award

Shrek’s abs are more defined than some might expect. Or is it that the shade of his green skin makes them appear more chiseled under bright lights? Maybe it’s just disorienting because no one anticipated gawking at his torso inside the historic downtown Los Angeles venue founded by Hollywood legends Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Griffith.

These are thoughts that swirl in one’s head while attending this year’s Las Culturistas Culture Awards ceremony, held on a recent Saturday night at the United Theater. An offshoot of the popular podcast that actor-comedians Matt Rogers and Bowen Yang have hosted since 2016, the award show aims to celebrate the year’s biggest pop culture moments and plays like a fever dream more dazzling and deliciously random than a late-night scroll session on TikTok.

After launching in 2022 as a live event outdoors at Lincoln Center, the guerrilla awards show reached TV screens for the first time last year. This year’s ceremony, which will air June 17 on Bravo and stream on Peacock, coincides with the podcast’s 10th anniversary and features a kaleidoscopic array of attendees, including screen veterans like Lisa Kudrow and Will Ferrell, reality TV favorites like “Summer House’s” Ciara Miller and “The Real Housewives of Dubai’s” Chanel Ayan, and anthropomorphic icons like Miss Piggy and a certain green ogre. And the prizes? It’s the only place you can find categories like “Real Housewives Award for Best Way to Start a Confrontation,” “Pornhub Category We Would Never Click On” and “Hilary Duff Award for Millennial Excellence.”

Over lunch at the NBCUniversal lot in Universal City, Rogers and Yang discussed the show’s evolution. These are edited excerpts from the conversation.

Matt Rogers, left foreground, and Bowen Yang perform a musical number inspired by “Heated Rivalry” during this year’s Las Culturistas Culture Awards.

(Monty Brinton / Bravo)

I will probably regret starting our conversation this way, but we all have our blind spots and, to thoroughly prepare for this interview, I watched “Shrek” for the first time last night.

Yang: Oh great! The first one?

Rogers: How’d you feel?

I get it now.

Rogers: Get what, that he is attractive or …?

I’m not quite there yet. You guys reference the film a lot on your podcast and Shrek has also been a figure on the awards show, including this year. I was hoping you’d explain Shrek as a heartthrob to me as if we’re in a pop culture class. When did this idea really take shape?

Yang: Over at least a couple years, to my knowledge, there’s been this online meme culture around Shrek, where it’s like, “Oh my God, Shrek is like a sex king,” but now it’s even spilled over into like dating life. I don’t know if you’ve heard of this, but there’s a verb called Shreking in dating, where it has to do with women dating a guy that’s below their league because he will be nice to them; he will be a Shrek to their Fiona. That’s an interesting thing — you date someone slightly in another zone than you, so that you can be like, “Well, that’s my Shrek,” but meanwhile, there’s the tension between that and Shrek being someone that people are actually attracted to. This just speaks to the enduring power of Shrek as a pop culture icon.

Rogers: I think what it is, is he has an amazing accent. It’s a very powerful thing. He’s independent, he’s self-sufficient, he’s a movie star.

Yang: He said it at the awards. I mean, he’s a rich celebrity.

Rogers: We saw the real Shrek at the awards and he looks pretty f—ing good to me.

Yang: He looked good to me. I don’t know what these Gen Zers are talking about with this Shrek being below your league.

What are the calls with publicists like now to get their clients to participate?

Yang: Last year was a communication puzzle to solve. We were like, “OK, we have to really convey this the right way.” We thought, perhaps naively, now that we’ve done it, now that there’s a proof of concept, it’s going to be much clearer. I think it was clearer, but there was still that degree of, “oh, this is …” — not to like give ourselves too much credit, but this is a concentric circle outside of what is very established in the form of an award show. You’ve got publicists who are like, “Well, we would love for our client to win an award.” And you’re like, “No, that’s not really the point.”

Rogers: Presenting is just as good as winning, just as good as performing. But I think it’s weird that we have been so late to stumble on what the show really is, which is it’s a variety show. And, so, in wrapping your head around it that way, it’s actually pretty easy to get across. It just has the drag of an award show, and that’s our way in.

But I do understand the publicist hesitation because I will say, in a world where it’s your job to protect your client, you’re putting them in a situation that is like, “OK, they’re going to an award show — that’s something this town takes very seriously.” So, it’s an ask to be like, “Hey, can you come take the piss out of this concept that you’re then probably gonna spend eight months of the year trying to actually achieve?” I would be lying if I said that we didn’t want one day to win one of those awards. It’s an acknowledgment of your work, but in that, Bowen and I think the No. 1 thing that’s the funniest thing in the world is people who take themselves that seriously. It’s a healthy mix of appreciation for this thing that was actually a big element of the culture that made us say culture was for us, which was watching award shows when we were kids, and also the reality that we now know as people that are in the industry of what they really are, which is they’re just shows. We’re not condemning them, we’re having fun with it.

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1. Scenes from the 2025 Las Culturistas Culture Awards: Jeff Goldblum, left, accepting the award for Most Amazing Impact in Film for his appearance in “Jurassic Park,” alongside presenter Patti Harrison. (Griffin Nagel / Bravo) 2. Allison Janney was a guest of honor, receiving the Lifetime of Culture award. (Jordan Strauss / Bravo)

Have you been asked to tweak the name of a category or punch it up even more?

Yang: Last week was the window when our producers could be very honest with us and say if something may not be working. Back to the Shrek [bit in this year’s show], actually, that ended up being much dirtier and bluer than it was on stage.

