Strictly Come Dancing star Dianne Buswell and YouTuber Joe Sugg have shared an emotional farewell with fans before welcoming their first child together
Dianne Buswell and Joe Sugg(Image: Joe Sugg YouTube)
Strictly Come Dancing professional Dianne Buswell and YouTube star Joe Sugg have shared an emotional update with fans as they prepare to welcome their first child together.
Posting on YouTube, the pair revealed that their latest Vlogmas series will be their last as a duo, with Joe telling viewers that next Christmas will look very different for them as a family of three.
Closing the final instalment of the vlog, Joe became reflective as he thanked fans for their continued support. “That, is it. The end of the vlog and the end of Vlogmas,” he said. “This is two or three years in a row now, I can’t remember, but I just want to say thank you very much to everybody that has watched these vlogs, followed them along, followed the build-up to Christmas Day.”
He went on to describe how meaningful the tradition has been for him, adding: “Thank you very much, it’s been fun. It’s always an absolute joy to do. I love it. Being able to watch back on memories, especially around such a lovely time of year. So, thank you for having interest in it and being a part of your day.”
Joe then hinted at the major life change ahead, telling viewers he expected the year to come to bring something new. “I will see you all in the new year in 2026, which I am predicting is going to be quite a different year to our normal years,” he said, before delivering the heartfelt update. “This is the end of the last Vlogmas that we’ll ever do as a two. This time next year there will be three of us.”
The couple announced their pregnancy in September, sharing a video on Instagram that showed them painting together on a canvas. After several brushstrokes, they revealed a simple illustration of two stick figures holding hands with a smaller figure between them, alongside the date “2026”.
Soundtracked by Sir Elton John’s Tiny Dancer , the post was captioned: “Our little baby boy. We cannot wait to meet you.”
The announcement prompted an outpouring of congratulations from across the Strictly Come Dancing family. Judges Shirley Ballas and Motsi Mabuse, as well as professional dancer Johannes Radebe, were among those sending their well wishes. Fellow dancer Amy Dowden wrote: “Still screaming, dancing and celebrating! So so happy for you both! Magical. Auntie Ames can’t wait.”
Documentary-maker Stacey Dooley, who found love on the show with Kevin Clifton and now shares a daughter called Minnie with him, responded enthusiastically, writing: “YES YES YES YES YES YES YES YES.”
Buswell and Sugg first met when they were paired on the 16th series of Strictly Come Dancing in 2018, later confirming their relationship off the dancefloor. Buswell recently competed in the latest series of the show, having won the glitterball trophy last year alongside comedian Chris McCausland, the programme’s first blind winner.
Fans were quick to share support for the couple on YouTube. One user wrote: “Congratulations Joe on completing Vlogmas. I have really enjoyed watching you and Dianne preparing your little boy’s room and sharing your own memories of childhood.”
Another wrote: “Thank you Joe, I really enjoyed all of Vlogmas with you, Dianne, baby bump and your families. Best wishes for Christmas and the new year. I’ll be looking forward to watching more in 2026.”
Meow Wolf likes to say that its upcoming Los Angeles exhibition is focused on the art of storytelling — why it matters, what it means and how stories transform.
“This exhibition is about the inevitability of change,” says creative director Elizabeth Jarrett, “and how the stories that we tell ourselves and others have the ability to affect the way we perceive change and the way we experience it.”
That also means that Meow Wolf, known for its large-scale, explorable installations in Las Vegas, Denver, Houston, the Dallas suburbs and its home base of Santa Fe, N.M., will double down on its experiments with other media. Throughout the Los Angeles show, guests will encounter mixes of live action and animation, shadow boxes, games and even a mini escape room, only here guests have to break into rather than out of a secret room.
The Times spent two days in Santa Fe late last year to preview Meow Wolf’s Los Angeles exhibition, set to take over part of the Cinemark complex at Howard Hughes L.A. near the end of this year. Here are five fast things to know about the experience.
The show has been ranked as the second most disappointing show in London in a Private Tours England study of TripAdvisor data. For me, it more than lived down to the hype
Van Gogh: The Immersive Experience did not float my boat
In the months after the first Avatar film hit the silver screen in 2009 and smashed its way to the title of the highest-grossing film ever, it’d be fair to assume that the future of cinema was 3D.
Indeed, the film’s director James Cameron has repeatedly argued as much, declaring in 2014: “I believe all movies should be made in 3D, forever”, praising 3D films as “stunning visual experiences which ‘turbocharge’ the viewing of the biggest, must-see movies.”
A decade on, it’s clear that the movie industry at large disagrees. Since the record year of 2011, when more than 100 3D movies were shown in theaters, new 3D releases have steadily declined to a quarter of that number.
I side with film critic Roger Ebert, who argued that “3D is a waste of a perfectly good dimension” that is “unsuitable for grown-up films of any seriousness” and causes “nausea and headaches.”
In exactly the same way, Van Gogh: The Immersive Experience (recently named the second most disappointing attraction in London in a Private Tours England study of TripAdvisor data) manages to turn the work of one of the greatest painters into a farcical, queasy spectacle.
The show is the work of Fever Up and first welcomed visitors in 2021. It did so a year after Emily of Emily in Paris fame visited a similar exhibition in the French capital, leading several companies to set up similar shows in Europe and the US.
Perhaps I was unlucky and chose the wrong one. Or maybe they’re all as disappointing as one another.
The warning signs began when I walked right down Shoreditch’s Commercial Street and past the exhibition entrance, which was very easy to miss. Once safely through the inauspicious door, I found myself in a strangely dark, cramped hallway where a woman sat in a chair checked my ticket. It was a Monday evening, but the low-effort entrance felt curiously at odds with the £25-a-person entrance fee.
It would’ve been entirely forgotten had Fever Up invested the savings into the exhibition itself. In reality, what lay beyond the hallway was a complete mess of a show that not only added nothing to the work of the Dutch painter but made it much worse.
The exhibition features two main rooms. The first is fairly similar to a typical gallery, featuring printouts of Van Gogh’s paintings on the walls and a brief overview of the artist’s life. This was my favourite bit, despite the fact I could’ve just read the Van Gogh Wikipedia page and learned considerably more. Or gone to see one of the many Van Goghs that are permanently displayed for free in London, such as the National Gallery’s Sunflowers and The Courtauld’s Self-Portrait with Bandaged Ear, rather than the texture-free printouts.
The second room, and the supposed main event, was even more disappointing. The large space was devoid of physical objects beyond a couple of deckchairs and a bench. Projected onto the wall were computer-altered versions of Van Gogh’s paintings in which the swirls swirl and the petals flutter about a little. Maybe I had expected too much, but I was not immersed.
Others have suffered worse fates. One colleague told me they’d been sick after gazing up at the lightly undulated walls for too long.
I left the exhibition just 30 minutes after walking in, feeling not only short-changed but also quite sad.
One of the Wikipedia-style blurbs had detailed Van Gogh’s final years, when he cut off his ear before suffering through several months of hallucinations, paranoid spells and a period in Saint-Paul asylum. Shortly after, he walked into a wheat field and shot himself in the chest with a revolver.
From afar, it seems that an unbearable sadness hung over Van Gogh throughout his life, made worse by his self-perceived failure as an artist and great concern that he was a burden on his brother. That he never lived to see how revered and beloved his work is today is a great shame. The only scrap of solace is that he never lived long enough to endure an evening at Van Gogh: The Immersive Experience.
The exhibition closed in London last autumn and subsequently moved to Belfast, Bristol, York and Leicester.
Fever Up has been contacted for comment.
