audience

GLAMOUR model Katie Price has claimed she once kissed footie hunk Jack Grealish.

She also said the Premier League star — who is 17 years her junior — is one of the most famous celebrities she has smooched.

Mum-of-five Katie, 47, did not specify when they kissed after making the claim on a live show of her tour with singer Kerry Katona, 45.

An audience member told The Sun: “Katie and Kerry had Instagram messages from fans to be asked at the show.

“One asked who is the most famous person they have kissed.

“Katie said to Kerry, ‘Do you know who I have? Grealish’.

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“She went bright red and hid her face with a pillow.

“The audience was shocked.”

Katie was speaking in front of around 300 people at the gig in Northwich, Cheshire, on Friday.

Jack, 30 — on loan at Everton from Man City — is in a long-term relationship with Sasha Attwood, 29.

His representative was asked to comment.

Guillermo del Toro’s “Frankenstein” didn’t exactly wow audiences and critics when it premiered at the Venice Film Festival, and when it landed at the Telluride Film Festival a day later for a pair of late-night screenings, the response was even more muted. Leaving Colorado, the airport gate was full of hushed conversations between people registering their disappointment with the movie.

“Frankenstein,” the talk went, had three strikes against it — a plodding story, computer-generated imagery that looked appalling and was employed to often ridiculous effect and, outside of Jacob Elordi’s affecting turn as the monster, acting that seemed wildly excessive (Oscar Isaac) or hopelessly lost (Mia Goth). In short: a mess.

But then “Frankenstein” traveled to the Toronto, a city Del Toro regards as his “second home,” and finished as runner-up to “Hamnet” for the festival’s People’s Choice Award. Now playing in a theatrical limited release ahead of its Nov. 7 Netflix premiere, the movie has found favor with the filmmaker’s devoted fan base, selling out theaters, including dates at Netflix’s renovated Egyptian Theatre in Hollywood, where admission lines wrapped around the block. And some prominent critics, including my colleague Amy Nicholson, have written some thoughtful reviews of the movie, praising Del Toro’s lifelong passion project. Amy calls it the “best movie of his career.”

So in this update to my post-festival Oscar power rankings for best picture, you’ll find “Frankenstein,” a movie that’s hard to place on this list but harder still to ignore. Previous rankings are parenthetically noted.

Falling out of the rankings since September: “A House of Dynamite,” “Jay Kelly”

10. ‘Avatar: Fire and Ash’ (Unranked)

A scene from 2022’s “Avatar: The Way of Water.”

(20th Century Studios)

The last “Avatar” movie grossed $2.3 billion and, yes, earned an Oscar nomination for best picture. Yet I’m hard-pressed to find anyone who’s truly excited about devoting half a day to see the next installment, which clocks in at 3 hours and 12 minutes. Just because the first two movies were nominated doesn’t mean this one will be. But underestimating James Cameron’s ability to connect with audiences — and awards voters — seems dumb. So here we are, No. 10, sight (still) unseen.

9. ‘Bugonia’ (10)

Emma Stone in “Bugonia.”

(Atsushi Nishijima / Focus Features)

Better than “Kinds of Kindness” but not nearly the triumph of “Poor Things,” this is mid Yorgos Lanthimos — off-putting, punishing and misanthropic but also featuring another showcase for Emma Stone’s bold, creative energy. There are a number of movies that could displace it as a nominee. Park Chan-wook’s “No Other Choice” offers a more humane — and funnier — look at ugly things people can do when desperate. But I’ll stick with “Bugonia” for now. After all, how many movies inspire people to shave their heads for a ticket?

8. “Frankenstein” (Unranked)

Oscar Isaac in “Frankenstein.”

(Ken Woroner / Netflix)

Netflix has four movies arriving during the awards season window — the meditative stunner “Train Dreams,” Katherine Bigelow’s riveting, ticking-clock thriller “A House of Dynamite,” the George Clooney meta-charmer “Jay Kelly” and “Frankenstein.” (That’s how I’d rank them in terms of quality.) One of these movies will be nominated. Maybe two. At this moment, nobody, including the awards team at Netflix, knows which one(s) it will be.

7. ‘It Was Just an Accident’ (7)

Mohamad Ali Elyasmehr, left, Madj Panahi and Hadis Pakbaten in “It Was Just an Accident.”

(Neon)

Jafar Panahi’s Palme d’Or-winning thriller possesses a withering critique of the cruelty and corruption of an authoritarian regime, combined with a blistering sense of humor. Panahi (“The Circle,” “Taxi”) has been imprisoned by the Iranian government many times for criticizing the government, and his courage has been celebrated for its spirit of artistic resistance. He has been a ubiquitous presence on the festival and awards circuit this year, eager to share both the movie and his story. As the Oscars have thoroughly embraced international movies the last several years, “It Was Just an Accident” feels like it’s on solid ground.

6. ‘Wicked: For Good’ (6)

Ariana Grande, left, and Cynthia Erivo in “Wicked: For Good.”

(Giles Keyte / Universal Pictures)

An academy member recently expressed some reservations about this movie to me — not about the sequel itself, but about the prospect of seeing stars Cynthia Erivo and Ariana Grande embark on another tear-soaked promotional tour. Whatevs. The first “Wicked” movie earned 10 Oscar nominations, winning for production design and costumes. With the added casting category, the sequel might just surpass that number.

5. ‘Marty Supreme’ (8)

Timothée Chalamet in “Marty Supreme.”

(A24)

Josh Safdie’s wildly entertaining, over-caffeinated portrait of a single-minded ping-pong player premiered on its home turf at the New York Film Festival and people left the Lincoln Center’s Alice Tully Hall caught up in the rapture of the movie’s delirium. It might be the movie that wins Timothée Chalamet his Oscar, though he’ll have to go through Leonardo DiCaprio to collect the trophy.

4. ‘Sentimental Value’ (3)

Stellan Skarsgård, left, and Renate Reinsve in “Sentimental Value.”

(Kasper Tuxen / Neon)

Neon won best picture last year with Sean Baker’s “Anora,” and it’s not unreasonable to think it could run it back with “Sentimental Value,” Joachim Trier’s piercing drama about a family reckoning with the past and wondering if reconciliation is possible — or even desired. The three actors cast in familial roles — Stellan Skarsgård, playing a legendary director angling for a comeback, and Renate Reinsve and Inga Ibsdotter Lilleaas as his daughters — are excellent, and Elle Fanning has a choice role as an A-list actor who becomes entangled in the family drama. And like “Anora,” this movie ends on a perfect, transcendent note. That counts for a lot.

3. ‘Sinners’ (4)

Michael B. Jordan in “Sinners.”

(Eli Ade / Warner Bros. Pictures)

“Sinners” made a lot of noise when it was released in April and, months later, belongs in any conversation about the year’s best movie. The job now is to remind voters of its worth at events like the American Cinematheque’s upcoming “Sinners” screening with filmmaker Ryan Coogler and Michael B. Jordan. With the level of its craft, it could score a dozen or more nominations, with only “One Battle After Another” as a threat to best that count.

2. ‘Hamnet’ (2)

Paul Mescal in “Hamnet.”

(Focus Features)

Since its tear-inducing Telluride premiere, Chloé Zhao’s tender portrait of love and loss and the cathartic power of art has been hitting regional film festivals, racking up audience awards and proving that people love a good cry. Stock up on tissues now for the film’s theatrical release later this month.

1. ‘One Battle After Another’ (1)

Leonardo DiCaprio in “One Battle After Another.”

(Warner Bros. Pictures)

The Gotham Awards did away with its budget cap a couple of years ago, allowing indie-spirited studio movies like “One Battle After Another” to clean up and, one supposes, the show’s sales team to move more tables at its ceremony. It was no secret that Paul Thomas Anderson’s angry, urgent epic would score well with film critics groups. (Panels of critics vote for the Gothams.) It’s just a question of how many dinners Anderson will have to eventually attend for a movie that has easily become the most widely seen film of his career.

President Trump’s favorite musical is, famously, “Les Misérables,” but few fans have been storming the barricades to get into the Kennedy Center this season.

The Washington Post reports that sales for the current season of music, dance and theater at the Washington, D.C., cultural institution have declined dramatically since the president’s inauguration and his subsequent takeover of the Kennedy Center’s leadership.

The Post cites data showing the Kennedy Center has sold only 57% of its tickets from September to mid October, many of which are believed to be comped giveaways. That contrasts with a 93% ticket sale rate through the same period last year.

The venues surveyed include the Opera House, the Concert Hall and the Eisenhower Theater, with performances by the National Symphony Orchestra, touring Broadway musicals and dance troupes. Out of 143,000 possible seats for the current season, 53,000 have not yet sold. When fans have bought tickets, they’ve spent less than half as much money from September to the first half of October 2025 compared with the same time last year — the lowest total since 2018 other than the height of the 2020 pandemic.

After Trump’s election, he appointed Republican diplomat and former State Department spokesperson Richard Grenell to lead the Kennedy Center, whose board elected Trump as its president. The new leadership fired several longtime staffers, and prominent board members and leaders like Ben Folds left the organization.

““I couldn’t be a pawn in that,” Folds told The Times. “Was I supposed to call my homies like Sara Bareilles and say, ‘Hey, do you want to come play here?’”

Artists that do perform at the Kennedy Center have noted a change in the audience. Yasmin Williams, a singer-songwriter who performed in September after a contentious email exchange with Grennell, said that “During my Kennedy Center show on Thursday night, a group of Tr*mp supporters boo’d me when I mentioned Ric Grenell and seemed to be there to intimidate me,” yet “playing that Malcolm X video in that space and forcing this current administration to reckon with the damage they’ve caused, while also promoting joy and the power of music to the audience … this is why I do what I do.” (Kennedy Center spokesperson Roma Daravi told the Post that “This is an absolutely ridiculous claim.”)

Grennell, for his part, said on X that that “We are doing the big things that people want to see. We are seeing a huge change because people are recognizing that they want to be a part of something that is common-sense programming.” In August, Trump announced his picks for Kennedy Center honors, including actor and filmmaker Sylvester Stallone, glam-rockers KISS, singer Gloria Gaynor, country music star George Strait and English actor and comedian Michael Crawford.

Former Vice President Kamala Harris has yet to decide if she’ll run for president in 2028. She’s also not going to dish on her former boss, Joe Biden. And her advice for a Brown-skinned person just getting into politics? There will be many situations when you walk into a meeting room and no one looks like you. Keep your chin up, your shoulders back and remember — all of us have your back.

