Anderson

They were two killings that rocked the rap world.

In 1996, Tupac Shakur was gunned down off the Las Vegas Strip. Then, less than a year later, Christopher Wallace, aka Biggie Smalls or the Notorious B.I.G., was killed in a drive-by shooting in front of the Petersen Automotive Museum on Wilshire Boulevard.

The two killings have long been tied together in popular culture.

Now, a detective says the investigation into Wallace’s death helped lead police to the suspect on trial in Las Vegas in Shakur’s slaying.

Duane “Keffe D” Davis, a onetime Compton gang member, is accused of orchestrating the Sept. 7, 1996, killing of Shakur. Prosecutors say the killing was rooted in a war between Southside Crips-Burris Street, led by Davis, and Mob Piru, a gang long associated with Death Row Records. Shakur was closely affiliated with the record company.

Authorities say Davis was in the car with his nephew, who grabbed the murder weapon and fired the fatal bullet.

On Wednesday, former LAPD Homicide Det. Daryn Dupree said Davis set out his role in Shakur’s killing in detail in 2008 to a joint LAPD federal task force that was formed to investigate Wallace’s murder.

To force Davis’ cooperation, Dupree said investigators gathered evidence that Davis, now 63, had sold a large quantity of PCP through his home, exposing him to a potential life sentence and leaving his family open to charges.

The task force questioned Davis about a car he owned that was similar to the one used in Wallace’s L.A. killing. Davis was given a proffer agreement, according to Dupree, meaning he agreed to provide information in exchange for possible benefit.

Davis said he knew about the Smalls shooting and then indicated, “we did the other one,” Dupree testified. That statement, he said, shifted investigators’ focus to the Shakur killing.

“We were talking about Christopher Wallace,” Dupree said. “We didn’t ask him any questions about Tupac. He offered that on his own.”

In a second interview, Dupree testified Davis stated that his nephew Orlando Anderson had been jumped, spurring Davis and cohorts on a hunt for revenge against Shakur.

The attack on Anderson occurred at a Mike Tyson fight earlier on the night of Sept. 7 in Las Vegas, according to Clark County prosecutors. Earlier in the trial, video was shown of Shakur’s entourage attacking Anderson, allegedly in retaliation over a chain that Anderson had previously stolen.

“They went looking for Tupac, Suge and anybody who was involved basically in the beatdown of Mr. Anderson,” Dupree said. Death Row Records boss Marion “Suge” Knight was in the car with Shakur the night he was killed.

When they found Shakur, the former detective testified, Davis “had the gun at first, but they came up on the passenger side,” where Knight was seated, “so he could not shoot across the driver. So he handed a gun to Dre in the back seat.” Deandre “Big Dre” Smith was among those in the white Cadillac in addition to Davis and Anderson.

“Davis said Deandre Smith was afraid to shoot,” Dupree testified, so “Anderson grabbed the gun and shot across Mr. Smith into Mr. Knight’s car.”

Davis told the task force they used a .40-caliber handgun, according to testimony.

Prosecutors said they would begin playing all five hours of the interviews to jurors on Thursday.

Dupree said Davis was signed up as a confidential informant in March 2009. He said Las Vegas police were not aware of the secret conversations at the time.

Dupree testified that Davis told investigators that former rapper and music mogul Sean “Diddy” Combs had been involved in targeting Shakur and Knight through East Coast drug dealer Eric “Von Zip” Martin.

He testified that Davis pledged to rekindle his relationship with Martin to gather evidence. But Martin had cancer, and that was not possible, Dupree said. Martin died in 2012.

Combs was never connected to the Shakur case and has denied ever being involved. Others have questioned Davis’ credibility on this and other points.

The Times in 2008 published a story suggesting a Combs link to Shakur’s killing. But it later retracted the story, saying it was based on documents that appeared to have been forged.

Prosecutors in Davis’ trial say the motive was straight revenge for the beating of Anderson, and that Martin allegedly gave Davis a gun. But they have made no allegations against Combs, who has long denied any role or connection to Shakur’s killing.

Michael Sanft, Davis’ defense attorney, told jurors in opening statements there would be no evidence linking his client to the shooting. Sanft noted that previous investigations did not take his client’s statements seriously because they were not credible. The defense attorney, in an unusual move, repeatedly undermined his own client’s credibility, saying Davis’ memoir, “Compton Street Legend,” where he talks about the Shakur killing, was a work of fiction for money and his client wasn’t in Las Vegas.

