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    Jussie Smollett Donates $50,000 to Arts Center to Settle Chicago’s Lawsuit

    Although the actor’s conviction for filing a false police report was overturned because of a previous deal with prosecutors, the city wanted him to pay for its hate crime investigation.Jussie Smollett, the former “Empire” star, announced that he had donated $50,000 to a Chicago charity to settle a lawsuit by the city about his claim that he had been the victim of a hate crime.In 2022, a jury convicted Mr. Smollett of felony disorderly conduct for filing a false police report after he said he had been attacked in downtown Chicago by two men who hurled racist and homophobic slurs at him. His conviction was overturned last year by the Illinois Supreme Court, which said the special prosecutor’s case violated a previous agreement with Mr. Smollett.Mr. Smollett shared details of his settlement with the city in a statement posted to Instagram on Friday, saying that he had made a $50,000 donation to the Building Brighter Futures Center for the Arts. According to its website, the organization’s mission is to “improve the quality of life for underprivileged youth and their families by providing safe, stable and nurturing experiences.”The City of Chicago had sued Mr. Smollett six years ago, seeking more than $130,000 to cover the costs of its police investigation. It said the settlement with Mr. Smollett required the charitable contribution.“The city believes this settlement provides a fair, constructive and conclusive resolution, allowing all the parties to close this six-year-old chapter and move forward,” a city spokeswoman, Kristen Cabanban, said in a statement. She said that Mr. Smollett also made a $10,000 payment to the city in 2019, and that he had faced additional accountability through his criminal trial.Mr. Smollett posted on Friday that, in addition to the settlement, he had also donated $10,000 to the Chicago Torture Justice Center, an organization that “seeks to address the traumas of police violence and institutionalized racism,” according to its website.A representative of the Building Brighter Futures Center confirmed in an email that it had received the donation. The Chicago Torture Justice Center confirmed Mr. Smollett’s donation in an Instagram post last week.Mr. Smollett originally said that the men who hurled slurs at him also tied a rope around his neck and doused him with a chemical substance. The story initially inspired outrage and sympathy for the actor, but prosecutors became suspicious of his account and charged him with felony disorderly conduct.Those initial charges were dropped in 2019 after Mr. Smollett agreed to perform community service and forfeit a $10,000 bond payment. But after an outcry from the mayor and the police, a special prosecutor revived the case.Chicago’s lawsuit had been on pause while the criminal charges worked their way through the courts. Mr. Smollett, who has maintained his innocence and countersued city officials, said in his Instagram post that he was aware the settlement “will not change everyone’s mind about me.”“What I have to do now is move forward,” he wrote. More

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    Her Books and Movies Provoked France. Will Her Plays Do the Same?

    Virginie Despentes is pivoting to theater. Playgoers “really show up, even for demanding or radical works,” she says.Over the past three decades, Virginie Despentes has cemented her place as one of the most admired — and argued over — feminist authors in France. “King Kong Theory,” her 2006 book about sex, gender and her own experience of rape, sparked conversations around sexual violence in the country; her award-winning “Vernon Subutex” trilogy of novels, released between 2015 and 2017, drew international attention for its vivid depiction of misfits adrift in French society. (The first volume made the Booker International Prize shortlist in 2018.)Yet recently, Despentes, 55, has been quietly pivoting from books toward writing and directing for the stage. In 2024, she wrote the play “Woke” with three other authors, Julien Delmaire, Anne Pauly and Paul B. Preciado; in it, they confronted France’s reaction to progressive ideas on race and gender.Despentes directed the production at the Théâtre du Nord in Lille, in northern France, and now she’s back with a follow-up: “Romancero Queer,” which had its premiere last week at Théâtre National de la Colline in Paris and runs through June 29. In “Romancero Queer,” she explores power imbalances in the making of a stage show: Behind the scenes of a new production of Federico García Lorca’s “The House of Bernarda Alba,” a fictional group of actors struggle with their older male director for greater creative control.While Despentes has directed several movies, including “Baise-Moi” (2000) and a documentary about pro-sex feminists, “Mutantes (Féminisme Porno Punk)” (2009), she said in an interview in Paris that theater has turned out to be a better fit. Shortly after “Romancero Queer” had debuted, she spoke about the art forms that she has tried her hand at: literature, film and theater. The conversation has been edited for length and clarity.What prompted your pivot to theater?I attend a lot of plays, and I realized that theater audiences are very curious. They really show up, even for demanding or radical works, which made me want to try it. I feel good when I’m in a theater auditorium — and these non-virtual moments feel important nowadays. I’m not at all technophobic — I spend quite a bit of time online — but I enjoy this kind of counter-rhythm, away from social media. During performances of “Romancero Queer,” I sit in the back, behind the audience, and I have yet to see anyone take out their phone.A rehearsal of “Romancero Queer,” the new play by Despentes.Teresa SuarezWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Blue Man Group’s Longtime Home Will Stage Off Broadway Dramas