“All of us” referred to the cheering, sold-out crowd at the Wiltern Theatre in Los Angeles on Tuesday evening who’d come to see the former Democratic presidential candidate speak about her new book, the election-campaign memoir “107 Days.” The chanted “Kamala!” “Kamala!” as she walked on stage. The outbursts of adoration continued for the next hour in eruptions of applause and supportive shout-outs (“We love you!”) as she spoke about everything from the need to pass Proposition 50 to how she coped with the devastating loss to Donald Trump in the 2024 election.

Moderated by actor Kerry Washington, “A Conversation With Kamala Harris” was one of nearly 20 stops on a tour that’s already seen Harris speak in New York, London and at the Wiltern last month. Zealous attendees paid anywhere from $55 to $190 on tickets to see Harris again following “one of the wildest and most consequential campaigns in American history” (the latter is an official descriptor for her book). The memoir details her historically short run for president, the whirlwind 107 days between the time Biden withdrew from the race and Harris become the Democratic nominee to her devastating loss on Nov. 5.

Harris fans flock to the Wiltern to see Kamala speak about her book, “107 Days.”

(Jason Armond / Los Angeles Times)

Were there any great revelations or gotcha moments on stage Tuesday evening? Not really, but that’s not what this tour is about — at least for those who chose Harris over watching Game 4 of the World Series between the Los Angeles Dodgers and the Toronto Blue Jays. The former attorney general of California shared her thoughts about the current Department of Justice — a “thin-skinned president” is using it as his own personal tool of “vengeance.” She explained how her loyalties to Biden may have cost her votes, and called out the Washington Post and the L.A. Times, whose “billionaire owners pre-capitulated” to Trump when they pulled their respective editorial boards’ endorsements for Harris. She drew a big laugh when discussing the importance of parsing fact from fiction in today’s mediaverse, and made up her own example of misinformation: “Circumcisions are causing autism!” And on a more serious note, she detailed the emotional fallout she experienced after losing the election: “For months [she and her husband, Doug Emhoff] never even mentioned it.”

Criticisms of Harris’ book have centered around a frankly tired refrain that she should accept more personal accountability for the election loss as opposed to blaming the influence of outside forces. On Tuesday she appeared willing to explore those themes when she said she constantly interrogated herself on the campaign trail: Are you doing everything you can to win this election? But before she could go much deeper, Washington told her that she needed to know that we, the audience, understood she did everything she could. The crowd erupted in affirming shouts and applause.

Clearly, a book tour attended by The Converted is not going to produce headline-worthy grist, especially with an interviewer who is an admitted Harris friend and supporter. That’s what debates and media interviews are for, and this was a fan event.

And her base was thirsty. Since Harris has largely stayed out of the spotlight since last November, the audience appeared ready to relive some of the joy they felt in the brief time she was running for office, and perhaps find a glimmer of hope in dark times for those who see the current administration’s actions as anti-democratic, at best.

Before “The Conversation With Kamala Harris” kicked off at 7 p.m., attendees who spotted Harris’ husband, Emhoff, in the first few rows of the venue lined up to shake his hand and take selfies with the former second gentleman of the United States. The close access to SGOTUS was surprising, given the heightened security around political figures after violent events such as the home-invasion assassinations of Minnesota state representative Melissa Hortman and her husband in June, and the killing of conservative activist Charlie Kirk at a speaking event last month. Yet the atmosphere was casual and relaxed.

Despite heightened threats of politically-motivated violence, President Trump pulled Harris’ Secret Service detail, as he has done to many of those he sees as his enemies. But as a former state office holder, Harris’ security detail Tuesday was provided by the California Highway Patrol.

The conversation lasted a little over an hour, with a few prescreened questions at the end from audience members, such as the query from an attendee who identified himself as Ramon Chavoya, a proud Latino. He asked for Harris’ advice on getting into local politics. She was the first Black and first South Asian female candidate to be chosen by either party to run for the Oval Office. Her very presence was a reminder that the face of the nation is changing, despite a rise in xenophobic movements and legislation. She advised the aspiring young politician that he would likely stand out, but that he wasn’t alone. “We’re all in the room with you,” she said, a sentiment Harris’ supporters surely understood.

JAMIE FOXX launches furious rant at audience member after he’s forced to stop show. 

The actor and musician, 57, was performing at his daughter’s music festival when a concert-goer reportedly hurled a bottle on stage at another huge US rapper.

A two minute clip making the rounds on social media shows the moment Jamie abruptly stops performance to unleash a furious on stage rant.

The actor who is known for his roles in films including Django Unchained and Baby Driver appeared at SKVLK Fest, a Halloween-themed party which was organised by his teen daughter Anelise.

Also taking to the stage was female rapper GloRilla who was forced to stop her set after a glass bottle was thrown at her. 

Jamie immediately jumped to the music star’s defence, exclaiming: “ Who did it? Why would you do that?”

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He continued to question the confused crowd asking: “Why would you throw something at the stage?”

“This for free. Ya’ll don’t deserve this s***, that’s f****** up.”

“I’m so disappointed. Damn I love y’all but hate whoever the f*** that was. That ain’t cool.”

He added: “You throw some s*** at my house? Nah man that ain’t cool.”

“Wow that’s insane, shall we just pull the plug ?” which was met by a chorus of no’s and sighs from the crowd.

Afterwards GloRilla – who’s famed for her hits Wanna Be and TGIF – picked right up where she left off.

The video which was shared on X sparked big fan reaction, one user said: “Jamie is a real one. Respect for calling it out.”

Another added: “Shoutout to Jamie, that can really hurt someone.”

“It should be something where they can charge you if you toss something at a celebrity and ban you,” a third penned.

A fourth chimed: “I love how he defended her. More men should do that.”

This isn’t the Hollywood actor’s first altercation with glass throwing, just last year Jamie was left injured after reportedly being involved in an altercation in a Beverly Hills restaurant.

The star was enjoying a birthday dinner at Mr Chow with his family when he was said to have had a glass thrown at him, before police were called.

A spokesperson for Foxx told Page Six that Jamie was at dinner “when someone from another table threw a glass that hit him in the mouth“.

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They added: “The police were called and the matter is now in law enforcement’s hands.”

Jamie reportedly left the restaurant by the time law authorities arrived and did not receive any medical attention at the scene despite needing stitches.

The image of a grieving parent is not an uncommon sight on the dramatic stage. Euripides, whom Aristotle called “the most tragic of the poets,” returns to the figure of the grief-stricken parent in “Hecuba,” “Hippolytus” and “The Bacchae,” to cite just a few disparate examples of characters brought to their knees by the death of their child.

Shakespeare offers what has become the defining portrait of this inconsolable experience in “King Lear.” Cradling the lifeless body of his murdered daughter, Lear can do nothing but repeat the word “never” five times, the repetition driving home the irrevocable nature of loss.

In tragedy, the protagonist is often plagued by guilt for his own role, however inadvertent or inescapable, in the catastrophe that befell his loved one. Theseus in “Hippolytus” and Agave in “The Bacchae” both have reason to feel that they have blood on their hands. Lear, though “more sinned against than sinning,” recognizes only after it’s too late the error in judgment that led to the devastation from which there can be no return.

The difference with “Guac,” the one-man performance work at the Kirk Douglas Theatre, is that Manuel Oliver isn’t just playing a bereaved father. He is one.

Manuel Oliver in “Guac.”

(Cameron Whitman)

Oliver’s 17-year-old son, Joaquín, known as Guac to family and friends, was one of the 17 lives lost in 2018 at Marjory Stoneman Douglas High School in Parkland, Fla. The production, written and performed by Oliver, turns a parent’s grief into a theatrical work of activism.

Co-written by James Clements and directed by Michael Cotey, “Guac” has been sharing the story of Joaquín’s short but vividly lived life with audiences around the country. Oliver didn’t just love his son. He liked him. Guac was his best friend. He was also his trusted guide to American culture.

Immigrants from Venezuela, the family had made a new start in a country that Guac helped them feel was their home. To convey the meaning of Guac’s life, Oliver introduces his family members through a series of photo images he has crafted into artworks.

The last picture, and the one that remains staring at us throughout the performance, is of Guac. Oliver continues to enhance the portrait. While adding flourishes to the background and making adjustments to what his son is wearing, he tells us about the life they shared before it was tragically stolen.

Manuel Oliver works on a portrait of his late son in “Guac.”

(Donna F. Aceto)

The tragedy is overwhelmingly real. Oliver bears the weight of it by transforming his grief into fuel for activism. The performance makes the case for stricter gun law in America with the heartbreaking eloquence of a father whose life changed permanently after dropping his son off at school on a Valentine’s Day that started so promisingly.

What happened to Joaquín could happen to any of us, anytime, anywhere, in a country that has allowed its elected officials to deflect responsibility for their repeated failure to pass common sense gun legislation. While taking money from the NRA, these cynical politicians offer empty “thoughts and prayers” in place of meaningful reform. The result is that no one can go anywhere in public without eyeing the emergency exits and scanning the crowd for trouble.

Oliver isn’t a polished theatrical professional. He’s a dad, first and foremost. But it’s his comfortable ordinariness that allows him to make such a powerful connection with the audience. He’s onstage but could very well be exchanging a few neighborly words with us on our street.

Oliver summons his son by joyfully remembering his virtuosity on air guitar. Lynyrd Skynyrd’s “Free Bird” resounds throughout the Douglas while he enlivens the portrait with impassioned strokes. The words “I wish I was here” are added to Guac’s T-shirt, and it’s a sentiment we all devoutly, agonizingly share as Oliver brings his wife, Patricia, onto a stage that has urgently become an extension of our national reality.

In honor of Joaquín, the couple formed Change the Ref, an organization dedicated to raising awareness about mass shootings and empowering the next generation of activists through “creativity, activism, disruption and education.” “Guac” is a potent example of what can be done in the wake of a tragedy that can no longer be described as unthinkable.

YORBA LINDA — Not all the President’s men were there, but enough to make a strong showing.

Former Cabinet members Henry A. Kissinger and Richard G. Kleindienst were in attendance. So were Watergate figures Maurice Stans, once finance chairman for Nixon’s re-election committee, and G. Gordon Liddy, the convicted mastermind of the bungled burglary.

Former Nixon spokesman Ron Ziegler and Counsel Chuck Colson also paid their respects. Jo Horton Haldeman, the widow of Nixon’s chief of staff, H. R. Haldeman, was in the audience. And so was Rose Mary Woods, the secretary who took responsibility for creating the infamous 18 1/2-minute gap on a critical Watergate tape.

But so was George McGovern, who was among the first named on Nixon’s infamous “enemies list,” and whose presence on the funeral’s exclusive guest list spoke more eloquently of reconciliation than some who eulogized the 37th President.

