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    Rediscovering France’s Early Female Playwrights

    A growing movement within French theater is reclaiming the work of forgotten female artists, and reviving a lost concept: le matrimoine.PARIS — How many women had professional careers as playwrights in prerevolutionary France, between the 16th and 18th centuries? Go on, hazard a guess.The answer, according to recent scholarship, is around 150. Yet if you guessed the number was close to zero, you’re not alone. For decades, the default assumption has been that deep-seated inequality prevented women from writing professionally until the 20th century.Now a growing movement within French theater is reclaiming the work of forgotten female artists, and reviving a lost concept along the way: le matrimoine. Matrimoine is the feminine equivalent of patrimoine — translated as patrimony, or what is inherited from male ancestors. In French, however, patrimoine is also the catchall term to describe cultural heritage. By way of matrimoine, artists and academics are pushing for the belated recognition of women’s contribution to art history, and the return of their plays to the stage.Matrimoine is no neologism. “The word was used in the Middle Ages but has been erased,” said the scholar and stage director Aurore Evain. “Patrimoine and matrimoine once coexisted, yet at the end of the day all we were left with was matrimonial agencies.”When Dr. Evain started researching prerevolutionary female authors, around 2000, she quickly realized that French academics were behind their American peers. In the early 1990s, Perry Gethner, a professor of French at Oklahoma State University, had already translated plays by Françoise Pascal, Catherine Bernard and other 17th- and 18th-century women into English, and published them.At home, on the other hand, the idea that female colleagues of Molière had been overlooked collided with entrenched narratives. The classical French repertoire revolves around a trinity of male playwrights — Molière, Jean Racine and Pierre Corneille — whose works are taught in schools and widely seen as models of national literary genius.Yet all three men crossed paths with acclaimed female peers. “Le Favori” (“The Male Favorite”), a verse tragicomedy written in 1665 by Madame de Villedieu, was performed by Molière’s own company before the king at Versailles. When Dr. Evain staged it again in 2015, over three centuries after it was last performed, the French playwright and director Carole Thibaut was struck by the similarities between “Le Favori,” which revolves around a courtier who challenges the hypocrisy of royal favor, and Molière’s “Misanthrope,” written the next year.A portrait of Madame de Villedieu (1640-1683).The British Museum“I love Molière, but there are two scenes that are basically plagiarism,” Thibaut said in a phone interview. “He borrowed heavily from ‘Le Favori.’”Before the French Revolution, most female playwrights were upper-class single women who needed to earn a living. In the 19th century, their numbers kept growing: Scholars have found at least 350 women who were paid for their writing, from the revolutionary activist Olympe de Gouges to Delphine de Girardin, both of whom had plays in the repertoire of the Comédie-Française. Many of them hosted literary salons, starting with Germaine de Staël; some, like George Sand, also wrote under a pseudonym to get around gender-based prejudice.Yet not a single one of these women has a meaningful presence on the French stage today. Until the late 2000s, even feminist writers knew nothing of their work. The first volume of a French anthology of prerevolutionary female playwrights (edited by Dr. Evain, Gethner and the New York University professor Henriette Goldwyn) wasn’t released until 2007.When Thibaut, who is now at the helm of a National Dramatic Center in the city of Montluçon, first heard Dr. Evain speak at a conference two years later, the notion of matrimoine came as a revelation. “I fell apart. I started crying,” she said. “She taught me that instead of being at the dawn of a feminist awakening, we were part of a cycle, which sees women emerge and then be erased.”That historical insight coincided with a renewed focus on gender inequality in French theater, in the wake of two government audits. Until 2006, none of the five national French theaters had ever had a female director. There has been some progress since: While only 7 percent of national and regional dramatic centers, the next tier of public institutions, were led by women in 2006, the proportion was 27 percent in 2019. Still, in March, an open letter published in the French newspaper Libération complained about the lack of women being appointed to top theater jobs since the start of the pandemic.From 2009 onward, Thibaut, Dr. Evain and other activists joined forces through an association, known as HF, to push for change, and matrimoine became one of their rallying calls. In 2013, Dr. Evain launched the annual “Days of the Matrimoine,” a festival that runs alongside the “Days of the Patrimoine,” a national celebration of France’s cultural heritage.That visibility is now affecting younger generations of scholars and artists, like Julie Rossello Rochet, a playwright who completed a doctoral dissertation last year on her 19th-century predecessors. In a phone interview, she said that studying their work had helped her process the unease she felt as a young writer: “I kept hearing, ‘Oh, it’s so rare, a woman who writes for the stage.’ Actually, it isn’t.”A performance of  Madame Ulrich’s “La Folle Enchère” (“The Mad Bid”) directed by Aurore Evain. The play had its premiere in 1690 at the Comédie-Française.Carmen MariscalThe scholars interviewed agreed that women’s plays offer a different perspective from that of male playwrights — a female gaze, so to speak, shaped by the authors’ life experiences. “They promoted women’s intelligence,” Dr. Rossello Rochet said.“They created strong female characters, who choose politics over love, as well as male characters who choose love,” said Dr. Evain, who also pointed to the attention they paid to the role of fathers.The two prerevolutionary plays Dr. Evain has directed since 2015 speak to that originality. In addition to “Le Favori,” she brought back Madame Ulrich’s “La Folle Enchère” (“The Mad Bid”), a comedy that had its premiere in 1690 at the Comédie-Française. The plot cleverly toys with gendered expectations: In it, an older woman endeavors to marry a younger man, who is himself a woman in disguise. “It’s an early queer play, in which everything is upside down,” Dr. Evain said. “Order is never restored: The leading lady is in drag until the end.”While a handful of smaller theaters, like the Ferme de Bel Ebat in Guyancourt, have welcomed productions like “La Folle Enchère,” persuading programmers to invest in the matrimoine remains a challenge. The Comédie-Française, where multiple women have presented their work over the centuries, has yet to revive a single one of these plays.In an interview with the French newspaper Le Monde in 2017, the troupe’s director, Eric Ruf, said he was “working on it,” but added that it would be hard to sell main-stage tickets for a “little-known” playwright. (A spokeswoman for the Comédie-Française declined to say whether there were plans to bring back plays by women in future seasons.)Yet feminists believe that unless these early women’s plays are performed and taught, history may yet repeat itself. “If we ignore our matrimoine, if we don’t change the way we think about our culture, the women who came after us may not leave a legacy, either,” Thibaut said.In the eyes of Dr. Rossello Rochet, the benefits are obvious for young playwrights. “Having a history has given me deeper roots,” she said. “It has made me feel stronger.” More

