Sitting in the heart of the city and surrounded by museums and bars, the Hard Rock Hotel Madrid manages to be entertaining enough on its own
16:44, 17 Aug 2026Updated 16:50, 17 Aug 2026
The rooftop bar at the Hard Rock Hotel Madrid is one of the highlights of the whole place(Image: Tom Capon)
Music is the lifeblood of the soul, I firmly believe everyone needs to listen to music to stay alive. But there’s people who love music (human beings, birds) and there’s people who love music (Radiohead fans). I always thought the Hard Rock Hotel catered exclusively to the latter group, until I made a trip to their Madrid location in July.
In fact, the Hard Rock Hotel is a haven for anyone who has been to a live gig all the way up to those people who camp outside Wembley Stadium, just so they can feel what it’s like to be squished against a barrier for hours with the force of a thousand fans.
Located in Madrid’s Atocha neighbourhood and a few minutes walk from the station that shares its name, it’s also just a 20 minute drive from the airport. This makes it an absolute sweet spot for exploring the city – that’s as soon as you’re done with the inside.
Room
Madrid is hot, but Madrid in July may as well be located on the surface of an exploding star. However, the air conditioning in this hotel is next level – and it’s the first thing I noticed as I walked in to their lobby. That was seconds before my eyes clocked the museum of artefacts in the lobby.
A gorgeous Menina sculpture statue covered in song lyrics from Spanish popstar Rosalia sits on one side of the entrance, with a giant bull greeting on the other. The lobby is a cornucopia of musical artefacts alongside the art, with guitars and pics from famous rockstars and little explainers for those less in the know.
It’s difficult to have so much stuff everywhere and not feel too kitsch, but while it certainly straddles that line, it feels more exciting than it does over-the-top. A wonderful touch I enjoyed was that all the staff have their favourite artist on their name tags. While checking in, I had a lovely chat with a guy about the new Madonna album – it was Pride season, after all, and Confessions II is this summer’s gay album.
One thing that struck me was how friendly and helpful all the staff were here. This is my favourite thing about the hotel: I never felt like a burden, even as I asked questions about how to get somewhere or if I needed toothpaste brought up to the room.
I stayed in a double-bed room overlooking the lobby. The beds are dreamy – I was clocking in 30,000+ Garmin steps (if you know, you know) and resting my head on a cloud and my body on another, bigger cloud, really helped me keep the party going. Despite music pumping from individual rooms and a Pride party on the Saturday afternoon, I could at most feel a murmur and a vibration.
The rooms aren’t huge, which while not unfamiliar to a city centre hotel, may be an issue for those bringing suitcases of clothes. I brought a backpack and fairly easily expanded into the clothes storage space.
However, this was mitigated by some lovely touches – the soundbar makes getting ready an absolute delight and if you don’t have any playlists, they provide you with one. The rain shower was, also, desperately needed after walking about in 40 degree heat. The cherry on top is the ring light mirror too – you best believe I did a photoshoot.
Amenities
The hotel boasts a restaurant and bar in the lobby area, as well as a rooftop bar and a pool with access to a bar and food. I dined at the Sessions restaurant on one Friday night.
Its definite plus point is a huge menu, meaning even the most fussy eaters will have something to eat, from patatas bravas to croquettes to onion rings and ribs. I would say this is fairly standard fare – if you’ve eaten in a Hard Rock Cafe, you’ve eaten the food here. But good for those in a pinch.
However, I cannot recommend enough going to the rooftop bar at sunset. The city sets alight with golden hour glow – sipping on a gorgeous cocktail as Madrid reveals its beauty to me is something I will never forget.
The pool, meanwhile, is good for jumping in to cool down, but is not the biggest I’ve ever seen. The real stars of the pool area are the bookable cabanas, making it ideal for decompressing, reading a book and hoping the hangover doesn’t kill you off.
It’s also on the edge of the huge El Retiro Park, with so much inside (including a botanical garden) that it would take several days to explore. On the edges of this I found a smaller, free version of the Reina Sofia too, proving art is foundational to a Madrid experience.
Sol station is a 20 minute walk from the hotel – I arrived during Pride, so while I didn’t get to experience the area’s restaurants, this was the epicentre of the entertainment, with live singers on a huge stage and hundreds of people dancing.
And no trip to Spain is complete without some churros – a 29 minute walk from the hotel is the famous Chocolatería San Ginés, which has existed since 1894. Here you can get affordable churros in chocolate so good I’m surprised Arthur Slugworth didn’t go in to steal the recipe. It’s so good in fact Madrid’s police officers are often spotted in there.
Is it worth the trip?
It’s hard not to recommend the Hard Rock Hotel. Not only is the location one of the best in the city, the hotel is just so exciting to stay in. Couple that with comfy beds you can sink into, the minor issues were outweighed by the force of its riff. If you like fun, you’ll like the Hard Rock Hotel.
I’m confident that I’ll make my way through The Times’ best breakfast burrito list and devour another couple dozen worthy candidates before I’ll ever have the chance to ride on that chronically delayed LAX people mover.
“Ninety-nine percent done”? Sounds like the answer my kids would give me the night before a big homework assignment was due.
Maybe our next breakfast burrito list can be “Best breakfast burritos near John Wayne Airport.” Or Hollywood Burbank. Or Long Beach. The possibilities are endless. No doubt we have got time until that “one percent” gets checked off.
I’m Glenn Whipp, columnist for the Los Angeles Times, host of the Envelope newsletter, and the guy pondering a “DTF Los Angeles” where the characters inch along the LAX horseshoe, kindling all manner of sinister thoughts.
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Cover story: ‘DTF St. Louis’
(Erik Carter / For The Times)
Are TV viewers a little more judgmental when it comes to complicated women?
Linda Cardellini would always know where someone was on their “DTF St. Louis” viewing journey based on their vibe when they approached her.
“If they were halfway through the show, they usually weren’t warming up to Carol and you could feel that energy,” Cardellini says, talking with me for a recent Envelope cover story on the limited series. “But if they were through with the show, that energy changed. Sometimes you could tell they felt bad that they didn’t like her in the first place.”
Carol, as you know if you’ve watched “DTF,” the season’s best limited series, is an overworked suburban mother forced to umpire Little League games because her job at Purina doesn’t pay enough to cover the bills. She’s married to gentle giant Floyd (David Harbour), an ASL interpreter and a sensitive stepfather to her son. But it’s a sexless marriage, so she turns to local weatherman Clark (Jason Bateman), who possesses a vitality long absent in her husband.
“DTF St. Louis” is ostensibly a murder mystery. Floyd dies in the first episode. Writer-director Steven Conrad employs a fair bit of misdirection, pointing our suspicions first to Clark and then to Carol. Since money is tight and Floyd had an insurance policy, Carol is a logical enough person of interest. We learn that she has a criminal record. And she was cheating.
“When I was reading the episodes, I thought, ‘Oh, OK. It’s going to be Carol, even though there’s so many clues telling you that it’s not her,” Cardellini says. “But we’re conditioned to think that. Like, ‘She had to be after the money,’ even though she never accepts any gifts as she’s struggling financially. Everyone just believed the worst in her.”
Granted, Carol could be a little brusque with service workers, and her passive-aggressive approach to police questioning (“Can you speak up?”) was a master class in control and manipulation that I plan to use if I’m ever interrogated for some crime I’m sure I did not do. (Unless it’s somehow related to picking someone up at LAX. Then all bets are off.)
Reviews for “DTF” too often would note how it’s a poignant look at male loneliness in the suburbs when, in fact, Carol is the most isolated character on the show.
“Carol is immensely lonely, but she’s so burdened by the heavy demand of keeping this household afloat that she doesn’t have the luxury to notice that she doesn’t have a friend,” says Conrad. “The job of bailing water is hers alone.”
In that respect, Carol brings to mind Skyler White on “Breaking Bad” and Carmela Soprano from “The Sopranos,” forlorn women dealing with the man-child they married and getting flak from viewers for being a killjoy.
By the end of “DTF,” we find we should have been on Carol’s side all along.
“It’s a beautiful magic trick,” says co-star Bateman.
Just the latest feat of illusion from the talented Cardellini, one that could result in her first Emmy win next month.
NEW YORK — It was 2023 when Laufey, the Icelandic singer-songwriter known for her neoclassical jazz-pop, decided to create a global fan event. Her second album, “Bewitched,” was soon to be released and she wanted to do something big to celebrate it. But more than that, she says, she “wanted to find a way to get my fans out of their homes, and to really follow an itinerary of my perfect idea of a day and have the music from ‘Bewitched’ follow it.”
And thus, “A Very Laufey Day” was born. Each year, the Grammy-winning singer curates itineraries for different locations across the globe for her listeners to follow. It’s “anywhere I have been and loved,” she says. It allows them to live what she refers to as “a perfect day,” but also to connect with their community offline and in person. And as she approaches its fourth edition, it has only grown larger.
“It became much bigger than I anticipated, really,” she says. She sought to inspire her audience to find “third spaces,” and explore some of her favorite locales: museums, bookstores, cafes, concerts and the like, and foster community in the process. And each year, it has only grown bigger, with fans dressing up in their favorite Laufey-themed vintage fashions to celebrate the unofficial holiday.
And Aug. 23 will mark the fourth annual “A Very Laufey Day.”
“It is a fun puzzle every year,” she says.
‘A Very Laufey Day’ 2026
This year, “A Very Laufey Day” will include experiences in 75 cities across 25 countries, centering on the theme of “A Celebration of the Arts.”
“Wherever in the world you’re spending your day, I hope you feel inspired and invigorated,” Laufey wrote in a note on her “A Very Laufey Day” website.
Fans can expect performances spanning symphony orchestras, ballet, jazz, opera and theater as well as events with libraries, bookstores, coffee shops, yogurt/ice cream shops and more. Her concert film, “A Night at the Symphony: Hollywood Bowl,” will be screened at select theaters. And she’s partnered with many museums around the world, including New York City’s Guggenheim, the Los Angeles County Museum of Art, the Museum of Contemporary Art Chicago, London’s Tate Modern and National Gallery, Chile’s Museo Nacional de Bellas Artes, Seoul’s Daelim Museum and more. At some participating businesses, fans will be able to acquire limited-edition merchandise and Laufey-themed specialty drinks.
LACMA is offering a discount code, AVLD, for museum visitors on Aug. 23. As of Aug. 16, the code took $2 off tickets. “Come spend the day enjoying something beautiful,” LACMA wrote on Instagram.
“This year it was really about focusing on the arts and culture and finding ways to bring this barrier of entry down between my audience — which is mostly Gen Z and Gen A — and these kind of so-called high cultural experiences,” she says. “Whether it’s going to see an orchestra show … museums or galleries, we really want to find ways to connect with those institutions.”
Some of these spaces can be intimidating for younger fans, and Laufey says this year was all about making these rooms, some of her favorites, inviting to her audience.
“It doesn’t have to be this scary thing. And so, I’ve kind of made it my life’s mission to make spaces like that fun and accessible,” she says.
The school year is beginning in the Los Angeles area, with LAUSD back this week and Pasadena Unified School District starting Monday. My 10-year-old daughter just got her new backpack and shoes and is aflutter about her return for her final year of elementary school. But she’s sad about one thing in particular: Last year her school had to choose to keep PE or art. It voted for art. She loved both, and didn’t think the choice was fair. I asked her to write about it and said I’d share her thoughts with readers.
For context, late last school year PUSD laid off more than 150 full-time-equivalent certificated positions. According to United Teachers of Pasadena President Jonathan Gardner, that number included almost 25 art, music, dance, orchestra and choir teachers. It also included librarians, coordinators for special education and counselors, and, of course, plenty of irreplaceable regular teachers. It’s a bitter pill for educators and parents to swallow, especially when the country is spending billions on an ill-advised war in Iran that was never approved by Congress and many people in the city are struggling to afford groceries and healthcare.
My daughter, Henri Boo Biller, gets into that a bit in her essay:
“Because the district couldn’t pay for certain activities and classes anymore, subjects like art, music and PE have ended. Some people have protested about these layoffs and budget cuts, but the children are especially sad.
Kids love and adore some of these teachers that have been teaching them how to draw or play a sport or musical instrument. Taking away these activities is ending certain opportunities for kids. For example, kids love to run and play just as much as they love to draw and sculpt. Taking away one of the two wouldn’t mean that the kid doesn’t still want to do it!
One of the subjects they’ve been taking away in some schools is music. This is a problem because some kids can’t afford instruments or lessons from an expensive instructor. That’s why music is so important, to let kids learn an instrument without having to pay big bucks for it. Taking away that is taking away a giant opportunity. The instruments the kids are learning, such as trumpet, trombone, flute, guitar, saxophone, cello and violin are expensive instruments that are hard to find, or at least hard to find in good condition.”
I’ll interject here. This is true. My family benefits from a school-loaned saxophone for my daughter.
In her essay, my kiddo interviewed her neighbor and best friend who lives across the street, asking her what she thought should be done about these budget cuts. Her answer broke my heart.
Q. What do you think we can do about these changes? A. Have more fundraising events throughout the year. As well as school sales, bake sales and lemonade stands.
My daughter continues, “As [my friend] mentioned, we could hold more school sales like bake sales and lemonade stands. But we could also think about why this is happening. The money that is usually going to schools across the country is instead being used by the government to buy more weapons for the war in Iran [editor’s note: we have discussed that one thing being funded doesn’t necessarily take away from another, and that it is really a matter of what we prioritize as a society] … and because of this PUSD and other districts are having to take away certain programs. Some of these programs are even their main selling point! Programs like art, music and PE are being shut down, ending certain opportunities for children. We can try to get some of that money back, like the interview stated, or protest to show the world we mean business. Thank you for your time. Next week I will come back with an equally intriguing topic. Have a nice rest of your week! I’m Henri B. Biller, signing out.”