“This has been a reconciling day for me and, I think, for a lot of other people,” said McGovern, who as the Democratic nominee waged an acrimonious political fight against Nixon for the presidency in 1972 and was buried in a electoral landslide. “I kind of really feel like I’ve lost an old friend, even though we were bitter political enemies through the years.”

Colson, who spent seven months in prison for obstructing justice during the Watergate conspiracy, also spoke of healing.

“I think he achieved in death something he never quite achieved in life–to bring the nation together,” said Colson. “Maybe the wounds of Watergate are now, twenty-some years later, finally healed.”

The guest list for the funeral cut across a broad spectrum of Nixon’s political and private life: Republicans and Democrats, friends and former enemies, family members, entertainers, sports figures, religious leaders and many, many longtime staffers.

At the Yorba Linda Community Center, where many of the guests had gathered before the funeral, the Nixon faithful–wearing either purple or yellow “RN” badges that were their tickets to the funeral–embraced like long-lost friends.

Liddy and Howard H. Baker Jr., the former Tennessee senator and ranking minority member of the Judiciary Committee that held televised hearings on Watergate, rode over to the funeral site together on a shuttle.

Robert H. Finch, who served under Nixon as secretary of health, education and welfare, smiled and shook hands with Donald H. Rumsfeld, the secretary of defense under President Gerald R. Ford.

“I think the Nixon family can feel very, very good about what he accomplished, and who all is here,” Rumsfeld said. “A broad cross-section of the world is recognizing him for what he did.”

From across the Nixon years came Alexander M. Haig Jr., Haldeman’s replacement as chief of staff, and Caspar W. Weinberger, former secretary of health, education and welfare who became Ronald Reagan’s defense secretary. James R. Schlesinger, Nixon’s defense secretary, and William P. Rogers, his secretary of state, joined a few dozen others from the Nixon presidency, including political columnist and presidential aspirant Patrick J. Buchanan, security adviser Brent Scowcroft and former Atty. Gen. Elliot L. Richardson.

Even former Vice President Spiro T. Agnew, who before Nixon’s resignation left office himself in disgrace under a criminal indictment, and his wife, Judy, attended the funeral. Agnew had asked Julie Nixon Eisenhower if he would be welcome at the funeral and was assured that his presence was important. On Wednesday, he was greeted warmly.

“I’m here to pay my respects for (Nixon’s) accomplishments,” said Nixon’s vice president, who resigned in 1973 after pleading no contest to tax evasion. “It’s time to put aside 20 years of resentment, which is what I’m doing at this moment.”

More than 100 members of Congress were on the guest list, including 47 U.S. senators, House Speaker Thomas Foley (D-Wash.), Senate Democratic Leader George Mitchell of Maine and the California congressional delegation.

Representatives from across the globe, from Angola to Argentina and Singapore to Seychelles, also were in force. In all, 86 countries sent dignitaries to pay respects.

But Nixon had other admirers, too, who had little if anything to do with politics. Comedians Bob Hope and Red Skelton and actor Buddy Ebsen attended with their wives. Former Rams star Roosevelt Grier also attended.

“It was a good send-off to Richard Nixon and his future life,” said Ebsen, who also attended Pat Nixon’s funeral last summer. “There was a feeling of togetherness. It stepped across party lines and it was a beautiful happening. We need that to get all of us together.”

Said Hope: “He was a hell of a guy. Playing golf, you learn a lot about a guy’s character. His was a great character.”

The guest list was indeed impressive, with names like Walter Annenberg, George Argyros, Jesse Helms, William Lyon, Ashraf Pahlavi, Bebe Rebozo, Nelson Rockefeller, Henry Segerstrom, Mary Roosevelt and James B. Stockdale sprinkled throughout.

Orange County also had a large contingent, including a gathering of state senators and assemblymen. All five Orange County supervisors were also invited. The local Republican Central Committee distributed 100 tickets to elected officials, volunteers and others affiliated with the local party, chairman Thomas A. Fuentes said, and just about everyone who wanted in got in.

“It was dignified, sentimental and memorable,” Supervisor Harriett M. Wieder said. “I think it was Kissinger who said that when you look at the quality of a person and whether they lived well, you look at the entirety of the life. That’s how I remember Richard Nixon.”

Mourners spoke about healing and the inevitability that Nixon, in death, may finally have been absolved of his perceived sins.

Former Vice President Dan Quayle joked that Kissinger had captured it perfectly when he predicted that Nixon “would’ve liked to have read and reread all the favorable reviews that he’s had this last week.”

The Rev. Robert Schuller said he was pleased to see those reviews.

“I’m very grateful to God for the respect that’s been shown (Nixon) this last week,” said Schuller. “Society does not forgive. People tend to hold on to their hurts.”

But since Nixon’s death, Schuller said, the public is beginning to “recognize Nixon’s greatness.”

Times staff writers Alicia DiRado, Doreen Carvajal and Eric Lichtblau contributed to this report.

On the Guest List

The official U.S. delegation, members of Congress and the foreign delegation attending the funeral of Richard Nixon, according to the White House:

U.S. PRESIDENTS AND THEIR WIVES

* Bill and Hillary Clinton

* George and Barbara Bush

* Ronald and Nancy Reagan

* Jimmy and Rosalynn Carter

* Gerald and Betty Ford

NIXON ADMINISTRATION OFFICIALS

* Spiro T. Agnew, former vice president

* Peter J. Brennan, former labor secretary

* Frederick B. Dent, former commerce secretary

* Elliot L. Richardson, former attorney general and health, education and welfare secretary

* William P. Rogers, former secretary of state

* Henry A. Kissinger, former secretary of state

* James R. Schlesinger, former defense secretary

* Caspar W. Weinberger, former HEW secretary

* William B. Saxbe, former attorney general

* Alexander M. Haig Jr., former chief of staff

* Brent Scowcroft, former Nixon aide

* Herb Stein, former economic adviser

* James T. Lynn, former HUD secretary

* Charles W. Colson, former special counsel to the President

* Dwight L. Chapin, former deputy assistant to the President

* Kenneth H. Dahlberg, former Midwest finance chairman of the Committee for the Re-election of the President

* Richard G. Kleindienst, former U.S. attorney general

* Ronald L. Ziegler, former press secretary

* G. Gordon Liddy, former White House aide

* Herbert W. Kalmbach, personal attorney to Nixon

* Robert H. Finch, former secretary of health, education and welfare

* Patrick J. Buchanan, speech writer

* Rose Mary Woods, former secretary

* Lyn Nofziger, former staff member

CLINTON ADMINISTRATION OFFICIALS

* Defense Secretary William Perry

* Army Gen. John Shalikashvili, chairman of the Joint Chiefs of Staff

* Thomas F. (Mack) McLarty, White House chief of staff

* Strobe Talbott, deputy secretary of state

* Carol Browner, Environmental Protection Agency administrator

* Phil Lader, White House deputy chief of staff

* Dee Dee Myers, White House press secretary

* David Gergen, counselor to the President

* Bruce Lindsey, senior presidential adviser

* W. Anthony Lake, national security adviser

* Lloyd Cutler, White House special counsel

* Robert Rubin, director of National Economic Council

* Mark Gearan, White House communications director

* Pat Griffin, White House congressional affairs lobbyist

MEMBERS OF CONGRESS

More than 100 members were on the list. Among them:

* House Speaker Thomas Foley, D-Wash.

* Senate Democratic Leader George Mitchell, D-Me.

* Sen. Minority Leader Bob Dole, R-Kan.

* Sen. Daniel Patrick Moynihan, D-N.Y.

* Sen. Barbara Boxer, D-Calif.

* Sen. John Danforth, R-Mo.

* Sen. Pete Domenici, R-N.M.

* Sen. Dianne Feinstein, D-Calif.

* Sen. Phil Gramm, R-Tex.

* Sen. Orrin Hatch, R-Utah

* Sen. Jesse Helms, R-N.C.

* Sen. Kay Bailey Hutchison, R-Tex.

* Sen. Richard Lugar, R-Ind.

* Sen. John McCain, R-Ariz.

* Sen. Sam Nunn, D-Ga.

* Sen. Bob Packwood, R-Ore.

* Sen. Alan Simpson, R-Wyo.

* Sen. Strom Thurmond, R-S.C.

* House Democratic Leader Richard A. Gephardt, D-Mo.

* House Republican Leader Robert Michel, R-Ill.

* Rep. Newt Gingrich, R-Ga.

* Rep. Carlos Moorhead, R-Glendale

* Rep. Bill Thomas, R-Bakersfield

* Rep. David Dreier, R-San Dimas

* Rep. Duncan Hunter, R-El Cajon

* Rep. Robert K. Dornan, R-Garden Grove

* Rep. Elton Gallegly, R-Simi Valley

* Rep. Wally Herger, R-Rio Oso

* Rep. Christopher Cox, R-Newport Beach

* Rep. Jay C. Kim, R-Diamond Bar

* Rep. Howard P. McKeon, R-Santa Clarita

* Rep. Ed Royce, R-Fullerton

OTHER INVITED GUESTS

* The Rev. Billy Graham, officiant

* Lynda Johnson Robb, daughter of former President Lyndon B. Johnson

* Sen. Charles Robb, D-Va.

* George McGovern, Nixon’s 1972 presidential opponent

* Bob Strauss, chairman of the Democratic National Committee when Nixon was President

* Vernon Jordan, former president of the National Urban League

* Pete Wilson, California governor

* Kenneth M. Duberstein, former White House chief of staff

* Dwayne Andreas, former ambassador to the People’s Republic of China

* Buddy Ebsen, actor

* Bob Hope, comedian

* Red Skelton, comedian

* Rupert Murdoch, media executive

* Thomas F. Riley, O.C. supervisor

* Harriett M. Wieder, O.C. supervisor

* Gaddi H. Vasquez, O.C. supervisor

* William G. Steiner, O.C. supervisor

* Roger R. Stanton, O.C. supervisor

* Thomas A. Fuentes, O.C. Republican Party chairman

* Dan Quayle, former vice president

* Walter F. Mondale, former vice president

* Walter Annenberg, former U.S. ambassador

* George Argyros, O.C. businessman

* Reza and Ashraf Pahlavi, self-proclaimed Shah of Iran and his aunt

* Richard Riordan, L.A. mayor

* Jack Kemp, former secretary of housing and urban development

* Bebe Rebozo, Nixon friend

* Henry Segerstrom, O.C. businessman

* James B. Stockdale, retired vice admiral

* The Rev. Robert H. Schuller

* Howard H. Baker, former Senate minority leader, chief of staff in Reagan Administration and the ranking minority member on the Senate Watergate Committee

* Ji Chaozhu, United Nations undersecretary general from China

* James A. Baker III, former secretary of treasury and state in Reagan and Bush administrations

FOREIGN COUNTRIES REPRESENTED

Angola, Argentina, Australia, Azerbaijan, Bahamas, Bangladesh, Belgium, Bosnia-Herzegovina, Brunei, Cambodia, Cameroon, Canada, Chile, China, Costa Rica, Croatia, Cyprus, Czech Republic, Denmark, Egypt, Ethiopia, Fiji, Finland, France, Germany, Greece, Guatemala, Honduras, Hungary, Indonesia, India, Ireland, Israel, Jamaica, Japan, Jordan, Kenya, Korea, Latvia, Lebanon, Liberia, Lithuania, Luxembourg, Macedonia, Maldives, Monaco, Morocco, Mozambique, Nepal, Netherlands, New Zealand, Nigeria, Norway, Oman, Pakistan, Paraguay, Philippines, Poland, Portugal, Qatar, Romania, Russia, Senegal, Seychelles, Singapore, Slovakia, Slovenia, Spain, Sri Lanka, Sweden, Switzerland, Suriname, Syria, Taiwan, Thailand, Tanzania, Togo, Tunisia, Turkey, United Kingdom, Uruguay, Venezuela, Yemen, Zambia.

