Child Abuse and Neglect

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      in Movies

      ‘Take Care of Maya’ Review: A Chronicle of a Family’s Pain

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      In this Netflix documentary about a young girl who was held in a hospital and barred from seeing her family, we hear their side of the story.In 2016 in St. Petersburg, Florida, Maya Kowalski was rushed to the pediatric emergency room for extreme pain. The 10-year-old would be held in the hospital for three months under a state-issued shelter order and barred from seeing her parents, whom doctors suspected of medical child abuse.The story of the Kowalskis, which was reported in The Cut last year, is at the core of “Take Care of Maya” (on Netflix), a chronicle of the events and their aftermath. At the hospital, Maya was evaluated by a child-welfare agency pediatrician who specialized in detecting child abuse and who initially diagnosed Munchausen Syndrome by proxy. The documentary unfolds mostly from the Kowalskis’ viewpoint, relying on court testimony, Maya’s father’s recollections and video, audio and written records from Maya’s mother.To watch this film is to submit to a punishing experience. This is only partly because of its content, for, while Maya’s case involves a thorny jumble of issues — a rare pain syndrome, a controversial regimen, a dubious child welfare system — the director, Henry Roosevelt, approaches the material with an eye toward sensationalism. Every minute is charged with tension, and one senses that scenes were shaped with the intent to scandalize rather than enlighten.What’s sacrificed in this approach is rigor, the drive to exhaustively analyze the circumstances that led to the Kowalski family’s troubles. For instance, the film mentions but declines to explore the relationship between Florida’s hospitals and the privatized child welfare companies that serve them. “Take Care of Maya” is grueling, but it is also oddly deficient, wanting for the precision and perspective essential to deriving insight from profound trauma.Take Care of MayaNot rated. Running time: 1 hour 43 minutes. Watch on Netflix. More