As her mother, I vote for protest! We do mean business, right?
I’m arts editor Jessica Gelt sending my love to the teachers of the city. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Battleship Potemkin Sergei Eisenstein’s epic 1925 silent film screens with the world premiere of a live music score for string quartet and vocal quintet composed and conducted by George Sarah. Sarah also performs on synths/electronics, joined by soprano Jenna Hansen, mezzo soprano Anna Caplan, tenors George Sterne and Sean McDermott, Kaija Hansen on violin/viola, Katie Kim on violin and cellists Carolyn Regula and Paul Hyun. 8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
SUNDAY
Jas Ahluwalia and Kamaljeet Ahluwalia of Absolute Focus.
(Sierra Madre Playhouse; courtesy of the artist)
Absolute Focus + Chris Votek The husband-and-wife duo of Santoor virtuoso Kamaljeet Ahluwalia and tabla master Jas Ahluwalia are joined by cellist Votek for an afternoon of traditional Hindustani raga. 4 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
Pacific Chorale’s Choral Festival The annual event brings hundreds of community members together with the voices of the Chorale for Maurice Duruflé’s “Requiem.” Robert Istad conducts the Pacific Chorale’s Festival Chorus. 5 p.m. Renée and Henry Segerstrom Concert Hall, Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificchorale.org
TUESDAY
Gershwin, Bernstein & More Gianandrea Noseda and the National Symphony Orchestra make their Bowl debut with music from “West Side Story,” “An American in Paris” and Dvořák’s “From the New World.” 8 p.m. Hollywood Bowl, 2301 N Highland Ave., Hollywood. hollywoodbowl.com
WEDNESDAY
An Enemy of the People Director Bart DeLorenzo has reimagined Henrik Ibsen’s classic play to highlight its contemporary resonance in a society in decline. The cast includes Lauren Campedelli, DeJuan Christopher, Dennis Dun, Clay Hollander, Jason McBeth, Cara Mitsuko and Jay Paulson. Previews, 8 p.m. Wednesday-Aug. 21; opening night, 8 p.m. Aug. 22; 8 p.m. Fridays and Saturdays and Wed. Sept. 16; 3 p.m. Sundays through Sept. 27. Odyssey Ensemble Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
Herbie Hancock performs at the 2026 New Orleans Jazz & Heritage Festival.
(Amy Harris / Invision / AP)
Herbie Hancock Celebrates Miles Davis The Grammy-winning keyboardist has recruited a stellar lineup including two of Miles Davis’ former bassists — Ron Carter and Marcus Miller — trumpeter and composer Terence Blanchard, former Davis saxophonist Kenny Garrett, bassist Christian McBride and conductor-arranger Vince Mendoza, to honor Davis through his music. 8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
THURSDAY
Presented in VistaVision A tribute to the cinematography technique created by Paramount Pictures in 1954. Its popularity waned in the 1960s but contemporary filmmakers such as Brady Corbet, Yorgos Lanthimos and Paul Thomas Anderson have embraced the format. The series begins with John Ford’s “The Searchers” (1956) in 70mm on Thursday, and includes “North by Northwest” (1959), also in 70mm, and “One Battle After Another” (2025), the first film shot in VistaVision to win the Academy Award for best picture. 7:30 p.m. Thursday; the series continues through Aug. 31. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Gustavo Dudamel conducts his final concert in Disney Hall as L.A. Phil music director on June 7.
(Jason Armond / Los Angeles Times)
Celebrating Gustavo at the Bowl As Gustavo Dudamel departs L.A. for New York, he goes out with a bang of four nights with four different programs: Beethoven Ninth with the L.A. Phil and YOLA on Thursday; Gustavo’s Fiesta, with Los Tigres del Norte, singer-songwriter Lila Downs, Mariachi Reyna de Los Ángeles, singer Sílvia Pérez Cruz, La Sonora Dinamita and Los Panchos, joining with the L.A. Phil for a night of Latin music on Aug. 21; Foo Fighters with the L.A. Phil and YOLA on Aug. 22; and last, but not least, “A Concert for Venezuela: A Benefit to Support Earthquake Relief” on Aug. 23. 8 p.m. Thursday-Aug. 22; 7 p.m. Aug. 23. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
— Kevin Crust
Retrospective
L.A. Times arts coverage from the past …
Lynda Benglis. “MI,” 1984. Glass, sandcast, powdered; ceramic oxides, metal inclusions 13 1/2 x 17 x 16 in. Los Angeles County Museum of Art, gift of Daniel Greenberg and Susan Steinhauser.
(Museum Associates / LACMA; Lynda Benglis / VAGA, New York)
Shattering expectations
Aug. 6, 2006
It was 1986 and Daniel Greenberg and Susan Steinhauser were 10 years into their passion for collecting glass art. Their home was lined with the kinds of works they loved.
That was when Stephanie Barron, a curator at the Los Angeles County Museum of Art, called to suggest that they look at an unusual piece at Margo Leavin Gallery in West Hollywood. Titled “MI,” it was a thick twist of sand-cast glass with a roughened texture reminiscent of glass unearthed from ancient sites. Even more unusual, the artist was Lynda Benglis, better known for avant-garde sculpture and performance and video work.
It was as if glass, as an artistic medium, had reached a critical juncture. “A whole group of artists who were not part of the glass movement but who worked in glass suddenly appeared,” Greenberg says.
He and Steinhauser viewed “MI” with puzzlement at first, then respect and finally appreciation. “This was part of our learning experience,” he said. “It expanded our horizons.” The couple helped LACMA purchase the piece. READ MORE
— Scarlett Cheng
Culture news and the SoCal scene
Anthony Hopkins at Hotel Bel-Air in Los Angeles on Aug. 1.
(Christina House / Los Angeles Times)
Anthony Hopkins’ first love was music, and, at 88, he’s returned to it. Later this month, the two-time Academy Award-winning actor will release his debut album, “Life Is a Dream,” on Decca Classics, featuring London’s Philharmonia Orchestra and conducted by Gustavo Dudamel.
Dudamel will play his final show at the Hollywood Bowl later this month as the music and artistic director of the L.A. Phil, and although the city has had years to get used to the idea of losing him, it still stings. In a tender, thoughtful column filled with insider information, Times classical music critic Mark Swed looks back at Dudamel’s arrival in L.A. more than 20 years ago to track how the Venezuelan wunderkind went from “rising star to star to savior.”
Swed also broke the news that German composer and conductor Matthias Pintscher will be Los Angeles Chamber Orchestra’s new music director, replacing Jaime Martín beginning in the 2027-28 season. “Pintscher, who is 55, says he is not ready to make any grand statements about LACO other than being eager to explore West Coast music and that he loves combining old with everything else,” Swed wrote.
Michael Shaeffer as King Aerys II Targaryen in the “Game of Thrones: The Mad King,” which opened Saturday at Royal Shakespeare Theatre.
(Johan Persson)
The wildly popular “Game of Thrones” franchise, which began in book form and spawned one of HBO’s most successful series of all time, is branching out to the stage. A 3.5-hour play, “Game of Thrones: The Mad King,” opened last weekend at the Royal Shakespeare Theatre in Stratford-upon-Avon. Author George R. R. Martin was in attendance to celebrate, and audiences seemed delighted by the expansion of the fantasy world-building effort, with many fan questions answered.
The Lucas Museum of Narrative Art this week announced its flagship restaurant: Skywalker Grill, inspired by founder George Lucas’ Skywalker Ranch in Marin County. The restaurant is located on the top floor of the museum with sweeping views of the city. It will be open for lunch, dinner and weekend brunch with hours that last long after the museum closes. Think American cuisine with California-sourced ingredients, including a signature Skywalker Ranch Wagyu burger.
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Self Help Graphics & Art announced the launch of a $6-million capital campaign for the completion of its permanent home at 1300 E. 1st St. in Boyle Heights. The fund is intended for the final phase of a major renovation that will turn the space into a destination arts and culture center. The goal is to complete the project by the end of the year.
Brazil police say they have found eight stolen art pieces by French painter Henri Matisse that are valued at around $200,000, according to authorities. One person linked to the theft was arrested.
It will take someone better versed in finance, corporate law, family psychology and, perhaps, the impact of great wealth on brain chemistry than I to analyze the recent actions of Paramount Skydance Chief Executive David Ellison.
To a cultural journalist, however, it seems like he continues to make himself the best argument yet for opposing his company’s proposed acquisition of Warner Bros. Discovery.
Mere days after taking to the media to insist that he is a misunderstood film buff who just wants to save Hollywood, he threatened to help destroy it.
If California Atty. Gen. Rob Bonta and state attorneys general from 11 other states, including New York, New Jersey, Washington and Colorado, refuse to negotiate a settlement of their antitrust lawsuit, Ellison said he will yank Paramount Studios, and potentially Warner Bros., out of California.
Um, OK, Ultron.
So that’s how Ellison wants to prove that he will be a steward of the flailing entertainment industry — by threatening to rip out a big part of its still-beating heart and implant it in Texas or Tennessee?
Will he be taking the Hollywood sign as well, to stick atop the Grand Ole Opry or, better yet, the Alamo?
Not only does this grant Bonta VIP access to the moral highground, it all but negates Ellison’s recent New York Times guest essay. Especially the part in which he wrote: “The states claim this deal will give one company too much influence over theatrical releases and cable operators, while the W.G.A. argues that our combined market power will hurt writers.”
If one man can decide, in a fit of pique, to scoop up a huge portion of the entertainment industry and float it thousands of miles away, I’d say that’s a decent argument for “too much influence.”
Also, good luck with the landing. Texas and Tennessee are both fine states with vibrant cities, undeniable corporate incentives and lower costs of living, but their draconian abortion laws and restrictive LGBTQ+ legislation may give many in the entertainment industry pause.
Still, according to Ellison, it’s Bonta and his gang who are trying to make things political, not him; in his essay, Ellison claimed that the suit is mostly about preventing his ownership of CNN, despite his insistence that (the hiring of Bari Weiss to oversee CBS News to the contrary) the news network would remain autonomous.
As a journalist, I would love to believe that Bonta and the other attorneys general are simply going to bat for the Fourth Estate; with President Trump openly longing for the day when Ellison controls CNN, it is no doubt a concern. But as Ellison seems intent on personally underscoring, the bigger issue is how to prevent a dwindling number of individuals from controlling enormous portions of an industry that not only employs millions, but also plays a vital role in shaping the nature of art and culture in this country and the world.
(Never mind the queasy fact that Ellison is being bankrolled by his billionaire father Larry, who is putting many, if not all, of his eggs in the AI basket, to the detriment of his employees.)
Shaping art and culture is, of course, precisely why Ellison wants to buy Warner Bros. Discovery, almost literally at all costs. When he first lost the bid for Warner Bros. to Netflix, he (and his dad) responded by offering enough money (including a $7-billion payout should the deal not clear antitrust regulation) to make Ted Sarandos blink. Money has always been a ladder to power and influence in this country, and the widening wealth gap, not to mention the current administration, has turned the ladder into a rocket ship. (See please Elon Musk.)
Ellison has continually stressed his love of cinematic storytelling. Under the proposed Paramount Warner, he promises to produce 30 theatrical films and 170 television series a year and create more work for everyone.
That would be lovely (if fiscally difficult) to believe. If only he hadn’t just tried to hold the state that gave birth to cinematic storytelling hostage by threatening to kidnap one of its kids.
As negotiating tactics go, it certainly undermines whatever public approval he hoped to gain with his “I’m just a guy, standing in front of the movie biz asking it to love me” bit.
Change is coming for Paramount Studios — the lot on Melrose Avenue — either way. If Paramount Skydance acquires Warner Bros., production will likely shift to the Warner Bros. lot, with Paramount leased or sold.
Now, it seems, Ellison is willing to have a fire sale — he’ll certainly need to raise a bunch of cash if he’s going to quickly flee to redder pastures. As for the thousands of local workers who depend on Paramount production to make a living, well, Ellison and his executives may be able to afford to relocate or (more probably) commute out of state, but most of the people who actually make movies and television cannot.
Business, of course, is business and it has become financially and politically fashionable to desert California to avoid whatever local law, regulation or tax you now find unfair. Tech mavens, including Musk, have ditched California for the Lone Star State. Ellison’s father recently took Oracle out of Redwood City, first to Austin, Texas, then to Nashville, workers be damned.
But Ellison taking Paramount and potentially Warner Bros. out of Los Angeles isn’t about business. It’s pure politics, of the savage, oligarchical variety.
Given the stakes, it’s difficult to imagine that some sort of deal won’t be struck that allows the sale to go through. But Ellison isn’t saving the entertainment industry, he’s leveraging it.
And if he has to spit in Hollywood’s face to save his own, well, apparently that’s fine too.
The last time I ate at McDonald’s was also the first time I tried a McGriddle.
Why am I thinking about a breakfast sandwich? Well, it’s morning, for starters. And my old friend Laurie Ochoa, who runs all things food at The Times, just had her own first encounter with a McGriddle, inspired by the item’s mention in the most recent season of “The Bear.”
Should McDonald’s have a Michelin star? “The Bear’s” pastry chef Luca thinks so. Laurie is a fan too. Me? Honestly, I ordered it by accident, hangry and delusional after driving too many miles on a road trip home. To this day, whenever my son, Sean, passes that Lost Hills McDonald’s, he snaps a picture and sends it to me, captioning it: “McGriddle?”
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Does Rhea Seehorn dig McGriddles? She loves bread, so maybe the whole pancake-bun thing would put her off.
Sign up for The Envelope
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Cover story: Rhea Seehorn
(Ian Spanier / For The Times)
If you love great television, you know Seehorn from “Better Call Saul” and the new Apple TV series “Pluribus,” where she plays Carol, a sad woman forced to save the world from happiness and the hive mind.
