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    Why is Ye, Formerly Kanye West, Doing a Show in China?

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    The provocative artist once known as Kanye West has received approval that was denied to Maroon 5 and Bon Jovi. China’s economic woes might be why.When the news broke that Ye, the rapper formerly known as Kanye West, would be performing in China on Sunday, the elation of many of his fans was mixed with another emotion: confusion.Why would the notoriously prickly Chinese government let in the notoriously provocative Ye? Why was the listening party, as Ye calls his shows, taking place not in Beijing or Shanghai, but in Hainan, an obscure island province? Under a trending hashtag on the social media site Weibo on the subject, one popular comment read simply “How?” alongside an exploding-head emoji.The answer may lie in China’s struggling economy. Since China reopened its borders after three years of coronavirus lockdowns, the government has been trying to stimulate consumer spending and promote tourism.“Vigorously introducing new types of performances desired by young people, and concerts from international singers with super internet traffic, is the outline for future high-quality development,” the government of Haikou, the city hosting the listening party, posted on its website on Thursday. But it is unclear whether the appearance by Ye — who would be perhaps the highest-profile Western artist to perform in mainland China since the pandemic — is part of a broader loosening or an exception.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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      Pennsylvania School Board Reinstates Gay Author’s Speech Amid Backlash

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      The Cumberland Valley School Board reversed its decision to cancel Maulik Pancholy’s speech at a middle school next month after many community members said the actor had been discriminated against because of his sexuality.Less than two weeks after a Pennsylvania school board unanimously voted to cancel a gay author’s anti-bullying speech at a middle school, the board voted Wednesday night to reverse its decision and reinstate the event amid pressure from parents, students and administrators.The 5-to-4 vote by the Cumberland Valley School District’s board came in front of scores of community members who packed a high school auditorium and, for several hours, chastised the board for having canceled the event featuring the actor and author Maulik Pancholy over what they said were homophobic concerns.Bud Shaffner, a board member who had come under fire for introducing the motion at the April 15 meeting to cancel the speech, apologized for his comments about Mr. Pancholy’s “lifestyle.” He later introduced the motion to reinstate the speech and voted for it.“I will accept the blame because of the insensitive word I spoke on April 15,” he said at the beginning of Wednesday’s meeting. “I fully understand the interpretation of my poor word choice.”Many community members who spoke during the public comment period of Wednesday’s meeting rejected the contention by some board members that Mr. Pancholy’s speech had been canceled over concerns about what they called his “political activism.”“To claim that Maulik Pancholy is a political activist and use that as a justification to cancel his event is an excuse that the public sees through,” one person told the board.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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      in Movies

      Life Imitates Art as a ‘Master and Margarita’ Movie Stirs Russia

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      An American director’s adaptation of the beloved novel is resonating with moviegoers, who may recognize some similarities in its satire of authoritarian rule.By all appearances, the movie adaptation of Mikhail Bulgakov’s cult favorite novel “The Master and Margarita,” in Russian theaters this winter, shouldn’t be thriving in President Vladimir Putin’s wartime Russia.The director is American. One of the stars is German. The celebrated Stalin-era satire, unpublished in its time, is partly a subversive sendup of state tyranny and censorship — forces bedeviling Russia once again today.But the film was on its way to the box office long before Putin launched his full-scale invasion of Ukraine and imposed a level of repression on Russia unseen since Soviet times. The state had invested millions in the movie, which had already been shot. Banning a production of Russia’s most famous literary paean to artistic freedom was perhaps too big an irony for even the Kremlin to bear.Its release — after many months of delay — has been one of the most dramatic and charged Russian film debuts in recent memory. The movie refashions the novel as a revenge tragedy about a writer’s struggle under censorship, borrowing from the story of Bulgakov’s own life. The emphasis, for many Russians, has hit close to home. And, for some defenders of Putin, too close.“I had an internal belief that the movie would have to come out somehow,” the director, Michael Lockshin, said in a video interview from his home in California. “I still thought it was a miracle when it did come out. As for the response, it’s hard to expect a response like this.”Michael Lockshin, right, the movie’s director, with Tsyganov during the production of the movie.Mars MediaWe 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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      Tom Smothers, Comic Half of the Smothers Brothers, Dies at 86

