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    She Went Viral Mocking Trump. Now Sarah Cooper Is Taking on a New Role.

    She is making her professional stage debut in the Off Broadway drama “The Wanderers,” and fulfilling a childhood dream. “It’s transformative,” she said.Way back in 2020, when Donald Trump was still in office and many Americans were stuck at home, Sarah Cooper became Internet-famous in a most idiosyncratic way: by lip-syncing some of the president’s more inartful musings.Using tools she had at hand — her wit, her phone — she built an enormous audience for her short-form videos mocking Trump’s remarks on everything from the coronavirus to crustaceans.The exercise was a bit of a lark, and a bit of a coping mechanism. But for Cooper, an actor-writer-comedian who had had little luck breaking into the entertainment world, it was also a game-changer: She finally signed with an agent (at William Morris Endeavor, one of the biggest talent agencies); she starred in her own Netflix special (“Everything’s Fine,” created with Natasha Lyonne and Maya Rudolph); she adapted one of her books, “How to Be Successful Without Hurting Men’s Feelings,” into a pilot (it did not get picked up, but was still “an amazing experience”); and she shot a Jerry Seinfeld film (“Unfrosted: The Pop-Tart Story,” currently in postproduction).Now, at age 45, she is at last doing the thing she has dreamed of since she was a child: performing in a play. She is making her professional stage debut in “The Wanderers,” a drama by Anna Ziegler that is in previews Off Broadway at the Roundabout Theater Company, with the actress Katie Holmes also in the cast.Cooper, who last performed in theater as an undergraduate at the University of Maryland, has had a circuitous path back. Born in Jamaica, she immigrated to the United States with her parents when she was 3, and at first found little family enthusiasm for her artistic aspirations. “They didn’t think that I’d be able to support myself as an actress,” she said, “which, you know, they had a good point.”At college she switched her major from theater to economics; after graduating, she worked in tech design. At 30, she quit to try her hand at acting; when that wasn’t going well, she turned to standup comedy, “and then,” she says, “I went broke.”She wound up managing a design team at Google, but quit that to write. And then came the pandemic, the videos, and all that followed.“Those videos absolutely changed my life,” she said during a recent interview at her apartment high above Downtown Brooklyn, overlooking the Statue of Liberty. These are edited excerpts from the conversation.Cooper is playing a woman who is struggling with her identity as a mother, a wife and a writer in Anna Ziegler’s “The Wanderers,” a Roundabout Theater Company production that is now in previews.Tim Barber for The New York TimesWhat is “The Wanderers” about?“The Wanderers” is about two couples. One couple is very much an arranged marriage, in the Orthodox Jewish community, and the other couple is not arranged. On the surface, it looks like one couple has all of these freedoms and the other one doesn’t. And yet the struggles are very similar between the two.Tell me about your role.I play Sophie, and I am half-Jewish/half-Black. I had a huge failure earlier in my career, but my husband is very successful. When we meet Sophie, it’s about 10 years into their marriage, and she is struggling with her identity as a mother and a wife, and how that is affecting her longing to be a writer. And she’s really feeling distant from her husband.You had a marriage end during the pandemic. How does taking this role resonate for you?It’s very personal: I’m a writer as well; I have a lot of impostor syndrome as well; I question my talent on a nightly basis. I just relate to this character so much.It’s been three years since your first Trump video, which you called “How to Medical.” How do you see that chapter of your life?Right afterward I was very scared of just being known as the Trump Girl, and felt like I wanted to distance myself from it. But I meet people who just come up to me and they just go, “You made me laugh when it was so hard to laugh.” It’s just made me appreciate it a lot more. Those videos helped so many people, and they also helped me. So I’m thankful for it now, even though I know that if I die right now, my obituary would have the name Donald Trump in it, which is not great, but what are you going to do?Do you ever feel tempted to do it again?People ask me to do it all the time, and I have no desire. I like the idea that it exposed the meaninglessness of his words, but I think now that it’s been exposed, there’s nothing left to really do with it.And you’re not going to turn it into a cycle with other characters?I’ve noticed I am very good at lip syncing, so I’ll never say never. But right now I’m really enjoying acting, which is really what my childhood dream was.So what is it like, being in a play?We did a table read, and table reads are always very scary because you think if you do it wrong, you’re going to get fired immediately. And then we moved very quickly to getting on our feet in the rehearsal space for four weeks, which was such a gift. And then you get on that stage, and the lights hit you, and you’re in a costume, and you’re looking at this man who is just this actor but now he’s your husband — it’s transformative. Oddly I feel it’s where exactly I need to be and where exactly I belong.What are you learning?I’m working on my voice, mainly. I’m learning to breathe while I’m speaking, learning how to project, learning about my diaphragm, doing morning and afternoon exercises. I have to say the name of a Philip Roth book, “Sabbath’s Theater,” so all I do every day is say “Sabbath’s Theater,” “Sabbath’s Theater,” “Sabbath’s Theater.” It’s not that easy. I got a lot of opportunities by not using my voice, and so now I really have to figure out what that means to use my voice.Have you been seeing theater?I have seen “Take Me Out” four times. I just love that play. Jesse Tyler Ferguson and Jesse Williams are so great. And masculine vulnerability is just wonderful to watch. I also saw “Tina” twice — I see a play and I have to go see it again. I don’t know what I will see next but if I love it I will see it multiple times.I’m having a hard time figuring out the overlap between “Tina” and “Take Me Out.”Well they both start with T! Actually, I don’t know what it is. With “Tina,” it was the contrast between that forward-facing, “I’m doing this amazing performance; I’m making you happy; I’m making you dance” and then, a second later, “I’m beaten by my husband.” Showing how those two things could be happening at the same time — this awful, awful struggle and this amazing performance — that was incredible to watch. And also, Adrienne Warren — her voice and her presence was just so amazing.So what do you hope is next for you?I am writing a memoir that’s coming out in October. And I want to tell stories. That’s really what I want to do, and whether that’s through writing, through acting, through standup, I want to be able to do whatever it takes to tell stories.Why a memoir?My very first book was “100 Tricks to Appear Smart in Meetings,” and I look back now and realize that a lot of that was inspired by my father, because my father always looks very smart. My memoir is about embracing looking foolish. The more foolish I can allow myself to look, the better, because that’s exposing who I am more, and not conforming to what I think people want to see.Do you miss Trump?In 2020, he said some brilliantly stupid things. You can’t write that stuff. The stuff that he said, it was gold. So I don’t want him back, but making those videos was a lot of fun. More

