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    Bill Cosby’s Conviction Is Overturned: Read the Court’s Opinion

    unconditional promise of non-prosecution, and when the defendant relies upon that

    guarantee to the detriment of his constitutional right not to testify, the principle of

    fundamental fairness that undergirds due process of law in our criminal justice system

    demands that the promise be enforced.

    explained in Commonwealth v. Clancy, 192 A.3d 44 (Pa. 2018), prosecutors inhabit three

    distinct and equally critical roles: they are officers of the court, advocates for victims, and

    administrators of justice. Id. at 52. As the Commonwealth’s representatives, prosecutors

    are duty-bound to pursue “equal and impartial justice,” Appeal of Nicely, 18 A. 737, 738

    (Pa. 1889), and “to serve the public interest.” Clancy, 192 A.3d 52. Their obligation is

    “not merely to convict,” but rather to “seek justice within the bounds of the law.”

    Commonwealth v. Starks, 387 A.2d 829, 831 (Pa. 1978).

    For the reasons detailed below, we hold that, when a prosecutor makes an

    Prosecutors are more than mere participants in our criminal justice system. As we

    As an “administrator of justice,” the prosecutor has the power to decide whether to initiate formal criminal proceedings, to select those criminal charges which will be filed against the accused, to negotiate plea bargains, to withdraw charges where appropriate, and, ultimately, to prosecute or dismiss charges at trial. See, e.g., 16 P.S. § 1402(a) (“The district attorney shall sign all bills of indictment and conduct in court all criminal and other prosecutions . . . .”); Pa.R.Crim.P. 507 (establishing the prosecutor’s power to require that police officers seek approval from the district attorney prior to filing criminal complaints); Pa.R.Crim.P. 585 (power to move for nolle prosequi); see also ABA Standards §§ 3-4.2, 3-4.4. The extent of the powers enjoyed by the prosecutor was discussed most eloquently by United States Attorney General (and later Supreme Court Justice) Robert H. Jackson. In his historic address to the nation’s United States Attorneys, gathered in 1940 at the Department of Justice in Washington, D.C., Jackson observed that “[t]he prosecutor has more control over life, liberty, and reputation than any other person in America. His discretion is tremendous.” Robert H. Jackson, The Federal Prosecutor, 31 AM. INST. CRIM. L. & CRIMINOLOGY 3, 3 (1940). In fact, the prosecutor is afforded such great deference that this Court and the Supreme Court of the United States seldom interfere with a prosecutor’s charging decision. See, e.g., United States v. Nixon, 418 U.S. 683, 693 (1974) (noting that “the Executive Branch has exclusive authority and absolute discretion to decide whether

    [J-100-2020] – 52 More

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    Former Disney Star Kyle Massey Charged With Sending Explicit Messages to a Minor

    Mr. Massey, 29, who starred in “That’s So Raven,” faces a felony charge in connection with accusations that he sent a 13-year-old girl pornographic Snapchat messages.Kyle Massey, a former Disney Channel star best known for his role as Raven-Symoné’s little brother on “That’s So Raven,” has been charged with a felony in Washington State after prosecutors say he sent pornographic messages to a 13-year-old girl in 2018 and 2019.Mr. Massey, 29, was charged on June 14 with one count of communication with a minor for immoral purposes after sending explicit messages, images and videos to the girl via Snapchat from December 2018 to January 2019, according to King County prosecutors.The felony charge stems from accusations made in a lawsuit filed in 2019 against Mr. Massey for $1.5 million by the girl’s mother. This suit was eventually dropped when the girl’s lawyers determined that Mr. Massey did not have enough money for it to make financial sense to pursue the case, according to prosecutors. In 2019, Mr. Massey denied the allegations in the suit, according to a statement obtained by People magazine.In February, the girl’s mother notified the King County Sheriff’s Office that Mr. Massey was sending explicit material to her daughter knowing that she was underage, according to court documents. Prosecutors say that Mr. Massey first met the girl when she was 4 years old, and that in their correspondence during 2018 and 2019 the girl disclosed that she would be in the eighth grade once she went back to school. Mr. Massey was 27 at the time.The mother provided Detective Daniel W. Arvidson of the King County Sheriff’s Office with a thumb drive that she said contained explicit videos and photos sent by Mr. Massey. According to the detective’s written statement, one of the videos on the drive shows a man who looks like Mr. Massey exposing himself to the camera. The girl’s mother also told the police that around the time Mr. Massey started sending the explicit content, he asked the mother if she could send the girl to stay with Mr. Massey and his girlfriend in Los Angeles.Lee A. Hutton III, a lawyer for Mr. Massey, did not immediately respond to a request for comment on Wednesday. Mr. Hutton told TMZ that his client became aware of the charges through the media on Tuesday.Mr. Massey played Cory Baxter on all four seasons of “That’s So Raven,” beginning in 2003. He then starred in a spinoff series called “Cory in the House” in 2007.Mr. Massey failed to show up to his arraignment on Monday. A new arraignment date was set for July 12, according to the King County Prosecuting Attorney’s Office. More