But other than those two classics and a guest turn on the final season of “Veep,” I have not Seehorn in anything else. Which wasn’t for a lack of trying on her part, as I learned from talking with her for a recent Envelope cover story.
Seehorn moved to Los Angeles in 2003 after landing a lead role on the ABC sitcom “I’m With Her.” Seehorn played … well, I’ll let her describe the character.
“I was the naysaying, coattail-riding, bitchy, alcoholic little sister of Teri Polo’s character,” Seehorn says, laughing. “It was so much fun.”
The comedy ran for 23 episodes and was then summarily canceled, despite the season finale drawing about 11 million viewers. (“Can you imagine?” Seehorn says of the ratings. “You’d be a juggernaut now.”)
When she arrived in L.A., ABC put her up at the massive Oakwood apartment complex on Barham Boulevard, an (in)famous landing place for child actors, musicians and newcomers like Seehorn getting their start in Hollywood. On her way to work each day — she walked to the Warner Bros. lot because she didn’t have a car — Seehorn would pass older men wearing short bathrobes at 7 in the morning and “momagers” hustling their kids to an audition.
Says Seehorn: “It’s weird because you’ve landed a great job and you’re working, so, ‘Yay!’ But also, you’re staying in a one-room apartment that has a kitchenette and a Murphy bed that folds into the wall. When the bed’s folded down, it touches the couch and you can’t walk around. But when the bed is up, it’s a mirror, so you watch yourself have no friends, sitting there watching TV, eating a TV dinner. Then you’re like, is it less depressing to just sit in a bed all day, or should I watch myself sitting here?”
Needless to say, Seehorn moved as soon possible, landing in a fourplex apartment across from the Warner Bros. lot near the Taco Bell and Don Cuco on Riverside Drive. It was heaven. It had a second bedroom. And a window!
She lived there until the second season of “Better Call Saul.”
“The good news is, when you move to L.A. from New York, everything seems like a mansion,” Seehorn says, laughing.
Sitting on that Murphy bed at the Oakwood, was there ever a time when Seehorn wondered, “What am I doing?”
“I had come from supposedly being the receptionist at a construction office in Brooklyn, but what I was really doing was cleaning their bathrooms with like nine pairs of rubber gloves on because it was so disgusting,” Seehorn says. “That was my day job, and then I was working at Playwrights Horizons, a wonderful theater that I’d always wanted to work at, so I was thrilled. But theater doesn’t pay enough to live on. So life was always cobbling something together to pursue my passion, my dream.”
“Teenage Sex and Death at Camp Miasma” is a witty, gory slasher-romance that feels so personal to writer-director Jane Schoenbrun that they’ve essentially sliced out their soul and smeared it on the screen.
“Hacks’” Hannah Einbinder plays a rising director named Kris, a Sundance darling and Schoenbrun avatar of sorts who wants to convince a long-forgotten scream queen named Billy Presley (Gillian Anderson) to star in her next movie. It’s a resurrection of the fictitious “Camp Miasma” franchise, a hack-’em-up about hormonal camp counselors slaughtered by a gender-bending, spear-wielding killer called Little Death, who has an air-conditioning vent for a face. (The reason why sort of makes sense when you see his lair.) Billy played the final girl in the 1983 original film, then disappeared. And so Kris heads out to Billy’s snowbound hideaway — which just so happens to be where the movie was shot.
Young Billy (a riveting Amanda Fix) imprinted on Kris in a way she can’t articulate. Smoking weed with the real woman will hopefully help. Anderson’s Billy steps out of the shadows with a full face of femme fatale makeup and a syrupy Dolly Parton drawl, promptly serving Kris enough fried chicken to feed a bobsled team. Has Anderson ever had more fun onscreen? Her performance presents as camp, but her dynamic range of loud cackles and quiet glances is fabulous.
Acting in a film within a film, Fix’s version of teenage Billy is so nervous it seems impossible she’ll become Anderson’s diva. You can practically hear the girl’s heart beating so loud that it breaks your own. The two Billys almost snatch the movie from under its lead. But then toward the climax, Einbinder has a powerful close-up that puts the film back in her pocket. (Metaphorically, that is — by then, her character isn’t wearing any pants.)
Kris’ breakout movie was a high-concept inversion of “Psycho” told through the shower curtain’s POV. Yet she’s well aware that the studio hired her to rescue the “Camp Miasma” franchise not for her genius but because she’s queer and the internet has deemed Little Death “problematic.” The satirical scenes of Kris’ agent (Sarah Sherman) getting annoyed that her client can’t pitch a four-quadrant movie are hilarious while also ringing of truth.
Likewise, Schoenbrun specializes in zeitgeisty fables about 21st century isolation. Their own debut, the 2021 micro-budget internet thriller “We’re All Going to the World’s Fair,” was simultaneously mesmerizing and tedious, a mental breakdown that burrowed so deeply inside its own world that several COVID-era high schoolers I know felt like it had been made just for them.
A strange thing about Schoenbrun is that even when I haven’t liked their work, I’ve left the theater certain that I just watched what will be someone else’s favorite film of all time. (The affectless disassociation of 2024’s “I Saw the TV Glow” drove me bonkers.) Yet “Camp Miasma” finds Schoenbrun bravely opening up and getting vulnerable. It’s not just a lament about loneliness; it’s a challenge to change your perspective and maybe your life.
I suspect Schoenbrun could deliver a five-hour TED Talk on the pop cultural kitsch of “Friday the 13th’s” Jason Voorhees. They’re so fluent in how Hollywood squeezes the fun out of a franchise that they can convey “Camp Miasma’s” descent into schlock in a sprightly opening montage that sees Little Death become a trading card, a bobblehead, an 8-bit video game, an anti-drug spokesman and a novelty rapper. Over 13 sequels, the character’s trail of nubile corpses stretches from Manhattan to Mars to Quibi.
Kris pops in a disc of “Camp Miasma’s” tawdry 2008 reboot, which cinematographer Eric Yue makes look as flat as the discounted DVD. As that movie’s disposable bimbo strips off her top, the score cranks up a porno-chic song and Kris scribbles the word “desire” in her notebook in all caps. But the contrast between that sham seduction footage and a 35mm reel of the original “Camp Miasma” is like night and day — or rather, trash and art. Kris and Billy watch that one together in an intimate sleepover, sinking into the murky texture of a scene in which the virginal actor allowed a jerk to take off her clothes.
Schoenbrun loves the movie-ness of movies. You can see their devotion in outdoor backdrops that are deliriously false, in sight gags that reference Cronenberg and Carpenter or in production design that includes the perfect nostalgic ’90s video store carpet. Inside Billy’s private movie theater, the projector beams down on the back of Anderson’s head like that infamous Nicole Kidman AMC promo. Maybe I’m loopy, but I’d even swear the entrance to Billy’s screening room has a handmade mural of the Roku City screensaver. Watch for clues when the storyline we’re watching becomes its own nested narrative.
Horror fans waiting for jump scares will be thwarted. At least there are several sequences of macabre murder-comedy with blood geysers shooting up to the sky and a tracking shot through a killing spree that’s a riot. The soundtrack sets a more accurate tone right away with a gentle cover of R.E.M.’s “Nightswimming” that segues into Alex G’s dreamy synths. Yet Schoenbrun’s needle drops also seem to have been chosen to make the audience chuckle. A massacre set to the Counting Crows’ piano-and-accordion ballad “A Long December” is bizarre. (The only excuse I can think of is that Little Death hibernates at the bottom of a frozen lake?)
It feels like a magic trick when the film finally reveals where it’s going. “Teenage Sex and Death” is about climbing out of your head, admitting what you want and allowing yourself to enjoy it. Sexually, yes — that’s right in the title — and creatively, too, as Schoenbrun wants us to keep loving movies that make us squirm.
Lately, it’s been hard to talk about difficult art, with culture warriors deeming entire filmographies unworthy of enjoyment. People have gotten so used to preemptively apologizing for what they like that their mea culpas feel as reflexive as a sneeze. But Schoenbrun sticks up for the right to forgive a movie’s flaws. Here, when Kris anxiously whispers that a scene in the first “Camp Miasma” is transphobic, Billy gives her a shush.
We’ve all got our kinks, including ones for canceled flicks. (I still adore “Revenge of the Nerds” despite its god-awful rape joke.) Kris can intellectualize her “Camp Miasma” fandom all she wants. But Billy counters that the appeal of “Camp Miasma” is simple: “It’s flesh and fluids,” she says. And since she’s still living in it, we believe her.
‘Teenage Sex and Death at Camp Miasma’
Rated: R, for bloody violence, gore, sexual content, graphic nudity, drug use and some language
Running time: 1 hour, 52 minutes
Playing: Opening Friday, Aug. 7 in limited release
SHOREDITCH has never been short on style – and this hotel in its centre captures the vibe perfectly.
Here’s everything you need to know about staying at Hart Shoreditch.
Head to the UBA bar to enjoy cocktails like the Smoky Dragon and Mandarin Star – all £14Credit: Hart Shoreditch
Where is Hart Shoreditch?
This hotel is in London’s Shoreditch – the creative heart of the city that blends the best of fashion, street art and nightlife into one gritty, industrial setting.
Hart Shoreditch sits on Great Eastern Street, just a fifteen minute walk from must-see spots Brick Lane and Columbia Road Flower Market.
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Liverpool Street, Old Street and Shoreditch High Street stations are all about half a mile away, giving you access further into the city.
What is the hotel like?
This swanky hotel leans into Shoreditch’s industrial, cabinetmaker heritage – the interior mixes exposed metal and wood details with soft warm lighting, warm orange and red tones, plus plenty of bookcases packed with carefully-chosen items that nod to the area’s history.
If you’re into your interiors, you should check out the huge wrought iron spiral staircase, illuminated by moon-shaped chandeliers.
In fact, the hotel regularly puts on immersive art exhibitions that use this staircase to stage the artist’s works – it is currently displaying the works of artist Mali Mowcka.
What are the rooms like?
The hotel’s 126 rooms follow the theme – inside you’ll find crisp, white beds topped with orange throw pillows, plus copper details and familiar wooden flooring.
You’ll also find a Marshall Acton III on your bedside table – possibly the coolest Bluetooth speaker that looks like a mini vintage guitar amp.
Your tea and coffee making station is actually done properly here, too. You’ll find great-quality mugs and espresso cups, plus a Nespresso machine and tea from Brighton-based blenders, Hoogly.
Rooms start from £207 per night on a room-only basis. See hartshoreditch.com.
Rooms stay on-theme with warm lighting, burnt orange decor and a warm yet industrial feelCredit: Hart Shoreditch
What is there to eat and drink?
If you’re visiting for the weekend, don’t bother researching somewhere to go out for lunch.
Walk just next door to the hotel’s Asian restaurant, UBA, and sit down to enjoy one of the best bottomless brunches out there.
The new Weekend Brunch offering is far from your typical dry toast, cheap Prosecco and mushy avocado with eggs.
Here, you’ll feast on dishes like Korean crispy fried chicken, rock shrimp tempura, kimchi loaded fries, buttermilk chicken katsu buns, seafood dumplings and more.
The bottomless brunch I ate UBA was one of the best I’ve ever had – and great valueCredit: Hart Shoreditch
The bottomless offer costs £68pp, and includes two small plates, one bun or dim sum, two sides, dessert plus unlimited drinks – including a selection of cocktails.
Considering one cocktail in London can set you back £20 nowadays, you’re getting your money’s worth on drinks alone.
And trust me, the small plates were far from small – and I could have easily eaten just one side as my main meal.
Pair that with bottomless, high-end cocktails like the Blushing Geisha, infused with Asian flavours, and you’ve truly got yourself one of the best-value bottomless brunches out there.
What else is there to do there?
There are also wellbeing sessions like sound healing available at the hotelCredit: Hart Shoreditch
This hotel offers much more than just a place to sleep.
There’s a 24-hour gym with plenty of cardio machines like treadmills, an elliptical and exercise bike, plus strength machines, free weights and benches.
Plus there’s quirky wellness sessions like infrared sound healing, plus guests can claim 20% off on massage at a nearby wellness centre.
You can get involved in making art yourself, too, with oil painting classes, collage and sculpting workshops.
Check out the What’s On page to see upcoming events.
Is it family friendly?
The hotel offers queen-sized, interconnecting rooms which are ideal for families.
There’s even summer screenings of kid-friendly shows and films in the Byrd Lounge on Tuesdays and Wednesdays throughout the school holidays.
And when it comes to food and drink in UBA, children can enjoy a kids’ bento box.
Is the hotel accessible?
Inside the hotel feels warm and inviting yet sleek with a sharp edge – perfectly capturing London’s ShoreditchCredit: Hart Shoreditch
The hotel is fully accessible, with wheelchair-friendly rooms and a step-free entrance.
Make sure to mention any specific requirements you may have when booking.
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. My birthday’s still a few months away. Is it OK if I have a slice of this cake, anyway? Maybe the Television Academy can send it to the Emmy nominees who are no longer invited to the ceremony this year.
Read on for more …
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Awards show adaptation or mere party foul?
What if you were invited to a party and then nine days later that invitation is rescinded? A party in your honor, no less, or at least one where you are among the honorees. How would you feel? Would you be tempted to take that birthday cake I just mentioned and smash it into the face of your host?
Maybe I’ve watched the pie fight in “Blazing Saddles” one too many times. (Happy 100th birthday, Mel Brooks!) Still, if I were among the Emmy nominees in the five categories that the Television Academy shuttled off the Primetime Emmy Awards to the untelevised Creative Arts Emmy Awards, I might be reaching for some baked goods and taking aim.