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    Jimmy Fallon: Vaccinated Americans Are ‘Flashing Their Mouths Like It’s Mardi Gras’

    “I’ve got to be honest: I’m going to miss wearing a mask.” Fallon joked on Tuesday. “The adult acne made me feel young, you know?”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. We’re all stuck at home at the moment, so here are the 50 best movies on Netflix right now.Mask OffPresident Biden announced on Tuesday new coronavirus guidelines that would allow vaccinated Americans to forgo wearing masks when participating in outdoor activities or when not in a crowd.“When people heard that, people in the street started flashing their mouths like it was Mardi Gras,” Jimmy Fallon joked.“I’ve got to be honest: I’m going to miss wearing a mask. The adult acne made me feel young, you know?” — JIMMY FALLON“Aw, yeah! Take it off, baby! Show daddy them nostrils!” — STEPHEN COLBERT“That’s good news. Where are we on pants; are those still required?” — JIMMY KIMMEL“This is great news for people who love fresh air, but a little late for those who already have the tan lines.” — STEPHEN COLBERT“Now we can go back to the good old days of giving each other dirty looks because of racism, classism, sexism, ableism, homophobia, and those people who wear Adidas pants with Nike shoes.” — TREVOR NOAH“You see, we never needed masks; we already knew how to hate each other.” — TREVOR NOAH“On the bright side, now we can stop weirdly opening our eyes to greet people on the street.” — JIMMY FALLONThe Punchiest Punchlines (Who Charted Edition)“I’m also glad because now, according to the C.D.C. charts, if you’re vaccinated, you can go eat outdoors now without a mask on, as opposed to before, when you had to wear a mask while you were eating.” — TREVOR NOAH“The chart ranks activities from safest to less safe to least safe. It’s the same chart people use when deciding between Delta, United and Spirit Airlines.” — JIMMY FALLON“Because what better way to get people to remember something than a 14-row, three-column, color-coded document with loads of text?” — JAMES CORDEN“Who designed this chart, the same people who designed those parking signs in L.A.?” — TREVOR NOAH“I love, as well, if you look, exercise class is the last thing on the list. It’s even like the list going, ‘Look, we both know you’re not going to do it.’” — JAMES CORDEN“It’s unreadable. You don’t see the forest service putting out flow charts like: ‘No fires, unless the fires are in stone pits, or you come from a long line of firefighters, or you watch the weather and you know a rainstorm is coming in a few minutes.’ No, they say: ‘No fires or this bear is going to eat your [expletive] family.’” — TREVOR NOAH“And, yes, I know the C.D.C. is just trying to cover all the bases, because maybe there’s a tiny chance you could get corona, even if you’re vaccinated. But if that messaging ends up convincing people that there’s not much of a reason to get vaccinated at all, then we’re shooting ourselves in the foot, which is not something we should do. Or, as the C.D.C. would put it: ‘masked guy in an indoor red zone.’” — TREVOR NOAHThe Bits Worth WatchingCorrespondent Dulcé Sloan delved into the history of female hip-hop M.C.s on Tuesday’s “The Daily Show.”What We’re Excited About on Wednesday NightMike Lindell, the chief executive of My Pillow, will appear Wednesday on “Jimmy Kimmel Live.”Also, Check This OutNichole ShinnVaccine fan fiction is getting users hot on TikTok. More

