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We’re a week away from Labor Day weekend and we have one movie slotted in as a best picture Oscar nominee.

That leaves nine spots and whole lot of sharp elbows as we begin the fall film festival circuit next week in Venice and Telluride.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Worst freeway in Southern California? There is only one correct answer, but it’s not the one in our rankings. And that answer is just another reason why, like Sal Saperstein, we dread going anywhere near LAX.

Fall festivals preview

In case you were wondering — but I think you already know — the movie already assured a best picture nomination is Ryan Coogler’s exuberant horror hit, “Sinners,” a film as entertaining and provocative as anything I’ve seen in a theater in the last couple of years. It was my favorite summer movie, even if it did come out in April. Watching it in Imax 70mm felt like an event, the kind of blockbuster moviegoing experience I’ll remember years from now.

The Venice Film Festival starts Wednesday. On Thursday, I’ll be flying to Telluride. The 50th Toronto International Film Festival begins the following week. Dozens of movies will be premiering at these festivals. Standing ovations will be meticulously — and ridiculously — timed. And when the smoke clears, we’ll have the makings of a slate of contenders that we’ll be covering and debating for the next six months.

Here are some of the world premieres at each festival that I’ll be watching most closely, movies that could be made — or broken — by the next time you hear from me.

Venice

Haute couture. Water taxis. Endless Aperol spritzes.

“Frankenstein”: For Guillermo del Toro, Pinocchio and Frankenstein have always been two sides of the same coin, creations made by an uncaring father, released into the world without much care. Del Toro tackled Pinocchio with his last film, which won the Oscar for animated feature. And now he’s adapting the Mary Shellley classic, promising to include parts of the tragic story never before seen on screen. If anyone can make us shout “it’s alive” again, it’s Del Toro.

“A House of Dynamite”: A new political thriller from Oscar-winning director Kathryn Bigelow is an event, particularly because it’s her first film since “Detroit” eight years ago. “Dynamite” deals with U.S. leaders scrambling for a response after a missile attack. I’m hoping to embark on a two-hour ride firmly fixed in the fetal position.

“Jay Kelly”: Famous actor (George Clooney) and his devoted manager (Adam Sandler) travel through Europe, pondering regrets (they’ve had a few) and the times they’ve loved, laughed and cried. Noah Baumbach directs from a script he co-wrote with Emily Mortimer. His last movie, 2019’s “Marriage Story,” earned six Oscar nominations, with Laura Dern winning supporting actress. Time for the Sandman to finally get an invitation to the party?

“No Other Choice”: Park Chan-wook adapts the provocative Donald Westlake thriller “The Ax,” which Costa-Gavras adapted in 2005 — but Park apparently wasn’t aware of that movie when he decided to make his own film. Park has been working on it for years, calling it his “lifetime project,” the movie he wanted to stand as his “masterpiece.” He has made some great films — “The Handmaiden” and “Decision to Leave” among them — so it’s hard not be intrigued.

“The Smashing Machine”: I have seen the trailer for this Benny Safdie drama about MMA fighter Mark Kerr so many times that I feel like I have already seen the movie. The blend of Safdie grittiness and Dwayne Johnson star power is sure to generate buzz, but there are whispers that the film simply isn’t all that good. From that trailer, I’m inclined to believe them … but hope to be proved wrong.

Telluride

High altitude, fleece pullovers, repeated discussions about hydration. Lineup not officially announced until Thursday. These are just “rumors.”

“Ballad of a Small Player”: Edward Berger premiered “Conclave” at Telluride last year and it worked out fine, going on to earn eight Oscar nominations and emerging as a viable, sillier alternative for those looking to vote for something other than “Anora.” Berger’s latest is about a high-stakes gambler (Colin Farrell) holed up in China, desperate for a way out of his debts and past sins. As awards voters loved “Conclave” and Berger’s misbegotten “All Quiet on the Western Front,” attention must be paid.

“Hamnet”: Paul Mescal is everywhere. And now he’s playing William Shakespeare in a drama about the Bard and his wife rediscovering each other after the death of their 11-year-old son, Hamnet. Why not? Especially when the film is directed by Chloé Zhao (“Nomadland”) and has the brilliant Jessie Buckley on board as Shakespeare’s better half.

“Springsteen: Deliver Me from Nowhere”: Bruuuuuuuuuuuuuuuuuuuuuce! Jeremy Allen White plays Springsteen as he goes lo-fi making his acclaimed album “Nebraska.” History tells us that actors starring in music biopics are rewarded handsomely, and, given what we’ve seen of White on “The Bear,” he seems a perfect choice to play a brooding Bruce.

Toronto

Weather that veers between spring, summer and fall in the course of a week. Poutine. Splashy premieres of movies that have already played at other festivals.

“Christy”: Sydney Sweeney has been in the news lately. Maybe you’ve heard? But she’s about to make a serious awards-season play in this sports biopic about boundary-shattering boxer Christy Martin, a young gay woman fighting to establish an identity that runs counter to her conservative upbringing. Will the work be good enough to rise above the noise around the actor?

“The Lost Bus”: Paul Greengrass, like Bigelow, has been absent from the conversation for a bit. His last movie, the fine western “News of the World,” was swallowed by the pandemic. Now he’s back with a survival drama, one with California roots, as a father (Matthew McConaughey) and a teacher (America Ferrera) try to bring a bus full of school children to safety during the deadly 2018 Camp fire.

Via dell’Amore, also known as the “Path of Love”, is a UNESCO-listed coastal walk in Italy that is considered the most romantic in the world and is said to be one of the best walks in Europe

Celebrated as amongst Europe’s finest coastal walks, this picturesque route guides you through stunning villages and spectacular vistas.

Via dell’Amore isn’t dubbed the “Path of Love” without good reason – and it’s definitely worth a visit if you’re after a scenic spot. According to AllTrails, this UNESCO-listed trail is regarded as the globe’s most romantic walk, thanks to its dramatic clifftops, delightful villages and panoramic views of the sparkling waters beneath.

Situated in Cinque Terre, along Italy’s northwestern coastline, this famous pathway links the region’s two most southern settlements – Riomaggiore and Manarola – and has earned recognition as one of Europe’s premier three walks by travel blog, The World is Waiting.

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Initially carved out during the 1920s whilst building the coastal railway, legend tells that the route swiftly became a romantic rendezvous spot for sweethearts from the adjacent villages, reports the Express.

Nowadays, the tunnel linking both communities throughout the journey brims with love proclamations and padlocks deposited by couples from across the world who come to visit the iconic spot.

Among the most striking features stands a sculpture depicting a pair locked in an embrace against the ocean backdrop, which becomes particularly enchanting as twilight falls and the sun’s rays dance across the water.

Roughly midway along the trail, there is a delightful café which provides a peaceful spot to savour the scenery whilst enjoying a cooling beverage. Riomaggiore, the trail’s starting point, is a 13th-century village ingeniously built into the steep, rocky terrain. The tall houses have two entrances – one at street level and another higher up to accommodate the hillside.

The town is a labyrinth of narrow lanes, stone staircases, and vibrant buildings that seem to defy gravity as they ascend from the cliffs. Riomaggiore also boasts a breathtaking beach just a stone’s throw away from the harbour, with turquoise waters framed by the dramatic cliffs of the Liguria coastline.

Manarola, similarly, is dramatically situated on a high rock about 70 metres above sea level. This village features a tiny harbour and a quaint square surrounded by multicoloured houses all overlooking the sea.

After being shut for 12 years due to a landslide, the Via dell’Amore officially reopened in 2024. Access is restricted to certain times of the year, and visitors are advised to book a time slot in advance via the official Cinque Terre website. From June 1st to October 25th, the path stays open from 9am to 9.30pm, with the last admissions at 9pm.

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Snugbury’s Ice Cream Farm in Cheshire has been welcoming visitors in their thousands for its array of 55 different and fun flavoured ice creams on their farmland

A beloved ice cream farm renowned for its massive straw creations has unveiled fresh attractions to entertain families during the closing weeks of the summer break.

Snugbury’s, situated near Nantwich in Cheshire, has been drawing thousands of guests in recent years with their selection of flavoured ice creams, whilst installing towering 45ft wooden and straw sculptures across their farmland featuring everything from daleks to Peter Rabbit and an enormous bee.

Paddington Bear currently serves as the signature landmark towering over the farm, and this year he’s been accompanied by a fresh trail of wooden dinosaurs, located in a field that’s completely free to access.

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This week, the farm also revealed that its sunflower field has now reached full bloom – allowing guests to wander through, capture photographs and marvel at the stunning bright yellow flowers, reports the Manchester Evening News.

At the trail’s conclusion you can also purchase a single stem for £1.50 or a bundle of five sunflowers for £5, with £2.50 from each bundle donated to their chosen charity.

The “Snug-o-Saurus” dinosaur trail has already proved popular with younger guests and families, where you can stroll through a wildflower meadow and discover an assortment of wooden versions of the prehistoric creatures.

You can spot a triceratops, stegosaurus, a baby dinosaur and its enormous egg alongside the terrifying T-Rex which is sure to be the biggest draw for dinosaur enthusiasts. After a stroll through the dinosaur trails, visitors are greeted by an enormous Paddington Bear – Snugbury’s largest sculpture to date.

The beloved bear is donned in his iconic blue jacket, tipping his hat and carrying a suitcase. Visitors can wander around Paddington at the ice cream farm before returning to the starting point where a pop-up cafe serves coffees, milkshakes for £5, small tubs of ice cream for £3.70 and soft serve cones for £3.30.

For those wanting to sample the full range of tantalising flavours that Snugbury’s offers, they can continue on to the main ice cream parlour on site.

Here, a daily rotation of some 55 flavours awaits, with options ranging from marmalade, lavender and honey, raspberry pavlova, caramelised banana, snugtella, battenburg, pistachio, turkish delight, as well as more traditional flavours like strawberry, chocolate, vanilla and mango and lemon sorbet.

The family-run farm also contributes to charitable causes throughout the summer, with half the proceeds from every sunflower bunch sold going to Freddie’s Army charity this year, which raises funds for research into children with the genetic disorder MPS, with donations encouraged.

Snugbury’s ice cream business was established in 1986 at Park Farm by Chris and Cheryl Sadler, who began making ice cream with a mixer in their kitchen.

The business was taken over by the Sadler’s daughters, Kitty, Cleo and Hannah, eight years ago, who have since expanded the business by an impressive 60-70%. The shop proudly displays a ’55 pan display’ of flavours, with their double cone being the most popular item.

Snugburys can be found on the A51 in Hurleston, just outside Nantwich in Cheshire. The snug-o-sauraus dino trail is open every day from 10am to 6pm, and even well-behaved dogs are welcome, provided they’re kept on leads.

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Sterlin Harjo perfected the “art of the hang” with the co-creation of his first television series, “Reservation Dogs.” The FX drama followed a group of Indigenous teens living on a fictional Oklahoma reservation, turning their everyday routine into high art — and is one of the best television shows of the 2020s.

Now, Harjo, 45, is tackling another type of genre: crime. His forthcoming series “The Lowdown,” premiering Sept. 23 with two episodes on FX, follows self-proclaimed “truthstorian” Lee Raybon (Ethan Hawke) on a mission to unearth buried truths about Tulsa’s problematic history while exposing present-day corruption. He’s a disheveled figure who drives around town in a tattered van and lives above the rare bookstore that he also happens to own. But when his latest exposé for a local publication calls into question a prominent Tulsa family, his investigation takes him on a dangerous road from the city’s seedy underbelly to its highest corridors of power.

Fall Preview 2025

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“‘Rez Dogs’ was my love letter to rural Oklahoma and where I grew up. ‘The Lowdown’ is my love letter to Tulsa, where I currently live,” says Harjo, who produces, writes and directs on the new series. “You see the beauty and the darkness. You see everything.”

The eight-episode drama, best described as Tulsa noir, also stars Oklahoma expats Tim Blake Nelson, Jeanne Tripplehorn and Tracy Letts as well as Keith David. Appearances by “Rez Dog” alumni include Kaniehtiio Horn (a.k.a. the Deer Lady).

Harjo, who is a citizen of the Seminole Nation of Oklahoma and is of Muscogee descent, spoke with The Times about his love for Oklahoma, the challenges of following a celebrated show like “Reservation Dogs” and how “The Lowdown” is loosely based on his own experience working with a guerrilla journalist.

“Rez Dogs” was such an exceptional series that garnered critical acclaim across all four seasons. With “The Lowdown,” was it hard to not compete with that previous success?