Under cross-examination, Dupree said Davis faced a life sentence in the PCP case and that his wife and family were in jeopardy because of it, so he needed to help authorities.

He said that LAPD Det. Greg Kading, the task force leader, left the department after investigating the Shakur and Smalls cases and published a book in 2011 that revealed Davis’ interview.

Dupree said the task force was trying to determine if money was really offered to kill Shakur. He said they were trying to build a racketeering case. “This is trying to solidify that Death Row Records was built on narcotics and Bad Boy Records.”

Dupree said he personally did not doubt Davis when he talked about Anderson killing Shakur.

“I knew he loved his nephew.”

For all the notoriety of the rapper killings, neither has yet led to convictions.

Wallace was leaving a music industry party at the Petersen Automotive Museum on March 9, 1997, sitting in the front passenger seat of a Chevrolet Suburban, when his killer pulled up alongside in a dark Chevy Impala.

As the SUV idled at a stoplight, the gunman opened fire, hitting the 24-year-old four times. He was rushed to Cedars-Sinai Medical Center, where he was pronounced dead shortly after 1 a.m.

From the beginning, police said they struggled to get leads and cooperation.

As The Times reported back in 1997, “although more than 1,000 people were said to be at the party, police said they had few eyewitnesses and even fewer solid leads … Detectives said they are investigating whether Wallace’s death is linked to bicoastal tensions within the rap world, but had nothing solid to go on.”

Despite many theories and a long LAPD investigation, the case remains unsolved.

There have been numerous books, documentaries and civil litigation that make allegations, but police said they could never build a case.

In 2017, an LAPD detective told The Times: “The shooter is most likely dead. You cannot ask him who paid him.”

Nearly 30 years after Tupac Shakur was gunned down near the Las Vegas Strip in a killing that rocked the rap world, the trial of the man prosecutors allege did everything but pull the trigger got underway Monday with new revelations.

Nevada prosecutors allege Duane “Keffe D” Davis, a one-time Compton gang member, orchestrated Shakur’s killing as revenge for an attack on his nephew hours earlier and are using Davis’ own words in interviews and a book he co-authored as evidence.

In opening statements, prosecutors said an ugly gang rivalry on the streets of Compton led to the slaying of Shakur, a famed rapper and actor, who died six days after he was shot.

The Sept. 7, 1996, shooting, they said, was rooted in a war between Southside Crips-Burris Street, led by Davis, and Mob Piru, a gang long associated with Death Row Records. Shakur was closely affiliated with Death Row, and the record company’s boss, Marion “Suge” Knight, was inside his car the night he was attacked.

In court testimony Monday, it was revealed that Shakur was conscious after the shooting en route to the hospital but did not cooperate with authorities.

The first witness, Garry Dale, a Las Vegas Metro police officer, testified that he saw Shakur pulled out of the car with gunshot wounds and rode in the ambulance with him.

When he asked Shakur who shot him, the rapper replied, “‘No, we’ll take care of it,’” Dale said. “I couldn’t get him to talk any further.”

Duane “Keffe D” Davis is accused of murder in the 1996 killing of hip-hop icon Tupac Shakur.

(Steve Marcus / Associated Press)

The incident, according to Clark County Chief Deputy Dist. Atty. Binu Palal, followed a violent confrontation at a Mike Tyson fight earlier that night in Las Vegas. Palal showed video of Shakur’s entourage attacking Davis’ nephew Orlando Anderson. Travon Lane, a Mob Piru member, had spotted Anderson in the MGM Grand hotel lobby. Months earlier, Anderson stole Lane’s Death Row Records chain in the Lakewood mall during an attack.

The rivalry between the groups grew after the Southside Crips became the West Coast security for Sean “Diddy” Combs’ record label, prosecutors said.

“Let’s be clear, Duane Davis did not pull the trigger. But he did plan the shooting in retaliation of the beating of his nephew,” Palal said. “Remarkably, you will learn that from Duane Davis himself.”

Palal noted that Shakur’s shooting was followed by numerous slayings in Compton, including that of an 11-year-old girl.

“In this world, silence means survival,” Palal said. “The one person who has had a hard time being silent is Duane Davis.”