Really? I already knew I wouldn’t be able to include the award category because of Times standards. So the actual bit was raunchier?

Yang: It was even raunchier. It went for it.

Rogers: But it’s also a testament to how much freedom they give us to make our show. If they were concerned at all about us desecrating the image of Shrek, we certainly did not feel that way. I am really shocked and grateful that we get to do something that it feels like we’re getting away with something.

Take me back in time with young Bowen and young Matt. What do you remember about your enthusiasm for award shows growing up?

Yang: It was watching Billy Crystal at the Oscars do song and dance numbers, zing these things in for a laugh that we’re referencing the year, being in these video packages where he was in the movies. That it was live television and just this pageantry of people congratulating themselves, congratulating each other. I would tune in live every single year to all the award shows and I would follow the host changes. I remember Whoopi’s first year [hosting the Oscars]; I remember Ellen’s first year. I was really obsessive. It opened the door for all these things that I currently love, and that I’ve somehow had a fortunate experience in, which is live television, song and dance numbers — everything that Billy Crystal was doing. It keyed me in on how show business works, down to production elements and how filmmaking comes together.

Rogers: I just remember, I looked at the screen and I was like, “Oh, that’s where I belong. I belong with them. I don’t belong out here.” I was one of those Gold Derby kids — I would be on the forums; I still sometimes look at the odds and rankings and stuff. It was like gay sports, particularly with the best actress and best supporting actress races. And then obviously the Grammys, and all of that. One year I was watching, I think it was the People’s Choice Awards or the American Music Awards or something, and Shania Twain lost to LeAnn Rimes, and I cried for a day. I took it so seriously and my mother turned to me and said, “You need to stop.” But you couldn’t tell me it didn’t matter at the time. [Reporter’s note: Twain lost the favorite country new artist award to Rimes at the 1997 American Music Awards.]

As the profile of Bowen Yang and Matt Rogers’ variety-style award show has risen, getting stars on board is an interesting puzzle: “You’ve got publicists who are like, ‘Well, we would love for our client to win an award,’” Yang says. “And you’re like, ‘No, that’s not really the point.’”

(Jason Armond / Los Angeles Times)

What do you remember about your first experience at a major awards show?

Rogers: He was nominated as writer for “SNL” and took me as his date. We were sitting there — the “Queer Eye” guys were sitting like three rows behind us.

Yang: We watched Phoebe Waller-Bridge sweep with “Fleabag.”

Rogers: We watched Michelle Williams win for “Fosse/Verdon.” It was funny because we had gone to the bar and were double-fisting drinks back to the seats and I said to Bowen, “Oh my God, I’m like the Busy Philipps to your Michelle Williams.”

Yang: And who shows up behind us?

Rogers: Busy Philipps taps on our shoulders and goes, “You guys are killing it with those drinks.” And I’m like, she doesn’t even know I’m her. Cut to minutes later, Michelle walking up and giving a banger of a speech.

Yang: That was like our first brush with it. Even now we go to these, and we’re like, this is really something; it’s incredible. We were at the Oscars last year, front row, witnessing all of it go down, witnessing the moment where upsets would happen, feeling the vibe in the room shift. The benefit of our show is that the vibe is pretty high throughout; it does not decline as soon as there are losers in the room.

Las Culturistas Culture Awards took place in late May and is being telecast roughly two weeks later. Do you see it ever going the live route?

Yang: We don’t know. That is my not so secret dream, is to do it live one day. There’s just something about doing it live — and it occurs to me now that I’ve been very lucky and fortunate to have have my reps in. There’s just something so wonderful about it being this event where everyone is tuning in, enjoying it the same time you are. That is really something special.

Rogers: If he’s down, I’m down.

I’m sure this changes each year, but who’s your dream person to snag for an appearance?

Rogers: I would say the people that make it very apparent that they have sketch comedy and impression skills, and maybe you wouldn’t necessarily know that they do until they show that.

Yang: Ariana Grande.

Rogers: Our dream was for Ariana to come do an original character. We actually floated to her the idea — there was going to be like a Banksy reveal of MsMojo, and it was going to be revealed that it was Ariana Grande was MsMojo. But she actually was in rehearsals for the Eternal Sunshine World Tour. Little did we know she also was recording “Petal.” She was a bit too busy to play MsMojo, I guess, this time.

Yang: These two are forever paired in my head, but it’s because she’s another sketch performer: Cher. And sometimes the dream guests are not big names, it’s the people that we came up with in comedy. And actually one of the consumer research reports that we got back before we started writing this year’s show was that the thing that people loved about the Culture Awards was this crossover of reality talent, A-listers and Oscar winners, and comedy people — that mix, those three [types of] people mingling together is what the viewers want.

Rogers: I’m just so proud in every single way of the diverse array of talent that we were able to bring together. I looked out in the audience and it was just a party of so many friends and people we’ve met in the business — people that I didn’t even get to meet that night, but I was just gagged they’re there, especially in the edit, which you’ll see. This is Bowen’s first year in the edit, he had to miss it last year, but that’s what’s so cool about going through the footage, is you’re like, “Oh my God, there’s someone I’ve loved my entire life next to my cousin.” We were saying to each other that it ended up being like a weird love letter to our younger selves, having Mandy Moore and singing “Only Hope” with her and doing the “Pokémon” theme song and getting to hang out with Pikachu.

Do you worry about it ever getting too big?