I didn’t think about it. My experience in this industry has been people telling me that whatever the thing is that I want to make can’t be made, and me thinking, I’m going to make it anyway, then forging ahead. Then it finds an audience, and people enjoy it. I had pitched “Rez Dogs” a few different times, and it was always soft pitches because I was nervous of being laughed out of the room. No one was interested. But having the confidence of my friend [“Rez Dogs” co-creator and writer] Taika Waititi and FX … they were open to the way that we told the story. I think they were kind of blown away. So they made it. They never said no. But I’ve had many ‘no’s and many eye rolls.

Ethan Hawke stars in “The Lowdown” as Lee Raybon, a self-proclaimed “truthstorian” and owner of a rare bookshop. He’s based on Tulsa journalist Lee Roy Chapman.

(Shane Brown / FX)

Hawke plays Lee Raybon in “The Lowdown,” a figure who is obsessed with getting to the bottom of things, to the point where he neglects many other aspects of his life. What inspired the creation of that character?

The story is fictional, but the character was inspired by someone I worked with named Lee Roy Chapman at This Land Press magazine. He was very much a soldier for truth and I would ride shotgun and make these videos about the underground, unknown histories of Tulsa. The series was called “Tulsa Public Secrets.” We were this startup, full of piss and vinegar, trying to tell the truth and write about our community and make documentaries about our community. It was about a pent-up need for truth in this city. That push to tell the truth and find truth and tell our story and create a narrative around us. It gave us and the city an identity, something to hold on to.

“The Lowdown” unfolds at a really brisk pace, yet it also has the kick-back vibe of “Rez Dogs.”

There’s the art of the hang, where the genre is people hanging out. Look at “Rez Dogs” or “Dazed and Confused.” There’s an art to hanging and being with characters, and it feels OK to just sit there with them. I think “The Lowdown” has a good balance of that, where you could just hang with [Raybon] on his block. But there’s also this unfolding story so things never get boring.

Did the making of “The Lowdown” and “Rez Dogs” overlap?

No, but it was toward the end of “Rez Dogs” that I dusted a script off that was like 10 years old. It was a feature [film], but I thought I would love to do a crime show, so I just made it into an hourlong pilot, and it became “The Lowdown.”

Sterlin Harjo says his new series was originally a script for a feature film: “I thought I would love to do a crime show, so I just made it into an hour-long pilot, and it became ‘The Lowdown.’”

(Guerin Blask / For The Times)

Ethan Hawke starred in the last season of “Rez Dogs.” Is that how you two connected?

I had a mutual friend who introduced us because Ethan had written a graphic novel about the Apache Wars and Geronimo. It was originally a script that he couldn’t get made in Hollywood because it was told from the Native side of things. Out of frustration, he made it into a graphic novel. I read it and was interested in adapting it for a show. I met up with Ethan, and I pitched my idea of the adaptation and he loved it. We spoke the same language. So we started writing together and our friendship came out of that. And then “Rez Dogs” came out, and he wrote me to say that he really loved it. He said, “If you ever have anything for me …” Of course I’ll write something [for him]! So he became Elora’s dad.

“The Lowdown” was shot on location in Tulsa and you used much of the same crew from “Rez Dogs.” But I also hear your own family was involved, as well as some “Rez Dogs” alums.

The crew and I know how to work together at this point. It’s like a big family. And my [actual] family was there. My brother was doing locations. My kids came on set. We’re shooting on some of my land. My dad was hired to brush-hog it. My mom’s an extra. There’s a couple of “Rez Dogs” cameos. You’ll see Willie Jack [Paulina Alexis] in the opening. Graham Greene’s in it. But I don’t know how much I’m supposed to say yet. I better not say …

You started out as an indie filmmaker. Can you talk a little about that journey to series TV?

I’ve always felt like an outsider. I’m a small-town Native kid from rural Oklahoma. I never felt like I had a foot in this industry. I was an independent filmmaker forever. I sometimes felt like everything was against me, like there’s no money, and I was in Tulsa, Oklahoma, so it felt like the industry at large didn’t care about the work I was doing.

Before “Rez Dogs,” I never worked in TV and I never worked for anyone else doing films. I only had the education I got with the Sundance Directors Lab, which is the most freedom any filmmaker is ever going to have. Then I was lucky enough to make films that were so low-budget. It meant the stakes weren’t high because no one saw them. So if they hated them, I wasn’t destroyed.

Your films and previous series were rooted in Indigenous viewpoints and experiences. Those cultures have been so misrepresented across all aspects of American entertainment. What gave you the confidence to keep pitching those stories?

I attribute that to not having anything to lose. “Rez Dogs” came at this time when I thought I was going to have to move on. I was at the end of my career road, where I was about to start a nonprofit or find the next chapter of what to do. I had been the freelance filmmaker for a long time and it just got hard to pay bills. With “Rez Dogs,” it was like, I could try to play it safe right now or I could swing for the fences. I had seen opportunities come and go, but I have this shot and this one at-bat. I need to just go for it. Luckily, FX is a place that allowed me to do that. And I did it. Luckily, I’d been making independent films for years and figured out my voice, so it wasn’t hard to ground “Rez Dogs” in my voice.

“With ‘Rez Dogs,’ it was like, I could try to play it safe right now or I could swing for the fences,” Sterlin Harjo says. “I had seen opportunities come and go, but I have this shot and this one at-bat.”

(Guerin Blask / For The Times)

Were there outside influences that also helped you get there?

“Atlanta” and “Louie.” Those cracked my mind open to what TV could be and allowed me in. Because to tell an Indigenous story about a community, I had to go to different places. If I was just focused on the kids [in “Rez Dogs”], it would be one thing and that’s it. I needed to expand. And so [it was] taking some of what “Atlanta” did but having this relay, like passing the baton off to different segments of the [Indigenous] community. I was also inspired by “The Wire.”

And “Rez Dogs” was a story that I always wanted to tell. Taika [who is of Maori descent] and I would end up talking about how similar they were from both of our homes, and if you could just kind of capture what it felt like to hear your aunts and uncles telling stories and lying and exaggerating and talking about mythology and superstitions. If you could capture all that, as Indigenous people, that’s what we wanted and craved.

The key to that was making it about this community, but it was a bit of a Trojan horse. It’s about these teenagers that are dealing with life and that’s a subject that everyone knows. So you start with that, and then expand out once you have people on your side.

The motto you mentioned — “Nothing to lose” — can you still use it now that you’ve had some success, and if so, why does it still work for you?

I think it has to do with people close to me dying when I was young. It’s a big community, a big family, and I was always at a funeral. I’ve been a pallbearer like 15 times or something. It gave me the sense that you can’t be afraid to put stuff out there. I’ve always had a way of diving off a cliff. It’s like, if everything fails after this, I’m OK with it. If everything dries up, that’s cool. At least I gave it a shot. This is going to sound hippie-dippie, but I think the energy that it takes to dive off a cliff and just go for it is an act in itself that creates energy. Something good will come out of it. So as long as you’re moving forward, something comes out of it.

A distinct farmyard smell lingers near the muddy Sheep Paintings. People walk slowly between two dense hedges of windfallen oak branches, or stand silently in a fragile cage of bulrush stems with light seeping through the mossy skylight overhead. I’m visiting the largest ever indoor exhibition of work by Andy Goldsworthy, one of Britain’s most influential nature artists. His recent installations have a visceral sense of rural landscape: hare’s blood on paper, sheep shit on canvas, rusty barbed wire, stained wool, cracked clay.

The show is a sensory celebration of earth – its textures and temperatures, colours, character. The seasons cycle through an ongoing multidecade series of photos featuring the same fallen elm. There are leaf patterns and delicate woven branches, crusts of snow, lines of summer foxglove flowers or autumn rosehips. Andy Goldsworthy: Fifty Years is a National Galleries of Scotland (NGS) exhibition in the neoclassical Royal Scottish Academy building.

After the exhibition, as a sort of cultural pilgrimage, I’m walking six miles across Edinburgh in search of works by the Dumfriesshire-based Goldsworthy and other artists who engage with the landscape. I start at the Royal Botanic Garden (free and open daily, rbge.org.uk), a short bus ride north of the National Gallery. Just inside the east gate, there’s a perforated sculpture by Barbara Hepworth with sunlight pouring through it.

“Art has made me look at the world … and engage with what’s around me,” Goldsworthy writes in the notes for Fifty Years. Walking up through shady beeches, blazing wildflowers and scented, bee-buzzing lavender, there’s a bronze girl in a waterlily pond, and a sundial by the Scottish artist and writer Ian Hamilton Finlay near the terrace cafe. Finlay’s best-known artwork is the garden he created with his wife, Sue, in the wild Pentland Hills (£15 over-16s, £10 for 10-15s, under-10s free, open Thursday to Sunday until 28 September, littlesparta.org.uk). He also built a stone temple in the rolling, wooded acres of Jupiter Artland, a few miles from Edinburgh, where Goldsworthy has put rocks in trees and trees in a stone-walled barn (£11.80 adults, £7.50 children). Celebrating both artists, Jupiter’s exhibition Work Begat Work runs until 28 September.

In the Royal Botanic Garden, Goldsworthy’s Slate Cone stands next to Inverleith House, where the gallery is showing feminist photomontages by Linder (free, until 19 October), who opened this year’s Edinburgh art festival (until 24 August). Enlarged images from her work (smiling mouths, bees, lilies) are dotted among ponds and flowerbeds.

Goldsworthy’s Slate, Hole, Wall, a round enclosure of stacked grey stones, stands in the gardens’ south-east corner, under a weeping silver lime tree sweet with honey-fragrant blossom. The Water of Leith Walkway runs close to the John Hope Gateway on Arboretum Place, and I follow it south-westwards. In Stockbridge, the Sunday market, shaded by whitebeam trees, offers loaves of artisanal bread, Perthshire strawberries and cakes made from insects. Almost hidden in branches under a bridge, a lifesize cast-iron figure stands in the river nearby, one of Antony Gormley’s 6 Times statues.

Another of the figures is buried chest-deep by the zebra crossing between National Galleries Scotland: Modern One and Two. Wandering past domed St Bernard’s Well, with its statue of the goddess of health, and picturesque Dean Village, crammed with fellow camera-wielding visitors, I detour to the Modern galleries up the riverside steps. Linking both museums is Charles Jencks’ huge Landform, with its grassy hills and curving pond. There are days’ worth of galleries, artists’ rooms and sculpture gardens to explore here, but the afternoon is passing and I have more miles and museums to cover.

Heading back along the leafy Water of Leith, I climb another steep flight of steps towards Haymarket. On the south lawn of St Mary’s Episcopal Cathedral, a labyrinth winds through aromatic yarrow and knapweed. Around this flowering meadow, as part of an installation called On Sacred Ground, there are rough benches elegiacally listing threatened Scottish species: corncrake, hawfinch, wryneck, ring ouzel, capercaillie. I walk on through Princes Street Gardens, back past the Royal Academy building, and drop into the National Gallery (free) next door to see Van Gogh’s impasto Olive Trees and William McTaggart’s stormy seascapes.

Up more steps, pausing to look back at distant views of the firth, and then down again across photogenic Victoria Street. Finally, I stroll through Greyfriars Kirkyard to reach the National Museum of Scotland (free, nms.ac.uk). In 1998, Goldsworthy installed four sunset-coloured blocks of split sandstone on the museum roof, with its panoramic city views. But the blue skies have turned stormy. “Our roof terrace is closed today – the weather is too dreich!” says a red sign by the lift.

Instead, I head to the basement, where more late-1990s works by Goldsworthy complement a brilliant gallery about Scotland’s early inhabitants. There’s Hearth, a burned circle on a platform of salvaged wood from the museum’s construction site. Stacked Whalebones is a pale ball of interlocking bones, the whole skeleton of a five-metre pilot whale found beached in Northumberland. Around golden bronze age torcs and silver Viking arm-rings, Roman carvings and flint arrowheads, the artist also designed Enclosure, two curving walls of reworked Edinburgh slates. Another backdrop is of stained Dumfriesshire clay like the Red Wall in the Fifty Years exhibition.

Outside, the Edinburgh fringe is in full swing (until 25 August). Among the crowds are buskers, jugglers, unicyclists. With just one night to sample its anarchic offerings, I plunge into dodgy cabarets and sweaty comedies in tiny underventilated venues. At 9pm, I’m back at the National Museum for an accomplished Lloyd-Webber-esque musical about Van Gogh. Towards midnight, I head to Summerhall for a strange, polyphonic prequel to Hamlet by the Polish choral-theatre group Song of the Goat.

The next day, as I walk to Edinburgh’s Waverley station, there’s a prismatic haze caught between the misty drizzle and breezy summer sun. It reminds me of Goldsworthy’s 1980s photo series with titles like Rainbow Splash Hit Water With Heavy Stick Bright, Sunny, Windy. As the train speeds south, through Northumberland and North Yorkshire, I see with new eyes the wave-pounded cliffs and bale-studded headlands, the dry-stone walls and sheep-scattered patchwork dales.