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      in Music

      Rolf Harris, Disgraced British Entertainer, Dies at 93

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      His career as a musician and a painter over six decades ended abruptly when he was convicted of sexually abusing teenage girls.Rolf Harris, the Australian-born entertainer whose decades-long career on British television ended in disgrace after he was convicted of sexually abusing teenage girls, died on May 10 at his home in Berkshire, England. He was 93.His family announced the death in a statement released on Tuesday. The PA news agency reported that a death certificate gave the cause as neck cancer and “frailty of old age.”Mr. Harris’s career on British television spanned 60 years, but it collapsed in 2013 when he was arrested and charged with a total of 12 attacks on four young girls from 1968 to 1986. He was later sentenced to five years and nine months in prison. At the time of the offenses, the girls ranged in age from 8 to 19, although his conviction for the assault on the 8-year-old girl, an autograph hunter, was later overturned.One of Mr. Harris’s victims was a close friend of his own daughter, Bindi. He was convicted of abusing the girl over the course of six years, beginning when she was 13.“Your reputation lies in ruins, you have been stripped of your honors, but you have no one to blame but yourself,” Judge Nigel Sweeney told Mr. Harris at his sentencing in 2014.“You have shown no remorse for your crimes at all,” he added.Mr. Harris died without apologizing to his victims.The son of Welsh immigrants, Agnes Margaret and Cromwell Harris, Mr. Harris was born on March 30, 1930, in a suburb of Perth, Australia. He moved to Britain when he was 22 — with, he later said, “nothing but a load of self-confidence” — to study at the City and Guilds of London Art School. He made his first appearance on the BBC in 1953, drawing cartoons on a children’s television show.That kicked off a storied career that included everything from international hit songs to lighthearted television shows on which he would demonstrate his skills as a quick-fire painter (think Britain’s version of Bob Ross).“Can you tell what it is yet?” became his famous catchphrase as he brought the canvases to life. It also became the title of his autobiography, published in 2001.A 1964 album by Mr. Harris. He had several hit records in Britain and Australia, and his “Tie Me Kangaroo Down, Sport” reached No. 3 in the United States.JP Roth CollectionOne of Britain’s best-known artists, Mr. Harris was even commissioned in 2005 to paint a portrait of Queen Elizabeth II for her 80th birthday — the whereabouts of which remains a great source of mystery. It was previously voted the British public’s second-favorite portrait of the queen, but it received a notably colder reception from critics.“I was as nervous as anything,” Mr. Harris told the British press in 2008, describing the two sittings he had with the monarch. “I was in a panic.”As a musician, he was known for his use of a colorful array of instruments, including the didgeridoo and the so-called wobble board — an instrument he invented. He featured it in his best-known song, “Tie Me Kangaroo Down, Sport,” a novelty number about an Australian stockman’s dying wishes, which he wrote in 1957.His 1963 rerecording of the song, which reached No. 3 on the Billboard Hot 100 singles chart, catapulted him to stardom in the United States. That same year, he recorded a version with the Beatles for a BBC radio show — the names of each band member playfully incorporated into the lyrics. (“Don’t ill-treat me pet dingo, Ringo.”)The song’s original fourth verse courted controversy because of its use of the word “Abo,” a derogatory slang term for Aboriginal Australians. The verse was included on Mr. Harris’s first recording of the song but omitted from later versions, and he later expressed regret about the lyrics.His career ultimately ended in disgrace a decade ago when he was one of several older media personalities arrested as part of Operation Yewtree, a British police investigation arising from the sexual abuse scandal involving the television presenter Jimmy Savile. Among the others convicted as part of the investigation were Britain’s best-known publicist, Max Clifford, and Stuart Hall, a former BBC broadcaster.After Mr. Harris was convicted in 2014, he was stripped of the honors he had been awarded throughout his career, and reruns of his television shows were taken off the air. He was released on parole in 2017 after serving three years in prison, after which he sank into a reclusive life at his family home in Bray, Berkshire, a quaint village west of London on the banks of the River Thames. Bray is said to have more millionaires than any small town in Britain.Mr. Harris’s survivors include his daughter, Bindi Harris, and his wife, Alwen Hughes. The two married in 1958 after meeting in art school, and she and his daughter stuck with him throughout his trial and prison term.After Mr. Harris’s sentencing in 2014, Judge Sweeney depicted him as an offender who had manipulated his fame.“You took advantage of the trust placed in you because of your celebrity status,” he said.Mr. Harris’s lawyer at the time, Sonia Woodley, pleaded with the judge to be lenient because of his age.“He is already on borrowed time,” she said. More

