whose music he would later idolise: Stephen Sondheim (obituary, November 27, 2021). Educated at Horace Mann, a private high school in the Bronx, Lehrer skipped three years to keep himself amused. His application to Harvard took the form of a poem, the last stanza of which ran: 'But although I detest/ Learning poems and the rest/ Of the things one must know to have 'culture',/ While each of my teachers/ Makes speeches like preachers/ And preys on my faults like a vulture/ I will leave movie thrillers/ And watch caterpillars/ Get born and pupated and larva'ed/ And I'll work like a slave/ And always behave/ And maybe I'll get into Harvard.' He chose to study mathematics, judging that English involved too much reading and chemistry too much grubbing around in foul-smelling laboratories. Once there he began writing scurrilous songs with which to entertain his peers, and surrounded himself with pranksters who would later become eminences in their respective fields: Philip Warren Anderson, who won the Nobel prize in physics; Lewis Branscombe, who became the chief scientist at IBM, and David Robinson, who became the executive director of the Carnegie Corporation. In 1951 he staged the Physical Revue (a play of words on the Physical Review, a scientific publication), a musical drama incorporating 21 of his songs. Invitations to perform at parties poured in, and steadily he acquired a following. By 1954 he was selling records from the second floor of his house, and working as a defence contractor to avoid being conscripted. Despite his best efforts, the following year he was drafted into the Defence Department's cryptography division, which would later become the National Security Agency. He maintained that his only contribution to the NSA was a way to get around its prohibition against staff drinking alcohol at parties — jelly vodka shots. Lehrer gave his last public performance for many years at a fundraiser for the Democratic presidential candidate George McGovern in 1972. Looking for a sunny climate and a quieter life, he began teaching a course in musical theatre at the University of California, Santa Cruz. He would later teach mathematics there too. It was tacitly understood in his classes that nobody was to mention his career as a performer. Despite his on-stage effervescence he was a deeply reticent man, whose friends hardly got a glimpse into his private life. Once asked whether he had a wife or children, he replied 'not guilty on both counts'. Lehrer claimed that he stopped writing satire partly because 'things I once thought were funny are scary now. I often feel like a resident of Pompeii who has been asked for some humorous comments on lava.' Indeed, he famously said a year after he retired from performing that 'political satire became obsolete when Kissinger was awarded the Nobel peace prize'. Having relinquished fame so flippantly, he affected to care little about his legacy. When one would-be biographer came knocking, he rebuffed his offer to write his life story, but gave him the original recordings of his second album as though they were worthless to him. He felt no need to give an answer to those who wondered why one of the great lyricists of the 20th century would seem so indifferent to the fate of his own art. In 2020 he put his songs in the public domain. Yet as a younger man he did claim to feel a degree of emotional investment in the reception of his work, saying:'If, after hearing my songs, just one human being is inspired to say something nasty to a friend, or perhaps to strike a loved one, it will all have been worth the while.' Tom Lehrer, musical satirist, was born on April 9, 1928. He died on July 27, 2025, aged 97
Daily Mail
12 hours ago
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People are just realizing they've been using Stanley Cups all wrong
Although a Stanley Cup seems like it would have a pretty straightforward owner's manual, fans of the cult classic are finally taking a look at tips to use the product - and realize they have been drinking from it all wrong. A TikToker recently shared online that when he looked at the care instructions, he realized he's never preheated or cooled his water bottle. Oliver posted a video to the platform with his blue Stanley Cup and informed his followers that they had to preheat or precool the water bottle before filling it up with their favorite beverage. He explained that to get the best experience out of the popular water bottle, the cup should be filled first with hot or cold water, left to sit out for a few minutes, and then emptied before the beverage is poured in. 'If you own one of these - nine times out of ten, you're using it wrong,' Oliver said, with his bright blue Stanley Cup in hand. He explained that he found the instructions and was about to throw them away when he saw the little-known tip. Oliver was shocked to read the tip and asked his followers if anyone was preheating or precooling their Stanley Cups. 'We don't read contracts for home or car purchases... we definitely ain't reading Stanley directions,' one commenter joked. 'Stanley need to pay you because no one in America reads manuals or directions,' another joked. 'I guess that's what we get for buying things that are 'trendy!' lol,' a third added. However, some said that they did similar processes with their water bottles, as one noted, 'I have a yeti and do this every use! Makes it hotter or colder longer.' 'I fill it with ice and put it in the fridge overnight before adding my water. And the ice won't melt for at least 3 days,' another shared. Some commenters even went as far as slamming Stanley Cup for not creating a better product. 'Those things are $50. They need to use better materials. That's insane,' one said. 'That's crazy, you gotta activate the cup smh [shaking my head],' a second joked. Despite the surprise of many, the owner's manual for Stanley Cups does advise customers to preheat or precool their bottle before filling it up with liquids. The manual states that to get the best performance for hot or cold retention, customers should 'Preheat or precool your vacuum bottle, mug, or food jar by filling it with warm or cold tap water. Let stand for five minutes. 'Empty the bottle and immediately fill with your favorite hot or cold beverage. Lastly, secure the stopper and lid as quickly as possible to avoid heat loss.'