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    Yale Drama Goes Tuition-Free With $150 Million Gift From David Geffen

    Starting in August, the drama school plans to eliminate tuition for returning and future students, removing a barrier to entry for low-income students and those worried about debt.The billionaire David Geffen is giving $150 million to Yale School of Drama, allowing one of the nation’s most prestigious programs to stop charging tuition.The graduate school, which enrolls about 200 students in programs that include acting, design, directing and playwriting, announced the gift on Wednesday, and said it would rename itself the David Geffen School of Drama at Yale University.Yale said it believes the gift is the largest in the history of American theater.The school said that, starting in August, it would eliminate tuition for all returning and future students in its masters, doctoral and certificate programs. Tuition at the school had been $32,800 per year.The move should remove a barrier to entry for low-income students and those worried about incurring high student debt before entering an often low-paying field.“We know, because people have told us, that there are potential applicants out there who think they could never afford graduate theater training at an Ivy League school,” said James Bundy, the drama school dean. He said he hoped that by going tuition-free, that obstacle would diminish.He also said that he hoped that the move would lessen the impact of student debt on the career choices graduates make.“By reducing the debt burden of the average student, we create more resilient artists and managers who are able to make braver artistic choices — they’re able to take that downtown play and they don’t have to have a career selling real estate on the side,” he said. “Not every artist is going to break through at the age of 25 or 26 or 27. Certain kinds of careers take time to build, and entering the professions with less debt is going to make for more interesting and more resounding choices in the long run.”The drama school is home to the Yale Repertory Theater, and its graduates include Meryl Streep, Lynn Nottage and Lupita Nyong’o.It will become the second program at Yale to eliminate tuition; in 2005 the Yale School of Music did so. There are a handful of other tuition-free graduate programs around the country, including N.Y.U.’s medical school.The university’s president, Peter Salovey, said he hoped more schools would follow, particularly in the areas of nursing and public health, where students tend to graduate with high debt and pursue careers that are not highly lucrative.“In general, what should be happening in higher education is an attempt to reduce the financial burden on individuals and families associated with undergraduate education and graduate and professional education,” Salovey said. “I’d love to do this for other programs as well, but it will take the generosity of donors to make it happen.”Geffen, 78, made his fortune in the music and film businesses, and is currently worth about $10 billion, according to Forbes. He has become a major philanthropist with an interest in the arts, previously giving $150 million to the Los Angeles County Museum of Art, $100 million to Lincoln Center for the renovation of the concert hall where the New York Philharmonic performs and $100 million to the Museum of Modern Art.Geffen, through a Yale spokeswoman, declined to be interviewed, but Salovey said the Yale gift came about after years of conversations between the university and Geffen’s foundation. Geffen once taught a seminar at Yale, in the late 1970s, about the music industry, and Salovey said that experience had been positive for Geffen; Salovey also said the university had been aware of Geffen’s interest in supporting higher education and the arts, and had looked for projects that might appeal to those interests.Geffen has maintained a variety of connections to theater throughout his career: In the 1980s, he was among the producers of the original Off Broadway production of “Little Shop of Horrors,” and in the 1990s, he gave the founding gift for the Geffen Playhouse, a major theater in Los Angeles. Over the years he has been credited as a producer of nine Broadway shows, from “Dreamgirls” to the upcoming revival of “The Music Man.”Salovey said he hopes in the future that Yale will be able to build a new theater that will also house the drama school; that project would have to be financed through a separate fund-raising effort, he said. More

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    ‘Harry Potter and the Cursed Child’ to Slim Down Before Broadway Return

