Elections

The Wayans brothers’ subversive comedy is smarter than you remember.When the oversexed basketball player Latrell Spencer (Terry Crews) turns to his date to sing Vanessa Carlton’s “A Thousand Miles,” he does so to prove his total love of all things white. Spencer is the stereotypical embodiment of the lascivious muscular Black man intent on procuring a white woman to prove his own masculinity. “Once you go Black, you’re gonna need a wheelchair,” he says. And yet, despite the broadness of his carnal desires, his performativity is the comedic soul to the director Keenen Ivory Wayans’s astute racial passing satire “White Chicks.”A gender-bending film (streaming on Hulu) that wields whiteface to interrogate the appropriation of Black culture into affluent, gendered white spaces, the film, upon initial release, was critically reviled. Roger Ebert named it the seventh worst movie of 2004. “Who was it made for? Who will it play to,” he asked. In the two decades since, however, its spiky critique of white privilege has revealed itself to be far more incisive than its lowbrow humor would indicate.Best summarized as “Some Like It Hot” meets “The Simple Life,” “White Chicks” follows Kevin Copeland (Shawn Wayans) and Marcus Copeland (Marlon Wayans), two bumbling F.B.I. agents nearing termination. Tasked with protecting two wealthy white women — the shallow Brittany Wilson (Maitland Ward) and her sister, the idiotic Tiffany (Anne Dudek) — from kidnappers, the detectives find trouble when a car crash injures the two women, leaving them unwilling to attend a fashion event in the Hamptons. To save their jobs, Kevin and Marcus pose as the sisters by dressing in skirts and heels, wigs, makeup, prosthetics. And the “white” voices they adopt become their tools.While blackface has minstrel roots, whiteface arises from a different impulse. Often employed in comedies, the practice enables Black people to pass as white, putting them in proximity to the believed benefits and privileges the skin tone provides. In works like the Whoopi Goldberg corporate satire film “The Associate” or the Eddie Murphy “White Like Me” sketch on “Saturday Night Live,” the practice not only gives the infiltrator a financial and social advantage, it allows the racial passer to upset the perceived stability of racial identity.In “White Chicks,” the identity switch works in similar fashion with the added twist of a gender swap. When Kevin and Marcus become Brittany and Tiffany, they’re given the privileges of white femininity. In an early scene, set in the Hamptons, a concierge asks for a credit card to hold the room. Kevin and Marcus, stuck with their own debit cards, threaten to throw a “bitch fit” if the hotel doesn’t allow them to check-in. After a tantrum, they’re allowed in their rooms.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Many long considered Marine Le Pen’s party too extreme to be anywhere close to power. Now, the party could win a parliamentary election — and fill the prime minister’s seat.For decades, the National Rally was the pariah of French politics — deemed so dangerous that politicians from other parties refused to engage with its members. How much that has changed became starkly apparent this month: The R.N., as the party is known by its initials in French, dominated the elections for the European Parliament, crushing President Emmanuel Macron’s party and winning a third of the votes in France. Mr. Macron soon called a surprise snap election for the powerful National Assembly, and polls suggest that the National Rally might be poised to win those, too.Jordan Bardella, the party’s president, is jockeying to become the country’s next prime minister — something that just 10 years ago would have been unthinkable. He is scheduled to face off against two adversaries, including Prime Minister Gabriel Attal, in a much-anticipated debate on Tuesday night.If his party manages a big win in the election, Mr. Bardella could become prime minister, name cabinet members and derail much of Mr. Macron’s domestic agenda. (Historically, the president still sets foreign and defense policy.)How did the National Rally evolve, rebranding itself so fully that it is now closer than ever to such a position of power?The National Rally’s founder was openly racist.Originally called the National Front, the party was founded in 1972 as the political arm of New Order, whose members believed democracy was doomed to fail. It included former Nazi soldiers, Vichy régime collaborators and former members of a terrorist organization that carried out attacks to prevent Algeria’s independence from French colonial rule.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Theater and dance critics can’t own the subjects they cover, but a fashion critic can — at least imaginarily — by making a hits compilation as the clothes go by.If fashion is a storytelling business, it should follow that runway shows are narratives.Yet they can’t be. For starters, they lack a plot. True, designers can be relied upon to spiel about inspirations, travels or philosophies as a listener’s eyeballs roll back in his head. The truth is that most fashion shows are best consumed, as everything else now is, in fragments. They are elements of an ongoing internal scroll, as continuous, algorithmic and addictive as Instagram reels.That, anyway, is how this critic began viewing the collections in Milan and Paris this season, with the result that the following is best thought of as a mixtape, not anchored to specific nationality or geography or context, random and in some sense impressionistic and probably also solipsistic in the way everything is fundamentally forced to be in an attention economy.Take Hermès. The designer Véronique Nichanian is anything but a household name, probably not even among those in the economic stratosphere this label was created to serve. So what? She’s as consistently fine as — and in many ways better than — other fixtures in the pantheon of men’s wear, people like Giorgio Armani or Helmut Lang. There is a reason you don’t know her.