Daily Mirror
18 hours ago
- Daily Mirror
Painkiller is a rough-around-the-edges FPS that feels like the lovechild of Doom and Left 4 Dead
Schlocky co-operative FPS action is alive in full force in Painkiller, which feels like a rush to play despite not being the most polished. If you're seeking a Doom-like FPS experience you can play with friends, Painkiller is shaping up to be a hell of a good time for players who like mindlessly shooting demons together. Painkiller is the type of co-operative FPS where you can look at one screenshot or brief gameplay segment and know instantly what vibes it's going for. It doesn't want to be big, or even particularly clever – let alone genre-pushing. What it does want to be, however, is bloody fun (literally). It offers you and up to two other friends the chance to fight your way through Purgatory itself using interesting weapons, character classes, and randomised Tarot Card power-ups. Having now played through the prologue and two levels, I feel confident in saying it achieves its goal – it's a real blast. It could even turn out to be especially great providing developer, Anshar Studios, dedicates the time to balance its odd difficulty spikes better and smooth out its slight yet noticeable technical problems. Taking on the role of one of four determined demon hunters, and gunning down legions of hell's forces feels quickly cathartic in Painkiller. Helping this sense of instant gratification hit harder is no doubt the game's decision not to start you off with a simple pistol or machine gun, but rather a litany of different weapon types that work brilliantly to decimate foes. Chief among them is the titular Painkiller, being a primarily melee-driven device with a rotary fan attached on the end that will see enemies spew out with ammunition whenever resources are low. There's always a risk using it, though, since it forces you to get in close, but it does well to see blood spill over the screen. Far more effective at range are the Stakegun and Electrodriver, which both tout functions that are just as badass as these names suggest. The Stakegun serves as your shotgun of sorts although with a more precise shot, capable of being upgraded so that each stake rapidly twirls to drill into demons and do far more damage. The Electrodriver, meanwhile, functions as your starting assault rifle, yet doubles up as a way to shock larger enemies with a health bar using a long burst of lightning. Cast enough of it and you'll be able to stun the foe, opening them up for an instant kill attack. If you can't tell already Painkiller is the type of hell-based FPS not wanting to take itself too seriously, encouraging players to get in, get killing, and have fun while doing it. The weapons certainly play an important factor to accomplishing this, but so too does just how great it feels to move through its underworld stages. This is where Painkiller most definitely takes a page out of the Doom rulebook, letting you slip and slide around, and latch onto grapple points that in theory makes getting overwhelmed by the hordes less of a possibility. When this gameplay loop works, it really works, allowing Painkiller to punch well above its weight. House of pain I say this since nothing that Painkiller does is particularly new per se, but it excels in pooling together familiar systems and mechanics from elsewhere, grinding it up in such a way that it made me remember, 'oh yes, that's right. FPS games are meant to be fun and hard-to-put-down'. One aspect somewhat original to Painkiller is the Tarot Card system, whereby earning enough gold and advancing far enough into levels will let you equip up to two unique, gameplay-altering perks. From doubling the amount of gold received upon completing a raid to upping your damage output, I can see how Tarot Cards should help make undertaking repeat runs interesting. The one thing harming my enjoyment of Painkiller right now is its persistent lack of polish. Sure, sliding through a graveyard to mash through a giant Taurus enemy looks and feels good in the moment. Not so much when you latch onto a grappling hook and sling yourself across a stage only to end up caught in the level's geometry. It also feels a tad unbalanced in terms of difficulty too, with certain portions of both the Defiled Quarry and Cathedral Bridge stages I played both having bottleneck portions where enemies have a habit to swarm, attack, and never let up. Also not helping is how health bottles aren't exactly easy to find. I'm hoping that these issues are more a case of me playing both sections with two bots as opposed to real-life partners, as intended. There are four difficulty levels to pick from prior to set up a raid, but even then, Azazel's forces proved to be particularly cruel – even on the lowest setting. Luckily, this did nothing to dissuade me from jumping back into to both stages I had access to multiple times, especially since I wanted to squeeze out as many upgrade unlocks for my Stakegun and Electrodriver as I could, coupled with a good degree of Tarot Card experimentation. From the few hours I played, Painkiller is proving to be not so much of a pain, and more of the kind of old-school co-op FPS action that makes me nostalgic for the days of 2016's Doom and even Left 4 Dead before that. Many games of this ilk have tried and failed to fill this slot, but Painkiller proves tough enough to put down I'm hoping it'll have the juice to stick around. 3D Realms, after all, is the type of publisher that has a penchant for shepherding this exact style of game, so providing the few areas of unpolish are resolved prior to Painkiller's launch this October 9, 2025, there's every reason to be excited about the prospect of endless FPS slaughter with friends.