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      Though he played a naïve buffoon onstage, he was the driving force behind the folk-singing duo’s groundbreaking TV show.Tom Smothers, the older half of the comic folk duo the Smothers Brothers, whose skits and songs on “The Smothers Brothers Comedy Hour” in the late 1960s brought political satire and a spirit of youthful irreverence to network television, paving the way for shows like “Saturday Night Live” and “The Daily Show,” died on Tuesday at his home in Santa Rosa, Calif., a city in Sonoma County. He was 86. He died “following a recent battle with cancer,” a spokesman for the National Comedy Center announced on behalf of the family.The Smothers Brothers made their way to network television as a folk act with a difference. With Tom playing guitar and Dick playing stand-up bass, they spent as much time bickering as singing.With an innocent expression and a stammering delivery, Tom would try to introduce their songs with a story, only to be picked at by his skeptical brother. As frustration mounted, he would turn, seething, and often deliver a trademark non sequitur: “Mom always liked you best.”Hoping to reach a younger audience, CBS gave the brothers creative control over “The Smothers Brothers Comedy Hour,” a one-hour variety show that made its debut in February 1967. For the next three seasons it courted controversy as it addressed American policy in Vietnam, religious fundamentalism, racial strife and recreational drug use.Running features like Leigh French’s “Share a Little Tea With Goldie,” replete with drug references, either delighted or scandalized, depending on the age and the politics of the viewer.“During the first year, we kept saying the show has to have something to say more than just empty sketches and vacuous comedy,” Mr. Smothers said in a 2006 interview. “So we always tried to put something of value in there, something that made a point and reflected what was happening out in the streets.”Tom, more liberal than his brother and largely responsible for the production of the show, brought in writers attuned to the thinking of the Baby Boom generation — among them Rob Reiner, Steve Martin, Pat Paulsen, and Mason Williams — and stretched the boundaries of taste at every turn.Steve Martin, left, who had been a writer on the original “Smothers Brothers Comedy Hour,” rejoined Tom, center, and Dick on a 20th-anniversary reunion show in 1988.CBS, via Getty Images“Easter is when Jesus comes out of his tomb, and if he sees his shadow he goes back in and we get six more weeks of winter,” Tom said on one show.Far more combative than his mild-mannered brother, who survives him, Tom fought network executives and censors until CBS, tired of complaints from its rural affiliates, especially in the South, abruptly canceled the show in April 1969 and replaced it with “Hee Haw,” a corn-pone counterpart to the fast-paced (and often controversial) “Rowan and Martin’s Laugh-In” that featured country music stars.“In any other medium we would be regarded as moderate,” Tom Smothers told reporters at a news conference the day after the show was canceled. “Here we are regarded as rebels and extremists.”An Army FamilyThomas Bolyn Smothers III was born on Feb. 2, 1937, on Governors Island in New York Harbor, where his father, a West Point graduate and Army major, was stationed. The family relocated to Manila when Major Smothers was reassigned. Shortly before the Japanese attack on Pearl Harbor, the family moved again, to the Los Angeles area, where Tom and Dick’s mother, Ruth (Remick) Smothers, had grown up. She found work in an aircraft factory.Major Smothers remained on Corregidor in Manila Bay to fight and was taken prisoner on the Bataan Peninsula in the Philippines. He survived the Bataan death march, but in 1945 he died of injuries sustained when American planes mistakenly bombed the prison ship transporting him to a camp in Japan.Tom attended an assortment of schools as his mother descended into alcoholism and moved from husband to husband. In 1955, he graduated from Redondo Union High School, where he was a state champion on the parallel bars.While in high school, he and Dick, two years his junior, sang in a barbershop group that won second prize on “Rocket to Stardom,” a local talent contest broadcast from the showroom of a Los Angeles Oldsmobile dealer.At San Jose State College (now University), where Tom studied advertising, the brothers decided to ride the folk music wave and formed the Casual Quintet. In early 1959, by then a trio with Bobby Blackmore as lead singer, they began performing at the Purple Onion in San Francisco, a popular showcase for folk singers and comedians, billed as the Smothers Brothers and Gawd.Gradually, the brothers introduced comic patter into their act, satirizing the folk music scene and turning their sibling rivalry — which was genuine — into shtick. The act “slowly evolved to be a running argument between two brothers who sang but never finished a song,” Mr. Smothers said in 2006.Audiences loved it. Their two-week engagement at the Purple Onion was extended to nine months, and in 1961 the Smothers Brothers, now a duo, were booked into the Blue Angel in New York.Robert Shelton, reviewing the show in The New York Times, compared Tom’s delivery to “a frightened 10th grader giving a memorized talk at a Kiwanis meeting.”He added, “He speaks in a nervous, distracted sort of cretin double-talk that has him stumbling over big words, muffing lines with naïve unconcern, singing off-key, committing malapropisms, garbling lyrics and eternally upstaging his younger brother.”The brothers became regulars on “The Tonight Show” with Jack Paar, “The Garry Moore Show” and “The New Steve Allen Show.” They signed with Mercury Records and recorded “The Smothers Brothers at the Purple Onion,” the first of several successful albums. They toured college campuses nonstop.In 1963, Tom married Stephanie Shorr. The marriage ended in divorce, as did his marriage to Rochelle Robley. In addition to his brother, he is survived by his wife, Marcy Carriker Smothers; their son, Bo, and daughter, Riley Rose Smothers; and a grandson. His son from his first marriage, Thomas Bolyn Smothers IV, died this year.In a statement, Dick Smothers said, “Tom was not only the loving older brother that everyone would want in their life, he was a one-of-a-kind creative partner.”In 1965, CBS gave the brothers their own sitcom, “The Smothers Brothers Show,” produced by Aaron Spelling. It did not play to their strengths: Tom played a probationary angel sent back to earth to move in with and watch over his brother, a swinging bachelor played by Dick.The ratings were strong, but it was a miserable experience. Deprived of their instruments and a live audience, and saddled with a laugh track, the brothers struggled.