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Karla Sofía Gascón says life as a trans woman informed her role in 'Emilia Pérez'

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Karla Sofía Gascón says life as a trans woman informed her role in 'Emilia Pérez'

Karla Sofía Gascón plays the title role in Jacques Audiard’s film Emilia Pérez.

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Karla Sofia Gascón is living the time of her life. She plays the title role in the new film Emilia Pérez, the world’s first Mexican cartel musical focusing on a trans woman, out now in U.S. theaters and streaming on Netflix starting Wednesday. It’s an audacious cinematic experience unlike any other, dreamed up by renegade French director Jacques Audiard (Rust and Bone, A Prophet, The Beat That My Heart Skipped).

Gascón became the first trans actress to win a major prize at the Cannes Film Festival with the Best Actress Award, which she shared with the movie’s other female leads — Selena Gomez, Adriana Paz and Zoe Saldaña. The feature also scored the Jury Prize following an 11-minute standing ovation. And there are now Oscar nomination whispers for Gascón.

When we first meet Gascón’s character, she is known as “Manitas” del Monte, a Mexican cartel leader who rules by fear and deadly force. But Manitas reveals to a lawyer (Saldaña) that she wants to undergo gender-affirming surgery and to live as her true self, as a woman. The cartel leader fakes her death and moves to London, emerging four years later as Emilia Pérez.

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Gascón, who herself transitioned in 2018, insisted on playing both parts of the role. Audiard had initially intended for Manitas and Emilia to be played by two different actors.

“This just simply would not have been the same if you had had two different actors, an actor and an actress, a trans actor with a cis actress or cis actor,” Gascón told NPR’s A Martínez. “This was an opportunity and I pushed for it because this was something that had never been done … and this was perfectly constructed.”

Selena Gomez, center, lets loose as Jessi, the wife of a drug lord known as

Selena Gomez, center, lets loose as Jessi, the wife of a drug lord known as “Manitas” in Jacques Audiard’s Emilia Pérez.

Page 114, Why Not Productions, Pathé Films, France 2 Cinéma

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Gascón, who is Spanish and lives in Mexico, had direct input into some of the scenes, which Paris-born Audiard changed as a result — despite the two not sharing a common language.

In one specific case, a scene was originally written to show Emilia exploding into physical violence against Manitas’ one-time wife Jessi (Gomez). But after input from Gascón, the scene was changed into simply an emotional fury.

Gascón describes the role as a character study of “the good and the bad” or “the light and the dark” that lives in all human beings.

French director Jacques Audiard, seen here on the set of Emilia Pérez, has blended genres and pushed creative boundaries throughout his film career.

French director Jacques Audiard, seen here on the set of Emilia Pérez, has blended genres and pushed creative boundaries in his film career.

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The film similarly takes the audience on a journey from the depths of reckless violence to comedy — like a musical number (choreographed by Damien Jalet) set in a Thai plastic surgery facility where the patients on gurneys are sent twirling in concentric circles over explanations of “Mammoplasty! Vaginoplasty! Rhinoplasty!”

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There are moments of delicate tenderness, such as one between Emilia and a child that evokes Michelangelo’s Pietà sculpture of Jesus and Mary.

Other scenes reach a philosophical plane, such as when Saldaña tells an Israeli surgeon: “Changing the body changes society.” It comes as little surprise, then, that Audiard had initially imagined the story as an opera libretto (based on Boris Razon’s 2018 novel Écoute, or Listen).

Zoe Saldaña's character Rita Moro Castro (left) meets her one-time client for the first time as Emilia Pérez (right) in Jacques Audiard's eponymous film

Zoe Saldaña’s character Rita Moro Castro (left) meets her one-time client for the first time as Emilia Pérez (right).

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Manitas “was trying to survive and could not be herself in the world that she had to live in,” Gascón said. “So she had to pretend in order to survive. And that is something that we humans often do. We try to please others, but we are not living our own life. We’re not living for ourselves.”

That experience of losing yourself in a spurious identity is painfully familiar to Gascón, who recalls someone close to her abandoning her as she was transitioning. “In my case, I had to choose to live my own life. And in order to do that, I had to get out of the darkness … [I was] in this deep hole, lost and even wanting to leave this Earth,” she recalled.

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Gascón says she brings her characters to life through what she has lived. “Without having been through misfortunes and the hardships of life, we cannot bring that on to a role,” she said. “Had I gotten this role about 20 years ago, I don’t think that that would have been able to give it the same depth that I’m giving it now at 52.”

In a memorable musical and dance number, lawyer Rita Moro Castro (Zoe Saldaña) calls out the corruption of business and political leaders in Jacques Audiard's Emilia Pérez

In a musical and dance number, lawyer Rita Moro Castro (Zoe Saldaña) calls out the corruption of business and political leaders.

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In the film, her character’s physical transition is accompanied by a moral one, with Emilia launching a restorative justice charity that helps the families of cartel victims, including those once targeted by Manitas. She also falls in love.

“We cannot redeem, fix or undo our past sins. But what we can do is we can do things better,” Gascón said. “That’s the real message of the movie.”

Anticipating the millions of people who might see the film, Gascón spoke of a “social responsibility” that accompanies her role. “I would like to see this as a grain of sand to help marginalized communities to become less marginalized, to be able to be part of society regardless of your sexuality, your skin color,” she said. “It’s ridiculous that I’m the first, but at the same time wonderful.”

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The digital version of this story was edited by Adriana Gallardo and Olivia Hampton. It was produced by Claire Murashima. The digital version was edited by James Doubek.

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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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Kirsty Wigglesworth/AP

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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