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    ‘Maybe I Do Have a Story to Tell’: Kal Penn on His Memoir

    Starring in the buddy stoner comedy “Harold & Kumar Go to White Castle” is good material for a memoir. One might think that serving as a staffer in Barack Obama’s White House is good material for another memoir, by a different person. But the actor Kal Penn writes about both experiences in “You Can’t Be Serious,” which Gallery Books will publish on Tuesday.The book has attracted early attention for its most personal detail: Penn is gay, and engaged to Josh, his partner of 11 years. Their relationship is conveyed in one chapter that is mostly about their earliest dates, during which they seemed comically mismatched.Penn also writes about growing up in suburban New Jersey and fully catching the acting bug while performing in a middle-school staging of “The Wiz.” He is candid about his fight against the entertainment industry’s tendency to cast actors of color in stereotypical roles. And he recounts the “sabbatical” he took after establishing a Hollywood career to campaign for Obama and then serve in the public engagement arm of his administration.Below, Penn talks about finding the story he wanted to tell, the self-loathing he first felt while writing it and the filmmaker who inspired his career.When did you first get the idea to write this book?The first idea, which I rejected, came the day I left the White House. My manager called me. I describe him in the book as like every character from the TV show “Entourage” in one person. Heart of gold but also a lion..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}And he said, “You need to write a book. I’ll set you up with meetings.” I said, “Dan, what am I going to write a book about?” He said, “There aren’t many actors who have been in politics.” I said, “The governor is literally Arnold Schwarzenegger.” And the reason I took the sabbatical was not to write a book. I don’t like the optics of that and, more importantly, I don’t have a story to tell.Later I thought, maybe I do have a story to tell: I’d love to write a book for the 20-year-old version of me. There was never a book that said, “This is how you navigate the entertainment industry as a young man of color.” And I’ve met a lot of people who were told they’re crazy for having multiple passions. We’re in a society that just doesn’t encourage that kind of thing. So I thought maybe my experiences might make somebody smile or feel a little more connected, and I had a chance to put it together and write it during the pandemic.What’s the most surprising thing you learned while writing it?There was a point three months into writing it when I felt the kind of self-loathing that I haven’t felt since middle school. I texted a bunch of my writer friends, and they all either said, “Yeah, buddy, welcome to being an author,” or “Why do you think so many of us drink so much Scotch?” Just a sea of those types of responses.Up until that point, I’d written fiction, essentially scripts and characters. It’s very different when you’re creating a character or a plotline: That’s not you, you can take a break from it. With this process, it’s “Oh my God, there’s no escaping my own brain.” I was not prepared for it.In what way is the book you wrote different from the book you set out to write?I was sure that I wanted to share two stories: one about my parents and their upbringing; and the story of how Josh and I met. He showed up with an 18-pack of Coors and turned my TV from “SpongeBob” to NASCAR. I thought, “This guy’s leaving here in 40 minutes with 16 beers.” So the fact that we’re together 11 years later is funny because so many people have stories of dates that went awry but now they’re married and have kids.In the book’s outline, there was no ending. I always struggled with that. I thought there was going to have to be some kind of a positive wrap-up, a story of triumph after years of typecasting and racism. And then “Sunnyside” happened. I sold this show after I had already started writing the book. There’s a chapter I write about how it’s truly my dream show: a big network [NBC], a diverse, patriotic comedy that would hopefully bring people together and make them laugh.And then it slowly unraveled. With everything else in the book, I have the perspective of time. This was still raw. I ended up putting it as the last real chapter because it’s a perfect example of how much has changed and how much has yet to change.We often think of goals as: Everything has now been fixed, so end of story. In reality, everything is a constant mess of back and forth.What creative person who isn’t a writer has influenced you and your work?I always say Mira Nair, and I would have said this years ago, before this book was ever on the table. Her second film, “Mississippi Masala,” came out when I was in eighth grade. It was the first time I’d seen South Asian characters onscreen that weren’t stereotypes or cartoon characters.They were deeply flawed, deeply interesting humans. They make love, they have financial problems. And that happened around the time “The Wiz” happened, so she was one of the people who inspired me to pursue a career in the arts.So when I got a chance to work with her on “The Namesake,” it meant a lot to me. And “The Namesake,” the novel — Jhumpa Lahiri’s writing was introduced to me by John Cho, from “Harold & Kumar.” All of those influences intersecting are very meaningful to me.Persuade someone to read “You Can’t Be Serious” in 50 words or fewer.If you want to feel like you’re having a beer with somebody who smoked weed with a fake president and served a real one, whose grandparents marched with Gandhi and whose parents certainly didn’t move to America for him to slide off a naked woman’s back in his first film. More

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    ‘Together’ Bears Witness to Britain’s Lockdowns