The trip was provided by Visit Scotland, NGS and LNER, York to Edinburgh from £23 each way, London to Edinburgh from £52 Andy Goldsworthy 50 Years runs until 2 November, £19 adults, £5 children, nationalgalleries.org).

What’s the one thing from your childhood that your mom threw away that haunts you to this day?

Ben Stiller has one, a souvenir from what today would be called a riot but back in the 1970s registered as perfectly normal behavior.

I’m Glenn Whipp, columnist for the Los Angeles Times, host of The Envelope newsletter and the guy still holding out hope that those baseball cards are going to turn up in a box someday.

In this week’s newsletter, let’s look at what our Envelope cover star Ben Stiller misses.

Cover story: Ben Stiller has no time to waste

(Shayan Asgharnia / For The Times)

For this week’s cover story, Stiller and I talked a lot about his love for the New York Knicks, a passion kindled early and one that became an “addiction” this year as the team tried to win its first NBA championship since 1973. His dad, Jerry Stiller, took him to lot of games as a kid. Two of Jerry’s friends, Stanley Asofsky and Carnegie Deli co-owner Fred Klein, had season tickets, and they knew all the players and refs and would introduce them to Ben.

Jerry also took his son to baseball games, both the Yankees and the Mets. The Yankees were Ben’s favorite — though his commitment to them was nowhere near his love for the Knicks — and when they won the American League championship series in 1978, Stiller ran out onto the field with his friend Jonathan Harris, as one did in New York. (Or, really, anywhere else … but especially New York.) He even scooped up a chunk of the right-field turf and took it home with him on the D train.

“I had it in my room for two years,” Stiller says.

“And then,” I guessed, “your mom threw it away.”

“My mom threw it away,” Stiller affirms. To be fair to Anne Meara, the sod was old and crumbling and probably had bugs in it. And yet …

“It was a prized possession,” Stiller says. “I had it on a piece of tinfoil on a shelf. Maybe if I had been really lucky and had picked up a base, my mom wouldn’t have made me get rid of that.”

Stiller told me he wouldn’t be directing any episodes of “Severance’s” upcoming third season to free him up to make a feature film, a World War II survival story about a downed airman in occupied France who becomes involved with the French Resistance. Stiller has spent most of this year helping prep the third season and wants to be clear that the show is “a real priority.” But after a long break, he’s ready to return to feature filmmaking.

“Severance” star Adam Scott understands, though he finds it hard to imagine the set without Stiller. Scott remembers exactly what he told Stiller when they were shooting the jaw-dropping, mood-shifting Season 2 finale.

“I was just like, ‘Dude, this is our ‘Temple of Doom,’” Scott told me, referencing the second “Indiana Jones” movie. “And I was in absolute paradise the entire time, not just because ‘Temple of Doom’ is my favorite movie, but because we were getting to do it all. There’s the marching band. There’s a fight scene. There’s the running in the hall. We had the big scene where Mark talks to Outie.”

“And when we finished it, we were all so tired,” Scott continues. “But I could see how happy Ben was. It was such a showcase for him.”

And now, he’ll be returning to making movies — the one thing as a kid he always wanted to do.

Well, that and snag third base at Yankee Stadium.

Read more coverage of ‘Severance’

Which critics group will be the first to give Amy Madigan a prize for “Weapons”?

Might she be the standout of the summer, the one most deserving an award, other than the person who updated this billboard near LAX?

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. A forecast for a cosmic future in these parts? Hope, indeed, comes in many forms.

Madigan’s diabolical turn deserves a champion

Julia Garner and Josh Brolin in “Weapons.”

(Quantrell Colbert / Warner Bros. Pictures)

I’m going to tread lightly when it comes to spoilers for Zach Cregger’s horror movie “Weapons,” currently the No. 1 movie at the box office.

But I’m also of the mind that you should see “Weapons” knowing as little as possible about it. So anything I write could be considered a spoiler, though I should also note that I’m someone who never watches movie trailers and will go so far as to close my eyes and cover my ears in a theater to avoid them. Sometimes I think the only reason I’m still writing about movies is that the job allows me to see films in advance and not have them ruined. I love flying blind.

You probably know that “Weapons” follows what happens in an American town after 17 children disappear one night, all of them simultaneously running out the front doors of their homes, arms outstretched, at precisely 2:17 a.m. Cregger unravels the mystery from multiple, often overlapping points of view, calling to mind Paul Thomas Anderson’s audacious epic “Magnolia,” right down to the presence of a clumsy, mustachioed cop.

Well into the movie, we meet Madigan’s Aunt Gladys in a principal’s office at the school that the missing kids attended. All of the children were in the same class. Gladys says she is the aunt of the one child from the class who didn’t run off into night. There’s some understandable curiosity and concern over this boy, Alex (Cary Christopher, another standout in a very good year for child actors), and Gladys is here to reassure everyone that Alex — and his parents — are doing just fine.

Gladys is perhaps not the most reliable messenger. She is wearing a bright-red wig and multiple layers of makeup, a presentation that suggests she has spent a lifetime watching Bette Davis in “What Ever Happened to Baby Jane?” Something is off, and, hoo boy, are we about to find out what that something is.

Madigan is excellent, disarming and adept at concealing, to a point, the hidden core of good ol’ Aunt Gladys. Again, I’m treading lightly. If you’ve seen it, as I’m sure many of you have, you know just how delightfully insane her work in the movie is.

Critics groups love to reward the delightfully insane. They also love to champion genres, like horror, that tend to be marginalized at the Oscars.

So I’d expect some group — perhaps New York, maybe L.A. — could be eager to plant a flag for Madigan as a much-deserved, out-of-the-box supporting actress choice. She’s 74, has enjoyed a fine career on stage and screen and, along with her husband, Ed Harris, made a principled stand (or sit) at the 1999 Academy Awards, refusing to applaud when Elia Kazan took the stage to receive an honorary Oscar.

It’s easy to get swept up in the success of “Weapons” and the countless stories sifting through its ending and themes. Once the film leaves theaters and the fall festival awards contenders start dropping, Madigan will need a champion or two to put her back into the conversation.

History might be on her side, though: Davis earned a lead actress Oscar nomination for “Baby Jane.” And Ruth Gordon won the supporting actress Oscar for “Rosemary’s Baby” for the same kind of deliciously diabolical turn that Madigan gives in “Weapons.”

Plus, you know Aunt Gladys was taking notes on Gordon’s cosmetic routine in “Rosemary’s Baby.”

I’ll be back in your inbox Monday. Thanks, as always, for reading.

Read more of our summer movies coverage

On a wide, empty stretch of Venice Beach in 1980, seven Los Angeles architects — Frank Gehry, Thom Mayne, Eric Owen Moss, Coy Howard, Craig Hodgetts, Robert Mangurian and Frederick Fisher — gathered for a group portrait by photographer Ave Pildas. Clad in mismatched outfits and standing casually in the sand, they looked more like a rumpled rock band than the future of American architecture.

The resulting image, published in Interiors magazine, distilled a seismic moment in L.A.’s creative history. Those seven, gazing in their own directions yet joined in a sense of mischievous rebellion and cocky exuberance, represented a new generation that was bringing a brash, loose creativity to their work and starting to distance itself from the buttoned-up codes and expectations of the architecture establishment.

Each would go on to have a successful career, from Pritzker Architecture Prize winners to directors of architecture schools. And they and their compatriots would, for a while at least, help put a rapidly changing L.A. at the center of the built culture.

“That one photograph contains a whole world,” notes filmmaker Russell Brown, who recently directed a 12-part documentary series about that Venice architecture scene. “There was risk going on, and freedom; it was all about ideas.”

“It’s become a kind of reference point,” adds architectural journalist Frances Anderton, host of the series. “It just keeps reappearing whenever there’s a conversation about that period.”

The 1980 image is the jumping-off point for “Rebel Architects: From Venice to the World Stage,” produced by Brown’s nonprofit, Friends of Residential Treasures: Los Angeles. Four of the architects — now in their 70s and 80s — gathered for a (far less brash) new photo and an honest conversation about their early careers in L.A., and what’s transpired since for the series, which began streaming monthly on FORT: LA’s website July 1.

A native Angeleno with a background in feature and documentary filmmaking, Brown conceived of the concept after a chat with architect Robert Thibodeau, co-founder of Venice-based DU Architects. After a deeper dive into the image with Anderton, the idea for a reunion was born.

“We thought, why don’t we restage the photo and then use that as an excuse to get the guys together?” Brown explains.

He preferred a spontaneous, lighthearted group discussion to the typical documentary, with its one-on-one interviews and heavy production.

Frances Anderton, from left, Frederick Fisher, Craig Hodgetts, Thom Mayne and Eric Owen Moss catch up for “Rebel Architects,” a 12-part series.

(FORT: LA)

“It’s about the chemistry between creative peers,” says Brown. “The real legacy of these architects isn’t just in the buildings. It’s in the conversations they started — and are still having.” He added: “There’s a spark that happens when they’re together … They talk about failure, competition, teaching, aging. It’s a very human exchange.”

Episode 1, titled “Capturing a Moment in L.A. Architecture,” opens with four of the surviving architects — Fisher, Mayne, Moss and Hodgetts — recreating that seminal photograph for Pildas and sitting down for an interview. (Howard was interviewed separately, Gehry declined and Mangurian died in 2023.) The group dissects the photo’s cinematic, informal composition, in which Pildas aims down from a berm, the neglected buildings behind the eclectic crew shrinking into the horizon, merging with the sand. And they remember a time in which the city’s messy urban forms and perceived cultural inferiority provided endless creative fuel, and liberation.

Pildas recalls how the original shoot came together at the request of British design editor Beverly Russell, who was looking to capture “Frank Gehry and some of his Turks.” (The international design press was gaga for L.A. at the time. Anderton notes that her move from the U.K. resulted from a similar assignment, on the “subversive architects of the West Coast,” for the publication Architectural Review in 1987.)

At the time, most of the architects were working in garages and warehouses, forming their studios and collaborating with equally norm-busting and (relatively) unheralded artists in the scrappy, dangerous, forgotten, yet exploding Venice scene. In a later episode, the architects start listing the art talents they would run into, or befriend, including Larry Bell, James Turrell, Ed Ruscha, Fred Eversley, Robert Irwin, Robert Rauschenberg and Jean-Michel Basquiat, to name a few.

Basquiat was then living and working in Hodgetts’ building. “It was a spectacular fusion of all this creative energy,” Hodgetts remembers. “There was no audience, there were no guardrails, and one did not feel constrained.” He adds, later: “We all felt like we were marooned on a desert island.”

Pildas, who had studied architecture before switching to design and, eventually, photography, was uniquely suited to capture the group. He had shot some of the small, quirky experiments of Mangurian and Mayne, and knew most of the others through social and professional circles. (He even knew Hodgetts from high school back in Cincinnati.)

The first attempt at the photo seemed stiff, says Pildas, so he took out a joint, which all except Hodgetts accepted, he says. The icebreaker worked. In a later image, says Pildas, Fisher is hugging Gehry’s leg, the others huddled around. “It got pretty friendly in the end,” he jokes.

Pildas argues that the photo is much more layered with meaning (not to mention nostalgia) now than it was at the time. “Back then, it was just another magazine shoot. Now, it’s history,” he says. Adds Moss: “Its relevancy, or not, is confirmed by the following years. Otherwise it’s gone.”

Frederick Fisher, from left, Thom Mayne, Craig Hodgetts and Eric Owen Moss recreate their famous 1980 photo.

(Ave Pildas)

Each episode explores the image’s layers, and the unfolding stories that followed — the challenges of maintaining originality; crucial role of journalists in promoting their work; maddening disconnect between L.A.’s talent and its clients, along with the mercurial, ever-evolving identity of Los Angeles. The tone, like the photo, is unpretentious and playful, heavy on character and story, not theory. This was not always an easy task with a group that can get esoteric quite quickly, adds Anderton. “I was trying to keep it light,” she laughs. “I don’t think I even have the ability to talk in the language of the academy.”

“They’re cracking jokes, interrupting each other, reminiscing about teaching gigs and design arguments,” says Brown. “There’s real affection, but also a sense of rivalry that never fully went away.” Hodgetts doesn’t see it that way, however. “It was really about the joy of creating things. We wanted to jam a bit, perform together; that’s really life-affirming,” he says.