Have you been to Van Gogh: The Immersive Experience? Let us know what you thought of it in the comments below or by emailing webtravel@reachplc.com
On Saturday, Guillermo del Toro revealed that his older brother, Federico del Toro Gómez, had died last week.
The “Pan’s Labyrinth” director shared the news while receiving the Visionary Award at the Palm Springs International Film Awards alongside Oscar Isaac, Jacob Elordi and Mia Goth — the stars of his latest project, “Frankenstein.”
“I’ve come to believe that everybody’s born with one or two songs to sing,” Del Toro told the crowd at the Palm Springs Convention Center. “That’s it, and we keep repeating them and repeating them until we get them sort of right. And Frankenstein was the song I was born to sing.”
Del Toro spoke of his brother when touching on his recent film’s themes of fatherhood, forgiving and being forgiven.
“Three days ago, I lost my older brother, but I’m here because the film speaks about a condition that is purely human, that is proved by the final phase in the film, which says the heart may break and the broken live on,” he said. “Even a broken heart pumps the blood and keeps you going.”
The 61-year-old filmmaker would go on to note that there were several occasions when he and his brother played out the dynamics of Victor Frankenstein and the Creature in their own lives, and that they “granted each other love and granted each other peace” many years ago.
Del Toro did not share any details regarding his brother’s death and said that he may take time off during awards season due to his family’s loss.
“I may be absent at a few functions this [awards] season, but not this one,” he said. “I’m here because [the cast and crew of ‘Frankenstein’] is family. Life gives you a family on the way.”
The governor of Del Toro’s home state of Jalisco, Pablo Lemus Navarro, shared a message on X about the elder Del Toro’s death.
“I send my condolences to the Jalisco filmmaker @RealGDT for the passing of his brother, Federico del Toro Gómez,” Lemus Navarro wrote. “To his family and loved ones, I hope that they soon find consolation. From the bottom of my heart, I’m sending a warm and strong hug. Rest in peace.”
The director’s alma mater, the University of Guadalajara, also paid their respects to Federico on X.
“We lament the passing of Federico del Toro Gómez, brother of Guillermo del Toro, the Tapatío filmmaker and alumnus of our academic institution,” the post read. “We extend our condolences to his family and friends. Rest in peace.”
Elsewhere in his speech, the Oscar-winning director spoke of the importance of believing in and making art in deeply political times.
“At a time when people tell you art is not important, that is always the prelude to fascism,” Del Toro said. “When they tell you it doesn’t matter, when they tell you a f— app can do art, if it’s that easy, that unimportant, why the f— do they want it so bad? The answer is because they think they can debase everything that makes us a little better, a little more human.”
Political realities were also front and center at the awards show during Leonardo DiCaprio’s acceptance speech for his performance in “One Battle After Another.”
“Leonardo DiCaprio is unable to join us in person tonight due to unexpected travel disruptions and restricted airspace,” a spokesperson for the Palm Springs International Film Festival told Variety. “While we will miss celebrating with him in person, we are honored to recognize his exceptional work and lasting contributions to cinema. His talent and dedication to the craft continue to inspire, and we are delighted to celebrate him with the Desert Palm Achievement Award this evening.”
I’m Glenn Whipp, columnist for the Los Angeles Times, host of The Envelope newsletter and the guy wondering how many New Year’s resolutions you’ve broken so far this year.
Let’s take a look back — and a look forward — because that’s what we’re contractually obligated to do this time of year.
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Every year, some editor at The Times buzzes my inbox with a request to gather my hopes and dreams into a purely speculative list of movies I’m looking forward to seeing in the coming 12 months. That email serves as a marker that the Earth has orbited the sun once again and it’s time to buy a new planner — because I’ll be damned if I’m going to let Google Calendar know what I’m doing 24 hours a day, 365 days a year.
I was asked to contribute two movies to the list last year, and I chose “One Battle After Another” and “Materialists.” So … one masterpiece that should go on to win the Oscar for best picture and the movie that seems to be the most hated film of 2025. Seriously, people will approach me at parties and say, unprompted, “You know what movie I despised? ‘Materialists.’” And then, after unloading on how much they loathed the characters in Celine Song’s romantic drama, they’ll shift gears and go on a diatribe about late-stage capitalism.
(My New Year’s resolution: find better parties.)
You could say, then, that I got one right and one wrong, though I was partly looking forward to “Materialists” because Song had regaled me with tales of her Manhattan matchmaking days over a couple glasses of wine one night and I wanted to see how she’d weave these stories into a movie. And it turned out that was the best part of the film. So there. No more emails about “Materialists,” please.
At least Song’s film saw the light of day. Looking back on our 2025 list, there are still movies that haven’t made it to theaters. The “Untitled Trey Parker/Matt Stone Film,” once scheduled for July 4, now has a title, “Whitney Springs,” but no new release date. Neither does Terrence Malick’s biblical drama, “The Way of the Wind,” which Malick has reportedly been editing for a good six years now. That movie didn’t make our 2026 list, but, fingers crossed, it might resurface sometime in the next decade when we throw together another of these.
So what movies am I looking forward to seeing when it stops raining (talk about biblical drama) and we start turning the calendar’s pages? I raised my hand for three, and I’m confident this trio will satisfy, mostly because of their directors’ track record. To see everyone else’s picks — including a few I would have chosen myself — read the full list here.
“Disclosure Day”: I liked it better when this was simply known as “Untitled Steven Spielberg UFO movie.” What more do you need to know beyond that description and a prime summer release date? That’s enough to sell a few hundred million dollars in tickets and make me giddy with anticipation. We don’t know much at the moment, other than that Spielberg is working again with “Jurassic Park” and “War of the Worlds” screenwriter David Koepp. There’s an eye-catching billboard with an image that looks alien and kind of birdlike … unless you study it while standing on your head and then it looks … human? Who knows? ALL WILL BE DISCLOSED, the tagline promises, hence the title. So we’ll just have to wait. But from all appearances, we’re not in “E.T.” territory with this one.
“The Adventures of Cliff Booth”: Do we need a stand-alone Cliff Booth movie? Quentin Tarantino thinks so, though not enough to direct the sequel he wrote to his hit 2019 film “Once Upon a Time in … Hollywood.” That’s OK, as Brad Pitt, who won an Oscar for playing Booth, the ass-kicking stuntman, enlisted David Fincher to sub in. It’ll be their fourth collaboration, following “Se7en,” “Fight Club” and “The Curious Case of Benjamin Button,” a track record that offers some optimism that a film elevating Booth from Rick Dalton’s loyal sidekick to a leading character is an idea worth pursuing. (Leonardo DiCaprio apparently turned down an offer to reprise Dalton in a cameo.) If nothing else, the movie’s 1977 setting, eight years after the events in “Once Upon a Time,” will give us the chance to revel in another glorious L.A. time capsule.
“Werwulf”: Robert Eggers calls his upcoming medieval werewolf movie the “darkest thing I have ever written, by far.” Let that sink in for a moment. Eggers’ filmography includes the suffocating madness found in “The Witch” and “The Lighthouse” and the chilling terror of a malevolent, shape-shifting, lustful vampire in “Nosferatu.” These are not light movies. So what are we in store for here? Apparently a member of Eggers’ sound team said he needed a hug after reading the “Werwulf” script. I couldn’t verify this, but I want this to be true. There will be blood — and fog. One other thing we know is the setting, 13th century England, which means that the film’s dialogue will be in Middle English. How fareth thoue with that? I’m sure the cast, which includes Eggers regulars Aaron Taylor-Johnson, Lily-Rose Depp, Willem Dafoe and Ralph Ineson, had fun, verraily.