Rogers: If it ever gets to a point where it couldn’t be funny, that wouldn’t work. We want it to always stay true to what it is, which is it’s our comedy special together. As long as it doesn’t feel like it’s selling out — and I can understand people watching it and being like, “Oh, they obviously had to have Nintendo characters because it’s NBCUniversal or obviously they had to include “Summer House” — none of that is true.

Yang: There’s no mandate.

Rogers: This is genuinely what we would want the show to be, and so as long as it’s that, we’re good.

So what’s your “I don’t think so, honey” on awards shows?

Rogers: I don’t think so, honey — 10 nominees for best picture at the Oscars. Why?

Yang: Totally. Tea.

Rogers: I actually think it helps things that are weirder win because it’s too many. And the way that they ranked choices. I’m a popular-vote person anyway.

Yang: I need us to really get on the same page about play-off music. Sometimes people are encouraged to go on, sometimes we turn against that. Let’s stop innovating, let’s stop trying to break the mold on them. Let’s just respect that as much as we can, unless it’s egregious.

And it’s always a bit within the show.

Yang: This is what I was about to get to. The hosts now are always trying to bitify that; it’s more of a practical thing to keep the show moving. Don’t try to put a hat on top of a hat by making it a comedic moment too. We’ve never really played with that trope, even though we could, and maybe should. For now, my attitude towards play-off music is, these people might not ever be on this stage again.

How soon do you start planning the next one?

Rogers: Hopefully, they give us the green light.

Ana Gasteyer, left, Jamie Lee Curtis and Patti Harrison at the 2025 Las Culturistas Culture Awards.

(Jordan Strauss / Bravo)

How did you go about deciding which categories would return this year and which you invent along the way?

Yang: We did an audit this year of all the categories from the last few years of doing this.

Rogers: Less made it back last year.

Yang: I think maybe about 30 max previous categories [returned] — that’s a decent ratio, 70-30 is nice. From there, we just kind of molded the clay on the table a little bit. We have the benefit of making this a recursive reinvented show every year; the categories itself are the premise, it’s the micro-premise within the segment or the element. The jokes are the nominees. Why not create new opportunities at every turn.

“Las Culturistas” expanded into a video podcast last year. How do you feel about this evolution we’re seeing to the format?

Rogers: It’s not that when I’m on camera with Bowen doing the podcast, like, “Oh, I wish I could be more relaxed,” I just wish the whole industry hadn’t gone this way because I feel like when you’re on camera, you can’t help but be a little bit more self-conscious, and that is going to come through in the podcast product. If I had my druthers, none of them would be on film. I can understand that it helps a lot and I can note a marked difference in the amount of times I get recognized now that we are on social media. It absolutely “helped” our podcast get bigger. That being said, I don’t think it was a good thing for podcasting that they all became TV shows.

Yang: It changes the register and the tone by nature. You cannot help but be motivated by different things, by the appearance of it, by the presentation of it, beyond what it was, which is just radio, which is a really important American form.

As two people who grew up being connoisseurs of pop culture, what is it like to be on the other side of it, to feel the intensity of it — I’m talking about what happened with the Jasmine Crockett comments — to become part of the conversation? What lesson came from that?

Yang: We are experiencing something in an acute way that I think everyone is experiencing, which is we are seeing ourselves in the third person. Everyone is kind of modulating their behavior based on how they are appearing out of body. It’s the way we all move through the world now, which can be snapshot and projected very widely out into the world for whatever reason.

Rogers: When you’re talking candidly, you can never know what piece of what you’re saying is going to be the piece that gets scrutinized again and again and again and again by what feels like the entire internet. And if you did, you would, of course, be more specific, and you would be able to really clearly say why you are saying what you are saying. We have had learning experiences with that, and so what we can do going forward is be more clear about the things that we do believe and stand by. That is something that even 10 years in the game we are learning how to do.

Yang: And I think on a very large scale, what is going to happen is that we are all going to adjust for the fact that we have behaviorally changed because of this idea that we’re seeing ourselves in the third person constantly. For me, personally, I’ve had to wrestle with this idea after being on “SNL” for seven years and having to evaluate myself and having an audience evaluate me every week. I’ve changed behaviorally; I need to get over this fear of being seen. I need to get better about listening to my own voice.

Rogers: The internet is a very weird place and the thing is, it deliberately ignores nuance. It willfully tries to make something seem lowest common denominator, so that there can be a community based around that thing. And that is not good for the world. It’s not good for discourse. It’s not good for our politics. It’s really bad for our politics. Until we can all get on the same page about the ways in which we are willfully misunderstanding each other and calling it discourse, it won’t get better.

Yang: The misunderstandings are about people’s tones, and not necessarily about the things that people are pointing toward.

The 79th Tony Awards went off without a hitch at Radio City Music Hall, Sunday. The show, hosted by Pink, ran just over three hours and was relatively unsurprising when it came to the wins it delivered. Although each year it seems more marquee film and television stars appear in the audience as celebrities of a certain caliber continue to flock to the stage in search of a more authentic—and immediate—connection to their audience.

This year viewers could see Adrien Brody, John Lithgow, Laurie Metcalf, Rose Byrne, Daniel Radcliffe, Nathan Lane, Alden Ehrenreich and more. Despite, or perhaps because of the star power, the show stuck to its expected script with “Schmigadoon!” winning best musical, “Ragtime” best musical revival, “Liberation” best play and “Death of a Salesman” best revival.

Still, the night had enough laughs, groans and tender moments to keep things interesting. Here are seven of our favorites.

Vampires as metaphor for what ails America

Ali Louis Bourzgui used vampires as a metaphor for American folly in his acceptance speech for performance by an actor in a featured role in a musical at the 2026 Tony Awards.