The five categories excised from the show include four from the limited series/movie group — supporting actor and actress, writing and directing. (Variety series writing was also cut.) When I wrote a few weeks ago that the limited series boom had gone bust, it wasn’t my intention that the TV Academy remove more than half of the categories from the show. It could have just been a down year, people! Television was pretty meh across the board the last 12 months. Why pick on one division?
In doing so, the Television Academy effectively disenfranchised HBO’s “DTF St. Louis,” the best limited series of the season, from the ceremony. Steven Conrad’s dark comedy about suburban loneliness earned 13 nominations, including supporting acting nods for each member of its stellar ensemble — Jason Bateman, David Harbour, Linda Cardellini, Richard Jenkins and Joy Sunday. Conrad was nominated for three — writing, directing and producing the series.
But now only Harbour, Bateman and Conrad will receive tickets to the show as executive producers of the nominated series. The other actors can attend the Creative Arts Emmys, held the weekend before the Primetime Emmys. And of course, HBO will be happy to buy them tickets if they want to go to the televised ceremony too.
The question is: Will they and other nominees, which include the likes of Nick Offerman (“Death by Lightning”), Charles Melton (“Beef”) and Dakota Fanning (“All Her Fault”), want to get dressed up two weekends in a row? (First-world problems, I know.)
“It really did manifest as a disinvite for all these people,” says one awards consultant who, like other sources for this story, requested anonymity in order to speak candidly about the move. “Had the Television Academy done it before nominations came out, then at least people’s expectations would have been managed. But now it’s sort of like you got invited to the party and now you can’t come. It’s not a very nice feeling.”
“Beef” star Charles Melton’s category, supporting actor in a limited series or TV movie, will be presented at the untelevised Creative Arts Emmys the weekend before the Primetime Emmys ceremony.
(Netflix)
Why did the TV Academy wait to shift the categories until after the nominations were announced? Why focus on limited series and not, say, spread the cuts across drama and comedy categories too? Are these changes permanent?
I asked these questions to the Television Academy and the answers were, basically: We announced as soon as possible. We’re going to sidestep that second query. And we’ll see how it goes!
What this comes down to is a desire to create a show that, in the words of a TV Academy spokesperson, is “driven by the need to innovate while delivering a three-hour broadcast, keeping audience expectations and the creative structure of the ceremony in mind.”
Translation: fewer awards, fewer speeches, more throwback segments that have a chance to go viral and get people talking.
The Oscars tried this in 2022, moving eight categories off the telecast, handing them out before the broadcast began. Members hated the idea and order was restored the following year with all 23 awards being presented during the live telecast. (In 2019, when the motion picture academy announced a similar move, saying that four categories would be handed out during commercial breaks, the blowback was so fierce that the decision was almost immediately reversed.)
Emmy ratings were up 8% last year, the highest since 2021. An average of 7.42 million viewers watched. Not NFL numbers, but a continued indication that the audience level for major awards ceremonies has stabilized after steep declines during the COVID-19 pandemic.
Still, there is a feeling among some that awards shows need to adapt and pick up the pace in a time when viewers’ attention spans have shortened. Is there an appetite for a three-hour ceremony when you can simply watch the highlights the next day on social media platforms?
“If people don’t want to see actors winning awards, then the days of televised awards shows should just be over,” gripes another Emmy consultant.
One thing that might be over — or at least greatly diminished — will be submissions for the supporting acting categories for limited series/movie next year if the academy makes this revision permanent.
“I think everyone will be going lead,” one network executive joked, “even if they have just five minutes an episode.”
A 15-year campaign led by the Los Angeles County Museum of Art to conserve Watts Towers has run out of budget at the same time that a $22-million renovation of the campus is poised to take flight. The situation highlights what community organizers and the site’s leadership say is a piecemeal approach to the protection and preservation of one of the city’s most important cultural landmarks.
For decades, the city of Los Angeles and private foundations have invested in preserving the towers, the 102-year-old masterpiece of folk art built by Italian immigrant Sabato “Simon” Rodia. But while the landmark itself underwent years of painstaking conservation, which was recently halted at 90% complete, the arts campus surrounding it evolved in fits and starts.
Now, after 14 years of planning, an equally ambitious investment is being made to transform the Watts Towers Arts Center Campus (WTACC), which has served as an essential cultural and educational center for more than 50 years. The work will mark the first major upgrade of the WTACC since it opened in 1970, and leaders hope the transformation continues uninterrupted until it reaches the finish line.
“This is about investing in the people of Watts and creating a space the community can be proud of,” Mayor Karen Bass wrote in an email. “Thanks to the dedication of our state, county and local partners, philanthropic supporters and community organizations, we’re one step closer to creating a greener, healthier and more vibrant campus that honors the legacy of Watts while serving generations of Angelenos to come.”
The campus renovation is slated to break ground in October, with completion targeted before the 2028 Summer Olympics. The project is funded through a patchwork of public and private sources, including a $10.1 million investment from the Bezos Earth Fund, the climate philanthropy organization founded by Amazon Executive Chair Jeff Bezos.
The redesign will reshape how visitors experience the campus. More than 30,000 square feet of park space will be added along E. 107th Street, while climate-resilient landscaping will reduce flooding, improve stormwater management and create cooler public spaces. More seating and shade will be added to its amphitheater, new public art will be commissioned, and additional walkways, gathering areas and 200 trees will make the towers the physical centerpiece of what will be a 5-acre campus.
“It’s been the right time for a long time,” said WTACC Director Rosie Lee Hooks of the project’s long gestation during a recent interview.
A girl plays near the Watts Towers at the Watts Towers Arts Center Campus, which is poised to undergo a $22-million renovation just as funding for the restoration on the towers themselves has run out.
(Eric Thayer / Los Angeles Times)
The center offers free art, film and music classes for students and seniors, houses an art gallery and hosts two annual music festivals. Thousands of artists, filmmakers and musicians have passed through its doors as students and instructors.
Hooks, who has led the center since 2010, said the project’s long timeline reflects more than bureaucracy.
“It took so long because we’re in Watts,” she said, noting that the neighborhood has faced decades of disinvestment dating back to the 1965 Watts uprising. “People are still scared to come down here. However, our community is very, very rich in culture.”
That history of underinvestment is reflected in the campus itself, supporters say.
“This is the story of development in Watts and other communities of color in Los Angeles, where racist planning practices, combined with a lack of investment in the city’s arts and culture facilities, create a haphazard approach to management and design,” Tori Kjer, executive director of the Los Angeles Neighborhood Land Trust (LANLT), wrote in an email. The organization has partnered with the city on the campus’ redesign since 2012, when planning began to incorporate a vacant lot adjoining the towers into the campus.
The landscape design echoes Rodia’s own artistic process. Over the course of 33 years beginning in 1921, he transformed thousands of disparate objects — including mosaic tiles, plates, glass, shells and pottery — into 17 interconnected structures, one of which rises more than 99 feet.
“Assemblage is the practice of creating something meaningful from many distinct parts,” Sara Zewde, founder and principal of Studio Zewde, the landscape architecture firm designing the campus, wrote in an email. “Rather than erase those histories and make the campus feel as though it had always been a singular space, we wanted the landscape to celebrate them.”
A model created by landscape design firm Studio Zewdeof the proposed renovations to the Watts Towers Arts Center Campus. Groundbreaking is set to begin in October on the $22-million project.
(Eric Thayer / Los Angeles Times)
The campus’ landscape has remained largely unchanged since WTACC opened. Since then, several buildings and public artworks have been added, but LANLT’s Kjer described the site as a “hodgepodge of concrete, worn-out planting areas and grass … with a disjointed flow and limited way-finding.”
Around the time that LANLT partnered with the city, a separate proposal to build a skate park on the adjoining lot drew community opposition and, according to Kjer, delayed the project by about four years. The skate park ultimately opened a few blocks away, allowing the parcel to become part of an expanded campus.
The WTACC project gained momentum in 2021 when California’s Proposition 68 Statewide Park Program awarded a $4.5 million grant. The following year, Assemblymember Mike A. Gipson (D-Carson) secured an additional $4 million in the state budget.
Once that funding was committed, “it was just a domino effect,” Gipson said, helping attract additional public and private investment.
“This will be a space that will be nourishing for the soul,” said Daniel Tarica, general manager of the city’s Department of Cultural Affairs, which manages the towers. “We’re finally going to be able to make the whole campus useful.”
A building at the Watts Towers Arts Center Campus, which will receive a $22-million renovation beginning in October. Community members and supporters say the work has been a long time coming.
(Eric Thayer / Los Angeles Times)
Watts Towers attract about 40,000 visitors a year, according to the California Department of Parks and Recreation, and were designated a U.S. National Historic Landmark in 1990. In June, the site was added to the World Monuments Fund’s “Irreplaceable America” list of 10 endangered historic sites in the United States.
While Gipson hopes the renovated campus will attract additional international visitors, he also wants more Angelenos to discover one of the city’s defining cultural landmarks.
“The towers tell a story about Los Angeles,” Gipson said. “We want people to know that the Watts Towers are part of who Los Angeles is.”
Tarica said the project is designed to serve neighborhood residents as much as tourists.
“It’s a huge resource, and we have fought as a department, and as a city, to make sure that we have the funding to continue teaching … and programming,” he said.
A statue of Watts Towers creator Sabato “Simon” Rodiastands at the entrance to the Watts Towers Arts Center Campus, which is getting a $22-million renovation beginning in October, with the goal of completion in time for the 2028 Olympics in Los Angeles.
(Eric Thayer / Los Angeles Times)
For Hooks, however, the renovation’s success will ultimately be measured by its impact on the surrounding community.
She sees the campus as filling a void left by decades of cuts to arts education while providing a place where residents can gather and learn.
“Our community cannot afford art, especially now with all of the issues around health, around food, around jobs, around ICE separating families,” she said.
The project’s funding is restricted to renovating the campus and does not include the conservation of the Watts Towers themselves. LACMA Deputy Director Diana Magaloni said about $412,000 is needed to finish the project. The city has allocated $150,000 for ongoing maintenance and monitoring, and both Magaloni and Tarica said they remain optimistic the conservation campaign and campus transformation will be completed before Los Angeles welcomes the world for the 2028 Summer Olympics.
“It would be amazing to have this funding to be able to do the campus restoration and [the towers restoration] in preparation for us to be on the world stage,” Tarica said.
One of Europe’s hotspots, central Rome has increasingly come to resemble a tube station during rush hour: stifling, overpacked and claustrophobia-inducing. Last year, the Eternal City welcomed a record number of tourists, driven in part by the 2025 Vatican Jubilee – 22.9 million arrivals stayed in the city, almost 10 times the number of residents.
There is no sign of the great tourist boom slowing down, either, with local sources indicating that 2026 could steal the crown from 2025.
Yet while holidaymakers stream out of Rome’s main railway station, Termini, making a beeline towards the Colosseum, the Roman Forum and Piazza Venezia, few realise that a 20-minute walk in the opposite direction leads to one of Rome’s most overlooked quarters: San Lorenzo.
La Sapienza is one of the world’s oldest universities. It was founded in 1303. Photograph: Peter Spiro/Getty Images
Built in the late 19th century for the working-class community, San Lorenzo carries more modern historical weight than many of its city-centre counterparts. During Benito Mussolini’s rise to power, both local residents (sanlorenzini) and the Arditi del Popolo(AdP) – an anti-fascist military group – were involved in acts of resistance.
During the little-documented 1922 battle of San Lorenzo, members of the AdP resisted squadrist incursions into the neighbourhood, forcing them to retreat under gunfire. Five months later, during the March on Rome, barricades were erected to prevent the blackshirts from entering the area. Though 13 people were killed in the unrest, fascist forces never fully controlled the neighbourhood. It became known as the red zone, symbolising its leftwing politics.
Tragedy struck again towards the end of the second world war, when allied bombing destroyed swathes of the area and killed about 1,500 sanlorenzini.
Today, the living situation in this counterculture quarter is a lot less combative. Students from nearby La Sapienza University mingle with artists, creatives and longtime residents who have remained rooted in their working-class, leftwing identity. Although it has had a cash injection, and clubhouse chains Soho House and Social Hub have opened their doors, the neighbourhood has retained much of the character that sets it apart from Rome’s increasingly crowded centre.
Where to eat and drink
San Lorenzo is known for its non-touristy eating and drinking spots. Photograph: Bloomberg/Getty Images
Sticky menus with photos of food on them are thankfully few and far between, as are plates of carbonara for more than €10. The district’s Pizzeria Formula 1 is a rite of passage for those living in the area. The no-frills spot has served up Roman-style thin-crust pizza since 1978, specialising in classic toppings such as margherita. Its interior matches what is served: a wood-lined room with white ceilings that looks like it hasn’t been touched since its opening. Both old and young come for meals that rarely stretch beyond €10 per head.
A few minutes away is Osteria da Marcello, a family-run fixture since 1961. Before Marcello Santececca and his wife, Alessandrina, opened their doors, the premises catered largely to fagottari, diners who bought food from home and wine from the establishment. Typical Roman dishes, such as stewed tripe, deep-fried Jewish-style artichokes (carciofi alla giudia), cacio e pepe pasta, and braised oxtail are served on plates placed on paper-covered tables in a dining room retaining its indoor picnic atmosphere.
It’s not just inexpensive eateries that prevail. Nena Mercato e Cucina, run by Italian actor Cristiano Caccamo and his business partner Lorenzo Biancolella, represents a newer side of San Lorenzo: trendy without pomp. Tiled tables and plates hung on the walls lend a Spanish feel, while the menu reworks old-school Italian staples with a sprinkle of modernity, from duck fettuccine with parmesan foam to carbonara with truffles.