    The new film, starring Sharon Horgan and James McAvoy, is a tensely funny relationship drama, as well as a chronicle of the first year of the pandemic.LONDON — In “Together,” Sharon Horgan and James McAvoy play a couple in meltdown. And then the pandemic begins.Ten minutes into the film, which debuts in theaters in the United States on Aug. 27, the unnamed female protagonist (Horgan) tells her partner (McAvoy) that he is the worst human alive.“You’ve got the same level of charm as diarrhea in a pint glass,” she says.“Lockdown’s going to be hard then,” he responds.The drama, written by Dennis Kelly and directed by Stephen Daldry (“The Hours”), begins on 24 March 2020, the day after Prime Minister Boris Johnson announced Britain’s first coronavirus lockdown. It unfolds, claustrophobically, over the course of a year in the couple’s home, which they share with their young son.As well as taking a wide view of the virus’s deadly impact — captions mark the rising death toll in Britain, from 422 in the first scene to 126,284 in the last — “Together” also zooms in on the disintegration and tentative rebuilding of a relationship. It’s sad, but also scabrously funny — “Who’s Afraid of Virginia Woolf,” with added hand sanitizer. There’s shouting and crying, reminiscing and makeup sex, panic buying, jostling for vaccines and shocking, visceral grief.Stephen Daldry, top left, directed the film, which was shot over 10 days in London.Peter Mountain/Bleecker StreetHorgan said in a phone interview that the film was, on one level, an exercise in bearing witness, in particular to the “hidden trauma” of those families who lost loved ones in nursing homes. More than 39,000 nursing home residents in England died with the virus between April 2020 and March 2021, according to a study by the Care Quality Commission, a government agency. For many of those people, because of visiting restrictions and staff shortages, it was a lonely death.In “Together,” the mother of Horgan’s character moves into a nursing home at the start of the pandemic. “She’ll be safe there, right?” the daughter says. In the following scene, her mother is on a ventilator.Horgan said she felt “an enormous responsibility” in telling the story of what happened in Britain’s nursing homes. “We were incredibly shocked by it as a country, but the specific experience that families were having — of not being able to say goodbye, of watching loved ones die on FaceTime — people felt like they weren’t seen,” she said. “We wanted people to feel the pain of it.”The drama was filmed in London over 10 days in April this year, and was broadcast here by the BBC in June, in the same week that the government delayed the lifting of restrictions because of a surge in the Delta variant of the virus. As it premieres in the United States, just over half of Americans are fully vaccinated, but the long-term effects of the pandemic — physical, psychological and financial — are still being felt.“I’ve never written anything as immediate as this,” Kelly said in a phone interview. The script required little research, beyond observing day-to-day events, he added: “It’s the one event we’ve all been through.”Perhaps that’s why a number of recent films have tackled the strains of life in a pandemic. “Locked Down,” starring Anne Hathaway and Chiwetel Ejiofor, throws an improbable heist into its story of a bored, bickering couple. “Lock Down Love” and “The End of Us” play out as more straightforward romantic comedies, in which being forced apart or together makes couples reassess. If “Together” stands apart, it is because fury and horror at what is happening in the wider world run in parallel to the central love story.Writing the movie was a cathartic experience, Kelly said. “There are a lot of people out there who are really angry. They lost people, and they know they died alone,” he said. “We still haven’t got anywhere near processing what we’ve been through.”Before Kelly approached Horgan about starring in “Together,” she had little interest in making a lockdown film: She had already turned down scripts based on the pandemic, she said. In the shows she was working on, including the BBC comedy “Motherland” and the second series of Aisling Bea’s “This Way Up,” the current circumstances were more or less glossed over, she added. Then she read “Together.”“I could see it was really important,” Horgan said of the script. “Of course, it’s rooted in Covid. But it transcends that, as a voyeuristic, in-depth X-ray of a relationship.” For that reason, Horgan doesn’t think people will feel fatigued by the events of last year and a half while watching it. “If it was just related to the pandemic, you couldn’t watch an hour-and-a-half of it,” she said.It helped that Horgan and Kelly are old friends. Horgan grew up on a turkey farm in Ireland, but has lived in London since the early 1990s, when she and Kelly met performing in a youth theater production. Years later, they bumped into each other in a pub. Horgan was in her late 20s and working at a job center; Kelly mentioned he’d written a play, called “Brendan’s Visit.” The next day, Horgan called and convinced him to put it on.“She was unbelievably driven,” said Kelly, who went on to win the Tony Award for Best Book with “Matilda the Musical” in 2013. “If it weren’t for Sharon, there’s no way I’d have been a writer.”From left: Tanya Franks, Rebekah Staton and Sharon Horgan in “Pulling.”HuluThe pair started writing together and created “Pulling,” a cult comedy about three 20-something female housemates, which debuted on the BBC in 2006. Watching it now, Horgan’s character, Donna, seems like a godmother to Fleabag from Phoebe Waller-Bridge’s 2016 TV hit, as well as the many chaotic, honest portrayals of womanhood that have followed, but at the time there was no one like her on television.If “Pulling” was based on Horgan’s 20s, “Catastrophe,” the dramedy she co-wrote and starred in with Rob Delaney about a couple who get pregnant after a one-week stand, was based on her 30s: She and her now ex-husband Jeremy Rainbird had been together for six months when she found out she was expecting a daughter.Now, she is working on the third part of her loose trilogy based, as she described it, on the “life cycle of a woman.” It will encompass turning 50, divorce and watching her children grow up, she said.Horgan spent lockdown in London, with her two teenage daughters, who were “like caged animals,” she said. “So as a separated family we had to negotiate that, and make that work,” Horgan said. “It was intense.”The boundaries between her life and work have always been porous, Horgan said. “I don’t think I give too much of myself to my work; my work gives an awful lot to me, if I’m honest,” she said. “I’ve never really given away something incredibly personal that I haven’t felt better for having got it off my chest,” she added.When it came to rehearsing “Together,” in April, Horgan’s own experiences came pouring out.“Everyone was sharing stories, not just about Covid, or lockdown, but about relationships,” she said. “The emotion of it felt within arm’s reach.” More

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    We, Tina

    Listen and follow Still ProcessingApple Podcasts | Spotify | StitcherShe’s simply the best. A new documentary on HBO (called, simply, “Tina”) explores Tina Turner’s tremendous triumphs, but we wanted to go deeper. We talk about how her entire career was an act of repossession: Taking back her name, her voice, her image, her vitality and her spirituality made her one of the biggest rock stars in the world, even in her 50s.Tina Turner at her home in Küsnacht, Switzerland, July 2019.Charlie Gates for The New York TimesOn Today’s EpisodeWesley’s ‘We, Tina’ playlistWesley compiled his all-time favorite Tina Turner tracks onto a playlist. Have a listen.◆ ◆ ◆The music icon’s life onscreenTina Turner in 1973, in a scene from the documentary “Tina.”Rhonda Graam/HBO, via Associated PressFor many, Jenna included, the movie “What’s Love Got to Do With It” (1993) has been their biggest reference point for Tina Turner up until this point. The biopic, which stars Angela Bassett as Turner, follows the artist’s life with her abusive first husband, Ike Turner.After watching “Tina” (2021), a documentary that recently dropped on HBO Max, Jenna realized how much of the singer’s narrative is missing from the 1993 film.“As incredible as that movie is, it’s not sufficient for her life story,” Jenna said. “It’s so painful to watch. It doesn’t lean enough into how much she shaped and changed music.”◆ ◆ ◆Her liberating live performances“Tina Turner is someone I regret never seeing live,” Jenna said. Her live performances were electric — like her 1988 concert in Rio de Janeiro. She was 48 at the time, on a tour that spanned over 200 dates. She was as fit and vibrant as ever, performing to a record-breaking crowd of over 180,000 people. Wesley remarked, “I mean, just to be one of those people screaming Tina Turner’s name. …”Hosted by: Jenna Wortham and Wesley MorrisProduced by: Elyssa Dudley and Mahima ChablaniEdited by: Sara Sarasohn and Sasha WeissEngineered by: Marion LozanoExecutive Producer, Shows: Wendy DorrExecutive Editor, Newsroom Audio: Lisa TobinAssistant Managing Editor: Sam DolnickSpecial thanks: Nora Keller, Julia Simon, Mahima Chablani and Desiree IbekweWesley Morris is a critic at large. He was awarded the 2012 Pulitzer Prize for his criticism while at The Boston Globe. He has also worked at Grantland, The San Francisco Chronicle and The San Francisco Examiner. @wesley_morrisJenna Wortham is a staff writer for The Times Magazine and co-editor of the book “Black Futures” with Kimberly Drew. @jennydeluxe More

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    ‘Romeo and Juliet’ Meets the Hot Vax Summer