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      in Theater

      ‘Daddy’ Review: Deeper Into the Internet’s Darkest Corners

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      In Marion Siéfert’s much-anticipated new show, the French director explores the dynamics of online grooming.The French stage director Marion Siéfert has her finger on the pulse of our digital lives. In “2 or 3 Things I Know About You,” she playfully tackled oversharing on Facebook, before turning to the perils of online streaming in “_jeanne_dark_” — a show that fell foul of Instagram’s moderation policies when it was relayed live on the platform.With “Daddy,” a sharp, no-holds-barred new production at the Odéon-Théâtre de l’Europe, in Paris, Siéfert has ventured even further into the internet’s dark corners. In it, a 13-year-old is groomed online by an older man and gets lost in a virtual reality game that exploits teenage girls for profit.It also marks a new stage in Siéfert’s career. “Daddy” is her first big-budget production for a major playhouse, and one of the Paris season’s most anticipated premieres. So Siéfert is swinging much bigger, on every level: larger cast, more atmospheric sets and a somewhat indulgent running time of three and a half hours. Yet her biting originality remains intact.Reality is no match for screen entertainment in “Daddy.” The central character, Mara, is a quiet teenager from southern France. A subtly written scene, early on, introduces her family: Her parents, a nurse and a security guard, are too exhausted by their poorly paid jobs to devote much attention to their daughters. It’s no surprise that whenever she can, Mara escapes to the brighter landscape of online gaming.In an unnamed video game, she joins Julien, a smooth-talking 27-year-old who is her frequent online partner in crime. The easy intimacy they have built is showcased through a spectacular video sequence: On a screen the size of the Odéon’s stage, we see a 3-D game designed by the video artist Antoine Briot in which Mara and Julien’s avatars who shoot at enemies with assault rifles before hopping on fluorescent skateboards.Throughout, we hear Mara and Julien banter over their headsets. “You’re the most badass girl in this game,” Julien says.The groundwork is laid for the abusive dynamic that ensues. When they first meet outside the game, on a video call, Mara confides in Julien that she dreams of being an actress. He compliments her, and tells her about “Daddy” — a new game that allows players, Julien says, to become avatars sponsored by sugar daddies, and showcase their talents to a “fan base.”Peres, right, has appeared in several French television shows and movies; Houel is a newcomer to professional acting.Mathieu BareyreSiéfert has a knack for assembling captivatingly unconventional actors, and just as “_jeanne_dark_” was tailor-made for Helena de Laurens, a shape-shifter unafraid to lean into grotesque physicality, “Daddy” owes much to its two central performers. As Mara, the 15-year-old Lila Houel, who came to the production with limited stage experience, is coarsely candid in these early scenes, with turns of phrase that emphasize the character’s working-class background. Opposite her, Louis Peres, best known as a screen actor, is a startling tech-generation descendant of Christian Bale in “American Psycho”: clean-cut, in control, smoothly scary.Siéfert’s smartest move is to leave video and special effects behind once the two enter the game world of “Daddy.” The virtual space becomes a sinister, near-empty stage dotted with what look like snow mounds, where Mara encounters other preyed-upon young women.The rules of “Daddy” aren’t wholly clear. Men invest so teenage girls can perform routines that earn them points with fans. Houel, for instance, interprets a scene from the movie “Interview with the Vampire”; the sparkling Jennifer Gold, who plays the game’s reigning star Jessica, delivers cabaret-style numbers, including Marilyn Monroe’s “My Heart Belongs to Daddy” from the 1960 film “Let’s Make Love.”The points and the fans are never shown — Siéfert keeps things deliberately vague. The focus is on the dynamics of child abuse, and the erosion of Mara’s individuality and willpower by Julien. While some scenes of verbal and physical violence are troubling enough to make you fear for Houel’s mental health, she rises to the occasion with astonishing sang-froid, quietly haunted then seething in the second act.Siéfert co-wrote “Daddy” with Matthieu Bareyre, and some of the points they make don’t need so much time to come across: Cuts would be welcome. Yet “Daddy” speaks to the zeitgeist and the lives of teenagers today with a mix of ease and critical distance that few stage directors can match.And even at 11:30 p.m., one final scene had the audience sitting up and leaning forward. After a bloody narrative twist, the back wall of the stage slid away to reveal the street outside, and a performer staggered out of the game into the Odéon’s leafy neighborhood — while a few passers-by stopped, puzzled, to peek at the action onstage. In Siéfert’s theater, the real and the virtual keep colliding in invigorating ways.DaddyThrough May 26 at the Odéon — Théâtre de l’Europe in Paris; theatre-odeon.eu. More