“We don’t do marketing,” Axel Dumas, the Hermès chief executive, said at the company’s show. “We don’t even have a marketing department.”Véronique Nichanian’s jaunty looks for Hermès whispered quiet luxury. Vianney Le Caer/Invision, via Associated PressWhy bother when you are producing jaunty collections for those people whose own initials are enough, as the old Bottega Veneta tagline once held. So-called quiet luxury generally tends to make a racket. Ms. Nichanian’s is a muffled version and whispers wealth.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Immigration, the economy, democracy and abortion rights: Here are the main ways each candidate is likely to slam the other at Thursday’s high-stakes confrontation.President Biden and former President Donald J. Trump have sparred for months on the campaign trail, in interviews with reporters and through paid advertisements, creating phantom likenesses of each other to thrash and tear down.On Thursday, they will confront each other at a CNN debate in Atlanta, their first face-to-face meeting since their last onstage clash in 2020 and since Mr. Trump tried to overturn Mr. Biden’s subsequent victory at the polls. The event will give both of them a rich opportunity to deploy their attack lines and policy arguments before a national audience.Here’s what we know about how each man will try to gain the upper hand.Trump’s main lines of attackSince he emerged as the presumptive Republican nominee, Mr. Trump and his campaign have focused on attacking Mr. Biden over immigration and the economy, which polls have found to be the top concerns for many voters.ImmigrationAs he did during his political rise in 2016, Mr. Trump has made immigration a central focus of his campaign. He is all but guaranteed to blame Mr. Biden for a surge in illegal border crossings, calling the president’s policies overly permissive.Mr. Trump claims that Mr. Biden’s approach to immigration has fueled violent crime — even though broader statistics do not bear that out — by citing several high-profile criminal cases that the authorities say involved immigrants in the United States illegally.And as he stokes fear around immigration and tries to push the issue to the center of the election, Mr. Trump has falsely cast all those crossing the border as violent criminals or mentally ill. (Families with children make up about 40 percent of all migrants who have entered the United States this year.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The European Court of Human Rights listed multiple violations. Its findings paint a grim picture of life under a decade of Russian occupation.The European Court of Human Rights ruled on Tuesday that Russia and its proxy security forces in Crimea have committed multiple human rights violations during its decade-long occupation of the former Ukrainian territory.In a case brought by the government of Ukraine, the court found evidence of the unlawful persecution and detention of those who criticized Russia’s annexation of Crimea in 2014, as well as the systemic repression of ethnic and religious minorities in Crimea. The evidence presented to the court painted a picture of a region under the tight grip of Moscow’s authoritarian control, where any criticism is harshly punished and accountability is nonexistent for the politically connected.Between 2014 and 2018, there have been 43 cases of enforced disappearances, with eight people still missing. The disappeared were mostly pro-Ukrainian activists and journalists, or members of Crimea’s Tatar ethnic minority, the court found. Investigations of the disappearances went nowhere, the court added in its judgment.Men and women were abducted by the Crimean self-defense forces, by Russian security forces or by agents of Russia’s Federal Security Service, or F.S.B. Those who were detained endured torture, like electrocution and mock executions, and were kept in inhumane conditions, particularly in the only pretrial detention center, in Simferopol.Russian authorities also transferred some 12,500 prisoners to penal colonies in Russia from Crimea. Ukrainian political prisoners in particular were transferred to distant prisons, making it near impossible for their families to reach them. The court ordered that Russia return these prisoners.Masked Russian soldiers guarding the Ukrainian military base in Perevalnoe, in the Crimea region of Ukraine, in 2014.Sergey Ponomarev for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Public employees in West Virginia who took the drugs lost weight and were healthier, and some are despondent that the state is canceling a program to help pay for them.Joanna Bailey, a family physician and obesity specialist, doesn’t want to tell her patients that they can’t take Wegovy, but she has gotten used to it.Around a quarter of the people she sees in her small clinic in Wyoming County would benefit from the weight-loss medications known as GLP-1s, which also include Ozempic, Zepbound and Mounjaro, she says. The drugs have helped some of them lose 15 to 20 percent of their weight. But most people in the area she serves don’t have insurance that covers the cost, and virtually no one can afford sticker prices of $1,000 to $1,400 a month.