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    Sondheim Musical, in Development for Years, Looks Unlikely

    The 91-year-old composer told the Public Theater last year that he was no longer working on a show based on the films of Luis Buñuel.One big lingering question for theater fans following the news that the prolific producer Scott Rudin will “step back” from his stage projects: What will happen to his shows in development, notably the Stephen Sondheim musical “Buñuel,” which at last report was slated to be produced Off Broadway at the Public Theater?Rudin, who is facing a reckoning over decades-long accusations of bullying, had been a commercial producer attached to the musical.But the Public now says: It isn’t happening.In the wake of reports about Rudin, the Public on April 22 put out a statement saying it had not worked with him in years. Responding to a follow-up question, Laura Rigby, a spokeswoman for the Public, said last week that Sondheim had informed the theater last year that he was no longer developing the musical. (The Public clarified that its cancellation had nothing to do with Rudin.)Sondheim, who turned 91 at the end of March, did not respond to emailed questions about the project’s status.The work, which was based on the films of the Spanish surrealist Luis Buñuel, promised to be one of the last chances for theatergoers to see a new stage musical by musical theater’s most venerated composer. Sondheim had been developing it for the last decade or so with the playwright David Ives (“Venus in Fur”), who also did not respond to email requests for comment.Sondheim had previously said that the show would comprise two acts, the first based on the filmmaker’s “The Discreet Charm of the Bourgeoisie” (1972), and the second on “The Exterminating Angel” (1962).The musical, he said, was about “trying to find a place to have dinner.”He offered more detail during a 2014 appearance at The New Yorker Festival, explaining that the first act involved a group of people trying to find a place to dine, while the second focused on people who finally did just that — and were trapped afterward in hellish circumstances.The project would have been the composer’s first major musical in more than a decade. His last was “Road Show,” a 2008 collaboration with John Weidman about two brothers constantly looking to strike it rich, which was presented at the Public.“Buñuel” had a mini workshop at the Public in November 2016, with a cast that included Michael Cerveris, Heidi Blickenstaff and Sierra Boggess, with a hoped-for opening date of late 2017. The New York Post reported at the time that Joe Mantello, who directed “Wicked” and the 2004 Broadway revival of Sondheim’s “Assassins,” was set to direct.Cerveris said in an email last week that the first act was essentially complete at the time of the workshop, and the second was “sketched out, but still awaiting much of the music.” He said a later music workshop was planned, but it was canceled so Sondheim could use the time to continue writing.Then, he said, the trail essentially went cold. He said he was sorry to hear of what looks to be the show’s demise.“It was an appropriately surreal, unnerving and often hilarious piece,” he said. “And Steve was, as ever, experimenting with some fascinating, complex musical structures which David’s sensibilities seemed to suit really well, I thought.”Sondheim is the winner of a Pulitzer Prize (in 1985, for “Sunday in the Park With George”) and eight Tony Awards (including one for lifetime achievement), more than any other composer. A film remake of “West Side Story,” for which he wrote the lyrics, is due out at the end of the year. And whenever New York theaters fully reopen, the Classic Stage Company plans to revive “Assassins.”Cerveris said that, despite hearing nothing of “Buñuel” for several years, he had still been hoping for another Sondheim show.“The marriage with Buñuel felt pretty right for the times, and the world has only gotten darker and weirder since then,” he said. “I’d have loved to see it come to be. But then, I will always want more Sondheim in the world.” More

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    Ziwe Endorses Box Braids and ‘Real Housewives’