    Reducio! The play, which had been performed in two parts, will be condensed and restaged in one part when it returns this fall.“Harry Potter and the Cursed Child,” the sprawling stage play that imagines Harry and his friends as grown-ups and their children as wizards-in-training, will be substantially restructured before returning to Broadway this fall.The play, which had been staged in two parts before the pandemic, will return as a single show on Nov. 16.The show was widely acclaimed, winning the Olivier Award for best new play when it opened in London, and the Tony Award for best new play when it opened in New York. But it was costly to develop, costly to run, and costly for theatergoers, who had to buy tickets to two shows to experience it fully.The play’s lead producers, Sonia Friedman and Colin Callender, in a joint statement attributed their decision to “the challenges of remounting and running a two-part show in the U.S. on the scale of ‘Harry Potter and the Cursed Child,’ and the commercial challenges faced by the theater and tourism industries emerging from the global shutdowns.”The show will continue to run in two parts in London; Melbourne, Australia; and Hamburg, Germany, but will be a single part in New York, San Francisco and Toronto. It was not immediately clear how long that single part would be; the two parts have a total running time of about 5 hours and 15 minutes.Structured essentially as a stage sequel to J.K. Rowling’s seven wildly popular “Harry Potter” novels, the show was the most expensive nonmusical play ever to land on Broadway, costing $35.5 million to mount, and another estimated $33 million to redo Broadway’s Lyric Theater. Before the pandemic, the play was routinely grossing around $1 million a week on Broadway — an enviable number for most plays, but not enough for this one, with its large company and the expensive technical elements that undergird its stage magic.The play, a high-stakes magical adventure story with thematic through lines about growing up and raising children, was written by Jack Thorne and directed by John Tiffany, based on a story credited to Rowling, Thorne and Tiffany. Thorne and Tiffany said they had been working on a new version of the show during the pandemic, which, they said, “has given us a unique opportunity to look at the play with fresh eyes.”The writers did not say what kind of changes they would make, but the production promised that the new version would still deliver “all the amazing magic, illusions, stagecraft and storytelling set around the same powerful narrative.”“Harry Potter and the Cursed Child” began its stage life in London, opening in the summer of 2016, and winning nine Olivier awards — the most of any play — in 2017. It arrived on Broadway in 2018, picked up six Tony Awards, and initially sold very strongly, grossing about $2 million a week. But the sales softened over time, as average ticket prices fell, apparently because of a combination of the lengthy time commitment and the need to buy two tickets to see the whole story, which made it particularly expensive for families.The show has been expanding globally — adding productions in San Francisco and Australia, and planning its first production in a language other than English for Hamburg — making restructuring complicated. But the producers have apparently decided to go to a one-part structure in North America, while maintaining the two-part structure elsewhere in the world, as they try to find the formula for long-term global success. According to the production, the play has already been seen by 4.5 million people.Tickets for the Broadway production will go on sale July 12; ticket prices have not yet been announced. The San Francisco production is scheduled to resume performances at the Curran theater next Jan. 11, and the Toronto production is to begin performances next May at the Ed Mirvish Theater.The two-part play is already running in Melbourne and is scheduled to reopen in London on Oct. 14 and to resume previews in Hamburg on Dec. 1. More

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    ‘Seven Deadly Sins’ Review: Pride and Pole Dancing Behind Glass