Sources: Los Angeles Times, Associated Press

The right wing‘s war on Netflix wages on.

The Pentagon issued a statement blasting the streamer’s programming and leadership Friday following an inquiry about the new series “Boots” from Entertainment Weekly. While the response from Pentagon press secretary Kingsley Wilson did not directly address the gay coming-of-age military show, it did slam Netflix for following an “ideological agenda” that “feeds woke garbage to their audience and children.”

“Under President Trump and Secretary [Pete] Hegseth, the U.S. military is getting back to restoring the warrior ethos,” Wilson’s statement said. “Our standards across the board are elite, uniform, and sex neutral because the weight of a rucksack or a human being doesn’t care if you’re a man, a woman, gay, or straight. We will not compromise our standards to satisfy an ideological agenda, unlike Netflix whose leadership consistently produces and feeds woke garbage to their audience and children.”

The Trump administration’s efforts to restore this “warrior ethos” thus far has included banning transgender people from serving in the military, body-shaming top military brass and other service members and declaring an end to “woke” culture and policies. The statement comes amid the Pentagon’s move to enforce a new unprecedentedly restrictive media policy that paints basic reporting methods as criminal activity.

Based on Greg Cope White’s 2016 memoir “The Pink Marine,” “Boots” follows Cam Cope (Miles Heizer), a gay teenager who enlists in the Marines at a time when being gay in the military was still a crime. Noting the show’s timely themes, Times television critic Robert Lloyd called it a “perfectly decent, good-hearted, unsurprisingly sentimental miniseries” in his review.

The show’s creatives also worked closely with several advisors with past military experience to authentically portray the Marines and military life in the 1990s.

The Pentagon’s criticism against Netflix follows the recent campaign led by billionaire Elon Musk calling for people to cancel their subscriptions to the streamer. The on-again/off-again Trump ally railed against Netflix on X earlier this month after clips of “Dead End: Paranormal Park,” an animated Netflix series featuring a trans character, was making the rounds on the social media platform. The show was canceled after its second season was released in 2022.

Despite being the target of right-wing ire, Netflix also has a history of being called out for its anti-trans programming. In 2021, transphobic remarks made by comedian Dave Chappelle in his special “The Closer” led to protests, walkouts and even a resignation of a trans employee. The streamer followed that in 2022 by releasing a comedy special from Ricky Gervais that also featured transphobic material.

For those who know of the spectacle that is Juan Gabriel there is no explanation necessary, for those who don’t, no explanation will suffice.

A new Netflix docuseries attempts to capture the magic of the frequently bedazzled genre- and gender-defying showmanship of “El Divo de Juárez,” who died at 66 of natural causes in 2016, while also investigating the internality of the man behind Gabriel — Alberto Aguilera Valadez.

Juan Gabriel was known for his epic stage performances, where he was often accompanied by an orchestra, dancers and dozens of mariachis dressed in tight jackets and sombreros, while belting out such hits as “Hasta Que Te Conocí,” “El Noa Noa” and “Amor Eterno.”

His colorful outfits and flamboyant dance moves drew speculation about his sexuality, but he famously preferred to remain coy on the issue and to this day remains a queer icon throughout the Latin American world.

“Juan Gabriel: I Must, I Can, I Will,” which premieres Oct. 30, utilizes a goldmine of hundreds of thousands of personal and never-before-seen voice recordings, photos and videos of one of Mexico’s most revered singer-songwriters, giving audiences a holistic look at the pain, joy, contradictions, artistry and genius that informed Gabriel’s worldview and perception of himself.

The project is director María José Cuevas’ second production with the streaming giant — her 2023 documentary feature “The Lady of Silence: The Mataviejitas Murders” recounted the story of famous Mexican serial killer Juana Barraza, who was sentenced to 759 years in prison for killing 16 elderly women and the suspected killing of dozens more.

Cuevas’ implementation of the juxtaposed duality of Juan Gabriel and Alberto Aguilera Valadez was inspired by his insistence that the two entities were distinct yet symbiotic, as was shown in a 2014 filmed self-interview the singer conducted.

“In order to understand the greatness of Juan Gabriel, I had to know Alberto. He always played with that duality,” she said. “From a very young age he would say in interviews that he invented Juan Gabriel to shield Alberto, he invented an idol in order to protect his private identity.”

In an interview with The Times, Cuevas spoke about her personal connection to the famed singer, the overwhelming archives she had access to and the ways in which Juan Gabriel united and continues to unite people to this day.

This interview was translated and edited for length.

What was your relationship to Juan Gabriel before taking on the task of directing this documentary?

I remember clearly turning on the TV [when I was young] and seeing video clips of Juan Gabriel with his red sweater and white jeans. I later had the opportunity to go to his first performance at the Palacios de Bellas Artes in 1990 with my parents. One is accustomed to going to Bellas Artes for opera, ballet, classical music and the concert began with that formal tone, but there reached a moment where audience members couldn’t keep up the facade of elegance and everyone let their hair down.

For me that moment was incredibly revelatory, I finally noticed that he was a whirlwind in every sense of the word. I didn’t realize at the time that I was present at a such an important cultural milestone. When I watched it in retrospect, from all the camera angles we were privy to for this documentary, I got goosebumps and I wish I could go back to being 18 years old and experience it with the intensity that I have for his music now.

I think that Juan Gabriel always transports us to something personal, but also to something collective. In Mexico, Juan Gabriel’s death was a very collective experience. You would go out into the street and you would hear his music in cars, the corner store, coming out of neighbors’ houses.

How did you gain access to the vast collection of archived materials that are present in the documentary?

That’s really the treasure of the project. Juan Gabriel’s story has already been told, but what makes this project unique is that it’s a story told by [the recordings and photos] he left behind. One of the first things he did after reaching success wasn’t just to buy his mom a house, but also to buy himself a Super 8 camera. From then on he picked up the habit of recording his everyday activities as Alberto Aguilera and later on he always had a camera following around as Juan Gabriel.

From our first meetings with Netflix, I figured we should ask Gabriel’s family if they had anything to share with us. I thought maybe it would be a photo album that was laying around, maybe a box of memorabilia or a few cassettes. So it was to our great surprises when they sent us over a photo of a warehouse with shelves full of every different kind of film. It was crazy. And that’s when I remembered that Juan Gabriel’s close friend and actor Isela Vega was helping him catalog all of his videography.

I never imagined that within those videos that we’d find the public persona of Juan Gabriel and the private persona of Alberto Aguilera. Another elucidating moment was that Juan Gabriel reached a moment where he became conscious of the level of his celebrity and that it wasn’t a coincidence that he recorded most of his life. And there reached a moment where I realized he saved all these recordings so that one day people could revisit all his saved materials and they could reconstruct his personal story through what he left behind.

There’s a moment in the documentary where we’re at one of his concerts and there are men of all orientations in the crowd that are asking JuanGa to marry them. That seemed particularly powerful to me because in that moment the veil of machismo seemed to fall.

Yeah, I think an important part of making this portrait of Juan Gabriel was understanding the context of Mexico in the ‘80s. It was very conservative, very machista and then all of a sudden this guy drops in with all this talent and charisma and he says, “Here I come, get out of the way because I’m gonna conquer everyone.” And that wasn’t so simple at that time. He showed his greatness at any and every stage he was put on. He was able to win over people in every social class in a very elitist Mexico. He won over everyone from the most macho man to women.

Even greater than the achievement that was his performance at Bellas Artes were his performances in palenques when he was young. Palenques being these circular stages where you can’t hide because you’re standing right in the middle of everything. And he would take the stage late at night when everyone was already drunk and they were audiences that were, in general, very machista.

Suddenly a very young Juan Gabriel would appear to perform rancheras. I always say he was a provocateur, but also a seducer because of his ability to win over a crowd. There were audiences that would yell derogatory things at him and that’s when he’d really play with the audience.

It feels almost impossible not to be moved by the music as you watch your documentary.

He’s really magnificent. I remember throughout the whole process of making the doc and I was watching the intimate home videos of Alberto Aguilera and it really reminded me that Juan Gabriel was a human like everyone else [not just this grand entertainer]. I’d put any concert of his and I was bowing at the altar of a star. It’s amazing what a powerful character he was up on that stage.

And how have you seen JuanGa’s legacy represent something very specific in the U.S.?

For Latinos in the U.S. he’s such an important figure because his work pulls people back to their roots. One of his greatest accomplishments as a performer was when he filled the Rose Bowl in 1993. In that moment he showed his influence and strength within the Latino world. He’s absolutely one of the key figures in Latin music.

CNN is taking another shot at launching a direct-to-consumer streaming service that will make much of the channel’s news programming available without a pay TV subscription.

The unit of Warner Bros. Discovery announced Thursday it will launch an All Access subscription tier for CNN.com available for $6.99 a month starting Oct. 28. The service will provide what the company describes as “a selection” of live programming on CNN and CNN International.

The service will also have exclusive on-demand programming and a library of titles from CNN Films and CNN Original Series.

The All Access subscription will be be offered at $69.99 annually, but will carry an introductory price of $41.99 for the first year for customers signing up by Jan. 5.

The announcement comes two years after Mark Thompson took over as chief executive of the network with a mandate to guide the channel into a digital post-cable future.

CNN launched a direct-to-consumer service in 2022 called CNN+, made up of original programming featuring its current talent line-up and new additions including Audie Cornish, Chris Wallace and Kasie Hunt. But the service was shut down nine days after launch following WBD’s takeover of the network, as new management was focused on reducing debt.