There are some revealing moments. Mayne, whose firm Morphosis is known for bold, city-altering buildings such as Caltrans HQ in downtown L.A., reflects on teaching as a way of “being the father I never had.” (His father left his family when he was a young boy.) He tenderly discusses the seminal role that his wife Blythe — a co-owner of Morphosis — has played in his career. Fisher reveals that Gehry was the chief reason he dropped everything to come out to L.A. (At the time, he was working as a display designer at a department store in Cincinnati.) “I remember seeing this architect jumping up and down on cardboard furniture. I could see there was something going on here. Something percolating,” he says. Moss opens up about his struggles to negotiate the demands of the practical world, while Hodgetts performs brilliant critiques of the others’ work, sometimes to broad smiles, others to cringes.

Notably absent from the reunion is Gehry himself, who is now 96. “He’s at a point in his life where trudging through sand for a photo wasn’t going to happen,” says Brown. “But his presence is everywhere. He’s still the elephant in the room.”

One episode explores how Gehry, about a decade older than the others, both profoundly influenced and often overshadowed the group — a reality that was perhaps reinforced by his nonchalant dominance in the photo itself. “Frank takes up a lot of oxygen,” Mayne quips. Still, all admire Gehry’s unwillingness to compromise creatively, despite often heavy criticism.

Another prevailing theme is the bittersweet loss of that early sense of freedom, and the Venice of the 1970s, with its breathtakingly low rents and abandoned charm. Today’s architects — wherever they are — face higher stakes, infinitely higher costs and tighter regulations.

“The Venice we grew up with is completely gone,” says Fisher. “But maybe it’s just moved,” noted Moss. Distinguishing L.A. as a place whose energy and attention is constantly shifting, he wonders if creative ferment might now be happening in faraway places like Tehachapi — “wherever land is cheap and ambition is high,” he says.

While Pildas was capturing the seven architects 45 years ago, he was also busy chronicling the city’s street culture — jazz clubs, boulevard eccentrics, decaying movie palaces and bohemian artists. All were featured in the 2023 documentary “Ave’s America” (streaming on Prime Video) directed by his former student, Patrick Taulère, exploring his six decades of humbly perceptive, deeply human work.

After reviewing the recreation of the photo — the architects are still smiling this time, but their scrappy overconfidence feels eons away — Pildas wonders who the next generation will be, and how they will rise.

“Maybe it’ll happen that they’ll have another picture someday with a bunch of new architects, right?” he says. “This is a fertile ground for architecture anyway, and always has been.”

Exposing that “fertile ground” to Angelenos of all kinds is FORT: LA’s overarching goal. Founded in 2020, it offers architecture trails, fellowships and a surprising variety of programming, from design competitions to architecture-themed wine tastings. All, says Brown, is delivered, like “Rebel Architects,” with a sense of accessible joy and exploration — an especially useful gift in a turbulent, insecure time for the city.

“Suddenly, you kind of think about the city in a different way and feel it in a different way,” says Brown. “This is a place that allows this kind of vision to come to life.”

Art Fein, a Los Angeles music-scene renaissance man who worked as a journalist, publicist, manager and television host over a six-decade career, has died. He was 79.

Fein died of heart failure on July 30 while recovering from surgery for a broken hip, according to Cliff Burnstein, co-founder of Q Prime Management and a longtime friend.

Arthur David Fein was born June 17, 1946. Growing up in Chicago, he was transfixed by a Chuck Berry concert at age 10 and devoted his life to discovering, championing and preserving rock music. After moving to Los Angeles in 1971 to pursue a career in music journalism, he got a job in Capitol Records’ then-nascent college promotion department. There, he befriended John Lennon and Yoko Ono, while coordinating interviews with college radio stations for Ono’s latest album, “Approximately Infinite Universe.”

After leaving Capitol, he wrote music reviews for the Los Angeles Times, Herald-Examiner, Billboard and others before being hired as music editor at Variety. “By the time I got this job, I was sick of the new, aggravating profession of rock criticism,” he recalled in his 2022 memoir “Rock’s in My Head.” “It was about writers, not the music. I wasn’t interested in being terribly critical. I was an advocate. I wanted to help the music along; rock critics wanted to help their sense of superiority.”

He returned to the label world with stints at Elektra/Asylum and Casblanca but pivoted to management, incubating a proto-punk scene that would yield influential L.A. acts like the Cramps, the Blasters and the Heaters. A compilation he assembled, 1983’s “(Art Fein Presents) The Best of L.A. Rockabilly,” became a bible for bands inspired by X and Social Distortion, which drew from vintage rockabilly but amped it up for the punk age.

His public access cable TV show, “Lil Art’s Poker Party,” featured interviews and performances with his favorite musicians and ran in SoCal for 24 years. Rhino Records co-founder Richard Foos recalled that “for years we had a weekly poker game either at his house or mine. I was there the night [music critic] Lester Bangs was playing. We started the first hand, started talking music, and never played another hand.”

In 1990, Fein published “The L.A. Musical History Tour: A Guide to the Rock and Roll Landmarks of Los Angeles,” a compendium of locations guiding readers to grave sites of stars such as Roy Orbison and Ritchie Valens, and sites where Sam Cooke, Janis Joplin, Marvin Gaye, Tim Hardin, Dennis Wilson and Darby Crash died.

Fein also developed a complicated relationship with producer Phil Spector, to whom Lennon had introduced Fein as the man who “knows all about music.” Fein became part of Spector’s inner circle, even into his deeply troubled years when he was convicted of murdering House of Blues hostess Lana Clarkson. Fein maintained contact with Spector even after he was sentenced to life in prison.

The Blasters’ lead guitarist Dave Alvin wrote on Facebook that “Back in the early days of The Blasters, when few outside of Rollin’ Rock Records knew or cared who we were, Art cared deeply. In early 1980, I was a wannabe poet working as a fry cook in Long Beach … Art Fein played ‘Marie Marie’ to a Welsh rock ‘n’ roll singer named Shakin’ Stevens, who quickly recorded my song and made it into a huge international hit. … Thanks to Art Fein, I was soon able to quit my job as a cook and pursue music. I can never, ever thank you enough for all you did for me, Art.”

Singer-songwriter-guitarist Rosie Flores added that “back in ‘94 when I was touring with Butch Hancock in Europe, I took a bad fall, at the end of our month-long tour. I slipped in the rain on a cobblestone street in London and severely broke my wrist. Three months later I was invited to sing at the Elvis [annual birthday] bash at The House of Blues … It was normal protocol to donate all the money from the proceeds of the show and give it to an organization or a charity. This year, Art surprised me and handed me a stack of money to the tune of $1,500 for my medical bills. I didn’t expect that at all [and] it brought tears to my eyes.”

In the closing lines of his memoir, Fein wrote that “I can’t say anything terribly pithy or canny about the state of record sales, or streaming, or new delivery systems. Or how YouTube or TikTok are shaping contemporary music.”

“It turns out I didn’t want to be in the music business; I wanted to be in the music,” he wrote. “There I remain.”

Fein is survived by daughter Jessie and wife Jennifer.

More than 100 artists, musicians, comedians, actors and performers from L.A.’s thriving, multifaceted underground art scene are featured in a new experimental video game named “Blippo+.” Created by Jona Bechtolt and Claire L. Evans, with music by Bechtolt and Rob Kieswetter, the trio behind the L.A.-based post-pop band YACHT (Young Americans Challenging High Technology), the game is part video art installation, part interactive theater. It was created for the newfangled gaming console Playdate, which was released in 2022 and purposefully conjures old-school devices like the Nintendo Game Boy, with a black-and-white, 1-bit display.

“This is essentially our bootleg way of making television, by skipping all the gatekeepers and going straight to a distribution platform that is still open to artist’s weird experiments, a.k.a. video games,” said Evans, in an interview Thursday in advance of the game’s exhibition party at Bob Baker Marionette Theater in Highland Park.

“Hollywood [production] has left Los Angeles, so the people that are here have to scramble to figure out what to do,” added Bechtolt. “So we moved to where there’s lots of funding, and an openness for experimentation. And that’s the video game world, indie video games, specifically.”

Playdate’s low-res format was ideal for “Blippo+,” which rolls out in a looping, 11-week cycle, with new programming — original, avant-garde soaps, sitcoms, news, weather and talk shows— arriving every Thursday at 10 a.m. PDT. Bechtolt and Evans collaborated with director JJ Stratford, a longtime video artist and music video maker, who runs the all-analog Telefantasy Studios in Glendale, dedicated to, according to its website, “bringing the strange, surreal, and speculative to life.”

“She’s a scholar of video arts, and an artist herself,” explained Bechtolt of Stratford. “When all of the TV studios in Los Angeles converted to digital, they just threw out their analog equipment. So JJ has been collecting this stuff for years and years, and now she has a full-on 1982 television studio.”

The L.A.-based post-pop trio YACHT has created a new art project / video game called “Blippo+.”

(YACHT)

The programming on “Blippo+” was filmed over the course of a year using the kind of tube cameras common in television studios before the digital era, and employing the talents of the band’s aforementioned artist-collaborators including artists Martine Syms and Maya Man; musicians Staz Lindes (of the Paranoyds), Calvin Johnson (of K Records / Beat Happening) Phil Elverum (Mount Eerie); and comedians Whitmer Thomas, Clay Tatum, Mitra Jouhari, Donny Divanian, Kyle Mizono, Anna Seregina, Steve Hernandez, Tipper Newton and Brent Weinbach.

Post-production took another year, and the game was finally released on Playdate in May. Next month “Blippo+” will roll out on Steam and Nintendo Switch.

Playdate was created by the Portland-based software development and video game publishing company Panic Inc. YACHT originated in Portland and the people behind Panic were longtime fans. They approached the band almost a decade ago at a music festival in North Carolina.

“They gave us this open invitation to make something as YACHT if we ever had an idea for a video game,” said Bechtolt.

Evans added that Panic’s interest was likely fueled by the band’s reputation for creating experimental multimedia art projects that exist both on and offline, including co-founding the Triforium Project, which worked to restore and revitalize artist Joseph Young’s controversial Triforium sound-and-light sculpture in downtown Los Angeles, and resulted in a variety of live art and music performances at the site.

“Blippo+” is a natural extension of YACHT’s immersion in underground art and obsession with how analog and digital tools can collide to create new forms and functions for a post-postmodern world. It was also proudly made without the use of AI, Bechtolt and Evans noted.

I’m arts and culture writer Jessica Gelt, heading back underground where I belong. Here’s your weekly dose of arts news.

Best bets: On our radar this week

Gustavo Dudamel conducts the L.A. Phil in John Williams’ score for “Jurassic Park.”

(L.A. Philharmonic)

‘Jurassic Park’ in Concert
Gustavo Dudamel and L.A. Phil perform John Williams’ epic score live to picture as Steven Spielberg’s 1993 blockbuster starring Sam Neill, Laura Dern and Jeff Goldblum is projected on the big screen in HD.
8 p.m. Friday and Saturday. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

The Old Globe presents “Deceived,” based on the play “Gas Light,” Saturday through Sept. 7.

(Ben Wiseman)

Deceived
Playwrights Johnna Wright and Patty Jamieson’s update Patrick Hamilton’s classic 1938 stage thriller “Gas Light” (also the basis of the 1944 film “Gaslight”) about a woman who begins to doubt her seemingly perfect new husband as she is increasingly bedeviled by strange occurrences.
Saturday through Sept. 7 Old Globe Theatre, 1363 Old Globe Way, San Diego. theoldglobe.org

The Hollywood Bowl at night.

(L.A. Philharmonic)

The Russians are coming …
And L.A. Phil has them for two separate programs this week at the Hollywood Bowl. Tuesday night, Elim Chan conducts the orchestra performing Tchaikovsky’s “Violin Concerto in D major, Op. 35” (with violinist James Ehnes), Britten’s “Four Sea Interludes from Peter Grimes, Op. 33A” and the 1919 version of Stravinsky’s “The Firebird.” Then on Thursday, Gemma New takes the baton for Rimsky-Korsakov’s “Capriccio espagnol, Op. 34,” Arutiunian’s Trumpet concerto (performed by Pacho Flores) and Tchaikovsky’s Fourth symphony.
8 p.m. Tuesday; 8 p.m. Thursday. Hollywood Bowl, 2301 N Highland Ave. https://www.hollywoodbowl.com/

Brittany Howard and Alabama Shakes play the Hollywood Bowl on Wednesday.

(Amy Harris / Invision / AP)

Alabama Shakes
In their first L.A. show in eight years, the soulful rockers led by singer-guitarist Brittany Howard are joined by Oakland punk quartet Shannon and the Clams.
8 p.m. Wednesday. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

The North American tour of “& Juliet” arrives at the Ahmanson on Aug. 13.