    A commercial producer active on Broadway and in the West End has signed a long-term lease for Astor Place Theater with plans for shows there.For 34 years, Astor Place Theater, a humble venue in a historic building in Lower Manhattan, was occupied by a single show, Blue Man Group, which spun profits out of performance art.But Blue Man Group closed its New York production in February, and now another company will take a turn making art in the space: No Guarantees Productions, a venture established in 2017 that has put money into multiple Broadway and West End shows.“We love the location, and the theater is in fabulous condition,” said Megan O’Keefe, executive vice president of No Guarantees. She said the company hopes to present three to four Off Broadway shows a year at Astor Place, some of which it will produce, and some of which will be projects developed by other producers who would rent the space.No Guarantees is the latest for-profit company taking over an Off Broadway theater at a time when the commercial Off Broadway sector has been enjoying an unexpected rebound. Another example: Seaview Productions is now operating a Midtown Manhattan venue previously run by the nonprofit Second Stage Theater; the first show at what is now called Studio Seaview is “Angry Alan,” a play starring John Krasinski and currently in previews.“What we’re seeing more and more is that there are a lot of really beautiful shows that just are never going to attract the audience, and/or support the budget, that you increasingly need to put on a flashy Broadway show,” O’Keefe said. “And that’s why I think we’ve seen a real resurgence of interest and popularity in the commercial Off Broadway space.”The theater, with 298 seats, is still owned by some of the co-founders of Blue Man Group, but will be leased by No Guarantees, a theatrical production company.Vincent Tullo for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    On ‘Will Trent,’ Ramón Rodríguez Shoots and Scores

    “My first dunk was on that basket,” the actor Ramón Rodríguez said. This was on a drizzly weekday morning in May, and Rodríguez was revisiting former haunts in the East Village, where he grew up. He began with the Tompkins Square Park basketball courts.“It’s a little low rimmed,” he admitted, pointing at the basket. “But it was a big deal.”At an inch or two under six feet, Rodríguez, 45, is plenty tall for an actor, though short for a basketball player. Still he kept at it, and that tenacity has served him in Hollywood, where he spent years watching great shots hit the rim.”How many times was I told no and cut from a team?” he said. “I mean, countless. Rejection, it was always fuel for me.”It fueled him until 2022, when he was offered the title role in “Will Trent,” an ABC procedural about a dapper, damaged investigator and Chihuahua dad. The series is based on books by Karin Slaughter. In those books Will is described as tall, blond and lanky. So Rodríguez wasn’t an obvious choice. But despite his skepticism — he had been burned by network shows before — he signed on. “Will Trent” was renewed for a second season.Ramón Rodríguez, with Erika Christensen, plays the damaged but gifted title character of “Will Trent,” based on the book series.Zac Popik/Disney“I was like, OK, that does not happen to me,” he said. But it did. A third season followed, ending in May on a cliffhanger (two characters may not survive) that presumably will be resolved when the show returns in January.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Colman Domingo’s Nat King Cole Play Explores the “Psychology of an Artist’