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    Jimmy Fallon Jokes That President Biden’s Document Drama Is a ‘Humblebrag’

    “First, they searched near Biden’s Corvette, now they’re searching his beach house,” Fallon said.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.The Search ContinuesThe F.B.I. conducted a search of President Biden’s family vacation home in Rehoboth Beach, Del., on Wednesday but found no classified documents.“First, they searched near Biden’s Corvette, now they’re searching his beach house. I’m starting to think Biden created this whole scandal as a humblebrag,” Jimmy Fallon said.“[imitating Biden] ‘Why don’t you check by my infinity pool? Maybe there’s something behind the Picasso, I don’t know.’” — JIMMY FALLON“Biden’s attorneys found documents at his main house in Delaware last month, and the president has a regular house and a vacation house, both in Delaware. I don’t know — how’s that a vacation? Can you vacation from Delaware to Delaware?” — JIMMY KIMMEL“They didn’t find anything classified, but they did find a 1982 Zenith TV and three boxes of Parcheesi.” — JIMMY KIMMEL“The F.B.I. reportedly searched President Biden’s Delaware beach house today as part of the ongoing investigation into his handling of classified documents. And I think he might be getting nervous, because he said, ‘You know what you should be searching? Hunter’s laptop! Crazy stuff in there!’” — SETH MEYERS“Speaking of Biden, today the White House announced that he will get his annual physical on Feb. 16. It’s going to be crazy after Biden’s colonoscopy when the doctor says, ‘There’s no easy way to tell you this, but we found more classified documents.’” — JIMMY FALLONThe Punchiest Punchlines (Bye-Bye, Brady Edition)“Tom Brady announced he’s decided to retire, but for real this time. Every year on the first of February, Tom Brady comes out of the locker room to announce his retirement. Then if he sees his shadow, he goes right back to the N.F.L.” — JIMMY KIMMEL“This dude retires more than Cher.” — D.L. HUGHLEY, guest host of “The Daily Show”“He was around for a long time. Let’s just say Brady was the only active N.F.L. player to see ‘Top Gun’ 1 and 2 in theaters.” — JIMMY FALLON“Brady is done and, in a related story, tickets to next year’s Buccaneers games are now free.” — JIMMY FALLON“Brady is moving on to bigger and better things. Yesterday, he was walking the red carpet for the premiere of his new film ‘80 for Brady.’ I hear it went pretty well until he tucked Rita Moreno under his arm and spiked her in the end zone.” — STEPHEN COLBERT“Sadly, without football, he’s going to have to fill his days with nothing but being insanely rich, accomplished, fit, handsome and single.” — JAMES CORDENThe Bits Worth WatchingD.L. Hughley quizzed people in a man-on-the-street segment about Black History Month for “The Daily Show.”What We’re Excited About on Thursday NightJonathan Groff, who stars in “Knock at the Cabin,” will appear on Thursday’s “Late Night with Seth Meyers.”Also, Check This OutOscar Isaac and Rachel Brosnahan will lead the cast of the stage revival of a Lorraine Hansberry play. Erik Tanner for The New York TimesOscar Isaac and Rachel Brosnahan will star in the first major New York revival of Lorraine Hansberry’s 1964 Broadway play “The Sign in Sidney Brustein’s Window” at BAM this month. More

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    Nonbinary “& Juliet” Performer Opts Out of Gendered Tony Awards

