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    What if Mom’s Not to Blame?

    In a recent crop of films and television shows, grown men are obsessed with their mothers — even if they’re not the monsters audiences expect them to be.IN ANY DISCUSSION of the enduring cultural madness surrounding the subject of mothers and sons, it would probably be natural to start with Sigmund Freud. But let’s treat as a given all the ways in which he blazed a trail for decades of mother bashing and jump one century forward, so that we can examine the philosophy of a different scholar of male frailty and its relationship to unresolved maternal trauma. “Boy, I love meeting people’s moms,” Ted Lasso says in a 2021 episode of the character’s namesake Apple TV+ series. “It’s like reading an instruction manual as to why they’re nuts.”Listen to this article, read by Ron ButlerOpen this article in the New York Times Audio app on iOS.It’s a funny line, it’s a brutal line, it’s an unfair line — and it’s also an exquisite setup for a big reveal that wouldn’t air until two years later, during the show’s third season, when, for the first time, we meet Ted’s mother and finally learn (or think we do) just where his own blind spots, irrationalities and insufficiencies come from. It’s an “aha!” moment of a kind in which television and movies have long specialized: If you’re seeking the deepest understanding of why any man is the way he is and can’t be anything more, different or better, there’s someone you have to meet. And it’s all her fault.The tortured dynamic of mothers and sons in popular culture has always been its own peculiar thing. Mother-daughter narratives have as profuse a tradition, but with a key difference: In those stories, no matter how complex the interplay of competition and control and selfishness and sacrifice and ego, there’s the base line belief that a relationship is supposed to exist into adulthood. Mothers and sons, though? Not so much. As movies and television have often had it, theirs is a bond that, if both parties are healthy, is meant to reach some kind of tacit endpoint that results in male independence and maternal letting go. If a grown man and his mother are still somehow at each other’s throats or in each other’s business, that’s pathology. Whether played for laughs, tears or shrieks, it’s almost always treated as a sign of dysfunction. Over decades, the pop-psychology conversation about mothers and sons has evolved from a fixation on all the ways in which the former can ruin the latter to more nuanced fretfulness about toxic masculinity and the difficulty of raising proud boys who don’t become Proud Boys or turn horrible in any of the other ways the world encourages them to be. But when that talk turns toward mothers, the verdict, as reflected in movies and television, has never moved all that far beyond “You’re doing it wrong.”Armen Nahapetian (left) and Zoe Lister-Jones in 2023’s “Beau Is Afraid.”Courtesy of A24That may, at long last, be changing. The past year has brought an exceptionally varied and thematically rich crop of movies exploring men and their — to use the proper scientific term — mommy issues. They range from the extremely dark comedies “Beau Is Afraid” and “Saltburn” to the more heartfelt and sincere “All of Us Strangers” to the coming-of-age period piece “The Holdovers” to the singular mash-up of character study and tabloid scandal excavation that is “May December.” The movies all showcase mothers and sons; many of them seek to untangle relationships knotted and gnarled by neediness, selfishness or cruelty. By the end of most of them, blood is on the floor, and the collateral damage is steep. But as different as their approaches are, what these films have in common is a questing, thoughtful desire not simply to return to an old trope but to complicate, undermine or even explode it. That said, old tropes die hard, and this one — the hapless son who’s been emotionally mangled by a monster mother — has been entrenched in movies and television for close to 75 years. Freud himself may not have been around to watch them emerge but, by the 1950s, references to psychiatry and analysis were ubiquitous in movies and on TV comedies and talk shows, and mothers, in the cultural parlance of that era, were a necessary evil — something for healthy and well-adjusted men to get past and get over. Men who couldn’t, or worse, didn’t want to, were portrayed as marionettes tied to and practically strangled by their mothers’ apron strings. They were labeled neurotic, and often implicitly labeled homosexual — an accusation that couldn’t then be made overtly in entertainment but could definitely be winked at. Doting mothers, not to mention distant or domineering or strong or fragile ones (for mothers, there was no winning path except quiet self-sacrifice), could make their sons timid, unstable, sexually dysfunctional, effeminate, perverse or outright mad. It became a kind of cruel, knowing joke: Think of Robert Walker’s simpering, coy, mommy-obsessed murderer in Hitchcock’s “Strangers on a Train” (1951) or Anthony Perkins as Norman Bates, whose macabre credo “A boy’s best friend is his mother,” earnestly stated to Mommy stand-in Marion Crane (Janet Leigh), is the closest thing “Psycho” (1960) has to a punchline. Or in a more benign mode, consider the hanging-on-to-heterosexuality-by-a-thread beta male that Tony Randall used to play in all those Doris Day-Rock Hudson movies. “I’ve been talking to this psychiatrist about my mother for two years now,” his character says in “Pillow Talk” (1959), adding, “It’s perfectly healthy. He dislikes her as much as I do!”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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    Jon Stewart Takes on ‘Something Light’: Israel and Gaza