    A lusty new production is both an enticement and a warning as we tentatively explore intimacy after a year of forced solitude.What will be the idiom, in my modest estimation, to best define our relationship to sex during the Covid-19 pandemic? “Stay home if you sick, come over if you thicc” — so say the boys of Tinder.It’s not quite Shakespeare — or is it? I’m willing to bet that if they lived in 2021, Romeo and Juliet would quickly become fluent in our contemporary language of lust and seduction. After all, sex has always been an element of Shakespeare’s play, though portrayals of it have changed in productions over the last 400 years, depending on trends and cultural attitudes.So it would make sense, after the pandemic year we’ve had, that we’re in for a spate of sexy Shakespeare — frilly ruff and all. And “Romeo and Juliet” — including the lusty new filmed production that premiered last week on PBS — looks like it’ll be the play of this spicy summer to come.I’ve already encountered other renditions in the last couple of weeks: the Public Theater’s bilingual “Romeo y Julieta,” the Actors Theater of Louisville’s “Romeo & Juliet: Louisville 2020.” An interactive production is forthcoming from England’s Creation Theater.Though a play about intimacy, yearning and death feels right for the moment, I have to admit my discomfort with all those honeyed kisses and sweet nothings: The pandemic has left me unprepared for lovers meeting at any distance closer than six feet.The sexiness of “Romeo and Juliet” depends not just on a director but on the temperature of the times, whether the drafty climate of a chaste family dinner with Granny or the febrile blaze of a Friday night date set to a playlist of ’90s R&B jams.Though the Elizabethans of Shakespeare’s time were down for lewd wordplay and suggestive winks in the text, stage depictions of physical intimacy were a step too far. The Victorians? Stuffier than a mouth breather during allergy season, they tended to shift the story toward innocent love rather than lust.Romeo and Juliet got a movie makeover in the 1960s, however, when the director Franco Zeffirelli premiered his sensual adaptation, including a famous nude love scene, during the peak of the sexual revolution.And if you had a pulse in the ’90s you caught Leonardo DiCaprio and Claire Danes in Baz Luhrmann’s wistfully romantic “Romeo and Juliet,” which seemed charged by the melancholic sighs of disenchanted youth — appropriate for the decade of irony and grunge.Orlando Bloom, left, and Condola Rashad in the 2013 Broadway production of “Romeo and Juliet.”Sara Krulwich/The New York TimesWhich presents the question of where we are now. (The dull and curiously sexless 2013 Broadway production, starring Orlando Bloom and Condola Rashad, had little to add.) Have dating apps and the sex-positive and body-positive movements brought us to a new age of uninhibitedness?Honestly, I’m not sure. Many of our austere cultural standards around sex, cuffed to religious conventions, economics and antiquated notions about gender, still haunt us behind closed doors — even as much of our media uses sex as consumer currency. But a pandemic that made isolation the rule surely has changed our relationship to physical intimacy.That — not personal prudishness or naïveté — is why too sexy of a “Romeo and Juliet,” like the new filmed edition starring Jessie Buckley and Josh O’Connor, leaves me scandalized, as though I didn’t grow up in a household with HBO.The fabric of the film feels cut from the central couple’s marital bedsheets — the intimacy is that palpable. Scene after scene feels like it’s taking place by candlelight. The hovering camerawork peeks over shoulders to catch a kiss or embrace.Cutting many of the play’s crass euphemisms (including the nurse’s many opinions on matters of the heart and, well, other parts of the body), this “Romeo and Juliet” builds from the physical tension among the characters.They tease one another, as Mercutio does Romeo and Benvolio in his Queen Mab’s speech; then he draws in Benvolio (depicted here as his lover) for a single electric moment before promptly shoving him away.Simon Godwin’s direction is tactile, obsessed with hands and the ways an open-palmed welcome, a single-finger caress, the taut-knuckled hardness of a fist can signify romance, or violence, or both.The confidential meeting of the lovers in the tussle of bodies at the Capulet shindig, the hesitant first touch of their fingers and, later, the urgent consummation — none of this is surprising. Neither is it risqué.And yet, to me, it felt alarming — pornographic even — given how we have spent the last year painfully aware of what threats proximity could breed.Last spring NYC Health released a much-mocked guide to safe sex during the pandemic, encouraging masturbation as the most Covid-friendly alternative to, in Shakespearean terms, sheathing one’s dagger. No more sweaty tangling of limbs in a dark bar, no more post-date kiss on the sidewalk outside a restaurant. Or at least not without risk.Even as more of us get vaccinated, intimacy will likely feel like a fresh adventure, for good and for bad. Some singles are emerging from their quarantine bubbles anticipating a “hot vax summer” of horny hookups and experimental exploits. Others are circumspect, our social skills atrophied and our inhibitions increased in response to a lethal disease.For the next several months, as we recover from a kind of intimacy-deprived PTSD, Shakespeare’s sexiest play — a play that links lust to violence, even death — may read as extreme, even subtly subversive.That’s the magic of the Bard, isn’t it? Racy enough for reprobates and rakes, or priggishly read by a congregation of stately stiff-backs, the work is spacious enough to accommodate any disposition. I might be too shy to subscribe to Romeo and Juliet’s steamy OnlyFans, but, hey, there are plenty out there who aren’t. More

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    Sharing Unexpected Acts of Kindness