    In November 1956, Nat King Cole was given his own variety show on NBC. It drew major guest stars and got good ratings, but was abandoned just over a year later because it couldn’t secure a single national sponsor; brands were too nervous about boycotts from racist viewers.“Madison Avenue is afraid of the dark,” Cole observed at the time.He couldn’t have been too shocked. Cole may have been one of the biggest pop stars of his time, charting 86 singles and 17 albums in the Top 40, but he was, after all, the first Black man to host a nationally broadcast program. (He referred to himself as “the Jackie Robinson of television.”) In 1948, when he moved into Los Angeles’s all-white Hancock Park neighborhood, a cross was burned on his lawn. A few months before the TV show debuted, Ku Klux Klansmen attacked him onstage at his concert in Birmingham, Ala., shoving him off his piano bench.Daniel J. Watts, left, as Sammy Davis Jr., and Dulé Hill as Nat King Cole in the show “Lights Out: Nat ‘King’ Cole” at New York Theater Workshop.Marc J. FranklinThose experiences and the story of the final episode of “The Nat ‘King’ Cole Show” in December 1957 is now the focus of “Lights Out: Nat ‘King’ Cole,” which is running through June 29 at New York Theater Workshop. Written by Colman Domingo, an Academy Award nominee for “Rustin” and “Sing Sing,” and Patricia McGregor, the theater’s artistic director and the show’s director, the play had a long gestation period, premiering in Philadelphia in 2017. It also had a Los Angeles run in 2019.Domingo described “Lights Out,” which stars Dulé Hill as Cole, as a “dark night of the soul” that explores “the psychology of an artist.”Though today he’s best known for his recording of the holiday perennial “The Christmas Song” and for his daughter Natalie’s technology-assisted duet with him, “Unforgettable” (from her Grammy-winning album of songs associated with her father), Cole was an astonishing talent.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Why I Find Comedy in Difficult Places. Like My Dad’s Stroke.

    Mike Birbiglia’s father didn’t want him to become a comedian. But after writing a comedy special about him, he understands his dad better.There’s a story in my new Netflix comedy special, “The Good Life,” where I’m fiercely arguing politics with my father at his house about 20 years ago. The conversation got so meanspirited that when I walked out to my car, my dad didn’t even say goodbye.I said, “Bye, Dad.”And he said, “Well, you’ve gone another way.”At that point in “the special I say, “My whole life I wanted to be my dad, and at a certain point I decided I wanted him to be me.”But if I’m being honest, that’s not what I thought in the moment. I thought something along the lines of, “What is he thinking? He’s just wrong.”About a year ago, my dad had an acute stroke that put him in the hospital for months and now he’s home with care. He can’t stand up. He can’t walk. He can speak, but he doesn’t remember anything that’s happened in the last 12 months. This is a huge change for my family. My dad has always been a big personality. Sometimes too big. When I was a kid, he’d sometimes fly off the handle. So in my special, I make the joke that the silver lining is that as horrible as the stroke has been, “if I’m being completely honest, it has calmed him down.”One night, after I made that extremely dark joke, the audience didn’t know how to feel about it. It sort of sat there. I think the audience thought, Are we allowed to laugh about this guy’s ailing father? So I improvised a line: “Most of the jokes tonight are for you, but some of the jokes are for me. This is a coping mechanism. And I hope it is for you too.” That lit up the crowd. There was an acknowledgment that this was something I was really grappling with. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    There Are Problems for Sure. But ‘Étoile’ Has Humor and Heart.