    After two “very controversial” appearances behind the “Daily Show” desk, Stewart decided to dial it down a bit for his third.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.Something LightFor his third time back behind the desk of “The Daily Show,” Jon Stewart said things would be different from the first two, which he said had been “very controversial.”“A lot of discourse around it. A lot of carping back and forth. A lot of anger. A lot of commentary,” Stewart said. “Tonight, I’m done with it. Tonight is perhaps an amuse-bouche. A trifle. Something light!” That turned out to be the war in Gaza.After a “Middle East Conflict Disclaimer Cam” advised viewers that the following discussion was “not meant to endorse or justify either side,” Stewart dove in — calling out Israel for killing civilians, Hamas for calling for Israel’s annihilation, and the United States and the rest of the world for not stopping the suffering. He also floated a few peace proposals of his own.“Look, the United States is Israel’s closest ally. Israel’s big brother in the fraternity of nations. Israel’s work emergency contact. Maybe it’s time for the U.S. to give Israel some tough moral love.” — JON STEWART“‘Hey, Israel, take it down a notch. Could you please be more careful with your bombing?’ is good advice. But really, couldn’t the United States have told Israel that when we gave them all the bombs? They’re our bombs! This is like your coke dealer coming over with an eight ball and going, ‘Don’t stay up all night.’” — JON STEWART“Let’s just ask God. It’s his house! He’s the one who started all this! Just ask God. He can tell us who is right! Is it the Jews? Is it the Muslims? Is it the Zoroastrians? If it’s the Scientologists, a lot of us are going to have egg on our faces.” — JON STEWART“I actually think this last one could work. Starting now: no preconditions, no earned trust, no partners for peace. Israel stops bombing. Hamas releases the hostages. The Arab countries who claim Palestine is their top priority come in and form a Demilitarized Zone between Israel and a free Palestinian state. The Saudis, Egypt, U.A.E., Qatar, Jordan — they all form like a NATO arrangement guaranteeing security for both sides. Obviously, they won’t call it NATO — it’s the Middle East Treaty Organization. It’s METO.” — JON STEWARTThe Punchiest Punchlines (In It to Win It Edition)“This weekend, former President Trump won the Republican primary by 20 points in Nikki Haley’s home state of South Carolina. But Haley is still refusing to drop out of the race. Say what you want about her, but she’s really earning that participation trophy.” — JIMMY FALLON“Yeah, Trump won South Carolina by 20 points. They like him down there. He looks like a guy who fell asleep on Myrtle Beach, doesn’t he?” — JIMMY FALLON“Trump actually had two versions of his speech — a victory speech in case he won, and a victory speech in case he lost.” — JIMMY FALLONWe 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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    Biden Tries to Turn the Tables on Trump: ‘He’s About as Old as I Am’

