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    Kevin Spacey, in U.K. Trial, Denies Abusing Position of Power

    Facing accusations of sexual assault, the actor defended himself against multiple claims. He also admitted he got “the signals wrong” during one encounter.Kevin Spacey told a British jury on Friday that some of the sexual assault accusations against him were “pure fantasy” and “absolute bollocks.”On trial in a London courtroom, Mr. Spacey fired back at several questions that Christine Agnew, the prosecutor, put to him.At one point, Mr. Spacey said, “You’re just making stuff up now,” and at another, he called the prosecution’s case “weak.” On several occasions, Justice Mark Wall, the presiding judge, interrupted to ask Mr. Spacey to answer the prosecutor directly.Mr. Spacey, 63, has pleaded not guilty to 12 charges relating to incidents that the prosecution says involved four men and occurred from 2001 to 2013. For most of that time, the Oscar- and Tony Award-winning actor was the artistic director of the Old Vic theater in London.Sitting at the front of the courtroom, Mr. Spacey — wearing a blue suit and patterned tie — was cross-examined for nearly three hours, the day after giving his own account.At one point, Ms. Agnew asked Mr. Spacey if he agreed that he was “the golden boy of the London theater scene” at the time of the alleged encounters, and whether his accusers would have been unlikely to report him because of his reputation.Mr. Spacey said that he used his position “to help others, to create art” and to revive the reputation of the Old Vic theater. “I didn’t have a power wand that I waved in front of people’s faces whenever I wanted someone to go to bed with me,” Mr. Spacey added.Opening the case last month, Ms. Agnew, the prosecutor, said that Mr. Spacey was “a sexual bully” whose “preferred method” of assault was to “aggressively grab other men in the crotch.”In the days after Ms. Agnew’s opening remarks, the jury heard from the four anonymous complainants who detailed their encounters with the actor. Some complainants said that Mr. Spacey grabbed them. Under British law, it is illegal for anyone to identify complainants in sexual assault cases, or to publish information that may cause them to be identified.On Friday, Mr. Spacey said that he did not have a “trademark” move or grope people. “I know myself,” the actor said.Ms. Agnew asked Mr. Spacey about an encounter with one complainant, who told the British police that, during a party, Mr. Spacey hugged him, kissed him twice on the neck, said, “Be cool,” and then grabbed his crotch. Mr. Spacey pointed out that touching the man’s crotch was not his first action.“I am accepting that I got the signals wrong,” Mr. Spacey added of that encounter.During the morning session, Mr. Spacey was also asked about his encounters with the other complainants. He said that he did not clearly remember all of the events but that he had a “naughty relationship” with one complainant, and consensual oral sex with another.Mr. Spacey became most animated when asked about accusations that he assaulted a man on the day of a charity gala. The actor said he did not accept “a single word” of that complainant’s testimony. Mr. Spacey said that complainant may be motivated by “money, money and then money” to speak out against him.After Mr. Spacey’s cross-examination, the court broke for lunch. The defense is now expected to spend several days calling witnesses in support of Mr. Spacey’s case. More

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    New York’s Public Theater Lays Off 19 Percent of Its Staff