(Theo Wargo / Getty Images for Tony Awards Productions)

Who knew vampires made such a good metaphor for America’s worst excesses? When 26-year-old Ali Louis Bourzgui took to the stage at Radio City Music Hall after an upset win for performance by an actor in a featured role in a musical, he used the undead to poignantly describe the country’s biggest sociopolitical challenges.

“Vampires represent those who have shunned their own humanity in order to achieve a nonexistent sense of superiority. The billionaires will never find happiness from their money. The colonizers will never find fulfillment from the land and lives they steal. The fascists will never find meaning from their conformity, not in this lifetime or eternity,” said Bourzgui, who originated the role of David in the musical adaptation of the cult vampire horror film “The Lost Boys.”

—Jessica Gelt

A Tony trifecta for John Lithgow and Laurie Metcalf

John Lithgow won the third Tony Award of his career at the 2026 Tony Awards at Radio City Music Hall.

(Theo Wargo / Getty Images for Tony Awards Productions)

It’s always a good feeling when actors we have known and love get rewarded by a well-deserved win, and so it was on Sunday night when John Lithgow and Laurie Metcalf took back-to-back wins early in the show. The former for performance by an actor in a leading role in a play for his portrayal of the controversial, beloved British author Roald Dahl in Mark Rosenblatt’s drama “Giant.” The latter for featured actress for her portrayal of Willy Loman’s protective wife, Linda, in “Death of a Salesman.” The plays were quite different, but the winners shared a very specific honor: the night marked the third Tony win for each actor.

Lithgow won his previous trophies in 1972 and 2002, and Metcalf in 2017 and 2018.

—Jessica Gelt

Nathan Lane is an ‘American theatrical treasure’

Nathan Lane accepts the best revival of a play award for “Death of a Salesman” at the 2026 Tony Awards.

(Theo Wargo / Getty Images for Tony Awards Productions)

Unless Nathan Lane gets a crack at playing King Lear, his Willy Loman in Joe Mantello’s production of Arthur Miller’s “Death of a Salesman” will go down as one of the peak challenges of his acting career. Not winning the Tony for his indefatigable performance must sting, but John Lithgow was favored to win for his brave turn as the baleful Roald Dahl of Mark Rosenblatt’s “Giant.” Lane had to have been prepared but a subtle wince of disappointment could be detected when the camera pryingly caught his immediate reaction.

So it was gratifying to see Lane receive his due from Mantello, who upon accepting his award for directing credited Lane with being the inspiration for the production. And when “Salesman” won for best revival, it was only fitting that Lane accepted the award on behalf of the company about a play that, ultimately, he pointed out, is about a family.

It was a point that Laurie Metcalf, who won for her featured performance as Linda Loman, also raised when she thanked Lane, Christopher Abbott (who played Biff) and Ben Ahlers (who played Happy) —her ferocious Loman family— for making her better.

A three-time Tony-winner already, Lane doesn’t need another trophy to assure him that he’s an American theatrical treasure. But this wasn’t just another Broadway outing for him. This was Miller’s masterwork in a production that will be remembered long after the tally of this year’s Tony Awards are long forgotten.

—Charles McNulty

Joshua Henry is a good person, a great actor and everybody loves him

Joshua Henry won a Tony Award for performance by an actor in a leading role in a musical at the 79th Annual Tony Awards, earning perhaps the most rousing standing ovation of the night.

(Theo Wargo / Getty Images for Tony Awards Productions)

The biggest standing ovation of the night came when Joshua Henry won the award for performance by an actor in a leading role in a musical for his critically acclaimed portrayal of Coalhouse Walker Jr. in the revival of “Ragtime.” Wearing a show-stopping black suit with golden flowers, Henry rushed to the stage as the star-studded crowd leapt to its feet to deliver a rousing standing ovation.

Henry first came to the full attention of fans playing Aaron Burr in the 2017 national tour of “Hamilton,” and has since gone on to distinguish himself as one of Broadway’s most charming and relatable stars. His optimism and kindness shine through, as does his fierce love of his art form, which was apparent as he gave his acceptance speech, thanking — in particular — his first vocal coach for believing in him. He also gave a poignant shout-out to the show’s original cast members Brian Stokes Mitchell and Audra McDonald, and sent all the love to his three young sons.

—Jessica Gelt

Pink had fun, but didn’t seem to know why she was there

Neil Patrick Harris and Pink perform during The 79th Annual Tony Awards at Radio City Music Hall.

(Jenny Anderson / Getty Images for Tony Awards Productions)

Pop star Pink kicked off the show with a wink and a nod to her hit “Lady Marmalade,” and went on to wow the audience with an action-packed opener filled with more than 150 performers and riffs from every Broadway show imaginable, plus a spirited appearance by Megan Thee Stallion. But the line that resonated most came early on when she spun hopelessly on a rope above the stage dressed as Peter Pan and a worried Neil Patrick Harris appeared to ask why she was performing in such an old-fashioned show.

“I just want to show how much I love theater even though I’ve never been on Broadway,” Pink said, still dangling, but nailing a few tricks. “I’m just concerned people might be like, ‘Why’s Pink hosting the Tonys?’”

That wasn’t the first time she seemed to be apologizing to the audience for being there.

—Jessica Gelt

Darren Criss gives happy endings

Darren Criss and Nicole Scherzinger joked it up during the 79th Annual Tony Awards at Radio City Music Hall.

(Theo Wargo / Getty Images for Tony Awards Productions)

Darren Criss is a Broadway superstar who consistently delivers “Happy endings,” according to co-presenter Nicole Scherzinger.