“It was a nothing show,” Tom told The New York Times in 1967. “There was no point of reference, nothing meaningful, no satire in it.”After “The Garry Moore Show” failed to challenge “Bonanza” on Sunday nights, Michael Dann, the head programmer at CBS, took a chance on a Smothers Brothers variety show.Connecting With the YoungExpectations were low, but “The Smothers Brothers Comedy Hour” connected with viewers, especially younger ones, and outperformed “Bonanza” in the ratings. The humor was irreverent, the writing was sharp, and musical guests like the Who and Jefferson Airplane broke the variety-show mold.The Smothers Brothers looked like clean-cut collegians, but their comedy could bite. They were at war with CBS almost from the beginning of their show’s run.CBSThe brothers looked like clean-cut collegians, but their cheery, up-tempo songs could bite. “The war in Vietnam keeps on a-ragin’,” one began. “Black and whites still haven’t worked it out./Pollution, guns and poverty surround us./No wonder everybody’s droppin’ out.”A war with CBS executives began almost immediately, and a pattern quickly developed. The censors would cut words, lines or entire sketches. Mr. Smothers would fight tooth and nail to have them reinstated, often successfully. When thwarted, he would complain loudly and publicly.After CBS cut the words “breast” and “heterosexual” from an early sketch, written by Elaine May, about two professional censors (played by Tom Smothers and Ms. May), Mr. Smothers told The Times: “The censors censored the censorship bit. It’s a real infringement of our creative rights.”He lost the first round of his campaign to have Pete Seeger, absent from television after being blacklisted in the 1950s, perform his antiwar ballad “Waist Deep in the Big Muddy.” The segment was pulled in 1967 but broadcast a year later.“Television is old and tired,” Mr. Smothers told McCall’s magazine in 1968. “Television is a lie. The people who censor our shows are all conditioned to a very scared way of thinking, which is reflected in the kind of programs the networks put on. Television should be as free as the movies, as the newspapers, as music to reflect what’s happening.”CBS began insisting that an advance tape of each week’s show be sent to the network and its affiliates for their review. In April 1969, when the tape of a show that included a satirical sermon, delivered by the comedian David Steinberg, failed to arrive on schedule for the second time, CBS informed the brothers that they had broken their contract and that the show, whose option had been renewed two weeks earlier, would be canceled.The move was not a complete surprise.“Tommy has been sticking pins in CBS ever since he started feeling his oats when he found he could command good ratings,” Percy Shain, the television critic for The Boston Globe, wrote. “He has been at times snide, ugly, resentful, bullheaded. In his various arguments with the network he has refused to compromise one iota. Every deletion meant a battle.”TV Guide, in a stern editorial, deemed the cancellation “wise, determined and wholly justified.”For the rest of his life, Mr. Smothers remained convinced that President Richard M. Nixon, who had assumed office just three months earlier after defeating Vice President Hubert H. Humphrey, had pressured CBS to cancel the show.“When Nixon said, ‘I want those guys off,’ they were off,” he told “Speaking Freely,” a television program produced by the First Amendment Center, in 2001. “If Humphrey had been elected, we would have been on.”The brothers briefly returned to network television in 1970 with the tepid “Smothers Brothers Summer Show” on ABC. The next year Tom, increasingly outspoken on politics, starred, without his brother, in “Tom Smothers’ Organic Prime Time Space Ride,” a syndicated half-hour variety show that was long on relevance and short on laughs.“I lost perspective, my sense of humor,” he said in the 2006 interview. “I became a poster boy for the First Amendment, freedom of speech, and I started buying into it. It was about three years when I was deadly serious about everything.”The brothers’ careers took some twists and turns after their TV show was canceled, including an appearance on Broadway in the comedy “I Love My Wife” in 1978.Hollywood and BroadwayTom pursued a career as an actor, in “Serial,” “The Silver Bears” and other movies. With his brother, he appeared in the comedy “I Love My Wife” on Broadway in 1978 and on a national tour.The brothers reunited on television in 1975 for a new, tamer version of “The Smothers Brothers Show,” broadcast on NBC, and a 1988 reunion show. They also appeared (not as brothers) in a short-lived 1981 drama series, “Fitz and Bones.” But their career ended as it had begun, in concert performances.Tom added a new comic persona to the act, Yo-Yo Man, performing dazzling yo-yo tricks that he learned after falling in love with the song “(I’m a) Yo-Yo Man.” In 2010, Tom announced that he and his brother were retiring as an act.Plans for a 2023 tour were announced last year, but the tour was canceled.At the 1969 Emmys, “The Smothers Brothers Comedy Hour” received an award for outstanding writing achievement in comedy, variety or music. Mr. Smothers had removed himself from the show’s list of writers on the ballot, worried that his name might alienate voters. In 2008 the Academy of Television Arts & Sciences gave him a special commemorative Emmy for the show, presented by Steve Martin.In an interview for the Archive of American Television in 2000, Mr. Smothers looked back on the show and its impact. “It was the ’60s that we reflected,” he said. “The country was going through a revolution — a social revolution, a political and consciousness revolution, about government and its part. We tried to reflect that.”Alex Traub More