The prosecutor played parts of an interview with a Los Angeles Police Department federal task force in 2008 in which Davis acknowledged his role in the rapper’s fatal shooting. They also cited other interviews as well as his own memoir.

The prosecutor said Davis got the gun from Eric Zip Martin, an East Coast drug dealer associated with Combs’ Bad Boy Entertainment.

“He admits putting the gun he obtained that night in the back seat of the vehicle so the shooters could shoot,” the prosecutor said. “You will learn that Duane Davis got the gun. … You will learn that he got into a white Cadillac. You will learn when the opportunity presented itself for retribution, Duane Davis made sure that the shooter was armed and ready to execute their revenge.”

Palal said Davis and his crew set out in search of Knight and Shakur. In multiple accounts, including in his book “Compton Street Legend,” Davis wrote that they spotted the Death Row caravan stopped at a red light, with Shakur waving to female fans while hanging out of the BMW window.

“Tupac, he gave himself away,” Davis said in the recording played in court. “Otherwise, they would’ve got away.”

Davis was arrested in 2023 and indicted for masterminding the killing and providing the gun.

Rapper Tupac Shakur is show at Club Amazon in New York on July 23, 1993.

(Al Pereira / Getty Images)

Michael Sanft, Davis’ defense attorney, told jurors there will be no evidence linking his client to the shooting.

“There are no facts to point to Keffe — not one,” he said. “You’re going to hear about this over and over again.”

Sanft recounted decades of probes and noted that prior investigations did not take his client’s statements seriously because they were not credible. “He treats that book like it’s fact,” Sanft said of a lead detective in the case. The defense attorney, in an unusual move, repeatedly undermined his own client’s credibility.

Sanft portrayed Las Vegas police as incompetent, with lost records, and the LAPD and then Compton police as corrupt.

“What facts do they have to put Keffe D in a car in 1996? When you look at the video in 1996, do you see Keffe D?” he added, referencing the lobby beating.

Sanft said Death Row’s security chief was Reggie Wright Jr., a felon and former Compton police officer whose father led the Compton police gang unit. He said the former officer was not with Knight and ordered his security team not to carry firearms. The defense lawyer cast Davis’ memoir as fiction and said there was no evidence his client was in Las Vegas.

The prosecutor, however, told jurors that Davis, from 1998 to 2023, made several incriminating statements and, in 1998, admitted to the FBI to being in Las Vegas at the time of Shakur’s slaying.

Davis, according to prosecutors, told investigators during a secret meeting he “was mad about Orlando Anderson’s beating” and he was the boss who got the firearm and was in the white Cadillac. When Greg Kading, an LAPD detective who led the task force, left policing and later published a book revealing Davis’ role, it made Davis want to go public, according to the prosecution.

“Greg Kading is profiting off Duane Davis’ life story,” Palal said. By the time the book was released, the others who were allegedly in the car the night of the shooting were dead. Anderson was killed and Smith passed away. In 2019, after a series of interviews, Davis published his own book, which, full of bravado, gave a similar account of Shakur’s killing as that of the federal task force. The prosecutor then played an interview from the time of the book’s release, in which Davis justified his actions.

Rap mogul Marion “Suge” Knight appears in court in 2018 in an unrelated case.

(Irfan Khan / Los Angeles Times)

Ingrid Stokes, one of four women in a car that had been following Shakur the night of the attack testified that she freaked out and screamed, then fled the scene, telling police she “didn’t see anything” because “snitches get stitches.”

A third witness who testified Monday, former Las Vegas Metro Det. Brent Becker, said he interviewed Knight about the beating in the MGM Grand lobby, and Knight said he basically “didn’t know anything.” By 1997, detectives suspected that Davis was in the Cadillac that opened fire on Shakur, he testified.

Davis, now 63, has pleaded not guilty to murder with a deadly weapon with the intent to promote, further or assist a criminal gang. In recent weeks, he’s denied being in the Cadillac or Las Vegas that night and, in interviews with Las Vegas TV stations, blamed a former head of Death Row Records security.

“I had nothing to do with nobody’s murder,” he told interviewers.

Prosecutors are expected to call witnesses to support Davis’ claims from over the years. Davis’ lawyers will seek to portray him as a fabricator — his bragging is all fiction. Davis has done the same with Las Vegas reporters.

“I did not write the book; a ghostwriter wrote that book,” Davis said in a recent jailhouse interview. “I was trying to make my family some money.”