(Matthew Murphy)

& Juliet
What if Romeo’s tragic love didn’t end it all? Find out in this jukebox musical written by David West Read (TV’s “Schitt’s Creek”) and featuring the music of Swedish pop hitmaker Max Martin and others.
Wednesday–Sept. 7. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

Legendary L.A. jazz composer/musician Bobby Bradford, pictured in 2019, brings his tribute to baseball great Jackie Robinson to the Hammer’s JazzPOP series on Thursday.

(Gina Ferazzi / Los Angeles Times)

Bobby Bradford’s Stealin’ Home: A Tribute to Jackie Robinson
The West Coast jazz great leads an all-star septet performing his original composition, an homage to the Dodger legend who broke baseball’s color barrier in 1947. Part of the Hammer’s 2025 JazzPOP series.
8 p.m. Thursday. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu

Culture news

Vincent Van Gogh, “Tarascon Stagecoach,” 1888, oil on canvas

(Henry and Rose Pearlman Foundation)

Los Angeles County Museum of Art announced that it has been gifted its first paintings by Vincent van Gogh and Édouard Manet, in addition to four works by Henri de Toulouse-Lautrec, Alfred Sisley, Wilhelm Lehmbruck and Maurice Brazil Prendergast. The pieces come from the Pearlman Foundation, which is dividing its collection of Impressionist, Post-Impressionist and Modernist art among LACMA, New York’s Museum of Modern Art and the Brooklyn Museum.

Times Classical Music Critic Mark Swed writes an appreciation of experimental theater director and playwright Robert Wilson, who died at the end of July. Swed was in Austria when he heard the news, attending the Salzberg Festival, and watching, “the kind of uncompromisingly slow, shockingly beauteous and incomprehensibly time-and-space-bending weirdness Wilson took infinite pleasure in hosting when he made what he called operas.”

The Japanese Pavilion at the L.A. County Museum of Art in 2012.

(LACMA)

Times contributor Sam Lubell takes a deep dive into the work of Bruce Goff, who designed Los Angeles County Museum of Art’s Japanese Pavilion, noting that while Goff remained largely under-the-radar throughout his life, he nonetheless inspired a host renegade of West Coast architects.

Gustavo Dudamel appeared onstage at the Hollywood Bowl on Tuesday, to the great joy of fans and the orchestra alike. This summer marks the 20th anniversary of the now legendary conductor’s U.S. debut, writes Swed in a review of Dudamel’s single homecoming week this Bowl season. “After 20 years, Dudamel clearly knows what works at the Bowl, but he also likes to push the envelope as with Tuesday’s savvy blend of Duke Ellington and jazzy Ravel,” Swed writes.

The SoCal scene

Philanthropist Glorya Kaufman at her Beverly Hills home in 2012.

(Al Seib / Los Angeles Times)

Glorya Kaufman, the philanthropist who transformed dance in Los Angeles through the establishment of an eponymous dance school at USC as well as a prominent dance series at the Music Center, among many other initiatives, has died. She was 95. Read her full obituary here.

The Tom and Ethel Bradley Residence in Leimert Park — along with the Stylesville Barbershop & Beauty Salon in Pacoima, St. Elmo Village and Jewel’s Catch One in Mid-City, the California Eagle newspaper in South L.A. and New Bethel Baptist Church in Venice—have been designated Historic-Cultural Monuments as part of a project meant to recognize Black heritage and led by the Getty in collaboration with the City of Los Angeles’ Office of Historic Resources.

When Pasadena Playhouse announces its new seasons each year, it typically delays naming one show until a later date. That time has now come, and Producing Artistic Director Danny Feldman sets Julia Masli’s “ha ha ha ha ha ha ha,” directed by Kim Noble, as the theater’s fifth Mainstage production, running from Oct.15 to Nov. 9. The playhouse also announced some juicy casting news: Tony Award winner Jefferson Mays will star as Salieri in Peter Shaffer’s “Amadeus,” which is scheduled to open Feb. 15.

Paging parents of teenagers! There is an organization called TeenTix that has paired with a veritable cornucopia of L.A.-area arts institutions to offer a youth pass that charges local kids between the ages of 13 and 19 $5 to attend shows, concerts and exhibits. More than 35 groups participate in the program, including Geffen Playhouse, Center Theatre Group, the Soraya, Pasadena Playhouse, Boston Court, Pasadena Symphony, the Armory, A Noise Within, the Autry Museum of the West, Heidi Duckler Dance, Skirball Cultural Center, Sierra Madre Playhouse and Actors Gang. Reservations are required, and info and passes can be found here.

— Jessica Gelt

And last but not least

There is a free plant stand in Altadena — a symbol of new life in the wake of January’s devastating Eaton fire.

Feels like a good weekend to stay in, stay cool, maybe put some peaches in a deep freeze and catch up with some favorite shows, old and new. (I’m still watching “Miami Vice,” even though my white linen suit is at the cleaners.)

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Got any home improvement projects on tap? Seems like a good time to tackle one while we take a look at the shows that might win Emmys next month for writing and directing.

Writing and directing power rankings

The writing and directing categories at this year’s Emmys could give us a couple of A-list acceptance speeches — Ben Stiller and Seth Rogen — as well as providing the usual hints about what shows will wind up prevailing in the series categories.

Let’s sketch out how the races are shaping up with our official set of power rankings, ordered from worst to first for drama, comedy and limited series. Try to see if you can read it all in a single take in honor of all the “oners” nominated.

Drama series directing

Adam Scott and Britt Lower in “Severance.”

(Apple TV+)

7. “The White Lotus.” “Amor Fati,” Mike White
Season 3 aftertaste remains as bitter as one of Timothy’s poison piña coladas.

6. “Slow Horses.” “Hello Goodbye,” Adam Randall
Another exemplary season. There’s a reason Randall recently became the first director to be hired for another go-round.

5. “Andor.” “Who Are You?,” Janus Metz
Should be required viewing for American citizens right now.

4. “The Pitt.” “7 a.m.,” John Wells
How it all began …

3. “The Pitt.” “6 p.m.,” Amanda Marsalis
And how it ended.

2. “Severance.” “Chikhai Bardo,” Jessica Lee Gagné
We finally got our Gemma episode and it was breathtaking in the ways it used visual language to convey the most heartbreaking love story this side of “Eternal Sunshine of the Spotless Mind.”

1. “Severance.” “Cold Harbor,” Ben Stiller
Innie Mark vs. Outie Mark. Frantic chases down the hallways. An impossible choice. And a marching band.

Comedy series directing

Sarah Polley, left, Catherine O’Hara and Seth Rogen in “The Studio.”

(Apple TV+)

5. “Mid-Century Modern.” “Here’s to You, Mrs. Schneiderman,” James Burrows
For those keeping score, that’s Emmy nomination No. 28 as a director for Burrows. (He has won five times.)

4. “The Bear.” “Napkins,” Ayo Edebiri
Tina’s origin story, and the episode that probably won Liza Colón-Zayas her Emmy last year. Also likely to be remembered for being Edebiri’s directorial debut and, taken with her co-writing this season’s standout “Worms,” an auspicious sign of good things to come.

3. “The Rehearsal.” “Pilot’s Code,” Nathan Fielder
In which Fielder lives the life of Sully Sullenberger, from baby to adult, complete with a puppet mom and an unforgettable lactation scene.

2. “Hacks.” “A Slippery Slope,” Lucia Aniello
Blueprint for Colbert’s last episode?

1. “The Studio.” “The Oner,” Seth Rogen and Evan Goldberg
Not my favorite “Studio” episode (that would be “The Pediatric Oncologist”) but an obvious choice to take this category.

Limited / TV movie directing

Owen Cooper, left, and Stephen Graham in “Adolescence.”

(Netflix )

6. “Sirens.” “Exile,” Nicole Kassell
It was not a good year for limited series.

5. “Zero Day,” Lesli Linka Glatter
Seriously.

4. “Dying for Sex.” “It’s Not That Serious,” Shannon Murphy
La petite mort onward to the last roundup. Que Dieu te garde, Molly.

3. “The Penguin.” “A Great or Little Thing,” Jennifer Getzinger
Just when you thought it couldn’t get any darker, the show’s finale went there.

2. “The Penguin,” “Cent’Anni,” Helen Shaver
The series’ best episode and why Cristin Milioti will probably win the Emmy.

1. “Adolescence,” Philip Barantini
Every episode was a oner.

Drama series writing

Tramell Tillman in “Severance.”

(Apple TV+)

6. “Slow Horses.” “Hello Goodbye,” Will Smith
To my great and everlasting surprise, “Slow Horses” won this Emmy last year, meaning that however long it lasts — and there will be at least two more seasons — it will have triumphed at least once.

5. “The White Lotus.” “Full–Moon Party,” Mike White
I’m a little like Saxon after his hookup with his brother in this episode, wanting to pretend it — and the whole season — never happened.

4. “The Pitt.” “7 a.m.,” R. Scott Gemmill
This is such a wonderfully written episode, introducing us to a couple of dozen characters, establishing them and the setting and doing so in a tight 53 minutes.

3. “Andor.” “Welcome to the Rebellion,” Dan Gilroy
There’s so much respect for what the Gilroy brothers did with “Andor” that you could see voters having a strong impulse to reward it.

2. “The Pitt.” “2 p.m.,” Joe Sachs
You remember how this episode ends? The honor walk for Nick? I am getting tears in my eyes typing this sentence. And that was just one element in an episode that left me so gutted that I had to sequester myself after it ended before I could even choke out a word or two with my wife.

1. “Severance.” “Cold Harbor,” Dan Erickson
Trippy, emotionally fraught season finale that’ll probably win since loyalists of “The Pitt” have two choices in this category.

Comedy series writing

Jean Smart in “Hacks.”

(Jake Giles Netter / HBO Max)

6. “What We Do in the Shadows.” “The Finale,” Sam Johnson, Sarah Naftalis and Paul Simms
They shut the casket one final time, satisfying nearly everyone who loved the show for six seasons.

5. “Somebody Somewhere.” “AGG,” Hannah Bos, Paul Thureen and Bridget Everett
Another series finale, a near-perfect summation of the show’s lovely blend of joy and melancholy.

4. “Abbott Elementary.” “Back to School,” Quinta Brunson
Solid season opener of a series that has crossed over into “taken-for-granted” status.

3. “The Rehearsal.” “Pilot’s Code,” Nathan Fielder, Carrie Kemper, Adam Locke-Norton and Eric Notarnicola
“It was difficult at first to inhabit the mind of a baby. I know so much more than babies do, and it can be hard to forget all that stuff. So I tried not to think about the fact that I was a 41-year-old man and just did my best to be present in the moment.”

2. “The Studio.” “The Promotion,” Seth Rogen, Evan Goldberg, Peter Huyck, Alex Gregory and Frida Perez
The episode that started it all and made me more interested to see a “Kool-Aid” movie than practically anything that an actual studio released this summer.

1. “Hacks.” “A Slippery Slope,” Lucia Aniello, Paul W. Downs and Jen Statsky
“Hacks” has won this Emmy twice in its first three seasons, and the dramatic episode — Deborah loves Ava more than her dream job! — seems a spot to prevent a “Studio” sweep.

Limited / TV movie writing

Christine Tremarco and Stephen Graham in “Adolescence.”

(Netflix )

5. “Say Nothing.” “The People in the Dirt,” Joshua Zetumer
Car bombs, hunger strikes, political assassinations.

4. “Black Mirror.” “Common People,” Charlie Brooker and Bisha K. Ali
Technology really is going to destroy us, isn’t it?

3. “Dying for Sex.” “Good Value Diet Soda,” Kim Rosenstock and Elizabeth Meriwether
Of course, we’re all gonna die anyway. Might as well indulge.

2. “The Penguin.” “A Great or Little Thing,” Lauren LeFranc
After all, evil and depravity win out in the end.

1. “Adolescence,” Jack Thorne and Stephen Graham
So hug your children tonight.

Stoner comedy legend, actor and Chicano art curator collector Cheech Marin will be honored this year at the 38th annual Hispanic Heritage Awards.

The Hispanic Heritage Foundation named Marin as a recipient of the 2025 Hispanic Heritage Award for the arts on Tuesday, one of several honors bestowed on notable public figures for their accomplishments and cultural contributions to the Latino communities.

Past awardees at the Hispanic Heritage Awards include Bad Bunny, America Ferrera, Becky G, J Balvin and others. Marin will be awarded alongside National Public Radio journalist and “Alt.Latino” host Felix Contreras and Rizos Curls co-founder and CEO Julissa Prado.

“I’m extremely honored to be receiving this Hispanic Heritage for Arts Award,” Marin said in a press release. “I accept this recognition with deep gratitude and a commitment to continue uplifting voices, building bridges, and honoring the legacy of those who came before us.”