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      in Television

      I’ve Never Watched Anything as Transformative as ‘Sailor Moon’

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      The show is about friendship, yes, and also liberation that does not match the world’s expectations of femininity.The first lesbian relationship I saw portrayed on-screen was in “Sailor Moon.” Uranus and Neptune were two characters who seemed undeniably in love. The show is Japanese anime, though, and I could only watch the English-dubbed version that called them “cousins.” The titular Sailor Moon and the other Sailor Scouts are celestial superheroes sent across time to protect Earth from nefarious forces. In the human world, they take on the appearance of ordinary girls, but can transform into their fighting selves via personal totems. Sailor Moon often has a compact mirror and shouts, “Moon Prism Power, Makeup!” before transforming during battle and declaring, “In the name of the moon, I’ll punish you!” Swoon.“Sailor Moon” aired early on weekday mornings when I was in middle school, around 1995. I was a bookish tomboy in Compton, Calif., a working-class suburb full of Black and brown people, where superheroes looked more like gangsta rappers than anime characters. I went to Sunday school every week in stockings and Mary Janes and thought of femininity as a chore rather than a good time. I loved women but hated the imagined woman I was supposed to one day swell into, makeup and perfume and nail polish and gold jewelry signaling my arrival wherever I went like bells on a cat. In this vision, I worked and maintained a household and didn’t expect much acknowledgment for the effort — and certainly no fun.I grew up watching horror movies with my mother in the ’80s because she didn’t care about ratings systems and liked what she liked and wanted someone to watch with her, which explains a lot about me. I also watched cartoons freely, without being minded. Animation was a safe place. I controlled the VHS tapes, and my family would scatter whenever the opening of “The Little Mermaid” boomed into the house. In the world of cartoons, I was alone and unobserved. I think queer artists recognize this medium as a place of solace and fantasy — a secret world running parallel to the one in which L.G.B.T.Q. humans and people of color are targeted by book bans that want to annihilate both us and evidence of our existence.Comics have always been a place for dreaming, for silliness, for the disregard of rules that apply to anything from physics to the patriarchy. Yes, the medium can also be used to perpetuate dangerous and demeaning ideas, but the nature of the form makes room for fantasies both malicious and divine. The queer experience thus finds a home in animated worlds. Queer art can be a propagandist of possibility in a universe not always in favor of queer existence, and that is lifesaving. The queerness of “Sailor Moon” isn’t really about Sailor Moon, a.k.a. “champion kicker of ass in a Japanese schoolgirl skirt and tiara,” though. The world of “Sailor Moon” is interested in transformation, in upsetting expectations of presentation and value related to girlhood, masculinity, strength and gender roles. The show is about friendship, yes, and also liberation that does not match the world’s expectations of femininity. The series includes actual trans characters and a lesbian couple with superpowers, in case there is any doubt.Anime in the ’90s and 2000s had its hyperviolent giant-mechanical-suit boy culture down. Representation of my personal identity was not prioritized broadly speaking, but the iconic status of “Sailor Moon” within the queer community was no accident. Although the more direct Sapphic references were edited out of the English version, censorship couldn’t erase the show’s queer sensibility for me. I remember the scene with Uranus and Neptune. Neptune is stretched out on a chaise longue, asleep by their pool, and Uranus leans over and wakes her up, whining that she’s not paying attention to her: “It’s not fair, you know. You just go into your own world and leave me behind.” Cousins, my ass. The show does not let up on the attraction the girls have for Uranus, even though they aren’t supposed to be attracted now that it’s clear she’s a woman. Years later, in a Best Buy circa 2005, I found DVDs of the show’s uncut Japanese version with subtitles, which confirmed what I’d known all along: They were lovers! I also discovered the existence of the Sailor Star Lights — who possessed the earthly bodies of boys but fought as girls and underlined the show’s gender queerness in the fifth and final season. (That season didn’t air with the others in the ’90s.) I felt vindication followed immediately by the depression of a closeted queer holding onto fictional characters as a promise for something other than every predetermined choice of girlhood. But I also discovered I could be more than one thing in one body: I could be masculine and feminine, powerful and clumsy; I could have vices and gifts, and not one trait would have to be the defining quality. I could be liberated.The secret message of “Sailor Moon” might be that queerness is not just sexual (fight me); queerness is also existing under duress, where one’s instinct toward self-determination is a kind of spiritual expanse that grows from deep within the body and psyche then cascades out into an eventual shape unlike most others. Hulu has been streaming the show since 2014, broadening access to these inspirational figures. In “Sailor Moon,” the concept of transformation is about light, magic and power hidden in the ordinariness of living. There is nothing queerer than that (except maybe actual gay sex). Venita Blackburn is the author of “How to Wrestle a Girl,” “Black Jesus and Other Superheroes” and the forthcoming novel “Dead in Long Beach, California.” She is an associate professor of fiction at California State University, Fresno. More