GILLIAN Anderson has opened up about a ‘secret’ early relationship with ‘an older girl in high school.’

The Sex Education and X-Files actress, 58, has been open in the past about her relationships with women.

In a new interview, Gillian discussed her youthful romance and the sensitivity around it.

She told The Sunday Times: “One of my first relationships was with an older girl in high school.

“It felt secretive and illicit and wrong and we had to hide.

“Later on I had a boyfriend who found out and broke up with me.”

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Continuing, Gillian said she’d had “a couple of boyfriends”, so didn’t think of herself as gay.

She added: “But I definitely felt I didn’t have the language for it.

“Even later on when I had other relationships with women I’m not sure I ever thought of them as being potentially for ever.”

She concluded: “The person I consider my life partner happens to be male.”

Gillian has reportedly been in a relationship with screenwriter Peter Morgan, 63, on and off since 2016.

Peter is perhaps best known as the creator and showrunner of Netflix smash-hit The Crown.

Gillian Anderson was once a young person experimenting.

“I don’t even know if I was questioning my sexuality but there were a couple of moments during my teen years where I was with women,” Anderson tells me candidly on a recent afternoon at a Beverly Hills hotel. “I haven’t really spoken about that very much.”

Though she won’t go into details about those early interactions, she remembers the isolation that plagued her. “In interviews, I’ve alluded to a relationship that I had later in my post-college life, but not about that particular time and how not even confused, but just alone I felt and how different I felt to the rest of the kids in my high school,” she adds.

For some time now, the once and forever “X-Files” star has leaned into episodic television (Netflix, she says, has become a great partner). She earned her second Emmy in 2021 for her blistering turn as polarizing British Prime Minister Margaret Thatcher in “The Crown.” Yet a major shade of her public persona has become her activism around sex positivity, encouraging women to open up about their needs and wants, both in the bedroom and as individuals in every aspect of their lives.

“It seems to still be an important topic for women to hear other women speak about,” she says. “I have come to love talking about it in the context of women’s empowerment, finding ways to embrace their own integral agency.”

Clad in a sleeveless bright green dress, Anderson, 57, radiates an ageless grace, undeniably sophisticated yet unpretentious in her demeanor. Her hair in a braid evokes the look of a figure from ancient Rome. When speaking in her unmistakable throaty voice, her expressive body language (hand movements often complement her sentences) reveals her assertiveness. That confidence makes it difficult to imagine she ever was a fragile teen.

Hannah Einbinder and Gillian Anderson in the movie “Teenage Sex and Death at Camp Miasma.”

(Mubi)

In Anderson’s latest movie, the horror-tinged, dreamlike “Teenage Sex and Death at Camp Miasma” (in theaters Friday), Anderson plays Billy Presley, a reclusive former scream queen who was one of those “final girls” from a popular 1980s slasher horror franchise in which the killer was aptly called Little Death (a nickname for an orgasm, derived from a French phrase). Now Billy spends her days alone living in the woodsy location where her breakout movie was filmed long ago.

That is until auspicious indie filmmaker Kris (“Hacks” star Hannah Einbinder) comes to visit Billy with the intention of persuading her to act in a reboot. The two develop a friendship that empowers Kris to dive into her unspoken sexual yearnings — desires drenched in fear, violence and curiosity — with Billy as her mentor and, eventually, patient lover.

On top of her ability with accents (she does a Southern one here), Anderson physically commands the screen from the moment she makes an entrance worthy of a timeless diva. Her regal aura contrasts with the grotesque sensuality of a scene where fried chicken and dipping sauces take on an almost pornographic lure. Her Billy, a woman who can fluctuate between a loud cackle and an introspective speech about the lust-inducing “flesh and fluids” of horror movies, feels equal parts otherworldly and tethered to earthly urges.

“I knew on a deep level that I wanted to be a part of it, but it’s only in retrospect that I completely understand why it was so meaningful to me,” Anderson says. “It feels like such a salve for so many.”

“She put everyone at ease during those moments in a really beautiful way,” says director Jane Schoenbrun of Anderson’s work with Einbinder on their most daring scenes. “She is so physically tapped into her own abilities.”

(Mubi)

Einbinder, with whom Anderson shares scenes of blood-soaked eroticism, describes the veteran star as meticulous and diligent while also having a “lot of access to spontaneity.”

