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    ‘Past Lies’ on Hulu Is a Swirly Spanish Mystery

    The drama is the latest mystery about a group of now-grown women haunted by their teenage pasts.Elena Anaya, left, and Itziar Atienza star in the Spanish drama “Past Lies.”HuluGather ’round, old friends, for it is time to recall the big, terrible event of that night long ago — that night when we swore a solemn oath to bury this secret, and yet now, somehow, perhaps 20 full years later, the horror of it still affects us all! Why must every group have a prodigal troublemaker whose return dredges up these old memories? Can we not leave the past in the past? Maybe our recollections differ — we can confront this in flashback, or maybe just in the pounding rain. The first person who cries and says “But she was our friend!” loses.“Past Lies,” a six-part Spanish drama (in Spanish, with subtitles, under its original title, “Las Sambras Largas,” or dubbed) on Hulu, is the latest swirly mystery about a group of now-grown women haunted by their teenage pasts. “Lies,” though, is more frank than much of its brethren, more streamlined and grounded.Rita (Elena Anaya) is a well-known film director who reluctantly returns to her hometown, Alicante, Spain, to settle her mother’s estate. Despite initial dodges and awkwardness, she winds up folded back into her high school clique, starting with a brittle dinner party. The different kinds of hugs Rita exchanges with each of these former friends is one of the juiciest, most detailed scenes I’ve seen in ages — decades of longing and disappointment depicted in the twist of one shoulder blade.The reunion becomes even more strained when the police identify the remains of Mati, a classmate who vanished during a senior trip to Mallorca. Mati’s younger sister, Paula (Irene Escolar), is one of the investigators, though it’s hard to imagine how she finds time for police work when she is so busy scowling and chewing gum. Paula is convinced these women know more than they’re telling her, and she’ll comb through home videos the girls shot as teens to prove it.Part of what makes “Past Lies” intriguing, beyond its appealing chicness and gorgeous setting, is that the central mystery is not one agreed-upon lie. The women each have different suspicions, different secrets they wanted to keep back in the day or maintain now. The show is a saga not about simmering teenage blood lust or the freaky, warped horrors of girldom, but rather about the natural contours of regrets, the bittersweetness of regarding one’s youthful passions. More

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    Why Are Nuns Either Saintly, Seductive or Sadistic?

