Hasta La Gadget!

Brian says he has been living a parent’s worst nightmare since last July, when his teenage daughters, Sydney, 15, and Danielle, 14, vanished while visiting their mother, Michelle, for the summer. Two weeks later, Michelle also disappeared. Brian, who was granted full legal custody of the girls, says he believes his ex-wife is hiding them.

“I am absolutely convinced Michelle and her family know where the girls are,” Brian says. “They are responsible for their disappearance,” an allegation her family denies.

Brian’s oldest daughter, Brittany, 19, says she believes her sisters ran away so they wouldn’t have to live with their dad, who she claims is overbearing, controlling and abusive. “I thought it was normal to be afraid of my dad,” says Brittany, who hasn’t seen her father in a year. “It was like living with a ticking time bomb.”

No one has seen Sydney or Danielle since July 9, 2014, but a few videos of the teens have surfaced. Dr. Phil tells Brian that a new video of the teens was received by the Dr. Phil show. Watch it above, and see Brian’s reaction.

On Dr. Phil on Monday, Dr. Phil looks back at what the court reports say about Brian and Michelle during the custody dispute. Could that offer any clues into the teens’ disappearance? Click here to see more from this show.

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We got what you need on a Monday: Rowlf from “The Muppets” appears to perform Biz Markie’s 1989 crossover hit “Just A Friend” in this great new video mashup.

The clip was posted on YouTube by isthishowyougoviral (a.k.a. Mylo the Cat). Last year, the same account gave the world the now-classic Muppets-Beastie Boys mashup of “So What’cha Want.”

Time-traveling through memory: poet Flora Crew (Brenda Meaney) in the 1930s, sister Eleanor (Roberta Maxwell) with her letters in the ’80s.
Photos by Kevin Berne

No one should be surprised when any theatrical canvas painted by Tom Stoppard is enormous: In Indian Ink, he outdid himself, perhaps too ambitiously.

In close to three hours, the play skips between the early 1930s and the ’80s, debates nuances of colonialism and revolution, contrasts aspects of arrogance and subservience between cultures and classes, glances at issues of literary scholarship and especially biography, and does it all against a background of cross-cultural liaisons in an era when such connections were virtually unthinkable.

And, although Indian Ink was written in the ’90s, it even contains a painfully timely reminder of a historic disaster that befell the world’s greatest military power. That power was Great Britain; the year was 1842; the place was Afghanistan.

The play received its American premiere in ACT’s Geary Theater in 1999 under the direction of Carey Perloff, the company’s artistic director. Now it’s back in the same venue, with the same director, in a slightly revised version that has its premiere at Roundabout Theater in New York last fall. It’s visually beautiful and frequently tender but too often marred by characterizations and images that slip into caricature.

Much of the action takes place in memory, drawn from letters written in the ’30s by the British poet Flora Crewe to her sister Eleanor, who preserved them through the decades. She has unearthed them at the insistent request of an American scholar who recently published a volume of Flora’s verse and hopes to follow with a volume of her letters, possibly sprinkled with hints of scandal.

But Eleanor (Roberta Maxwell, who evolves expertly from cynicism to warmth and sympathy) and the scholar (Anthony Fusco, who bristles with stagy excess), serve only to provide a starting point for the drama.

The stories that matter involve Flora’s evolving bonds with Indian painter Nirad Das in the ’30s and Eleanor’s changing relationship with the painter’s son, Anish, some five decades later.

The meeting between Flora (a radiant Brenda Meaney) and the painter (Firdous Bamji, blending charm with awkwardness) takes place in a city called Jummapar, where English aristocrats play polo and enjoy lavish balls while most of the locals treat them with obsequious deference. The relationships among Indians, as sketched by Stoppard and Perloff, are far harsher and dependent on social status.

Flora’s arrival in India merits protection from the scorching
sun, via parasol provided by Ajay Naidu.

Flora, a minor celebrity with ties to the famed Bloomsbury Group of artists and intellectuals, has traveled to Jummapur in part to lecture about literary England and in larger part for her health. She is a very sick young woman, though capable of disguising her illness most of the time. India’s warmer climate, she hopes, will prove therapeutic.

Painter Nirad, who is enraptured by virtually all things British, sketches Flora at a public lecture then approaches her in hopes of painting her portrait. When she agrees, with some reluctance, bonds slowly develop. Although he harbors revolutionary dreams of Indian independence, their personal chemistry outweighs political issues. Still, it would be an overstatement to call their rapport romantic.