    The institution, a titan among nonprofit theaters, is suffering from the combined effects of falling revenue and rising costs plaguing the arts world.The Public Theater, one of the nation’s most prestigious and successful nonprofit theaters, laid off 19 percent of its staff on Thursday as a financial crisis sweeps across the field.The move, which cost about 50 people their jobs, followed a 13 percent layoff at the Brooklyn Academy of Music and a 10 percent layoff at the Center Theater Group in Los Angeles.The Public, headquartered in Lower Manhattan and presenting work primarily Off Broadway, is by almost any measure a titan among nonprofit theaters — the birthplace of “A Chorus Line” and “Hamilton,” the originator and presenter of Free Shakespeare in the Park, and a creative anchor for some of the nation’s most influential dramatists.But the theater, like many others, is suffering from the combined effects of falling revenue and rising costs.“The economic headwinds that are attacking the American theater are attacking us, too,” Oskar Eustis, the theater’s artistic director, said in an interview. “Our audience is down by about 30 percent, we have expenses up anywhere from 30 to 45 percent, and we have kept our donor base, but it’s static. Put that all together, and you get budget shortfalls — big budget shortfalls.”Eustis said the Public would not shutter any programs beyond its previous decision to put its Under the Radar Festival, an annual program of experimental work, on indefinite hiatus.But Eustis said the Public would need to reduce the amount of theater it is staging in the short term — its next season, he said, will feature five shows at its Astor Place building, down from 11 in the last full season before the coronavirus pandemic. The traditional Shakespeare in the Park program will also not take place next year because its home, the Delacorte Theater in Central Park, will be undergoing a long-planned renovation, but Eustis said the company is seeking a way to present some Shakespeare at an alternate location (or locations) next summer.The theater’s executive director, Patrick Willingham, said the cuts would be spread across the company’s operations. “It’s a pullback in every department at every level,” he said.The Public currently has about 246 full-time positions, Willingham said. The company had a previous round of layoffs in 2021 as it tried to rebound following the pandemic closure of theaters, and it also had staff furloughs at the height of the pandemic. Willingham said this week’s layoffs were not a surprise to the staff because the need for spending cuts had been discussed internally for some time. “We’ve been really transparent with the employees over the course of this year,” he said. “We’ve been really clear that we were going to have to make reductions.”Willingham said the Public’s annual budget during the next fiscal year will be around $50 million, down from about $60 million before the coronavirus pandemic. He added that, thanks to federal pandemic relief funds and royalties from “Hamilton,” the theater is hoping it will not have a budget deficit during its current fiscal year, which ends next month, or the following fiscal year. “We’re making decisions that are actually trying to get ahead of what we’re seeing as this nationwide trend,” Willingham said, “so that we can get to a sustainable model we can rely on year after year.”Eustis, who is among the best-compensated artistic directors in the field, said he will cut his own pay by an unspecified amount — “I will be taking a significant reduction in salary,” he said — but that “nobody else would or should” have a salary reduction.He added that the Public remains committed to its Public Works program, in which amateur performers join professionals to put on musical pageants adapted from classic works, and its mobile unit, which presents Shakespeare in a variety of locations in and around the city, including at prisons and community centers.Eustis called the cuts “absolutely necessary to secure the Public’s security and future,” but also “tremendously sad and difficult.” However, at a time when some theaters are closing as a result of financial problems, Eustis said the Public is in no such danger.“This is not an existential crisis,” he said. “We are taking moves that mean that the Public’s existence and future will not be threatened. The Public will be here, and performing its mission, long past the time you and I are here.” More

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    A French Festival Focuses (Timidly) on English