In what might have been the show’s most racy and deliciously groan-worthy joke, Scherzinger, stood side-by-side with the “Maybe Happy Endings” star to deliver the penultimate awards of the night, and noted, “You gave the world happy endings.”

“I did?” asked Criss, feigning innocence.

“You’re a giver,” said Scherzinger.

The pair took a beat through bubbling titters from the audience before knowingly yelling, “Happy Pride everyone!”

—Jessica Gelt

Leslie Odom Jr. delivers a moving in memoriam

Leslie Odom Jr. performs the In Memorium tribute during The 79th Annual Tony Awards at Radio City Music Hall.

(Theo Wargo / Getty Images for Tony Awards Productions)

Tony Award winner Leslie Odom Jr. sang a soulful rendition of “Without You” from “Rent” during the ceremony’s In Memoriam segment, which honored artists who died in 2025 and 2026, including Diane Keaton and Robert Redford. These annual segments are mournful — and tricky — and the “Hamilton” star managed to create an understated atmosphere that set the perfect tone for the somber projection of recently lost greats such as Robert Duvall, Tom Stoppard and Carmen de Lavallade.

—Jessica Gelt

It was a strange year on Broadway, but then it’s been strange everywhere. Our world at times seems downright unrecognizable, with politicians acting like mob bosses, AI transforming not just the internet but potentially the entire economy, the cost of living leaving only the super rich able to keep up, and I won’t even mention the climate crisis, but the forecast calls for more doom and gloom.

Good work, however, won’t be denied, even if Broadway producers have perhaps overlearned the lesson of last year’s sleeper, Cole Escola’s “Oh, Mary!” Parody with a heavy dose of camp has become all the rage in a theatrical season in which the best musical winner, “Schmigadoon!,” is an affectionate sendup of golden age classics by Rodgers and Hammerstein, Lerner and Loewe and their inspired descendants.

If Broadway is changing faster than the old guard can keep pace, the same is true for the culture in general. The economics of producing have scrambled the old playbooks. Unusual risk has occasionally brought unexpected rewards. “Schmigadoon!” fended off the competition to take the night’s top prize along with awards for both its book and score by Cinco Paul.

Michael Arden’s spectacular production of “The Lost Boys” — the staging won awards for Dane Laffrey’s scenic design and Jen Schriever and Arden’s lighting — enriched the 1980s cult film on which the show is based with human substance and high-flying showmanship. Shoshana Bean’s win for her featured performance as a persevering single mom, is a testament to the musical’s capacious heart. Ali Louis Bourzgui’s somewhat unexpected yet eminently worthy triumph for his featured performance as the vampire with front-man magnetism, catalyzed the production’s thrilling virtuosity. But few would describe this year’s ragtag selection of new musicals as robust.

The only overriding lesson may be that there are no overriding lessons. Two-time Oscar winner Adrien Brody made his Broadway debut in “The Fear of 13,” reprising his acclaimed Olivier-nominated London performance. But he didn’t even receive a nomination for his work — a snub that I found unaccountable.

Spoofs like best musical nominee “Titanique,” a zany burlesque of James Cameron’s “Titanic” and all things Celine Dion, found new respectability on Broadway. And “Two Strangers (Carry a Cake Across New York”), the two-person British musical by Jim Barne and Kit Buchan, endeared itself to audiences (if not so much to Tony voters) with its rom-com appeal. But what does it say about a season in which musical revivals upstaged new work?

“Ragtime,” the Lincoln Center Theatre production directed by Lear deBessonet that originated at New York City Center, was not only the most operatic offering of the season but was all the most emotionally stirring and dramatically ambitious. The show, which justly received the Tony for best musical revival contained perhaps the season’s most seismic tour de force. Joshua Henry’s Tony-winning lead performance as Coalhouse Walker Jr., the path-breaking pianist tragically ahead of his time, was astonishing in both its theatrical might and its generosity, which allowed everyone around him to shine, especially Caissie Levy, who picked up a Tony for her lead performance as a white matriarch whose political consciousness courageously awakens.

“Cats: The Jellicle Ball” pulled off the seemingly impossible by making Andrew Lloyd Webber’s megamusical look cool on Broadway. The production’s radical concept brings the queer audacity of Harlem Ballroom culture to these feline proceedings. For their imaginative daring, co-directors Zhailon Levingston and Bill Rauch were justly honored as were costume designer Qween Jean and choreographers Omari Wiles and Arturo Lyons, among the production’s notable awards.

“Chess,” which was strangely overlooked in the best musical revival category (“The Rocky Horror Show” strutted in instead), may not have managed to overcome the challenge of this over-elaborate geopolitical tale, even with a puckish new book. But the production made Nicholas Christopher a likely future Tony winner star.

What was old was new again on Broadway, but let’s hope that producers can still believe that the best is ahead of us.

BOSTON — Former Federal Reserve Chair Jerome Powell used one of his first major public appearances since leaving office to defend independent institutions while accepting an award Sunday honoring his efforts to preserve the central bank’s independence.

Speaking at the John F. Kennedy Presidential Library overlooking Boston Harbor, Powell called universities, courts, Congress and the central bank “the foundation and the embodiment of our democracy” and argued that the Fed’s independence was a “priceless asset” that must be protected.

It was one of his most direct defenses of Fed independence, warning that a single administration’s decision to remove bank officials over policy differences would open the way for future elected officials to follow suit, ultimately undermining the credibility that the Fed has spent decades building.

