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In 'A Real Pain,' Jewish cousins tour Poland, cracking jokes and confronting the past

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In 'A Real Pain,' Jewish cousins tour Poland, cracking jokes and confronting the past

Cousins Benji (Kieran Culkin) and David (Jesse Eisenberg) tour through Poland to honor their beloved grandmother in A Real Pain.

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We live in an era of ceaseless, shocking normalization. Things that were once thought beyond the pale — today’s political discourse, say, or TV ads for ED — are now accepted as routine. These days, it no longer seems bizarre that there’s an industry devoted to taking tourists to Holocaust sites — with fancy food and hotels as part of the package.

One person who clearly finds this kind of tourism odd is Jesse Eisenberg. Indeed, such a tour forms the spine of A Real Pain, a quietly thrilling movie that he wrote, directed and co-stars in. Following two cousins on a Jewish heritage tour of Poland, Eisenberg uses this cockeyed version of a road movie to tell a funny, moving, casually profound story about family, friendship, the weight of the Jewish past, the weight of everyone’s past and the different ways one deals with suffering.

Eisenberg plays David Kaplan, a prosperous, married ad salesman who is taking this Polish tour with his cousin Benji — that’s Kieran Culkin — a wounded soul with whom he was once quite close. They plan to end their trip by visiting the hometown of their recently deceased grandmother who escaped one of the camps. But first, under the eyes of a well-meaning gentile British guide — an excellent Will Sharpe — they join a small group that includes a melancholy divorcee played by Jennifer Grey, and a Tutsi survivor of the Rwandan genocide — that’s Kurt Egyiawan — who has converted to Judaism.

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As the group visits graveyards and memorials, heading toward the Majdanek death camp, David and Benji josh around, kvetch, reminisce about the past, smoke weed on Warsaw rooftops and try to figure out a relationship that’s changed over the years. Where Eisenberg’s David is stressed and responsible, Culkin’s Benji has a sort of Lenny-Bruce style manic depression — he can get everyone laughing with his sunny, profane directness, then thunderclap into emotional darkness. David envies Benji for his truth-telling panache. Benji envies David for having a wife and son to love him.

A Real Pain is an almost perfect little film, whose tiny flaws make it more human — it’s never preeningly artful. But artful it is, sharply written and directed with a delicate feel for ambivalence and ambiguity; there’s no cheap emotion in it. The scene when Benji and David reach their grandmother’s house is a gem of shifting emotional and historical overtones.

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And the stars are just terrific, playing nifty riffs on two familiar types. Eisenberg shines as an anxious good guy who, caught up in work and his own head, has trouble seeing and emotionally engaging with those who are unhappy, partly because they make him feel guilty. Although David may actually learn more on their trip than his cousin, Benji is the flashier part and Eisenberg generously gives it to his co-star.

As his Roman Roy in Succession made clear, Culkin knows how to make us enjoy, and have sympathy for, the pinball-machine flamboyance of damaged men. His Benji may be mired in emotional distress, yet he still sees the sadness behind other people’s eyes and refuses to pretend it’s not there. Even as he leads the group to pose comically on the memorial to the Warsaw Ghetto — David keeps an uneasily respectful distance — Benji’s also the tour member who explodes when they travel first class on a Polish train, given the meaning of trains in Jewish history. “People can’t go around being happy all the time,” he snaps.

Although it’s filled with great jokes, A Real Pain tackles something big and hard. It explores how we confront pain, an inescapable reality that ranges from the epic horror of industrial murder that guts David and Benji at the death camp, to personal losses that are no less real because they aren’t as historically vast as the Holocaust.

With the lightest of touches, Eisenberg’s stunning film got me thinking about the different ways we deal with suffering, both past and present. Should we simply “get on with life,” as David seems to, or should we take that pain into ourselves, as does Benji? Or is there a way to somehow do both?

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‘How to Rule the World’ explores education and power at Stanford University

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‘How to Rule the World’ explores education and power at Stanford University

Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.

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When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.

Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.

Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.

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He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.

In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.

We reached out to Stanford University for comment and have not heard back.

Listen to the interview by clicking play on the blue box above.

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OTB Takes Full Control of Viktor & Rolf

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OTB Takes Full Control of Viktor & Rolf
The Italian fashion group behind Diesel and Maison Margiela is taking full ownership of the avant-garde haute couture house, acquiring the remaining 30 percent it didn’t already own. Founders Viktor Horsting and Rolf Snoeren remain creative directors.
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How having zero points in tennis — or ‘love’ — came to sound so sweet

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How having zero points in tennis — or ‘love’ — came to sound so sweet

The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.

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Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.

As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.

“Love” comes from the heart — or an egg?

It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

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But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.

“By and large, the original system has held up almost entirely,” Flink said.

The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.

Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.

The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.

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It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.

“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.

To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.

But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.

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“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.

“Love” probably isn’t going anywhere

Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.

“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”

There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.

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But “love” still prevails.

“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”

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