There you have it: Spielberg, Fincher, Eggers. A sci-fi thriller, a sequel I still can’t believe exists and a monster movie. All three of these might miss the mark. And, honestly, any list missing the guaranteed pleasures of “Practical Magic 2” is immediately suspect.
But that’s the folly of blindly looking ahead. You never know.
Happy New Year! And, as always, thanks for reading.
She must have written that story before “Song Sung Blue” came out. Because Hugh Jackman passionately describing the greatness of Neil Diamond’s “Soolaimon” and then demonstrating that song’s grandeur by performing it in the new film “Song Sung Blue” is the definition of corny, feel-good comfort.
Which leads me to my question to you this day: Have you seen “Marty Supreme”? And what feelings — good, bad, uneasy, elated — did that movie arouse in you?
He summited the Sphere, exhorting us to “dream big.” He shot a rap music video to debunk the conspiracy theory that he is a popular British rapper. He has popped up at screenings flanked by bodyguards sporting giant orange ping-pong balls for heads.
Leading up to the Christmas Day premiere of his new movie, “Marty Supreme,” Timothée Chalamet was front and center in a promotional tour that was unhinged, delightful and, judging from the weekend’s box office, quite successful.
“Marty Supreme,” the wildly entertaining, over-caffeinated portrait of a single-minded ping-pong player, took in $27 million over the four-day Christmas weekend, the best opening in distributor A24’s history. The numbers surpassed the opening of “A Complete Unknown,” last year’s Chalamet Christmas release that featured the actor playing Bob Dylan in his formative years.
Not everyone was on board with “Marty.” Moviegoers gave the movie a B+ rating with market research company CinemaScore. That’s good, but not great. (“A Complete Unknown,” by comparison, earned an A.)
Podcaster Claira Curtis’ experience seeing the movie at the Grove feels like an accurate representation of the “Marty Supreme” adventure: “Packed ‘Marty Supreme theater had the full range of reactions. There were people walking out halfway through. There were people clapping. There was someone coming out of it saying, ‘Eh, it was fine’ & then their friend went, ‘Are you insane? It was peak!’”
The disparate responses reflect a couple of things.
One, not everyone embraces the Safdie brand of anxiety-inducing cinema. Josh Safdie directed “Marty.” His brother, Benny, made “The Smashing Machine,” released earlier this year. Together, they made “Uncut Gems” and “Good Time,” movies that, take your pick, were exhilarating or excruciating. Or both! (Exclamation point intended. These are exclamation-point films.)
And two, the title character in “Marty Supreme” is a lot — an undeniably talented, relentless self-promoter careening toward his goals of fame and fortune with little regard to the damage he is inflicting on others. He’s despicable, but also, as played by Chalamet, winningly charming. Unless you find Chalamet annoying. Then you’re probably best-served listening to Hugh Jackman sing Neil Diamond songs.
Chalamet has channeled Marty’s earnest energy in his promotional appearances for the film.
“This is a movie about sacrifice in pursuit of a dream,” he told Jimmy Fallon on “The Tonight Show.” “And it’s something I can relate to deeply. And we live in a bleak time, especially for young people, so this film is an attempted antidote to that.”
Chalamet then pivoted to the camera, the better to look into viewers’ eyes.
“And to continue to believe in yourself and to continue to dream big and to follow your dreams and not take no for an answer. That’s the spirit of ‘Marty Supreme,’ out on Christmas Day.”
Judging from the box office, Chalamet has pushed across the message. Will it work on awards voters, giving Chalamet the first Oscar of his career? As we head into the new year, the next phase of the “Marty” tour promises to be the season’s most interesting storyline. Gas up the blimp!
Alicia Piller was giddily flitting around her Inglewood live-work studio holding up resin-coated balls of detritus, showing off tiny fossil fragments, and pulling out plastic trays filled with random thingamajigs that had been organized by color.
The assortment is all part of her eclectic jewelry-making arsenal. She clusters recycled textiles, found items, donated castoffs and gemstones to create handmade wearable art that she describes as “science bohemian.”
In this series, we highlight independent makers and artists, from glassblowers to fiber artists, who are creating original products in and around Los Angeles.
Piller juxtaposes opals, garnets and pearls with less conventional materials such as tile fragments, snakeskin, bits of lava from a trip to Iceland, and bullet casings, all bound together with strips of leather or vinyl. Lately, she’s been working with 3-D printed waste that her friends, a pair of costume-based performance artists, started delivering to her in giant garbage bags.
“I am always thinking about some aspect of recycling,” she said, “seeing the value in these things that we deem ‘trash.’”
One wall of her studio is lined with metal racks stacked with bins and boxes labeled “clay,” “metal” and “scraps.” The room is cluttered, yet curated.
“There’s a little bit of hoarding mentality,” Piller laughed, “but I use it!”
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1.Necklaces featuring seashells, gemstones and recycled printed plastic.2.Alicia Piller displays her handmade ring.(Juliana Yamada / Los Angeles Times)
From her “controlled chaos” come intricate, ornate, one-of-a-kind necklaces, earrings, brooches and rings. While Etsy is her main retail hub, she previously sold her wearables at L.A.’s Craft Contemporary museum and the Houston Center for Contemporary Craft. She’s also provided flair for the likes of Phylicia Rashad, Jill Scott and Ciara.
Her creations give nods to nature, at times skew extraterrestrial, and have Afro-futuristic undertones. One pendant evokes the sea with its swirl of mother-of-pearl, spiral seashells and rivulets of pale gray leather arranged above a piece of bleached coral. A crystal-festooned collar necklace calls to mind a pair of Blue Morpho butterfly wings. And a jasper-studded pin resembles a Ghanaian mask at first glance.
The undulating layers and microcosms that make up her jewelry’s signature “biomorphic” look extend into her fine art practice, as well.
Piller received an MFA from Cal Arts and now teaches sculpture as an adjunct professor at UCLA and UC Irvine. Her maximalist mixed-media artwork has shown at Track 16 (the L.A. gallery that represents her), as well as institutions across Southern California, including the Brick and the Orange County Museum of Art. Both the Hammer Museum and the California African American Museum have her pieces in their permanent collections. Next summer, she’ll unveil a new monument as part of West Hollywood’s Art on the Outside public art program.
In her studio, multiple towering sculptures are ensconced in cardboard and bubble wrap, while others — works in progress — sit on plinths, lean against walls, or hang from the ceiling. There’s a stark contrast between these 9-foot-tall pieces and her smallest makes, a pair of one-inch post earrings. But toggling from the massive to the minute comes naturally to her.
Alicia Piller stands for a portrait in her studio.
(Juliana Yamada / Los Angeles Times)
“It’s about the microscopic and the macro,” she explained. “I like being able to see the tiniest detail, then letting it expand out into the cosmos. I’m thinking about those two scales constantly and about where we fit between those scales.”
While she addresses such weighty topics as police brutality and climate disasters in her large-scale works, making wearables provides comfort.
“The jewelry is much more free-form and fun versus the more serious stuff that feels heavy to me,” she said. “It’s not always full of activism and all these ideas about humanity and the world. It’s more of a joyous, less stressful task.”
She added, “I also just love to adorn myself in the things that I make.”
This has been true since childhood.
During the studio tour, the artist pulled out a piece of brass wire bent to spell out her name, a keepsake from when she was 12. She’s kept all manner of adolescent mementos, such as beads she fashioned out of tightly-rolled magazine pages or colorful pieces of clay. Her future as an artisan was a foregone conclusion.
Photos of Piller’s maternal ancestors line the edges of this textural necklace, which features a pair of beetles at its center.