“I was a fan of her from, of course, ‘The X Files’ and a lot of her other work, so she just held this significance to me as an artist,” Einbinder tells me over the phone, “but meeting her, my expectations were surpassed because she’s really cool.”

“I didn’t want Billy to come across as a predator,” Anderson says. “I didn’t want her to be creepy or too maternal and so there were moments where she shows care, and it was a really fine line of how to play those beats. Even our first kiss and our sex scenes were very specific so that it didn’t feel not OK to be witnessing or representing.”

To Jane Schoenbrun, the movie’s writer and director, Anderson has the “elegance of old Hollywood, a classic mystique.” The filmmaker describes meeting her as a “strange coming home feeling,” since her “X-Files” character Scully held a special place in Schoenbrun’s formative years. “I spent as much time with her as I did with my siblings,” they add.

Schoenbrun credits Anderson as a “calming and nurturing presence” during the sex scenes between her and Einbinder — the first sex scenes the filmmaker had ever directed.

“Gillian had such an elegant, serious, professional but also caring perspective on how to talk about it and how to guide through it in a way that felt like it was going to be very present and alive on screen,” Schoenbrun recalls. “She put everyone at ease during those moments in a really beautiful way. She is so physically tapped into her own abilities.”

Anderson, seated with director Schoenbrun on the set of “Teenage Sex and Death at Camp Miasma.”

(David Astorga / Mubi)

Anderson found her way into playing Billy through the character’s distinct accent. Having played the tragically romantic Blanche DuBois from “A Streetcar Named Desire” on stage in the past, she aimed for a different version of Southern. “What I liked about it was this particular pitch that holds strength and vulnerability in it, which I think is very much where Billy lives at all times, from minute to minute,” she says.

Other recent TV roles have steered Anderson in the direction of an unabashedly queer storyteller like Schoenbrun. Jean Milburn, Anderson’s humorously matter-of-fact sex therapist from the series “Sex Education,” represented a watershed beginning in 2019.

It was because of the success of that show that she was approached to write “Want,” a 2024 book that collected the sexual fantasies of anonymous women (a follow-up, “More,” is out in September from Abrams Press).

“Sex Education” also inspired Anderson to launch her own brand of soft drinks cheekily called G Spot (they are caffeine-free and infused with vitamins and minerals). Some retailers, she says, have refused to use the drink’s name. “We’ve had so much pushback on the name and I refuse to be cowed, to be shut down, to be told that it’s a dirty word or that it shouldn’t be in public spaces,” she says.

“The strange thing is I don’t identify with Scully in the same way I do with other characters that I played for much less time,” Anderson says. “Part of that is because of how square she was. I have such an intrinsically rebellious nature.”

(Ian Spanier / For The Times)

For Anderson, humor is an important component of the conversations she wants people to have about sex and sexuality. During her time on “Sex Education,” she started posting pictures on Instagram of props on set that resembled both male and female genitalia. Some of her posts kept getting blocked.

“There were all these amazing things, from chess pieces that were phallic to a soap holder that was a yoni,” she says, smiling. “We started to call them ‘penis or yoni of the day.’ Then fans started posting back to me pictures of penises or yonis of the day they would see in nature.”

Anderson doesn’t quite understand the swath of Gen Zers who deride sex in movies and is, in general, uncomfortable with the subject of physical connection.

“For my younger kids, who are late-teens, the thought of picking up a phone to [call] somebody that they’re interested in feels so intimate,” Anderson says. “If a phone call is intimate and your conversations on a regular basis are snapshots of your face making funny images, then the idea of going into deep intimacy must be absolutely terrifying.”

She’s hopeful that young people might start to turn toward in-person activities to bond. But while the subjects of pleasure and open-mindedness captivate her, on screen Anderson is not letting the industry pigeonhole her.

Anderson’s recent output includes playing a shadowy operative with icy conviction in the thriller “Animals” opposite Ben Affleck, and a Nazi guard in the limited series “The Boys From Brazil,” both coming to Netflix in the near future. And in last year’s “Trespasses,” another TV show, she became a Northern Irish alcoholic mother. “I wouldn’t have guessed that at my age I would be having so many different and varied opportunities,” Anderson says.

In the aftermath of her time on “The X Files,” Anderson moved to London, both because she longed for the city where she partially grew up and for a chance at reinventing herself professionally.