    Justin David Sullivan of “& Juliet” decided to abstain from consideration and urged awards shows to “expand their reach.”A principal performer in the new Broadway musical “& Juliet” has withdrawn from consideration for the Tony Awards rather than compete in a gendered category, shining a renewed spotlight on the question of whether major awards should continue to have separate categories for men and women.The performer, Justin David Sullivan, is trans nonbinary and uses the pronouns he, she and they. In the pop-song-fueled musical, which imagines an alternative to “Romeo and Juliet” in which Juliet does not die, Sullivan plays May, one of Juliet’s best friends. May — an adolescent, like Juliet — is still figuring things out.The Tony Awards, like the Oscars and the Emmys, have separate acting categories for men and for women. The Grammy Awards eliminated many gendered categories as part of a consolidation in 2012, and the Obie Awards, which honor Off and Off Off Broadway work, have long had nongendered categories.Sullivan, whose performance has been generally well-received, was among many people who could have been nominated as a featured performer in a musical. But those categories, like all the Tony acting categories, are gendered, and by opting out of the contest altogether, Sullivan puts public pressure on the awards.“I felt I had no choice but to abstain from being considered for a nomination this season,” Sullivan said in a statement on Wednesday. “I hope that award shows across the industry will expand their reach to be able to honor and award people of all gender identities.”The Tony Awards have accepted Sullivan’s position, meaning that Sullivan will not appear on the list of Tony-eligible performers considered by nominators at the end of the season. “Per Justin David Sullivan’s request to the Tony Administration Committee, they opted to withdraw themselves from eligibility,” Tony Award Productions said in a statement.Sullivan is not the first nonbinary performer to make such a move. Asia Kate Dillon, who played Malcolm in a production of “Macbeth” last season, asked not to be considered in either the actor or actress categories. That move did not become public at the time but was confirmed by a Tony Awards spokeswoman on Wednesday.This season, there will be at least one Tony-eligible nonbinary performer: J. Harrison Ghee, who stars in the new musical “Some Like It Hot,” will be considered for possible nomination in the leading actor category, the Tony Awards administration committee said on Wednesday. The committee, which determines eligibility categories for shows and artists, was following a request from the show’s producers.Ghee, whose performance has drawn strong reviews and who is considered likely to receive a Tony nomination, plays a musician who initially identifies as male but starts dressing as a woman to escape the mob, and by the end of the show has a more fluid identity.“I’m not going to put myself on this pedestal like, ‘I need it to change today,’” Ghee told The Daily Beast in a recent interview when asked about this season’s Tony Awards categories. “I never go into things expecting to be the person that changes everything. I’m just showing up and meeting the moment.”Tony Awards administrators have quietly been talking about whether to change the gendered nature of their acting awards — awards for designers and directors are not gendered — but it is not clear if, when or how they might do so. There has long been concern that such a change would make it even harder for performers to win the industry’s top honor.“We recognize that the current acting categories are not fully inclusive, and we are currently in discussion about how to best adjust them to address this,” Tony Award Productions said in a statement. “Unfortunately, we are still in process on this and our rules do not allow us to make changes once a season has begun. We are working thoughtfully to ensure that no member of our community feels excluded on the basis of gender identity in future seasons.”The Outer Critics Circle, which grants awards for work both on and Off Broadway, said this year that it would eliminate gendered categories. Several regional theater award competitions, including the Helen Hayes Awards in Washington, the Barrymore Awards in Philadelphia and the Jeff Awards in Chicago, have eliminated gender-specific awards categories. More