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      in Music

      North Carolina Radio Station Won’t Ban Met Opera Broadcasts After All

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      The station, which had called the Met’s newer operas unsuitable because of their “difficult music” and “adult themes and harsh language,” reversed course.The music director of a nonprofit North Carolina classical radio station said on Thursday that the station would reverse course and air several contemporary operas being performed by the Metropolitan Opera this season that the station had originally said were unsuitable for broadcast, citing their “adult themes and harsh language.”“It was a very hard decision,” Emily Moss, the music director of WCPE, a nonprofit station based in Wake Forest, said in an interview. “It’s been a hard day and a hard week.”The reversal came after the station faced widespread criticism.The Met, the nation’s leading opera company, has been staging more contemporary work in recent seasons as part of a push to attract new and more diverse audiences; the company has found that these newer works draw more first-time ticket buyers than the classics do.But Deborah S. Proctor, the general manager of WCPE, took issue with new works planned for the current season in a survey she sent to listeners on Aug. 31.“This coming season, the Metropolitan Opera has chosen several operas which are written in a nonclassical music style, have adult themes and language, and are in English,” she wrote. “I feel they aren’t suitable for broadcast on our station.”In the survey, Proctor cited her problems with several of the Met’s offerings this season.She described the violence in Jake Heggie’s “Dead Man Walking,” the death row opera that opened the season. She cited the “non-Biblical” sources of the libretto of John Adams’s “El Niño,” and the suicidal themes in Kevin Puts’s “The Hours,” which is based on the Michael Cunningham novel and the Oscar-winning film it inspired. She wrote that “Florencia en el Amazona,” by the Mexican composer Daniel Catán, was “simply outside of the bounds of our musical format guidelines.” And she said that both Anthony Davis’s “X: The Life and Times of Malcolm X” and Terence Blanchard’s “Fire Shut Up in My Bones” contain “offensive language plainly audible to everyone.”“We want parents to know that they can leave our station playing for their children because our broadcasts are without mature themes or foul language,” she wrote in the letter. “We must maintain the trust of listeners.”The station decided last season not to broadcast Blanchard’s “Champion.”The Met, which has said it follows Federal Communications Commission guidelines regarding profanity and language, said it was happy with the change of course. “We’re pleased that opera fans in North Carolina will be able to hear all 27 of our scheduled broadcasts this season,” the Met said in a statement.The station’s letter, and the survey attached to it, received scant attention before reaching social media last week. Rhiannon Giddens, a North Carolina native who shared the Pulitzer Prize this year with Michael Abels for their opera “Omar,” wrote an open letter voicing her displeasure over the station’s stance and noted that challenging adult themes are staples of many of the most popular operas of the past.“The Met broadcasts are the only way many people get to hear the productions, which are situated in New York and priced way out of many people’s budgets,” Giddens wrote. “Radio is supposed to be egalitarian and an equalizer, not used as a weapon, as you are doing.”The station reversed course after receiving feedback from the public and holding internal conversations.“We really value being safe for a general audience, especially children,” Moss said in the interview. “But one of our core values is that we are a refuge from the political and troubles of the world and we are returning to that value.” More