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      in Television

      Ex-Member of Menudo Says He Was Raped by Father of the Menendez Brothers

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      The allegation, made in a forthcoming docuseries, resembles the claims of abuse by the brothers, who were convicted in 1996 of murdering their parents.It was a gripping case that was one of the first to draw a daily national audience to a televised criminal trial. Two affluent young men were charged three decades ago with murdering their parents by marching into the den of their Beverly Hills mansion with shotguns and unloading more than a dozen rounds on their mother and father while they sat on the couch.Lyle and Erik Menendez were convicted in 1996 of murdering their mother, Mary Louise, a former beauty queen who went by Kitty, and their father, Jose, a music executive, despite defense arguments that the brothers had been sexually molested for years by their father, and had killed out of fear.Now, Roy Rosselló, a former member of Menudo, the boy band of the 1980s that became a global sensation, is coming forward with an allegation that he was sexually assaulted as a teenager by Jose Menendez.The assertion was aired on Tuesday in a segment on the “Today” show that outlined some of the findings of a three-part docuseries scheduled to air on Peacock, the streaming service from NBCUniversal, beginning on May 2. The series, “Menendez + Menudo: Boys Betrayed,” based on reporting by the journalists Robert Rand and Nery Ynclan, is largely focused on Mr. Rosselló. He describes an encounter with Mr. Menendez but also recounts separate incidents of sexual abuse that he says were inflicted on him by one of Menudo’s former managers when he sang as part of the group.“I know what he did to me in his house,” Mr. Rosselló says of Mr. Menendez in the clip of the docuseries that aired on “Today.”It is unclear what impact, if any, Mr. Rosselló’s account will have on efforts by defense lawyers to secure a new trial for the brothers, whose prior appeals have been denied.The credibility of the brothers’ account, and the admissibility of defense arguments that pointed to sex abuse as a mitigating factor in the case, was central to the criminal trials that unfolded after the discovery of the murders in 1989. The first prosecution, which began in 1993, ended with two hung juries and mistrials. When the brothers were retried together two years later, they were found guilty of first-degree murder and sentenced to life in prison, where they remain.The Los Angeles County District Attorney’s Office, which prosecuted the cases in the 1990s, did not immediately respond to a request for comment early Tuesday morning.The “Today” report previewed interviews with Mr. Rosselló in which he is said to describe a visit to the Menendez home in New Jersey when he was 14 — a visit during which he says Jose Menendez drugged and raped him.“That’s the man here that raped me,” he says in a clip of the docuseries, pointing to Mr. Menendez in a photo. “That’s the pedophile.”He is also heard saying, “It’s time for the world to know the truth.”Roy Rosselló, a former member of the singing group Menudo, has accused Jose Menendez, the father of Erik and Lyle Menendez, of sexually assaulting him when he was 14.via PeacockMr. Menendez was affiliated with Menudo because he had signed the group as an executive of RCA Records.Mr. Rosselló has previously described being sexually abused as part of Menudo. Others have also said they were verbally, physically, emotionally and sexually abused as part of the band in the four-part HBO Max docuseries “Menudo: Forever Young.” No one has ever been criminally charged in connection to the allegations.One of Kitty Menendez’s brothers, Milton Andersen, 88, used an expletive to describe Mr. Rosselló’s allegation as flatly false and said the Menendez brothers should not be set free.Mr. Andersen said his brother-in-law was not a sexual predator and objected to the idea that the new accusation could in any way lead to Lyle and Erik having their case re-examined.“They do not deserve to walk on the face of this earth after killing my sister and my brother-in-law,” he said.The Menendez murders drew wide public attention, in part because the brothers had been children of affluence. Lyle was attending Princeton at the time of the killings. Erik was pursuing a career in professional tennis. Prosecutors presented them as coldblooded killers, interested in getting unfettered access to their parents’ $14 million estate.Jose Menendez was shot five times, including once in the back of the head. By the brothers’ own testimony, after they had discharged several rounds, Lyle went to his car, reloaded his 12-gauge shotgun, and pushed the muzzle of his gun to his mother’s cheek and shot her again.The police initially believed that the slayings were tied to the Mafia. But investigators turned their attention to Lyle, who was 22 at the time of his arrest, and Erik, 19, after the brothers bought Rolex watches, condominiums, sports cars and other items in the months after the murders.Though they initially denied any role in the killings, they became primary suspects after the discovery of taped recordings of conversations the brothers had with their psychologist in which the brothers explained what had led them to kill their parents.As the first trial neared, the brothers’ defense lawyers came forward with their own explanation for the crimes: that Lyle had confronted his father about the family’s sex abuse secrets, that his father had become enraged and threatening, and that the brothers had killed out of concern for their lives.The defense argued that the murder charges should be reduced to manslaughter because the defendants had honestly, if incorrectly, believed that their lives were imminently threatened.The trials, which played out on Court TV, ushered in a new era of televised courtroom drama. At least some jurors in the first set of trials believed the brothers, who had movingly testified of the abuse they suffered. The testimony left the jurors split between manslaughter and murder verdicts and contributed to the impasse that led to the mistrials.When another jury convened to decide the brothers’ fate, the circumstances had changed. The judge banned cameras in court and severely restricted witness testimony and evidence related to Jose Menendez’s parenting. Prosecutors, who had let the brothers’ molestation accusations go unchallenged at the first trials, went right at Erik Menendez when he took the stand, seeding doubt about whether the abuse had happened at all.“Can you give us the name of one eyewitness to any of the sexual assaults that took place in that home,” the lead prosecutor, David Conn, repeatedly asked Erik Menendez, as he ticked through the places the brothers had lived.According to transcripts of the testimony, Mr. Menendez kept repeating the same answer: “No.”The defense also did not present at trial anyone beyond the brothers who described Mr. Menendez as a sexual predator.As the trial wound to a close, the judge, Stanley M. Weisberg, ruled that the “abuse excuse” argument could not be used at all. The ruling essentially forced jurors to decide between letting the brothers off entirely, or convicting them of murder.They did the latter.“We did think there was psychological abuse to some extent. I think most of us believed that,” one juror, Lesley Hillings, told The Los Angeles Times afterward. “Sexual abuse? I don’t think we’ll ever know if that’s true or not.”Legal experts said that even with the new allegation brought by Mr. Rosselló, the lawyers defending the Menendez brothers would face an uphill battle if they sought to have the case re-examined.Laurie L. Levenson, a professor of criminal law at Loyola Law School in Los Angeles who provided legal analysis of the Menendez case in the 1990s, said Mr. Rosselló’s information might come “too little, too late.”“In the end, in the second trial, the jury just didn’t believe them,” Professor Levenson said of the brothers and their sex abuse allegations.Mr. Rosselló’s account “could be something you could file with the court and claim that it’s newly discovered evidence and that it would have made a difference in the case,” she added. “But they will have the burden to show that.”In the segment aired by “Today,” Alan Jackson, a criminal defense lawyer, agreed that the brothers had “a big mountain to climb.” Still, he said the assertion brought forward by Mr. Rosselló provided the brothers a “glimmer of hope.”Kirsten Noyes More