Having spent his childhood in South-Central L.A. and the San Fernando Valley, Marin’s comedy career kicked off in the late 1960s, when he fled to Canada to avoid being drafted during the Vietnam War. It was during that time that he first met his future comedy partner Tommy Chong — and the rest is burned into history.

“For over five decades, Cheech Marin has reflected our cultural impact on America and the world as a comedian, actor, director, art collector, and humanitarian,” said Antonio Tijerino, the president and CEO of the Hispanic Heritage Foundation, in a press release. “His groundbreaking work has not only entertained but enlightened. We are thrilled to pay tribute to Cheech and the other 2025 Honorees and tell their stories to inspire, unite, and mobilize other generations.”

Cheech and Chong’s blazing success first reached national attention after the release of their first comedy album “Cheech and Chong” in 1971. The 11-track LP was nominated for a comedy recording award at the 1972 Grammy Awards and generated the famous “Dave’s not here” line. Their second album, “Big Bambú,” was nominated for a Grammy in the same category at the 1973 award ceremony.

In 1978, the duo released the stoner comedy feature film, “Up in Smoke,” which was based in L.A. Though it was critically panned, the film became a cult classic and was added to the Library of Congress’ National Film Registry in 2024.

Marin’s 1987 film “Born in East L.A.” — which includes a spoof of Bruce Springsteen’s “Born in the U.S.A.” — was acclaimed by critics for blending of comedy with such serious subject matters as deportation and living as an undocumented person in the U.S.

“Without saying so much as a single word that could be even remotely described as preachy, Cheech Marin makes his points about the second-class nature of American citizenship for ethnic minorities and the desperate situation in which illegal aliens find themselves,” The Times wrote in a 1987 review of the movie.

In recent years, Marin is perhaps best known for his work as a collector of Chicano art. After being a lifelong gatherer of art, the Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum opened to the public in June 2022.

Many consider the museum to be the largest private collection of Chicano art in the world, with more than 550 paintings, drawings, sculptures and photographs from Marin’s personal collection will be on permanent rotation. Nicknamed “the Cheech,” the 61,420-square-foot, two-story art museum and education center resides in what used to be the downtown Riverside Public Library, and has displayed works by artists Chaz Bojorquez, Judithe Hernández, Frank Romero, Patssi Valdez and others. It’s considered the only permanent art space to exclusively showcase Chicano and Mexican American art in the country.

“You don’t have to be Chicano to love and appreciate this work,” Marin told The Times in 2022. “Just like I don’t have to be French to appreciate Impressionism or German to appreciate Expressionism. We recognize it as part of the conversation in the history of art. And now we are part of that conversation in a more concentrated effort than we’ve ever had before.”

When looking at a majestic residence like the 1908 Gamble House — a Craftsman crown jewel of Pasadena — its easy to romanticize the lives of its owners. Luxury and wealth radiate from its graceful, low-slung eaves, sloping lawns and wide porches. But the idea of class is baked into its architecture, with a series of rooms built to be occupied by the domestic servants who toiled day and night to keep the house running for its privileged inhabitants, the heirs to the Proctor & Gamble fortune.

Through Aug. 17, those rooms are open for tours with the addition of a compelling art installation by Karen Schwenkmeyer and Lisa Mann titled “Dirty Laundry,” which examines the heartache, disappointments and perseverance of domestic laborers in the early 20th century by printing their words on tea towels and sheets hung in the Gamble House’s drying yard, and stitching them into a pillowcase in one of the small staff bedrooms.

“What I mind is the awful loneliness,” reads the pillowcase on austere wooden twin bed. “Many times, many nights I went to bed and cried myself sick.”

A sculpture constructed of Ivory soap, mops and scrub brushes takes up residence in the staff bathroom. The soap, one of Procter & Gamble’s bestselling products, was marketed as 99.44% pure, and the sculpture is a meditation on “who is pure and who is not,” explained Mann during an opening reception for the installation, adding that she and Schwenkmeyer approached the lavatory as “a place of resistance and empowerment.”

The goal of the installation, say Schwenkmeyer and Mann, was to bring to light the “emotional and psychological toll of being on-call every day of the week.”

A tea towel blowing in the warm Southern California air puts it more plainly: “I hope someday will come when I don’t have to work so hard … I do hate to get up in the morning. I am so tired.”

Artists Karen Schwenkmeyer and Lisa Mann stand with their installation “Dirty Laundry” at the Gamble House in Pasadena.

(Paul Takizawa)

Domestic staff in many of the country’s most rarefied households was made up of immigrants who came to America looking for a better life only to find themselves stuck in the same classist , low-wage systems they had fled in the first place, the artists explan.

“Servants in the United States ‘were haunted by a confused and imperfect phantom of equality,’ which promised perfect parity at one moment but then suddenly shouted a reminder that some people are more equal than others,” reads a bedsheet quoting from a book about Americans and their servants by Daniel E. Sutherland, which greets visitors upon entrance to the yard.

Thinking of these words and imagining the lives of the many men, women and children who devoted their lives to caring for wealthy people is a potent way to walk through the beautiful rooms inside the Gamble House. We may not call domestic laborers servants anymore, but the way we choose to treat those who tend to our many needs — to see them and respect them, or not — speaks volumes of who we are as a society.

I’m arts and culture writer Jessica Gelt, rethinking all my assumptions about a bar of soap. Here’s this weeks art news.

Best bets: On our radar this week

The Broadway cast of the musical comedy “Some Like it Hot” in 2022. The national tour is now playing at the Hollywood Pantages.

(Courtesy of Marc J. Franklin)

Some Like It Hot
This musical adaptation of Billy Wilder’s 1959 film comedy about two musicians who go on the run disguised as women after witnessing a mob hit in prohibition-era Chicago brings a contemporary sensibility to the 1930s shenanigans. The Broadway production won four Tony Awards in 2023.
Through Aug. 17. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. broadwayinhollywood.com

Keith Carradine and Shelly Duvall in Robert Altman’s “Nashville.”

(Paramount Pictures)

Robert Altman’s America: A Centennial Review
UCLA Film and Television Archive celebrates the late filmmaker’s 100th birthday with a 13-film series that kicks off with 1976’s “Nashville,” which melds politics with country music and features a large ensemble including Ned Beatty, Karen Black, Ronee Blakley, Keith Carradine, Geraldine Chaplin, Shelley Duvall, Barbara Harris, Lily Tomlin and dozens more.
7:30 p.m. Friday; series continues through Sept. 26. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu

Musician Adrian Quesada performs a free concert, co-hosted by De Los, on Saturday.

(James Carbone/For De Los)

Adrian Quesada
De Los, The Times’ platform for all things Latinidad, co-hosts a free concert by the Grammy-winning musician and Oscar-nominated songwriter. Best known for his work in the bands Grupo Fantasma and Black Pumas, Quesada’s latest album, “Boleros Psicodélicos II,” is “a 12-track sonic field trip through Quesada’s Latin American influences — and a testament to teamwork,” wrote Carlos De Loera in a recent De Los profile.
6 p.m. Saturday. Grand Performances, 350 S. Grand Ave., downtown L.A. grandperformances.org

The Actors’ Gang’s performance of “Roswell That Ends Well.”

(Bob Turton Photography)

Roswell That Ends Well
The Actors’ Gang turns the Bard on his ear in this year’s Shakespeare in the Park production, an adaptation of “All’s Well That Ends Well” where outer space meets the Wild West in the form of a determined cowgirl with big dreams and a four-armed alien king.
11 a.m. Saturdays and Sundays, through Aug. 24. Admission is free, reservations highly suggested. Media Park, 9070 W. Venice Blvd., Culver City. theactorsgang.com

Chow Yun-Fat in John Woo’s “A Better Tomorrow.”

(Shout! Studios)

Hong Kong Cinema Classics
The American Cinematheque and Beyond Fest, in partnership with Shout! Studios and GKIDS, present a retrospective of seminal films, many of which are rarely screened. Genre master John Woo will appear with his films “Hard Boiled” (7 p.m. Saturday), a triple feature of the “A Better Tomorrow” trilogy (11 a.m. Sunday) and “The Killer” (7 p.m. Sunday). The monthlong series also includes films by stalwart action directors Tsui Hark, Ringo Lam and Ching Siu-tung.
7 p.m. Saturday; 11 a.m. Sunday; 7 p.m. Sunday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com

Karl Benjamin, #13, 1970. Oil on canvas, 68” x 68”

(Gerard Vuilleumier)

Complications in Color
A new exhibition marks the 100th birthday of Claremont artist Karl Benjamin (1925-2012), a painter and leader in the 1950s hard-edge abstraction painting movement. In his review of the 2007 survey of the painter’s work, Times art critic Christopher Knight wrote, “Benjamin emerges as a colorist of great wit and inventiveness.” The current exhibition also features the work of fellow abstractionists Florence Arnold, June Harwood, Rachel Lachowicz and Terry O’Shea.
Noon-4 p.m. Thursdays and Saturdays; noon-7 p.m. Fridays; 10 a.m.-4 p.m. Sundays, through Nov. 16. Claremont Lewis Museum of Art, 200 W. First St., Claremont. clmoa.org

Gustavo Dudamel is back at the Hollywood Bowl on Tuesday and Thursday.

(Jason Armond / Los Angeles Times)

Gustavo Dudamel returns
The maestro is back at the Bowl next week and makes the most of it. On Tuesday, he conducts the L.A. Phil as Ravel meets Ellington with a little help from star Korean pianist Seong-Jin Cho. Two nights later, Dudamel’s back leading the orchestra in works by Korngold (Featuring violinist Vilde Frang) and Mahler. Dudamel completes this brief concert run Aug. 8-9, conducting John Williams’ crowd-favorite “Jurassic Park” score over a live screening of the summer blockbuster.
Ellington and Ravel. 8 p.m. Tuesday; Mahler and Korgold, 8 p.m. Thursday. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Culture news

Wallis Annenberg, who died Monday at 86, photographed in 2022.

(Mel Melcon/Los Angeles Times)

Philanthropist Wallis Annenberg — whose name became synonymous with arts and culture in Los Angeles — died earlier this week of complications from lung cancer at the age of 86. The wealthy patron was memorialized in tributes for her commitment to making art accessible to people from all walks of life, as well as for her friendship and love of animals. Annenberg was the daughter of publishing magnate Walter Annenberg, who made his fortune, in part, by selling TV Guide, among other publications, to Rupert Murdoch’s News Corp. For the last 16 years of her life, Wallis served as chairwoman of the board, president and chief executive of her family’s Annenberg Foundation.

Only July 23, Congressman Bob Onder introduced the Make Entertainment Great Again Act, which proposed that the John F. Kennedy Center for the Performing Arts be renamed the Donald J. Trump Center for Performing Arts. NPR reported that the bill is likely a long shot.

The SoCal Scene

Adam Lambert performs during a rehearsal of “Jesus Christ Superstar” on July 26 at the Hollywood United Methodist Church in Los Angeles.

(Etienne Laurent / For The Times)

“Jesus Christ Superstar,” starring Cynthia Erivo as Jesus and Adam Lambert as Judas , opens tonight at the Hollywood Bowl for a sold-out, three-night run. I spent last Saturday at a rehearsal dishing with Josh Gad on the sidelines while watching Lambert strut his stuff and tearing up over Phillipa Soo’s performance of “I Don’t Know How to Love Him.” Read my behind-the-scenes story of how the musical came together and why the casting is so important in this era of political turmoil and change. (Gad, who was to play King Herod, had to drop out of the show Wednesday, after contracting COVID.)

The Norton Simon Museum’s Garden Pond.

(Norton Simon Museum)

The Norton Simon Museum in Pasadena is celebrating its 50th anniversary with a variety of special programs and events. In August, the museum is holding a Saturday afternoon film series titled, “Cinematic Touchstones 1975,” which features four movies that made a lasting impact on the culture 50 years ago. The stellar lineup consists of “Mahogany,” “Escape to Witch Mountain,” “Grey Gardens” and “Barry Lyndon.” Admission to the theater is free with general admission to the museum. For schedule and additional details, click here.

The Santa Ynez Chumash Museum and Cultural Center opened in May in the tiny Santa Barbara County town on 3.5 acres of land planted with native blooms, trees, grasses and shrubs. Times staff writer Jeanette Marantos paid a recent visit and reported back on the high-tech interactive displays that bring the past to life and highlight the continuing importance of the tribe and its lasting impact on the area.

The nonprofit organization Tierra Del Sol, which champions professional development through arts education for people with disabilities, will stage its inaugural fashion show in West Hollywood on Sept. 27. The show will showcase hand-crafted designs from eight developmentally disabled artists working out of the organization’s Sunland and Upland studios. After the runway show, the creations will remain at Tierra del Sol’s Gallery, located at 7414 Santa Monica Blvd., for a six-week exhibition, ending Nov. 1.