    In his first election-year appearance on a late-night television show, the president joshed with Seth Meyers and poked at former President Donald J. Trump’s own memory lapses.President Biden has come up with a new defense against claims that he is too old to run for another term: At least he knows who his wife is — as opposed to “the other guy.”As he expands his efforts to reassure voters that he is fit for another four years, Mr. Biden took a turn on the talk show circuit, using an appearance on “Late Night With Seth Meyers” on NBC to poke his challenger, former President Donald J. Trump, on his own struggles with memory.In a playful but pointed interview aired early Tuesday morning, Mr. Meyers sought to help the president address the age issue, which polls show is an important drawback in the minds of most voters. Mr. Meyers jokingly told the president that he had obtained classified information indicating that “you are currently 81 years old.”Mr. Biden went along with the joke. “Who the hell told you that?” he asked. “That’s classified!”He then went on to jab Mr. Trump, who is 77, over a video in which he seems to call his wife, Melania Trump, by another name. “You got to take a look at the other guy,” Mr. Biden said. “He’s about as old as I am, but he can’t remember his wife’s name.”Turning more serious, Mr. Biden added that the contest is not about how old the candidates are. “It’s about how old your ideas are,” he said. “Look, this is a guy who wants to take us back. He wants to take us back on Roe v. Wade. He wants to take us back on a whole range of issues that are — 50, 60 years, they’ve been solid American positions.”The president has been on the defensive about his memory in recent weeks, particularly since a special counsel, in a report on Mr. Biden’s handling of classified documents, explained that one reason he would not charge Mr. Biden is because he would come across to a jury as a “well-meaning, elderly man with a poor memory.” During his interview with the special counsel, the report said, Mr. Biden could not remember key dates of his vice presidency or the year his son Beau died. Mr. Biden’s defenders assailed the special counsel for mentioning that.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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    Review: Fiasco Theater’s ‘Pericles,’ the Cruise of a Lifetime

    If Fiasco Theater has mixed results in its production of this Shakespearean tragicomedy, it celebrates actors supporting and delighting in one another’s work.“Pericles” is a bit of a mess. Spanning decades and traversing the ancient Mediterranean like some deeply misbegotten Carnival Cruise, this Shakespeare play mingles comedy, tragedy and Christian allegory. There are two assassination plots, two shipwrecks, a brothel, a riddle, a tournament and some very convenient pirates. Deliberately anachronistic, it was described by Ben Jonson, a rival playwright, as a “mouldy tale” and “stale.”So, who better to face down this confusion than a company called Fiasco? A devised theater ensemble founded by half a dozen Brown MFA graduates, Fiasco has a soft spot for Shakespeare’s less loved works. The company broke out in 2011 with a production of “Cymbeline” and later staged “The Two Gentlemen of Verona.” (Fiasco’s 2017 production of a crowd-pleaser like “Twelfth Night”? An outlier.)Rather than relying on the published text of “Pericles,” Fiasco has set much of the poetry to music — sometimes supplying original words — and interpolated passages from a prose version by George Wilkins, a pamphleteer and publican. (Wilkins is often cited as the play’s co-author, mostly because scholars disbelieve that Shakespeare could have written anything as patchy as the first two acts.)Ben Steinfeld, a company member and the director, stages this revised text at Classic Stage Company using Fiasco’s poor-theater playbook — a mostly bare stage furnished with charisma, invention, spirit and song. “A miracle may come your way,” an early number promises.Through the hectic first half, this approach falters. Pericles (Paco Tolson at first, then Tatiana Wechsler, Noah Brody and finally Devin E. Haqq) goes to so many places in such a short time that characters and climes blur, especially without the help of scenery to differentiate each country. As Steinfeld’s narrator admits, “Now this is just an empty space/It’s hard to give a sense of place.” (No set designer is credited, though Ashley Rose Horton designed the vaguely Grecian costumes and Mextly Couzin the golden lighting.)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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    Chris Gauthier, ‘Once Upon a Time’ and Hallmark Movies Actor, Dies at 48