    The 29-year-old comedian brings her Instagram and YouTube antics to a prime time Showtime series, “Ziwe,” which premieres May 9.Ziwe, the mononymic master of the viral “gotcha!” moment, swears she isn’t out to get anyone.Sure, the 29-year-old Nigerian-American comedian’s largely white guests on her YouTube and Instagram Live show, “Baited With Ziwe,” have a proclivity to make cringe-worthy comments when it comes to race. (The Instagram influencer Caroline Calloway couldn’t correctly identify the Black Panther Party co-founder Huey P. Newton, and the cookbook author Alison Roman was nearly stumped when asked to name five Asian people.)But Ziwe doesn’t set out to embarrass her guests. “The goal is not to hurt anyone or get them canceled,” explained the Northwestern University graduate, who cut her teeth working on “The Colbert Report.” “The goal is to have a really thoughtful, productive conversation.”The confrontational questions — often about race — and uncomfortable pauses are, she said, intended to be a learning experience. “They’re all willing,” she said of her guests, though even she isn’t exactly sure why they agree to come on the show. “They’re open to looking silly for a greater discourse beyond both of us.”Ziwe, who uses only her first name professionally — her last name, Fumudoh, proved too tricky for comedy club hosts to announce — will bring her punch lines to a bigger screen when her new late-night sketch comedy series, “Ziwe,” which rhymes with “freeway,” premieres on Showtime on May 9.With six episodes, the series will feature guest interviews, musical numbers and field pieces, and will draw from her go-to brand of humor, which she describes as “highly satirical” and “bombastic.” (Her dream guest? Kim Kardashian. “I’d love to get her perspective on race in America as one of the most famous women in world history,” she said.)In a phone conversation from her Brooklyn apartment, Ziwe shared her cultural essentials, including how watching “The Real Housewives” counts as homework (hear her out), the benefits of box braids and why fuzzy rugs are bringing her all kinds of joy amid her claustrophobic work-from-home existence.1. “The Real Housewives”At first, I looked down at “Real Housewives.” I was like, “I never watch reality TV, I read books.” And then, in college, I started watching “Beverly Hills,” which is like this horrid, dark underbelly of reality TV — I’d never seen this type of storytelling before. Like, on “Orange County,” pretending to have cancer on national television for attention — who does that? As a writer and performer I’m constantly engaging with different characters and I’ll rewatch episodes trying to figure them out. I’ve watched full seasons in a day, from eyes open to eyes shut.2. Emma Brewin HatsThese faux fur, fuzzy bucket hats are my emotional support animals. Rihanna wore a green one in 2017, and I always was thinking about it, but never took the dive to purchase one. But then the pandemic happened and I just needed something to make me feel anything, so I bought a blue hat, and then a green one and an orange one and a black one and a wide-brimmed dark red one … I wear them every day, in a different color to fit my mood. They’re also great for Zoom calls when I don’t want to do my hair. I’m wearing one right now, actually!3. Nicholas Britell SoundtracksI’m writing a book and can’t listen to songs with lyrics when I write, and so I often turn to Nicholas Britell soundtracks, whether it’s “Succession” or “If Beale Street Could Talk” or “The King,” with Timothée Chalamet and Robert Pattinson. I love the way he uses strings and piano chords. “Moonlight” was his breakout moment for me, but he’s a really good composer with a wide range of work. I’ve listened to his entire catalog.4. DocumentariesI like to learn passively, and documentaries are a perfect vehicle for that. “Varsity Blues” is fantastic. The lack of impulse control to photoshop your picture as a coxswain for crew is beyond comprehension. It’s like “Real Housewives” where it’s stranger than fiction you could ever imagine. And they affect me viscerally! After watching the James Baldwin and Toni Morrison documentaries, I go to my computer and start writing furiously because it’s like, “These are great American authors, OMG, I want to be just like them.”5. Blood Orange San PellegrinoI ordered San Pellegrino at the beginning of the pandemic thinking it was seltzer, but I was surprised — and delighted — to learn it was actually juice. I had to cut myself off at one point, though, because I was drinking a lot of these. My friend was like, “You know there’s sugar in that, right?” I was like, “Oh no, it’s just juice, it’s cool,” and then I checked the can and there was sugar. But it’s so delicious. I have one San Pellegrino blood orange left in my fridge — if it’s just a really bad day, I get to drink that.6. CandlesI think every woman hits a certain age and you’ve got to buy a couple of candles. Frères Branchiaux ones, which are made by three young brothers of color who also do sprays for your linens, are really nice, and the profits go to homeless shelters. There’s a candle for every occasion — lavender for the winter, citrus for the summer, or a smoggy oak wood for fall. I have three on my coffee table, multiple in my room and a drawer full of them.7. “Clueless”I would argue my entire personality is based on this film, which was written and directed by Amy Heckerling and should have been nominated for an Oscar. It’s one of the best American satires of the 21st century. I’m so influenced by the schoolgirl outfits, the matching plaid sets, the mixing patterns and textures, the box braids. The fur cuffs — I love a fur cuff. Mona May was the costume designer for “Clueless,” and she was so forward-thinking setting trends for this definitive ’90s girl style.8. Box BraidsWhen I was a kid, my mom made me get box braids, and I’d be like, “Oh, God” — what kid wants to sit for eight hours to get their hair braided? And then I saw Dionne, a character in “Clueless” who had box braids, and I was like, “OK wow, this wasn’t just my parents forcing their culture on me.” It really helped me come into myself. The nice thing about box braids is once you’ve sat down for eight hours to do them, you’re free. It’s like “I never have to brush my hair for eight weeks,” you just get to whip your hair back and forth like Willow Smith. I started wearing box braids again the past two years and every summer, I’m like, “It’s box braid season.” I get 34 inches and I’m walking around like I’m Nicki Minaj knocking things over with my braids like a whip.9. Fuzzy RugsI love to sit on the floor. Maybe it’s this infantile thing with fuzzy hats and fuzzy rugs, but I am moved by textures. On my set for my new show, I have a chair upholstered with a fuzzy rug that I do all my interviews out of. And at home, I have a white fuzzy rug. I haven’t been to a beach in years so I have to replace the idea of sand with a rug. It’s just how it feels on your toes.10. “Oceans” By Jay-Z Ft. Frank OceanI’m a huge fan of Jay-Z as a rapper and Frank Ocean’s musicality, so the song is a really good marriage of two things I love. The melody is really, really calming, but then it has lines like “Only Christopher we acknowledge is Wallace/I don’t even like Washingtons in my pocket.” It’s just really audacious and bold and counterculture. More