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      in Theater

      A Tiananmen Square Musical Worries About China’s Glare

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      The original lead actor and director withdrew from the Phoenix production of a show about the 1989 pro-democracy protests, a topic that China aggressively censors.When it was announced that Zachary Noah Piser would be playing the lead role in “Tiananmen: A New Musical,” he happened to be on a concert tour of five Chinese cities with a group of Broadway actors.One day later, Piser, who played the title role in “Dear Evan Hansen” on Broadway last year, posted a short statement on Instagram, where most of his posts are bright and colorful.This one featured just seven words set against a blank white backdrop: “I have withdrawn from the musical Tiananmen.”“It was very odd to me because it was one statement, and it’s not usually how things like this happen in our business,” said Marc Oka, a cast member who found out about Piser’s departure through the Aug. 25 post, which had comments disabled.Those involved with the “Tiananmen” musical, which premieres at the Phoenix Theater Company next month, are well aware that China aggressively censors discussions of the Tiananmen protests, in which Chinese troops killed hundreds if not thousands of pro-democracy student activists.Jason Rose, the musical’s lead producer, said Piser’s manager told him — without providing details — that the actor felt pressure to leave the show and to post on Instagram. The manager, Dave Brenner, denied saying that.“It was a decision he had to make and it was not an easy one,” Brenner said of Piser, declining to comment on why the actor quit a day after the public casting announcement. Piser also declined to comment.Since the show, which follows the account of two Chinese students during the 50 days of protests at Tiananmen Square, was optioned by Rose’s Quixote Productions two years ago, some members of its cast have been worried about how the Chinese authorities might respond.It is unclear exactly why Piser, who is Chinese American, decided to leave the show he was set to star in. But the show’s original director and at least one other cast member dropped out, Rose said, because of fears about the safety of family members in China. The Chinese embassy in Washington did not respond to a request for comment.Darren Lee became the musical’s director after the first one dropped out because of concerns about his family’s safety.Adriana Zehbrauskas for The New York TimesThe departures illustrate how frightening it can be for people with connections to China to bring attention to the 1989 protests in Beijing. The Chinese government continues to evade responsibility for the massacre and tries to eradicate any remembrance of the event — the brutal conclusion to weeks of demonstrations that had pierced the Communist Party’s facade of invincibility.“Even doing a regional production in Phoenix, Ariz., there is so much concern over the control and reach of the Chinese government that American actors are afraid to be involved in the show,” said Kennedy Kanagawa, who replaced Piser in “Tiananmen.”The show’s new director and choreographer, Darren Lee, who is Chinese American, said he accepted the job only after determining that he did not have direct relatives who might face retaliation from the Chinese government.“It was the first time where I’ve ever been in the position where I asked my parents whether or not they thought it was OK to take the show,” he said.“Tiananmen: A New Musical,” with a book by Scott Elmegreen and music and lyrics by Drew Fornarola, follows two fictional students at Beijing Normal University who are named after real students killed by the military. Initially, the students, Peiwen and XiaoLi, have contrasting perspectives on the protests, but they fall in love and witness history as tanks roll into the square and soldiers draw their guns.Chinese troops killed hundreds if not thousands of pro-democracy student activists during protests in 1989.Jeff Widener/Associated PressThe musical wrestles with the tension between the revolutionary act of remembering and the authoritarian attempts to erase history. In one of the closing scenes, set in the present day, XiaoXia, the sister of XiaoLi, lights a candle as part of a vigil remembering the protests. A soldier arrests her and snuffs out the flame.Earlier in the show, in a fictional monologue as his soldiers gun down protesters, Deng Xiaoping, China’s top leader at the time, says, “People will forget what we did here.”He adds: “At the edge of memory, who defines the truth? Me.”To this day, the Chinese government is vigilant about eliminating discussion of Tiananmen. The word remains one of the most censored topics in the country, second only to President Xi Jinping, said Xiao Qiang, an expert on censorship and China at the University of California, Berkeley.It does not matter, Xiao said, that this show is being staged at a regional theater.“Even the word ‘Tiananmen’ would generate fear in the Chinese government and that fear would generate a very repressive action,” he said.Within China, people who publicly discuss what happened at Tiananmen can face jail time or see their children prohibited from attending universities. In May, the activist Chen Siming was arrested by the Chinese authorities over a social media post paying tribute to Tiananmen, according to Human Rights Watch.Often the mere specter of danger is enough to muzzle any dissent, Xiao said.The cast of “Tiananmen” is entirely Asian American and Pacific Islander, but those who are not ethnically Chinese have less concern about their involvement. Kanagawa and Oka, who are both Japanese American, said they felt comfortable speaking about the show because neither has family ties to China.Potential consequences have been front of mind for other contributors. After Piser dropped out of the show, Rose said, some cast members grew more fearful and asked not to be featured in news releases or photographed.The cast has had daily conversations, Kanagawa said, about repercussions for participating in the show. Some fret about being banned from visiting China or having business contracts canceled. Others fear for the safety of their relatives.“People in China disappear still, and the idea of that being a family member is legitimately terrifying,” Kanagawa said.“Every person in the room has decided, for whatever reason — could be artistic, could be political, could be whatever — to be there,” Lee said.Adriana Zehbrauskas for The New York TimesThe Phoenix Theater Company and Quixote Productions have a history of staging politically relevant productions, presenting a musical in 2020 called “¡Americano!,” about a young man who discovers he is an undocumented immigrant. But “Tiananmen,” which was shaped by Wu’er Kaixi, one of the real student protesters in Beijing, has produced a special set of challenges.“Every person in the room has decided, for whatever reason — could be artistic, could be political, could be whatever — to be there,” said Lee, the musical’s new director. “Everyone also understands that their comfort and their safety is paramount.”Rose said Piser and the theater company had worked cooperatively until the actor arrived in China on his concert tour. At that point, “everything changed,” Rose said.“I was always aware of the sensitivities, but frankly that’s what drew me to the show,” Rose said. “If this were 1954 or 1951, would Russia be dictating our arts scene?”“This is a show that needs to be told,” he added, “particularly because of the efforts to erase the bravery and courage from history.” More