    The Avignon Festival’s new director wants to spotlight drama in a different language each year. This year’s first installment had some conventional choices.As soon as the Portuguese director Tiago Rodrigues took over at the Avignon Festival, France’s biggest theater event, he announced a symbolic move: Under his direction, there would be a special focus on a different language every year, starting, this summer, with English.There was wincing from some quarters: To many in France, English is already far too culturally dominant. In the end, they needn’t have worried. Of several dozen productions in the official lineup of this year’s festival, which runs through July 25, only six plays are predominantly in English.As a result, Avignon, which has long welcomed shows from a wide range of cultures, hasn’t felt much different this year. If anything, Rodrigues’s Anglo-Saxon choices seem a tad timid. Focusing on a language, rather than a country, could have opened the door to Anglophone theater from underrepresented regions. Instead, five productions came from British directors, two of whom, Tim Etchells and Alexander Zeldin, are already well-established in France.A few novelties are still to come, including work from London’s Royal Court Theater, which is largely unknown across the Channel. So far, however, the most intriguing discovery has been the sole American entry, “Baldwin and Buckley at Cambridge,” from Elevator Repair Service. This verbatim recreation of a 1965 debate between James Baldwin and William F. Buckley Jr., about race in the United States, is spare and meticulous. From tables on opposite sides of the stage, Greig Sargeant (Baldwin) and Ben Williams (Buckley) spar with effective solemnity.The fact that Elevator Repair Service is widely described as “experimental” in its home country may amuse some French festivalgoers: “Baldwin and Buckley at Cambridge” is fairly buttoned-up by local standards. Only the short final scene, which sees Sargeant and April Matthis, as the playwright Lorraine Hansberry, break character and touch on racial dynamics in the making of a previous Elevator Repair Service production, feels truly biting.Catherine Dagenais-Savard in “Marguerite: The Fire,” which pays tribute to Marguerite Duplessis, who, in 1740, was one of the first enslaved people to be heard by a Canadian court.Christophe Raynaud de LageAnother North American production at Avignon is performed in French: “Marguerite: The Fire,” by the Québec-based Indigenous writer and director Émilie Monnet. It, too, touched on the history of racism by way of a little-known historical figure, Marguerite Duplessis. In 1740, Duplessis was one of the first enslaved people to be heard by a Canadian court, after she claimed she had been born a free woman.Together with three other performers, Monnet pays tribute to Duplessis in a production that has high points — including evocative choral and dance numbers — but feels overly linear, its text well-meaning yet monotonous. Like “Baldwin and Buckley at Cambridge,” “Marguerite: The Fire” also unwittingly plays into a French national sport: deploring North American racism while struggling to recognize it closer to home.In the French portion of the lineup, meanwhile, some directors also got involved in the Anglo-Saxon focus by adapting the work of English-speaking authors. Pauline Bayle, a rising star who was appointed to lead the Montreuil Theater last year, boldly took on Virginia Woolf. Unfortunately, the result, “Writing Life,” is strangely shapeless.The cast awkwardly veer between peppy contemporary digressions and bits and pieces lifted from Woolf’s works. One minute, they mention the threat of an imminent, pandemic-style lockdown, and engage in slightly forced interactions with three rows of audience members. The next, they grapple with Woolf’s intricate style, which comes across as bombastic by contrast.“Writing Life” at least came with English surtitles for non-French speakers — a welcome development for the Avignon Festival. While select productions already came with an English translation under the previous director, Olivier Py, Rodrigues has made it the default to appeal to more international visitors.The cast of “The Garden of Earthly Delights” is wheeled into the venue, a former quarry, by bus.Christophe Raynaud de LageThere were a handful of exceptions, not least Philippe Quesne’s “The Garden of Earthly Delights,” accessible only to French speakers. It’s a shame, because the production marked the reopening of a legendary Avignon venue: the Boulbon quarry, a majestic natural spot outside the city. It was last used in 2016, not least because of its eye-watering running costs: Fire safety precautions alone ended up costing 600,000 euros, or $670,000, this year.“The Garden of Earthly Delights” proved a loving reintroduction to Boulbon. In it, members of an eccentric, hippie-adjacent community are wheeled into the quarry by bus. They carefully lay a giant egg down in the middle of the vast space, and perform amusingly absurd rituals around it. Some recreate poses from paintings by Hieronymus Bosch; others deliver wacky poems or monologues. Even if you spoke the language, it didn’t fully make sense, but it felt at home against Boulbon’s arid, otherworldly backdrop.For English-speaking visitors, however, one major part of Avignon remains difficult to access: the Fringe, known as “le Off.” With nearly 1,500 shows on offer in small and big venues all around the city, it dwarves the official lineup, but very few productions offer English versions or surtitles.If you look closely enough, though, there are some opportunities to hang with the French crowds at “le Off.” A handful of venues offer surtitles on select days, like the Théâtre des Doms with “Méduse.s,” a well-crafted feminist reinterpretation of the mythical figure of Medusa by the Belgian company La Gang.Some performers find other ways to bridge the gap with English speakers. On Mondays during the festival, the French writer and performer Maïmouna Coulibaly, who currently lives in Berlin, performs her one-woman show “Maïmouna – HPS” in English at the Théâtre de la Porte Saint Michel. It’s a no-holds-barred exploration of her relationship to her body, including her traumatic circumcision as a child and her adult sex life. The back-and-forth between the two experiences induces a little whiplash, but Coulibaly brings galvanizing energy to the stage.Charlotte Avias and Camille Timmerman in “Punk.e.s,” which tells the story of the first all-female punk band, the Slits.Arnaud DufauAnd some French shows barely need translating. Justine Heynemann and Rachel Arditi’s “Punk.e.s,” at La Scala Provence, dives into the story of the first major all-female punk band, the Slits, with such chutzpah that, by the final musical number at a recent performance, quite a few audience members were on their feet.Charlotte Avias, especially, gives a manic pixie punk performance to remember as the Slits’ lead vocalist Ari Up, and Kim Verschueren, a powerful singer, finds shadowy nuance in the role of Tessa Pollitt. The set list — which cycles through the Beatles, the Clash and the Velvet Underground — could have used even more Slits songs, but “Punk.e.s” is a reminder that French artists have long taken inspiration from their Anglo-Saxon counterparts.There’s a way to go to before language differences don’t prove a barrier for theater. Still, the Avignon Festival is increasingly doing its part. More

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    Video Games at MoMA: Do They Belong There?

