This Week in The Voice: A Call To Harm


This week in the Voice, out today, Nick Pinto track’s the NYPD’s poor judgment with the mentally ill, recently culminating in the death of a schizophrenic woman, writing: “With a growing international consensus on the best practices for police interactions with the mentally ill — practices the NYPD has so far resisted adopting — the story of how Shereese Francis died once again raises the question of whether the NYPD is doing everything it can to train its officers on how to do the delicate work of serving New Yorkers with mental illness.”

Robert Sietsema dines at Ootoya, the “Denny’s of Japan,” and says of the mega-chain: “Ootoya is a type of restaurant called a teishoku. Partly aimed at shoppers, it specializes in set meals that include entrées plus sides that run to white rice, steamed pumpkin, potato salad, chawanmushi, assorted pickles, miso soup, and salads. These repasts, most costing from $15 to $22, constitute an amazing bargain considering the quantity and quality of the food.”

Maura Johnston explains why country star Kenny Chesney, gets Jimmy Buffett comparisons, “Partying, particularly in the summer, can be a full day’s work. No artist who has come up in recent years embodies this aesthetic better than Kenny Chesney…Chesney sings of time spent by the sea and happy hours; his tan is the bronze hue that implies lots of long days where ‘work’ amounts to little more than applying SPF 8 and turning over every 45 minutes or so.”

In film, Karina Longworth considers the casting in Cosmopolis, noting: “Boyishly lean, with a brooding angularity that suggests both high maintenance and nefarious vacancy, Robert Pattinson has managed to fill the role of a grade-A male sex symbol without ever evincing anything like carnal energy, to top the Hollywood A-list as a representative of the undead.”

Michael Feingold sees Stephen Sondheim’s subtle irony more than the deep emotion with Into the Woods, writing, “Sondheim’s devastating brilliance, at both lyrical wordplay and musical architecture, only intermittently invites the warmth that goes with the image of a parent telling a child a bedtime story, even a grisly cautionary tale. Built on astoundingly skillful expansions of small, often reiterated themes, the score sometimes seems to put up a brick wall of notes between us and the characters.”

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