    #masthead-section-label, #masthead-bar-one { display: none }At HomeMake: BirriaExplore: ‘Bridgerton’ StyleParent: With ImprovRead: Joyce Carol OatesAdvertisementContinue reading the main storySupported byContinue reading the main storyWitnessing Kindness and Love in Unexpected PlacesAhead of Valentine’s Day, we asked readers to share moments when they stumbled upon acts of affection. Here are some of their stories.Credit…Nadia HafidFeb. 13, 2021Has this happened to you? You’re going about your day, minding your business. Then you suddenly spot a caring interaction that lifts your spirits, like a couple embracing or a stranger lending a hand to another.These days, the world could use a pick-me-up. Ahead of Valentine’s Day, we asked readers to share when they unexpectedly witnessed an act of love or kindness. More than 100 readers wrote in with stories of affection, from years ago or just recently. Here are a select few, edited and condensed for clarity.I’ve been walking in my local park more often. My heart has been moved by two friends who meet every morning. They are male and likely in their mid-80s. They arrive separately, each with coffee and a Dunkin’ Donuts bag. They sit on adjoining benches, six feet apart. One doesn’t start his coffee until the other is there. They aren’t particularly talkative with others in the park — I’ve tried. Their focus is on one another.— Grace E. Curley, BostonMy 90-pound Bernese mountain dog, Lilly, has a neurological problem that makes her fall down. This causes her great distress. My golden retriever, Katie, came over to Lilly this morning after she had fallen, and licked her on the lips. Then she took a nap and snuggled against her canine sister.— Penny Nemzer, Greenwich, Conn.After months of staying at home, my 2-year-old son was not excited to be around strangers. That changed when he started day care. One of the first friends he made was Dennis, a construction worker who works near his school. Dennis often gives a high-five and a fist bump before my son lists all the new words he’s learned. He looks forward to this interaction every day, and Dennis never disappoints: He is always there with a big, welcoming smile.— Smita Jayaram, Jersey City, N.J.As the morning bell rings, one of my Grade 3 students would enter the school lobby holding his younger brother’s hand. My student would carefully help his brother remove his mittens and unzip his jacket. Then he would tenderly kiss the top of his head before they split up for their own classrooms. Such a loving and responsible gesture.— Sheila Bean, Calgary, AlbertaRiding the bus years ago, I noticed a young man suddenly stiffen and slide sideways from his seat, stricken with a seizure. The passengers grew silent. We were concerned, flustered. The driver radioed for help and pulled over. Then a woman sat on the floor beside the young man. Humming quietly, she began stroking his hands. We all got off the bus, but the woman and boy stayed together. Her hum became a quiet song as they waited for his spasms to end.— Tracy Huddleson, Garden Valley, Calif.I have a balance problem after an operation on a brain aneurysm affected my ability to do certain things like bending or looking sideways. One day while walking with a stick through the city, I realized that my shoelace was undone. I just kept walking. Suddenly a young woman stopped. “Hey,” she said, “your shoelace is undone. Here, let me do it up in case you trip.” She tied the shoelace, smiled and walked on.— Carol Lange, Oxford, EnglandI was 6 years old and spending the night at my grandparents’. While I was sitting on the porch, a couple walked past. The man reached down and plucked one of my grandmother’s tulips out of the garden and gave it to his lady love. I was outraged and ran into the house, yelling that someone had “stolen” one of my grandmother’s flowers. She calmed me down, held my hand and said, “That’s what flowers are for.”— Clare Poth, BuffaloI was walking to the post office. An older, masked couple walked slowly on the other side of the street. During the pandemic, people walk fast, avoid contact and try to get their things done quickly. For a moment, the couple stopped. They kissed through their masks and continued walking. It gave me some hope, that even in these times, love and human connection prevail.— Susi Reichenbach, BrusselsWe were at the beach on Martha’s Vineyard. The sun was bright coral and hanging over the horizon. Just as it was about to set, there was a commotion a few yards in front of us. A young man had just proposed to his partner, and everyone around them just turned to watch them take the first step into their new lives.— Harriet Bernstein, West Tisbury, Mass.When I was little, my parents and I flew to Seattle often to visit their friends. Once, while at the airport, I saw what I presumed to be a husband and wife embrace, kiss and tearfully say goodbye. That surprised me. My parents had just divorced and had never been overly affectionate. I think about that couple often.— Margaret Anne Doran, Charlottesville, Va.I was standing in a crowded subway train, facing a woman who was sitting. I was going through a terrible week. I was exhausted and overcome with emotion. All of a sudden, I started to cry. It almost didn’t occur to me that anyone could see me. But the seated woman did, and she handed me a tissue without saying anything except for giving me a comforting, knowing look.— Nicole Shaub, Boerum Hill, BrooklynMy mother often traveled for work when I was in high school. She could be away for weeks at a time. During one of her trips, I wandered into my parents’ room. My father was smelling one of her scarves. Blushingly, he put it down and said, “I was just missing your mother.”— Sarah Hughes, Rockville, Md.While I was driving, something up ahead brought everyone to a standstill. There was restlessness and frustrated honking. But when the cars in front of me moved into the next lane, I saw that a woman in one car was repeatedly stopping, getting out, grabbing brown-bag lunches and distributing them to the many homeless people on the side of the road. She offered them conversation, care and warmth, and seemed not to care about the frazzled drivers behind her.— Sam Alviani, DenverSeveral years ago, I was walking in the East Village when a biker got clipped by a car. The biker was hurt and bleeding, and the car drove away. Within seconds, dozens of New Yorkers sprang into action. Several people ran down the street to note the car’s license plate number. A ring of people surrounded the biker to administer first aid, ripping off sweatshirts to stanch the bleeding. In under two minutes, ambulances and police cars had arrived on the scene. There was not a second of chaos. It was a beautiful ballet of competence and confidence. New Yorkers care for each other.— Elizabeth Brus, Cobble Hill, BrooklynWe’re back in school, and we’re at choir rehearsal. Scrupulously adhering to guidelines, my students are singing outdoors, in masks, 10 feet apart. It’s January in New England, 34 degrees and overcast with an icy breeze.Two high school senior boys, young men now, members of the choir I direct, inseparable since forever and never silent in rehearsal until Zoom muted them, chatted and laughed and danced together unselfconsciously between singing verses of “Bridge Over Troubled Water.”They look like there’s nowhere in the world they would rather be.— Scott Halligan, Longmeadow, Mass. As I was headed to the drugstore, a high school-aged boy walked out carrying a bouquet of yellow daffodils. Someone yelled from across the street: “Are you looking to get lucky?” He answered: “No, I think I’m in love!” This happened probably 40 years ago, and I still think about it.— Sallie Wolf, Oak Park, Ill.AdvertisementContinue reading the main story More

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    To Love, Honor and Co-Star: Making Room for Two on Zoom