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    ‘Lemons Lemons Lemons Lemons Lemons’ Review: A Thought Exercise, Without Deep Thoughts

    On London’s West End, Aidan Turner and Jenna Coleman star in a lightly dystopian comedy that succeeds as a portrait of a troubled couple, but falls short as political satire. The delightfully titled “Lemons Lemons Lemons Lemons Lemons” is a high-concept romantic comedy on themes of language and communication. Its protagonists, Oliver and Bernadette, are your typical slightly mismatched couple: He’s an idealistic musician, she’s a sensible lawyer; he thinks she’s too careerist, but she reckons he’s just insecure because she earns more than him. Their differences are brought into focus when the government brings in a new law that forbids all citizens from speaking more than 140 words per day. How could any couple survive in such conditions? The so-called “Hush Law” threatens the basis of their closeness, forcing them to water down their conversation to a meager daily quota. But whereas Oliver is affronted and joins a protest movement to try to get the rule repealed, Bernadette, whose instincts are conservative, is initially complacent about its ramifications. Their relationship may or may not be unraveling.This lively debut, by the young British playwright Sam Steiner, enjoyed modest success on the independent circuit a few years ago. It premiered at the Warwick Arts Center in 2015 before moving on to the Edinburgh Fringe festival the following year — and is now enjoying a rather more high-profile second wind at the Harold Pinter Theater in London’s West End, directed by Josie Rourke and running through March 18. The production’s co-stars Aidan Turner and Jenna Coleman are relatively big names in British showbiz thanks to roles in the TV series “Poldark” and “Doctor Who.” As Oliver, Turner is sympathetic as the quintessential artsy dreamer — a little self-absorbed, but his heart’s in the right place; Coleman’s Bernadette is prim and sharp, very much the yin to his yang. Together they present a charming and relatable portrait of long-in-the-tooth coupledom, flitting between estrangement and tenderness.Superficially, “Lemons” lends itself to political interpretation. Britain’s government recently proposed a new law that would give the police more powers to break up protests, which it is trying to steer it through Parliament. Against this backdrop, it is tempting to read the scenario portrayed here as a none-too-subtle metaphor for creeping authoritarianism. But the play’s central conceit is too flimsy for political satire. We are told almost nothing about why the Hush Law was introduced, except that the government tried to justify it with benevolent talk of “well-being” and “overstimulation.” The audience must suspend its skepticism — how on earth would it be enforced? — and just go with it. In truth, it’s not so much a dystopia as a thought exercise.Turner and Coleman are relatively big names in British showbiz thanks to roles in the TV series “Poldark” and “Doctor Who.” Johan PerssonSteiner was fresh out of college when “Lemons” first did the rounds in 2015, and there are moments that give it away as early work. When Oliver declares that he finds life under the new restrictions “Orwellian,” it feels like the playwright is holding our hand. As for that 140-word limit, it seems to be a nod to Twitter, which had a 140-character limit before it was doubled to 280, in 2017. But it’s far from clear what connection Steiner is drawing between social media and government suppression of free speech. The concept is a bit muddled, to say the least.The play’s strength is in its playful riffs on language, as Oliver and Bernadette adapt to the new regime of state-enforced quietude. They experiment with Morse code, and coin portmanteaus to save on their daily word quota. (‘Sort of’ becomes ‘sorf’; ‘I love you’ becomes ‘lovou’.) This alters the texture of the dialogue as the couple look to economize their word count. Soul-searching discussions that had been long and involved must be resumed in near-monosyllabic tones. This constraint forces a stripping-down of language at the very point when emotion is most heightened, and the words should be flowing most freely. On the question of whether she wants to have children, the hitherto voluble Bernadette is reduced to a halting staccato, sounding not unlike a telegram: ‘Yes. No. Painful, scary … Time off. Lose cases. Position. Salary maybe.” It’s an intriguing literary experiment that just about justifies the slightly contrived setup.“Lemons” is an unusual twist on a fairly commonplace narrative: the age-old story of a couple whose intimacy has tipped into over familiarity, weighed down by the accumulation of petty resentments and a waning sex life, deciding whether to stick or twist. It is well executed, with smart dialogue — Steiner has a good ear for the rhythms of bickering couples — and disarmingly kooky humor. It would be churlish to dwell on the fact that its core ingredients are inescapably cliché, with characters representing little more than a series of stock traits in binary opposition: pragmatist/dreamer, right wing/left-wing, etc. This is good, clean fun — neither terribly profound nor terribly clever, but entertaining nonetheless.Lemons Lemons Lemons Lemons LemonsThrough March 18, at he Harold Pinter Theater, in London; thelemonsplay.co.uk. More