(Juliana Yamada / Los Angeles Times)
Growing up in Chicago, Piller and her mother performed as clowns at birthdays and company picnics. From ages 7 to 14, it was her job to create balloon figures for partygoers — sculpting skills that would come in handy. She gained an appreciation for nature and anthropology from mother-daughter fishing excursions and regular visits to the Field Museum, which focuses on natural history. Her affinity for biology comes from her father, who attended medical school when she was young.
“I had all these books around me that had the insides of bodies,” she recalled, “so there was a fascination with the inside.”
Piller went on to study anthropology and painting at Rutgers University, making jewelry in her spare time. During breaks, she’d work at a Chicago bead store, where she learned about global jewelry-making practices. After graduating in 2004, she moved to Manhattan, spending weekends hawking accessories and hand-painted clothing from a sidewalk table. She later relocated to Santa Fe, N.M., where she worked at a store selling fossils, minerals and semi-precious stones.
“That’s when I really understood that in all these materials there’s a spiritual side, an energy,” she said. “There’s a beauty in the fusion of all of these materials together.”
Piller moved to Inglewood in 2019. Asked if L.A. has impacted her work the way previous cities had, she said, “[My] storytelling, narrative side has come to the forefront. There’s definitely been a shift, in terms of thinking about how an object can tell a story.”
For example, enamored of Pasadena-born author Octavia Butler, she began referencing the sci-fi legend’s writing and using her likeness, both in sculptural form (as with her 2024 piece “Mission Control. Earthseed.”) and in her jewelry. She also started incorporating images of other inspiring women, including her maternal forebears and the Cuban American sculptor Ana Mendieta.
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1.Earrings featuring science fiction author Octavia Butler, one of Piller’s many inspirations.2.A necklace made from a crinoid fossil stem.3.Cuban American artist Ana Mendieta sits at the center of these necklaces.(Juliana Yamada/Los Angeles Times)
L.A. has shaped her aesthetic in more literal ways, too.
“A big part of what I do is walking and doing urban hikes,” she said, noting that she’s trekked through nearly 20 countries. She’s walked from her studio to Watts Towers or westward to Torrance, collecting things she finds on the ground along the way and eventually transforming them. For instance, a pair of jewel-toned beetles she picked up made an ideal centerpiece for a regal bib necklace.
“There’s that side of me that really gets excited about looking at those objects, then creating my own sort of cosmology, my own artifacts, if you will,” she said. “I’m using ‘high’ gemstones to ‘low’ plastic and elevating all of them, fusing them into one work that then creates this energy, this power.”
There was no shortage of engrossing art with which to engage in Southern California museums during the past year, although the considerable majority of it had been made only within the past 50 years or so. Art’s global history before the Second World War continues to play a decided second fiddle to contemporary art in special exhibitions.
Our picks for this year’s best in arts and entertainment.
The chief exception: the Getty, where its Brentwood anchor and Pacific Palisades outpost accounted for three of the 10 most engrossing museum exhibitions in 2025, all 10 presented here in order of their opening dates. (Four are still on view.)
Art museums across the country continue to struggle in attendance and fundraising after the double-whammy of the lengthy COVID-19 pandemic shut-down followed by culture war attacks from the Trump administration. That may help explain the unusually lengthy, seven- to 14-month duration of half of these shows.
Gustave Caillebotte, “Floor Scrapers,” 1875, oil on canvas.
(Musée d’Orsay )
Gustave Caillebotte: Painting Men. Getty Center
An emphasis on men’s daily lives is very unusual in French Impressionist art. Women are more prominent as subject matter in scores of paintings by marquee names like Monet, Cassatt and Degas. But homosocial life in late-19th century Paris was the fascinating focus of this show, the first Los Angeles museum survey of Gustave Caillebotte’s paintings in 30 years.
A view into a dance gallery is framed by Guadalupe Rosales’ “Concourse/C3” installation.
(Christopher Knight / Los Angeles Times)
Guadalupe Rosales – Tzahualli: Mi Memoria en Tu Reflejo. Palm Springs Art Museum
Vibrant Chicano youth subcultures of 1990s Los Angeles, during the fraught era of Rodney King and the AIDS epidemic, are embedded in the art of one of its enthusiastic participants. Guadalupe Rosales layers her archival work onto pleasure and freedom today, as was seen in this vibrant exhibition, offering a welcome balm during another period of outsized social distress.
Don Bachardy, “Christopher Isherwood,” June 20, 1979; acrylic on paper.
(Don Bachardy Paper / Huntington Library)
Don Bachardy: A Life in Portraits. The Huntington
The nearly 70-year retrospective of portrait drawings in pencil and paint by Los Angeles artist Don Bachardy revealed the works to be like performances: Both artist and sitter participated in putting on a pictorial show. The extended visual encounter between two people, its intimacy inescapable, culminates in the two “actors” autographing their performed picture.
“Probably Shakyamuni, the Historical Buddha,” China, Tang Dynasty, circa 700-800; marble.
(Christopher Knight / Los Angeles Times)
Realms of the Dharma: Buddhist Art Across Asia. LACMA. Through July 12
“Realms of the Dharma” isn’t exactly an exhibition. Instead, it’s a temporary, 14-month installation of Buddhist sculptures, paintings and drawings from the museum’s impressive permanent collection, plus a few additions. It’s worth noting here, though, because almost all of its marvelous pieces were in storage (or traveling) for more than seven years, during the lengthy tear-down of a prior LACMA building and construction of a new one, and much of it will disappear again when the installation closes next summer.
Noah Davis, “40 Acres and a Unicorn,” 2007, acrylic and gouache on canvas.
(Anna Arca)
Noah Davis. UCLA Hammer Museum
A tight survey of 50 works, all made by Noah Davis in the brief span between 2007 and the L.A.-based artist’s untimely death in 2015 at just 32, told a poignant story of rapid artistic growth brutally interrupted. Davis was a painter’s painter, a deeply thoughtful and idiosyncratic Black voice heard by other artists and aficionados, even while still in invigorating development.
Weegee (Arthur Fellig), “The Gay Deceiver, 1939/1950, gelatin silver print. Getty Museum
(Getty Museum)
Queer Lens: A History of Photography. Getty Center
Assembling some 270 photographs from the 19th and 20th centuries, “Queer Lens” looked at work produced after the 1869 invention of the binaries of “heterosexual and homosexual,” just a short generation after the 1839 invention of the camera. Transformations in the expression of gender and sexuality by scores of artists as well-known as Berenice Abbott, Anthony Friedkin, Robert Mapplethorpe, Man Ray and Edmund Teske were tracked along with more than a dozen unknowns.
“Sealstone With a Battle Scene (The Pylos Combat Agate),” Minoan, 1630-1440 BC; banded agate, gold and bronze.
(Jeff Vanderpool)
The Kingdom of Pylos: Warrior-Princes of Ancient Greece. Getty Villa. Through Jan. 12
The star of this look into the ancient, not widely known Mycenaean kingdom of Pylos was a tiny agate, barely 1.3 inches wide, making its public debut outside Europe. The exquisitely carved stone, unearthed by archaeologists in 2017, shows two lean but muscled warriors going at it over the sprawled body of a dead comrade. Perhaps made in Crete, the idealized naturalism of a battle scene rendered in shallow three-dimensional space threw a stylistic monkey-wrench into our established understanding of Greek culture 3,500 years ago.
Ken Gonzales-Day digitally erased Illinois Black lynching victim Charlie Mitchell from an 1897 postcard to focus instead on the perpetrators.