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    Late Night Wraps Up This Year’s Academy Awards

    “The ratings for the Oscars plummeted from 23 million last year to less than 10 million this year. How can something so woke put so many people to sleep?” Jimmy Kimmel joked on Monday.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. We’re all stuck at home at the moment, so here are the 50 best movies on Netflix right now.Are You Still Watching?On Monday, late-night hosts weighed in on Sunday night’s Oscars ceremonies, which, despite some historic firsts and funny moments, brought in a much smaller audience than last year’s awards.“The ratings for the Oscars plummeted from 23 million last year to less than 10 million this year. How can something so woke put so many people to sleep?” Jimmy Kimmel asked.“The ceremony was watched by a record-low 9.9 million people. Yeah, 9.9 million. That’s like taking everyone who watched ‘Mank’ and adding 9.8 million.” — JIMMY FALLON“I guess most people thought the show was a little sluggish and, at times, a bit uncomfortable. It was as if the whole ceremony had just gotten its second Pfizer shot.” — JIMMY FALLON“This was the Oscars that finally answered the question, ‘What happens when you don’t cut off acceptance speeches?’ Turns out, they go on for a very long time.” — JIMMY KIMMEL“For whatever reason, the awards were held at Union Station downtown, which is the closest many of these stars have ever been to public transportation.” — JIMMY KIMMEL“Well, I guess the train station made sense ’cause I fell asleep 30 minutes in. When I woke up, I had no idea where I was.” — JIMMY FALLON“Now, despite the pandemic shaking everything up, the Oscars pulled off a lot of cool moments last night. I mean, we got to see an awards show in a train station, right? We saw Regina King get her steps in. And we even got to see Glenn Close audition to be in Cardi B’s next video.” — TREVOR NOAH“But we also got a lot of history made last night. Chloé Zhao became the first woman of color to win Best Director, Yuh-Jung Youn was the first Korean actor to win an award, and Daniel Kaluuya, my friend, became the first person to get an Oscar and a beatdown from his mama on the same night.” — TREVOR NOAH“You can’t be saying ‘sex’ in front of African parents. In fact, I’m sure the only reason she didn’t whip Daniel’s [expletive] right there was just because there were too many white people in attendance.” — TREVOR NOAH“His mom was like, ‘This is so embarrassing’ and he was like, ‘Relax, no one saw it.’” — JIMMY FALLON“It was an historic evening. You know, before last night, an Oscar had never been given to a still photo of Anthony Hopkins before.” — JIMMY KIMMEL“There were some surprises, notably in the category of Best Actor. Everyone thought that would go to the late Chadwick Boseman. They even saved that category for the end of the show, assuming it would be a big emotional moment to wrap it up. But instead of Chadwick Boseman, Anthony Hopkins won Best Actor for playing a man with dementia in ‘The Father,’ and he was so committed to his role, he forgot to show up for the Oscars.” — JIMMY KIMMEL“And this is true. He was reportedly asleep when he won, which is not a great sign for network television when they say, ‘Hey, Anthony, you know you might win tonight’ and he’s like, ‘Eh, I’ll just watch it on YouTube tomorrow.’” — JIMMY KIMMELThe Punchiest Punchlines (Missed Shots Edition)“Apparently, some people are refusing the second shot because they feared the side effects, which can include flulike symptoms. Unlike the coronavirus side effects, which can include deathlike death.” — STEPHEN COLBERT“One interesting group of people refusing to get the vaccine: people who have gotten the vaccine. Because millions of people are skipping their second doses of Covid vaccines. I can’t believe it — Americans are saying no to seconds?” — STEPHEN COLBERT“I mean, just a few weeks ago we were scrambling for appointments — refresh, refresh, refresh. Now you can pick up Moderna shots in the two-for-one bin at Walmart.” — TREVOR NOAHThe Bits Worth WatchingJustin Bieber joined Jimmy Fallon and the Roots for a stripped-down version of his new single “Peaches.”What We’re Excited About on Tuesday NightThe “Pose” star Billy Porter will appear on “Jimmy Kimmel Live” on Tuesday.Also, Check This OutAnthony Hopkins as the dementia-stricken patriarch in “The Father.”Sean Gleason/Sony Pictures ClassicsAnthony Hopkins had to accept his Best Actor Oscar via social media because producers denied him an opportunity to go live via Zoom during the ceremony on Sunday night. More

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    What’s on TV This Week: ‘United Shades of America’ and a Presidential Address