Powell, who frequently clashed with President Trump during his eight years as chair, stepped down as his term expired in May. He was succeeded by Kevin Warsh, whom Trump selected to lead the central bank.

After stepping down as chair, Powell took the unusual step of keeping his seat on the Fed’s governing board, which he has until January 2028. By doing so, he has deprived the Trump administration of an opportunity to appoint another member of the board.

The Trump administration has also sought to fire Fed governor Lisa Cook, which would open an additional seat on the rate-setting committee the president could fill. Yet Cook sued and the courts have so far let her keep her seat.

While Powell never mentioned Trump by name Sunday, he repeatedly returned to the importance of protecting institutions from political pressure and preserving public trust in their independence.

“Like many other institutions, the Fed has been undergoing a stress test,” he said. “Congress wisely chose to insulate monetary policy decisions from political pressure. All other advanced economy nations have done the same.”

Since 1989, the John F. Kennedy Profile in Courage Award has recognized public servants who make what the foundation describes as courageous decisions of conscience despite personal or professional consequences.

Previous recipients include former Presidents Barack Obama and George H. W. Bush, Ukrainian President Volodymyr Zelensky and former Vice President Mike Pence.

In March, the foundation said it was awarding Powell for protecting the independence of the Federal Reserve “despite years of personal attacks and threats from the highest levels of government.”

Trump harshly criticized Powell throughout his tenure as chair, frequently attacking the Fed’s interest-rate decisions and urging the central bank to cut borrowing costs more aggressively.

Beyond the Federal Reserve, Powell defended U.S. universities and research institutions, the Constitution, Congress and the court system.

“The United States has long been the leader of the world’s freedom-seeking people — the indispensable nation. Other countries know us as a nation built on integrity, and that integrity must be maintained,” he said.

In his remarks, Powell indirectly acknowledged mistakes as chair. The Fed is legally required to seek stable prices, but inflation surged amid the pandemic’s supply chain crunch. Many economists believe the central bank should have raised interest rates more quickly in response.

“At the Fed, we are, of course, human and thus imperfect,” Powell said. “When we make mistakes, we acknowledge them and change course.”

Powell was honored alongside residents of Minnesota’s Twin Cities, who received the award for what the Kennedy Foundation described as acts of courage during a federal immigration crackdown that led to thousands of arrests and the deaths of Minneapolis mother Renée Good and nurse Alex Pretti, both of whom were killed while observing or documenting enforcement activity.

“It’s wonderful just to be invited, honoring Renée,” Good’s father, Tim Granger, said as he entered the library with family members.

Kennedy’s only surviving child, Caroline Kennedy, and her son, Jack Schlossberg, said in a statement that without people like Powell and those in Minnesota “willing to put their lives on the line to hold America to its promises, our democracy can’t survive.”

Attendee U.S. Sen. Amy Klobuchar, who is running for governor of Minnesota next year, reflected that the award was unusual because it recognized ordinary residents rather than elected officials.

“This didn’t go to an elected leader for a reason,” Klobuchar said. “It’s because the people stood up. They stood up by marching 50,000 strong. They stood by bringing kids they didn’t even know — strangers’ kids — to school, by bringing them groceries and they didn’t blink. And that’s what this award is about. It’s about courage.”

Willingham writes for the Associated Press. AP journalist Christopher Rugaber contributed to this report from Washington.

THE UK has some incredible beach lidos, but this one in the south of England is now award-winning.

Just inland beyond Saltdean Beach in Brighton is its beautiful art deco pool that previously underwent a revamp – and has just won a prestigious prize.

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Saltdean Lido has been open since 1938 to keen swimmers and has undergone significant upgrades throughout the years.

But in 2010, Saltdean Lido began a major revamp, preserving original features, restoring the building and upgrading the café, library, ballroom and an exercise space.

It cost an estimated £11million which was paid for by donations and National Lottery funding.

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After 14 years, it was finally completed in 2024 and now, it is one of six winners in the South East division of the 2026 Royal Institute of British Architects (RIBA) Awards.

The prestigious architecture award celebrates design innovation and social impact of buildings around the country.

Along with the other winners, Saltdean Lido was praised as being “exceptional.”

Saltdean Lido is a 40 metre outdoor heated pool and remains open all year, even during the winter.

It has a kids’ splash pool and grassy area making it a popular spot in the summer months.

In the lido building is a café which recently rebranded as the Reading Room, which serves up snacks, toasties and drinks.

On-site is also a gym, as well as saunas and plunge pools designed to increase circulation and boost immune systems.

Classes are held at the lido too, from yoga to Pilates, tai chi and dance – it’s also home to a public library.

There’s a huge ballroom too where events are held and it can even be hired out for weddings.

Events take place throughout the year; coming up in a few months is ‘Dogtember’, which is dubbed the ‘biggest dog swimming event in the UK’.

It runs for four weekends where dogs and humans alike will take to the pool in 90-minute sessions.

Built in the 1930s, the lido was considered such an innovative design of its time.

However, it was forced to close just two years later due to the war and remained closed for the next 19 years.

It was even nearly bought by Butlins in 1958 when it was derelict but this plan was scrapped.

The lido reopened in 1964 after being bought by the Brighton Town Council.

NEW YORK — President Trump won’t have to pay an $83-million defamation award to a longtime advice columnist until the U.S. Supreme Court gets a chance to review the case or reject an appeal, according to a court entry Tuesday.

The 2nd U.S. Circuit Court of Appeals agreed to a request by one of Trump’s lawyers to let the president delay the payment to E. Jean Carroll, though it required that Trump post a $7.4-million bond to cover any additional interest costs, a request Carroll’s attorney had made.