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      in Movies

      ‘Barbie’ Debuts in Saudi Arabia, Sparking Delight, and Anger

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      Denounced in some Middle Eastern countries for undermining traditional gender norms, the hit movie is finding an audience in Saudi Arabia, illustrating the region’s shifting political landscape.On Friday night, Mohammed al-Sayed donned a pale pink shirt and denim overalls to join a friend at a movie theater in Riyadh, the capital of Saudi Arabia, where the men settled in to watch a film about a doll on a mission to dismantle the patriarchy.Similar scenes played out across the conservative Islamic kingdom last weekend, as women painted their nails pink, tied pink bows in their hair and draped pink floor-length abayas over their shoulders for the regional debut of the movie, “Barbie.” While critics across the Middle East have called for the film to be banned for undermining traditional gender norms, many Saudis ignored them.They watched as the movie imagined a matriarchal society of Barbie dolls where men are eye candy. They laughed when a male character asked, “I’m a man with no power; does that make me a woman?” They snapped their fingers in delight as a mother delivered a monologue about the strictures of stereotypical femininity. Then, they emerged from the darkened theaters to contemplate what it all meant.“The message is that you are enough — whatever you are,” said Mr. al-Sayed, 21, echoing the Ken doll’s revelation.“We saw ourselves,” said Mr. al-Sayed’s friend, Nawaf al-Dossary, 20, wearing a matching pink shirt.Watching Barbie’s search for identity and meaning, Mr. al-Sayed said he was reminded of the fraught period when he started college and wasn’t sure of his place in the world. He said he believed that the movie had important lessons for men as well as women.“I felt like my mom should see the film,” he said.“All of our families — all families,” Mr. al-Dossary said, laughing.That this was happening in Saudi Arabia — one of the most male-dominated countries in the world — was mind-boggling to many in the Middle East. When “Barbie” opened on Thursday in Saudi Arabia, the United Arab Emirates and Bahrain, it arrived suddenly and overwhelmingly. Moviegoers rushed to prepare Barbie-pink outfits. Some theaters scheduled more than 15 showings a day.Moviegoers wore pink during a screening of “Barbie” in Dubai, United Arab Emirates, on Thursday.Ali Haider/EPA, via ShutterstockA snide headline in the Saudi-owned newspaper Asharq al-Awsat declared that Saudi cinemas had become “havens for Gulf citizens escaping from harsh restrictions” — a twist in a country whose people once had to drive to Bahrain to watch movies.Eight years ago, there were no movie theaters in the Saudi kingdom, let alone any showing films about patriarchy. Women were barred from driving. The religious police roamed the streets, enforcing gender segregation and shouting at women to cover up from head to toe in black.Since he rose to power, Crown Prince Mohammed bin Salman, 37, has done away with many of those restrictions while simultaneously increasing political repression, imprisoning conservative religious clerics, leftist activists, critical businessmen and members of his own family.Even now, despite sweeping social changes, Saudi Arabia remains a state built around patriarchy. By law, the kingdom’s ruler must be a male member of the royal family, and while several women have ascended to high-ranking positions, all of Prince Mohammed’s cabinet members and closest advisers are men. Saudi women may be pouring into the work force and traveling to outer space, but they still need approval from a male guardian to marry. And gay and transgender Saudis face deep-seated discrimination, and sometimes arrest.So as word spread through the kingdom that “Barbie” would debut on a delayed schedule — a sign that government censors were most likely deliberating over it — many Saudis thought the movie would be banned, or at least heavily censored. Bolstering their expectations was the fact that neighboring Kuwait banned the film last week.Lebanon’s culture minister, Muhammad Al-Murtada, also called for the film to be banned, saying that it violated local values by “promoting homosexuality” and “raising doubts about the necessity of marriage and building a family.” It is unclear if the government will follow his recommendation.Even in Arab nations that have allowed the film to be shown, it has faced intense criticism. The Bahraini preacher Hassan al-Husseini shared a video with one million Instagram followers calling the movie a Trojan horse for “corrupt agendas.”Even while Crown Prince Mohammed bin Salman has done away with many social restrictions in Saudi Arabia, he has increased political repression.Pool photo by Ludovic MarinAnd in Saudi Arabia, not everyone is receptive to the film. To the entrepreneur Wafa Alrushaid, who suggested that the film be banned in her country, its messages are a “distortion of feminism.”“I’m a liberal person who has called for freedom for 30 years, so this isn’t about customs and traditions, but the values of humanity and reason,” she told The New York Times. The film, she argued, excessively victimizes women and vilifies men, and she objected to the fact that a transgender actress had played one of the Barbies.“This film is a conspiracy against families and the world’s children,” Ms. Alrushaid, 48, declared.Many Arab critics of the movie expressed views similar to those of some American politicians and right-wing figures who have castigated the film as anti-male. The tussle in the Middle East over the movie illustrates how battles that sometimes echo the so-called U.S. culture wars are playing out on a different landscape.The animated film “Lightyear,” which showed two female characters kissing, was banned in several countries in the region last year. And six Gulf Arab countries issued an unusual statement last year demanding that Netflix remove content that violates “Islamic and societal values and principles,” threatening to take legal action.In Kuwait, religious conservatives have become more vocal in recent years, Gulf analysts say, broadcasting views that many Saudis would be hesitant to express in public now, fearing repercussions from the government.“Banning the movie ‘Barbie’ fits into a larger tilt to the right that’s increasingly felt in Kuwait,” said Bader Al-Saif, an assistant professor of history at Kuwait University. “Islamist and conservative forces in Kuwait are relishing in these culture wars to prove their ascendancy.”Some Kuwaitis expressed astonishment that they would have to travel to the Saudi kingdom to watch the movie. Many pointed out the irony that Kuwait and Lebanon, despite objecting to the film, had long provided greater freedom of expression than many other Arab countries.Streaming out of movie theaters in Riyadh, people who watched “Barbie” seemed to leave with their own understanding.Lining up for “Barbie” in Dubai. Many Arab critics of the movie have expressed views similar to those of some American right-wing figures who have castigated the film as anti-male.Ali Haider/EPA, via ShutterstockYara Mohammed, 26, said that she had enjoyed the movie, dismissing the Kuwaiti ban as “drama.”“Even if kids saw it, it’s so normal,” she said.To Abrar Saad, 28, the message was simply that “the world doesn’t work without Ken or Barbie; they need to complete each other.”But to teenage girls like Aljohara and Ghada — who were accompanied by an adult and asked to be identified only by their first names because of their ages — the film felt deeper.“The idea was pretty realistic,” said Aljohara, 14, wearing a hot pink shirt underneath her black abaya. She said she liked that the film ended with a type of equality between men and women.“But it wasn’t nice that it ended with equality,” interjected Ghada, 16. “Because I feel like equality is a little bit wrong; I feel like it’s better for there to be equity because there are things a boy can’t do but you can do them.”Asked if they ever thought they would watch such a movie in Saudi Arabia, both exclaimed, with laughter: “No!”“I was expecting them to censor a lot of scenes,” Ghada said.In fact, it did not appear censors had cut anything major. A scene in which Barbie declares that she has no vagina and Ken no penis remained, as well as a scene with the transgender actress. The Arabic subtitles were rendered faithfully — including the word patriarchy.Hwaida Saad More