    In uncertain times, religious sisters are often invoked as vessels for collective doubt.From Chaucer’s supercilious Madame Eglantine in “The Canterbury Tales,” with her spoiled lap dogs and secular French airs, to Ryan Murphy’s ruthless Sister Jude in 2012’s “American Horror Story: Asylum,” a woman who wears a red negligee under her habit and is not above indulging in some communion wine, fictional portrayals of nuns have long captured and confounded the imagination. How could it be otherwise? The sisters’ vows of chastity and poverty and the air of secrecy that shrouds their cloistered lives are all intriguingly antithetical to modern Western values of sex, money and fame. Many of us have also encountered nuns in our actual lives — I spent much of fourth grade facing a corner of the classroom at the punitive behest of Sister Rosalia — and are left with what I’d call a primal fascination. But if the aesthetic interest in nuns is an enduring one, it’s also true that every few years, like fashion trends or viral flus, nuns have a particularly concentrated cultural moment. We’re living in one now.Perhaps the starkest, knottiest contemporary depiction of nuns is the playwright John Patrick Shanley’s “Doubt: A Parable.” First staged on Broadway in 2005, it recently wrapped another run there, directed by Scott Ellis. (Three of the cast members have been nominated for Tony Awards.) The play tells the story of the iron-fisted Sister Aloysius (Amy Ryan in Ellis’s revival), the principal of a Bronx Catholic school in 1964, who, based on the hunch of a guileless novice, Sister James (Zoe Kazan), accuses Father Flynn, the parish priest (Liev Schreiber), of making advances toward the school’s only Black student (whose mother was played by Quincy Tyler Bernstine). It’s a detective drama with no resolution, a morality tale with an insoluble ambiguity at its heart. Ellis says he was drawn to stage the play because its titular emotion feels more crucial than ever in our increasingly polarized world. “Given everything that we are in society right now, the black and white of it all, the red and the blue,” he says, “doubt is the most important place to live.”Liev Schreiber as Father Flynn (left) and Amy Ryan as Sister Aloysius in the recent Broadway production of “Doubt: A Parable” by John Patrick Shanley.Joan Marcus/Polk & Co., via Associated PressRebecca Sullivan, the author of the 2005 book “Visual Habits: Nuns, Feminism and American Postwar Popular Culture,” says that “in times of deep doubt,” we tend to see cultural representations of nuns crop up. She notes that the cascade of nunsploitation films of the 1960s and ’70s — a campy, provocative, mostly European cinematic subgenre in which nuns are sexualized, tortured or possessed — occurred at a time of great social upheaval. Second-wave feminism was afoot, secularism was on the rise and the Second Vatican Council, held between 1962 and ’65, had ushered in numerous church reforms: Nuns, for example, were encouraged to get out of the convent and serve the community and were no longer required to wear habits. The liminal status of sisters — they were independent women who also exhibited a “subversive subservience,” as Sullivan puts it, to a patriarchal institution — made them rich and complex symbols, ciphers for exploring the era’s feelings about women at large.We’re in another profound moment of disruption, particularly when it comes to women’s rights and roles: Roe v. Wade has been overturned; tradwifery is a trend. And thus we’ve seen a new spate of arty nunsploitation films, with “Immaculate” (2024), starring Sydney Sweeney, being the latest. (Others include Paul Verhoeven’s 2021 erotic lesbian nun satire, “Benedetta,” and Rose Glass’s taut 2019 psychosexual horror, “Saint Maud.”) Directed by Michael Mohan, “Immaculate” follows a devout Midwestern novice, Sister Cecilia, who arrives at a gloomy convent in the remote Italian countryside and mysteriously becomes pregnant, leaving church elders to conclude that she’s carrying the savior. In a turn reminiscent of “Rosemary’s Baby,” the sinister Father Tedeschi more or less imprisons Cecilia in the dark, labyrinthine building. For all its gory, sexy-nun fun, the film raises all-too-familiar questions about female bodily autonomy in oppressive male institutions. But this nun, a feminist heroine for the 21st century, is the agent of her own destiny: Unlike so many sisters in the first wave of nunsploitation films, she frees herself.Cate Blanchett and Aswan Reid in the 2023 film “The New Boy.”via Cannes Film FestivalWe 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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    ‘Terraces’ Review: A Stunning Tragedy Revisits the Paris Terror Attacks

    The French writer Laurent Gaudé taps into collective trauma from the Nov. 13, 2015 terrorist outrage and channels it into something like catharsis.Outdoor cafe terraces are part and parcel of the Parisian way of life — ready meeting points for socializing and people-watching, across ages and social classes. Yet the word for them in French also means to floor, or bring down, someone.On Nov. 13, 2015, the worst Islamist terrorist attack in French history did just that to Parisians, bringing horror to cafes and entertainment venues in a string of coordinated shootings and bombings. Now Laurent Gaudé, a prominent French author and playwright, has channeled the collective trauma of that night into a stunning play, “Terraces,” which had its world premiere at the Théâtre National de la Colline in Paris on Wednesday.If you were in the city that night in 2015, fielding panicked calls from relatives and friends as news alerts pinged, the prospect of a show summoning those memories may be cause for trepidation. And “Terraces” does bring it all back — the gut punch, the nausea. Yet Gaudé and the director, Denis Marleau, manage just the right amount of distance and emotional finesse to haunt rather than reopen wounds.It isn’t the first attempt to dramatize the attack. In 2017, a book by Antoine Leiris, whose wife was among the victims, was adapted for the stage, and several short plays have focused on the stories of survivors.With “Terraces,” however, Gaudé works on a much more ambitious scale. Its structure is choral: The text weaves together not just the experience of victims, but the voices of people whose lives changed in other ways that night. Passers-by, spouses, parents, emergency medical workers, special forces and a janitor all make appearances, with stories that overlap and build up to a collective remembrance of the attack.Extensive research evidently went into the production, but “Terraces” doesn’t fit neatly into the genre of documentary theater. Its characters are composite creations rather than real people: Many introduce themselves under several names and stress that theirs are collective stories. While some characters pop up time and again over the course of the play, they often occupy a liminal space between dream and reality, reappearing at the scenes of other shootings or speaking from beyond the grave.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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    ‘X-Men ’97’ Brings the Franchise Back to Its Roots