    This array of short plays has viewers in headphones wandering the meatpacking district for stylish, but shallow, theatrical thrills.Sex and spectacle are on the menu in “Seven Deadly Sins,” a sumptuously staged, deliciously outfitted exploration of vice performed in the meatpacking district, once home to slaughterhouses and sex clubs, though now more about trendy dining and swanky shopping.Yet this feast for the eyes — bringing to life seven short plays performed in storefronts to audiences who mostly watch through glass but listen on headphones — turns out to be more about appearances than anything else.Originally conceived by Michel Hausmann for a theater in Miami Beach and directed by Moisés Kaufman, this iteration of “Seven Deadly Sins” features work by its director (covering greed) as well as by the notable playwrights Ngozi Anyanwu (gluttony), Thomas Bradshaw (sloth), MJ Kaufman (pride), Jeffrey LaHoste (envy), Ming Peiffer (wrath) and Bess Wohl (lust).But we begin in Purgatory (a blue neon sign makes that clear) greeted by Shuga Cain from Season 11 of “RuPaul’s Drag Race,” who arrives like a beautiful, lip-syncing hurricane of gloss and glitter in the first of Dede Ayite’s many stunning costumes.“What better place to look at human nature than the stage,” she purrs, setting in motion how the show will work: Each of three groups will maneuver through the circuit of plays in a different order over a three-block radius, sitting to watch each roughly 10-minute performance before rising and walking to the next.My first sin of the night was gluttony, for which Anyanwu presents an alternative Garden of Eden story with “Tell Me Everything You Know”: Here it’s just Eve, here called “Naked” (a timid Morgan McGhee) and mostly covered in knee-length dreadlocks, and the snake, called “Clothed” (a sultry Shavanna Calder), in a sleek black bodysuit and a ponytail of hair styled into giant interconnected chain links. The snake’s temptation becomes queer in this context, and Anyanwu has linguistic fun with her Eve’s awakening, which comes in a verbal cascade.Sex, queerness and body positivity are central themes of most of the plays. In LaHoste’s envy play, “Naples,” set not in a storefront but in a shipping container on a cobblestone street, a manipulative 18th century French noblewoman (Caitlin O’Connell, stately yet cunning) has a less than friendly exchange with her husband’s not-so-secret boy toy (Andrew Keenan-Bolger).Bradshaw’s “Hard,” about a schlubby, unmotivated gamer (Brandon J. Ellis) whose wife (Shamika Cotton) tries to convince him to have sex, struggles to hit its comedic beats. The slovenly man-child paired with the attractive partner is old hat, and the sitcom dynamic between sad-sack husband and nagging wife feels unintentionally regressive.Cody Sloan in MJ Kaufman’s play “Wild Pride,” which looks at the commercialization of gay rights.Sara Krulwich/The New York TimesMJ Kaufman’s “Wild Pride” is the most politically conscious play of the batch, a pointed critique of the commercialization of queer advocacy. In a storefront set full of TVs, rainbow streamers and balloons that read “Queer AF,” a trans social media star called the “Guru” (Cody Sloan) believes he’s providing affirmation for his fan base (Bianca “B” Norwood, voicing comments from followers and other influencers) but finds the tide turn against him and is confronted with the shallowness of his brand.It’s