(USC Fisher Museum of Art)
Ken Gonzales-Day: History’s “Nevermade.” USC Fisher Museum of Art. Through March 14
The ways in which identities of race, gender and class are erased in a society dominated by straight white patriarchy animates the first mid-career survey of Los Angeles–based artist Ken Gonzales-Day. The riveting centerpiece is his extensive meditation on the American mass-hysteria embodied by the horrific practice of lynching, in which Gonzales-Day employed digital techniques to erase the brutalized victims (and the ropes) in grisly photographs of the murders. Focus shifts the viewer’s gaze toward the perpetrators — an urgent and timely transference, given the shredding of civil society underway today.
Kara Walker deconstructed a monument to Confederate Gen. Stonewall Jackson for “Unmanned Drone,” as seen at the Brick gallery as part of “Monuments.”
(Etienne Laurent / For The Times)
Monuments. The Geffen Contemporary at MOCA and the Brick. Through May 3
The nearly two-year delay in opening “Monuments,” an exhibition of toppled Confederate and Jim Crow statues that pairs cautionary art history with thoughtful and poetic retorts by a variety of artists, turned out to give the much anticipated undertaking an especially potent punch. As the Trump Administration restores a white supremacist sheen to “Lost Cause” mythology by renaming military installations after Civil War traitors and returning sculptures and paintings of them to prior perches, from which they had been removed, this sober and incisive analysis of what’s at stake is nothing less than crucial.
Peak moment: As a metaphor of white supremacy, Kara Walker’s transformation of the ancient “man on a horse” motif into a monstrous headless horseman — a Euro-American corpse that tortures the living and refuses to die — resonates loudly.
Installation view of sculptures and a painting by Robert Therrien at the Broad.
(Joshua White / Broad museum)
Robert Therrien: This Is a Story. The Broad. Through April 5
The late Los Angeles-based artist Robert Therrien (1947-2019) had a distinctive, even quirky capacity for teasing out a conceptual space between ordinary domestic objects and their mysterious personal meanings. In 120 paintings, drawings, photographs and especially sculptures, this Therrien exhibition offers objects hovering somewhere between immediately recognizable and perplexingly alien, wryly funny and spiritually profound.
Has there been a year this decade when we’ve been sad to see it go?
I thought about that while reading our “25 ways to banish this no good, very bad year” list, which contains some terrific ideas, and I’d be very happy to watch you jump into the Pacific on New Year’s Day, if you feel so inclined. But they’re all predicated on the idea that this year has given off a stench that needs to be smothered, the same way you’d cleanse your dog in tomato juice after an encounter with a skunk.
And this is true. Even Game 7 of the World Series can’t erase the heartache that 2025 has inflicted upon us, though props to Kiké Hernández for doing his best to distract from the headlines.
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, wishing you and yours a better new year. It’s a low bar. I’m optimistic we can jump it.
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Did anyone really want to see a third “Avatar” movie?
Sure, someone must have. It sold $89 million in tickets last weekend, though that number fell short of analysts’ forecast for James Cameron’s three-hour movie. For comparison, 2022’s “Avatar: The Way of Water” brought in $134 million in its opening weekend. That movie, like the series’ 2009 first film, built its $2-billion-plus box office over time.
“Avatar: Fire and Ash” may well do the same.
Still, doesn’t it feel like there should be more excitement to go see a movie that might gross $2 billion worldwide? Maybe you were among the first in line to see it last Friday. No judgment. I’ve seen every Cameron movie in a theater, a streak I suspect will continue as long as he’s making films.
The thing is, Cameron himself is giving the distinct impression that he’s ready to move on from “Avatar,” even though he has already written scripts for the fourth and fifth entries in the franchise. He has other projects in the works, adapting “Ghosts of Hiroshima,” which revolves around the true story of the only survivor of both atomic bombs dropped on Japan. And he has teased a “Terminator” reboot.
Cameron is 71, a kid compared to Ridley Scott (88) and Martin Scorsese (83), but still … the clock is ticking.
Do you want him devote another three years (or more) to the lush, gorgeous world of Pandora?
Maybe if “Avatar: Fire and Ash” had spent less time repeating the same themes — and, sometimes, the same scenes — almost beat for beat from the “The Way of Water,” I’d feel differently. The new movie is, of course, a visual feast, though with just three years between the second and third films, the technological advances don’t feel as awe-inspiring this time around. Cameron remains adept at world-building and creating tense action set pieces. He’s also unrivaled at serving up lumpy dialogue, and the new film has serious pacing issues. “Fire and Ash” feels every bit like a 197-minute movie.
When I did my last set of Oscar best picture power rankings on Nov. 3, I put “Fire and Ash” at No. 10, sight unseen. This was in part because Cameron is Cameron and deserves respect and also because would-be contenders like “A House of Dynamite,” “Springsteen: Deliver Me From Nowhere,” “The Smashing Machine” and “After the Hunt” weren’t connecting with voters.
But the franchise fatigue with “Avatar” feels real. It’ll still probably win the visual effects Oscar and pick up a nomination for sound. But I suspect it’s going to fall just outside the 10 movies nominated for best picture.
If that happens, will anyone cry “snub”? Likely not. “Avatar: Fire and Ash” can still inspire wonder, but for the first time in his career, Cameron is spinning his wheels. It feels like he’s ready to return to Earth.
Alfred Hitchcock never won an Oscar for directing. Neither did Stanley Kubrick nor Robert Altman nor Sidney Lumet nor Federico Fellini nor Orson Welles.
It’s a group almost as distinguished as the list of winners.
But we’re likely going to cross one name off that ignominious list this year — Paul Thomas Anderson.
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. I already gave away who’s on top of our Oscar power rankings for director. How does the rest of the list shake out? Let’s take a look.
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1. Paul Thomas Anderson, ‘One Battle After Another’
Anderson has three Oscar nominations for directing — “There Will Be Blood,” “Phantom Thread” and “Licorice Pizza.” That feels light. He has 11 Oscar nominations in all, including five as a writer and three as a producer. He has never won. That feels wrong. So with “One Battle After Another,” he checks off both of the main boxes that Oscar winners often possess — he directed the year’s best movie and he’s well overdue for an honor. Like Sean Baker for “Anora” last year, Anderson likely will come home with an armful of Oscars, as he also produced and wrote the movie.
2. Jafar Panahi, ‘It Was Just an Accident’
Panahi has never been nominated for an Oscar, though his films have won the top prizes at the Venice Film Festival (“The Circle”), the Berlin Film Festival (“Taxi”) and, this year, the Cannes Film Festival (“It Was Just an Accident”). That movie’s withering takedown of the cruelty and corruption of authoritarianism packs a punch; it’s also unexpectedly funny in its clear-eyed social critique. Panahi has been imprisoned by the Iranian government many times for speaking out and was recently again sentenced, in absentia, to a year in prison on charges of “propaganda activities against the system.” Like we needed another reason to celebrate the man and his work.
3. Ryan Coogler, ‘Sinners’
(Eli Ade / Warner Bros. Pictures)
Coogler has two Oscar nominations, but they aren’t what you might expect. He was nominated for producing “Judas and the Black Messiah,” the thrilling 2021 historical drama looking at the politics of race. And he earned a songwriting nod for the Rihanna ballad “Lift Me Up” from “Black Panther: Wakanda Forever.” Coogler should have landed an adapted screenplay nomination for the first “Black Panther” movie, a more inventive, world-building work than the umpteenth remake of “A Star Is Born.” But that’s the past. Coogler, like Anderson, figures to be feted in multiple categories at the upcoming Oscars and may well bring home the prize for original screenplay.