    Mr. Gauthier appeared in dozens of television shows and films, including “Freddy vs. Jason” and “Watchmen.”Chris Gauthier, a prolific actor known for his roles in the television shows “Once Upon a Time” and “Eureka,” died on Friday. He was 48.Tristar Appearances/Event Horizon Talent, which represented Mr. Gauthier, said in a statement that he died “after a brief illness.” His representatives did not say where he died.Mr. Gauthier, who was born in Britain and grew up in Canada, had roles in more than 20 movies, including “Freddy vs. Jason” in 2003 and “Watchmen” in 2009. He also appeared in dozens of television shows, including “Smallville,” “Charmed” and “A Series of Unfortunate Events,” according to IMDb, and in several short films.He was best known for playing William Smee in “Once Upon A Time,” a series that blended real life and fantasy in the fictional town of Storybrooke, Maine, where storybook characters live, trapped by an evil queen. Mr. Gauthier appeared in 14 episodes as Smee, who is based on the “Peter Pan” character Mr. Smee, Captain Hook’s first mate.Mr. Gauthier also played Vincent, a cafe owner, on the science fiction TV series “Eureka.” He appeared in 67 episodes of that show, from the pilot episode and through Season 5, according to IMDb.In an interview in 2021, Mr. Gauthier said that he started acting in school plays and that he acted in amateur and professional theater during high school.“I was always a ham, trying to be a funny guy,” he said.Chris Gauthier was born on Jan. 27, 1976, in Luton, England. He said in an interview in 2020 that he moved to Canada when he was 5 and grew up in a small town in British Columbia.“There wasn’t a lot going on there in terms of film and television,” he said. “So for me, it was about just the love of acting. It wasn’t about money. It wasn’t about anything but the sheer love of acting.”His acting career onscreen began in 2000, when he appeared in an episode of the TV series “Cold Squad.” His first two film credits were in 2002 for small roles in “40 Days and 40 Nights” and “Insomnia.”His television roles were largely limited to appearances in one or a few episodes until “Eureka” premiered in 2006. The show takes place in the fictional Pacific Northwest town of Eureka, where many of the world’s brightest minds live in an odd collective that produces technological inventions the rest of the world does not know about.Among his more recent credits, Mr. Gauthier had appeared in seven episodes of the western drama “Joe Pickett.”Information about his survivors was not immediately available.He said in the 2021 interview, his partner encouraged him to move to Vancouver to pursue an acting career in television and film.“I wasn’t super-duper motivated because I was happy doing plays,” he said of the move. “But I was like ‘OK,’ and it worked out.” More

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    Review: Cynthia Nixon Is Nowhere and Everywhere in ‘Seven Year Disappear’

    A sleekly designed production, starring Cynthia Nixon and Taylor Trensch, aims to skewer the art world but falls flat.The problem with writing a play about absence: How to fill the void? When a performance artist known as Miriam (Cynthia Nixon) vanishes in “The Seven Year Disappear,” a two-hander by Jordan Seavey that opened Monday at the Signature Center, we know only that she is a narcissist who steals the air from any room she enters.“The Whitney is mine,” she exclaims in the opening scene, after her adult son and manager, Naphtali (Taylor Trensch), informs her that the museum has made some sort of offer to Marina Abramovic. After seven years off the map, when Miriam returns, she has the gall to ask Naphtali whether he will help turn his abandonment into her next piece.Scenes following Miriam’s reappearance, which occurs on the heels of the 2016 election, are intercut with a reverse chronology of Naphtali’s search for her, which is really a quest to find himself — in a change of careers, a series of sexual liaisons and a lot of hard drugs.“The Seven Year Disappear” has the ostensible trappings of an art-world satire, and this New Group production, directed by Scott Elliott, appears sleekly designed to deliver one. But satire calls for a more distinct point of view, discernible targets, and a greater measure of specificity and insight. The staging here, with an emphasis on style and high-tech mediation, appears keen to make up for their lack.The production includes a mix of live and recorded footage displayed on flat screens suspended above the set.Sara Krulwich/The New York TimesA mix of live and recorded footage of the actors is displayed on flat-screen TVs suspended above the slick, black set (by Derek McLane); at times, their faces appear in close-up stills (projections by John Narun) that could be digital ads for Jil Sander. Onstage, the actors are dressed in black-canvas coveralls and combat boots (costumes are by Qween Jean), and intermittently speak into standing mics (sound is by Rob Milburn and Michael Bodeen). The cumulative effect is one of performance-art cosplay, which could be funny if it didn’t seem so earnest.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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    Joan Holden, 85, Playwright Who Skewered Rich and Powerful, Dies