    #masthead-section-label, #masthead-bar-one { display: none }At HomeBake: Maximalist BrowniesListen: To Pink SweatsGrow: RosesUnwind: With Ambience VideosAdvertisementContinue reading the main storySupported byContinue reading the main storyTo Love, Honor and Co-Star: Making Room for Two on ZoomHiring couples to act together allows us to see two people in one virtual space. For the couples themselves, though, it can feel like “there’s no escape.”Michael Urie, left, and Ryan Spahn have acted together in one short play during the pandemic. Spahn also handled the camera for Urie’s performance of “Buyer & Cellar” from their apartment.Credit…Sara Krulwich/The New York TimesFeb. 10, 2021Last fall, the actor Jason O’Connell agreed to star in a new production of “Talley’s Folly,” Lanford Wilson’s wistful two-hander, for Syracuse Stage. The other hand? His wife, Kate Hamill. While they would film the piece in an empty auditorium, they would spend much of their rehearsal time at home, on Zoom. So much for leaving your role at the stage door.“There’s no escape,” O’Connell said, mostly joking. “There’s no time apart, there’s no breather. There’s no one to complain to about my co-star.”Since March, when theater began to pop up online, savvy producers have looked for Zoom box workarounds and ways of generating the intimacy that only actors sharing the same airspace can provide. A Covid-19 friendly solution: Hire cohabiting couples to perform opposite each another — on sofas, in bedrooms and on the occasional closed stage — with no grids or time lags intervening.That explains how viewers saw two Apple family siblings — Maryann Plunkett’s Barbara and Jay O. Sanders’s Richard — quarantining together in the latest Richard Nelson trilogy, with their West Village apartment subbing for Barbara’s Rhinebeck house. Cohabiting actors also enabled a surprising scene in Sarah Gancher’s “Russian Troll Farm.” Having spent the play on separate screens, the disinformation workers Greg Keller and Danielle Slavick suddenly leapt into the same box and then into bed.Some of these couples have acted together for decades; others have almost never shared a marquee. None of them could have predicted that they would be turning their homes into theaters and reassuring the neighbors that the bloodcurdling shrieks are just a work thing.The New York Times spoke to six theater couples about acting together while living together. These are excerpts from the conversations.Kate Hamill and Jason O’ConnellTogether eight yearsJason O’Connell, left, and Kate Hamill in the Syracuse Stage production of “Talley’s Folly.”Credit…via Syracuse StageHow they met At the Hudson Valley Shakespeare Festival, through a mutual friend. They married in January 2020 and had planned to honeymoon last summer.Pandemic project “Talley’s Folly”Have you worked together much?O’CONNELL We worked together on Kate’s first play, “Sense and Sensibility.” We did “Pride and Prejudice.” Then I wrote an adaptation of “Cyrano” that I directed her in.HAMILL We know lots of people who have a professional/personal divide, but we really don’t.How has working from home been?HAMILL We’re both workaholics. We’ve had to adjust to a slightly different pace of life. Like, “Do we have any hobbies?” After we got done with our first Zoom rehearsal of “Talley’s Folly,” we turned off the camera and we both started crying because we had missed that part of our lives.O’CONNELL It was very, very special, but also bittersweet.HAMILL In the pandemic, as a couple, you either come out of it, like, “Wow, this is really strong and great,” or “Oh no. I’m glad we like each other.”Greg Keller and Danielle SlavickTogether 14 yearsDanielle Slavick, left, and Greg Keller in “Russian Troll Farm: A Workplace Comedy.”Credit…via TheaterWorks HartfordHow they met At the National Theater Conservatory in Denver, Colo. “We had a talk in the library once about death,” Keller said.Pandemic project “Russian Troll Farm”Have you worked together much?SLAVICK We’ve done a bunch of workshops and readings and stuff, but only one other production together, Sheila Callaghan’s “That Pretty Pretty; or, The Rape Play.”KELLER Nobody’s wanted to bring the passion that is our relationship onto the stage.How has working from home been?SLAVICK Exciting. But also daunting. I was still breastfeeding during rehearsals and I was also pregnant, so I was very nauseous. Having people be part of your home life was just kind of vulnerable. But you’re, like, my favorite actor. So I just liked the opportunity to talk with you and listen to you in that medium.KELLER I’m blushing over here.SLAVICK There was so much equipment! It took over our apartment.KELLER A new couple with a kid moved in. They would hear us screaming at each other, her having fake orgasms.SLAVICK I actually stopped them in the hall and let them know that they don’t need to call the police.Crystal Dickinson and Brandon J. DirdenTogether 21 yearsBrandon J. Dirden, left, and Crystal Dickinson in “The New Math”Credit…via The 24 Hour PlaysHow they met In graduate school at the University of Illinois. “I will never forget seeing her for the first time,” Dirden said. “This gale force coming straight at me.”Pandemic projects “New Math,” as part of the 24 Hour Plays Viral Monologues; “Lessons in Survival”Have you worked together much?DICKINSON The first show we did was “Angels in America.” Brandon was Belize and I was the angel.DIRDEN We work together maybe every other year. It actually helps the relationship. We can’t be too mean to each other, because we’re probably going to have to work together pretty soon.How has working from home been?DICKINSON The 24 Hour Plays reached out to us. I told Brandon, “We’re doing it. You’re going to do one and I’m going to do one. Because we’ve got to do some art.” So we did and I told them, “That was great. Brandon and I should do one together.’” Two weeks later, they were like, “We want to take you up on that.” And I was like, “How are we going to home-school?” We told our playwright, “You have to incorporate our kid.” Which turned out to be fun. Though we did almost kill each other for about five seconds.DIRDEN Chase [their son] was the best part of the process. He took direction very well.Michael Urie and Ryan SpahnTogether 12 yearsUrie and Spahn in Talene Monahon’s short play “Frankie and Will.”Credit…via MCC TheaterHow they met Friends set them up. “We had plans to see ‘Doubt,’” Urie said. “Very romantic.”Pandemic projects “Nora Highland,” “Buyer & Cellar,” “Frankie and Will”Have you worked together much?URIE Most recently, “Hamlet,” which we did in Washington, D.C. We’ve also worked together on some movie projects. Ryan and Halley Feiffer wrote “He’s Way More Famous Than You,” which I directed.SPAHN That was when we learned how to collaborate. We turned our apartment into the production office.How has working from home been?SPAHN Jeremy Wein does Play-PerView. He reached out. I had never even heard of Zoom. I had this two-hander, “Nora Highland.” Michael and Tessa Thompson did it live online.URIE There was no audience, but it felt something like theater, because it was live.SPAHN We would talk about the hunt for that feeling of opening-night jitters.URIE “Buyer & Cellar,” which we did in our living room, had exactly that. It was a big old comedy put together right before you. Ryan was the director of photography.SPAHN After that one, we did a short play Talene Monahon wrote, “Frankie and Will.” Our dog was in it. And we have a cat, so we had to animal wrangle. It gave us something to put our manic, terrified, and laser-focused energy into.Jennifer Byrne and Timothy C. GoodwinTogether four yearsJennifer Byrne, left, and Timothy Goodwin at home with their dog, Awesome.Credit…Timothy C. GoodwinHow they met During a production of “Shear Madness” in Fort Myers, Fla. “We had a start-over first date in New York City,” Byrne said.Pandemic project “Singles in Agriculture”Have you worked together much?BYRNE We never work together. I’m in musical theater and Tim is into plays and film and TV. Our paths for auditions rarely cross.How has working from home been?BYRNE Ken Kaissar and Amy Kaissar, the artistic directors of Bristol Riverside Theater, were looking for acting couples quarantining together. They hit us up by email and Ken found “Singles in Agriculture.” We did a Zoom cold read and it was our rhythm, it was our energy. It felt right.GOODWIN Usually you can leave work at work. But the space that we sleep in is also our rehearsal space and our performance space. We have a nice lighting set up. But as soon as the rehearsal is over we tear it all down.BYRNE We literally open the blinds, we open the windows and we shut the door so that it gets super cold in the bedroom. Almost like starting over.Maryann Plunkett and Jay O. SandersTogether 32 yearsClockwise from lower left: Jay O. Sanders and Maryann Plunkett as two of the Apple siblings, along with Laila Robin, Stephen Kunken and Sally Murphy in “What Do We Need to Talk About? Conversations on Zoom.” Credit…Sara Krulwich/The New York TimesHow they met On the set of “A Man Called Hawk,” a spinoff of “Spenser: For Hire.” “Our first kiss was on film,” Sanders said.Pandemic project The Apple Family Plays’ pandemic trilogyHave you worked together much?SANDERS Countless reading and workshops. And some small film things.PLUNKETT Because of the Rhinebeck panorama [Richard Nelson’s sequence of Rhinebeck-set plays], it feels like we’re working together all the time. We like to work together.How has working from home been?PLUNKETT With the Zoom plays, we’re sitting side by side. It’s the utmost in trust, and playfulness, knowing that I’m looking into Jay’s eyes, but I’m also looking into the character’s eyes. Shoulder to shoulder, captured in a little tiny box, there’s no room for faking it.SANDERS I used to dream about this, when I was a young actor, finding someone who could be a partner, who could be at the same level. It’s a very rare relationship that we’re fortunate to have. We appreciate it every day.AdvertisementContinue reading the main story More

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    What Defines Domestic Abuse? Survivors Say It’s More Than Assault