a bold and welcome pick for Pride month, sharply underlining the limits of performative advocacy, especially online.Moisés Kaufman’s purely comic greed play, which premiered as part of the original Miami Beach production of the show, reappears here. “Watch,” in which siblings (a comic Tricia Alexandro and Eric Ulloa) fight about their freshly deceased father’s pricey Rolex, feels like the odd man out of this otherwise pretty horny bunch, which include the two most explicitly sex-themed — and powerful — plays in the mix, Wohl’s “Lust” and Peiffer’s “Longhorn.”Donna Carnow pole dances while Cynthia Nixon voices her thoughts in Bess Wohl’s play “Lust.”Sara Krulwich/The New York TimesIn “Lust,” a pole dancer (Donna Carnow) does her usual routine as we hear, via voice-over, her internal monologue, performed by Cynthia Nixon in her best matter-of-fact Miranda Hobbes. The mix of mundane thoughts (“Refill prescription for eczema cream”), casually withering judgment (“Oh, sweetheart, do you think I don’t know a toupee when I see one?”) and hefty declarations (“There is no God.”) showcase Wohl’s talent for capturing the quirky ways people think and move through their everyday lives.Carnow’s dancing, however, is the production’s true showstopper. She does splits and body rolls, windmills herself around the pole and performs aerial contortions that look utterly unreal — all with perfect nonchalance. And did I mention the platform stripper heels? When she’s upset, her heels violently stomp down to the floor, and when she’s caught in an anxious spiral her body likewise spins around the pole.Her facial expressions, however, can veer into exaggeration, revealing how Wohl’s otherwise clever script becomes didactic when it comes to the topic of sexual assault. Similarly, Peiffer’s “Longhorn” — tracing the troubling and fascinating power dynamics between a white man (Brad Fleischer) and an Asian dominatrix (Kahyun Kim) — ends on a gratuitously violent note. It’s a painfully explicit political parable that, while valid, banks too much on shock value.It’s a problem throughout “Seven Deadly Sins,” a presentation of Tectonic Theater Project and Madison Wells Live. That’s not to say their money isn’t well spent, both in Ayite’s costumes and David Rockwell’s remarkable scenic and site design.Shavanna Calder, left, and Morgan McGhee in Ngozi Anyanwu’s gluttony-themed “Tell Me Everything You Know.” Sara Krulwich/The New York TimesHe gives Eden dimension with bright flowers and layered panels painted in lush greens in Anyanwu’s “Tell Me Everything You Know.” And the cascade of gilded roses and baroque accents in “Naples,” as well as the sex dungeon props in “Longhorn,” show extraordinary attention to detail.Yet perhaps my favorite of the sets was Christopher and Justin Swader’s clever scenic design for “Watch” — the contemporary, lifeless room of what appears to be a funeral home, bisected by a grave with a coffin in the center, which we see as if from overhead.“Seven Deadly Sins” is eye candy, no doubt, and a fun interactive experience for those who crave a lively outdoor performance with a few raunchy surprises. But given the emphasis on sexuality, and nods to the meatpacking district’s transgressive history, I expected a more exacting sociopolitical statement. There should be more than meets the eye.Seven Deadly SinsThrough July 18 at 94 Gansevoort Street, Manhattan; sevendeadlysinsnyc.com More