The appeals court late last month refused Trump’s request for a rare meeting of the full 2nd Circuit to hear an appeal of a three-judge panel’s affirmation of the January 2024 verdict.

Afterward, Trump attorney Justin D. Smith asked the 2nd Circuit to stay the effect of its decision upholding the award so that the president would not be forced to pay the judgment before the high court has a chance to consider an appeal.

Smith said last week there was a “fair prospect” that the Supreme Court will find in favor of Trump, who has called Carroll’s claims — first made publicly in 2019 — that she was sexually attacked by Trump in a Manhattan luxury department store dressing room in the spring of 1996, a “made-up scam.”

The $83-million award to Carroll, 82, came from a jury that briefly heard Trump testify and observed his animated behavior for several days.

In upholding the verdict, a 2nd Circuit panel wrote in September 2025 that Trump continued his attacks against Carroll for at least five years, making them “more extreme and frequent as the trial approached.”

“He also continued these same attacks during the trial itself,” the appeals court said. “In one such statement, issued two days into the trial, Trump proclaimed that he would continue to defame Carroll ‘a thousand times.’ ”

The jury had been instructed to accept the findings of a jury that in May 2023 awarded Carroll $5 million after concluding Trump sexually abused her in the department store and then defamed her after she published her account of it in a 2019 memoir.

Trump is challenging the $83-million award on several grounds, asserting “absolute immunity” for comments he made while president as he disavowed knowing Carroll and attacked her motivations, saying they were politically driven or arose from a desire to promote her memoir.

Sisak and Neumeister write for the Associated Press.

Manchester United captain Bruno Fernandes has not come close to winning the Premier League or Champions League since joining the club in 2020.

He did lift a couple of domestic cups under Erik ten Hag – and if United finish third this season, it will be a position they have only bettered once during Fernandes’ time at Old Trafford.

But it represents a meagre return for a player many argue is United’s best signing since legendary manager Sir Alex Ferguson retired in 2013, and someone, they argue, who deserves a place among the club’s best in the Premier League era.

On Friday, he was named the Football Writers’ Association’s footballer of the year. But Fernandes is not one for coveting individual awards.

When he spoke to the media in October, he said: “I don’t see it that one player is better than another because he wins more trophies. Not every time the best player in the world is the one that wins the Ballon d’Or.

“I want to win trophies. I want to be recognised by the many good things I did for the club, for bringing something back to the club, not just my individual numbers.”

United will not win a trophy this season, but there are still a couple of significant milestones ahead of Fernandes.

He needs just one more assist to equal the individual Premier League record of 20 in a single campaign – jointly held by Arsenal great Thierry Henry and former Manchester City star Kevin de Bruyne.

Fernandes is eight clear of Manchester City’s Rayan Cherki in the Premier League’s assists chart this season, with West Ham’s Jarrod Bowen third with 10 assists.

Beating the record clearly means a lot to Fernandes, who will be a key part of Portugal’s World Cup squad this summer. So much so, one of his United team-mates told him he felt Fernandes would previously have taken a shot against Brentford recently, rather than set up striker Benjamin Sesko. Fernandes rejected that notion.

Fernandes is also favourite to win the prestigious PFA Players’ Player of the Year award, which Henry and De Bruyne both took twice.

Despite the lack of major trophies, would the assist record and another player of the year award confirm his status as one of the most creative forces of the Premier League era?

There is no doubt Manchester United have given Bruno Fernandes a push to get this award.

United have been playing up Fernandes’ claims and also ensured the Portugal playmaker was promoted through some recent media engagements.

However, this would have been pointless had Fernandes not delivered at a time in the season when United needed him to deliver.

In October, when Fernandes spoke about qualification for the Champions League, few thought it was likely.

In January, when technical director Jason Wilcox told the United squad that was the aim despite Ruben Amorim’s dismissal, it seemed a tall order.

That they have achieved it with three matches to spare and could yet end the campaign nearer in points terms to the eventual champions than in any other season since Sir Alex Ferguson’s retirement 13 years ago, owes a huge amount to Fernandes.

Since returning from a rare injury against Burnley, Sunday’s victory over Liverpool was only the third match out of 16 in all competitions when Fernandes has not either scored a goal or created one.

His performances across the season have been consistently high and worthy of wider recognition.

Twelve months ago, when the debate over Fernandes’ United future raged, the question being asked was simply this: where would they be without him? The suspicion was they would have been much closer to relegation than they actually were.

The same could be asked now. The answer? They surely would not be looking forward to a Champions League return.

Riverside County has been ordered to pay $2.25 million to a former sergeant who said he was pressured into early retirement in retaliation for reporting workplace harassment by a superior.

Sgt. Frank Lodes was forced to leave the job he loved in 2022 — penning a resignation letter in a Del Taco parking lot — while a high-ranking department official threatened him with mounting investigations, according to the complaint. On Tuesday a civil jury concluded that Lodes resigned involuntarily due to his reporting of a hostile workplace and was awarded the multimillion-dollar payment as compensation for his emotional damages.

Lodes’ attorney Bijan Darvish said the award was a “significant number” that adequately represents the harm inflicted on Lodes, noting that the period since his forced retirement has been the “darkest four years” of Lodes’ life.

He said that his client did not wish to comment on the verdict as discussing the events remained painful. The Sheriff’s Department and the county did not immediately respond to a request for comment.