CNN has seen profits decline significantly over the last five years as cord-cutting has driven down revenues received from cable and satellite companies carrying the channel.

The cable channel also saw a significant decline in ratings after WBD took over ownership of the network and executives pushed for the network to appeal more to conservative viewers.

Thompson has made few changes to the CNN program line-up as his team has focused on its digital properties. Thompson and Alex MacCallum, executive vice president of digital products and services, were both at the New York Times when the company transformed into a successful digital subscription-based news business.

In a statement, MacCallum said the All Access launch is “an essential step in CNN’s evolution as we work to give audiences the complete CNN experience in a format that reflects how audiences engage with the news today.”

CNN introduced a paywall on its website last year, giving users unfettered access to articles and video on the site for $3.99 a month. Response to the preliminary phase was encouraging, according to people inside the network who were not authorized to comment publicly.

Cable subscribers will also get the new streaming service for free.

Fox News is currently the only major cable news channel available without a pay TV subscription. The channel is offered on Fox One, the recently launched streaming service that also offers local Fox broadcast affiliates for $19.99 a month.

BRAVE Amanda Holden takes to the Britain’s Got Talent red carpet wearing the top that almost saw her flash the show’s audience at auditions.

But an onlooker said the 54-year-old “was being much more careful this time round.”

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Show judge Amanda — in a lop-sided strapless top — nearly exposed herself by lifting her left arm to wave at the crowd as she strutted on stage at the Winter Gardens in Blackpool on Saturday.

After adjusting her clothes to preserve her modesty she sat down.

Then, gesturing to her boob, she admitted: “This keeps slipping out every time I raise my arms.”

Yesterday The Sun revealed a small production team were quickly put on “nipple watch” to ensure there were no surprise appearances during filming of the ITV ­talent contest.

Undeterred, Amanda wore the strapless top again.

Our observer reported: “She waved with her left hand, where her top had more coverage than on the right-hand side, and kept her other hand firmly in her pocket most of the time.

“Amanda didn’t want any wardrobe malfunctions again. She was probably already feeling the chill in blustery Blackpool.”

Also dressed for sunnier climes was head judge Simon Cowell in shades, and fellow panellist Alesha Dixon wearing sunglasses and a crop-top.

Only hosts Ant and Dec and new judge KSI — taking over from Bruno Tonioli — looked ready for Lancashire weather.

Auditions for the 19th series of BGT, due to air next year, continue in the seaside town until the end of this week.

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An immigrant drama by Rudi Goblen about two brothers born in Nicaragua, “littleboy/littleman,” now receiving its world premiere at the Geffen Playhouse, is an American story at its core.

Lest we forget our past, America is the great democratic experiment precisely because it’s a land of immigrants. Out of many, one — as our national motto, E pluribus unum, has it. How have we lost sight of this basic tenet of high school social studies?

Our tendency to ghettoize drama — along racial or immigrant lines — reflects the failure to understand our collective story.

Goblen, who (like a.k. payne, author of “Furlough’s Paradise”) was a playwriting student of Geffen Playhouse artistic director Tarell Alvin McCraney at Yale, has created not a conventionally worked out two-hander, but an intuitively structured performance piece. Infused by live music and inflected with hip-hop style poetry, “littleboy/littleman” crashes through the fourth wall to make direct contact with theatergoers, who are seated on three sides of the playing area and always just a high-five away.

Marlon Alexander Vargas, the dynamic, sweet-faced performer who plays Fito Palomino, the more creative and mercurial of the two brothers, is on stage interacting with the audience before the play begins. As the musicians — music director Dee Simone on drums and Tonya Sweets on bass — warm up the crowd from their platform at the back of the playing area, Vargas, ever-in-motion, greets theatergoers and counts down to the start of the show.

Rules are spelled out at the top that make clear that this isn’t one of those docile theatergoing experiences, in which the audience is expected to keep mum as the actors do all the work. Spectators are encouraged to make some noise — to show love when they want to show love and to show it even when they don’t.

These friendly instructions are impishly delivered by Vargas, whose performance outside the play has an effect on our experience of his character inside the play. The fate of Fito is the emotional crux of the drama, and what happens to him matters all the more to us because of our theatrical connection to Vargas, our de facto host and impromptu buddy.

Goblen sets up a drama of fraternal contrasts. Bastian Monteyero (Alex Hernandez), the older and more straitlaced of the two brothers, has a tough, no-nonsense demeanor that’s all about discipline and conformity. He’s a bit of a recluse, but he plays by the rules and demands the same from Fito.

A street performer, Fito dreams of opening a vegan restaurant that will offer his community access to affordable, healthful meals. This idea seems far-fetched to Bastian, and he tells Fito that if he wants to continue living with him, he’s going to have to get a real job.

Bastian hooks Fito up with a friend who’s employed at a cleaning service. But scrubbing public toilets isn’t Fito’s idea of an alternative course. Bastian wants his brother off the streets. There are dangers afoot in Sweetwater, Fla., far worse than unpleasant paid work.

A law officer in town, a sadist who demands complete subservience, has it in for Fito, who describes this menacing figure as “a gangster with a badge.” He also calls him “brown on the outside, white on the inside,” and bemoans to his brother the Latino infighting (“the worst thing they ever did was give us all flags”) that only divides people who have political reason to be in solidarity.

Bastian, who affects a white-sounding Midwestern voice when he hustles donations in his telemarketing job, can’t help taking the latter comment personally. He’s made no secret that he wants to change his name so his resume won’t be ignored when he applies for management jobs.

The two brothers have different fathers, and Fito doesn’t have the option of passing. In any case, he’s more embracing of his identity as a person of color than Bastian. What both of them have in common is that they survived both their harrowing childhoods in Nicaragua and their unrelentingly challenging journeys in America, having been raised by a single mother, whose death still haunts them.

Bastian and Fito love each other, but don’t always like each other. Hernandez’s Bastian is a formidable presence, angry, strict and domineering — the qualities he’s needed to navigate a bureaucratic system that has little concern for the feelings of immigrant outsiders. Vargas’ Fito, by contrast, has his head in the clouds and his heart on his sleeve. Goblen never loses sight of their affection even as their conflict grows louder and more bruising.

Bassist Tonya Sweets, from left, Marlon Alexander Vargas and drummer Dee Simone in “littleboy/littleman” at Geffen Playhouse.

(Jeff Lorch)

“littleboy/littleman” is tricky in its theatrical rhythms. It’s like a piece of music that keeps switching harmonic structures, not wanting to get stuck in the same groove. Goblen’s manner of writing is closer to free jazz or freestyle hip-hop than traditional drama.

Director Nancy Medina’s staging, circumnavigating a theatrical circle, lifts the audience out of its proscenium passivity into something almost immersive and definitely interactive. Tanya Orellana’s scenic design and Scott Bolman’s moody lighting create a performance space that is well suited to a work composed as a series of riffs. The influence of McCraney’s “The Brothers Size” is palpable not only in the thematic architecture of the play, but also in how the piece moves on stage.

The staccato nature of the writing is helped enormously by the entrancing acting of both Vargas, who breezes through different theatrical realms as though he had wings, and Hernandez, who locks realistically into character. It’s a credit to the play and to the performers that, by the end of “littleboy/littleman,” the differences between the two brothers seem less important than what they have in common.

Not all the dramatic elements are smoothly integrated, but the production ultimately finds a coherence, not so much in the music (composed by Goblen himself), but in the emotional truth of the brothers’ pressure-cooker lives. Vulnerability unites not only Bastian and Fito, but all of us witnessing their story who hope against hope that compassion will somehow win the day.

Paramount has acquired The Free Press, a four-year-old digital news platform, and will make its co-founder Bari Weiss editor-in-chief of CBS News, the company announced Monday.

The official announcement came after months of speculation on the deal and Weiss’ high profile role within the news division. Weiss, 41, will report to Paramount Chief Executive David Ellison, who personally courted the former New York Times journalist.

“We are thrilled to welcome Bari and The Free Press to Paramount and CBS News. Bari is a proven champion of independent, principled journalism, and I am confident her entrepreneurial drive and editorial vision will invigorate CBS News,” Ellison said in a statement. “This move is part of Paramount’s bigger vision to modernize content and the way it connects — directly and passionately — to audiences around the world.”

Paramount said Weiss will “shape editorial policies, champion core values across platforms and lead innovation in how the organization reports and delivers the news.”

The union of The Free Press and CBS News will be one of the most closely watched lab experiments in the modern media era. Weiss has no experience in television or running an editorial operation on the scale of CBS News, which has more than 1,000 employees.

Paramount is paying around $150 million in cash and stock for The Free Press, a feisty, upstart operation that generated attention through opinion pieces and podcasts with a strong point of view. Its favorite targets are the excesses of progressive left and purveyors of so-called “woke” policies.

CBS News is a traditional mass appeal network TV operation with a proud legacy of journalistic excellence and the home of popular franchises “60 Minutes” and “CBS Sunday Morning.” But the division has struggled to deal with the shifts in audience habits brought about by streaming video and social media.

Weiss is a provocateur who famously resigned from her high profile role in the opinion section of the New York Times in 2020, citing bullying by her colleagues and a hostile work environment as the reasons.

Weiss acknowledged the division’s legacy in a note sent to CBS News staffers after her appointment was announced.

“Growing up, CBS was a deep family tradition,” Weiss said. “Whenever i hear the tick, tick, tick or that trumpet fanfare, it sends me right back to our den in Pittsburgh. The opportunity to build on that legacy — and to renew it in an era that so desperately needs it — is an extraordinary privilege.”

Weiss also ascends at a time when Trump has threatened news operations with lawsuits and regulatory action, such as pulling station TV licenses over what he believes is unfair criticism of him and his administration. Paramount agreed to pay $16 million to settle a Trump lawsuit making the dubious claim that a “60 Minutes” interview with Kamala Harris was deceptively edited to aid her 2024 presidential election campaign against him.

CBS News has never had an executive with the title editor-in-chief before naming Weiss to the role. It still has a president — Tom Cibrowski — a former ABC News executive hired earlier this year who will remain in his role and continue to report to to Paramount TV Media President George Cheeks.

In her note, Weiss told her staffers her goal in the coming weeks is to learn “what’s working and what isn’t, and your thoughts on how we can make CBS News the most trusted news organization in America and the world. I’ll approach it the way any reporter would — with an open mind, a fresh notebook, and an urgent deadline.”

The Free Press, which has around 170,000 paid subscribers, will continue as its own independent brand, with its own podcasts and live events business.

The late night circuit got its version of a unique crossover event Tuesday night as Jimmy Kimmel and Stephen Colbert appeared as guests on each other’s shows.