    Amy Sherman-Palladino’s new series, created with her husband, takes ballet somewhere it doesn’t usually go: the world of comedy.Like the art of ballet, “Étoile,” a television show about ballet, has its ups and downs. Sometimes you want to toss confetti in the air to celebrate how deftly it dives into the intelligence and humor of ballet culture. It lives largely in the world of comedy, which is rare for a ballet story. Yet it also shows a commitment to world-class dance, with snippets from classic works like George Balanchine’s “Rubies.” And it arrives with a narrative miracle — nary an eating disorder in sight.But then comes a scene, or sadly a dance, that makes you want to throw that confetti in the trash. The first time the show seesaws between paradise and purgatory happens in its first five minutes. “Étoile,” on Amazon Prime Video, begins on a poignant note as a young girl, alone in a dark studio, follows along to a ballet class saved on a smartphone. A cleaning woman appears in the doorway to let her know that she has only one more floor to get through. This is the dancer’s mother, who has been secretly recording company class for her.“I’ve barely gotten to frappés,” young SuSu (LaMay Zhang) says to her mom. With a heavy heart, SuSu fast forwards to petit allegro, and an overhead shot pulls back, rendering her tinier and tinier as her feet cross back and forth in springy jumps. Blondie’s “Heart of Glass,” its beat echoing her rhythm, takes over, and we’re dropped into a pulsating nightclub.A scene from “Étoile,” which often has observant, real-world details about the ballet world.Philippe Antonello/Amazon MGM Studios There, a tipsy and inane conversation about Tchaikovsky and Aaron Copland ensues: Who would win in a fight? (Who cares?) And that generates a new topic: famous composers who had syphilis.SuSu, come back! (She does eventually. And her part gets better and better especially after Cheyenne, the leading French ballerina, sees in a studio “this little girl who appears only at night like a fairy” and takes her under her wing.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    10 Books Like ‘The Last of Us’ If You Can’t Wait for Next Season

    If HBO’s zombie drama has you craving more postapocalyptic action, these books have got you covered.HBO’s propulsive, nail-biting series “The Last of Us” — based on the acclaimed video game by Naughty Dog — offers a bleak and brutal depiction of the apocalypse, as hardscrabble survivors including Joel (Pedro Pascal), Ellie (Bella Ramsey) and Dina (Isabela Merced) navigate a fallen world crawling with flesh-eating “infected,” not to mention other healthy humans who range from desperate and mistrustful to aggressively sadistic. The show is violent and at times disturbing — especially in its shocking second season, which recently concluded — but there’s more to it than action spectacle. A deep undercurrent of emotion runs through the series, making this story about zombies compulsively watchable, frequently moving and deeply human.While the first season of the show faithfully adapted the eponymous video game, HBO has split the story of its sequel, 2020’s The Last of Us Part II, into two installments — meaning that we’re leaving things on a considerable cliffhanger. If your craving for killer fungi, survival stories, revenge tales and postapocalyptic considerations of what we owe to each other isn’t quite satisfied, these 10 novels can scratch that itch.Severanceby Ling MaNot to be confused with another popular 2025 series, this darkly comic novel — published two years before Covid-19 — is an incisive (and prescient) portrait of a society stumbling through a devastating pandemic. The contagion here is Shen Fever, a debilitating fungal disease that turns its victims into (harmless) zombies. Even as it decimates the globe, Candace Chen, a millennial Chinese American woman living in New York City, resolves to see out the end of her contract doing product coordination for a Bible publisher. It’s fairly soul-sucking drudgery but, it turns out, an improvement on life after societal collapse, when Candace finds herself sheltering in an Illinois shopping mall with a band of other survivors from whom she’s hiding a secret.Read our review.Manhuntby Gretchen Felker-MartinIn Felker-Martin’s postapocalyptic thriller, a plague that targets testosterone has turned half the population into a brainless mass of murderers and rapists, leaving the matriarchy to reign supreme. But for Beth and Fran, two trans women keeping their hormones in check with home remedies, it isn’t only the bloodthirsty men they need to worry about: Roving bands of TERFs view them not as fellow sister-survivors but as interlopers who need to be expunged. A smart book about the politics of gender and the perils of transphobia, “Manhunt” could easily have turned didactic — but Felker-Martin, a dyed-in-the-wool horror fan, delights in the genre’s free-flowing carnage, and that glee is tons of fun.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More