“I’d never had my own publicist before that,” she says. “Had I had one, they probably would’ve tried to convince me that moving to London was the worst thing I could do for my career.”

For a long time, Anderson’s relationship with Dana Scully was complicated. “I felt like everything that I did was in an effort to get away from Scully,” Anderson admits. “Then when people would bring it up or I would do a 45-minute interview and they would ask one question about ‘The X-Files,’ they would use my refusing to talk about it as an excuse to make it the headline.”

It made it challenging for her to be considered for film roles and even for TV projects of a different vein.

“Now you have A-list actors, the Nicole Kidmans, moving between TV and film,” she says, “but back during ‘The X-Files,’ if you were on telly, it was the B, if not C version of what an actor’s life could be.”

In England, though, the likes of Judi Dench, Maggie Smith or Glenda Jackson had always navigated effortlessly between the big and small screen and the stage. “That’s the life that I wanted,” Anderson adds. “The minute I moved there, the quality of the stuff and also the range of characters that I was being offered was so different from what I’d been doing for almost 10 years as Scully.”

“The House of Mirth,” Terence Davies’ 2000 period drama based on the satirical 1905 novel by Edith Wharton, represented a breakthrough. “At the very beginning, I remember I was so surprised that there were other people who thought that I might be able to do something else other than Scully.” (When I tell her how extraordinary she is in “Mirth” as a socialite caught between stability and something more passionate, Anderson replies with a bashful, whispered “Thank you.”)

And while she can now think of “The X Files” as the “blessing” that it signified in her career, Anderson is clear that she has more often seen herself reflected in other women she’s inhabited, such as Blanche or Stella Gibson, the detective she played in the series “The Fall” starting in 2013.

“The strange thing is I don’t identify with Scully in the same way I do with other characters that I played for much less time,” Anderson confesses. “Part of that is because of how square she was. I have such an intrinsically rebellious nature. I can, obviously, play square, but I think because of that, she didn’t necessarily get her hooks inside me in the way that some of these other characters that really push against the establishment did.”

Anderson is not entirely opposed to appearing on Ryan Coogler’s just-announced “X-Files” reboot, but she is far more excited about several sci-fi projects she is currently developing (one of them she describes as “huge” in scale). They will bring her back to similar territory, but this time on her own terms.

“It’s the first time that I’m properly going into the genre and embracing it and instigating that work,” Anderson says. “I’m very excited about those but no doubt when it comes time to do press around them, there’s going to be a lot of ‘X Files’ talk, inevitably.”

She’ll be ready for it. At once pragmatic and playful, Anderson seems to be taking on the world these days like someone who’s unraveled a deeper mystery.

With traditional number nines seemingly becoming a dying breed, clubs are turning to other positions to provide the goal threat.

That makes the midfielder, particularly one with a bit of creativity who can unlock defences, a sought-after player.

England seem to have produced a number of players who fit that bill within a similar time period – although Tottenham have spent £185m on midfield duo Sandro Tonali of Italy and Portugal’s Matheus Fernandes this summer.

With the Premier League’s home grown rule in force – requiring a minimum of eight places in a club’s 25-strong squad are set aside for players produced in England or Wales – it is also expected that clubs pay a premium price for players who have come through Football Association academies.

And with Anderson and Rogers securing their moves, could Scott and Wharton be next?

Bournemouth have already rejected a £64m bid from Chelsea for midfielder Scott as they strive to hold on to the 22-year-old, who enjoyed an impressive season on the south coast, particularly from January onwards.

Scott was selected in his first England squad last November and was then called into Thomas Tuchel’s extended pre-World Cup training camp in Florida but is yet make an appearance at senior international level.

Crystal Palace midfielder Wharton has also long been a coveted player, with Liverpool, Chelsea and Manchester City all previously registering interest.

Both aged just 22, the pair highlight the plethora of English talent and potential currently available in that position.

While they may not be the best in the world right now, they are part of a group of players in their early 20s who are nearing their prime and will therefore only move clubs for peak prices.

The actor and musician Jason Schwartzman pulled a cassette tape from his pocket on stage at the L.A. Phil’s tribute to Wes Anderson. Schwartzman was just a teenager when he was cast as the obliviously ambitious Max Fischer in Anderson’s 1998 film “Rushmore,” and on Friday, he recalled the night Anderson played him the film’s entire soundtrack in his car.