4. Chloé Zhao, ‘Hamnet’
(Agata Grzybowska / Focus Features)
Zhao owns two Oscars for directing and producing “Nomadland,” the empathetic and searching portrait of America that felt like a balm when it premiered during the pandemic. After an ill-fitting detour into the Marvel Cinematic Universe with “Eternals,” Zhao came all the way back with “Hamnet,” a deeply felt look at love, loss and the cathartic power of art. Even those who find it overwrought laud the movie’s climactic sequence, a performance of “Hamlet” at the Globe Theatre. I’d argue the ending works so well because of the care Zhao took earlier in establishing the wonder and joy of the family’s life. “Hamnet,” to my damp eyes, is her best film.
5. Joachim Trier, ‘Sentimental Value’
(Lewis Joly / Invision / AP)
From here, you could shuffle the five through eight slots and make a good case for any of these directors landing the fifth slot in the field. Trier has much to recommend his subtle interweaving of past and present, hope and hurt in “Sentimental Value.” He received a screenplay nomination for his last movie, “The Worst Person in the World,” also starring Renate Reinsve. The directors branch boasts a strong contingent of voters from all over the world, a group that could easily nominate the filmmakers behind two of the year’s most celebrated international feature contenders. Plus, “Sentimental Value’s” salty view of Hollywood is bound to appeal to this bunch.
6. Guillermo del Toro, ‘Frankenstein’
The affable, movie-loving Del Toro has won many fans inside and outside the industry over the years, along with Oscars for directing and producing the 2017 best picture winner “The Shape of Water” and for “Pinocchio,” the enchanting 2022 movie that snagged animated feature. “Frankenstein” is far from his best work, but it probably has enough admirers to land a best picture nomination and mentions in several other categories. Director, though? If Del Toro didn’t make the cut for “Nightmare Alley,” he’s probably a near-miss for this one too.
7. Josh Safdie, ‘Marty Supreme’
(Atsushi Nishijima / A24)
It’s “Marty Supreme” week! The movie finally arrives on Christmas and, over the holidays, we’ll begin to have the sorts of conversations that will shed some light on the movie and its Oscar chances beyond the certain nominations for best picture and lead actor Timothée Chalamet. Is the title character, a single-minded ping-pong player oblivious to anything but his own advancement, a jerk? Or is he just like any other man in his 20s? Is the film’s last shot a sign of growth or a man contemplating his own death sentence? We’ll have time to discuss and, yes, revel in the unhinged chaos Safdie unleashes here.
8. Clint Bentley, ‘Train Dreams’
(Daniel Schaefer / BBP Train Dreams)
And finally, we arrive at the man behind “Train Dreams,” a contemplative film about an ordinary man puzzling through loss, guilt, the mundane and the magnificent. It’s the anti-”Marty Supreme” — quiet, painterly, a tad slow, sure, but hypnotic in the way it evokes a bygone America. Just the second movie Bentley has directed, following the little-seen 2021 drama “Jockey,” it has built a devoted following since landing on Netflix last month.
The Las Vegas Museum of Art has revealed new key details of Pritzker Prize-winning architect Diébédo Francis Kéré’s design for the city’s first freestanding museum, which is expected to break ground in 2027.
The earthy red structure will feature a facade of locally sourced stone, and was inspired by the canyons and red rock landscape that stretches beyond the brash, man-made playground of Sin City, Kéré said in an interview alongside the museum’s executive director, Heather Harmon.
“How can I use what is surrounding Las Vegas to create something open and welcoming?” he said. “We started to think about the subtle beauty of the nature, and to bring it into the core of the museum.”
Renderings of the structure, which is situated in Symphony Park, show a cubed modernist building with a large awning that stretches over a bustling entry plaza to provide shade. A curved grand entrance staircase spirals through the center of the museum and is visible from the building’s floor-to-ceiling windows. Cloistered second-floor galleries are meant to provide a peaceful sanctuary for taking in the art.
A concept sketch for the Las Vegas Museum of Art by architect Diébédo Francis Kéré.
(Diébédo Francis Kéré / Las Vegas Museum of Art)
Architect Paul R. Williams’ Guardian Angel Cathedral, which opened in the city in 1963, is cited as a design influence, as are the singular stocky trunk baobab trees of the African savanna. Kéré was born in the village of Gando in the West African country of Burkina Faso, and noted that although the natural environment of his home country is quite different from that of Las Vegas, he was able to find many design parallels for inspiration.
Kéré, who is also a professor at Yale in New Haven, Conn., has made many trips to Las Vegas over the last few years, and received personalized tours of the city and its natural surroundings from Harmon and Elaine Wynn, a museum board member and philanthropist who died in April.
They went to the Valley of Fire State Park, which features fantastical sandstone formations the same color as the museum’s renderings. They also saw various quarries as well as the Hoover Dam. In the city, they visited the west side, which is rooted in the city’s rich African American history, as well as Ward 3 on the east side, which is home to a large Latino population.
“We looked at community spaces, we looked at people in community spaces,” said Harmon. “And we really wanted to have that feeling of understanding as we approached the project — just knowing firsthand who we were building the museum for.”
The 60,000-square-foot building is expected to welcome more than 2.4 million year-round Las Vegas residents, as well as millions of global tourists. The museum is expected to cost about $200 million, including its endowment. The target opening date is in 2029.
Last year, the Los Angeles County Museum of Art announced it would share its collection with the Vegas museum, which does not have plans to become a collecting institution. LACMA director and LVMA founding trustee Michael Govan told The Times that the sharing arrangement is part of a paradigm shift for LACMA, allowing it to expand access to its collection without increasing the physical footprint of its home base. (Critics, including former Times art critic Christopher Knight, disagreed with the move.)
“I think that’s a very 20th century idea — to keep adding wings until you’re a million square feet on Fifth Avenue,” Govan said in an interview at the time.
It’s odd the moments you remember after someone’s gone.
Scrolling through a seemingly infinite number of clips featuring Rob Reiner being compassionate and kind, scenes from his movies that feature a bone-deep empathy for the ways human beings struggle and strive to be better, I kept thinking back to a little wink in “This Is Spinal Tap,” the 1984 mockumentary Reiner directed and co-starred in, playing filmmaker Marty DiBergi.
I’ve seen this movie so many times that I could probably act out the whole thing upon request. It provided a soundtrack to a family trip to Stonehenge several years ago. But thinking about Reiner in the wake of the horrible news that he and his wife, Michele Singer Reiner, were found dead in their home on Sunday night, their son Nick subsequently charged with their murders, I randomly landed on the scene where DiBergi talks with Spinal Tap lead singer David St. Hubbins (Michael McKean) after guitarist Nigel Tufnel (Christopher Guest) leaves the band.
St. Hubbins blithely insists he won’t miss Nigel any more than insignificant band members who played briefly in the group. DiBergi is stunned. He loves Spinal Tap and fears for its future. Reiner plays the moment with such sincere heartbreak, partly in character, but mostly I think because that’s who he was. Reiner couldn’t help it. He felt things deeply and spent much of his life working to make things better for those on society’s margins. He will be missed in so many ways.
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. How to describe this week? None more black will do. But Christmas is coming, and that Vince Guaraldi song never fails to make me smile. Let’s look at some good news for those who made the Oscar shortlists this week.
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The film academy announced shortlists for 12 categories at the 98th Oscars, whittling down the list of contenders and offering a few indications about what films are scoring early points with voters.
Ryan Coogler’s critically acclaimed, genre-defying blockbuster “Sinners” picked up eight mentions, as did “Wicked: For Good.” Both movies placed two songs on the original song shortlist and both were cited in the newly created casting category.
The bounty for “Sirât,” the Oliver Laxe thriller that is unquestionably one of the most memorable movies of the year, offered an indication that the word of mouth on this movie is strong enough to land it a spot among the nominees for international feature.
