NEW YORK â Yasmin is asleep outdoors, bathed in the orange glow of her space heater, when a man sneaks up to steal her source of warmth. A young woman alone, she appears defenseless to this stranger, an easy target â until she snaps to alertness and springs on him with a violence thatâs almost feral.
NEW YORK â A clipboard in her hand, a tiara on her head, the queen was drafting her countryâs constitution, the sort of idealistic undertaking that requires the mulling of common values. So she sought out a citizen and bounced a question off him.
NEW YORK â In the script, the list of murdered girls and women goes on for more than eight pages, in gruesome detail â so many rapes and shootings and stranglings, so many body parts chopped off.
NEW YORK â On the phone with his interview subjects, J.T. Rogers had to keep hitting the mute button. He was weeping, and he didnât want them to hear.
He was there, on a Sunday evening in late June, to perform his version of the Gospel of John â not as a sendup or radical rethink, but as an act of testament, the religious text edited down to 90 minutes.
NEW YORK â Hugh Jackman is a shape-shifting master of showbiz: as the big-screen Wolverine, ripped and brooding; as a charismatic song-and-dance man, ripped and Broadway.
That is to say, a prostitute. Which, up until their courtship, Bairbre had been â a fact she conceals from her darling naĂŻf so she can make a new start with him.
The real-life ad series that this spot was part of landed on a Time magazine list of Top 10 Embarrassing Celebrity Commercials, so weâre not talking about great art here.
In Brooklyn, Xiao (Aaron Yoo) is describing to Mei (a terrific Karoline Xu) his favorite old film, âVeil Widow Conspiracy.â With a shift of scenery (the handsome set is by Yu-Hsuan Chen), suddenly thatâs what weâre watching: a Hollywood murder mystery based on a true story.
NEW YORK â Hannah loves her father, but that doesnât mean she wonât lie right to his face. Home from college on an impromptu visit, she pops by his office and hits him up for cash: $450 to pay off her pile of parking tickets.
MONTCLAIR, N.J. â The spectacle begins promisingly, provokingly, in Romeo Castellucciâs âDemocracy in Americaâ: with a crowd of female dancers in gold-trimmed white bobbing around the stage, each carrying a furled white flag. They look like the most glamorous drill team youâve ever seen, their long-skirted coats like a runway reinterpretation of a World War I officerâs dress uniform.
NEW YORK â In prison, he has mellowed into a sweetly appealing man. Itâs partly the white-stubble beard and the reading glasses dangling from his shirtfront. Itâs also the loving way he encourages the younger guys around him, and the joy he exudes â like an overgrown kid who canât believe his luck â when one of his favorite authors comes to call.
NEW YORK â The gadfly of the agora wears coarse clothes and a coating of grime. Stubbornly humble in appearance, he is a stocky man, usually barefoot, and when he does put on shoes, theyâre aggressive in their plainness â nothing like the tall, strappy gladiator sandals adorning the men around him.
NEW YORK â When white-haired Mary descends on her three daughters in Dallas for an impromptu visit, she brings them rosaries. Or she meant to, anyway; she canât find them just this instant. What she does have handy is a morsel of guiding philosophy.
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