    The Disney+ animated series builds on its 1990s predecessor, exploring themes of prejudice and change through the world of Professor Charles Xavier and his mutant pupils.Saturday mornings were sacred for me in the mid-90s. Watching “X-Men: The Animated Series” defined a five-year period that was the most formative of my life.The series, which was broadcast on Fox for five seasons from 1992 to 1997, introduced me and countless other millennials to the expansive world of Professor Charles Xavier and his mutant pupils, as they repeatedly saved humanity and aspired toward a future when they would be accepted as equals. With its classic characters — like the surly Wolverine, always ready with an angry quip, and the menacing Magneto — its steady stream of action sequences and ever-progressing plots, the show was riveting enough to draw in young viewers and yet loyal enough to the original comic books to appease older fans like my father, who would give footnotes on every episode as we watched.It set the standard for the X-Men franchise, which would come to include a tiresome span of uneven, often incoherent films held together in the mighty claws of the indefatigable Hugh Jackman. (That legacy continues this summer with “Deadpool & Wolverine.”) So when I say that the Disney+ series “X-Men ’97” not only meets but also surpasses that original series, I mean that as a commendation of the show itself, but especially of the writer-producer Beau DeMayo, who worked on two seasons before being fired ahead of the series premiere. In an age of constant reboots and sequels, DeMayo and his team built something fresh and innovative from a piece of pop culture nostalgia.“X-Men ’97,” which streamed its season finale on Wednesday, immediately picks up where the original left off: Xavier is dead and the X-Men are left floundering, with the lead couple Scott Summers (Cyclops) and Jean Grey wondering if it’s time to build a life apart from Xavier’s School for Gifted Youngsters. The world is still a place of prejudice and conflict aimed at mutants, who are building a utopian homeland on the island of Genosha. But evil forces, familiar and new, threaten to start a war and mass extinction event that will result in both mutant and human casualties.From the very start, “X-Men ’97” shows an appreciation for, and understanding of, the best elements of the original animated series. It almost exactly replicates the classic opening theme, and the two series begin with first episodes that mirror each other: Both introduce a lost young mutant. The continuity shown to the plot, the characters’ arcs, the animation and even the music is refreshing, particularly because the series doesn’t pander to new audiences. It doesn’t get dragged down by exposition, instead assuming its audience is the same from 1997, ready to pick up where the original series left off.But “X-Men ’97” isn’t so evangelical that it disregards the original’s pitfalls; though forever beloved, “X-Men: The Animated Series,” now seems as stiff as the posture of a Sentinel. Those action-packed story arcs are awkwardly condensed, and the pacing is almost always ungainly. The fight sequences, dazzling at the time, are now jerky and robotic. The dialogue is stilted, and the accents in the voice acting — particularly Gambit’s confusing, inconsistent Cajun twang — are abominable.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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    How the Language of TV is Influencing How We See Ourselves