    AdvertisementContinue reading the main storySupported byContinue reading the main storyWhat Defines Domestic Abuse? Survivors Say It’s More Than AssaultThe Congresswoman Cori Bush and the musician FKA twigs describe how manipulative, isolating conduct known as “coercive control” helped trap them in abusive relationships. Lawmakers are starting to listen.Congresswoman Cori Bush of Missouri has been sharing her story as a survivor of domestic abuse to help “normalize the conversation.”Credit…Whitney Curtis for The New York TimesMelena Ryzik and Jan. 22, 2021Updated 5:16 p.m. ETIt was, at first, the kind of dreamily romantic attention that Cori Bush craved. She was 19 or so, barely making ends meet working at a preschool, and a new boyfriend was spooning on affection. He lavished her with gifts, too. “He would spoil me, he would spoil my friends, my sister — whoever was near me,” she said.But quickly, she said, the high-watt beam of his attentiveness became an unyielding glare. He monopolized her time and curbed her independence.“He would answer my phone,” Ms. Bush said. “I thought it was cute at first — he wanted to answer my phone and talk to my friends. But then it turned into him screening my calls.”When she tried to end things, he hit her, she said. It was the first of many instances in which he was physically violent. “He would pinch me so hard, he would take off not only skin, but flesh,” she said. “He would cut me with knives, box cutters.” She couldn’t leave, she said, because he threatened to turn the weapons on himself. And then the cycle began anew: “He would come back so sweet and so kind and so loving — and so sorry,” she said.Days into her freshman term as a Democratic Congresswoman from Missouri, Ms. Bush, 44, emerged as a public force; as her first action, she introduced legislation to investigate and expel members of Congress who voted to overturn the election and supported the riot in the Capitol.But even before she was sworn in, she shared her experiences as a survivor of domestic abuse, in hopes of reframing the issue. “I’ve allowed myself to be vulnerable about it,” she said in an interview last month, “because I feel like if we don’t normalize the conversation — people are still being hurt, especially right now, with Covid, and the lockdown,” when calls to support networks are spiking.Ms. Bush’s candor comes as some state lawmakers, working with researchers, have begun to reshape the law to acknowledge that the controlling and isolating behaviors she cites, often referred to as “coercive control,” are not only steppingstones to violence, but can be criminally abusive in their own right. Activists hope that by broadening the definition of abuse, they can help victims reclaim their autonomy, and catch perpetrators before cases spiral toward hospitalization — or worse.In September, California passed a law that allows coercive control behaviors, such as isolating partners, to be introduced as evidence of domestic violence in family court. That month, Hawaii became the first state to enact anti-coercive control legislation. A similar law was introduced in the New York legislature.The efforts address what experts say is a common, long-held misperception that an abusive situation is only a partner throwing a punch, rather than an incremental constricting of someone’s life, to dominate them.“By the time you see a broken bone, the person has experienced a lot of other damaging behaviors,” said Lynn Rosenthal, who was the first White House adviser on violence against women and served on the Biden transition team.Of course the violence itself has not abated. In the United States, one in four women and one in seven men experience severe violence in their relationships in their lifetimes, and it’s the leading cause of homicides for women, according to the National Domestic Violence Hotline.But as gender-based inequities surfaced in the wake of the #MeToo movement, and more women — and therefore more survivors — entered government, they and others have been vocal about how much more complicated the calculus of abuse can be, how yawning the gaps in protection and how damaging the belief that victims can just leave.Though they may suffer injuries, many survivors say that what keeps them in the relationship, and what makes the trauma last, is mental and emotional abuse. The musician FKA twigs, 33, who filed a lawsuit last month accusing her former boyfriend, the actor Shia LaBeouf, of sexual battery, assault and inflicting emotional distress, said in the suit that his constant “belittling and berating” shrunk her self-esteem and made her easier to control. A year later, she said in an interview, she was still suffering the repercussions: “I have panic attacks almost every single night.”The musician FKA twigs, born Tahliah Debrett Barnett, filed a lawsuit accusing her former boyfriend, the actor Shia LaBeouf, of abuse.Credit…Ana Cuba for The New York TimesThe term coercive control is embraced by some researchers to describe the dynamics of abuse because it encompasses acts like creeping isolation, entrapment, denigration, financial restrictions and threats of emotional and physical harm, including to pets or children, that are used to strip victims of power. Mild but frequent bodily aggression — pushing and grabbing, or increasing roughness during sex in a way the partner does not like — is another hallmark, experts said.As destructive as those behaviors may be, they are not often treated by law enforcement or courts as improper on their own, sharpening the belief that victims must be battered and hospitalized before their accounts might be taken seriously. Doubt about how the justice system would treat them is not unfounded: About 88 percent of survivors surveyed by the ACLU said the police did not believe them or blamed them for the abuse.The new laws to address coercive behaviors have raised some concerns from advocates who worry that — in court proceedings that lawyers in the field say are already stacked against survivors — the standard of proof might be too high, especially when officials don’t have the tools to identify and prove patterns of risky behavior. “Researchers understand coercive control as something that can help predict the outcome of a dangerous situation that becomes deadly,” said Rachel Louise Snyder, author of the 2019 book “No Visible Bruises: What We Don’t Know About Domestic Violence Can Kill Us.” But, she added, “law enforcement doesn’t necessarily recognize that.”Coercive control has been illegal in England and Wales since 2015, but 2018 saw the highest number of domestic violence-related killings in five years, according to the BBC. The Center for Women’s Justice, a British watchdog group, filed complaints in 2019 and 2020 alleging “systematic failure” on the part of police to safeguard victims. “Officers on the ground don’t understand” coercive control, said Harriet Wistrich, the center’s director. Though there has been some training, she emphasized that for the law to be most effective, police, social workers and the courts need to have a shared understanding of how emotional abuse can become criminal.Others are concerned that, in the United States, adopting and implementing new laws could drain resources from survivors’ pressing logistical needs, or from other pathways to justice. A growing faction of advocates say the best response lies not in the criminal courts, with their racial and economic inequities, but in dialogue-based alternatives like restorative justice.Judy Harris Kluger, a retired New York judge who is executive director of the nonprofit Sanctuary for Families, said she agreed that coercive control is important as a concept. As a judge, though, “I’d rather have energy put into enforcing the laws that we have,” she said, “but also focusing on other things besides litigation to address domestic violence,” like funding for prevention, housing and job programs for survivors.Still, supporters say that legally acknowledging how pernicious the problem is will make it easier to fight — and help force a reckoning over its pervasiveness.They point to Scotland as a potential model. Its domestic abuse laws enacted in 2019 focus on coercive control and include funding for training; a majority of its police and support staff has taken mandatory courses to understand the issue, said Detective Superintendent Debbie Forrester, Police Scotland’s lead for domestic abuse. The judiciary got lessons too. Alongside a public campaign explaining that controlling behavior