— Jessica Gelt

And last but not least

There is nothing as soul-soothing as a hot bowl of pho — and that’s pho sure! The Times Food section has created a list of 11 great spots to eat your fill.

Her name is ubiquitous in public spaces around Los Angeles: the Wallis Annenberg Building at the California Science Center in Exposition Park, the Wallis Annenberg Center for the Performing Arts in Beverly Hills, the soon-to-debut Wallis Annenberg Wildlife Crossing in Agoura Hills.

Then there’s the Annenberg Community Beach House in Santa Monica and Wallis Annenberg GenSpace in Koreatown.

Wallis Annenberg, a deep-pocketed philanthropist who helped transform the city through massive donations to arts, education and animal welfare causes, died Monday morning at her home in Los Angeles from complications related to lung cancer, the family said. She was 85.

The heiress to Walter Annenberg’s publishing empire served, for the last 16 years, as chairwoman of the board, president and chief executive of the influential Annenberg Foundation, which her father started in 1989 after selling TV Guide and other publications to Rupert Murdoch’s News Corp. A representative said the nonprofit organization has assets of about $1.2 billion.

Annenberg, who worked for TV Guide when her father owned Triangle Publications, stepped in as the foundation’s vice president after he died in 2002. When her stepmother, Leonore, died seven years later, Annenberg took the helm, broadening its philanthropic scope beyond media, arts and education to include animal welfare, environmental conservation and healthcare. Since she joined the foundation, it has given about $1.5 billion to thousands of organizations and nonprofits in Los Angeles County.

Wallis Annenberg worked with her father, Walter Annenberg, when his company published TV Guide.

(Annenberg Foundation)

Annenberg was fiercely passionate about funding the arts, with an eye toward making culture accessible to all. She founded the free Annenberg Space for Photography, which opened its Century City doors in 2009. (It closed during the pandemic in 2020, but archival material is still online.) The space showed exhibitions spanning the world of hip-hop, the global refugee crisis and war photography, among other subjects. Annenberg was also a longtime board member of the Los Angeles County Museum of Art and L.A.’s Museum of Contemporary Art. She gave $10 million in 2002 to endow LACMA’s director’s position.

LACMA Chief Executive Michael Govan, who came to the museum in 2006 to fill that endowed position, praised Annenberg’s philanthropy.

“Wallis Annenberg blessed the Los Angeles community not only with her philanthropy, but also with her guidance about how to improve our community,” Govan said in a statement to The Times, ”from public access to our beautiful beaches to the livelihood of local animals, and the importance of the arts to our daily lives.”

Under her leadership, the foundation made $38.5 million in low-interest loans for the construction of the Wallis Annenberg Center for the Performing Arts. The Zoltan Pali-designed center opened in 2013 in a renovated, 1933 Beverly Hills Post Office and has since become a major cultural hub in the heart of Beverly Hills, infusing the tony neighborhood with vibrant music, theater and dance. Broadway star Patti LuPone, comedian Sarah Silverman and the Martha Graham Dance Company have all graced the stage at the Wallis; the center also offers robust educational programming.

When it opened, fellow philanthropist Eli Broad called the center “a great addition” to Los Angeles and “another jewel in the region’s cultural crown.”

Annenberg cared deeply about equity in education. Walter Annenberg had founded the USC Annenberg School for Communication and Journalism in 1971, and before that the Annenberg School for Communication at the University of Pennsylvania. But Wallis Annenberg, a USC board of directors life trustee, helped to steer the school’s vision and guide it into the future. She gave $50 million in 2011 to have the Wallis Annenberg Hall built, which nearly doubled the communication and journalism school’s footprint when it opened in 2014. More recently, in March, Annenberg gave $5 million to the university for a high-tech, multimedia production studio to be built on USC’s Capital Campus in Washington, D.C. It’s scheduled to open in August.

Exposition Park got a boost in 2004, when the Wallis Annenberg Building at the California Science Center opened, a project made possible with a $25-million challenge grant from Annenberg. The former armory, redesigned by Pritzker-winning architect Thom Mayne, now has classrooms and laboratories for Science Center educational programming. Annenberg has also funded exhibitions there, including the 2019 interactive exhibit “Dogs! A Science Tail,” which explores the deep bond between humans and canines. It went back on view in May.

In 2004, she also stepped in to help underwrite the Annenberg Community Beach House, located on the grounds of the former Marion Davies estate, after hearing the city of Santa Monica might engage private developers to restore the site, which had been operated as a private club for 30 years. The seaside public space is free and features a playground, gallery and volleyball courts, among other amenities.

Construction crews began the process of placing the first layers of soil over the Wallis Annenberg Wildlife Crossing on March 31.

(Al Seib / For The Times)

Annenberg was a ferocious animal lover. The Wallis Annenberg Wildlife Crossing — the world’s largest urban wildlife crossing, which stretches across 10 lanes of the 101 Freeway between the Simi Hills and the Santa Monica Mountains in Agoura Hills — was made possible with a $1-million challenge grant from Annenberg in 2016 followed by $25 million in 2021. When it’s completed, the crossing will help animals such as mountain lions, deer and bobcats pass safely over the freeway. The first layers of soil were laid on the overpass in March. Plans call for its completion in 2026.

“I imagine a future for all the wildlife in our area,” Annenberg said in a statement published by The Times in March, “where it’s possible to survive and thrive and the placement of this first soil on the bridge means another step closer to reality.”

Annenberg also created a Silicon Beach-based animal shelter, the Wallis Annenberg PetSpace, which opened in 2017 and helps to rehabilitate so-called “unadoptable” animals before finding them new homes. PetSpace has a medical facility and offers animal adoptions as well as classes to teach people to how to better care for their pets.

In recent years, Annenberg had been thinking about quality of life for older adults.

In 2022, Annenberg opened the Wallis Annenberg GenSpace, a senior center in Koreatown offering visitors a place to pursue new interests and find community through classes that include belly dancing, horticultural therapy and financial literacy. It also hosts concerts, dances and game nights.

After the Palisades and Eaton wildfires earlier this year, the Annenberg Foundation funded short-term and long-term recovery efforts, gifting nonprofits and organizations that included the Los Angeles Fire Department Foundation and the Team Rubicon Response Fund.

Wallis Huberta Annenberg was born in the affluent Main Line area of Philadelphia and grew up, from age 10, in Washington, D.C. Her mother was Bernice Veronica Dunkelman, who went by Ronny. Annenberg had a younger brother, Roger, who died in 1962 when he was 22. She graduated from Pine Manor Junior College in Wellesley, Mass., and attended one year of college at Columbia University before dropping out to get married to neurosurgeon Seth Weingarten. The couple divorced in 1975.

Prior to their divorce, Annenberg had moved to Los Angeles with Weingarten and her children in the early ‘70s. Annenberg was drawn to the city’s energy, creativity and diversity.

Despite her public profile, Annenberg was known to be press shy. The billionaire philanthropist was particularly family-oriented and enjoyed evenings at home with her children and grandchildren. She was also an avid sports fan and loved watching football on TV, martini in hand.

Wallis Annenberg, center seated, with three of her children: Gregory Annenberg Weingarten, Lauren Bon and Charles Annenberg Weingarten. Each is involved in the Annenberg Foundation.

(Hamish Robertson)

The breadth of Annenberg’s philanthropy was global; but it was most keenly focused on Los Angeles.

Annenberg received the 2022 National Humanities Medal from President Biden for her life in philanthropy.

As outlined in the family trust, control of the foundation passes onto the next generation: Three of Annenberg’s four children who are on the board of directors: Lauren Bon, Gregory Annenberg Weingarten and Charles Annenberg Weingarten. Roger Annenberg Weingarten lives in the L.A. area.

Bon is an artist and founding director of L.A.-based Metabolic Studio, a not-for-profit interdisciplinary art and research hub that explores environmental issues. Gregory Annenberg Weingarten is a former journalist with the Times of London and now is an artist, exhibiting in Europe and the U.S. Charles Annenberg Weingarten is a philanthropist and filmmaker who created Explore, which documents, through films and photographs, selfless acts globally (and has a network of live-cams trained on wildlife).

Besides her four children, Annenberg is survived by five grandchildren.

The 77th Emmys nominations have been announced and given the state of just about everything, it’s easy not to care.

Our president is dismantling large portions of the federal government and offering new tax breaks to folks like those portrayed behaving badly in “The White Lotus.” Flash floods, a potential measles epidemic and ongoing bloody wars in Ukraine and the Middle East seem to echo the pre-apocalyptic drumbeats from “Paradise.”

Masked federal ICE agents, who look like they could be part of the Federal Disaster Response Agency from “The Last of Us,” roam the streets of Los Angeles, arresting people who might not have the right documentation and taking them to detention centers that appear to be right out of “The Handmaid’s Tale.”

Television itself is in a state of free fall, with streaming prices rising even as the number of new series sharply declines, and though “The Studio” makes it seem as if L.A. remains the geographic center of the entertainment business, the city’s increasingly empty soundstages and unemployed production workers tell another story.

So given that many Americans might very well agree to work for “Severance’s” sinister Lumon Industries if it guaranteed a decent paycheck and healthcare benefits, it seems impossible to gin up excitement about how many nominations HBO/Max, Netflix, Apple TV+ or any other entertainment conglomeration with an obscenely overpaid CEO received this year.

Except, you know, Jeff Hiller, whose amazing midlife breakout role as nakedly sincere Joel in “Somebody Somewhere” finally got the nomination it deserved. Or Jenny Slate, who deftly spun plates of hilarity, humanity and pathos in “Dying for Sex.” Stripped of his good looks and seductive accent, Colin Farrell still managed to mesmerize in “The Penguin,” which not only resuscitated an exhausted genre but took it to a new level of storytelling.

From its 15-year-old star to its risky single-shot direction and unsettlingly resonant themes, the limited series “Adolescence” was as close to perfection as a piece of television gets. Jean Smart (“Hacks”), Kathy Bates (“Matlock”) and Catherine O’Hara (“The Studio”) continue to prove the absurdity of Hollywood’s traditional sidelining of women over 40, while “Abbott Elementary” reminds us just how good a traditional broadcast comedy can be.

Artistic awards of any kind are inevitably absurd — how does one relatively small group of people decide what is “best” — and given the amount and diversity of television, the Emmys are more absurd than most.

According to Television Academy Chairman Cris Abrego, this was a record-breaking year in terms of voter turnout. Even so, it’s difficult to see categories dominated by one or two shows and not wonder how much TV the voting members managed to watch. If it were just a question of judging shows on submitted episodes, there would be no need for pricey FYC campaigns after all.

But the Emmys matter because television is art. And art matters. Even if it involves complaining about how ridiculous this year’s choices are, the nominations give us an opportunity to talk about art — what touched/impressed/moved/changed us, or not. What comforted us, disturbed us, made us laugh or look at things just a little differently and why.

That’s important, especially now when so much is in a constant state of upheaval, when everywhere we look people are questioning the future of democracy, civilization, the planet. Television can be used as an escape from “real life” — and heaven knows we could all use some of that — but it’s existence, and our appreciation of it, is very much part of that real life.

Art is a hallmark of civilization. It’s proof that we have evolved beyond the basic instincts of survival, that we understand the necessity of stories, images and music, and that we encourage their creation and appreciate the existence of even those things we personally do not perceive as great or even good.

Even as Peak TV gives way to the age of contraction, television remains one of our most universally experienced art forms. At its most basic level, it’s about curiosity — we watch television, whether it’s “Slow Horses,” “The Pitt” or “The Traitors” — to see what other people are up to, what they feel, say and do in a wide variety of circumstances and if we would feel, say or do something similar.

So yeah, the Emmys are not as important as ICE raids, flash floods, children dying of measles or the vanishing social safety net. When climate change has made the world so hot that the World Cup is under threat, it’s easy to consider conversations about why “Squid Game” or the final season of “The Handmaid’s Tale” received no major nominations, or how academy members could nominate Martin Short and not Steve Martin for “Only Murders in the Building,” a complete waste of time.

Until you consider the alternative. Because the day we stop celebrating and arguing about art is the day we’ll know the bastards have won.

Sandgate, in Kent, has 4.3 stars on TripAdvisor with people saying it’s great to have a lovely walk or bike ride next to the coast

This quaint seaside village in Kent is brimming with charm and personality, boasting vibrant quirky homes, crystal clear waters, and a laid-back vibe. It’s our county’s very own Riviera – there’s even a sign ‘The Riviera’ to confirm it – and it’s definitely worth a visit.