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      How ‘Barbie’ and Blackpink Entered South China Sea Map Spat

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      Vietnam banned the film over its apparent use of a Chinese map showing disputed territory. Blackpink concerts may be next. Here’s what the fuss is about.Of all the things that could inflame tensions in a region that could someday be a theater of war between superpowers, the movie “Barbie” was not an obvious catalyst. Yet here we are.The authorities in Vietnam this week banned the upcoming Greta Gerwig film over a map in “Barbie” that they said shows a Chinese map of territory in the South China Sea, where the two neighbors have competing claims.The Philippines, another Southeast Asian country that disputes China’s territorial claims in the sea, is now deciding whether to ban the star-studded film as well. And Vietnam said on Thursday that it was investigating a South China Sea map on the website of a company promoting Blackpink, a K-pop band scheduled to perform in Hanoi this month.Taking such stands against seemingly innocuous cultural exports may look to some like an overreaction. But Vietnam’s responses make more sense if they are viewed within historical and political contexts. Here’s a primer.What is Vietnam’s beef with ‘Barbie’?The head of the Vietnam Cinema Department, an agency in the one-party state, said on Monday that the Warner Bros. film would not be released domestically because of a scene that includes the so-called nine-dash line — a map that appears on official Chinese documents and encircles most of the South China Sea.The official, Vi Kien Thanh, did not say which scene Vietnam hadn’t liked. Several commentators wondered if he meant the one showing Barbie, played by Margot Robbie, standing in front of a crudely drawn world map. Some also noted that the nine-dash line in that scene appears to lie very far from Asia.A scene in “Barbie” with a map depicting contested territory in the South China Sea. The image may have prompted the Vietnamese government to ban the upcoming film.Warner Bros. PicturesIf that is, indeed, the offending map, “I really can’t see what the fuss is about,” said Bill Hayton, the author of books on Vietnam and the South China Sea.“The map in the film appears to bear no relation to a real map of the world,” Mr. Hayton added. “This looks like Vietnam’s censors trying to demonstrate their patriotism and usefulness to the regime.”Vietnam’s Foreign Ministry did not immediately respond to a request for comment. Neither did Warner Bros. The American movie studio told the Reuters news agency on Thursday that the “Barbie” map of the South China Sea was a “childlike” drawing with no intended significance.Why is the South China Sea important to Vietnam?Vietnam and China are neighbors with an extraordinarily complex relationship. On one hand, both are ruled by a Communist Party, making them ideological allies. They’re also busy trading partners that share an 800-mile border.Yet China occupied Vietnam for a millennium and invaded it as recently as 1979. And under Xi Jinping, China’s powerful leader, Beijing has built military outposts on contested islands in the South China Sea. It also rejected an international tribunal’s landmark 2016 ruling that sided with the Philippines by saying that China’s expansive claim to sovereignty over the sea had no legal basis. More