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    James Corden's Food Bit Draws Ire and a Petition For It to End

    For years, the late-night TV host has dared celebrities to eat choice foods, but an online petition is calling for it to end.For years, the late-night television host James Corden has played a food-based truth or dare with celebrities called “Spill Your Guts or Fill Your Guts.” Participants choose to either answer personal questions or take a bite of a food deemed disgusting to eat, like ghost pepper hot sauce, a sardine smoothie or dried caterpillars.“Wow, it all looks so terrible,” Jimmy Kimmel, the host of late night show “Jimmy Kimmel Live!,” said as he appeared on Mr. Corden’s segment in 2016. “I know people can’t smell it, but it doesn’t smell good, either.”Mr. Corden responded, “It’s really disgusting, it’s horrific,” as he spun a table with Asian ingredients and snacks like chicken feet, balut, pig’s blood and thousand-year eggs.While the segment has received scrutiny in the past, an online petition posted this month has brought renewed criticism that its portrayal of Asian foods as disgusting is harmful. More than 46,000 people have signed the petition, asking Mr. Corden to change the food options on the segment or end its run.“Everyone is entitled to their opinion on food,” said Kim Saira, 24, a Los Angeles activist who organized the petition and set up a protest last Thursday near Mr. Corden’s studio, posing behind a sign that said “Delicious, Not Disgusting.” “My whole point is that James Corden is a white person and is actively using ingredients from Asian cultures and profiting from it and showing it in such a negative light. There’s a way to not like foods and still be respectful about it.”Ms. Saira said she was confused when she first watched the segment featuring balut about two years ago.Balut, a fertilized duck egg, is a late-night snack Ms. Saira grew up eating when she visited relatives in the Philippines every year. She has memories of sitting around a table with her family during power blackouts, which were common, eating the balut by candlelight while they told stories.“I didn’t know why they were calling a food that was so sentimental ‘disgusting,’” said Ms. Saira, who is Filipina and Chinese American.Mr. Corden has been doing the bit for years. A YouTube playlist created by his program has videos as far back as 2016. Speaking to Howard Stern on his radio show June 16, Mr. Corden addressed the controversy.“The next time we do that bit, we absolutely won’t involve or use any of those foods,” Mr. Corden said. “Our show is a show about joy and light and love. We don’t want to make a show to upset anybody.”Mr. Corden’s staff did not respond to requests for comment for this article.“We’re in a kind of cultural moment where bits like this one exist with this increasing acceptance of cultural foods,” said Alison Alkon, a professor at the University of the Pacific. “We’re kind of in this Ping-Pong dialectic.”Using food to prompt a response of disgust, for entertainment, has a long history, said Merry White, an anthropology professor at Boston University. In the United States, the game show “Fear Factor” challenged contestants to eat foods with ingredients like fish eyes, cow bile and coagulated blood paste. Reactistan, a YouTube reaction channel, has had Pakistani people try foods that were strange to them, like American hamburgers, doughnuts and candies such as Ring Pops and Airheads.Even Mr. Corden, who is British, hosted a segment using foods from his homeland, such as haggis and a smoothie with fish, chips and mushy peas.Lok Siu, an associate professor in the Department of Ethnic Studies at the University of California, Berkeley, said the practice disrespects people’s cultures. The choice of Asian foods has made Asian Americans feel more vulnerable or marginalized during a time of rising violence against them.The perception of Asians in the United States has historically been defined through food, Professor Siu said.“You use food as a metaphor to describe that distance, the kind of strangeness between a group of people that you don’t understand and their habits, the way they’re eating, the smell that comes with the spices,” she said. “There’s something around the way we discuss food, the way we think about food in our acceptance or rejection of it, it’s a rejection of a culture and the people that’s associated with it.”She added that Mr. Corden’s use of Asian foods on the segment defines which foods are considered mainstream, delicious or disgusting; food is a metaphor for what is considered normal..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media 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(min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-1rh1sk1{margin:0 auto;overflow:hidden;}.css-1rh1sk1 strong{font-weight:700;}.css-1rh1sk1 em{font-style:italic;}.css-1rh1sk1 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#ccd9e3;text-decoration-color:#ccd9e3;}.css-1rh1sk1 a:visited{color:#333;-webkit-text-decoration-color:#ccc;text-decoration-color:#ccc;}.css-1rh1sk1 a:hover{-webkit-text-decoration:none;text-decoration:none;}“Why is this not seen as racist immediately?” Professor Siu said. “If he made fun of any other group, would there be a much more broader understanding that that’s racist? It’s not immediately thought of as being racist and damaging because it’s Asian food. There is such a denial of anti-Asian racism in the U.S., and this is a prime example of it.”In Mr. Corden’s most recent episodes, he has served up blood and pork jelly, scorpion-dusted plantains, a thousand-year egg nog (made with thousand-year eggs), cow tongue, turkey testicles, an ant-covered corn dog and a salmon, tuna and fish-eye milkshake.For some Filipino chefs, who grew up eating some of the ingredients that have been mocked on Mr. Corden’s show, the renewed focus on the segment has stirred up memories.Lou Boquila, the chef and owner of Perla, in Philadelphia, said he remembers questioning why he ate balut — which tastes of duck broth, and other ingredients like intestines, tongues or blood — when he was growing up in the United States.“It’s actually very delicious, nothing out of the ordinary for us, but it put us in a different light,” Mr. Boquila said. “If you look at all the great chefs, they use every part of the animal.”“You try American food, speak American, it made you not proud of what you ate growing up, and I was totally stupid for not standing up for it,” he added. “It steers you toward being more Americanized and turning back on your culture.”Javier Fernandez, the chef and owner at Kuya Ja’s Lechon Belly, in Rockville, Md., said “Spill Your Guts” presents an opportunity for him to educate people about Filipino food, the culture and ingredients like pig’s head and pork blood (also featured on Mr. Corden’s show).“When people talk about Filipino food or these non-American ingredients where they feel it’s gross to see, it does better for the culture,” he said. “It helps promote what the cuisine is like. My job is to promote the cuisine itself.”Follow NYT Food on Twitter and NYT Cooking on Instagram, Facebook, YouTube and Pinterest. Get regular updates from NYT Cooking, with recipe suggestions, cooking tips and shopping advice. More