Welcome to Sandgate, a perfect spot for leisurely exploration if the weather holds up. You can stroll through the town, taking in the picturesque properties and flower-laden gardens, and spotting delightful ‘holiday vibe’ details like hanging baskets, eccentric windows, and intriguing balconies.

If you’re seeking inspiration for house painting, this coastal village nestled between Folkestone and Hythe will have you reaching for your paint roller in no time.

The houses are painted in a true spectrum of colours, ranging from bright green, to a soft lavender, to aquamarine and sun-bleached terra cotta reminiscent of Spain. The sea at Sandgate’s pebble beach boasts ‘excellent’ rated bathing water quality, a status it has maintained for the past eight years.

However, in May, swimmers were advised by the Environment Agency to steer clear of the beach due to sewage pollution caused by a damaged pipe. Southern Water, however, assured that it had not affected the bathing water, reports Kent Live.

The beach has also consistently held a Seaside Award for the past 12 years.

Amenities such as toilets, shops, cafes, pubs, and restaurants are conveniently located on the High Street just a few minutes away. There’s also a promenade where you can enjoy a 1.5-mile walk to Folkestone or a three-mile stroll to Hythe.

There are three council car parks available: Castle Road and Wilberforce Road, where charges reach £4.50 for up to four hours; and Gough Road, which comes free of charge but offers just six spaces.

Last year, Rightmove crowned Sandgate as one of the 10 priciest seaside locations in Britain for house purchases, with average sale prices hitting £495,009.

It hasn’t featured in the newly released rankings, though Whitstable and Hythe have made the cut. Anyone considering property investment in Sandgate now would be looking at an average of £435,995 for the past year.

Overall sale prices climbed six per cent compared to the previous year, yet dropped 21 per cent from 2022’s peak. The majority of transactions involved flats, which commanded an average of £233,438.

Some of the most stunning properties perch on hillsides with sweeping Channel views. Housing also extends along the Esplanade and stretches towards the interior.

The area buzzes with activity, as Sandgate’s High Street boasts an array of restaurants, cafés, bars, and pubs. The beach earns 4.3 stars out of five from 199 Tripadvisor reviewers.

Whilst the most recent pair of reviews partly grumble about public music playing, one visitor’s said: “I’ve always loved Sandgate beach and frequent this area a lot over the summer. It’s great to have a lovely walk or bike ride next to the coast.

“Lovely views, and feels like you’re somewhere else. Great to just take your mind off everyday issues, to relax and take in the lovely sea air, sound of the sea and birds. Love this place.”

On a day when the skies are clear, you can feast your eyes on the coast stretching towards the enigmatic Dungeness, with France occasionally peeking through the horizon. Sandgate Park, too, has upped its game with fresh play surfaces introduced last year, complete with hopscotch for the older generation to share some old-school fun with the kids.

Then there’s The Famous Ship Inn, a beloved community haunt that dishes up freshly netted fish and chips, boasting a top-deck terrace with breathtaking views.

Don’t forget about the cosy log fire – a perfect spot to remember when the leaves start to fall. And if you’re strolling along Granville Parade, pop into the Boat House Café, which commands a stunning view of the beach.

With an impressive 4.7 out of 5 stars on TripAdvisor from 126 reviews, it’s a hit for scrumptious lunches and breakfasts. A recent review gushed: “I’ve been here a few times now and the first time I had their hot dog with onions and wow, it was lovely.

“The second and third time I went I had their Greek salad and oh my goodness, it is spectacular and the owners are very welcoming. I’m definitely recommending this place and 100 per cent going back, so much so I’m literally on my way there in 10 minutes with my daughter.”

One of Sandgate’s most celebrated former residents was the beloved actress Hattie Jacques, and you’ll quickly spot a blue building bearing a commemorative plaque marking her birthplace as you stroll down the High Street. She remains the cherished English comedy star best remembered for her appearances in the iconic Carry On film series, though her talents graced stage, radio and television throughout her prolific career.

The village was also home to author H. G. Wells, hailed as “the father of science fiction”. Beyond his imaginative novels, he penned non-fiction works and established himself as a respected journalist, sociologist and historian.

Delving deeper into history, you must explore Sandgate Castle, constructed during Henry VIII’s reign to guard the beach and coastal route to Dover rather than protect a harbour. This Grade I-listed fortress boasts an extensive defensive heritage.

By 1808, the central tower had been converted into a Martello tower design. Roughly one-third of the original fortress has since been lost to time.

The village also houses the Shorncliffe Redoubt, a Napoleonic-era earthwork fortification linked to Sir John Moore and the 95th Regiment of Foot, famously known as the 95th Rifles. Don’t miss St Paul’s Church either, whose striking tower soars from the hillside – it’s absolutely stunning.

This weekend, Descanso Gardens will unveil a meticulously curated art exhibition titled “Roots of Cool: A Celebration of Trees and Shade in a Warming World.” Co-curated by Edith de Guzman, cooperative extension climate researcher at the UCLA Luskin Center for Innovation, and artist Jolly de Guzman — a husband-and-wife duo — the exhibition highlights all-women artists who provoke visitors to contemplate the pressing issue of shade equity, the unequal access to cooling shade across urban neighborhoods, and what a tree and shade filled future can look like for L.A.

The goals of the exhibition are clear from the start, beginning with its title, “Roots of Cool,” which creatively integrates the Fahrenheit symbol in the word “of,” a tree in the letter “t” and the word “cool” as a shadow cast from the word “roots.”

The exhibit begins in the garden’s pathways, strewn with artworks, which lead visitors to the gallery rooms housed in the park’s Sturt Haaga Gallery and historic Boddy House.

A visitor’s proposal for a new type of bus stop that offers more shade, part of the new exhibition “Roots of Cool: A Celebration of Trees and Shade in a Warming World” at Descanso Gardens on July 9, 2025.

(Juliana Yamada / Los Angeles Times)

The first piece of art on the path, located at the gardens entrance, is Leslie K. Gray’s “Bus Stop of the Past,” an outdoor installation that shows the silhouette of a woman standing on an L.A. street, presumably waiting for a bus, with no shade structure nearby, meant to represent the climate-related challenges women bus riders faced while commuting in the past.

It’s the first of a three-part installation — the other two parts show up later in the exhibition — that invites visitors “to think temporally about where we’ve been and where we’re going,” Gray said. According to the artist, it is meant to highlight historical urban planning decisions that have left certain communities disproportionately vulnerable to heat, particularly women of color, who are prominent riders of L.A. public transportation, as indicated by statistics displayed on the bus signs accompanying the works.

Another standout of the outdoor part of the exhibition is Chantée Benefield’s “Cool Canopy,” which entails dozens of multicolored umbrellas suspended over visitors’ heads. The piece is particularly resonant given that it is actually a recreation that Benefield made after the original was lost, along with her family home, in the Eaton Fire.

Artist Chantée Benefield’s installation “Cool Canopy” at Descanso Gardens on July 9, 2025.

(Juliana Yamada / Los Angeles Times)

“What if the trees in neighborhoods were like graffiti, just ubiquitous everywhere?” Benefield asked. Her installation is both a colorful homage to lost greenery and a powerful statement on urban shade disparities, prompting visitors to contemplate what they would do without the shade being cast by these “trees” as they walk through the sunny patch where the work is located.

The next stop on the pathway is the second piece in Gray’s three-part installation: “Bus Stop of the Present.” It’s a version of the first, but with the addition of a shade structure for the woman bus rider. However, it shows clearly that the added structure is still inadequate, reflecting many of the realities women bus commuters face today. The bus sign here contains scientific facts that make the case for the critical need for systemic urban planning changes. Gray emphasized that these facts were carefully selected from peer-reviewed research and “scientifically vetted.”

Entering the Sturt Haaga Gallery, things change. Each room is meant to elicit a specific experience around urban planning and vegetation, and so each has its own visual and auditory scheme.

Kim Abeles’ piece “Looking for Paradise (Downtown Los Angeles).”

(Juliana Yamada / Los Angeles Times)

It begins with a dreary, urban past: shown against gray walls, works by Kim Abeles and Diana Kohne address historical inequities. Abeles’ installation “Looking for Paradise” visualizes the uneven distribution of trees in Downtown Los Angeles, while Kohne’s painted urban landscapes vividly depict the shade inadequacies she witnessed firsthand through her bus commutes as an L.A. resident, emphasizing how Los Angeles and other cities were built for “efficiency” rather than human comfort. The works are paired with compelling research, including the history of redlining and crucial heat-shade statistics, which visitors can interact with and see how their own communities are affected by these factors.

The next room is the present, with bright yellow walls representing the increasing urban heat of a changing climate. The artworks attempt to do the same. For example, Lisa Tomczeszyn’s installation, “Every Bench Deserves a Tree,” consists of two benches beside each other, one with no shade and only a street sign reading “Asphalt Blvd” while the other is shaded by a large tree — with leaves that are actually cutout photos of trees throughout the Deaconso gardens.

Finally, the third gallery room attempts to project a cooler, more verdant future with walls colored a serene green hue. It features works that imagine a future where technology and city planning better respond to environmental stressors, including Pascaline Doucin-Dahlke’s “Suspended Garden.” Like Tomczeszyn’s work in the previous room, this piece is also comprised primarily of benches set underneath umbrellas. In this case however, those umbrella canopies are made of repurposed plant materials.

Artist Pascaline Doucin-Dahlke’s piece “Suspended Garden” at Descanso Gardens.

(Juliana Yamada / Los Angeles Times)

One key goal of the exhibit is to help visitors connect to the importance of heat, shade and urban trees. For example, at the very end of the exhibit in the Boddy House, visitors can contribute to a real-world data collection study about how shade shapes their neighborhoods and what shade-heat related fact they find most striking, and are also invited to draw their imagined shade structures for women waiting at bus stops.

“[We] just don’t want to do science and just don’t want to do art. [We] want to create a good intersection that actually engages people,” said Jolly de Guzman.

Yarn Bombing Los Angeles’ installation inside of Boddy House at Descanso Gardens on July 9, 2025.

(Juliana Yamada / Los Angeles Times)

“We want to get them through the heartstrings, visually, aesthetically and actively,” added Edith de Guzman. Reflecting on the broader potential for change, she said, “There’s a lot of reasons to despair right now, but if we change our radio frequency a little bit, we can connect to a whole different feeling. We can actually create the city we want, in the neighborhoods that we deserve.”

The exhibition will run from July 12 to Oct. 12, 2025, with a free opening reception on Friday, July 11, from 5 to 7 p.m.

UN cultural organisation this week announces its choice of sites to be granted World Heritage status.

The United Nations cultural organisation has added a remote Aboriginal site featuring one million carvings that potentially date back 50,000 years to its World Heritage list.

Located on the Burrup peninsula in Western Australia, Murujuga is home to the Mardudunera people, who declared themselves “overjoyed” when UNESCO gave the ancient site a coveted place on its list on Friday.

“These carvings are what our ancestors left here for us to learn and keep their knowledge and keep our culture thriving through these sacred sites,” said Mark Clifton, a member of the Aboriginal delegation meeting with UNESCO representatives in Paris.

Environmental and Indigenous organisations argue that the presence of mining groups emitting industrial emissions has already caused damage to the ancient site.

Benjamin Smith, a rock art specialist at the University of Western Australia, said Murujuga was “possibly the most important rock art site in the world”, but that mining activity was causing the rock art to “break down”.

“We should be looking after it,” he said.

Australian company Woodside Energy, which operates an industrial complex in the area, told news agency AFP that it recognised Murujuga as “one of Australia’s most culturally significant landscapes” and that it was taking “proactive steps … to ensure we manage our impacts responsibly”.

Delegation leader Raelene Cooper said the UNESCO listing sent “a clear signal to the Australian Government and Woodside that things need to change”.

Making the UNESCO’s heritage list does not in itself trigger protection for a site, but can help pressure national governments into taking action.

African heritage boosted

Cameroon’s Mandara Mountains and Malawi’s Mount Mulanje were also added to the latest edition of the UNESCO World Heritage list.

UNESCO Director-General Audrey Azoulay has presented Africa as a priority during her two terms in office, although the continent remains underrepresented.

The Diy-Gid-Biy landscape of the Mandara Mountains, in the far north of Cameroon, consists of archaeological sites, probably created between the 12th and 17th centuries.

Malawi’s Mount Mulanje, in the south of the country, is considered a sacred place inhabited by gods, spirits and ancestors.

UNESCO is also considering applications from two other African countries, namely the Gola Tiwai forests in Sierra Leone and the biosphere reserve of the Bijagos Archipelago in Guinea-Bissau.

On Friday, UNESCO also listed three notorious Cambodian torture and execution sites used by the Khmer Rouge regime to perpetrate genocide 50 years ago.