Pizzeria Formula 1 is a rite of passage for sanlorenzini
Those with a sweet tooth can cleanse their palates with a bona fide gelato from the aptly named Gelato San Lorenzo, which serves flavours ranging from the obscure (avocado, lemon and pepper) to classic (strawberry).
Nearby, 103-year-old chocolate factory SAID dal 1923 serves up desserts centred on chocolate. Display cabinets show off handmade pralines and truffles, and chocolate-making paraphernalia dangles from the walls, offering a reminder of the zone’s industrial past. Come autumn, the chocolatier’s rich hot chocolate is moreish enough for Augustus Gloop to want to wade in.
As dusk falls, Piazza dell’Immacolata becomes the neighbourhood’s unofficial living room, where raucous university students spill out with beers and plastic cups of wine in hand.
Wine bars are few, but it doesn’t mean they are non- existent. Hidden in plain sight is minuscule Ramnes, a wine bar where patrons and newcomers revel in conversation between sips of local wine (such as the crisp Bellone) and beverages from slightly further afield (such as velvety reds from nearby Abruzzo).
Basilica San Lorenzo fuori le mura (Basilica of St Lawrence Outside the Walls). Photograph: Reda/Getty Images
Much like central Rome, faith makes up a part of San Lorenzo’s sightseeing. The Basilica of St Lawrence Outside the Walls was built around the tomb of the quarter’s namesake. The basilica is one of the Seven Pilgrim Churches of Rome and houses the relics of St Stephen. The original church was destroyed by allied bombings in 1943, with the latest facade rebuilt from the rubble.
In keeping with the religious theme, tree-lined Verano Monumental cemetery (known as Il Verano by locals) offers a place of reflection and tranquillity away from the hubbub of the area. The 83-hectare burial ground is divided into Jewish, Catholic and Protestant sections, with a monument to the victims of the first world war. The resting place of Italian acting icons Alberto Sordi,Bud Spencer and Gigi Proietti, it’s Rome’s answer to London’s Highgate cemetery.
Beyond piety, San Lorenzo’s modern spin stands out. Where central Rome is defined by frescoes, San Lorenzo is defined by street art. As in any neighbourhood, there’s a fair amount of graffiti, but then there are standout pieces such as Marina Biagini and Elisa Caracciolo’s Murale contro il Femminicidio (Mural Against Femicide, 2012-13), each of the 107 figures representing a victim of femicide from the year before. Rome-born street artist Alice Pasquini painted a block-long mural called “Welcome to San Lorenzo” along Via dei Sabelli. Street art tours are frequent.
Elisa Caracciolo’s Murale contro il Femminicidio Photograph: Andrea Sabbadini/Alamy
San Lorenzo’s creative identity extends beyond the streets. It is also a key destination for contemporary art in Rome, anchored by the Fondazione Pastificio Cerere, a former pasta factory transformed into a cultural centre in the 1970s, with frequent exhibitions. Independent galleries and creative spaces also contribute to the area’s broader artistic ecosystem, including Collettivo noMade and Monti8.
Where to shop
With not a pristine Gucci bag or a sharp suit in sight, alternative, vintage clothing is high on the priority list for sanlorenzini. There are many secondhand clothes shops, such as Latini 34, where everything from boldly coloured preloved trench coats to shoes can be found. You can also find artisanal leather goods at Laboratorio Pellerossa, and handpicked garments from little-known designers across the globe at L’Anatra all’Arancia. Music-aficionados can pick up a range of vinyl from Ultrasuoni Records Roma.
Don’t miss
It’s pretty hard to miss Giardino Verano in the summer, an open-air space near Il Verano; noise and laughter can be heard throughout the quarter. The four-month-long summer festival hosts (every day until October) free concerts, an outdoor cinema and drinks and games until 2am.
Where to stay
The Social Hub. Photograph: leonardoworldwide.com
There’s little in the way of plush hotels in San Lorenzo but Ateneo Garden Palace (doubles from €188) is set with a sizable courtyard, and offers spacious, airy rooms. Down the road, the newly opened Social Hub (doubles from €250) offers all the facilities from onsite restaurants to a rooftop pool with a bar.
Betye Saar, a Los Angeles artist who transformed collections of bigoted bric-à-brac — Sambo dolls, ceramic mammies and crude renderings of pickaninnies — into potent works of assemblage that mined the searing history of race in the United States, and whose works influenced generations of artists, has died. She was 99.
Saar died in her sleep — just a few days short of her 100th birthday — in Los Angeles, her longtime gallerist Julie Roberts at Robert Projects said. Saar’s death was confirmed by her publicist Hannah Gottlieb-Graham.
“Betye Saar was one of the greatest artists of our time, and it has been an immense honor to work with her for nearly 20 years,” Roberts said. “Her singular vision transformed the course of contemporary art, and her legacy will continue to inspire generations of artists, scholars, and audiences around the world.”
A diminutive woman with a low-key manner that belied a steely resolve, Saar was known for combing garage sales, flea markets and junk piles for objects that she employed in collages and assemblages large and small. These explored difficult aspects of American history — including slavery and Jim Crow — but also touched on more personal themes of family, memory, magic and spirituality.
“My work has to do with recycling,” she told a documentary crew in the 1970s. “Each item I collect has a certain energy from its previous function that carries over into its new use.”
Artist Betye Saar in her Laurel Canyon home in 2016.
(Gina Ferazzi / Los Angeles Times)
In a 1984 profile, Times art writer Suzanne Muchnic described Saar as an artist who used found objects in a way that “draws on the power of mystery, the hurt of discrimination and the authenticity of individual vision.”
As Saar’s 100th birthday approached, her work and its groundbreaking importance were celebrated afresh in a slew of articles, including two recent profiles in The Times. As she approached the momentous milestone, Saar appeared more interested in creating new art than in dissecting her legacy. “That’s what art is,” she told The Times in an interview in late June. “Making something where there was nothing.”
Saar first rose to prominence in the 1970s, after crafting a small assemblage — roughly the size of a shoebox — that featured at its center a stereotypical Black mammy figurine bearing a rifle in one hand and a grenade in the other. The piece was first shown at the Rainbow Sign, a community center in Berkeley that was located near the headquarters of the Black Panthers.
The artist had begun her professional life as a designer of greeting cards and home accessories. But 1972’s “The Liberation of Aunt Jemima,” as the assemblage was called, catapulted her into the center of the Black Arts Movement and connected her with a broader tradition of assemblage in California and the art world at large. Three years after its creation, she had a solo exhibition at the Whitney Museum of American Art in New York. Decades later, activist Angela Davis credited “The Liberation of Aunt Jemima” with spurring the Black women’s movement.
“It’s like they abolished slavery, but they kept Black people in the kitchen as mammy jars,” Saar said in a 2015 interview. “I had this Aunt Jemima, and I wanted to put a rifle and a grenade under her skirts. I wanted to empower her. I wanted to make her a warrior. I wanted people to know that Black people wouldn’t be enslaved by that.”
In June 2020, in the wake of the uprisings following the murder of George Floyd, Quaker Oats announced that it would retire the Aunt Jemima brand. Saar took to Instagram with an image of her famous work and a message: “She’s liberated! Finally at long last! And it’s about time!”
“Liberation” now resides in the collection of the Berkeley Art Museum and Pacific Film Archive, not far from where it was first shown.
Betye Saar was born Betye Irene Brown in L.A. on July 30, 1926, the eldest of Jefferson Maze Brown and Beatrice Lillian Parson‘s three children. Her father, with whom she was close, died when Saar was about 5. And shortly thereafter, Parson relocated the family to Pasadena to live with her maternal aunt, Hattie Parson Keys. (Years later, Saar created a series of works in honor of Keys, employing objects that her aunt had left behind — something she would do for other family members as well.)
Saar’s parents weren’t artists, but art was in the air. When she was a child, her mother encouraged her to sew and make crafts. And, in the summers, she spent time at the home of her paternal grandparents in Watts, where she saw Simon Rodia building the Watts Towers and was struck by his use of materials.
“The one I find the most amusing is the corn cob,” she told the podcast “The Modern Art Notes” in 2016. “He had a piece of space with wet cement so he just put the corn cob in there. And I just love the kind of freedom to make the piece. Anything can go in there.”
After graduating from high school, Saar spent two years at Pasadena City College before transferring to UCLA in 1947. She majored in design, figuring that she would become an interior decorator — and, for a time, she did indeed work in that field, teaming up with Curtis Tann to form a cleverly named studio called Brown and Tann. Operating out of Tann’s home, the company produced an array of decorative and functional objects, including bowls, ashtrays and jewelry.
To market their goods, they turned to an informal network of African American artists, staging pop-up exhibitions in people’s homes and in other impromptu locations. In 1951, the pair was featured in Ebony magazine.
It was through that circle that she met a ceramicist of German American descent by the name of Richard Saar. In 1952, they married. The following year, their daughter Lezley was born. Two other daughters followed: Alison in 1956 and Tracye in 1961. (Lezley and Alison are now respected artists in their own right. And, in fact, on more than one occasion, all three women have shown their work together, most recently at the Museum of Art & History in Lancaster in 2018.) In 2024, the Equal Justice Initiative Legacy Gallery installed Saar’s “Seeking Secrets of Destiny” alongside her daughter Alison’s sculpture “The Beckoning.”
Betye Saar, flanked by her daughters, stands before a painted brick wall.
(Carolina A. Miranda / Los Angeles Times)
In 1962, the Saar family moved to a rambling hillside home in Laurel Canyon, then a very rustic part of L.A. It put them in a hotbed of hippiedom right as the 1960s got rolling.
“Down the road was Frank Zappa,” Saar recalled in one interview. “There weren’t that many houses. We had the long skirts and long hair, and it was very casual. You’d go to a love-in or a concert.”
“We were as hippie-ish as hippie could be, while still being responsible.”
By the late ‘60s, she and Saar had divorced. But she remained in Laurel Canyon, where she would live and work until the end of her life.
Saar came to art almost by accident. In the late 1950s, she enrolled at Cal State Long Beach to pursue a master’s degree so that she could teach. But a stroll through campus led her past the university’s printing department.
“I walked past the print workshop and I was like, ‘Heyyy!’ ” she later recalled.
The master’s degree never happened. Instead, she poured herself into printing.
“I loved making prints,” she recalled. “The move into fine art, it was liberating. It gave me freedom to experiment.”
A pair of other, longer journeys, also proved formative.
There was a trip to Chicago’s Field Museum, where she immersed herself in the institution’s extensive collection of African art, followed by a trip to Haiti in the early 1970s. Saar was drawn to the Caribbean nation because of her interest in voodoo and magic — and the power that these could confer on inanimate objects.
“In the early 1960s I began going to coffee houses and they’d have books on the occult,” she told the New York Times in 1978. “I was attracted to signs and diagrams of alchemy and palmistry, and I began to use them in my prints. I also haunted second-hand and junk stores, and I started to frame my prints in old window frames.”
But it was a visit to an exhibition of the work of Joseph Cornell at the Pasadena Art Museum (now the Norton Simon Musuem) that inspired her to take a three-dimensional turn in her work. Saar was moved by the surreal qualities of the New York artist’s intimately scaled assemblages, which were often presented in small boxes.
“I immediately started collecting stuff after I saw that show,” she told the L.A. Times in 2016. “I started going to yard sales and estate sales.”
During the ‘60s and ‘70s, she took on a series of part-time jobs to provide for her children, designing costumes at a cultural center and teaching at area art schools. These provided her with necessary income, but also allowed her enough time to make work — which she often did at the kitchen table.
“Art comes from the heart and the head,” she once said. “You don’t need to have a separate space in which to make it.”
Plus, art gave Saar a crucial political voice at a time of the civil rights and Black power movements. “If you are a mom with three kids, you can’t go to a march,” she once stated, “but you can make work that deals with your anger.”
“The Weight of Betrayal,” 2015, by Betye Saar.
(Brian Forrest / Roberts Projects)
In her assemblages, she incorporated symbols that channeled dark episodes of U.S. history and African American struggle: the schematics of slave ships, the hackneyed images of vintage kitsch and the cruel sobriquets used by white supremacists to describe Black children.
At first she was apprehensive about using this type of imagery in her work. “Blacks were ashamed of those derogatory images,” she told the New York Times. “I like to think I recycled those images from negative to positive.”
But there was power in those images — and Saar knew just how to harness it.
She would go on to deploy these tropes in myriad ways throughout her career — in particular the stereotypical figure of the Black mammy.
This included one particularly potent work: a glass bottle featuring the visage of a smiling mammy, which she transformed into a Molotov cocktail. The piece, which for decades had been in a private collection, reappeared in the traveling exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” which went on view at the California African American Museum (CAAM) in 2017.
“Historically, the mammy was the ultimate image of Black female servitude in the American psyche,” wrote historian Steven Nelson in the catalog that accompanied a 2017 exhibition of Saar’s work at the Craft Contemporary (then known as the Craft & Folk Art Museum). “She was kind and giving. She cooked and cleaned and did the laundry. She took care of the children. She was harmless.”
By arming her mammies with revolvers, rifles and bullets, Saar turned a symbol of servility into one of militancy and power.
“Liberation of Aunt Jemima: Cocktail,” 1973, shown at the exhibition “We Wanted a Revolution” at CAAM in 2017.
(Jonathan Dorado, Brooklyn Museum / Betye Saar, Roberts Projects)
Her work also frequently touched on the personal: family, dreams, magic and the body (particularly the Black female body). In the process, she influenced a younger generation of artists, key figures such as Houston Conwill, Senga Nengudi and David Hammons.
“You can really see the impact she had on them,” said Kellie Jones, a scholar and independent curator who organized “Now Dig This!: Art and Black Los Angeles 1960-1980” at the Hammer Museum in 2011. “She had this multimedia practice. It was about Africa, but it was about the world. She has works with Mexican milagros, she has titles in Spanish, she at certain points has Asian influence and Haitian influence. She was really looking at the globe. She was a person in the world, and she really modeled that for people like Hammons and Conwill and Nengudi.”