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      in Music

      Gary Glitter Is Back in Prison After Violating Probation Terms

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      The singer was released from prison last month after serving half of a 16-year sentence for sexually abusing three young girls decades ago.LONDON — The former glam rock singer Gary Glitter, who was released from prison last month, was sent back to prison on Monday for breaching the terms of his probation, Britain’s Ministry of Justice said.“Protecting the public is our number one priority,” a Ministry of Justice statement said on Tuesday. “That’s why we set tough license conditions and so when offenders breach them, we don’t hesitate to return them to custody.” The statement did not specify what the singer, whose real name is Paul Gadd, did to violate the terms of his release.Mr. Gadd was released from prison in early February after serving half of a 16-year sentence for sexually abusing three young girls decades ago, and had been set to serve the remainder of his sentence under probation, a common arrangement in Britain.Following his release, Mr. Gadd, 78, had been fitted with a GPS tag and faced other restrictions.In 2012, Mr. Gadd was arrested as part of an inquiry set up to investigate accusations of sexual abuse against Jimmy Savile, a longtime BBC host. That arrest led to Mr. Gadd’s conviction in 2015 on one count of attempted rape, four counts of indecent assault and one count of sexual intercourse with a girl under the age of 13.At his trial, prosecutors detailed how he had abused his access to young fans as his fame grew globally in the 1970s, when he had a string of hits, including “Rock and Roll Part 2.” His music has also been featured in films, including “Joker,” one of the top grossing films in 2019. More