It was a fitting stunt considering both talk show hosts have been at the center of noteworthy professional situations shrouded in political and national significance, and both orbit in the same universe of President Trump’s contempt. The two hosts, who have vocally supported each other through the respective ordeals on their shows, were now able to continue the mutual backing in full force, face-to-face.

In the wake of the fallout of Kimmel’s suspension earlier this month over comments he made related to the death of conservative pundit Charlie Kirk, the recently reinstated host charged ahead with moving his L.A.-based show to Brooklyn for a week as planned, with Colbert among the star-studded list of guests. Colbert was effusive in his support of Kimmel after ABC pre-empted his talk show, criticizing the decision as “blatant censorship.”

Kimmel, meanwhile, appeared on “The Late Show,” alongside pop star Sam Smith. Earlier this year, CBS announced it was canceling “The Late Show” and would end after the season wraps in May 2026 — marking not only the end of Colbert’s run at the helm, but also bringing the late night institution to a close after a 30-year run. The decision, the company said, was due to financial reasons and not — as many have speculated — because of Colbert’s criticism of a deal between the Trump administration and Paramount, the parent company of CBS, the network that airs “The Late Show,” over.a 2024 “60 Minutes” interview with former Vice President Kamala Harris. Kimmel was one of the many who expressed disdain over the decision, even campaigning for Colbert to win an Emmy though Kimmel was on the same ballot. (Colbert ultimately won.)

Ahead of Kimmel’s appearance on “The Late Show,” Colbert hosted another late-night host, Conan O’Brien, who appeared as a guest Monday, opening the conversation with, “Stephen, how’s late night? What’s going on? I’ve been out of it for a little bit — catch me up on what’s happening.”

“I’ll send you the obituary,” Colbert replied.

Here are five standout moments from the night of shared grievances.

Stephen Colbert, left, and Jimmy Kimmel backstage at “The Late Show.”

(Scott Kowalchyk/CBS)

Colbert says he ‘sweat through his shirt’ the day he told his staff ’The Late Show’ was canceled

In his first sit-down interview since the “The Late Show” was canceled, Colbert walked Kimmel through the timeline of his show’s cancellation. He said he received the news from their mutual manager, James Dixon, after the taping of his show on July 16. He got home to his wife, Evie McGee-Colbert, two and a half hours later. As he walked into the apartment, according to Colbert, his wife said, “What happened? You get canceled?”

Dixon knew for a week but had been hesitant to relay the news to Colbert, who was on vacation. Once he learned the show’s fate, Colbert said he was unsure about when he should break the news to his staff, debating whether to wait until after the summer break or in September. His wife, though, said he would tell them the following day.

“We get into the building,” he said, “I go up the elevator, I walk through the offices. By time I get to my offices, I have sweat through my shirt because I didn’t want to know anything my staff didn’t know. And I said, ‘I’m going to tell my staff today,’ but then we couldn’t do a show if I told them because everybody would be bummed out and I would be bummed out.”

He only told executive producer Tom Purcell at first. He got through the whole show. And then he asked the audience and staff to stick around for one more act so he could record the announcement.

“My stage manager goes, ‘Oh no, we’re done, Steve, we’re done.’ And I said, ‘nope, there’s one more act of the show. Please don’t let the audience leave.’ And he goes, ‘No, boss, no. Boss. I got that. I got the thing here. We’ve done everything.’ And I said, ‘I’m aware of that. And I’m here to tell you there’s one more act of the show,’” he explained. “So I went backstage, I said, ‘Everybody, get on Zoom.’ I told everybody as briefly as I could so they wouldn’t find out about it on air. And then I went back out on stage to tell everybody. And I was so nervous about doing it right — because there was nothing in the prompter, I was just speaking off the cuff — that I f— up twice. And I had to restart and the audience thought it was a bit and they started going, ‘Steve, you can do it.’ Because I always messed up on the sentence that told them what was happening. And then I got to the sentence that actually told them was happening, and they didn’t laugh.”

Kimmel, in turn, shared that he found out about “The Late Show’s” cancellation while attending a No Kings protest march.

Kimmel says he took the call from ABC about his suspension from the bathroom

Jimmy Kimmel on “The Late Show with Stephen Colbert” Tuesday.

(Scott Kowalchyk/CBS)

Like Colbert, Tuesday marked the first time Kimmel had been interviewed since his suspension earlier this month, and he detailed the day he got the news he was being pulled from the air.

Kimmel’s office is busy — there’s roughly five other people working in there with him at all times, he told Colbert. So when ABC executives wanted to speak with him less than two hours before he was set to tape that night’s episode, Kimmel resorted to the bathroom to take the call in private.

“I’m on the phone with the ABC executives, and they say, ‘Listen, we want to take the temperature down. We’re concerned about what you’re gonna say tonight, and we decided that the best route is to take the show off the air,’” Kimmel said before the audience interjected with boos.

“There was a vote, and I lost the vote, and so I put my pants back on and I walked out to my office,” before telling some of his producing team the news, he said. “My wife said I was whiter than Jim Gaffigan when I came out.”

The decision on Kimmel’s suspension came so late in the day that the audience was already in their seats and had to be sent home, Kimmel told Colbert.

A sign of the times?

While touting the crossover event in his monologue (“We thought it might be a fun way to drive the President nuts so…”), Kimmel took time to stress the groundswell of support Colbert has both in New York, where he does his show, and in Kimmel’s homebase of L.A. To prove it, the camera cut to a photo showing signs that were displayed over the 101 freeway in L.A. when Kimmel went back on the air following his suspension. They read: “Public pressure works — Kimmel is back!”

“And this is the sign that is up now,” Kimmel continued, cutting to video of more recent signage over the freeway. “It says, “Now do Colbert.”

Gavin Newsom traveled to Brooklyn. Or did he?

Seth Meyers, left, Josh Meyers as California Gov. Gavin Newsom and Jimmy Kimmel on “Jimmy Kimmel Live!”

(Randy Holmes/ABC)

The California governor — who also moonlights (by proxy of his social media team) as the unofficial No. 1 Trump troll — made the cross-country trip to Brooklyn to surprise Kimmel on stage. Or did he? As the host mentioned the politician’s latest jab at Trump during his monologue, Newsom barreled onto the stage on a bike before finding his place next to Kimmel for a roughly six-minute spiel, delivered in his best California bro speak, on his mission to bring people together.

“L.A and N.Y.C., we’re not so different,” Newsom said. “I mean, we both just want to be free to smoke weed while riding our electric scooters to a drag queen brunch.”

As Kimmel pressed how exactly they can succeed in coming together, a blustering Newsom responded: “We already started, dog. These people get it. They have their own great late night hosts here in NYC, but tonight they chose my homie from L.A. They could be partying with my dude, J-Fall and The Roots crew — they’re a rap band … because you did look confused. Anyway, these Brooklyn-istas came to see you instead of checking out the political commentary of John Oliver or J-Stew or pay their respects to Colbert before he shipped off to Guantanamo Gay, or they could have gone and watched whatever that little creep Seth Meyers is doing … dude dresses like a substitute Montessori teacher. I mean, do you know why he sits down for his jokes? Same reason yo’ mama sits down to pee.”

Cue a special appearance from Seth Meyers, Kimmel’s friend and fellow late night host to rein in … his brother? For the non-late night connoisseurs reading this: Meyers’ brother, Josh, played the “Covid bro” version of Newsom during the pandemic in sketches that aired on NBC’s “Late Night with Seth Meyers.” Newsom took the gag further on Tuesday, impersonating Josh impersonating himself on Kimmel’s stage.

“We’re bros, but no, we’re not,” Newsom as Josh said. “Look, I get this all the time, probably because we’re both so hot.”

Meanwhile, keeping the planned awkwardness going, Kimmel took the opportunity to mention to Meyers that he was in town if he wanted to get dinner. Meyers responded: “What happened with your show? I thought this whole thing was, you know … “

“We’re back on the air,” Kimmel said. “We’re back on now.”

It should also be noted that Kimmel, Colbert and Meyers later posed for a photo onstage and uploaded it to their respective social media accounts with the caption, “Hi Donald!”

Guillermo brings the fun (and the tequila)

Guillermo Rodriguez, left, Jimmy Kimmel and Stephen Colbert taking a round of shots on “The Late Show.”

(Scott Kowalchyk/CBS)

Looking ahead at the remaining months Colbert will be on the air, Kimmel asked the host when he was going to “go nuts,” and suggested he lose his glasses and “maybe do some ayahuasca on set.” Kimmel then gifted him a bong with a Statue of Liberty design, which he called a “chemistry set.”

Colbert started playing along by unbuttoning his blazer and saying “f— that” to a signal that he only had a minute left in the segment. (“What are they gonna do, cancel me?” Colbert asked). Then, as if right on cue, Guillermo Rodriguez, Kimmel’s friend and sidekick on his show, came onto the stage with tequila (and three shot glasses) in hand.

On the first round of Don Julio, Colbert made a toast: “To good friends, great jobs and late-night TV.”

Colbert then poured another round and Kimmel pulled out the bong he had gifted the host. The group then took one more shot together and Kimmel toasted to Colbert.

Guillermo, who got a round of hearty cheers from the crowd, is known for giving out shots and toasting with A-Listers at awards shows and other Hollywood events.

Leonardo DiCaprio can still draw audiences to movie theaters.

His latest film, “One Battle After Another,” landed in the top spot at the box office this weekend, hauling in $22.4 million in the U.S. and Canada. Globally, the film made $48.5 million in its opening weekend. Industry analyst estimates had pegged the film’s debut at $20 million to $25 million, though some had predicted $30 million or more. Studio sources expected the film to bring in $20 million in its domestic opening.

Written and directed by auteur filmmaker Paul Thomas Anderson, “One Battle After Another” tells the story of a one-time revolutionary, played by DiCaprio, who must band together with old friends and community members to rescue his daughter from a former enemy. The film, which is loosely based on a Thomas Pynchon novel, also stars Sean Penn, Teyana Taylor, Benicio Del Toro and Regina Hall. Its budget was $130 million.

“One Battle After Another” had strong interest from Hollywood cinephiles, but there were questions about whether it would connect with more casual moviegoers, particularly since early marketing was more ambiguous about its genre. In addition, adult dramas have not performed at the box office as they did before the pandemic, as older audiences have been slower to return to theaters. Fans of DiCaprio, who may have followed his career since his turn in 1997’s “Titanic,” fall into that group.

But the film notched a solid 98% approval rating on aggregator Rotten Tomatoes and has benefited from buzz about its awards potential.