“Being a cop was his life; he lived and breathed it 24/7,” Darvish said. “It was his entire identity, and that’s why it was so difficult for him when it was taken away.”

The jury award comes amid a rare wide-open governor’s race that includes the head of the Sheriff’s Department, Chad Bianco, who is a leading GOP candidate for the seat. Bianco has staked his campaign on his lengthy career in law enforcement, which spans more than three decades, including serving as the elected sheriff of Riverside County since 2019.

Although high-ranking Sheriff’s Department officials were involved in Lodes’ case, Darvish said there was no evidence presented at trial that Bianco had direct knowledge of his client’s mistreatment. Bianco was not a defendant in the lawsuit. His campaign did not respond to a request for comment.

Darvish argues that the case points to a departmental culture of covering up allegations of misconduct.

“When there’s a harassment complaint made against the captain and they never investigated, and they pressure someone to resign and withdraw the complaint,” he said, “then that’s a systemic issue.”

The retaliation began after Lodes, a 25-year veteran of the department, formally reported workplace harassment with human resources in March 2022, according to the complaint.

Lodes had been called mentally ill in front of his peers by a captain during a promotability meeting around October 2021. A few months later, he found degrading posters of his head on a child’s body shoved inside his uniform pockets and gun holster and plastered over the station walls, according to the complaint.

The department responded to his harassment report by launching an investigation into Lodes unlawfully using informants and threatening him with possible criminal prosecution, according to Darvish.

The jury agreed that these allegations were a manufactured excuse to cover up unlawful retaliation.

Within days of filing the workplace harassment complaint, a Internal Affairs sergeant packed Lodes’ personal belongings in a box and drove them to his house, according to the complaint. The sergeant spent hours pressuring Lodes, then 47, to accept early retirement.

The following day, Lodes was told to meet with a high-ranking official in the Sheriff’s Department in a Del Taco parking lot who instructed him to resign immediately and withdraw his harassment complaint.

The $2.25-million award in the civil case will come from the county’s coffers.

The award casts renewed scrutiny on Bianco’s Sheriff’s Department two weeks before primary election ballots land in Californians’ mailboxes.

He was also in the spotlight in March after seizing more than 650,000 ballots from the November election as part of an investigation to determine if they were fraudulently counted. He put the investigation on hold shortly before the California Supreme Court halted it pending further review.

Times staff writer James Queally contributed to this report.

First all-women cohort of winners hails from Colombia, Nigeria, Papua New Guinea, South Korea, the UK and the US.

This year’s prestigious Goldman Environmental Prize has been awarded to six grassroots environmental activists from around the world for their efforts to fight climate change and save biodiversity.

For the first time since the prize was created in 1989 by philanthropists Richard and Rhoda Goldman, all recipients of the award are women: Iroro Tanshi, from Nigeria; Borim Kim, from South Korea; Sarah Finch, from the United Kingdom; Theonila Roka Matbob, from Papua New Guinea; Alannah Acaq Hurley, from the United States; and Yuvelis Morales Blanco, from Colombia.

Sometimes described as the “Green Nobel”, the Goldman Prize recipients are chosen from each of the world’s six primary regions. They each receive $200,000 in prize money.

“While we continue to fight uphill to protect the environment and implement lifesaving climate policies – in the US and globally – it is clear that true leaders can be found all around us,” said John Goldman, vice president of the Goldman Environmental Foundation.

“The 2026 Prize winners are proof positive that courage, hard work, and hope go a long way toward creating meaningful progress.”

Morales Blanco, the winner for the region of South and Central America, fought some of the world’s biggest oil companies to successfully stop the introduction of commercial fracking into Colombia.

The 24-year-old grew up in a family of fishermen along the banks of the Magdalena River in the Afro-Colombian community of Puerto Wilches. “We had nothing but the river – she was like a mother who took care of me,” she said.

She began organising protests after a major oil spill in 2018, which forced the relocation of dozens of local families and killed thousands of animals. Her activism, which made her a target for intimidation and forced her to temporarily relocate, helped halt projects and elevate fracking as an issue in Colombia’s 2022 election.

Two of the other five recipients of this year’s prize have also focused their efforts on fighting fossil fuels, which are causing both global climate change and more localised pollution around the world.

Borim, the winner for Asia who started the Youth 4 Climate Action organisation, won a ruling from South Korea’s Constitutional Court that the government’s climate policy violated the constitutional rights of future generations, the first successful youth-led climate litigation in the continent.

Finch, Europe’s winner, told The Times newspaper she will use her prize money to keep fighting fossil fuels.

Together with the Weald Action Group, she fought oil drilling in southeastern England for more than a decade, securing the “Finch ruling” from the Supreme Court in June 2024, stating that authorities must consider fossil fuels’ impacts on the global climate before granting permission to extract them.

Two other recipients have fought against the destructive environmental impact of mining projects.

Papua New Guinea’s Roka Matbob, winner for Islands and Island Nations, led a successful campaign that saw the world’s second-largest mining company, Rio Tinto, agree to address environmental and social devastation caused by its Panguna copper mine, 35 years after it was closed following an uprising.

And the award recipient for North America, Acaq Hurley, from the Yup’ik nation in the US, successfully fought alongside 15 tribal nations to stop a mega- copper and gold mining project that threatened ecosystems in Alaska’s Bristol Bay region, including the largest wild salmon runs in the world.

Meanwhile, Nigeria’s Tanshi, Africa’s winner, rediscovered the endangered short-tailed roundleaf bat and has been working to save its refuge, the Afi Mountain Wildlife Sanctuary, from human-induced wildfires.