Can it do better than that? It should. Here are five suggestions for voters, including “Sirât,” as the lists are narrowed ahead of Oscar nominations on Jan. 22.
Cinematography: ‘Sirât’
“Sirât” contains so many surprising twists and turns that when asked to describe the plot, I simply tell people that it’s about a father who shows up at a rave in southern Morocco with his young son looking for his missing daughter. The long desert journey they end up taking is astonishing, and cinematographer Mauro Herce, shooting on 16mm film, captures every treacherous mile in dramatic detail.
Original score: ‘Marty Supreme’
Voting with the Los Angeles Film Critics Assn., I cast my ballot for Kangding Ray’s hypnotic score for (you guessed it) “Sirât.” But that was just one of many soundtracks that found its way into my life this year. Hans Zimmer’s synth-heavy “F1” score makes for propulsive listening while pedaling on an exercise bike and ranks among the celebrated composer’s best work. And I share Times film editor Josh Rothkopf’s enthusiasm for Daniel Lopatin’s throwback electronic beats in “Marty Supreme,” a delight for anyone who grew up listening to the ethereal soundscapes created by Tangerine Dream.
Casting: ‘Weapons’
I’m highlighting Zach Cregger’s horror-mystery “Weapons” here partially because of its inexplicable absence in the makeup and hairstyling category. I guess voters knew it was Amy Madigan in that bright red wig all along. That omission aside, “Weapons” is a prime example of what a great casting director can do, making use of familiar faces (Josh Brolin, Julia Garner, Madigan) in unexpected ways, finding the right child actor (Cary Christopher) to deliver big emotional moments and elevating emerging talent (Austin Abrams) to unexpected heights. Allison Jones, one of the greats, belongs among the casting category’s inaugural set of nominees.
Documentary: ‘My Undesirable Friends: Part 1 — Last Air in Moscow’
Julia Loktev’s five-hour chronicle of the chilling Russian crackdown on independent journalists has won documentary honors from both the Los Angeles and New York film critics. The doc begins in 2021, when the journalists, mostly women, are forced to label themselves as “foreign agents” simply for doing their jobs, covering Putin’s regime in a factual manner. Things intensify after Russia’s invasion of Ukraine, turning “My Undesirable Friends” into a cautionary tale about the perils of bending to an autocrat. It goes without saying, but this is essential viewing.
With the ongoing fracas over President Trump’s demolition of the White House’s East Wing, a number of other Trump administration-led attempts to remake the architectural landscape of Washington, D.C., have flown largely under the radar. This includes the sale and possible demolition of the Wilbur J. Cohen Building, which was completed in 1940 and was added to the National Register of Historic Places in 2007.
Part of what makes the building so beloved is a series of 1942 frescoes by Ben Shahn titled “The Meaning of Social Security,” commissioned as part of the Roosevelt administration’s robust New Deal art program. In a recent article in the New Republic, architectural historian Gray Brechin is quoted as calling the Cohen building, “a kind of Sistine Chapel of the New Deal.”
The structure, originally known as the Social Security Administration Building, has served as the headquarters for Voice of America since 1954. In March, Trump signed an executive order cutting funding for the agency that oversees VOA, and most of its staff was placed on administrative leave. In June, more than 600 VOA employees received layoff notices, and the service basically shut down.
At the beginning of this year, Congress agreed to sell the Cohen building, which had been suffering from major maintenance issues. The scope of the threat to the building became clear earlier this month when Bloomberg reported that “The White House is independently soliciting bids to recommend the demolition of the historic buildings [including the Cohen building], without the input of the General Services Administration, which maintains government buildings.”
“Federal properties can be sold quickly with limited public input. As powerful interests move in haste to sell this historic building, we call for the process to be paused and conducted with transparency, respect, and public participation,” the petition, which has garnered more than 4,700 signatures, states.
The Shahn frescoes aren’t the only precious New Deal artworks in danger. Other art housed in the Cohen building include murals by Seymour Fogel and Philip Guston.
I’m arts and culture writer Jessica Gelt wondering when enough is enough. Here’s your arts news for the week.
On our radar
Grant Gershon conducts the Los Angeles Master Chorale at Walt Disney Concert Hall.
(Jamie Phan / Los Angeles Master Chorale)
Disney Hall-e-lu-jah It’s hard to imagine the holidays without music, and the Los Angeles Master Chorale has three days of caroling and chorusing that should lift anyone’s seasonal spirits. A new addition to the choir’s traditional offerings is the family-friendly “Carols for Kids” (11 a.m. Saturday. Walt Disney Concert Hall), featuring Youth Chorus LA and designed for even the squirmiest children, 6 and under. That will be followed by the “Festival of Carols” (2 p.m. Saturday. Disney Hall), a program of global holiday music. The group’s performance of “Handel’s Messiah” (7 p.m. Sunday. Disney Hall) is a worthy centerpiece of any celebration. If you’re ready to have your own voice be heard, “Carols on the Plaza” (6 p.m. Monday, across the street at the Music Center’s Jerry Moss Plaza), is your chance to join in on free outdoor caroling with family, friends and fellow Angelenos. Festivities conclude with the Master Chorale’s “Messiah Sing-Along” (7:30 p.m. Monday) back at Disney Hall where 2,000 voices will unite for the “Hallelujah Chorus.” — Kevin Crust Walt Disney Concert Hall, 111 S. Grand Ave.; Music Center, 135 N. Grand Ave., downtown L.A. lamasterchorale.org
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The week ahead: A curated calendar
FRIDAY The Fruit Cake Follies In its 27th year, this madcap holiday variety show promises “music, mirth and merriment.” 8:30 p.m. Friday and Saturday, with dinner at 6:30 p.m.; 1 p.m Sunday, with brunch at 11 a.m. Catalina Jazz Club, 6725 Sunset Blvd. Hollywood. catalinajazzclub.com
Guadalupe Maravilla: A Performance Expanding on his solo exhibition “Les soñadores,” the transdisciplinary artist creates a collective ritual combining sound, vibration and healers from around the world alongside L.A.-based artists. 8 p.m. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Piotr Beczala The Polish-born tenor, known for his work in opera and the classical vocal canon, performs, accompanied by conductor and pianist Kamal Khan. 7:30 p.m. Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica broadstage.org
“Wet” by Sahar Khoury at Parker Gallery, 2025
(Sahar Khoury / Parker Gallery)
Sahar Khoury The interdependence of materials and their social and cultural environments inspired the sculptor’s newest solo exhibition, “Wet,” a series of pieces created from ceramic, steel, iron, brass and aluminum. 11 a.m.–6 p.m. Tuesday–Saturday, through Jan. 17. Parker Gallery, 6700 Melrose Ave. parkergallery.com
SATURDAY Christmas Joy Concert The free Third@First concert series continues with a program of carols, classic and new. 4 p.m. First United Methodist Church of Pasadena, 500. E. Colorado Blvd., Pasadena. thirdatfirst.org
Sanaa Lathan and Omar Epps in the romantic drama “Love & Basketball.”
(New Line Cinema)
Love & Basketball Writer-director Gina Prince-Bythewood marks the 25th anniversary of her modern romance classic, starring Sanaa Lathan, Omar Epps, Alfre Woodard and Dennis Haysbert. 7 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
The cast of “Nutcracker! Magical Christmas Ballet.”