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    Leslie Odom Jr. Plans Return to Broadway in ‘Purlie Victorious’

    Kenny Leon will direct the revival of Ossie Davis’s 1961 play, which is expected to run this summer at an unspecified Broadway theater.Leslie Odom Jr., who won a Tony Award for his breakout performance as Aaron Burr in “Hamilton,” plans to return to Broadway this summer to star in, and co-produce, a revival of a 1961 comedy about a preacher trying to acquire a church in his hometown while challenging a local segregationist.The play, “Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch,” was written by Ossie Davis, the actor and civil rights activist, who also starred in the original Broadway production alongside his wife and frequent collaborator, Ruby Dee. (The original cast also featured Alan Alda.) The play was quickly adapted into a movie, called “Gone Are the Days!,” and then into a musical, simply titled “Purlie.”The revival will be directed by Kenny Leon, who has had a lot on his plate lately: He directed this season’s Broadway runs of “Topdog/Underdog” and “Ohio State Murders,” and is directing an Off Broadway production of “King James” (about LeBron James fandom) this spring and “Hamlet” at Free Shakespeare in the Park this summer.“Purlie Victorious” is a satire of Southern stereotypes, and both Leon and Odom said they believe it will resonate with contemporary audiences. “It explores the truth in a way that we know and we can receive it,” Leon said. “To me, when I read this play, I don’t feel paralyzed, I feel joyous, and I say, ‘What can I do to make our country better?’”Odom, who gave his daughter the middle name Ruby after Ruby Dee, said he has been interested in the play for some time. “First and foremost, we want to make a kick-ass, entertaining, joyful revival production of this great play,” he said. “We want to make a seminal production of ‘Purlie Victorious,’ this thing that hasn’t been seen on Broadway for decades and that was so important to Mr. Davis.”In the years since “Hamilton,” Odom has had a thriving film and television career, with significant roles in “One Night in Miami” and “Glass Onion: A Knives Out Mystery,” a guest starring role in “Abbott Elementary,” and he is now in Atlanta, filming a sequel to “The Exorcist.” Before committing to “Purlie Victorious,” which will be his first professional stage play, Odom said he test-drove the material, to reassure himself that it would still work, and that he felt comfortable in the role.“We did a small private reading just to begin the exploration, and what we found is that, absolutely, it holds up,” he said in a telephone interview. “Mr. Davis left us a road map to all the moments of magic that I’m looking for in this play, and it really is a matter of us committing this text to memory and letting it have its way with us.”The revival’s lead producer is Jeffrey Richards. The production said in a statement Wednesday that the revival would begin performances “in late summer 2023” at an unspecified Broadway theater. More