“He said, ‘This is the soundtrack to the movie, this is the order it’s going to be in, and he walked me through the entire film narrating it,” Schwartzman said, still agog at the completeness of Anderson’s vision before a frame was shot.

More recently, Schwartzman said, “I was at my mom’s house tying my shoe, and I see a cassette tape on the ground titled ‘Rushmore songs’.” He then chucked the tape into the audience, a piece of film history that hopefully someone caught unscathed.

Anderson’s use of far-flung needle drops and lovely original score work is, like everything in his film universe, planned down to exacting detail. But this opener of a three-night stand — sporting an all-star roster of guest vocalists, an exceptional backing band, and a light touch from the Phil — was more in the spirit of how fans revisit Anderson’s films. As old friends that pop back into your life, affection only deepened with time, right when you need them.

Guided by the genial riffing of the night’s MC, Bill Murray (an Anderson regular from “Rushmore” onwards), the program made its case that Anderson’s savvy with soundtrack curation and delicate, evocative scores are the heart of his films, right along with his meticulous visual style and arch, melancholy tone.

The director, recently freed from a malfunctioning elevator in a pithily Andersonian incident, made a brief appearance onstage with Murray in his regal white suit. But the focus was the music itself on Friday, and the ragtag roster of artists that fully conjured it.

To start, huge credit due to the show’s musical director Justin Meldal-Johnsen and the session-killer band of Roger Joseph Manning Jr., Jason Falkner, Joey Waronker and Gus Seyffert. The sheer amount of music to arrange and assemble for this was vast and demanding, and they got to all of it from 1996’s “Bottle Rocket” to the present.

The Phil took a more modest role, performing poignant, rigorous slivers of scores from Anderson’s go-to composers Alexandre Desplat (“Canto at Gabelmeister’s Peak” from ‘The Grand Budapest Hotel” and “Mr. Fox in The Fields,” from “The Fantastic Mr. Fox”) or his frequent collaborator, Devo’s Mark Mothersbaugh (the propulsive “Ping Island” from “The Life Aquatic with Steve Zissou.”)

Pianist Jean-Yves Thibaudet took a lively solo crack at “Moses Rosenthaler” off “The French Dispatch;” Rajib Karmakar and Aakash Pujara played aching sitar and flute drones from “The Darjeeling Limited,” and taiko drummer Kaoru Watanabe nearly blew out the Bowl’s speakers on “Shinto Shrine” from “Isle of Dogs.”

The surprises came from the rock acts brought in to re-imagine the most evocative needle drops from Anderson’s ouvre.

Jackson Browne, in an unbelievable career first, finally got around to performing “Fairest of the Seasons” and “These Days,” tracks he wrote as a teenager eventually covered by German art-rock chanteuse Nico, mournfully used on “The Royal Tenenbaums.”

Beck took a pass at the late Elliott Smith’s ghostly “Needle in The Hay,” used to harrowing effect in the same film, and later Love’s “Alone Again, Or”. Karen Elson beautifully covered Françoise Hardy’s “Les Temps De L’amour” from “Moonrise Kingdom” while the Yeah Yeah Yeahs’ Karen O simmered through the Rolling Stones’ “Play With Fire” off “Darjeeling.”

Yet the delighted gang’s-all-here element that ties Anderson’s regular cast together was embodied by an endearingly shaggy run through “Zorro Is Back” with Jenny Lewis and Rogê. Towards the end of the night, just before a closer with the Faces’ “Ooh La La,” Murray brought out a one-of-a-kind instrument for a big flourish. A nine-dollar desk bell, seemingly purchased at Staples hours before showtime, requested specifically by Anderson.

“Front of house, make sure Bill’s bell is ripping,” Beck implored the sound techs at the Bowl. Indeed, as the band, including Jim James of My Morning Jacket, Lewis and Schwartzman, performed the Bobby Fuller Four’s single “Let Her Dance,” Murray indeed whacked the hell out of that thing.

Real Madrid scout Arsenal‘s Riccardo Calafiori, Tottenham consider Juventus defender Gleison Bremer to replace Cristian Romero, Manchester United chase Newcastle‘s Lewis Hall.