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    ‘False Positive’ and the Horror-Filled Truth About Fertility Treatments

    The new Hulu movie is the rare Hollywood production that portrays the struggles to conceive as women actually experience them.As millions of women know, fertility treatments can be a nightmare. The painful, sterile procedures, the loss of control over your own body, the never-ending blood tests and experiments and strange medications that take over your refrigerator shelves and your life.If so many women have endured this terror in real life, do we really need an exaggerated Hollywood version of our experiences? After seeing the new Hulu movie “False Positive” and other recent screen depictions, I would say, it depends who’s watching.Like so many others, I did not experience the “Knocked Up” version of pregnancy in real life. It took a lot more than one night of drunk sex with Seth Rogen to do the job. Instead of being rom-com cute, my story of becoming a parent was heartbreaking, tedious and dominated by scenes of exhausted women packed into the fertility-clinic waiting room. That might not sound cinematic, but when you’re going through it, the inner turmoil can feel as dramatic and dire as any war story. And audiences love a good war story, right? So why not ours?Watching “False Positive” and the stunning in vitro fertilization episode of Netflix’s “Master of None,” I saw my story, the story of so many others, turned into the main event instead of a subplot or a character’s back story. Surrogacy and adoption and miscarriage and in vitro fertilization have been portrayed onscreen before, from “Friends” and “Sex and the City” to “Fuller House” and Princess Carolyn’s fertility struggles on “BoJack Horseman.” But even if those shows handled the topic with sensitivity and honesty, the stories were still treated as secondary plots.I felt for Charlotte as she tried to get pregnant on “Sex and the City,” but the day-to-day ugliness that infertility can bring was glossed over. To be fair, the show had other stories to tell. Still, Charlotte didn’t need to stress about the mind-boggling price of I.V.F. medications or the cost of adoption.I hadn’t seen the raw truth about infertility onscreen until I watched Tamara Jenkins’s “Private Life” (2018), which focused entirely on the “by any means necessary” fertility quest of a New York couple in their 40s, played by Kathryn Hahn and Paul Giamatti. They tried (and failed) to appear calm in the fertility clinic waiting room. He gave her hormone shots. They fought and they made up. The scenes unfolded as in real life.There was no cutting away to see what Samantha or Carrie or Miranda were up to in an effort to avoid becoming too heavy. In “Private Life,” the story felt familiar — raw, sad, funny and, yes, dramatic.The conception efforts of a couple (Kathryn Hahn and Paul Giamatti) are the primary focus of “Private Life.”Jojo Whilden/NetflixFertility treatments and pregnancy can be terrifying, and “False Positive” takes that fact and runs with it, pushing this narrative into “American Psycho” territory. It opens with a shot of a woman in a crisp white button-down, covered in blood, trudging ominously down the street. Directed by John Lee and co-written by Lee and the film’s star, Ilana Glazer, “False Positive” opts for over-the-top horror and social satire instead of the quietly funny, everyday moments of “Private Life.” But the filmmakers aren’t exploiting a painful experience for the sake of some scares. They’re taking that painful experience, one that is so visceral for so many women, and allowing us to laugh, even as we cringe.Glazer, with her signature wild curls ironed straight, plays Lucy, a “marketing genius” married to a Peloton-loving surgeon named Adrian (Justin Theroux). Without an ounce of irony, Lucy says things like: “Am I going to be one of those women who has it all? My career, my kids, my old man by my side?”In other words, she’s the kind of woman Glazer’s “Broad City” character might literally slap into shape if they ran into each other on a Brooklyn street. More

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    John Langley, a Creator of the TV Series ‘Cops,’ Dies at 78