    W. Kamau Bell’s documentary series returns with an episode on policing. And President Biden addresses a joint session of Congress.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, April 26-May 2. Details and times are subject to change.MondaySESAME STREET: 50 YEARS OF SUNNY DAYS 8 p.m. on ABC. This two-hour special looks at the ways in which “Sesame Street” has addressed social issues over the decades, centering the show’s recent efforts to diversify its lineup of muppets. Guests in the special include Gloria Estefan, Whoopi Goldberg, Lucy Liu and John Legend; the program would make a natural double feature paired with “Street Gang: How We Got to Sesame Street,” a recent feature-length documentary that looks at the making of the show.TuesdayTANGLED (2010) 6 p.m. on Freeform. Rapunzel got revamped in this Disney adaptation, which updates the look and pacing of that princess tale, and adds music. The result is a “lavish, romantic musical fairy tale,” A.O. Scott wrote in his review for The New York Times, adding that the film “has a story that takes some liberties with the genre; a nimble, kinetic visual style; and a willingness to marry complex psychology with storybook simplicity.”WednesdayPresident Biden speaking to the virtual Leaders Summit on Climate on April 23.Evan Vucci/Associated PressPRESIDENTIAL ADDRESS TO THE JOINT SESSION OF CONGRESS 9 p.m. on ABC, CBS, NBC and other networks (check local listings). President Biden will address a joint session of Congress on Wednesday night, in keeping with the tradition of presidents to give such addresses, rather than an official State of the Union, in their inauguration year. The speech may address climate change and racial justice initiatives — particularly given that Biden will be speaking less than a week after he vowed that the United States would cut its global warming emissions at least in half by the end of the decade, and just over a week after the former police officer Derek Chauvin was found guilty of murdering George Floyd in Minneapolis.EMMA (2020) 5:20 p.m. on HBO Signature. Anya Taylor-Joy was nominated for a Golden Globe for her performance as the “handsome, clever and rich” title character in this latest movie adaptation of the Jane Austen novel “Emma.” The story, about romantic entanglements among members of the upper class in the Georgian-era English countryside, is given a candy coating here by the director Autumn de Wilde, whose carefully-crafted, striking color palette may bring to mind another filmmaking confectioner. “It initially seems that de Wilde has adapted the material using Wes Anderson software,” Manohla Dargis wrote in her review for The Times. But, Dargis, added, “after a while, the Anderson-ish tics become less noticeable, and both the emotions and overall movie more persuasive. Much of this has to do with the pleasure of watching people fall on their faces — and in love — and with the suppleness of the largely note-perfect cast.”ThursdayA scene from “Spider-Man: Into the Spider-Verse.”Sony Pictures AnimationSPIDER-MAN: INTO THE SPIDER-VERSE (2018) 8 p.m. on FX. Spider-Man took his best-received swing through New York in years with “Into the Spider-Verse,” an animated action movie that reimagines the web-spewing hero as Miles Morales (voiced by Shameik Moore), a Brooklyn middle schooler who learns that he’s one of many Spider-Man heroes from different dimensions. A.O. Scott called the movie “fresh and exhilarating” in his review for The Times. “The story,” Scott wrote, “is clever and just complicated enough, moving quickly through silly bits, pausing for moments of heart-tugging sentiment, and losing itself in wild creative mischief.”FridayINTERNATIONAL JAZZ DAY 10TH ANNIVERSARY CELEBRATION 9 p.m. on PBS (check local listings). This year’s International Jazz Day All-Star Global Concert, with Herbie Hancock, Andra Day and many others, will be broadcast online in a livestream on YouTube and other sites beginning at 5 p.m. Eastern on Friday. On TV, PBS will air this compilation of archival performances from International Jazz Day concerts from the past decade. Selections include performances by Hancock, Wynton Marsalis, Stevie Wonder, Aretha Franklin, Annie Lennox and Hugh Masekela.SaturdayJohn David Washington, left, and Robert Pattinson in “Tenet.”Melinda Sue Gordon/Warner Bros.TENET (2020) 8 p.m. on HBO. Christopher Nolan’s latest sci-fi brain tickler was technically released in theaters late last summer, but most people didn’t take the pandemic-era risk involved in watching it — so Saturday’s HBO release should stoke fresh discussion among new audiences about what the labyrinthine, time-bending plot is actually about. The film stars John David Washington as a C.I.A. agent tasked with taking down a villainous businessman, Andrei Sator (Kenneth Branagh). Doing so requires working with an ally played by Robert Pattinson and Sator’s younger wife (Elizabeth Debicki), an art dealer who is undervalued by her husband. Washington’s character, Jessica Kiang wrote in her review for The Times, is “basically James Bond, forward and backward, a kind of 00700, right down to the occasional wry one-liner.” The movie itself, Kiang added, “is undeniably enjoyable, but its giddy grandiosity only serves to highlight the brittleness of its purported braininess.”INSPIRING AMERICA: THE 2021 INSPIRATION LIST 8 p.m. on NBC and Telemundo. The NBC anchors Lester Holt, Savannah Guthrie and Hoda Kotb will host the first edition of this new annual event, which recognizes influential people who have used their platforms in positive ways. This year’s honorees include Bubba Wallace, José Andrés and Claire Babineaux-Fontenot, who are slated to be interviewed during Saturday night’s broadcast.SundayUNITED SHADES OF AMERICA 10 p.m. on CNN. The comedian W. Kamau Bell’s documentary series returns for a sixth season on Sunday night, with a timely episode about the history of policing in America. Bell, who was born in the Bay Area, focuses on Oakland, Calif., and the surrounding area, speaking with politicians, organizers and members of law enforcement about the state of policing in the country.THE APU TRILOGY (1955-1959) 8 p.m. on TCM. The Indian filmmaker Satyajit Ray’s much-acclaimed trilogy about a Bengali boy becoming a man — Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959) — are best viewed together. TCM is showing them back-to-back on Sunday night, starting at 8 p.m. (All three films are also available to stream on the Criterion Channel, for those who don’t want to stay up late to catch “The World of Apu.”) More