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    Jimmy Kimmel Puts Mike Lindell Inside a Claw Machine

    The MyPillow founder and election denier wanted to appear on “Jimmy Kimmel Live” again, but the host had one condition.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.The Man in the MachineMike Lindell, the MyPillow founder, who known for his elaborate conspiracy theories about the 2020 election, returned to “Jimmy Kimmel Live” on Tuesday, complying with Kimmel’s one condition: that he appear inside a claw machine at an arcade.In his monologue, Kimmel joked that the mustachioed Lindell was “here to finally answer the question: ‘What if Ted Lasso was on the F.B.I. watch list?’”“I do want to make something clear. I did not insist that Mike be in a claw machine because he’s not vaccinated; I insisted he be in a claw machine because it’s hilarious. This isn’t a political statement — this is just for fun.” — JIMMY KIMMELKimmel asked Lindell about his recent failed campaign for the chairmanship of the Republican National Committee. But Lindell kept bringing the conversation back to his insistence that machines had rigged the 2020 election.“First question, Mike, is why do you think people don’t take you seriously?” — JIMMY KIMMEL“Mike, I know that you’re distrustful of machines. Now that you’re inside one, do you feel differently?” — JIMMY KIMMEL“Gloria Estefan and the Miami Sound Machine, they’re cool, right?” — JIMMY KIMMEL“You know, one of the differences between you and the claw machine is claw machines let go. And you will not let go of this voting thing, will you?” — JIMMY KIMMELThe Punchiest Punchlines (That’s a Wrap Edition)“President Biden informed Congress yesterday that he will officially end the coronavirus pandemic emergency declaration in May, which means that everyone can finally stop wearing their mask a year ago.” — SETH MEYERS“The timing makes sense. Might as well squeeze in one more spring break public health emergency for old time’s sake.” — JAMES CORDEN“Take that, Covid, we beat you. Shove that up your nose and rotate it five times!” — STEPHEN COLBERT“This has been a long time coming. I wish you could see the smiles on the faces in my audience. And I wish I could, too, because they’re still wearing masks.” — STEPHEN COLBERT“I’m pretty sure the public ended the health emergency a while ago. Today, I saw a guy open a Starbucks bathroom with his tongue.” — JIMMY FALLONThe Bits Worth WatchingThe “Daily Show” correspondent Jordan Klepper spoke with superfans of Donald Trump in South Carolina, some of whom insist he is still in office.What We’re Excited About on Wednesday NightThe newly minted Oscar nominee Jenny Slate will appear on Wednesday’s “Late Late Show with James Corden.”Also, Check This OutBonnie Raitt has won 10 Grammys since 1979. She’s up for four awards on Sunday, including song of the year.Peter Fisher for The New York TimesBonnie Raitt has been nominated for four Grammys this year, including her first for songwriting. More

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    Book Review: ‘Reckoning,’ by V (formerly Eve Ensler)