    TikTok has spawned a curious new way of understanding ordinary life: villain arcs, main character energy and seasons. Last summer, I was struck by a video I came across on TikTok. In it, a 20-something flops faceup onto her bed. Her roots are grown out, her eyeliner is heavy and her gaze, vaguely forlorn, is intensified by a key light tinted blue. Her hand gropes around the adjacent night stand to silence her vibrating phone. Then the Netflix logo flashes, followed by a credit line: “A life written and directed by Beatrice Harrods.” A stop-motion sequence follows the passage of time: a vase of chrysanthemums, then roses; one candle, then another; an unfurling rug and the text “Season 2.” Cut back to Harrods: Her roots are touched up, and her gaze, now pointed at the camera, seems to relish being watched.You see a lot of this on TikTok now: videos that describe ordinary life using the language of television. Scroll through, and you’ll find users charting the different “seasons” of their lives or highlighting the emergence of plot “arcs.” You may find users referring to the people in their lives as “casts” — including both passing encounters with “paid extras” and recurring appearances by “guest stars.” A friend’s unexpected appearance might be tagged “NOO! Ur not in this episode” or described, as one user had it, as the moment “when someone from Season 2 of my life somehow crosses over into Season 4.”There is a certain permeability between art and life, and pleasure in perceiving it: We take satisfaction in recognizing our lives in onscreen plot lines, as we thrill to real-life moments that feel “just like a movie.” But TikTok’s video-based format has wildly amplified the impulse to collapse the distance between the two and imagine yourself as an onscreen character. The app’s tools make it easy for people to film and edit footage of themselves, narrating their own stories in breezy narrative beats — making life look like an episode of television. The result is a perfect ecosystem for watching and being watched, where once-passive audiences are encouraged to see themselves as the writers, directors and stars of their own motion pictures. Perhaps there is therapeutic value in conceptualizing your life as a coherent story — one you can not only analyze but direct. One key piece of televisual jargon that has thrived online feels especially suited to this purpose. The “canon event” describes a crucial, sometimes traumatic occurrence that activates or shapes a person’s character. This kind of thinking may be related to therapy, but it has since been extrapolated wholesale into Hollywood tropes. Last year, the popularity of “Spider-Man: Across the Spider-Verse” — with its talk of critical “canon events” shaping the lives of heroes — inspired TikTok users to embrace the term. But in the transition from big to palm-size screen, the idea became a deadpan punchline, identifying not superheroic origin stories but the formative trials of ordinary youth. One video applied the term to “every teenage girl getting into her first situationship with a medium ugly guy that bears a striking resemblance to the rat from Flushed Away.”The challenge, for a narcissist, is to realize that we are all our own protagonists.There’s a related genre of video that encourages viewers to use the visual language of TV to romanticize their lives. This often involves footage of quotidian activities — waiting for the subway, restocking a fridge, pouring a beverage — elevated through production techniques: flattering close-ups, curated props, the amateur’s equivalent of dedicated hair, wardrobe and makeup departments. By reframing mundane activities as the well-lit choreography of a story’s protagonist, these videos render the everyday with a kind of glamour and gravity. If all the world is now a set, “main characters” like these are rewarded by the attention economy — a fact that has inspired some users to turn “main-character energy” into something like a life philosophy. One woman, in the first of 22 “episodes” dedicated to proselytizing her “seasons theory” on TikTok, described how she improved “Season 3” of her life by asking herself what Serena van der Woodsen and Carrie Bradshaw would do. (Those main characters, of “Gossip Girl” and “Sex and the City,” narrativized their own lives for a blog and a newspaper column.)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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    Late Night Looks Forward to the Trump-Biden Debates

    “Just like that, they’re going head to head, toe to toe, mano a mango,” Stephen Colbert said of two forthcoming presidential debates in June and September.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.‘Mano a Mango’President Biden and Donald Trump agreed to two forthcoming presidential debates on Wednesday.Stephen Colbert joked that “the debate over debating is finally over.”“Just like that, they’re going head to head, toe to toe, mano a mango.” — STEPHEN COLBERT“Yeah, Trump agreed to the debate. He said, ‘I’ll be there, assuming it’s OK with my parole officer.’” — JIMMY FALLON“The first debate will be next month, which is the earliest a presidential debate has ever been, and, if we’re being honest, an early-bird debate feels right for these guys.” — JIMMY FALLON“It’s really quite something to challenge your opponent to a debate anytime, anywhere, anyplace while you’re standing behind barricades at a mandatory court appearance for your criminal trial.” — SETH MEYERSThe Punchiest Punchlines (Let’s Get Ready to Ramble Edition)“Yep, Biden and Trump will meet June 27 on CNN, and one of Biden’s debate conditions was not having an audience, so that explains why it’s on CNN.” — JIMMY FALLON“Biden is looking forward to laying out his 2024 agenda, while Trump is just happy to go somewhere where nobody will draw him while he sleeps.” — SETH MEYERS“Trump jumped right on the offer, posting, ‘Just tell me when — I’ll be there. Let’s get ready to rumble!’ Rumble? I’ve seen your rallies. I think you mean, ‘Let’s get ready to ramble.’” — STEPHEN COLBERTThe Bits Worth WatchingCast members from the new Broadway adaptation of “The Great Gatsby” performed the song “My Green Light” on Wednesday’s “Tonight Show.”What We’re Excited About on Thursday NightThe actor and humorist Nick Offerman will appear on Thursday’s “Daily Show.”Also, Check This OutJoel Grey and Eddie Redmayne each have played the Emcee in the Broadway classic “Cabaret”New York TimesJoel Grey and Eddie Redmayne discussed their shared history of playing the Emcee in “Cabaret” several times over. More

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    Review: In ‘Invasive Species,’ the Acting Bug Bites, Dramatically