is illegal, the authorities put abusers on notice that they would be scrutinized: “We will speak to previous partners,” a police statement warned.In the year following the law, the number of charges reported for prosecution related to domestic abuse jumped nearly 6 percent, according to the Scottish government. Though they could always prosecute violence, previously “there was nothing that was actually called domestic abuse,” Ms. Forrester said. “That has been really important for victims — they understand that the laws and the structure is there to support them.”Susan Rubio, 50, the state senator from California who headed the effort to adopt new legislation there, said she was motivated partly by her own experiences. In 2016, during divorce proceedings, she accused her husband, Roger Hernández, a California state assemblyman, of domestic violence, describing instances in which he punched her in the chest and attempted to strangle her with a belt, court documents say. The judge granted her a restraining order. Mr. Hernández, who was gearing up for a congressional primary, denied the allegations. Rebuked by his statehouse colleagues, he disappeared from his congressional race. (Mr. Hernández did not respond to requests for comment.)The law Ms. Rubio proposed, which allows coercive control to be used as evidence of domestic violence in family court, went into effect this month. It defined those behaviors as instances in which one party deprived, threatened or intimidated another, or controlled, regulated or monitored their “movements, communications, daily behavior, finances, economic resources or access to services.”Susan Rubio, a state senator from California, headed the effort to adopt legislation that allows coercive control behaviors to be used as evidence of domestic violence in family court.Credit…Lorie Shelley, California Senate Rules PhotographyIn Hawaii, the definition of domestic violence was expanded to acknowledge coercive control, including name-calling and degradation. The law was shaped in part by a researcher, Barbara Gerbert, and a local police officer, May Lee. “Domestic violence is a complex issue, but at the heart of it is the need for power and control,” Ms. Lee wrote to the legislature.The term coercive control was popularized around 2007 by Evan Stark, a researcher and forensic social worker whose work was cited by governments in the United Kingdom.The laws, in the United States and other countries, recognize an evolution in thought and research about domestic abuse, once normalized and minimized as an unfortunate outgrowth of bad relationships. Experts say research has increasingly shown the insufficiency of law enforcement approaches that treat domestic assaults as isolated incidents, akin to being punched by a stranger in a bar fight, and ignore the experiences of those for whom the abuse was often broader in scope and not always marked by violence, but debilitating, repetitive and no less damaging.“We have failed to connect the dots until very recently in all these other ways,” Ms. Snyder, the author, said. “Coercive control laws are a first attempt to address some of that — the unseen dynamics that are so, so dangerous.”Those who study domestic abuse say it follows a pattern: Ardent, rapid courtship that gives way to tests of loyalty, isolation from loved ones, belittling and deprivation of resources, whether it’s money, time, sleep or food — all in service of breaking down and controlling another person.At the outset of a relationship, “love-bombing,” as it’s sometimes called, is a classic warning sign, experts say. “Showing up early to give the partner flowers. Picking her up when she doesn’t expect it,” said Chitra Raghavan, a forensic psychologist at John Jay College of Criminal Justice.The gestures may seem sweet, thoughtful, but they’re a test: Monopolizing a partner’s time and attention sows isolation and shows the abuser “that he can control her,” Dr. Raghavan said.If a partner protests, an abuser may ratchet up the charm, experts said. The cycle gives the victim an illusion of control, and the perpetrator an excuse to mete out punishment: just don’t hang out with those friends, wear that outfit, cook that meal. But the boundaries for correct behavior keep shifting.“Every time we see that someone died at the hands of their partners, that’s something we could’ve stopped, as a society,” Ms. Bush said.Credit…Whitney Curtis for The New York TimesMs. Bush’s former boyfriend had rules about how and when she could wash the dishes or use the stove, she recalled. FKA twigs, whose given name is Tahliah Debrett Barnett, said that Mr. LaBeouf was feverishly jealous, and would also grow angry if she handed him his toothbrush when he was in the shower, even though that’s when he liked to brush his teeth. “He said that I was controlling, because I had given him the toothbrush with toothpaste,” she recalled.(Mr. LaBeouf did not respond to a request for comment. In a statement to The New York Times when Ms. Barnett’s lawsuit was filed, he said: “I have been abusive to myself and everyone around me for years. I have a history of hurting the people closest to me. I’m ashamed of that history and am sorry to those I hurt.” He added that “many” of the allegations by Ms. Barnett and another former girlfriend were not true, but gave no further details.)Jennifer Spivak, 31, the founder of a digital advertising agency whose ex-boyfriend pleaded guilty in 2011 to felony strangulation, said that he more often used threats than physical violence. During the early wave of affection, she gave into requests like forgoing the gym to spend more time with him. She relinquished her privacy, showing her boyfriend her texts and emails. But he wasn’t satisfied.“I became obsessed with figuring out how to keep things nice, moment to moment,” Ms. Spivak said. He would escort her to the bank and force her to cash her paychecks and relinquish the money, which complicated her ability to leave him.Jennifer Spivak said her ex-boyfriend forced her to hand over money from paychecks. Now she makes a point to work with women, to boost others’ financial independence.Credit…Meghan Marin for The New York TimesFor the most part, she said he didn’t hit her; rather she said he “psychologically tortured” her for small infractions like not answering his call at work, berating her for hours while she stood in the tub naked and he held an iron above the water.“I would wonder, am I being abused if I don’t have any bruises?” said Ms. Spivak, whose isolation exacerbated her self-doubt. As a survivor, she makes a point to work with women, to boost others’ financial independence.Ms. Barnett said that once she could finally see how bad things were with Mr. LaBeouf, she was too ashamed to admit it: “I just couldn’t connect with my old life, because it was a reminder of how far away I was from myself.” She filed the lawsuit, she said, to highlight the patterns in her relationship, and to show how anyone, no matter their status, can be ensnared.The most dangerous moment for victims of domestic violence, experts say, is when they decide to end their relationship; on average, it takes seven attempts to leave an abuser, according to the National Domestic Violence Hotline. Shame and fear — coupled with economic insecurity, racial and social justice concerns, and worries about destabilizing the household, especially with children — keep many from reporting their assaults or the terrors they live with, advocates say.Ms. Rubio, the California lawmaker, resisted calling authorities during her marriage — despite her resources, she didn’t have the courage, she said, and worried about public scrutiny. “Coercive control, it paralyzes a victim,” she said.Ms. Bush said her boyfriend’s violence escalated to the point that he once shot at her with a gun. She never called the police. “I didn’t want him to go to jail,” she said. “So I couldn’t figure out how to say what happened. And I didn’t want people to look at me like I was stupid — like, why are you with this guy? Because I’m smarter than what they’re going to think.”As she enters Congress, Ms. Bush said she thinks of combating domestic violence as building a social movement to save lives. “Every time we see that someone died at the hands of their partners,” she said, “that’s something we could’ve stopped, as a society.”If you or someone you know is being abused, support and help are available. Visit the hotline’s website or call 1-800-799-7233.AdvertisementContinue reading the main story More