Real Madrid are interested in Arsenal and Italy defender Riccardo Calafiori, 24, who previously played under Jose Mourinho at Roma. (Sky Sports), external

Tottenham are considering a move for Juventus and Brazil defender Gleison Bremer, 29, to replace 28-year-old Argentina international Cristian Romero in central defence. (Tuttosport – in Italian), external

Manchester United are not interested in signing Romero from Tottenham but are interested in Newcastle‘s versatile 21-year-old English defender Lewis Hall. (Teamtalk), external

Co-owner Sir Jim Ratcliffe is willing to satisfy the wage demands of Nottingham Forest midfielder Elliot Anderson, 23, in order to bring him to Manchester United. (Mirror), external

Manchester City remain the frontrunners to sign Anderson despite United’s efforts to steal a march on their rivals. (Star – subscription required), external

Incoming Real Madrid boss Mourinho is keen on West Ham‘s 21-year-old Portugal midfielder Mateus Fernandes who is also of interest to Chelsea. (AS – in Spanish), external

Manchester United are also exploring a deal for Fernandes with West Ham valuing the player at about £80m, but the London club are in no rush to sell him. (Sky Sports), external

Manchester United are considering a surprise move for 35-year-old English goalkeeper Karl Darlow, who is out of contract at Leeds this summer, with Turkish shot-stopper Altay Bayindir, 28, set leave Old Trafford. (Talksport, external)

Fulham are interested in signing Nigeria midfielder Samuel Chukwueze from AC Milan following the 27-year-old’s season-long loan at Craven Cottage, but are trying to negotiate a smaller fee. (Gazzetta dello Sport – in Italian), external

Atletico Madrid are hopeful of persuading former Manchester City midfielder Bernando Silva to join them instead of Barcelona or Real Madrid because they can offer the 31-year-old Portuguese more game time. (Marca – in Spanish), external

Fulham are weighing up whether to trigger the £8m release clause of Ipswich head coach Kieran McKenna, who leads their list of candidates to replace Marco Silva. (Talksport, external)

Leicester are in talks with former Southampton and Rangers head coach Russell Martin about taking over the club following their relegation to League One. (Leicester Mercury, external)

City have long been admirers of Newcastle academy graduate Anderson. The player is currently preparing for the tournament in the US, Canada and Mexico, but club-to-club talks can continue to take place.

Captain Bernardo Silva’s exit means City are looking to bolster their midfield and Anderson tops the list of potential targets.

Newcastle midfielder Sandro Tonali is another player understood to be highly rated by City, with reports, external suggesting the Italy international has been monitored as a long-term target.

Nico Gonzalez, who missed out on a place in the Spain squad for the World Cup and also fell out of favour under Pep Guardiola last season, may depart if the right offer comes in.

Sources indicate City are also looking to sign a right-back to supplement Matheus Nunes, 28, who excelled in the position this season after being converted from midfield.

City are eyeing the profile of a young full-back and one who is a natural in that position that can grow into the role in the future.

Manchester City are leading the race to sign Elliot Anderson, with the Nottingham Forest midfielder leaning towards a move to Etihad Stadium instead of rivals Manchester United.

There is a growing expectation Anderson will leave the City Ground this summer.

United are unwilling to overpay, or get drawn into protracted negotiations.

No deal has been struck between Forest and City and the clubs are far apart on their valuation for the 23-year-old, meaning the situation could still change.

The fee could become a record for a British player and eclipse the £105m Arsenal paid West Ham for Declan Rice in 2023.

There is a sense at Forest that if there is a big sale this summer it will be Anderson, and a fine World Cup with England would put them in a stronger bargaining position.

Following Sunday’s 1-1 draw with Bournemouth, Forest manager Vitor Pereira said Anderson and Morgan Gibbs-White deserve “the top of the world”.

He would prefer to keep both players but it is Anderson who is the more likely to leave currently, especially with no European football at the City Ground next season after they finished 16th in the Premier League.

“I believe if we want to compete for different goals, we need to keep the best players,” said Pereira.

“If not, if you change every season, it is difficult to be consistent and difficult to build something stronger.

“We cannot control the market, of course, but I think we are aligned; what I think and what the club thinks is to try to keep most of them and to try to control the market.”

Anderson, who won the 2025 European U21 Championship with England last summer, joined Forest from Newcastle in 2024 for £35m and has played 92 times, scoring six goals.

Sunday’s game against Bournemouth was his 50th appearance of the season and he was given a standing ovation when withdrawn in the second half.