    Maia Novi stars in her play about a Hollywood-struck actress from Argentina who stops at Yale’s drama school and an inpatient psych ward on her way.Maia Novi’s “Invasive Species” is being marketed as an outrageous dark comedy, but it’s a quieter play than that: about being an Argentine immigrant with Hollywood ambitions, a graduate acting student at Yale and a psychiatric inpatient plagued by intrusive thoughts.“My name is Maia,” the play’s central character (Novi) tells the audience near the top of the show. “And this is a true story.”Well, true-ish, given that we’ve just seen her get bitten by the Acting Bug (Julian Sanchez), a human-size creature with a giant proboscis whose process of infecting Maia involves spitting voluptuously onto her face from above. A bit of hallucinatory license, then, has sometimes been taken.Directed by Michael Breslin at the Vineyard’s Dimson Theater, the play fragments into different worlds. The most realistic is the hospital in New Haven where Maia wakes up, in March 2022, to find she is a patient — admitted to a children’s ward, where suicide is a temptation for some of the adolescent patients.The play’s other worlds are more heightened and satirical, though they, too, have the whiff of veracity: the drama school, where a teacher says that Maia — trying to lose her accent by diligently imitating Gwyneth Paltrow — has a “lazy tongue”; the Connecticut dating scene, where a dimwitted American bro swallows every stereotype-laced lie that Maia concocts, prankishly, about her family in Argentina; a film set where a British director who casts her as Eva Perón has a blithely wrongheaded sense of authenticity.Partially inspired by the 1977 production of Spalding Gray’s theater piece “Rumstick Road,” an investigation into his mother’s suicide, “Invasive Species” carries the thrum of fear that can accompany a family history of mental illness. Maia worries — so does her father — about what she might have inherited from her own mother.Presented by a group of producers who include the playwright-provocateur Jeremy O. Harris (“Slave Play”), Breslin’s roommate when they studied drama at Yale, “Invasive Species” is crisply directed on a nearly bare stage. The supporting cast members (who include Raffi Donatich, Sam Gonzalez and Alexandra Maurice) are quicksilver-changeable in their multiple roles, and it’s always clear which reality or unreality the characters have stepped into, even when worlds overlap. (Yichen Zhou’s lighting is instrumental in that.)This is a well acted, neatly assembled, carefully modulated play with a cumulative force that is less than it might have been. The satire — of drama school, of xenophobia — isn’t the freshest, and the obliqueness of the hospital strand softens its impact, and ultimately the play’s.“Invasive Species” is a portrait of a young woman attempting, for the sake of ambition and survival, to force herself into various molds that do not fit who she truly is.“Pretend,” one of the teenage patients advises her, practically. “You should be good at that — you’re an actress, right?”Invasive SpeciesThrough June 30 at the Vineyard Theater, Manhattan; invasivespeciesplay.com. Running time: 1 hour 20 minutes. More

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    Netflix and the N.F.L. Sign a Three-Season Deal

    Football joins pro wrestling and comedy specials in an expansion of the streaming service’s live offerings, a key step in the company’s overall live TV strategy.Netflix is no longer simply in the “sports-adjacent” business. On Wednesday, the streaming giant announced a three-season deal with the National Football League that will include showing two Christmas Day games on its service this year. It’s the first time Netflix has become partners with a major sports league, and it likely won’t be the last.The move follows Netflix’s increasingly aggressive push into the business of live events. In the past two weeks, “The Roast of Tom Brady” was its most-watched English-language TV show; a quirky six-day John Mulaney talk show went viral as part of the Netflix Is a Joke live comedy festival in Los Angeles; and the stand-up special “Katt Williams: Woke Foke” was viewed 4.3 million times.“Last year, we decided to take a big bet on live — tapping into massive fandoms across comedy, reality TV, sports and more,” Bela Bejaria, Netflix’s chief content officer, said in a statement. “There are no live annual events, sports or otherwise, that compare with the audiences N.F.L. football attracts.”The two Christmas games will pit the Houston Texans against the visiting Baltimore Ravens and the Pittsburgh Steelers against the visiting Kansas City Chiefs (raising the odds for greater viewership with a potential Taylor Swift sighting).The streaming business has matured in the United States, and though Netflix is the dominant service, it still needs to keep growing. With subscriptions relatively maxed out in America, the growth of other revenue streams has become crucial to the company’s success. Advertising is chief among them.At a time when more people are dropping their traditional cable subscriptions, live sports remain catnip for advertisers because they are one place where audiences are guaranteed in real time. That is especially true for the N.F.L., which remains a ratings juggernaut.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