    Writing now as V, the creator of “The Vagina Monologues” tackles racism, colonialism and sexual violence in a raw and free-associative collection.RECKONING, by V (formerly Eve Ensler)Way before #MeToo — not that it’s a contest — there was Eve Ensler, shouting all the way up into the cheap seats. Her breakthrough 1996 play, “The Vagina Monologues,” eventually performed by a rotating cast of celebrities, amplified stories of rape and abuse and helped de-taboo the female anatomy. Two years after that success she founded V-Day, which has raised piles of money to fight violence against women and girls around the world: Galentine, with gravitas.The writer identifies so strongly with the letter “V” that she has taken it as her new name, she announces in a characteristically raw and free-associative memoir, “Reckoning.” This is a gesture that seems — like most of what she has done in a long career — both performative and potent. “V” stands for “vagina,” “V” stands for “victory,” “V” stands for “peace” (we’ll forget about the canned vegetable drink and the old NBC series about aliens wearing human masks), and for Generation Y on social media, a “V” hand signal has become as popular as the thumbs up was for boomers, the former Ensler’s generation. “I am older now,” she laments. “Irrelevant in the cult/ure of youth, followers and TikTok.”“When I am an old woman, I shall wear purple,” the English poet Jenny Joseph wrote (to her eventual consternation), and on the back cover of “Reckoning” its rechristened author stands in a fuchsia caftan, raising arms in a V-shape to a rainbowed, sunsetted sky. A little cornball maybe, like a motivational desk calendar in a mall gift shop, but having survived incest, alcoholism, uterine cancer and the occasional mixed review, V, who will turn 70 in May, just Does. Not. Care. She has plenty of fuchsia left to give.For those familiar with Ensler’s work, much of “Reckoning” will feel like a jagged replay of her core stories; amply represented are transcripts of speeches she’s delivered at the conferences and forums where she’s become an honored guest, or pieces previously published in places like The Guardian. She processed her experience fighting cancer in a previous, more humorous memoir, “In the Body of the World” (2013), which was also made into a stage show, and the post-9/11 world in “Insecure at Last” (2006).Now she is examining a term that has become ubiquitous to the point of cliché in American discourse since the murder of George Floyd. For V, as before, the political is intensely personal.Her father’s horrific molestations, which began when she was 5, are further detailed; in what is perhaps the consummate therapy exercise, she expands on the apology she wrote on his behalf in another book. She reveals more of her mother’s complicity by indifference — “I needed her milky breasts. I got cigarette smoke instead” — and her posthumous bequeathal of a musty brown envelope (“Does pain have a smell?” V wonders) with a picture inside of the author as a baby, mysteriously bruised and bloodied. “I spent an entire childhood ducking, fists permanently raised like a boxer, quick but never fast enough, darting, panicked, frenetic, unbearably anxious,” she remembers. “My body was never my body.”In apparent refutation of the patriarchy V wants passionately to upend, “Reckoning” obeys no conventional chronology or form. It’s collaged together with concepts — the fall of the Berlin Wall in 1989, for example, is linked to birds falling from the skies in 2020 — and exhibits a woman drawn inexorably, as if in repetition compulsion, to sites of even worse suffering than her youth. It’s a kind of Choose Your Own Abomination, from Covid to the concentration camp of Theresienstadt to Congo, where the author has done humanitarian work and tells of murdered infants and children, repeated rape and even forced cannibalism.“How do I convey these stories of atrocities without your shutting down, quickly turning the page or feeling too disturbed?” she wonders in an essay that was originally written for Glamour. Contemplating the ISIS sex market, she imagines “crates of AK-47s, falling from the skies” and “breasted warriors rising in armies for life.”I think V underestimates herself; the jump-cut style she’s refined for decades is actually perfectly suited to people who get their news from TikTok, and her rhythmic singling out of particular words — which she calls “trains traveling through a lush countryside”— presaged hashtag activism.Along the long highway of her argument here, that readers should wake the heck up to injustice and suffering, poems pop up, like little rest stops. “Think of your luxuries, your cell phones/as corpses,” she writes of the mass rapes that occur near coltan mines, which are tapped to manufacture electronic devices. In a section that graphically recalls how AIDS ravaged friends and colleagues, she promises Richard Royal, a collaborator on a magazine called Central Park, that she will not write a poem about the budding trees; he hated pathetic fallacy and echoed Adorno that there is no poetry since Auschwitz. So after his death, in winking homage, she versifies instead his medical woes.“One is always failing at writing,” V acknowledges, in a sentiment any writer understands. And indeed “Reckoning” is, if not a failure, kind of a bloody mess, but defiantly, provocatively, maybe intentionally so. It exhorts readers to confront the worst and ugliest, pleads for progress and peace, and provokes admiration for its resilient, activist author. V shall overcome, someday.RECKONING | By V (formerly Eve Ensler) | Illustrated | 272 pp. | Bloomsbury | $28 More

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    Why Gina Rodriguez Put Mumford & Sons on Her Birth Playlist