“Even my richest patients can’t afford it,” Dr. Bailey said. She then mentioned something that many doctors in West Virginia — among the poorest states in the country, with the highest prevalence of obesity, at 41 percent — say: “We’ve separated between the haves and the have-nots.”Such disparities sharpened in March when West Virginia’s Public Employees Insurance Agency, which pays most of the cost of prescription drugs for more than 75,000 teachers, municipal workers and other public employees and their families, canceled a pilot program to cover weight-loss drugs.Some private insurers help pay for medications to treat obesity, but most Medicaid programs do so only to manage diabetes, and Medicare covers Wegovy and Zepbound only when they are prescribed for heart problems.Over the past year, states have been trying, amid rising demand, to determine how far to extend coverage for public employees. Connecticut is on track to spend more than $35 million this year through a limited weight-loss coverage initiative. In January, North Carolina announced that it would stop paying for weight-loss medications after forking out $100 million for them in 2023 — 10 percent of its spending on prescription drugs.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The first wave of a 2,500-member international force sent to restore order in the gang-plagued Caribbean nation has arrived, but critics worry the plan will fail.Foreign law enforcement officers began arriving in Haiti on Tuesday, more than year and a half after the prime minister there issued a plea to other countries for help to stop the rampant gang violence that has upended the Caribbean nation.Since that appeal went out in October 2022, more than 7,500 people have been killed by violence — more than 2,500 people so far this year alone, the United Nations said.With the presidency vacant and a weakened national government, dozens of gangs took over much of the capital, Port-au-Prince, putting up roadblocks, kidnapping and killing civilians and attacking entire neighborhoods. About 200,000 people were forced out of their homes between March and May, according to the U.N.Now an initial group of 400 Kenyan police officers are arriving in Haiti to take on the gangs, an effort largely organized by the Biden administration. The Kenyans are the first to deploy of an expected 2,500-member force of international police officers and soldiers from eight countries.“You are undertaking a vital mission that transcends borders and cultures,” President William Ruto of Kenya told the officers on Monday. “Your presence in Haiti will bring hope and relief to communities torn apart by violence and ravaged by disorder.”The Kenyan officers are expected to tackle a long list of priorities, among them retaking control of the country’s main port, as well as freeing major highways from criminal groups that demand drivers for money.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The play will be produced by Second Stage, which is also planning an Off Broadway production of a two-character drama by Donald Margulies.“Cult of Love,” a play about a fractious holiday gathering of a Christian family, will come to Broadway this fall via Second Stage Theater, one of the four nonprofits with Broadway houses.The announcement on Tuesday is a further sign that the current season is shaping up to be a robust one for plays, which had been considered an endangered species on Broadway, but which seem to be proliferating as the economic climate for musicals worsens.“Cult of Love” is written by Leslye Headland, a creator of the Netflix series “Russian Doll” and the Disney+ series “The Acolyte.” She has also written and directed films including “Sleeping With Other People.”The play is scheduled to begin previews Nov. 20 and to open Dec. 12 at the Hayes Theater.“Cult of Love” is Headland’s final work in a series, called “Seven Deadly Plays,” that is inspired by the seven deadly sins; this one is about pride. The play was staged in 2018 at IAMA Theater Company in Los Angeles and there was a run early this year at Berkeley Repertory Theater in California. (A planned 2020 production at Williamstown Theater Festival in Massachusetts was canceled because of the pandemic.)The Broadway production, like the Berkeley production, will be directed by Trip Cullman. The play has 10 characters and casting has not been announced.Second Stage also said on Tuesday that it would stage an Off Broadway production of “Lunar Eclipse,” a two-character play by Donald Margulies (a Pulitzer winner for “Dinner With Friends”) that had a run last year at Shakespeare & Company in Lenox, Mass.The new production, directed by Kate Whoriskey, is to star Reed Birney (a Tony winner for “The Humans”) and Lisa Emery as a long-married couple. It is to begin previews Oct. 9 and to open Oct. 30 at the Tony Kiser Theater.“Lunar Eclipse” is expected to be Second Stage’s final production in that space, which the company is exiting at the end of the year, citing financial considerations. Second Stage expects to present its spring season at the Pershing Square Signature Center while it explores options for an Off Broadway home. More