    “Never Alone,” which closes Sunday, was an important first step in breaking the firewall between art lovers and game designers. When the Museum of Modern Art began collecting video games a decade ago, curators boldly asserted that games were an artistic medium. Now contemporary culture is dominated by them.The MoMA exhibition “Never Alone: Video Games and Other Interactive Design,” which runs through Sunday, represents the museum’s cautious advance into the gaming world at a time when digital culture has overtaken its galleries. Refik Anadol’s algorithmic homage to art history still twinkles in the museum lobby; an exhibition about the importance of video swallowed the sixth floor until July 8; and galleries for its permanent collection include contemporary artifacts like the Google Maps pin and a massive schematic devoted to the interlaced chain of resources needed to create an Amazon Echo as an artificial intelligence system.However, the museum could do more to break the firewall between art lovers and game designers. After all, this is the same institution that began a film library in 1935, exhibited utilitarian toasters and cash registers as “Machine Art” in 1934 and presented modular houses in the 1950s. Curators need to unleash that same passion for games, which struggle in the current exhibition to convey the profundity, and complexity, of their designers’ thinking.On the first floor, old computer monitors cantilevered above visitors are drawn from the museum’s collection of video games. Eleven are playable; 35 games in all are viewable. Jamming buttons on their keyboards, users were hard-pressed to crane their necks to see the flickering displays above them — a series of digital experiments from the 1990s by John Maeda, a graphic designer who now serves as Microsoft’s vice president of design and artificial intelligence.MoMA’s standards for assessing the cultural importance of video games require an upgrade worthy of the medium, whose revenue is projected to reach $385 billion in 2023 and technologies contribute to the ongoing A.I. revolution.For the curators Paola Antonelli and Paul Galloway, gaming is a psychological act that has defined an era when many of our relationships are mediated through screens.SimCity 2000, from 1993, an open-ended city-building video game designed by Will Wright.Electronic Arts; via Museum of Modern ArtAnd the vision of designers like Will Wright is letting players choose what lessons they want to learn — or nothing at all. One player might experience Wright’s most popular game, The Sims (included in the MoMA exhibition), as a gateway into the worlds of architecture and interior decorating; another might focus on its family-planning aspect or its staging of murder mysteries and ghost encounters.The decision to allow games into the museum has been debated since the 2010s, when critics like Roger Ebert and Jonathan Jones declared that the medium would never rise to the status of art.“Chess is a great game, but even the finest chess player in the world isn’t an artist,” Jones opined in The Guardian, “She is a chess player.”At the center of these critiques was a belief that playtime belonged to children. A similar logic harmed performance art until museums started making the genre a staple in their programming, coincidentally, around the same time that MoMA started collecting games.“People want to be taken to a new place,” Donna De Salvo, a Whitney Museum curator said of performance art in 2012 during an interview with The New York Times. “In the age of the digital and the virtual and the mediated experience, there is something very visceral about watching live performance.”The same could be said for gaming, which embraces immersion by allowing players into their virtual worlds with the touch of a controller. The simplicity of that relationship is evident in the exhibition “Never Alone,” where Zen games like Flower ask players to weave petals through the wind on a journey across an imaginary landscape. But the concept flows through the veins of modern gaming, ever since Super Mario 64 tasked players with jumping into paintings stored within a museum-like castle to progress through its story.The video game Flower, from 2012, designed by Jenova Chen.Sony Interactive Entertainment LLC; via Museum of Modern ArtSo what prevents museums from developing more ambitious programming around games? And why has a serious institution like MoMA not staged the first major retrospective of a video game designer when it has enough material for obvious picks like Will Wright or Shigeru Miyamoto?There are a few practical reasons. Designers rarely own rights to their creations, which are held by the publishers financing their games. In an interview, Antonelli singled out other hurdles: legal negotiations, lost source codes and obsolete technology that challenge the acquisition process. And then there are the headaches involved with hard wiring all those electronic systems in the galleries.Yet there seems no better time for MoMA’s curators to show why gaming belongs in their museum and to help visitors to understand the difference between what is scholarship and what is for sale at the Nintendo store a few blocks down the street.Never Alone: Video Games and Other Interactive DesignThrough Sunday at the Museum of Modern Art, 11 West 53rd Street, moma.org. More