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      in Music

      R. Kelly Sentenced to 20 Years for Child Sex Crimes

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      The singer will serve most of the sentence in federal prison at the same time as a 30-year term for racketeering and sex trafficking.CHICAGO — A federal judge on Thursday sentenced R. Kelly to 20 years in prison for child sex crimes, after a jury found that he had produced three videos of himself sexually abusing his 14-year-old goddaughter.In a victory for the defense, the judge ruled that all but one year of the prison sentence would be served at the same time as a previous 30-year sentence that Mr. Kelly received after a jury in Brooklyn convicted him of racketeering and sex trafficking charges.The jury in Chicago convicted Mr. Kelly of six of the 13 charges brought against him in connection with sexual abuse during the 1990s, including counts of coercing three minors into sexual activity and three of producing sex tapes involving a minor. He was acquitted of a charge that he had attempted to obstruct an earlier investigation into his abuse of the goddaughter, and two other counts of enticing minors to have sex.Federal prosecutors had argued that Mr. Kelly, 56, deserved 25 years in prison on top of his earlier sentence, citing the singer’s “lack of remorse” as a reason he would pose a danger to society if released.“The only way to ensure he will not reoffend is to impose a sentence that will keep him in prison for the rest of his life,” Jeannice Williams Appenteng, one of the prosecutors, said in court on Thursday.A lawyer for Mr. Kelly, Jennifer Bonjean, argued that her client was “likely to die in prison either way,” but that if he did not, he would not pose a threat in old age.Judge Harry D. Leinenweber agreed, saying in court that he did not think Mr. Kelly would be likely to commit the same kind of crimes in his 80s. The judge acknowledged that he would have dealt a heftier sentence if the Chicago trial had come first.As in the trial, Mr. Kelly remained mostly silent during the sentencing hearing, declining to speak on his own behalf. Taking into account a possible early release because of good behavior, Mr. Kelly could walk out of prison in his late 70s.The ruling caps a lengthy legal battle in Chicago, where Mr. Kelly was once widely viewed with pride as a product of the city’s South Side. In 2008, he was acquitted on charges of producing child sexual abuse imagery of his goddaughter, with some jurors telling reporters that they had been influenced by the lack of testimony from the young woman. She had denied to a grand jury that she was the person in an infamous tape that prosecutors said showed Mr. Kelly sexually abusing and urinating on her.But in last year’s federal trial, which followed a resurgence of scrutiny over Mr. Kelly’s treatment of girls and young women in response to the documentary “Surviving R. Kelly,” the woman took the stand, identifying herself as the underage girl being abused in three videos, snippets of which were shown to the jury.In Thursday’s hearing, a lawyer for the woman — identified in court as Jane — read a statement about how the repeated sexual abuse affected her life, asking that Mr. Kelly be put in jail for “as long as the law allows.”“I’ll never be able to unsee the child pornography,” she said in the statement, which was read by her lawyer, Christopher Brown. “No amount of therapy will make me normal.”Ms. Bonjean, who said she was appealing the convictions in both Brooklyn and Chicago, had lobbied for the minimum 10-year prison sentence, arguing that Mr. Kelly had suffered his own history of sexual abuse as a child and that he had intellectual disabilities that “shed some light on why he engaged in inappropriate relationships.”The additional sentence reduces the chance that Mr. Kelly would get out of prison even if his defense team wins its appeal of the Brooklyn conviction. He still faces sex crimes charges in Minnesota, which have been on hold during the federal trials. State prosecutors in Illinois recently dropped sexual abuse charges against him, citing the previous convictions.Judge Leinenweber also ordered Mr. Kelly to pay one of the sexual abuse victims $42,000 in restitution for therapy bills, denying it to the goddaughter and the third woman whose account led to a conviction. The woman who was ordered to receive the money — referred to in court as Pauline — had testified that Mr. Kelly sexually abused her repeatedly when she was a teenager, sometimes at the same time as the goddaughter.The third woman, referred to as Nia during the trial, addressed Mr. Kelly directly in the courtroom on Thursday, recounting how she met him as a “star-struck teenager” asking for an autograph in a mall but ended up “completely damaged” after the sexual abuse.“I’m not a vengeful or hateful person,” the woman said in court, “but I highly suggest you spend your time in prison reflecting.” More

