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Justice Ketanji Brown Jackson, a longtime theater lover, makes her Broadway debut

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Justice Ketanji Brown Jackson, a longtime theater lover, makes her Broadway debut

Ketanji Brown Jackson, pictured in September, fulfilled a longtime dream by making a cameo in a Broadway musical this weekend.

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Supreme Court Justice Ketanji Brown Jackson made her Broadway debut this weekend. She also made history as the first member of the nation’s highest court to grace its storied stage, according to the production that invited her.

Jackson appeared in a one-night-only walk-on role on Saturday night in the Tony-nominated romantic comedy musical & Juliet, a modern take on Shakespeare’s tragedy that imagines what would have happened if the female protagonist survived and took control of her own life.

The show announced Jackson’s performance several days in advance, writing on Instagram that the justice would also participate in a talkback with the audience afterward. Jackson also spoke about it on Saturday’s episode of NPR’s Wait Wait … Don’t Tell Me, recorded in New York City hours before she took the stage.

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“They have invited me to do a special walk-on role that I’m told they wrote for me,” she said. “So I’m very excited.”

Later, & Juliet posted behind-the-scenes footage on social media showing Jackson rehearsing songs and choreography, getting her hair and makeup done and trying on her monochromatic teal costume featuring baggy jeans, a tunic and a corset.

It also captures the moment when a cast member brings Jackson onstage, at the Stephen Sondheim Theatre, introducing her by name as the night’s “very special guest.” Jackson ran onto the stage — and later took her final bows — to roars of applause.

“I did it!” Jackson exclaims at the end of the video. “I made it to Broadway.”

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Jackson has long been open about her “unabashed love of theater,” as she called it in her 2024 memoir Lovely One. She illustrated it further by singing a few lines from The Wiz and Schoolhouse Rock during an interview on her book tour this fall.

In the memoir, Jackson describes writing in her application to Harvard University — where she earned her undergraduate and law degrees — that “I wished to attend Harvard as I believed it might help me ‘to fulfill my fantasy of becoming the first Black, female Supreme Court justice to appear on a Broadway stage.’ “

Jackson went on to pursue theater during her time at Harvard, including performing in a production of Little Shop of Horrors (alongside frequent Wait Wait panelist Mo Rocca). She also took a drama class in which she was once a scene partner with future Academy Award-winner Matt Damon, as she recalled in the Wait Wait interview.

“We did the scene, and it was some play that didn’t have a whole lot of action like Waiting For Godot or something, where you’re just sitting on the stage,” she said. “But at the end, the professor said, ‘Oh, Ketanji, you were so good. Matt, we’ll talk.’ “

Jackson became the first Black woman to serve on the U.S. Supreme Court after she was nominated by President Biden and confirmed by the Senate in 2022.

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It took just two more years to make the rest of her fantasy a reality.

“I got a call, and someone said, ‘We heard that this was your lifelong dream,’ ” Jackson told NPR. “And it is — to be a Broadway performer and a justice.”

Jackson isn’t the only Supreme Court justice with a passion for the performing arts.

The late justices Antonin Scalia and Ruth Bader Ginsburg, ideological opposites, famously bonded over their love for opera — a friendship that inspired a comic opera in 2015. One year later, at age 83, Ginsburg made her onstage debut (with a speaking role) in a one-night-only cameo as the Duchess of Krakenthorp in a Washington National Opera performance of The Daughter of the Regiment.

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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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