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    Why Are Hollywood Actors Striking? Here’s What to Know

    Here’s why Hollywood is facing its first industrywide shutdown in more than 60 years, and what it could mean for your favorite shows.The union representing more than 150,000 television and movie actors announced Thursday that it would go on strike at midnight, joining screenwriters who walked out in May and creating Hollywood’s first industrywide shutdown in 63 years.Here is what you need to know.Why are the actors and writers striking?Pay is often at the center of work stoppages, and that is the case here. But the rise of streaming and the challenges created by the pandemic have stressed the studios, many of which are facing financial challenges, as well as actors and writers, who are seeking better pay and new protections in a rapidly changing workplace.Both actors and screenwriters have demanded increased residual payments (a type of royalty) from streaming services. Streaming series typically have far fewer episodes than television series typically did. And it used to be that if a television series was a hit, actors and writers could count on a long stream of regular residual checks; streaming has changed the system in a way that they say has hurt them. Both groups also want aggressive guardrails around the use of artificial intelligence to preserve jobs.A-list actors last month signed a letter to guild leadership saying they were ready to strike and calling this moment “an unprecedented inflection point in our industry.”What is the position of the Hollywood studios?The Alliance of Motion Picture and Television Producers, which represents major studios and streamers, has said it offered “historic pay and residual increases” as well as higher caps on pension and health contributions. They also say their offer includes audition protections, a “groundbreaking” proposal on artificial intelligence and other benefits that address the union’s concerns.The Hollywood studios have also stressed that all the industry upheaval has not been easy for them, either. As moviegoers have been slow to return to cinemas and home viewers have moved from cable and network television to streaming entertainment, many studios have watched their share prices plummet and their profit margins shrink. Some companies have resorted to layoffs or pulled the plug on projects — or both.What will happen to my TV shows and movies?It will take a while for filmgoers to notice a change, since most of the movies scheduled for release this year have already been shot. But TV viewers are already seeing the strike’s effects, and if it drags on, popular shows could see their next seasons delayed.Late-night shows are already airing reruns because of the writers’ strike, and the vast majority of TV and film productions have already shut down or paused production. Big name shows like “Yellowjackets,” “Severance” and “Stranger Things” halted work after the writers’ strike began; it is not yet clear if their upcoming seasons will be delayed.Disney announced several changes to its theatrical release calendar in June, amid the writers’ strike.Now, the actors’ strike will add even greater upheaval.During the first two weeks of July, no scripted TV permits were issued in Los Angeles County, according to FilmLA, which tracks production activity. Film and TV shows that have completed shooting and are already in postproduction can likely stay on schedule, because the work remaining does not typically involve writers or actors.Participating in either film or television production with any of the studios is now off the table, with few exceptions. And that means that within a few months — beginning with the fall lineup — viewers will begin to notice broader changes to their TV diet.The ABC fall schedule, for instance, will debut with nightly lineups that include “Celebrity Wheel of Fortune,” “Dancing With the Stars” and “Judge Steve Harvey” as well as repeats of “Abbott Elementary. The Fox broadcast network’s fall lineup includes unscripted series like “Celebrity Name That Tune,” “The Masked Singer” and “Kitchen Nightmares.”How long could this all drag on?If only we knew.Writers have been walking the picket lines now for more than 70 days, and their union, the Writers Guild of America, has yet to return to bargaining with the studios.The last time the writers and actors went on strike at the same time was in 1960, when Ronald Reagan was president of the Screen Actors Guild.Screenwriters have walked out several times, sometimes for long periods: Their 2007 strike lasted 100 days. The actors last staged a major walkout in 1980; it lasted more than three months.What about the promotion of current shows and films?In the near term, officials have said there will be no promotion of current projects, either online or in person. Do not expect to hear Ryan Gosling touting “Barbie” again anytime soon. A ban on promotion could be very bad news for San Diego’s Comic-Con, upcoming film festivals in places like Venice and Toronto, and scheduled movie premieres like the “Oppenheimer” premiere planned for Monday in New York.The 75th Emmy Awards, which announced its nominations yesterday, may now be in peril. Organizers have already had discussions about postponing the Sept. 18 ceremony, likely by months.Nicole Sperling More

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    ‘A Noiva e o Boa Noite Cinderela’ Review: A Performer Drugs Herself