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    Ariana Grande Engagement Announcement: What It Means

    AdvertisementContinue reading the main storySupported byContinue reading the main storyA Close Reading of Ariana Grande’s Engagement AnnouncementIn an extremely 2020 move, Ms. Grande got quarantine-engaged and announced it in an Instagram photo dump.Ariana Grande at the 62nd annual Grammy Awards in January.Credit…Jordan Strauss/Invision, via Associated PressDec. 21, 2020On Sunday, when Ariana Grande announced her engagement on Instagram, the congratulatory likes and comments flowed in immediately. So did the questions: about her fiancé (a luxury real estate agent named Dalton Gomez), the duration of their relationship (roughly a year, though quarantine timelines should probably be weighted to account for constant contact), the composition of her photography (was she in a car?) and, of course, the ring.Celebrity engagements have driven entertainment news cycles for decades, but Ms. Grande’s announcement — shared on the eve of her new Netflix special and just over two years after her split from the comedian Pete Davidson — has drawn outsize interest and become one of Instagram’s most-liked posts of all time.For all those reasons and more, we thought it was worth a closer look.This Was a Year of Quarantine EngagementsDemi Lovato and Max Ehrich did it. Brooklyn Beckham and Nicola Peltz did it. Your cousin did it, and so did your old college roommate (probably).Now, Ariana Grande has joined a long line of celebrities and mere mortals who said yes to their quarantine sweeties this year, irrespective of traditional timelines.According to People Magazine, Ms. Grande and Dalton Gomez, who works in residential real estate in Los Angeles, started dating in January. In May, he appeared in the music video for Ms. Grande’s song with Justin Bieber, “Stuck With U.” Seven months later, the two are engaged.Various data points suggest that these days, monogamy is in. Major jewelry retailers like Kay, Zales, Peoples and James Allen are reporting more sales this summer and fall compared to last year, according to The Washington Post. The trend makes sense: Dating around doesn’t look as exciting in a time when every in-person encounter carries the risk of a life-threatening virus, and when flowers and chocolates have been replaced by an N95 mask and proof of your latest Covid-19 test.“A bunch of people have started relationships, probably because people are lonely, they’re spending more time getting to know someone, and people are being less promiscuous,” said Lauren Bille, the chief executive of Allbodies, a health education platform.For some couples, quarantining together seems like the ultimate test: If they can make it through the manic boredom, perpetual anxiety and unceasing tragedy of the pandemic together, they can make it through anything. Right?Let’s check back in 2022. — VALERIYA SAFRONOVAA Photo Dump Was the Only Way to GoBack in 2017, when people still made their relationships “Instagram official,” the default engagement announcement format was a ring selfie: a zoomed-in shot of a perfectly manicured hand (usually a woman’s), held up against a clean background. The ring was always the focal point.Since then, Instagram has evolved from a feed of staged images to something much messier, devoid of a dominant aesthetic or careful curation. In 2020, a year so hellish that the old rules of Instagram could no longer apply, a new format surged in popularity: the photo dump.It’s how Ariana Grande announced her engagement and also how most internet-savvy celebrities have been posting for months now. Kylie Jenner rarely shares a solo shot to her feed anymore, but rather carousels of outtakes and moments from her life. Billie Eilish often does the same, unloading a mix of iPhone photos and blurry videos to create mini Instagram albums. Throughout the pandemic, the playwright Jeremy O. Harris has been posting “coronavirus mixtapes,” Instagram gallery mash-ups of memes, TikTok videos and photos from his daily life.This is the way we post now. Gen Z has led the charge, embracing this format first and most frequently. Maybe it’s because they never had the chance to upload 40 hazy party pics to a Facebook album in the aughts, or perhaps they’re seeking to memorialize life moments in a way only a photo gallery can. Or maybe everyone has collectively given up. Who has the time or energy to spend finding and editing that One Perfect Shot? It’s much easier to post by the handful.Ms. Grande’s engagement photo dump contains multitudes; there’s a mirror selfie, multiple couple’s photos and a slightly off-center shot of her ring. That’s the beauty of this format: There’s always more content. — TAYLOR LORENZObviously We Have to Talk About the RingWhen Ariana Grande and Pete Davidson got engaged in 2018, a month after their whirlwind courtship began, the singer started sporting a brilliant, pear-shaped ring rumored to be worth $100,000. It was exactly the sort of ring you’d expect a celebrity to wear: big and bathed in diamonds.Her ring from Dalton Gomez is a bit more unique: asymmetrical, with a pearl and an oval diamond set on an east-west axis. According to Sheryl Jones, a fine jeweler in New York City’s Diamond District, this design, particularly the pairing of two different gems, is “very unusual.”“I would describe it as definitely a fresh and nontraditional approach to an engagement ring,” Ms. Jones said, adding that “ovals are really, really popular right now.”Over the last several years, she said, people have grown increasingly interested in “fancy shapes”: ovals, pears, radiant-cut stones — really anything besides a traditional round diamond. “I think for women who want more of an engagement ring that is nontraditional or has a little more personality and style, they’re attracted to those kinds of cuts,” Ms. Jones said.Trends also show that surprising gemstone colors, like a green or gray sapphire, have become all the rage too. “People are finding ways to express themselves in engagement rings now and there is no standard way of approaching it,” Ms. Jones said.There was a time when getting dressed for the evening to go to dinner in a formal dress and statement jewels was the only time a luxury ring would be worn. But now, a more modern lifestyle demands a ring that is comfortable and wearable all the time, Ms. Jones said. “It’s got to be able to bridge that casual to fancy.”“I think that this approach just makes it more a part of her lifestyle,” Ms. Jones said. “Because when you look at a more traditional wedding ring, if your lifestyle is more fun and unconventional, you want a ring that reflects that. And I think that that’s what women are asking for now.” — EVAN NICOLE BROWNAriana Grande’s engagement ring, as shared on Instagram.The Pearl, Specifically, Is a ChoiceIt is natural for a person to look at a clamped closed mollusk and think, “Whatever you’re doing in there, I’ve got to have it.” The urge to open the entirely shut is how humans ended up with fried eggs, juicy melon flesh, honey, geodes and frightening individual experiences at haunted amusement parks.But once a man or woman has loosed their prize — which is, if they are lucky, a granular irritant a mollusk has coated in several layers of secretions in order to protect itself — should it be set into a ring intended for everyday wear? Perhaps not.“In the case of pearl rings, please be aware that these are only to be worn for dress and are not intended for everyday wear,” advises the website of Mikimoto, the famed Japanese pearl jeweler credited with inventing cultured pearls in 1893. In contrast to hardy diamonds, pearls are easily scratched and can deteriorate from contact with perfume, cosmetics, hair spray, lotion, detergent, lemon juice, vinegar and any number of other household products. (Also: sweat.)Even jewelry security boxes are chambers of horrors for pearls, where they may scrape up against other items or, if left alone in the receptacle for extended periods, gradually dehydrate.On top of all this, Ariana Grande’s pearl could be extra fragile due to age: There is some evidence to suggest that the pearl in her ring might have been repurposed from another ring set with a pearl originally taken from her late grandfather’s tie pin. — CAITY WEAVERAnd Now, Some OptimismIt’s easy to be cynical about celebrity engagements — or any engagement, really. Couples blow thousands (if not millions) of dollars on diamond rings, hundreds more on professional photography and celebrations, all for a commitment that may only last a few years, months, weeks or days.Much harder is the work of being happy for other people. While celebrities, including multiple Kardashians and Diane Keaton, have commented with enthusiastic excitement and love for Ariana Grande and Dalton Gomez, many more watching from home have speculated about the timing of the announcement (was it publicity for her concert film?) and the likelihood that the couple will ever wed. The usual stuff, but magnified to scale with her mega-stardom.Yes, Ms. Grande is a wildly successful pop artist with an estimated net worth exceeding $100 million. She is also a 27-year-old woman who has endured enough traumatic experiences to fill several lifetimes: a suicide bombing that killed more than 20 people at one of her concerts; the public unraveling of her first almost-marriage; the untimely death of a former partner; the suggestion, from an army of fans, that she was to blame for her ex’s tragic undoing.Wouldn’t it be nice if things just … worked out? I’m rooting for these two. — BONNIE WERTHEIMValeriya Safronova More