“One Battle After Another” marks the latest win for Warner Bros. The studio has had a string of success at the theaters starting with April’s “A Minecraft Movie,” which has grossed a total of $957 million. That streak continued with Ryan Coogler’s “Sinners,” James Gunn’s “Superman,” Zach Cregger’s “Weapons,” and the latest installments of franchises like “The Conjuring” and “Final Destination.” It’s been a remarkable turnaround for the studio and its film chiefs Mike De Luca and Pam Abdy, who earlier this year were reportedly on the hot seat for under-performing films.

At that time, “One Battle After Another” was seen as an especially risky bet for De Luca and Abdy, but the success of the rest of the year’s lineup has reduced the pressure on this film, said Shawn Robbins, director of movie analytics at Fandango and founder of site Box Office Theory.

“They’re in an envious position right now because they don’t need this movie to over-perform,” he said. “‘One Battle After Another’ is a little bit of a cherry on top.”

“Gabby’s Dollhouse” came in second place at the box office this weekend, grossing $13.5 million. “Demon Slayer,” “The Conjuring: Last Rites” and “The Strangers: Chapter 2” rounded out the top five.

SANTA BARBARA — “In this next song,” said Paul McCartney, “we’d like you to sing along.”

Oh, this was the one?

By an hour or so into his concert Friday night at the Santa Barbara Bowl — basically somebody’s backyard by the standards of the former Beatle — McCartney had already gotten the capacity crowd to join in on a bunch of all-timers including “I’ve Just Seen a Face,” “Love Me Do,” “Jet,” “Getting Better,” “Lady Madonna,” “Let Me Roll It” and “Got to Get You Into My Life.”

But for Sir Paul, even (or especially) at age 83, there’s always a way to take an audience higher.

So as his keyboard player plunked out the song’s lovably lopsided lick, McCartney and his band cranked through a fast and jumpy rendition of “Ob-La-Di, Ob-La-Da” that left nobody any choice but to hop up and holler about the sweet certainty of life’s going on.

Paul McCartney and his band.

(Michael Owen Baker / For The Times)

A sellout pretty much as soon as it was announced, Friday’s show was a kind of warm-up gig ahead of the launch next week of the latest leg of McCartney’s Got Back world tour, which began criss-crossing the globe in 2022 and will resume Monday night in Palm Desert after a nine-month break.

On the road he’s playing arenas and stadiums, but this hillside amphitheater seats only 4,500 or so; to make the evening even more intimate, fans had to lock their phones in little pouches on the way into the venue. (The presence of several cameras swooping around on cranes suggested that McCartney was filming the concert for some unstated purpose.)

“That’s our wardrobe change of the evening,” he said at one point after taking off his jacket, and indeed this was a slightly trimmed-down version of the flashy multimedia production that he brought to SoFi Stadium three years ago. That night in 2022, he played three dozen tunes over two and a half hours; on Friday he did a dozen fewer — no “Maybe I’m Amazed,” no “Band on the Run” — in about an hour and 45 minutes.

The advantage of the smallness, of course, was that you could really hear what McCartney and his longtime backup band were doing up there: the folky campfire vocal harmonies in “I’ve Just Seen a Face,” the propulsive groove driving “Get Back,” the barely organized chaos of a downright raunchy “Helter Skelter.”

Then again, that assumes that tracking those details is why anybody turned up in Santa Barbara.

Though he dropped an album of new solo songs in 2020, McCartney has been pretty deep in nostalgia mode since the 2021 release of Peter Jackson’s widely adored “Get Back” docuseries. He’ll tend the machine this fall with a new book about his years with Wings and an expanded edition of the Beatles’ mid-’90s “Anthology” series; next year, a documentary about the Wings era is due from director Morgan Neville; in 2028, director Sam Mendes will unveil the four separate biopics he’s making about each Beatle, with Paul Mescal in the role of McCartney.

Paul McCartney takes the stage.

(Michael Owen Baker / For The Times)

All that looking back can make it hard for even a devoted fan to take in the legend standing before them in the flesh; instead of overwriting memories with fresh information, the mind steeped in myth can train itself to do the opposite (especially when the owner of that mind has shelled out hundreds of bucks for a concert ticket).

Yet you have to hand it to McCartney, whose face bore a dusting of silvery stubble on Friday: As predetermined as this audience was to have a good time, he was tapped into the energy of a musician making minute-to-minute decisions.

He opened the show with a zesty take on the Beatles’ “Help!,” which experts on the internet say he hadn’t played in concert since 1990, then followed it up with one of his quirkiest solo tunes in the disco-punk “Coming Up,” which he juiced with a bit of Henry Mancini’s “Peter Gunn” theme.

After a flirty “Love Me Do,” he asked the women in the crowd to “gimme a Beatles scream,” then nodded approvingly at the sound. “Imagine trying to play through that,” he added.

“Jet” had a nasty swagger and “I’ve Got a Feeling” a sexy strut; “Live and Let Die,” meanwhile, was just as trashy as you’d hope.

McCartney told moving if familiar stories about meeting Jimi Hendrix and about his mother coming to him in the dream that inspired “Let It Be”; he also told one I’d never heard about screwing up a performance of “Blackbird” — “Lot of changes,” he said of the song’s complicated guitar part — in front of Meryl Streep. Because his wife Nancy was in the house, he said, he played “My Valentine,” a weepy piano ballad anyone but Nancy probably would’ve gladly exchanged for “Junior’s Farm” or “Drive My Car.”

But then what was that choice if not a commitment to the circumstances of the moment?

Paul McCartney arrives at the Santa Barbara Bowl.

(Michael Owen Baker / For The Times)

Marlon Wayans is putting up a “defensive run-stopping front” after his latest film received negative reviews from critics.

The actor took to his Instagram account over the weekend to promote his latest film, “HIM,” which hit the big screen Friday, and told fans to form their own opinions on the project. The movie currently holds a 29% score with critics on Rotten Tomatoes.

“An opinion does not always mean it’s everyone’s opinion. Some movies are ahead of the curve,” Wayans said. “Innovation is not always embraced and art is to be interpreted and it’s subjective.”

The post include screen grabs from the Rotten Tomatoes pages of his other movies that have been classified “rotten” by the website but were later embraced by audiences like 2004’s “White Chicks,” the first two films in the “Scary Movie” franchise, 2013’s “A Haunted House” and 1996’s “Don’t Be a Menace to South Central While Drinking Your Juice in the Hood.” The post ends with a screen grab of the “HIM” Rotten Tomatoes page.

“I’ve had a career of making classic movies that weren’t critically received and those movies went on to be CLASSICS. So don’t take anyone’s opinion just go see for yourself,” Wayans added.

So far, audiences have given the film a 58% on Rotten Tomatoes.

The Times film critic, Amy Nicholson, credited the the film for its “stylishly” craftsmanship but said it was lacking plot.

Donald Trump’s speech to the United Nations was one of the clearest expositions of the way he sees the world, his ideology in its rawest form.

To his supporters, it will be seen as Trumpism unplugged; to his critics, Trumpism unhinged.

Over almost an hour, he took aim at his opponents and their ideas, picking them off one by one as he toured the world. He began at home, praising the United States and himself. He said the US was living through a golden age and repeated his much-disputed claim that he had personally ended seven wars, something he argued merited a Nobel Peace Prize.

But then the president laid into his hosts. The UN, he said, had not helped his peace-making. He questioned the organisation’s purpose, saying it had tremendous potential but was not living up to that. All it did, he claimed, was write strongly worded letters that it did not follow up. Empty words, he said, did not end wars.

He also attacked the UN for the aid it gave to asylum seekers hoping to enter the US, saying “The UN is supposed to stop invasions, not create them and not finance them.” The president even attacked the UN for a broken escalator and teleprompter that disrupted his visit and speech.

On one level, he has a point. Many analysts question the effectiveness of the UN in resolving conflict these days, pointing in particular to gridlock in the Security Council and the body’s unresponsive bureaucracy.

But on another level Trump can be seen himself a cause and symptom of the UN’s lack of effectiveness; for he believes global crises are best resolved by powerful men like him getting together and hammering out a deal, not using multilateral bodies like the UN to work out collective solutions. Under Trump, the US has withdrawn much of its UN funding, leaving the body forced to cut its humanitarian work around the world.

Trump saved perhaps his biggest criticism for his European allies, attacking the continent for investing in renewable energy, and opening its borders to migration.

“Europe is in serious trouble. They have been invaded by a force of illegal aliens like nobody has ever seen before… Both the immigration and suicidal energy ideas will be the death of Western Europe,” he said.

Climate change, he claimed to audible gasps, was “the greatest con job ever perpetrated on the world” and was lumbering European countries with expensive energy costs compared to fossil fuels. He criticised in particular the UK government for imposing new taxes on North Sea oil.

“If you don’t get away from the green energy scam, your country is going to fail,” he said.

“I love Europe. I love the people of Europe. And I hate to see it being devastated by energy and immigration. This double-tailed monster destroys everything in its wake… you want to be politically correct and you are destroying your heritage.”

Note that last point. It echoes what the president said during his state visit to the UK last week when he spoke of the importance of defending the values of what he called “the English-speaking world”.

There is a cultural edge to Mr Trump’s criticism of Europe, a sense that he believes uncontrolled immigration is threatening Europe’s heritage. Not for nothing is Trump the leader of an administration that wears its religion firmly on its sleeve. “Let us protect religious liberty,” he told the UN, “including for the most persecuted religion on the planet today – it’s called Christianity.”

On a specific point of policy, the most substantive warning Trump gave related to Russia’s war on Ukraine. He said President Putin’s refusal to end the conflict was “not making Russia look good”. He said the US was prepared “to impose a very strong round of powerful tariffs” to end the bloodshed. But he said European nations had to stop buying Russian energy, claiming he only found out two weeks ago that some were doing so.

In practice, Hungary and Slovakia are the only substantive European buyers of Russian oil. Diplomats say Mr Trump is hiding behind this so he does not have to impose secondary sanctions on India and China which are both buying huge amounts of cheap Russian energy, both of whom were cited by Trump.

Perhaps more important than his speech was Trump’s social media post a short while later where he asserted for the first time Ukraine could be in a position to win back all of its territory.

His dismissal of Russia as a “paper tiger” and not a “real military power” will hurt President Putin, who is sensitive to any suggestion his country is not a global player. Diplomats said this was the latest example of Mr Trump’s journey towards a position that is more critical of Russia.

But one should always treat Trump’s words with a pinch of salt. He was being optimistic only moments after meeting Ukraine’s President Zelensky at the UN.

And he said Ukraine could win back territory with EU and Nato support; there was no mention of the US involvement. All the evidence of the last few years is that this is a war of slow attrition and Ukraine would not retake land from Russia without massive US military support.

So this was undiluted Trump; a defence of America and the nation state, an assault on multilateralism and globalism, a stream of consciousness with questionable assertions.