    As the principal writer for the Obie-winning San Francisco Mime Troupe, she created iconoclastic left-wing satire that courted both chuckles and outrage.To Joan Holden, a fiercely left-wing playwright for the award-winning San Francisco Mime Troupe, life in a capitalist society offered almost too many targets: conniving politicians, labor-squashing industrialists and masters of war looking to profit by spreading conflict around the globe, to name just a few.As the theater collective’s principal playwright from 1967 to 2000, she largely trafficked in satire, collaborating on loose-limbed lampoons and melodramas like “Ripped Van Winkle,” about a 1960s hippie who conks out for decades after a monster L.S.D. trip and awakens to find himself trapped in a nightmare of yuppie greed and materialism in the 1980s.Even in the troupe’s broadest farces, the point was to make audiences chuckle their way to political enlightenment.Ms Holden during an event staged by her San Francisco Mime Troupe in 1969. Audiences needed little background to figure out the group’s leftist political leanings. via Holden family“I write plays about things I’m pissed off about, usually attacking people in power,” she said as part of a panel on humor in 1999, as reported in her obituary in The San Francisco Chronicle. She described humor as “the revenge of the powerless.”“Physically, I can’t get at these people,” she said, but she “can expose them to ridicule. Maybe I can’t slay the dragon, but I can make him look silly.”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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    John Patrick Shanley on ‘Doubt’ Revival and ‘Brooklyn Laundry’

    The playwright discusses the Broadway revival of “Doubt” and his latest, “Brooklyn Laundry.” “People are disagreeing violently with themselves,” he says.In a life of feeling things incredibly deeply, John Patrick Shanley has experienced some thrilling highs: the rapturous audience response in 1984 to “Danny and the Deep Blue Sea,” his first success as a playwright; accepting an Academy Award in 1988 for best screenplay for “Moonstruck.”Add to that list the thrill of discovering the luxury of drop-off laundry. “I was like 35 years old, and I was in Poughkeepsie,” Shanley said in a phone interview during a rehearsal break last month. “I went in to do my laundry, and after a couple of questions, I realized that they would do it for me, fold it and give it back to me. And I was like, ‘This is the greatest thing that’s ever happened in my life.’”Shanley’s latest play, “Brooklyn Laundry,” is about sacrifice and everyday heroism that begins with a character placing her “bag of rags” on the scale at a laundromat. Opening on Wednesday at New York City Center, it is the 13th play the playwright has premiered with the Manhattan Theater Club. “There’s an incredible flair, intelligence, grace and humor to his work,” said Lynne Meadow, the theater company’s artistic director. Most of all, she added, “he writes with such humanity, and so personally.”“Brooklyn Laundry,” whose cast includes Cecily Strong and David Zayas, is also part of an unofficial triptych of Shanley plays this season. In January, an Off Broadway revival of “Danny and the Deep Blue Sea,” starring Aubrey Plaza and Christopher Abbott, concluded a successful run at the Lucille Lortel Theater. On March 7, the first Broadway revival of his Pulitzer Prize-winning 2004 play, “Doubt,” about a priest who may or may not have molested a child, opens in a Roundabout Theater Company production led by Liev Schreiber and Amy Ryan.David Zayas and Cecily Strong in “Brooklyn Laundry,” Shanley’s latest play. It opens Wednesday in a Manhattan Theater Club production.Sara Krulwich/The New York TimesIn a conversation that touched on all three plays, Shanley revealed that the accidental retrospective isn’t the only reason his life has been flashing before his eyes recently. These are edited excerpts from the conversation.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