She is far more responsive to the entreaties of a dashing British officer (Philip Mills) and naively susceptible to the overtures of a bejeweled prince (a too-transparently lecherous Rajeev Varma), but in times of need it is Nirad who comes to her aid.

Five decades later, Eleanor still mirrors many of the condescending attitudes of British colonials when she is approached by Nirad’s son, Anish. His reason for calling is a picture he has seen in the new volume of Flora’s poetry; he believes it was painted by his father, and dearly hopes that Eleanor has it and will show it to him. Her initial response is chilly and its evolution from hostility to friendship is dramatically conventional. But it works, with emotion.

Where Indian Ink sags most visibly is in its focus on the peripatetic literary scholar, following him from England to a modern India, bristling with rock sounds, neon gaudiness and boorish tourists. Travel never raises him or many of the characters with whom he interacts to a level that rises above parody.

Neil Patel’s fluid and versatile sets, along with Robert Wierzel’s lighting and Dan Moses Schreier’s music, contribute hugely to the show’s moods, from the cool to the mysterious to the opulent and erotic.

Indian Ink covers much of the same thematic ground as Stoppard’s masterful Arcadia, which criss-crossed centuries and intellectual pursuits with clarity and heart. That said, it is a play that only Stoppard could have written, and no small achievement.

Indian Ink runs through Feb. 8 in American Conservatory Theater’s Geary Theater, 415 Geary St., San Francisco. Tickets cst $20-$120, from 415-749-2228 or act-sf.org.

I always expected to travel to the Indian sub-continent, the home of my ethnic origins for my first time overseas; however, I heard about a unique opportunity through a friend earlier this school year — a paid trip to the state of Israel.

This last winter break, I packed my bags for the Holy Land. With a group of 37 other college students, I would soon participate in an educational tour of the country hosted by The David Project.

Before my travels, I desired a few things from the trip: to observe and witness an accurate portrait of the nation, explore my own connection to the land, and discover opportunities and room for harmony. After my return to the US, I recognized that I identified a spiritual connection, a role model, and a vision for peace.

Upon arriving in Tel Aviv, Israel, I sensed familiarity. The air smelled and felt too, like Southern California. It was here that we were told that Israel is full of 7 million different opinions. After our time in Tel Aviv, we traveled to the West Bank then to the Arab town of Barta’a. Along the way, we unearthed Israel’s nuance and complexity. The landscape shifted continuously, our cameras in hand.

Later, we made our way up north to the Sea of Galilee and paid close attention to Jesus’s lessons of detachment, forgiveness, and love. Moving further north, we traveled to Golan Heights, close to the Syrian Border. An Israeli hospital for Syrian Civil War victims neared us. Subsequently, we traveled through the Jordan Valley, passing through Jericho, the oldest surviving city in the world and then to the Dead Sea, the lowest point on Earth. For the last days of the trip, we explored the city of Jerusalem. Here, I gained the most insight.

Jerusalem is home to the Western Wall, The Church of the Holy Sepulcher, and The Dome of the Rock. Religious coexistence decorates the city’s skyline. On a Friday after the late afternoon prayer, I visited Haram-al-Sharif — the home of both the Dome of the Rock and Mosque -al-Aqsa. I walked towards the holy site, the dome rising like the sun. Upon entering, I felt as if I had been there before. Engaging mind, body, and soul, I prayed in the third most holy place according to Islamic tradition. I then viewed the rock, where Prophet Mohammad is believed to have ascended into heaven to meet with God and in Judaism, where Abraham intentioned to sacrifice his son Isaac. I had anticipated this moment and there I was.

Later that day, our group visited the Western Wall on Shabbat. A scene of celebration and community enchanted us all. From having a special individual experience at Haram-al-Sharif and then transitioning to a rich, community-based, and celebratory experience at The Kotel, I embarked on a unique spiritual ride. A beautiful pairing of Islam and Judaism, I thought.

Clearly, I had discovered a profound divine connection. I was further reminded of religious coexistence when I traveled to both the Dome of the Rock and The Western Wall on the same day. I recognized how important Muslims’ place is within the Holy Land along with its monotheistic relatives. Additionally, I witnessed people of all faiths and backgrounds discovering a connection. After finding spirituality within the Old City, we would later meet with an individual who soon became a role model of mine.