Six years ago Trump’s audience at the UN laughed at his at times unfactual assertions; this year they listened largely in silence.

“I am really good at this stuff,” he told world leaders. “Your countries are going to hell.”

Inside L.A. restaurant Jaragua, on a recent Friday night, Justin Alexio moved with a measured urgency from the backroom to the front of the restaurant without disturbing anyone’s dinner. The comic, producer and creator of the Los Angeles-based comedy show, Pupusas and Punchlines, Alexio escorted guests to their tables, switched on the microphones placed around the room, and pointed a camera to the center stage before the show was to begin.

The dining area inside the Salvadoran restaurant is rather quiet for a Friday night; there’s a soccer game playing on TV as a family of six places an order for dinner. As people in the audience spread their curtido, or pickled cabbage and carrots, on their pupusas, others await for their food with anticipation, while some choose to stick to drinks. The room is filled with distractions, but comedians are not fazed — it is a welcoming atmosphere, and they know that soon the sounds of laughter will fill the air.

“I feel like eating is such a large part of Latin culture and most cultures,” Alexio said. “I wanted a place where you can eat Latin food and listen to Latin jokes.”

In the wake of the COVID-19 pandemic, independent comedy shows had almost become a thing of the past in L.A. Not to mention that finding gigs is a difficult task, especially for Latinx comedians; according to Alexio, most comedy rooms don’t want to book more than one Latinx comedian.

Pupusas and Punchlines offers a place where they can perform in front of a packed room and joke about the immigrant experience in the U.S. — and the absurdities of the American dream in 2025 — while sharing a delicious meal.

Pupusas and Punchlines producer and creator Justin Alexio performs on March 7, 2025.

(Drew Steres)

Alexio said he started the show in 2023, after he took a long break from stand-up comedy, to instead pursue acting full time. His résumé includes appearances on NBC’s comedy series “Superstore” and ABC’s late-night show “Jimmy Kimmel Live!”

“The future of entertainment has to be more real,” he said of his decision to return to the stage. “Stand-up is live.”

The L.A. stand-up scene is quite competitive — especially for Alexio, who is an Afro-Latino of Puerto Rican, Dominican and Ecuadorian descent. As an answer to the marginalization of Black and brown people in mainstream comedy, Alexio said he decided to produce his own show, with hopes to highlight other Latinx performers as well.

Since then, he has expanded “Pupusas and Punchlines” immensely — from performing only once a month at half-capacity to selling out 115 consecutive weekly shows.

Alexio attributed the show’s success to the high-quality comedians he’s booked, as well as the food and the feeling of community it has created. People have told him they’ve driven more than an hour just for the show, while others have attended on multiple occasions.

“They want to support me and the show, they want to support the restaurant, they want to support the Latin comics … The crowd feels like they want to help these comics rise,” he said.

Patrons laugh at Pupusas and Punchlines on May 16, 2025.

(Drew Steres)

The majority of the comics Alexio books are Latinx, but he also includes performers who belong to other underrepresented groups. He showcases upcoming comics while providing clips to help grow their social media presence. After performing on his show, he said, comics have noted an uptick of new followers on social media.

Onstage at Friday’s show, comics pulled humor from topics related to immigration, religion, salsa, sexuality and other typical first-generation immigrant dilemmas. Performers feel like they can discuss topics they usually can’t perform in front of a more general club audience.

“I think any ethnicity in an ethnic crowd always thrive,” said comic Gregory Santos. “Obviously you can be a white boy and do a really good job here. I feel like it’s just an extra layer of stuff that you can talk about.”

Daisy Roxx performs at Pupusas and Punchlines in March.

(Drew Steres)

Pupusas and Punchlines is one of the few shows that caters toward the Latinx community, said comedian Rell Battle, as he rattled off a list of shows that sadly don’t exist anymore.

“Ironically, in a majority Latin city, there aren’t [many] consistent Latin shows,” Battle said. He described Pupusas and Punchlines as a road show of sorts — scored by genuine laughter. The audience members feel more appreciative, compared to a run-of-the-mill comedy club in Hollywood that caters more to tourists.

“People that come out to shows in Hollywood will ask me to hold the camera and take a picture of them,” Battle joked.

The crowd at Pupusas and Punchlines is not one to dismiss or antagonize comics that are not Latinx. Yet audience members would gladly correct any comic who’d assume the restaurant was Mexican, or mispronounce the word “pupusas,” as Battle sheepishly recalled during his own set. At the end of the day, they usually bond with comics over what they share in common: the drive to make it in L.A.

“When the neighborhood shows up, those are the best shows,” said Santos, between sets at Jaragua. “It’s normal people, it’s everyday neighborhood L.A. people.”

For more information on upcoming events, visit Pupusas and Punchlines on Instagram.

There were two questions the 77th Emmy Awards, held Sunday night at the Peacock Theater in downtown Los Angeles, had to answer, other than who would win what. (It’s an honor just to be nominated.)

One was how the show, a glittery evening devoted to the most popular of popular arts, would play against a world gone mad. The other, not distinct from the first, was how first-time host Nate Bargatze would do.

The ceremony is hosted by a round robin of the major networks, and this year the honor fell to CBS, whose corporate overlord, Paramount, has come to represent capitulation to the Trump administration, settling a baseless lawsuit in what is widely viewed as a payoff to grease the wheels of its merger with Skydance and promising to eliminate its DEI protocols. Executive interference in the news department amid an apparent rightward turn has led to the resignations of “60 Minutes” producer Bill Owens and CBS News President and CEO Wendy McMahon. And there’s the cancellation of Stephen Colbert’s “Late Show,” the timing of which some have found suspicious.

But if your goal was to avoid insulted celebrities, social media outrage or petulant notes from the White House, you could have done no better than to hire Bargatze, a clean, calm, classical, noncontroversial, nonpolitical, very funny, very successful comedian. Bargatze, who has been in comedy since 2002, saw his career explode over the last few years; his appeal is not so much mainstream, which is to say soft-edged, as it is broad — something for everybody.

The show opened quite brilliantly — perhaps confusingly, if you had missed Bargatze’s “Washington’s Dream” sketches on “Saturday Night Live” on which the routine was closely modeled, including the presence of Mikey Day, Bowen Yang and James Austin Johnson — with the host as Philo T. Farnsworth, “the inventor of television,” foreseeing the medium’s less than sensible future. First presenter Stephen Colbert followed immediately to a standing ovation and chants of his name. “While I have your attention, is anyone hiring? I have 200 very qualified candidates with me tonight who will be available in June.”

Emmys host Nate Bargatze, right, and Bowen Yang appear in an opening sketch at the 77th Primetime Emmy Awards at the Peacock Theater in Los Angeles on Sunday.

(Myung J. Chun / Los Angeles Times)

Then the host introduced his much publicized, one would say quintessentially Bargatzean, gimmick. To keep acceptance speeches short, he would donate $100,000 to the Boys & Girls Clubs of America; $1,000 per second would be deducted for anyone going over the allotted 45 seconds. Money would be added to the pot for anyone running short. (J.B. Smoove, a former Boys Club member, was a sort of co-sponsor, in the audience with a young boy and girl.) This efficiency made professional sense, though it had the potential to put a lid on what is usually the most interesting, unruly, moving, unpredictable part of the show. (If anyone had thought for a second, it also spelled trouble: Try talking for what you imagine is 45 seconds. You will be wrong.)

As it happened, the state of the world was addressed, sidelong and directly. Presenter Julianne Nicholson said of living in a post-apocalyptic bunker in “Paradise,” “compared to headlines that’s positively feel-good TV.” Jeff Hiller, winning supporting actor in a comedy series for “Somebody Somewhere,” thanked the Duplass brothers “for writing a show of connection and love in this time when compassion is seen as a weakness.” “Last Week Tonight” senior writer Daniel O’Brien dedicated their second award to “all writers of political comedy while that is still a type of show that is allowed to exist.” And in a generational echo of their “Hacks” characters, fourth-time winner Jean Smart (who has won seven Emmys overall) ended her acceptance speech saying, “Let’s be good to each other, just be good to each other,” while co-star and first-time winner Hannah Einbinder, finished with, “I just want to say: Go Birds, f— ICE, and free Palestine.” Going way over the 45-second limit, she promised to pay the difference on the tote board.

Hannah Einbinder accepts the award for supporting actress in a comedy series for “Hacks” during the show at the 77th Primetime Emmy Awards at the Peacock Theater in Los Angeles on Sunday.

(Myung J. Chun / Los Angeles Times)

After Einbeinder, the most direct acknowledgment of current bad events came from Academy Chair and CEO Cris Abrego, speaking of the Governors Award given the week before to the Corp. for Public Broadcasting. In a highly quotable speech, he noted how “Congress had voted to defund it and silence yet another cultural institution.” He continued, “In a time when division dominates the headlines, storytelling still has the power to unite us … In times of cultural regression [it reminds] us what’s at stake and what can still be achieved,” and he rattled off a number of much loved shows that challenged the status quo. “In a moment like this, neutrality is not enough. … Culture does not come from the top down, it rises from the bottom up. … Let’s make sure that culture is not a platform for the privileged but a public good for all.” The stars in the audience nodded approvingly.

There were also some pure delights among the bedrock of desultory scripted banter and unimpressive tributes to old shows (“Law & Order: SUV,” “The Golden Girls”). Reunited “Everybody Loves Raymond” co-stars Ray Romano and Brad Garrett, presenting the award for comedy series, recaptured the essence of their television brotherhood. Jennifer Coolidge, presenting the award for lead supporting actress in a comedy, sounded like she’d walked in from a Christopher Guest film. “Between us, I was actually hoping to be nominated for you tonight for my work on this season of ‘The Pitt.’ I played a horny grandmother having a colonoscopy during a power outage and I had to play a lot of levels. I even had to do my own prep.” She went on, after a while, to tell the nominees that winning “is not all it’s cracked up to be. It’s really not… I thought I had gotten really close with my fellow nominees especially after I won but I’m pretty sure they removed me from the group chat.”

The inevitable losses incurred by Bargatze’s charity gimmick provided a sort of running joke at the host’s expense, which he managed quite well, while some winners made a game of trying to put money back on the board. But the longer it went on, the more pressure it put on the winners to be short. Eventually, the show found its natural level, as winners said what they needed to, or much of it, and the count dropped tens of thousands of dollars past zero. For everyone but the bean counters, the least important thing about an awards show is it running on time; in any case, it was only a few minutes over.

And, as one might have expected, Bargatze — who made it through the three hours in a way that served the event and his own down-home ethos — paid the originally promised $100,000 and added a $250,000 tip.