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    in Television

    Overdue VHS Tape of 'Sabrina the Teenage Witch' Prompts Arrest Warrant

    The charge was related to a “Sabrina the Teenage Witch” tape that had been rented from a video store in Norman, Okla. Prosecutors dismissed the case on Wednesday.They once dotted shopping plazas in America with ubiquity, beckoning binge watchers with shelves of VHS cassettes, microwave popcorn and boxes of candy — and a reminder to “Be Kind, Rewind.”Video rental stores, pushed closer to the brink of extinction by streaming services like Netflix and changing technology, may be a thing of the past but an overdue rental became an issue of the present for a Texas woman.The woman, who was identified in court records as Caron Scarborough Davis, recently learned that there was a 21-year-old outstanding warrant for her arrest in Oklahoma.Her offense?Prosecutors said that Ms. Davis had failed to return a copy of “Sabrina the Teenage Witch,” a television sitcom that aired from 1996 to 2003. She rented the tape of episodes from a video store in Norman, Okla., in 1999, according to court documents.Court papers valued the unreturned tape of “Sabrina the Teenage Witch” episodes at $58.59.Randy Holmes/Walt Disney Television, via Getty ImagesShe was charged with embezzlement of rented property, and a warrant was issued for her arrest in March 2000. The store where she rented the tape, Movie Place, closed in 2008, according to KOKH Fox 25 in Oklahoma.In a charging document, prosecutors said that Ms. Davis “did willfully, unlawfully and feloniously embezzle a certain One (1) Videocassette Tape, Sabrina the Teenage Witch of the value of $58.59.”Ms. Davis, 52, discovered the outstanding warrant for her arrest after she got married and tried to change her name on her driver’s license, KOKH reported on Thursday.“I thought I was going to have a heart attack,” she said.Ms. Davis said motor vehicle officials referred her to the district attorney’s office for Cleveland County, Okla., where a woman explained the charge against her.“She told me it was over the VHS tape and I had to make her repeat it because I thought, ‘This is insane,’” Ms. Davis said. “This girl is kidding me, right? She wasn’t kidding.”Ms. Davis could not be immediately reached on Sunday.On April 21, prosecutors dropped the embezzlement charge against Ms. Davis in consideration of the “best interest of justice,” according to court documents. KOKH Fox 25 had contacted prosecutors the previous day about the charge.Greg Mashburn, the district attorney for Cleveland, Garvin and McClain Counties in Oklahoma, did not immediately respond to a request for comment on Sunday, nor did Tim D. Kuykendall, who was the district attorney when the warrant was issued.Sandi Harding, the general manager of the world’s last Blockbuster video store, in Bend, Ore., said in an interview on Sunday that bringing criminal charges for an unreturned movie seemed overly punitive.“We’ve definitely not sent out a warrant for anybody for that,” she said. “That’s a little a bit crazy to me.”Blockbuster assesses daily late fees of 49 to 99 cents for overdue videos up to 10 days. After that, the store charges customers up to $19.99 to replace one of its DVDs or Blu-ray discs, Ms. Harding said.In some cases, the store, which does not rent VHS cassettes, will refer past-due accounts for collection, she said.“We would never charge someone $100 for a copy of ‘Scooby-Doo’ that they never returned,” she said.It was not immediately clear who owned the now-shuttered video store where Ms. Davis rented the tape or whether she owed any late fees. She told KOKH Fox 25 that she had no recollection of renting the video, saying that she lived with a man at the time who had two young daughters.“I’m thinking he went and got it and didn’t take it back or something,” she said. “I have never watched that show in my entire life — just not my cup of tea.” More