    The actress spent her pregnancy making a new TV series, “Not Dead Yet,” and watching “WandaVision.”In the ABC sitcom “Not Dead Yet,” premiering Feb. 8, Nell Serrano is an obituary writer who, according to the subject of one of her assignments — yes, she’s visited by the dead — envies other people’s happiness.Gina Rodriguez, who is expecting her first child, spoke with us last month, saying that she’s in a different, happier place than Nell, whom she plays, but she knows things could change at any time. “I’m learning at every single turn,” she said.Previously the star of the CW television series “Jane the Virgin” and heard in the title role of the Netflix animated series “Carmen Sandiego,” Rodriguez shared some of the music on her birth playlist, as well as other things that have been helping her get by, including “WandaVision” and “Be Here Now.” These are edited excerpts from the conversation.1. “WandaVision” I started watching the show during my pregnancy. At first I was like, what is this show? It’s a take on “I Love Lucy”? And then I saw that it’s all wrapped up in her grief. The power of human emotion and the unconscious decisions that we make when we’re in these spaces of love and longing and grief are just wild and awesome. Its portrayal of a human journey through the possibility of action based on an unconscious emotion is really interesting to me.2. Ram Dass My husband discovered Ram Dass and brought him into our relationship. I find the way he viewed the world and the journey he went on to be very helpful to me. We have, like, 14 copies of his book “Be Here Now,” because it’s our No. 1 present we give people. Every time I listen to the audiobook “Becoming Nobody,” I learn something new, and I’m reminded that I fall right back into things, such as feeling like my identity is my everything and my ego gets attached to the identity.3. Failure In my production company, we want to create a safe space for failure because it’s only in failure that you learn. And if you don’t get another chance after failure, it is such an unfortunate missed opportunity for growth. When you have a space where you can fail, you do better, you get stronger and you say, “OK, I’m not going to do it like this, I’m going to try it like this. Or that path didn’t work, let’s try this next path.”4. “The Dawn of Everything” I have always been interested in the history of humankind. It’s so interesting that every time we personify people of the past, they’re not as intelligent and not as civilized. I picked up David Graeber and David Wengrow’s “The Dawn of Everything: A New History of Humanity” on a Barnes & Noble shopping spree. It’s riveting. It presents such an interesting perspective on the history of humanity, and it makes me think about everything just a little bit more.5. Bidet When we remodeled our home, we had a combination toilet/bidet put in our primary bedroom. It is a game changer. When we go overseas and the bidet is a separate unit, I’m like, this is fabulous. It should be like this everywhere.6. “My Brilliant Friend” After we shot “Annihilation,” Natalie Portman gave me Elena Ferrante’s Neapolitan novels series as a wrap gift. I have read each of them multiple times. Starting with “My Brilliant Friend,” they are the most whisk-you-away, escape-into-another-person’s-world books. I love them so much. It was the best wrap gift I’ve ever gotten. And I always think about Natalie when I read them.7. Mumford & Sons I have a playlist of songs to listen to when I give birth. Several Mumford & Sons songs are on the playlist, including “Little Lion Man,” “Awake My Soul” and “I Will Wait.” They sing like they’re connected to the center of the universe. It makes me feel a sense of closeness to my ancestors, even though it’s not the kind of music my ancestors listened to. There’s just a spirituality to their music. Whether they were writing that or not, that’s what I respond to.8. Bad Bunny My fellow Puerto Rican artist is definitely the music of my ancestors. I think he is super innovative. He’s been able to introduce styles of music, such as merengue, that haven’t been popular in the United States. Bad Bunny makes me feel every nostalgia under the sun of my childhood. And I just think he’s super, super talented.9. Oregon After we started visiting friends in Bend, we fell in love with Oregon, which is now our second home. We try and spend half the year there. It’s such a beautiful state. There are so many different climates and things to see — the mountains, the coast, the woods. I saw my first owl in Oregon. I grew up in Chicago and Puerto Rico. We weren’t seeing owls.10. Oahu Hawaii feels like home. It feels like Puerto Rico. There is a oneness of Mother Nature there that feels like the center of the forest, but it’s beach, and it’s jungle, and it’s water and ocean. Oddly, you find a lot of people who vacation in Hawaii in Oregon, and vice versa. They feel like polar opposites, but they tend to draw people with the same kind of yearning for Mother Nature. More