Saar’s work resides in the permanent collections of more than 80 international museums, and in recent years, she was the subject of solo shows at the Museum of Modern Art in New York, the Prada Foundation in Milan and the Scottsdale Museum of Contemporary Art in Arizona (which hosted a retrospective).
In L.A., she had regular exhibitions at her Culver City gallery Roberts Projects, as well as one-woman shows at CAAM and the Craft Contemporary. In 2019, a small but potent show at the Los Angeles County Museum of Art explored the ways in which her drawing process factored into her assemblage work. But a full retrospective at one of her hometown’s major museums eluded her.
Saar told The Times that she didn’t let it bother her: “I’ve always done what I did and never felt I was competing with what was going on.”
An installation view of “Mojotech,” 1987, by Betye Saar at the Scottsdale Museum of Contemporary Art.
(Tim Lanterman / Scottsdale Museum of Contemporary Art and Roberts Projects)
If anything, she competed only with herself.
Well into her 90s, she continued to get up every day to craft assemblages out of the objects she had amassed in her studio. At 96, she scoured the Huntington Library gardens for a commissioned installation she called a “full-circle” project.
“I used to come to the Huntington with my mother when I was a child. She loved to garden, especially African violets, and she passed that love of plants and nature on to me,” Saar told the New York Times Style Magazine in 2024.
That love is palpable in “Drifting Toward Twilight” and its accompanying documentary, which sees Saar fawning over the orange tint of sloughed bark and the mystical qualities of garden scraps.
“Even in death those things can be really beautiful,” Saar said in the short documentary.
After working with a 17-foot canoe as a centerpiece for the Huntington exhibition, Saar told Curate LA that she felt compelled to return to small-scale pieces. The result was her 2024 Roberts Projects exhibit, “Betye Saar: New Work,” an objet trouvé medley in bronze and gold hues.
“At first, the new works were more nostalgic, with vintage photos and female ephemera, like gloves and such,” Saar said. “Then I brought in the tall ship bookends and African masks, and the works moved in a more ancestral and political direction.”
Even her grandson’s discarded computer parts made a cameo, a testament to Saar’s uncanny ability to mine inspiration from the most mundane objects.
“The worst problem for an artist is having nothing to say,” she once said in an interview. “I just have so many ideas. … Look at things that are important to you, what’s happening in your life. If you have that, you never run out of ideas.”
With her centennial on the horizon, Saar in 2025 formed the Betye Saar Legacy Group, a committee of her trusted curators and collaborators charged with preserving her vast archive and keeping her name fresh in the minds of new generations of artists.
A Saar biography penned by Zoé Whitley, who co-curated “Soul of a Nation: Art in the Age of Black Power,” is expected in 2027.
Saar is survived by her daughters Lezley, Alison (both artists) and Tracye (a writer), and her grandchildren Kyle Leeser, Maddy Inez, Sola Saar, Gen Saar Agustsson, Spencer Saar Cavanaugh, Megan Cavanaugh
Times staff writers Malia Mendez and Jessica Gelt contributed to this report.
There are many dedicated figures devoted to Chicano empowerment in America. But in the arts, playwright-director-impresario Luis Valdez — the migrant farmworkers’ son behind the defiantly consciousness-raising El Teatro Campesino and the historic hits “Zoot Suit” and “La Bamba” — holds a singular place, achieved with remarkable perseverance. It’s a trajectory that the immensely appealing, rollicking documentary “American Pachuco: The Legend of Luis Valdez” tracks with a vitality and purpose befitting its subject.
Anchored by Valdez himself, now in his 80s and filling the camera frame like a grandfatherly lion, the film supplements his vivid biographical details with rich archival footage and testimonials from family members, collaborators and peers. There’s also the bold but sneakily effective narrator choice in Edward James Olmos, reviving his snarling, star-making El Pachuco growl from “Zoot Suit” to remind us of one of Valdez’s essential contributions to the theatrical canon. (Olmos is also an interviewee, as is Cheech Marin, Taylor Hackford, Lou Diamond Philips and labor leader Dolores Huerta.)
Born in Delano, Calif., and drawn to literature and language as a way to combat racist assumptions about a Mexican American’s destiny, Valdez found his gifts sharpened by puppet shows, school plays and finally, the union movement in his hometown. Valdez saw that pointed, raw satire was not only necessary but a recruitment tool for the fight. We hear the underdog aesthetic term rasquachismo used to describe these early impromptu performances: essentially a colorful funkiness, “so funky that nothing can undermine you,” Valdez says. As if something earthier and stronger had been harvested in the fields with all those valuable grapes.
After the labor battles of the Vietnam War era, Valdez took El Teatro Campesino’s mission nationwide. Excerpts from a televised adaptation of his play “Los Vendidos (The Sellouts)” — about a shop selling automatons representing Chicano stereotypes — underscore the continuing tensions of assimilation, a trap disguised as acceptance. But the piece also reflected feelings Valdez had about his long-estranged brother Frank, an engineer whose alienating efforts to deny his own background and fit in formed a heavy undercurrent in Valdez’s life.
“Zoot Suit,” an ambitious, musicalized, slang-flavored staging of the violent injustice behind L.A.’s notorious 1943 Zoot Suit riots, became a smash in 1978 (its narrow-minded New York reception notwithstanding). The story of how the Ritchie Valens biopic “La Bamba” came to be — a delicate mix of legacy tending and savvy casting — is similarly rousing and illuminating, even if it seems like an omission not to dig into why, after such a big hit, more movies didn’t follow. (Although, since this is Hollywood, we can guess the reasons.)
There’s so much to chew on in David Alvarado’s portrait of life, art and activism that “American Pachuco” plays like a joyful challenge to those searching for their own voice or meaning. As engaging a chronicler of his own life as Valdez is, his lessons in how to be seen and heard — and how to stay that way — feel especially timely. In our demonizing present, the story of such a pioneering truth-teller speaks powerfully to the needs of our blended American future.
‘American Pachuco: The Legend of Luis Valdez’
In English and Spanish, with subtitles
Not rated
Running time: 1 hour, 32 minutes
Playing: Opens Friday, July 24, in limited release
He said the quiet part out loud. As the artistic director of New York’s Public Theater and one of the art form’s most prominent leaders, Oskar Eustis is known to do that. And as always, he got the art world talking.
When Eustis, 67, announced Wednesday that he would step down from his role at the Public in 2028 — after 23 years — he said in a New York Times interview that “the American nonprofit theater movement is over.” This has been whispered about and lamented since the COVID-19 pandemic led to temporary theater closures across the country that have since become permanent, but it is rare to hear it expressed so candidly.
Did Eustis, one of the key players in that vaunted movement — the man who helped foster “Hamilton” — really mean what he said? And if so, how does theater move on in the face of obstacles that at times feel as though they are scattered across an increasingly difficult course? In a wide-ranging follow-up interview with the Los Angeles Times, Eustis addressed the path forward.
Lin-Manuel Miranda and Phillipa Soo portray Alexander and Eliza Hamilton in “Hamilton.” The megahit premiered off-Broadway at the Public Theater under Oskar Eustis in 2015.
(Disney+)
It’s not an easy one, but Los Angeles theater leaders working in the trenches, including Tarell Alvin McCraney at Geffen Playhouse, Danny Feldman at Pasadena Playhouse and Snehal Desai at Center Theatre Group, already knew that. They talked with the Los Angeles Times about their plans at the crossroads reached by American theater in light of Eustis’ imminent exit.
Eustis traces the rise of the American nonprofit theater movement to the late 1950s when W. McNeil “Mac” Lowry, director of the arts and humanities program at the Ford Foundation in New York, began organizing existing regional theaters into a national movement.
“What happened during that period was that a consensus emerged,” Eustis said, noting that it was expressed in the form of national endowments, state arts agencies, public policy institutes and corporate philanthropic departments. “An idea of the common good was held throughout the country, and there were many stakeholders. And part of that idea of the common good was a broadly held belief that Americans deserved serious, non-market-driven performing arts.”
With no feudal background, America lacked a capital city like London or Paris designed to showcase the arts, so the idea spread across all 50 states. This led to the proliferation of the regional theater movement, said Eustis, as well as that of symphony orchestras and ballet companies.
“The explosion of the regional theater movement is actually, in retrospect, astonishing,” Eustis said. “From a few scattered theaters in the 1950s, by the early ‘70s, there were over 400 professional nonprofit theaters in every state of the union. Tens of thousands of people were employed. Millions and millions of audience members every year. That’s the field that I walked into in the early ‘70s.”
Fifty years later, those stakeholders have “absolutely zero consensus on whether theater should exist as a nonprofit performing arts field or whether we should exist at all,” Eustis said. “It’s gone.”
“We’ve kind of been living, in a way, off inertia of this old idea,” he added.
The great pandemic pause, along with the racial reckoning in the wake of George Floyd’s murder and the continued fracturing of a shared reality under President Trump, served to reveal how fragile that consensus was, Eustis said, and, “It’s not coming back.”
Where does that leave American theater in 2026?
“We’re faced with the need to prove to the people in our individual communities that we matter enough to them that they should support us,” Eustis said. “Now, that’s not a very bad demand to put on an art form.”
Except, as every theater that has lately dared put on a show created by new, experimental or unknown artists knows, it can feel like an insurmountable task.
Danny Feldman, artistic director of Pasadena Playhouse, said that the days of theaters underpaying talent are over.
(Brian van der Brug / Los Angeles Times)
Smaller theaters across the country, including many in L.A., have shuttered with staggering regularity in the last six years, which puts even greater pressure on the city’s most prominent nonprofits to shine a light on a sustainable model moving forward.
Feldman, Pasadena Playhouse’s artistic director, noted that Eustis represents the second generation of leaders of the “first chapter” of the nonprofit regional theater movement. “And that to me is what is now undeniably at the end.”
He said he and Eustis have discussed the subject at length. “We are now in a very different era. And the things that got us to this point are not the things that are going to get us to the next chapter.”
McCraney, Geffen Playhouse’s artistic director, said forging a path forward in nonprofit theater without succumbing to commercial pressure to produce only guaranteed hits requires the delicate balance of surfing.
“And there’s no better place to surf than in L.A.,” McCraney said over the phone from the Public, where he was meeting with Eustis and other theater leaders to share ideas. “I feel very connected to a bunch of folks who recognize that the regional theater model has always had to have radical vision, and that those radical visions need revision, because our most practical job is to make sure that communities have stories.”
Tarell Alvin McCraney, artistic director of Geffen Playhouse, compared the balancing act theater leaders must perform to surfing.
(Jay L. Clendenin / Los Angeles Times)
It’s not just the way theater tells — and funds — stories that must evolve. It’s the entire business model, the leaders note.
The beauty and the founding of the original regional movement, said Feldman, was artists saying, “New York is not just where it’s at. We’re going to go to our communities. We’re going to make things with and for them, and really build these ecosystems that are deeply entrenched in these local communities around the country. … And I think the underbelly of that — that maybe has not been discussed as much — was always an element of subsidized labor involved.”
In L.A. and elsewhere that meant a lot of artists in the front and back of the house working for incredibly low wages. The pandemic effectively put an end to that, and as workers demanded fair compensation, the cost of producing shows skyrocketed. Most theater leaders agree that part is as it should be. Eustis points to the recent unionization of the Public’s production department as a case in point.
“For the first time in history, everybody who’s swinging a hammer on our productions has health insurance,” he said. “They have it through the union. That’s a good thing. And it’s put a shock wave through the whole industry, but you know what? We figured out how to pay development directors. We should figure out how to pay carpenters. That’s part of growing up.”
Center Theatre Group Artistic Director Snehal Desai said Oskar Eustis’ departure from New York’s Public Theater represents a “pass the mantle” moment.
(Etienne Laurent / For The Times)
Desai, CTG’s artistic director, said he views Eustis’ decision to step down as a “pass the mantle moment.”
“Oskar has been a huge mentor to so many of us,” Desai said. “It’s up to us, the next generation of leaders, to figure it out, just as his generation did in the ‘60s, ‘70s and ‘80s when they built these institutions for us.”
At CTG that means exploring a new way of doing things including touring shows, intensive work in various communities and site-specific productions, all of which “can change the financials and the model of how we’re doing business.”
As for Eustis? He plans to leave the Public in the best possible shape for the next generation of artists, and never wavers from its core mission. “This is a theater of democracy that believes that the culture belongs to everybody,” he said.
New research shows more Brits have visited the Eiffel Tower than some of Britain’s most iconic landmarks, with cost of living and lack of time cited as the main barriers to exploring closer to home.
Sand sculptures on Blackpool promenade
Britons are more likely to have visited landmarks overseas than those on their own doorstep, according to new research.
A survey of 2,000 adults found that more people have laid eyes on the Eiffel Tower (55%) than some of Britain’s most beloved landmarks, including the Tower of London (54%), Tower Bridge (53%) and Trafalgar Square (52%). The findings also revealed that people were better at identifying foreign landmarks than those closer to home.
More than three quarters (78%) of respondents could identify the Eiffel Tower, while 71% recognised the Leaning Tower of Pisa and 61% could identify Rome’s Colosseum. By contrast, fewer people were able to recognise St Paul’s Cathedral (58%), Westminster Abbey (53%) and Edinburgh Castle (52%).
In honour of these landmarks, Railcard.co.uk, which commissioned the research, collaborated with ‘Sand in Your Eye’ to craft a variety of attractions and famous sights from across Britain in sand. The sculpture was revealed on Blackpool promenade and will stay there for the public to view until the weekend.