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    in Theater

    ‘Block Association’ Review: Yes, in Your Backyard

    In this clever show, audience members join a “neighborhood” and lobby for how its discordant residents should to spend a chunk of community money.Mister Rogers was wrong: It isn’t always a beautiful day in the neighborhood.Community is tricky, especially when people’s definitions of it — in their families or circle of friends, in their neighborhood, in their nation and beyond — vary so dramatically. No wonder there’s conflict among the residents of Oak Street in “Block Association Project,” a new interactive show from the Actors Theater of Louisville that works hard to usher us into its fictional suburb, but struggles to articulate its thoughts on political action and democracy.Meet your new neighbors: Elena (Ceci Fernández), a self-interested real estate agent; Aneta (Jane Park), a scholar who struggles with social cues; Emma (Anne-Marie Trabolsi), a pedantic uber-liberal student; Beth (Myra Lucretia Taylor), a wholesome peacemaker; Ryan (John McGinty), whose dog is a cause for discussion; George (Nathan Darrow), a cynical writer who doesn’t want to be bothered; and Rachel (Lauren Lane), the well-meaning self-appointed leader who wants to keep things light and not get political.We’re all gathered on Zoom to discuss how to spend $10,000 in community funds. Easy enough, right? But a conversation about the practicality of a community garden versus a dog park soon spins off into a debate about what the neighborhood stands for, how inclusive it should be and whose values should be represented.Written by Michael Yates Crowley and directed by Michael Rau (the founders of Wolf 359, who most recently collaborated on the immersive workplace drama “Temping,”) for the 2021 Humana Festival of New American Plays, “Block Association Project” actually begins before the Zoom meeting, via a series of association emails that the audience can choose to receive in advance. In them, Aneta sends links to articles about dog attacks, Rachel’s son, Teo (Joe Montoya), interjects to encourage us to donate to the aid organization Border Angels, and George churlishly asks to be unsubscribed.It’s an inventive approach, and for me, quite a surprise to see threads from the residents of Oak Street among press requests and emails from editors in my inbox. It’s not simply the novel nature of the form, however; the emails are a subtle mode of character-building, right down to their signoffs (Elena has a professional signature for her real estate company, while Beth’s is a call to “Think Green”), which made encountering them on Zoom that much more satisfying.I can’t say the same for the full performance, however. Granted, I have never been one for community gatherings, so an experience that strong-arms audiences into interacting isn’t my cup of tea — especially when it’s deployed more for novelty than narrative development.So when discussions fell apart in the meeting, the performers turned to the audience, dividing us into breakout rooms where they moderated short (about six minutes each) debates about the topics on the table, including the association’s leadership and whose votes should be represented. Intermittently we were also asked to participate in Zoom polls, all to foster our investment in this fictional neighborhood.At times these felt like a schoolteacher’s last-ditch attempts to get her class more engaged, when they seemed positioned to act like an urgent call for political involvement — perhaps even an indictment of those who wish to be quiet when urgent action is required.However, the 90-minute show struggled to balance audience participation with its scripted characters and themes. The antisocial writer and the self-serving real estate agent, among the others, feel like no more than petty character types. Almost every character has a breakout moment — a turn in the conversation that leads to a reveal, like Ryan’s story about how he got possession of his father’s dog, and Aneta’s account of her family’s treacherous immigration journey — that is meant to give us something hearty to chew on.The performers labor through those emotional spotlights; Taylor and Lane are amiable but flat, and Trabolsi and Darrow are suitably obnoxious but wholly unsurprising. (Props, though, to the show for being accessible in a way many aren’t, using multiple American Sign Language interpreters, directed by Alexandria Wailes.)In simulating a community meeting, the show includes PowerPoint presentations, including one featuring an illustration of Joe Montoya as the character Teo.Sheyenne Santiago/Actors Theatre of LouisvilleCaught in the muddle of the script are references to the crisis at the U.S. border with Mexico, a debate on the definition of “refugee” and allusions to common hindrances to a working democracy — there’s even a protest of an election result, and a motion to secede. The play uses its small-town community affairs to nod toward the capital-P Politics of our nation right now, but just like Rachel, it’s hesitant to get into specifics and confront the viewpoints and practices that have bolstered our divisive, inequitable body politic.Then again, the show did mint some stars: audience members who turned out to be terrific at improvising on the topics at hand.In my group a couple with a new puppy named Sato were vocal about what they thought community meant and how they thought the Block Association should work. And a woman named Jane, who spoke eloquently about the difference between leading and facilitating, was enthusiastically nominated by my group to be the new head of the Block Association and successfully voted in.Unfortunately, the last several minutes of “Block Association Project” unraveled into what I’ll call a final act phantasmagoria — a move I’ve seen in many shows that aim to break from reality via a poetic unpacking of themes that were never fully tackled.Such purposefully jarring flights of fancy can actually drag a production down, like a cruise ship anchor yanking on a sailboat. In “Block Association Project” it’s a character’s soul-searching monologue (which features both Drake and an Aztec god, by the way) that goes on way too long.Were I to vote on a future for “Block Association Project,” I would urge more precision and a more confident marriage between this community’s banal civics and campaigns with the current troubles of American society. After all, these are the kinds of discussions we’re all now used to having. But, moving on: What’s the next item on the agenda?Block Association ProjectThrough May 1; actorstheatre.org More