    In an ethically murky show at the Avignon Festival, the Brazilian performer Carolina Bianchi opens up about how she was drugged and abused, then knocks herself out with a spiked cocktail.A decade ago, the Brazilian performer and director Carolina Bianchi was drugged and assaulted. In “The Bride and the Goodnight Cinderella” (“A Noiva e o Boa Noite Cinderela”), her new stage production at the Avignon Festival in France, she doesn’t merely open up about that experience. She relives part of it, night after night.Bianchi slips a similar drug into a colorful cocktail and drinks it, with a sinister “Cheers.” She talks to the audience about art and trauma, waiting for the effects to kick in, then spends the rest of the show unconscious.This all-too-real performance single-handedly jolted Avignon alive over the first week of the festival, turning Bianchi — an unknown, Amsterdam-based artist — into a sensation at the event. On the night I attended, one woman broke down in sobs on the way out. I felt nauseated at several points, as if “The Bride and the Goodnight Cinderella” had tapped into my own fight-or-flight instinct.The show starts innocuously enough. Bianchi enters in a stylish white ensemble, and proceeds to deliver a lecture from a heavy stack of notes. From a desk, she examines sexual violence against women through the lens of art history, weaving in contemporary cases — chief among them the 2008 rape and murder of Pippa Bacca, a performance artist, as she hitchhiked in Turkey in a wedding dress as part of an artistic project.“The Bride and the Goodnight Cinderella” may be a much safer form of performance art, but it doesn’t feel that way. Twenty minutes in, Bianchi starts drinking her cocktail. Before long, she is slurring her words and hunches over, then lies down on the table and loses consciousness.For a few minutes, time stands still. We know nothing unplanned is likely to happen: According to the French news agency Agence France-Presse, Bianchi takes a mix of tranquilizers, rather than an actual date rape drug (known in Portuguese as a “Goodnight Cinderella”), and medics are on hand. Yet her vulnerability is scarily palpable.After Bianchi is unconscious, the performance takes on a club-like atmosphere, with slinky choreography leading to sexual encounters that never look fully consensual.Christophe Raynaud de LageThen, for the next hour and a half, eight young members from Bianchi’s collective, Cara de Cavalo, take over. The backdrop rises to reveal another set, dotted with what appear to be bodies in various states of decomposition. The performers lie Bianchi down on a mattress next to them, and the atmosphere turns trippy, with loud distorted club music. Slinky choreography leads to sexual encounters that never look fully consensual.Throughout, on screens above them, Bianchi’s words continue to roll. Her narrative isn’t one of healing: She repeatedly compares her need to revisit the assault to Dante’s journey into hell. “How dare they say that surviving is revenge?” the text reads at one point. “No act of catharsis overcomes the damage.”The cast exercise real care toward the unconscious Bianchi. The group’s women are tasked with most of the physical manipulation, and their actions never mimic her assault. Yet one scene near the end would probably be too much to present in many countries. (In Avignon, viewers under 18 were “strongly discouraged” from attending.) Cast members spread Bianchi’s legs and insert a speculum and a small camera into her vagina, with a live video feed and in full view of the audience, as if to simulate a post-rape forensic examination.Is this ethical? Your mileage may vary: As a director, Bianchi is in charge, even as she relinquishes physical control. Yet it is deeply unnerving to experience this scene, knowing that the main protagonist will have little to no memory of it, even as it lives on in the heads of hundreds of audience members. Her inability to remember her own assault, Bianchi explains earlier, haunts her to this day.I hesitate to say “The Bride and the Goodnight Cinderella” should tour widely, because that means Bianchi, who wakes up looking dazed in the final few minutes, will keep putting herself through this ordeal. Still, the production, billed as the first chapter of a trilogy, is already scheduled to visit Belgium, Germany, Spain and Switzerland. And love it or hate it, it doesn’t flinch from an uncomfortable truth: Sometimes there is no safe space to be found from trauma. More

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    ‘The Summer I Turned Pretty’: Lola Tung on Growing Up Alongside Belly