Nutcracker! Magical Christmas Ballet This 80-plus city tour offers a distinct blend of classical ballet with avant-garde circus techniques and global influences, complete with 10-foot-tall animal puppets constructed by Roger Titley. For its 33rd year on the road, the production adds a new character: Sweets the Dog, created by Barry Gordemer of the award-winning puppeteer studio Handemonium. — Ashley Lee Noon, 4 and 8 p.m. Saturday. Wiltern Theatre, 3790 Wilshire Blvd., Los Angeles; and 1:30 and 6:30 p.m. Sunday. La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. nutcracker.com
SUNDAY Collecting Impressionism at LACMA This new exhibition traces how the museum built its collection and its pursuit of legitimacy through early acquisitions of American and California Impressionism and donations of paintings by Edgar Degas and Camille Pissarro from major Hollywood collectors. Through Jan. 3, 2027. Los Angeles County Museum of Art, Resnick Pavilion, 5905 Wilshire Blvd. lacma.org
Actor Taylor Nichols, left, and director Whit Stillman at a 20th anniversary screening of “Metropolitan” at the 2010 Sundance Film Festival.
(Jemal Countess / Getty Images)
Metropolitan It’s hard to believe that it’s been 35 years since the young socialites of the “urban haute bourgeoisie” entered our consciousness via filmmaker Whit Stillman’s delightfully droll film and its banter-driven, Oscar-nominated screenplay. Stillman and actor Taylor Nichols will be on hand for a Q&A with the screening. 2 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
WEDNESDAY
Aloe Blacc and Maya Jupiter host the 2025 L.A. County Holiday Celebration.
(Music Center)
L.A. County Holiday Celebration The Music Center’s annual spectacular features more than 20 local music ensembles, choirs and dance companies. The free, ticketed event will also be broadcast on PBS SoCal. Aloe Blacc and Maya Jupiter are this year’s hosts. 3-6 p.m. Dec. 24. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. musiccenter.org
— Kevin Crust
Dispatch: A director with a human touch
Cameron Watson is the new artistic director of Skylight Theatre Company.
(David Zaugh)
Stage director Cameron Watson has one of the best batting averages in town.
His productions of “The Sound Inside” at Pasadena Playhouse, “On the Other Hand, We’re Happy” for Rogue Machine Theatre at the Matrix and “Top Girls” at Antaeus Theatre Company were morale-boosting for a critic in the trenches, offering proof that serious, humane, highly intelligent and happily unorthodox drama was alive and well in Los Angeles.
Watson’s appointment as artistic director of Los Feliz’s Skylight Theatre Company starting Jan. 1 is good news for the city’s theater ecology. Producing artistic director Gary Grossman, who led the company for 40 years with enormous integrity, built the small but ambitious Skylight into an incubator of new work that embraces diversity and the local community.
Developing new plays is fraught with risk. Watson has the both the artistic acumen and audience sensitivity needed to usher Skylight through this perilous moment in the American theater when so many companies seem to be holding on by a thread.
Watson, like Peter Brook before him, knows how to convert an empty space into a realm of magic and meaning. For Watson, the play’s the thing. But for the spark to happen, actors and audience members need a director as intuitively attuned to the uncertain human drama as Skylight Theatre Company’s new leader. (The director’s current production of “Heisenberg” at Skylight ends Sunday.)
— Charles McNulty
Culture news and the SoCal scene
Moving in stereo The most Tony-nominated play in Broadway history, “Stereophonic,” is playing at the Hollywood Pantages Theatre through Jan. 2. Times theater critic Charles McNulty caught opening night and wrote that the first touring production fails to capture the high notes of the Broadway original. A few days later, I sat down for an interview at Amoeba Records with Will Butler, the former Arcade Fire multi-instrumentalist who wrote the music for the show. Our interview took place before Butler got onstage with the cast of the show for a short live in-store performance.
Boiling in Brooklyn Brooklyn was also on McNulty’s itinerary, where he saw Michelle Williams in the new revival of Eugene O’Neill’s “Anna Christie” at St. Ann’s Warehouse. “Michelle Williams seems to have unlimited emotional access. Her inner intensity expresses itself in a frenzy of volcanic feeling that can never be tamped down once it reaches its boiling point,” McNulty writes.
The name game The Kennedy Center continued its Trump-era transformation Thursday after the board voted unanimously to rename the world-famous performing arts venue The Donald J. Trump and the John F. Kennedy Memorial Center for the Performing Arts. It remains unclear if the move is legal, or if the name change will need to be made official via an act of Congress.
Viva Las Vegas I got a look at newly revealed architectural plans for the Las Vegas Museum of Art, which is expected to break ground in 2027. Pritzker Prize-winning architect Diébédo Francis Kéré is designing the city’s first freestanding museum and says his ideas were inspired by the red rocks and canyons of the desert surrounding Sin City.
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LACMA United Workers at Los Angeles County Museum of art voted to unionize Wednesday. The vote in favor was 96%, and came after LACMA rejected workers’ requests for voluntary recognition. Staffers have expressed disappointment in management over what they are calling its anti-union campaign.
La malchance The Louvre is down on its luck. Maintenance issues have lately plagued the famous Paris museum, and then there was that infamous heist. Now workers have voted to strike over working conditions among other complaints.
No, our Women in Film issue doesn’t exclusively feature women — Noah Baumbach and Brendan Fraser feature in our Dec. 16 edition as well — but it does shine a particular spotlight on their extraordinary contribution to the year in film.
As performers and production designers, writers, directors and more, the women included here helped fashion deeply felt stories of parenthood, friendship, grief and betrayal, and that’s just for starters. Read on for more highlights from this week’s Envelope.
The Envelope Actresses Roundtable
(Jason Armond / Los Angeles Times)
This year’s Oscar Actresses Roundtable was full of laughter, sparked by everything from Gwyneth Paltrow’s impression of mother Blythe Danner to Sydney Sweeney’s tales from inside the ring on “Christy.” But when it comes to self-determination, this year’s participants — who also included Emily Blunt, Elle Fanning, Jennifer Lopez and Tessa Thompson — are dead serious.
As performers, producers and businesswomen, the sextet told moderator Lorraine Ali, the boxes that Hollywood and the broader culture seek to put them in need not apply. And realizing that is its own liberation. As Lopez put it, “I don’t ever feel like there’s somebody who can say to me, ‘No, you can’t.’”
‘Hamnet’s’ last-minute miracle
(Evelyn Freja / For The Times))
Since the moment I first saw “Hamnet,” I’ve been raving to everyone I know about its climactic sequence, set inside the Globe Theatre during a performance of Shakespeare’s “Hamlet.” (Well, if you can call it “raving” when you preface your recommendation with the sentence, “I sobbed through the last 45 minutes.”) As it turns out, though, the process of making the film’s final act was as miraculous as the finished product.
“There were only four days left of shooting on ‘Hamnet’ when Chloé Zhao realized she didn’t have an ending,” Emily Zemler begins this week’s digital cover story, which features Zhao, actors Jessie Buckley, Paul Mescal and Joe Alwyn and production designer Fiona Crombie. What they created from that point, combining kismet, creative inspiration and grueling preparation, will buoy your belief in the power of art. “It was like a tsunami,” Buckley tells Zemler. “I’ll never forget it.”
A Is for Animal Wrangler
When I first read Helen Macdonald’s transporting “H Is for Hawk,” which combines memoir, nature writing and literary criticism, I can’t say I closed the book wondering when we’d get a film adaptation. Little did I know that director Philippa Lowthorpe, star Claire Foy and a pair of married bird handlers would provide such a thorough answer to my skepticism.
As Lisa Rosen writes in her story on the marriage of art and goshawk in “H Is For Hawk,” that meant shaping the production around the notoriously wary birds of prey, including its lead performance. “It wasn’t like having another actor who had another agenda or actions or a perspective that they wanted to get across in the scene,” Foy told Rosen of her extensive screen time alone with the five goshawks who stood in for Helen’s. “I was along for the ride with these animals.”