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      in Music

      Gary Glitter Is Released From Prison After Serving Half of His Sentence

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      The disgraced former glam rock singer was found guilty in 2015 of sexually abusing three young girls in the 1970s. He had been given a 16-year sentence.LONDON — The former glam rock singer Gary Glitter has been released from prison after serving half of a 16-year sentence for sexually abusing three young girls decades ago, Britain’s Ministry of Justice said on Friday.The singer, whose real name is Paul Gadd, will serve the remainder of his sentence under probation, a common arrangement in Britain.Mr. Gadd will be fitted with a GPS tag and will face other restrictions, the ministry said in a statement. “If the offender breaches these conditions at any point, they can go back behind bars,” it noted.The 78-year-old former star rose to fame in the 1970s after a string of hits, including “Rock and Roll Part 2,” which has been widely featured in films and at sporting events in the United States.Mr. Gadd was arrested in 2012 as part of an inquiry set up to investigate accusations of sexual abuse against Jimmy Savile, a longtime BBC host.That arrest led to Mr. Gadd’s conviction on one count of attempted rape, four counts of indecent assault and one count of sexual intercourse with a girl under the age of 12. During his 2015 trial, prosecutors described how he had abused his access to young fans as he became an international star in the 1970s.In his sentencing remarks, Judge Alistair McCreath said that he had found no evidence that Mr. Gadd had done anything to atone for his crimes and that, after reading statements from the three victims from the 1970s, it was “clear that in their different ways, they were all profoundly affected by your abuse of them. You did all of them real and lasting damage.”Before his 2015 conviction, Mr. Gadd had been convicted in separate cases of sexually abusing minors and possession of child pornography.In the late 1990s, he served two months in jail after admitting to possessing 4,000 images of child pornography. In 2006, he was sentenced to three years in prison in Vietnam for molesting two underage girls at a seaside villa he was renting.In 2019, the music label that owns “Rock and Roll Part 2” said that Mr. Gadd would not receive any royalties from the use of his song in “Joker,” one of the year’s top-grossing films.The British government enacted a law last year that required criminals serving sentences for violent or sexual offenses to spend longer in prison, with the automatic release point occurring two-thirds through their sentences, not halfway. More

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      in Theater

      Book Review: ‘Reckoning,’ by V (formerly Eve Ensler)