Constructed using 12 tonnes of sand and taking three days to complete, the creation showcases the attractions topping Brits’ wish lists: Tower of London (22%), Edinburgh Castle (18%), Stonehenge (18%), Eden Project (18%) and Scotland’s Loch Ness (18%).
Catherine Lyver, from railcard.co.uk, which commissioned the research to encourage Brits to make the most of British landmarks by offering a third off travel for adults and 60% off for children, said: “It’s easy to overlook the iconic landmarks and hidden gems on our doorstep, yet Great Britain is full of incredible places to explore.
“We’re encouraging people to do a third more with their break, making it easier and more affordable to tick off some of the bucket-list-worthy destinations closer to home.”
“Whether you’re still looking to tick off historic favourites like the Tower of London or have added the modern Eden Project to your list, there are plenty of opportunities to make your summer go further when you travel by train.”
The overwhelming majority in the OnePoll.com survey for railcard.co.uk (79%) said they would like to discover more British landmarks – but the cost of living (43%) and lack of time (33%) are the primary obstacles preventing them.
When visiting British landmarks 23% will travel by train, because it’s relaxing (59%), more convenient (46%) and don’t have to worry about parking (43%).
Television favourite Claudia Winkleman is still amazed that she is asked to present Channel 4 talent show The Piano when she has zero musical knowledge. Speaking ahead of the launch of the fourth series on Sunday, she says: “I still know absolutely nothing, but nobody seems to mind. They haven’t shouted at me, so I’m like the idiot of the group.
“I know what moves me, but I’m just there as a conduit. I’m there to chat to people and make them as comfortable as possible and try and hear as much of their story as possible, so that the mentors can then get to know them a bit before they play.”
The show sees amateur pianists showing off their skills on instruments placed in bustling railway stations, unaware that professional musicians are secretly watching and judging them. Claudia, who will be working alongside Lebanese-born pop star Mika, known for hits including Grace Kelly and Lollipop, would love to see more Elton John numbers on the show. She says: “I am longing for someone to play some Elton John. I just want somebody to play his amazing music.”
Claudia and Mika will be joined by new mentors, including Jamie Cullum and Jools Holland, who will help to weed out stars of the future. Claudia, 54, says of The Piano: “I love it so much. We’re so lucky because when we did it for the first time, we thought we’d only get one go.
“It is an absolute privilege to wait in stations for these amazing pianists who surprise us. We learn about their lives, meet their friends and family and we learn about why playing the piano is important to them. For all of us involved it’s an honour. I can’t wait to see who we’re going to meet. What’s so thrilling about this amazing show, is you have no idea who’s just around the corner and is just walking towards you through the station.”
Welcoming her new army of mentors, she says: “They all bring very different perspectives. In every location, they will choose somebody to play at the final concert, so it’s going to be fascinating.
“What I loved about having different mentors is that they love the idea and they love the show. So, what was brilliant was to have people who were so enthusiastic. I love the fact they wanted to be part of it. It’s not glamorous and we adored them for wanting to be there. It was ‘hello, welcome to Birmingham New Street station, can I get you a Greggs?’ They were all absolutely up for it.”
Now a household name after 30 years in showbusiness, which has seen her present hit shows like Strictly and Traitors, Claudia would advise wannabe media stars to go for hands-on experience over a degree. She says: “Don’t study at university. Go, but don’t study subjects like media studies. I would study something else. It is just about experience. I don’t think you need to study media. Just work around it.”
Claudia comes from a media background. Her mum, Eve Pollard, is a former newspaper editor, who was once at the helm of The Sunday Mirror and Sunday Express and her dad, Barry Winkleman, was a book publisher.
When she felt the urge to try TV, after working in a gallery, she says: “At the age of 24, I applied to the former TV company Planet 24 and got a call from Janet Street-Porter’s office and I just continued. I worry about people who know what direction they want to go in. That is nerve wracking. It is OK not to know. “
But Claudia admits that her career has involved some weird assignments. She says: “Once I dressed up as a fruit for Fruit Awareness Week on This Morning. I was a kiwi! I remember going ‘we are going to go live as a fruit.’”
Claudia graduated with an honours degree in fine art from Cambridge University, although her cheeky charm was nurtured during her days as a pupil at the City of London School for Girls. She says: “I had the most amazing history of art teacher, but my friend and I thought it would be easy. We wore fishnets, smoked fags and flirted with boys. It was like ‘paintings? Yada-yada.’ We were not bad but naughty.
“I remember one day our teacher, Mrs Dale, in the first lesson, clicked her fingers and made us all walk to St Paul’s Cathedral. She said ‘I have had enough. You look up and this is what we are going to teach you’. She was unbelievable and the way she introduced art to us was great. She took us to Venice and made us appreciate Titian. She was brilliant.”
Her father, Barry, who was divorced from her mum Eve in 1975, when she was just three, also loved taking her to galleries. She says: “My parents impacted me massively. My dad used to take me to The National Gallery and the only rule was we were only allowed to look at one painting.
“He did not want to bore me to death. Now, when I take my kids, we are in for the duration. But there was no rush when my dad took me and it made me want to go back. My dad taught me so much. My mum and dad both taught me things like, ‘make the tea and be early. Be the last one to leave. Don’t worry what you look like. It is just a shell and that is going to go’.
“I was brought up by a brilliant feminist. Once I asked my mum for a Barbie doll and she was like ‘don’t be ridiculous. That is not what you are supposed to look like’. I was told to ‘be interested, don’t worry about being interesting and ask questions.’ I was told ‘don’t be one of those tools who sits there and waits.’ I was never daunted by what they did. Only grateful. I always felt grateful that they worked so hard.”
Claudia, in turn, passes on her experience to her three children, Jake, 23, Matilda, 20, and Arthur,15, who she shares with her film and television producer husband, Kris Thykier. And she says they teach her too. Claudia continues: “I have learned everything from my kids. Life before was just waiting for them.”
Like many parents, she has steered her children away from social media. She says: “Social media is awful. It is an absolute nonsense. I would never put my kids on it. I have tried to explain to them how awful it is. I don’t post a lot of stuff on social media. I have posted six times this year.”
Instead, Claudia – who likes the ethos of her favourite filmstar, ET, whose catchphrase is ‘be good’ – gets her thrills from doing live TV. The Traitors presenter, whose BBC1 chat show – which launched in March – was recently axed after lukewarm reviews, says: “Live is exciting. It is like doing exams at school, I know it is weird but I like being tested. I like a test.
“Not a driving test as I failed many of those. Turns out head on chin is not helpful. I do get incredibly nervous though but it wakes you up. I like the nerves. When I used to do Strictly with Tess I just used to grip her upper arm all the time.” Let’s hope there’s no arm-grabbing on The Piano – to avoid any bum notes.
*The new series of The Piano continues on Channel 4, Sunday at 9pm.
Firefighters battle a fire blazing at the Mackintosh Building, housing the Glasgow School of Art, in Glasgow, Scotland, Britain, in 2018. The school announced Wednesday that the cost of rebuilding it to the architecht’s specifications would cost too much. File Photo by Stringer/EPA
July 22 (UPI) — The Glasgow School of Art Mackintosh building, damaged twice by fire, would cost too much for the school to fully rebuild on its own, the school’s board of governors said Wednesday.
Rebuilding the school in line with artist and architect Charles Rennie Mackintosh’s original design would cost about $355 million, the school said in a press release Wednesday.
That amount is “equivalent to five times the GSA’s annual turnover [revenue], an amount that is not affordable and which would compromise the financial sustainability of the institution.”
The Art Nouveau building, completed in 1909, was damaged by fire twice. Much of the building was destroyed in 2014 after a student’s art project was ignited by an overhead projector. In June 2018, when the rebuilding was nearly complete, another fire destroyed it. There was no cause found for the second fire, which ignited a dispute between the school and its insurance company that ended in arbitration that wrapped up this spring.
Neil Baxter, architectural historian and former lecturer in architectural history at the school, said the building is “of the greatest world importance,” and said, “The Scottish government should step up, and if it can’t, the British government should step up,” The New York Times reported.
The school released an 80-page analysis Wednesday that highlights the potential for the Mackintosh Building “to become an anchor project in a creative and cultural production innovation district, attracting investment to the city, driving the growth of its creative economy, and supporting new businesses and employment opportunities.”
Ann Priest, chair of the Glasgow School of Art’s board of governors, said early discussions with Scottish and British government officials ahead of the announcement “have been supportive and incredibly positive.”
Priest said the board believes the building should be a “heritage-led economic regeneration project, building on the existing creative and cultural production assets within this part of the city, to strengthen Glasgow’s creative eco-system and its position as one of the UK’s leading creative economies.
“The Mack will always have a special place at the heart of The Glasgow School of Art’s history, and we have further plans within the next phase of work to create museum standard interpretations of the building that will exist alongside its retained architectural elements and help tell the story of this remarkable place and the people who have worked and studied there for years to come,” Priest said.
Gordon Gibb, a former director of professional studies at the school’s architecture department, said that the school needs another organization to “take over” the restoration.
“This is a building that influenced world architecture and changed Victorian traditionalism into modernism,” Gibb told The Times. “We have detailed records of every part of it,” he added, “so it should be brought back.”
Visitors tour the newly remodeled undercroft beneath the Lincoln Memorial in Washington, D.C., on July 10, 2026. Photo by Bonnie Cash/UPI | License Photo
On Monday, more than 40 fake trophies were stacked at the base of a 10-foot-tall “Iran War Participation Trophy” made for President Trump and placed on the National Mall by the anonymous satirical activist group Secret Handshake.
The new participation trophy is equipped with a plaque that reads:
“We hereby award President Donald J. Trump this participation trophy for his enthusiastic involvement in the Iran War. While some concern themselves with military strategy, diplomacy, or measurable outcomes, President Trump demonstrated the courage to participate regardless of the final score.
As recipient of this prestigious award, President Trump joins the ranks of children everywhere who receive recognition for simply showing up. We join you in celebrating this remarkable achievement.”
Secret Handshake noted in a letter to The Times that the installation serves as the nation’s first official “Donald Trump Trophy Donation Center, encouraging the public to drop off their own personal trophies, medals, and ribbons at the base of the monument for The President to claim as his own. Together, we hope that if enough trophies are donated he will be perceived as a winner and not feel the need to bomb other countries.”
A representative for Secret Handshake said the dozens of donated awards include certificates, trophies, medals, a wrestling belt and a Kennedy Center sash.
“I’m really thrilled to see people taking an active interest in joining in and bringing their own creativity and having their own voice heard by adding trophies to the base of this instillation,” the representative wrote in an email. “I think it’s exciting and I think when people can take a moment to tangibly express their opinion about this government’s war it helps to create a reminder that we aren’t alone. This isn’t normal. This shouldn’t just be accepted at face value.”
One of the best offerings is titled, “First Place in ‘I Know a Pool guy,’” and reads in part, “Participation trophy for Donald Trump in recognition of his renovation of the nation’s historic reflecting pool to more clearly reflect his efforts to criminalize the touching of a public monument in order to cover up the damage he caused …” The award also recognizes Trump’s “development of American Flag Blue pool liner, which he said was indestructible (unless cut by left wing radical terrorist vandals).”
Secret Handshake has extended an offer to “hand deliver both the participation trophy and all smaller trophies to the Trump Administration for The President’s glowing collection of fake accolades.”
I’m Arts editor Jessica Gelt taking First Place in time wasted mulching my garden in the heat. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
“Etai & Felipe Pantone: Parallel Practices: Tailored Structures & Kinetic Surfaces” at albertz benda.
Etai & Felipe Pantone “Parallel Practices: Tailored Structures & Kinetic Surfaces” combines Pantone’s wall-based artworks and a series of collaborative design pieces to challenge ideas of use, intimacy and lived experience, placing each work in the interconnected artistic system. Opening, 6:30–9:30 p.m. Friday; exhibit continues through Aug. 8. albertz benda, 8260 Marmont Ln. albertzbenda.com
New Swan Shakespeare Festival The Bard is back in the O.C. at the troupe’s open-air, Elizabethan-style portable theater with “The Merry Wives of Windsor Cove,” a musical adaptation set in a 1950s SoCal beach town, in repertory with “Romeo & Juliet,” the classic tragedy reimagined amid the scarcity of the Dust Bowl. “Merry Wives,” 8 p.m. Friday, Saturday, Thursday and various dates through Aug. 30; “Romeo,” 8 p.m. Sunday, Wednesday and various dates through Aug. 29. New Swan Shakespeare Festival, Inner Ring Road, UC Irvine. newswanshakespeare.com/
SATURDAY
“Cyrano” at the Old Globe, San Diego.
(Ben Wiseman)
Cyrano An irreverent take on “Cyrano de Bergerac” by Edmond Rostand, adapted by Jason O’Connell and Brenda Withers, directed by Annie Tippe. Previews, 8 p.m. Saturday; 7 p.m. Sunday, Tuesday and Wednesday; opening night, Thursday, 7 p.m.; continues through Aug. 9. The Old Globe, 1363 Old Globe Way in Balboa Park, San Diego. TheOldGlobe.org
F**king Strangers The world premiere of a dark comedy about love and loneliness by Erik Patterson, directed by Chris Fields. Previews, 8 p.m. Friday; 8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Aug. 24. Echo Theater Company, Atwater Village Theater, 3269 Casitas Ave. echotheatercompany.com
Yoko Ono’s ‘Sky Piece to Jesus Christ’ + ‘Cut Piece’ A six-piece classical music ensemble from the Los Angeles Chamber Orchestra will be gradually wrapped in gauze until the musicians can no longer play their instruments in “Sky Piece,” first presented to the public by Ono at Carnegie Recital Hall in New York in 1965. In “Cut Piece,” performed by artist MPA, the audience will be invited to cut away pieces of the artist’s clothing to take with them while the artist sits silently onstage. The performance was premiered by Ono at Yamaichi Hall in Kyoto in 1964. 6 p.m. Saturday; 2 p.m. Sunday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Marvelous Musicals Professional and student dancers perform numbers from classic shows to modern favorites. 6:30 p.m. Irvine Barclay Theatre, 4242 Campus Dr. thebarclay.org
Koak, “Portrait of Myself, the Shell,” 2024. Flashe and acrylic on linen; diptych. 74 x 118 inches
(Photo by Chris Grunder. Courtesy of the artist and Perrotin.)