    Tung has experienced a lot of changes since joining Amazon’s hit coming-of-age series at 18. It’s just one way her life mirrors that of her character.Lola Tung was taking classes as a first-year acting student at Carnegie Mellon University, in Pittsburgh, when she heard the news. She had just been selected to play the lead in a new Amazon series called “The Summer I Turned Pretty,” based on the best-selling young adult novel by Jenny Han.“I was just in shock because I didn’t expect this,” Tung, 20, a New York City native, said in a video interview last month. “I called my mom after and we were just crying together over the phone, which was lovely. But it was the best surprise ever.”Tung, who was 18 years old and had acted only in school plays, took a leave of absence from college in 2021 to go to Wilmington, N.C., to join the production of the show, which tells a story of romantic awakening set at a beach house.As summer commences and the show’s two central families head to the coast, Tung plays Isabel Conklin, known as Belly, an adolescent girl who becomes caught in a love triangle with two of her childhood best friends — who also happen to be brothers: Conrad (Christopher Briney) and Jeremiah (Gavin Casalegno). The romantic tension captivated teen and young-adult viewers when the series debuted in 2022 and helped turn the show into a social media sensation. The hashtag #TheSummerITurnedPretty has accumulated millions of views on TikTok as users post fawning videos in support of “Team Conrad” or “Team Jere.”“I knew it would be special, but I think nothing can ever prepare you,” Tung said. “There’s no way to know how it’s going to be received and how your life will change after.”Belly became entangled in a love triangle with two boys who also happen to be brothers. One of them is Conrad, played by Christopher Briney.Erika Doss/Amazon Prime VideoThe other brother is Jeremiah (Gavin Casalegno). Asked whether she was Team Jeremiah or Team Conrad, Tung said she was “Team Belly, forever and always.”Erika Doss/Amazon Prime VideoTung continued her college leave to star in the show’s second season, which premieres on Prime Video on Friday. If watching the first season felt like basking in a perfect summer day — full of pool parties, passionate kisses and Kim Petras lyrics — the second season feels darker, cloudier, shrouded by loss.Both Tung and her character have weathered a series of changes between the two seasons: Tung now has red-carpet interviews, a partnership with American Eagle and millions of Instagram followers; Belly has lost a close family friend and must fight to save the beach house. Both are learning what it means to grow up.Ahead of the Season 2 debut, Tung spoke about her role, her favorite Taylor Swift music and whether she’s on Team Conrad or Team Jeremiah. These are edited excerpts from the conversation.How do you get in the mind-set of preparing to play the role of Belly?Music plays such a big part in prepping for different scenes. We were jumping around a lot emotionally in Season 2, so I think music was a way to very quickly get into the head space of the character, whatever scene it was. I would journal a lot and write a lot, especially from Belly’s perspective. The first season, I wrote letters to each of the characters in Belly’s voice, which was really cool. I think when you journal and you write just sort of like stream of consciousness you learn a lot about the character.What were some of the songs you listened to for this season?I listened to a lot of Mitski. “Two Slow Dancers” is a great song to listen to; it’s a very reflective sort of song. A lot of Taylor Swift. Phoebe Bridgers was on the playlist, Dodi was on the playlist, Lizzie McAlpine; I think I have some SZA on here as well. It was a lot of slightly more emotional songs — songs that felt nostalgic because Belly was really in this season dealing with a lot of changes in her life and dealing with the fact that change is inevitable. It’s a hard thing to realize growing up. You know, how do you move forward and still stay in touch with that magic of childhood and the familiarity and things that you know?“It’s a hard thing to realize growing up,” Tung said about accepting the inevitability of change. “How do you move forward and still stay in touch with that magic of childhood?Amir Hamja/The New York TimesWhat do you think this season says about the themes of change and loss and growth as a young person?The characters have experienced a lot of growth and a lot of change since we last saw them. That’s a really hard thing for all of them to deal with, and they’re sort of on their own at the beginning. Season 1 was so much about these characters growing together and having each other to lean on. Season 2 is a lot about individual growth and how to take initiative, especially for Belly.She’s really isolated from the boys and from her family, and feeling completely lost without Susannah (Rachel Blanchard) there. It was really cool to get to figure out what the next step was for her and how she moves forward from the weight of grief. It’s about learning that change is OK and normal. Even though things are different, everything will be OK.Are there aspects of Belly’s character you relate to? And are there aspects you feel are very dissimilar?I definitely think we’re pretty similar, and I absolutely bring some of myself to her. It’s only natural if you’re playing a character, especially one so close in age. She’s a very emotional person and leads with her heart and cares a lot about the people in her life, especially her family, even if it’s hard to express that sometimes. I think she’s bolder than I am, and she’s more of a risk taker, and that was something I thought would be a challenge. But I really enjoyed getting to tap into that part of her, and I learned from her in that way. I stole some of her boldness.Tung used music as a way to help enter her character’s various states of mind. “I listened to a lot of Mitski,” she said.Amir Hamja/The New York TimesI saw that Taylor Swift teased her “Back to December (Taylor’s Version)” song during the latest trailer for the show. Do you have a favorite song of hers you really resonate with?I am a big fan of hers. I used to listen to her earlier albums like “Fearless” and “Speak Now” and “Red.” I had a little CD player and I would listen to them while I was falling asleep. I have a lot of favorite songs. I think an all-time favorite is “You Belong With Me” and then I also love “Everything Has Changed.” Right now I’m listening to “Mirrorball” a lot.What are the dynamics for you with the other actors both on set and off set?I feel so lucky that we all get along so well and that I’ve made some really great friends. Especially in the first season, we played whiffle ball a bunch and we would just go grab dinner whenever we could. We would car-pool together. When we had downtime on set, we would hang out and talk and play cards or chess. The guys loved playing chess on set, which I started to get into as well. It’s fun when you’re just sitting around waiting for the next setup in a scene to just play a quick game. I wasn’t that great, but I had fun.I have to ask — are you on Team Conrad or Team Jeremiah?I always say I am the biggest supporter of Team Belly, forever and always, and I will always stick with that answer because I really do believe that she’s the only one who can make that choice. And if we’re doing our jobs right, I think you can see why she loves both of these boys. Ultimately it’s just about her following her heart. More