    “You can be entertained by it, you can be disgusted,” he said of the popular reality show that embedded film crews with police officers in the streets for 31 years.John Langley, a creator of “Cops,” the stark-looking reality television crime series that followed police officers on drug busts, domestic disputes and high-speed chases for more than 30 years, died on Saturday in Baja, Mexico. He was 78.Mr. Langley apparently had a heart attack while driving with a navigator in the Ensenada San Felipe 250 Coast to Coast off-road race, said Pam Golum, the spokeswoman for Langley Productions.“Cops,” which made its debut on Fox in 1989 and ran until last year, documented misdemeanors and felonies through the lenses of hand-held video cameras, its stories told without narration or music except for its reggae theme song, “Bad Boys.”From the start the show, created with Malcolm Barbour, was supposed to be an unbiased look at law enforcement, and Mr. Langley later saw it as a truer expression of reality TV than series that followed it, like “Survivor.”“You can be entertained by it, you can be disgusted, but it is what happened,” he told The New York Times in 2007. “It wasn’t staged, it wasn’t scripted. I didn’t put anyone on an island and tell them what to do.”Each episode told a different story shot by a crew embedded with one of various police departments. A drug sting at a pain management clinic. A Taser used to subdue a man called Lion. A woman found in a car with warrants for terroristic threats. A car pursuit into the woods. A man arrested in a car with fake license plates while holding 20 grams of crystal meth.Reviewing the first episode for The Times, John J. O’Connor wrote: “For purposes of the show, however, the court of law is the video camera, which is kept running even when the trapped suspect protests its presence. We are reminded several times that ‘this program shows an unpleasant reality’ and that ‘viewer discretion is advised.’ That should keep them from switching to another channel.”“Cops” began in Broward County, Fla., where in 1986 Mr. Langley and Mr. Barbour got the local police to cooperate in a nationally syndicated documentary, “American Vice: The Doping of a Nation,” hosted by Geraldo Rivera, who was also the executive producer.Mr. Langley recalled in a Television Academy interview in 2009 that the Broward County episodes became part of his successful pitch to other police departments.“We’re not the news,” he said he told them. “We’re not here to expose your department or look for dirt, but to show how difficult your job is on an everyday basis.”A scene from a 1998 episode of “Cops.” “We’re not the news,” Mr. Langley said he would tell local police departments. “We’re not here to expose your department or look for dirt, but to show how difficult your job is on an everyday basis.”FoxNick Navarro, the former sheriff of Broward County, said “Cops” had helped make police departments more transparent by combating negative stereotypes about officers.“I was sick and tired of seeing police officers portrayed in TV shows and movies as Dirty Harry and ‘Miami Vice,’ and just out there killing and maiming and doing extravagant things,” Mr. Navarro told The Miami Herald in 1999.In 2013, after Fox had aired several hundred episodes, a civil rights group, Color of Change, mounted a campaign to cancel “Cops.” The group said that the show’s producers and advertisers had built “a model around distorted and dehumanizing portrayals of Black Americans and the criminal justice system” and had created a reality “where the police are always competent, crime-solving heroes and where the bad boys always get caught.”In the Academy interview four years earlier, Mr. Langley addressed criticism about race in “Cops” by saying that while 60 to 70 percent of street crime was “caused by people of color,” he had made sure that most of the criminals seen on the show were white, to avoid “negative stereotyping,” he said, and because most of the show’s audience was white.Fox did cancel “Cops,” but it was swiftly resuscitated by Spike TV (now the Paramount Network). Last year, however, amid protests over the police murder of George Floyd in Minneapolis and calls for criminal justice reform and police accountability, Paramount dropped the show.John Russell Langley Jr. was born on June 1, 1943, in Oklahoma City and moved to Los Angeles with his family when he was a baby. His father was an oil wildcatter. His mother, Lurleen (Fox) Langley, was a homemaker.After serving in Army intelligence in the early 1960s — he was in Panama during the Cuban missile crisis — Mr. Langley earned bachelor’s and master’s degrees in English literature from California State University, Dominguez Hills, and studied for a Ph.D. in the philosophy of aesthetics at the University of California, Irvine, but did not complete his degree.He worked in marketing for Northwest Airlines, wrote short stories and a screenplay, and had a job with a company — where he met Mr. Barbour — that produced press kits and posters for movies. Forming their own company, the two men directed “Cocaine Blues” (1983), a documentary about the perils of cocaine abuse, which led them to make an antidrug music video, “Stop the Madness,” for Ronald Reagan’s White House in 1985. (Mr. Barbour retired from producing in 1994.)Mr. Langley received a star on Hollywood’s Walk of Fame in 2011.Michael Kovac/Getty ImagesMr. Langley produced several other documentaries, some with Mr. Rivera, while trying to pitch “Cops” to NBC, CBS and ABC, all of which rejected the idea. But Fox ordered a pilot.“Barry Diller watched it and said: ‘God, that’s powerful, too powerful,’” Mr. Langley said in the Academy interview, referring to a meeting with the Fox chairman at the time. Another executive worried that Fox’s stations would not accept such a raw program. (Mr. Langley had left in a lot of blood and guts, he said, knowing he could cut it.) But Rupert Murdoch, whose company controls Fox, said, “Order four episodes.”“Cops” spawned several other unscripted crime series by Mr. Langley, including “Las Vegas Jailhouse,” “Jail,” “Street Patrol,” “Undercover Stings” and “Vegas Strip,” which he produced with his son Morgan, the executive vice president of development at Langley Productions.Mr. Langley was a producer of feature films as well, including Antoine Fuqua’s “Brooklyn’s Finest” and Tim Blake Nelson’s “Leaves of Grass,” both released in 2009.In addition to his son, Mr. Langley is survived by his wife, Maggie (Foster) Langley; their daughter, Sarah Langley Dews; another son, Zak, who is the senior vice president of music at Langley Productions; a daughter, Jennifer Blair, from a previous marriage to Judith Knudson, which ended in divorce, and seven grandchildren.Mr. Langley understood the power of a police department’s cooperation when, while shooting “American Vice,” he asked the Broward police if he could shoot a drug raid live.“I said, ‘If you’re going to do this bust anyway, can you do it on this date, and maybe do it in this two-hour window?’” he told the Television Academy. “They said, ‘Yeah, sure,’ and that’s how we did it.” More