Lifestyle
Should you vote your feelings? A traveling play helps audiences think that through
In Fight Night, audiences are given a device which lets them vote multiple times.
Michiel Devijver/Ontroerend Goed
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Michiel Devijver/Ontroerend Goed
Fight Night begins with a sinister host emerging from the shadows of a set resembling a boxing ring. “Friends, voters, audience, lend me your ear,” he intones, evoking a much older play about the perils of picking leaders.
Five actors materialize. Or rather, candidates. One is a young Black woman with stylish, scarlet hair that matches her turtleneck sweater. One is a middle-aged white man, short and grumpy. Another white man is Kennedy-handsome, tailored and lean. A white woman wears a surprisingly short skirt and a semi-transparent blouse. A Black man with long dreads smiles cheerfully. Over the course of the next 90 minutes, they appeal to audience members to choose them.
Each audience member is given a small device that allows them to anonymously vote for the candidates in different rounds and answer questions that range from age, to income, to qualities most valued in a leader.
Fight Night premiered to great acclaim at the Edinburgh Fringe Festival in 2013. It’s toured the world since then, with performances in the Netherlands, Switzerland, Russia, Australia and Hong Kong. The current U.S. tour includes upcoming stops in Durham, N.C., Minneapolis and Santa Barbara, Calif.
Angelo Tijssens plays the sinister emcee and is part of the Belgian theater group Ontroerend Goed. The group created this show, under the direction of Alexander Devriendt, after a real-life political crisis that paralyzed the country.
“We spent 541 days without a federal government in Belgium,” Tijssens told NPR. In 2007, a right-wing Flemish politician named Bart De Wever won a popular TV quiz show called The Smartest Person in the World and became unexpectedly powerful. Forming coalitions turned out to be nearly impossible for a period during De Wever’s rise.
Tijssens and Devriendt became fascinated by entertainment’s influence on democracy. “And as humans always do, thinking that this was very specific to this point in history, we started reading and found out it wasn’t,” Tijssens said. “The Greeks had already written about the dangers of politicians being too popular.”
They decided to create an ambitious show about democracy in general, rather than about specific issues, such as housing, or social reform, “or climate, or abortion rights, or everything else I’d really like to talk or even shout about,” Tijssens said. “But just about – how does the system work, and how easy it is to be influenced.”
Like theater, he pointed out, democracy needs people to show up in person.
In Fight Night, there’s a frisson to being manipulated by the actors, whose speeches are purposefully vague. “I certainly hope daredevils vote for me,” says one earnestly. “Those who dare to dream big. Because that’s what we need in this society.”
“I think of all voters equally,” announces another. “You may disagree with me but that’s okay, because I want to talk to all of you. Tonight, it’s the majority that determines how this evening goes.”
At one recent performance in Ann Arbor, Mich., the rowdy crowd was primarily made up of students (61% between the ages of 18 and 24, according to the data supplied by the devices.) The audience cheered and groaned and whistled as candidates gave their speeches.
Outside the theater, tables were set up, encouraging people to register to vote in the upcoming, real-life election. The program noted that the performance had been updated “to correspond to the changing political climate,” but Tijssens said the themes of the show are as old as western theater traditions and democracy, dating back to the ancient Greeks.
“It’s been there all the time,” he noted. “So it didn’t really have to change a lot. I think the show can still go on for another – but I’m being very modest now – 20 centuries.”
Edited for radio and the web by Jennifer Vanasco. Produced for the web by Beth Novey. Produced for radio by Chloee Weiner.
Lifestyle
‘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.
Ben Margot/AP
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Ben Margot/AP
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.
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.
Lifestyle
OTB Takes Full Control of Viktor & Rolf
Lifestyle
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.
Kirsty Wigglesworth/AP
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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.

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.
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.
“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.
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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