Summerlove Sensation A group show featuring Isabelle Albuquerque, Alex Anderson, Mustafa Ali Clayton, Gregor Hildebrandt, Susumu Kamijo, Rae Klein, Koak, Asuka Anastacia Ogawa, Katherina Olschbaur, Jean-Michel Othoniel, Andrew J. Park, Gahee Park, Aya Takano, Honor Titus and Pilar Zeta. Opening, 6-9 p.m. Saturday; exhibition continues through Aug. 28. Perrotin Los Angeles, 5036 W. Pico Blvd. perrotin.com
A Weekend With Robert Rodriguez The multi-hyphenate filmmaker will be on hand for anniversary screenings of “From Dusk Til Dawn” (1996) and “Spy Kids”(2001) with the filmmaker in person and performing with his musical groups, Chingon Band and The Rodriguez Family Spy Band. “From Dusk,” 7 p.m. Saturday. “Spy Kids.” 2 p.m. Sunday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
SUNDAY
Tensions, Personified Readings of four short plays by John Binder are presented as part of the Odyssey’s Thresholds of Invention series. 4 p.m. Odyssey Ensemble Theatre, 2055 South Sepulveda Blvd. odysseytheatre.com
TUESDAY
Ann Noble, left, and Robin McDonald in “Dead Man.”
(Carolina Rodriguez)
Dead Man Ann Noble writes, directs and performs in this clown noir murder mystery co-produced by Theatre Ghosts. Co-starring Christian Haines, Jeffrey Johnson and Robin McDonald. 8 p.m. Tuesdays, through Aug. 4. Echo Theater Company at Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.ludus.com
UCBackrooms A one-night-only immersive, participatory comedy experience turns the Upright Citizens Brigade Theatre into an escape room. Shows begin every 15 mins., 6-7:30 p.m. Upright Citizens Brigade Theatre, 5919 Franklin Ave. ucbcomedy.com
THURSDAY
Falsettos The O.C. theater company The Wayward Artist presents William Finn and James Lapine’s Tony Award-winning, sung-through musical set in 1979 and 1981 about a Jewish man who leaves his wife and son for his male lover, and the ensuing upheaval to their lives. 8 p.m. Thursday, July 24-26 and July 30-Aug. 2. Irvine United Congregational Church, 4915 Alton Pkwy. thewaywardartist.org
Arts anywhere
Jason Huber, from left, Scott G. Jackson and Dana Dewes in “The Price” at Pacific Resident Theatre.
(Ian Cardamone)
The Price The critically acclaimed production of the Arthur Miller drama at Pacific Resident Theater closes this weekend. “‘The Price,’ directed by Elina de Santos, thrives in the intimacy of Pacific Resident Theatre’s main stage,” wrote Times theater critic Charles McNulty when he reviewed it in April. “There’s not a moment in the play that isn’t deeply inhabited by a cast that understands the value of listening.” But don’t worry if you are unable to make it to the Westside. The final two shows will be available from the League of Live Stream Theater for $35, which includes a 24-hour on-demand replay. 2 p.m. Saturday; 3 p.m Sunday. Pacific Resident Theatre, 703 Venice Blvd., Venice; streaming at lolst.org/theprice
— Kevin Crust
Culture news and the SoCal scene
Miller Friedman, Ashley Maimes, Jonathan Blandino and Torianna Turnbow in Shakespeare’s “A Midsummer Night’s Dream” at Will Geer’s Theatricum Botanicum.
(Ian Flanders)
Summer is the ideal time to see theater out of doors (well, maybe not this broiling week, but at other times), and Times theater critic Charles McNulty has compiled this breezy list of “11 enchanting places to see outdoor theater in Southern California.” Spoiler alert: Shakespeare is well-represented, but remember, the Bard’s work was originally staged in an open-air theater.
McNulty also headed to Pasadena Playhouse for the opening of the two-person hip-hop musical “Mexodus,” which tells the little-known story of an Underground Railroad route to Mexico. McNulty was taken with the show, which arrived at the Playhouse after its award-winning off-Broadway run, calling it “hands down the most charming, innovative and warmly embracing new musical I’ve seen in the last year.”
Artist Betye Saar is photographed at her home in Laurel Canyon on Tuesday, June 30, 2026.
(Christina House/Los Angeles Times)
Betye Saar turns 100 on July 30, but the famed artist is still more interested in creating new work than discussing her groundbreaking legacy. Times contributor Tara Anne Dalbow wrote this lovely profile of Saar after a visit to her vibrant home studio in Laurel Canyon. “There are certain people who redefined what was a very narrow definition of American art, and Betye is absolutely one of them,” curator Zoé Whitley told Dalbow.
Younes and Soraya Nazarian Center for the Performing Arts — better known as the Soraya — on the campus of California State University Northridge.
(The Soraya)
If you’re interested in buying single tickets to shows that are part of the Soraya’s upcoming season, now is the time. The venue just opened up its access from membership presale to the general public. Sutton Foster, Dance Theatre of Harlem and Audra McDonald are all making their Soraya debuts, as is the Los Angeles Philharmonic.
A HUGE new multi-million-pound attraction is set to transform one of London’s trending destinations.
Stratford Junction will become a major events hub when the development is complete.
Stratford is getting a flashy new cultural quarter with live entertainment and galleriesCredit: Hallmark Property Group / Stratford Junction | Stratford Junction
Over a decade on from the transformation of Stratford for the 2012 Olympics, another transformation is on the cards.
The proposed development will be called Stratford Junction, and will be on the site of a former coach park, which was used during the Olympics.
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It is enclosed, surrounded by railway tracks and now, new designs have been revealed by Hallmark Property Group.
The development has taken inspiration from areas like The Barbican and Spitalfields Market in London.
With so much going on and so many visitors, there will also be a hotel with as many as 1,600 rooms.
There will be 1,700sqm of new public space with green areas and a bustling piazzaCredit: Hallmark Property Group / Stratford Junction | Stratford JunctionNew skyscrapers are part of the plan tooCredit: Hallmark Property Group / Stratford Junction | Stratford Junction
Like most places in London, the site will also be getting taller with three towering skyscrapers set to be built.
Artist Vija Celmins and filmmaker Denis Villeneuve will be honored at Los Angeles County Museum of Art’s upcoming Art + Film Gala, the first to be hosted after the spring opening of LACMA’s new David Geffen Galleries.
Now in its 15th year, the glitzy annual event co-hosted by Eva Chow and Leonardo DiCaprio is set to take place Nov. 7. If the museum follows the blueprint it implemented with its Geffen Galleries opening party, the evening’s festivities will unfold in a posh tent beside the new building with a cocktail hour at the base of Peter Zumthor’s concrete creation.
With LACMA still in the international limelight, this year’s Art + Film gala is poised to be its most high-profile yet, enabling it to further its mission of creating connections between the city’s thriving arts and cinema ecosystems. Celmins and Villeneuve certainly live up to the hype. The former, 87, is a pioneer in photo-realistic paintings of natural settings and objects; the latter is an Oscar-nominated director and filmmaker whose projects include the “Dune” movies as well as the upcoming James Bond film for Amazon MGM Studios.
“This year, we are honoring two icons of visual creativity. Whether in painting, drawing, printmaking or other media, Vija Celmins’ exacting renderings of the natural world blend realism and imagination, resulting in sublimely beautiful works,” Michael Govan, LACMA’s director and chief executive, said in a news release. “Likewise, Denis Villeneuve’s meticulously crafted worlds give his films an unforgettable visual impact, from contemplative and cerebral stories to global blockbusters. It will be a privilege for LACMA to honor both of these artists and their extraordinary careers in November.”
Over the years LACMA’s Art + Film Gala has featured a high-profile list of respected artists and filmmakers, including Simone Leigh, Baz Luhrmann, Judy Baca, David Fincher, Helen Pashgian, Park Chan-wook, Amy Sherald, Kehinde Wiley, Steven Spielberg, Betye Saar, Alfonso Cuarón, Catherine Opie and Guillermo del Toro.
Last year’s event, held in honor of Mary Corse and Ryan Coogler, netted a record $6.5 million in support of the museum and its programs.
For its upcoming Los Angeles venue, experiential art firm Meow Wolf will focus on the art of storytelling, with a specific eye toward spoofing our city’s moviemaking magic. To help bring that vision to life, Meow Wolf has entered into a creative partnership with Titmouse, one of L.A.’s most renowned independent animation houses.
The Hollywood-based studio behind popular series such as “Big Mouth” and “Star Trek: Lower Decks” will create animation that will be shown throughout the West L.A. venue, which is on target for a late 2026 opening at the Howard Hughes entertainment complex.
It’s a move that represents a shift for Santa Fe, N.M.-based Meow Wolf. Over the last decade-plus, the art collective has grown beyond its anything-goes, punk-meets-psychedelic roots into an organization with full-scale, maximalist installations in its hometown, Denver, Las Vegas, Houston and the Dallas suburbs. In the past, Meow Wolf kept most of its media in-house.
As part of its larger-than-life participatory art installations, Meow Wolf L.A. will feature a mix of live action and animation, the former filmed by Meow Wolf in its Santa Fe studio. Meow Wolf’s James Stephenson, a senior VP with the company and its creative director of emerging media, said the degree to which the L.A. exhibition will lean into various animation styles necessitated an outside partner. Titmouse’s work, in development by a number of directors with contrasting tones, will be shown on a variety of formats, ranging from cinema screens to full-room projections.
“I really believe in animation as an art form, and I know the Titmouse folks do too,” Stephenson says. “Animation is made by artists. It’s made by artists with their own hands. It’s something that is still very rooted in craft.”
Meow Wolf’s L.A. space is set in a former cinema complex, and will champion its location, taking guests on a journey through a converted movie house and beyond, into a sci-fi-inspired fantasyland with sentient spaceships and a 30-foot-tall mushroom tower. Meow Wolf creatives have spoken of the fantastical movie theater as one that will feature animated, self-aware candy before attendees enter the main exhibition space, making Titmouse’s work some of the first art guests will encounter. Titmouse co-founder Chris Prynoski has said the studio has lined up at least six directors for the exhibit.
An in-progress art installation destined for Meow Wolf L.A. at the art collective’s Santa Fe, N.M., headquarters. The L.A. exhibition will feature animation from Titmouse.
(Gabriela Campos / For The Times)
Titmouse, says Stephenson, is the right partner because “they’re known less for a house style, and more for a house vibe.” Over the years, Titmouse has been behind such diverse shows as “Scavengers Reign,” owning a Jean Giraud influence rooted in French and Spanish surrealism, the lively “Jentry Chau vs. the Underworld,” with an unique color palette that took inspiration from anime and Chinese mythology, the exaggerated comic book feel of Adult Swim’s “Metalocalypse,” and the approachable yet expressive tone of “Star Trek: Lower Decks.”
“Meow Wolf’s vibe is similar to Titmouse’s vibe,” Stephenson says. “It’s artist-first, artist-driven, independent and kinda edgy. They are always trying to find the edge of what’s possible. They try to see how far they can go, and it’s done for fun and in the spirit of taking risks.”
Prynoski says working with Meow Wolf will give Titmouse a sense of artistic freedom it doesn’t always have when delivering content for more traditional Hollywood partners. He says the multi-director approach is a callback to the early days of Warner Bros. Animation, when individual creators put their own stamp on Looney Tunes material.
“I use Bugs Bunny as an example,” Prynoski says. “You’ve got a Friz Freleng Bugs Bunny short. You’ve got a Chuck Jones Bugs Bunny short. You’ve got a Tex Avery Bugs Bunny short. They’re all different versions of Bugs Bunny, and people who are really paying attention can tell which director directed each one. Even though to the layman, these are all Bugs Bunny, but if you lined them up, they are drawing in different styles, sensibilities and techniques.”
Prynoski says that was a centerpiece of his pitch to Meow Wolf, noting that characters will reappear in multiple installations, each handled by a different artist. Meow Wolf L.A., in fact, will be the firm’s most character-driven exhibition, as guests will follow the storylines of three main protagonists throughout the space.
In announcing the partnership, Meow Wolf and Titmouse released an image from an animated work directed by Luca Vitale. It features a key character having a moment with a hummingbird and it’s done in an elegant, slightly anime-influenced style. It’s an image full of movement, reflecting a character in transition with inviting pastels and bold dashes.
“I like that image because I think it captures some of the sense of wonder that we want people to feel,” Stephenson says. “The character is having an encounter with the elusive nature of creativity and reality in a way that makes them have a different perspective of what’s possible.”
Other contributing animation directors to Meow Wolf L.A. include Space Dawg, Felix Colgrave, Alexander Vanderplank and Philémon Martin, and Jun Ioneda.
Titmouse’s partnership with Meow Wolf will extend beyond the L.A. exhibition. The two will be working on the development of Meow Wolf New York, which is slated to open some time after Los Angeles, and are collaborating on a planned animated series, which Prynoski is spearheading.
Meow Wolf exhibits are the result of sometimes hundreds of disparate artists coming together in a shared space. Distilling that into a signature, singular style for a series could be a challenge. Stephenson pinpoints some guiding principles.
“You really need to feel the hand of the artist,” he says. “You need to feel a DIY aesthetic. You need to feel the materiality. Those are very specific to what we are.”