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      Writing now as V, the creator of “The Vagina Monologues” tackles racism, colonialism and sexual violence in a raw and free-associative collection.RECKONING, by V (formerly Eve Ensler)Way before #MeToo — not that it’s a contest — there was Eve Ensler, shouting all the way up into the cheap seats. Her breakthrough 1996 play, “The Vagina Monologues,” eventually performed by a rotating cast of celebrities, amplified stories of rape and abuse and helped de-taboo the female anatomy. Two years after that success she founded V-Day, which has raised piles of money to fight violence against women and girls around the world: Galentine, with gravitas.The writer identifies so strongly with the letter “V” that she has taken it as her new name, she announces in a characteristically raw and free-associative memoir, “Reckoning.” This is a gesture that seems — like most of what she has done in a long career — both performative and potent. “V” stands for “vagina,” “V” stands for “victory,” “V” stands for “peace” (we’ll forget about the canned vegetable drink and the old NBC series about aliens wearing human masks), and for Generation Y on social media, a “V” hand signal has become as popular as the thumbs up was for boomers, the former Ensler’s generation. “I am older now,” she laments. “Irrelevant in the cult/ure of youth, followers and TikTok.”“When I am an old woman, I shall wear purple,” the English poet Jenny Joseph wrote (to her eventual consternation), and on the back cover of “Reckoning” its rechristened author stands in a fuchsia caftan, raising arms in a V-shape to a rainbowed, sunsetted sky. A little cornball maybe, like a motivational desk calendar in a mall gift shop, but having survived incest, alcoholism, uterine cancer and the occasional mixed review, V, who will turn 70 in May, just Does. Not. Care. She has plenty of fuchsia left to give.For those familiar with Ensler’s work, much of “Reckoning” will feel like a jagged replay of her core stories; amply represented are transcripts of speeches she’s delivered at the conferences and forums where she’s become an honored guest, or pieces previously published in places like The Guardian. She processed her experience fighting cancer in a previous, more humorous memoir, “In the Body of the World” (2013), which was also made into a stage show, and the post-9/11 world in “Insecure at Last” (2006).Now she is examining a term that has become ubiquitous to the point of cliché in American discourse since the murder of George Floyd. For V, as before, the political is intensely personal.Her father’s horrific molestations, which began when she was 5, are further detailed; in what is perhaps the consummate therapy exercise, she expands on the apology she wrote on his behalf in another book. She reveals more of her mother’s complicity by indifference — “I needed her milky breasts. I got cigarette smoke instead” — and her posthumous bequeathal of a musty brown envelope (“Does pain have a smell?” V wonders) with a picture inside of the author as a baby, mysteriously bruised and bloodied. “I spent an entire childhood ducking, fists permanently raised like a boxer, quick but never fast enough, darting, panicked, frenetic, unbearably anxious,” she remembers. “My body was never my body.”In apparent refutation of the patriarchy V wants passionately to upend, “Reckoning” obeys no conventional chronology or form. It’s collaged together with concepts — the fall of the Berlin Wall in 1989, for example, is linked to birds falling from the skies in 2020 — and exhibits a woman drawn inexorably, as if in repetition compulsion, to sites of even worse suffering than her youth. It’s a kind of Choose Your Own Abomination, from Covid to the concentration camp of Theresienstadt to Congo, where the author has done humanitarian work and tells of murdered infants and children, repeated rape and even forced cannibalism.“How do I convey these stories of atrocities without your shutting down, quickly turning the page or feeling too disturbed?” she wonders in an essay that was originally written for Glamour. Contemplating the ISIS sex market, she imagines “crates of AK-47s, falling from the skies” and “breasted warriors rising in armies for life.”I think V underestimates herself; the jump-cut style she’s refined for decades is actually perfectly suited to people who get their news from TikTok, and her rhythmic singling out of particular words — which she calls “trains traveling through a lush countryside”— presaged hashtag activism.Along the long highway of her argument here, that readers should wake the heck up to injustice and suffering, poems pop up, like little rest stops. “Think of your luxuries, your cell phones/as corpses,” she writes of the mass rapes that occur near coltan mines, which are tapped to manufacture electronic devices. In a section that graphically recalls how AIDS ravaged friends and colleagues, she promises Richard Royal, a collaborator on a magazine called Central Park, that she will not write a poem about the budding trees; he hated pathetic fallacy and echoed Adorno that there is no poetry since Auschwitz. So after his death, in winking homage, she versifies instead his medical woes.“One is always failing at writing,” V acknowledges, in a sentiment any writer understands. And indeed “Reckoning” is, if not a failure, kind of a bloody mess, but defiantly, provocatively, maybe intentionally so. It exhorts readers to confront the worst and ugliest, pleads for progress and peace, and provokes admiration for its resilient, activist author. V shall overcome, someday.RECKONING | By V (formerly Eve Ensler) | Illustrated | 272 pp. | Bloomsbury | $28 More