For dinner one night, our group met with Forsan Hussein. Hussein, a Muslim, was once Chief Executive Operator of the Young Men’s Christian Association in Jerusalem. During our visit with him, Hussein spoke of peace, solution, and hope. Breaking down the conflict to the simplest terms, he described Israel’s objective of security and the Palestinian struggle for freedom. He stated that these were their main goals — different, yet each goal interdependent on the other. For the first time, I heard the conflict described in these terms. Israel and Palestine depend on each other.

Moreover, Hussein stated his identity. He is a Palestinian-Israeli, he told us. He hopes to maintain his Palestinian culture yet he very much so considers himself an Israeli citizen. Hussein described how Jewish values are values he shares. I too, feel this way. A Jewish state is by all means capable of meeting the demands of its diverse inhabitants. However, as Hussein stated, things need to change. More needs to be done in integrating Palestinians in a Jewish state.

Transformations must transpire on both sides. Hussein explained how education could repair ideas that each group has about the other. Coupled with education, interaction between both groups ought to take place. When you have not seen the other, do not know the other, the situation polarizes and hardens. Fortunately, education is firmly rooted in both Judaism and Islam. In addition, interaction and being kind to one’s neighbor is entwined in both faiths as well.

I had found my role model. Hussein’s talk paralleled many of my own thoughts. Within his talk, Hussein displayed strength, eloquence, and strategy. It was then I asked him what keeps him motivated. He always remembers his father who always worked hard, struggling. Today, his son Adam motivates him. I realized that we all should remain motivated and hopeful. We must imagine what peace would look like.

For our last day in Jerusalem, we explored Hadassah Hospital where I contemplated a future of peace and unity. As we arrived, we were told the only enemy of the hospital’s is disease. Again, I was reminded of shared Jewish and Muslims values. I recalled talking to my Jewish friend Lea and how we once discussed both of our father’s passion for medicine, treatment, and care for others.

Within the hospital, Jews and Arabs work side by side — equal opportunity for all. The hospital was a microcosm of what I hope Israel will strive to become. I hope to see Israel’s democracy in full health. Additionally, in the future, I look forward to a Palestinian state resembling this same concept accompanied by strong and just leadership committed to peace. I desire to see the acceptance of Arabs in a Jewish-State and the acceptance of Jews in a Palestinian State.

At Hadassah Hospital, patients heal. Similarly, the conflict too can heal. It was here where I envisioned what peace would look like. Meanwhile, I await the cure.

On my trip, I felt a spiritual connection, met my role model, and conceptualized a future of harmony. I saw Israel as Israel, with all its nuance and complexity. With my return, I hope to share my spiritual connection experienced there, the importance of education and interaction, and that peace is possible.

In the meantime in Israel and Palestine, the healing process must begin. After a brutal and disastrous summer of war, Gaza must heal. War-traumatized Israeli soldiers must recover. Hatred and violence that has surged across the region has not brought about plans for peace nor negotiations. Clearly, other tactics must be employed. Creative solutions need to be sought while remembering our commonalties.

During my time in Israel, I refused to accept that our values are different, that peace is not possible. I witnessed the similarities of our values and the compatibility of our nature. We must relinquish fear and retain hope. In doing so, coexistence is near.

Thank you to all at the David Project for giving me this special opportunity.

HONG KONG (AP) — Malaysia Airlines officials were struggling Monday to restore the embattled carrier’s website after it was hacked by a group proclaiming support for Islamic State group.

The airline’s site was changed, at first with a message saying “404 – Plane Not Found” and that it was “Hacked by Cyber Caliphate.” The browser tab for the website said “ISIS will prevail.” Malaysian Airlines is trying to recover from twin disasters last year, including the disappearance of Flight 370, which authorities believed crashed 1,800 kilometers (1,100 miles) off Australia’s west coast.

The website was later changed to a picture of a lizard, with the ISIS reference removed and the claim of responsibility changed to “Lizard Squad – Official Cyber Caliphate.”

The Lizard Squad group last year claimed it was behind attacks on Sony’s online PlayStation network and Microsoft’s Xbox site.

In August, it also tweeted to American Airlines that there might be explosives on a plane carrying the president of Sony Online Entertainment, which makes video games, forcing the flight to be diverted.

Malaysia Airlines said in a statement that its domain name system was “compromised” and users were being redirected to the hacker group’s website. It said it will take up to 22 hours to restore the website.