When her husband has a mental breakdown and goes missing, a determined woman and her young son set out to find him on the streets, sparking a movement of compassion towards those in need and inspiring a city.
Confined to a claustrophobic hotel room, the heir to a hotel empire and the dominatrix who has primed him for success become locked in a battle of wits and wills as he tries to end his relationship with her.
Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story follows three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with Kelli O’Hara and Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.
A hired hitman is in the crosshairs when rival contract killers come gunning for him. For hired hitman John Smith, his directive is straightforward: seek, locate, and terminate. But rival assassins have him in their sights as they track and target each other and aim for their latest assignment – take out a hacker who threatens to expose the malicious criminality of a conglomerate head.
In custody in New York, Detective James Knight finds himself in the middle of a jailbreak led by The Christmas Bomber, a brutal fanatic whose Santa Claus disciples are terrorizing the city. With the promised return of his badge in exchange for taking out the terrorists, the steely-eyed Knight doles out mercy for the just...and merciless justice for all the rest.
Sasha, Pasha and Lesha meet at a therapy course for men traumatized by women. Yes, there are some, because in the world of strong women, many men have lost themselves. But our heroes do not want to be victims, they decide to "go on the warpath" and restore justice. One problem - they are still slobs.
Anna is 60 and her acting heyday is now behind her. She lives on her own but has a friend and confidant in her downstairs neighbour Michel, who is also single. Reluctantly, Anna accepts a job as a language coach for 17-year-old Adrian who has a speech impediment and is something of a misfit. She recognises him as the boy who recently snatched her handbag in the street.