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    Kevin Spacey Denies Sexual Assault Charges During U.K. Trial

    Two weeks into a trial in London, the Oscar-winning actor gave his account of sexual encounters that the prosecution says were criminal acts.Kevin Spacey arriving at Southwark Crown Court in London on Thursday.Henry Nicholls/Agence France-Presse — Getty ImagesKevin Spacey told a British jury on Thursday that he was “a big flirt” who had what he characterized as gentle, touching and romantic encounters with a man who accused him of sexual assault. He always respected the man’s boundaries, Mr. Spacey said, adding that he felt “crushed” when the man accused him of assault.Two weeks into a sexual assault trial in London against the Oscar- and Tony Award-winning actor, Mr. Spacey’s testimony on Thursday was the first time that the jury heard from him directly.Mr. Spacey, 63, has pleaded not guilty to 12 charges relating to incidents that the prosecution says involved four men and occurred from 2001 to 2013. For most of that time, Mr. Spacey was the artistic director of the Old Vic theater in London.Sitting at the front of a courtroom at Southwark Crown Court and facing the jury, Mr. Spacey — who was wearing a gray suit, and light blue tie — was calm and occasionally joked with his legal representative, Patrick Gibbs.Opening the trial last month, Christine Agnew, a British prosecutor, told the jury that Mr. Spacey was “a sexual bully” who “delights in making others feel powerless and uncomfortable.” He had repeatedly groped men, Ms. Agnew said. On one occasion, Ms. Agnew added, Mr. Spacey gave a man oral sex without that man’s consent.In the days after Ms. Agnew’s opening, the jury heard from the four anonymous complainants. Under British law, it is illegal for anyone to identify complainants in sexual assault cases, or to publish information that may cause them to be identified. The jury first watched recordings of interviews that each complainant gave to British police officers, then the accuser was cross-examined in the courthouse.The first complainant said in his police interview that, in the early 2000s, Mr. Spacey touched him multiple times. On one occasion, the complainant said, he was driving with Mr. Spacey to a ball organized by Elton John, and the actor grabbed his genitals so hard that he almost veered off the road.On Thursday, the day’s opening session focused on Mr. Spacey’s recollection of those encounters and the actor discussed his relationship with that complainant. Leaning back in his chair, and sounding wistful, he said the man was “friendly and charming and flirtatious.”The pair’s encounters gradually “became somewhat sexual,” Mr. Spacey said, adding that this most likely occurred at the actor’s own initiation. Mr. Spacey said the pair never had sex. The complainant “made it clear he didn’t want to go any further,” Mr. Spacey added. He said he had respected the complainant’s boundaries.Mr. Gibbs then asked Mr. Spacey to recall how he felt when he learned that the complainant accused him of assault. Mr. Spacey said he had been “crushed” and it felt like the complainant had stabbed him in the back. The court then adjourned for a break. More