ITV is set to broadcast a 24-hour live stream from the Big Brother house ahead of the new series
Big Brother is returning to our screens in just a few days(Image: Vianney Le Caer/Shutterstock for Big Brother)
Big Brother fans have been begging ITV to resurrect the show’s beloved round-the-clock live stream.
It appears show bosses have finally listened, but there’s a brutal catch that has left viewers fuming. Rather than giving fans unfiltered access to watch the Housemates in their new home, ITV is handing the keys over to content creator crew The Bov Boys.
The social media influencers will occupy the property for a full 24 hours before this year’s contestants walk through the door. The broadcaster confirmed the twist on Thursday (September 10), revealing that the Manchester lads will move in on Saturday (September 12) as producers apply the finishing touches ahead of Sunday’s official series launch.
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The stream will run continuously on Twitch and YouTube, giving viewers a preview of the brand-new house. The official synopsis promises plenty of entertainment, teasing: “Viewers can watch the takeover unfold live for the full 24 hours, with the action streaming continuously across Twitch and YouTube.
“From the moment they arrive until they’re finally sent packing, viewers will have an exclusive, around-the-clock look at all the drama, antics and action inside the House.”
ITV viewers will no doubt recognise The Bov Boys member Angry Ginge, real name Morgan Burtwistle, following his triumphant appearance on I’m A Celebrity… Get Me Out Of Here! just last year. The rest of the crew consists of Tays, Jakey Davies, Heinz Baines and Chazza.
However, Heinz Baines will not be taking part in the stream due to a “family commitment,” reports OK! The popular social media group won’t be the only influencers getting a sneak peek at the iconic house, they have also extended invitations to fellow creators Adeola Patronne, Mariam Musa, Shauna Games, Scouse Mali and Pieface.
The announcement has been greeted with some excitement, with one Instagram fan gushing: “This feels like Christmas came early,” and a second agreeing: “THIS IS INCREDIBLE! “Let’s go lads this is huge”
Someone else raved: “OMG my 2 favourites together can’t wait BIG BROTHER BOV HOUSE.” However, other viewers have labelled the twist a “slap in the face”, given that fans have been pleading with producers to bring back the show’s much-loved 24-hour live stream feeds of the actual Housemates.
A furious fan posted: “Load of c**p. You can’t give us live feed for the main series but will stream the dry run,” with a second adding: “Sorry but are you actually trying to annoy your fans @bbuk?! You’ll do a 24/7 live stream for a bunch of randoms testing the house, but won’t do any live stream at all for the actual show?!”
Yet another viewer critiqued: “I find it really wild that the Big Brother producers promote a pre-series live stream with content creators going in, but can’t invest in a consistent series long live stream. It’s really sad. #BBUK.”
Big Brother x Bov Boys 24-Hour Takeover will be a live co-stream on The Bov Boys’ individual Twitch accounts, plus a live stream on BBUK and ITV YouTube accounts from Saturday 12th September at 12pm.
The series launches on Sunday (September 13) at 9pm on ITV2 and ITVX.
VENICE, Italy — When Skyler Gisondo turns up in “Primetime” as “Decoy Dan” Plum, an aspiring 23-year-old actor cast to play teenage bait for an unsuspecting pedophile, the camera can’t take its eyes off him.
The second trap set in director Lance Oppenheim’s lurid sweeps-ploitation drama about “To Catch a Predator” follows Gisondo’s face, most often in extreme close-up, as Dan processes what he’s gotten himself into, attempts to make small talk with the predator and finally flees off set, where he sits down, steadies himself and sheds a shaken tear. The suspect, meanwhile, is an afterthought, or more accurately a punchline: He only truly captures the camera’s attention when he drops trou, rips the top off a canister of whipped cream and sprays.
It’s an arresting formal choice, repeated from the opening sequence — that of the viral “You see how this looks, right?” moment from the trailer — to the climatic suicide of Rockwall County, Texas, Assistant Dist. Atty. Bill Conradt Jr., whose case is explored in the Esquire magazine article on which Ajon Singh’s screenplay is based. With rare exception, “Primetime” doesn’t have the guts to look its predators in the eye.
And perhaps it doesn’t need to. The film directs its most gleeful energies instead to taking “To Catch a Predator” host Chris Hansen (Robert Pattinson) down a peg. The former “Dateline NBC” correspondent, who turned a newsmagazine segment about men soliciting teens for sex online into a hidden-camera sensation in the mid-aughts, comes off here as a self-serious showboat who’s mistaken tabloid trash for accountability journalism. (As one audio technician complains, “Guy thinks he’s f— Mike Wallace.”) It’s not just that stentorian voice, either. Envy of “Dateline” co-anchor Stone Phillips provides as much motivation as ratings pressure from TV executive Jeff Zucker (playing himself), with Hansen micromanaging his crew, insulting his producer, Andie (Merritt Wever), and neglecting his wife and kids in the process.
At least in the film’s early going, this yearning for adulation is played for cringeworthy comedy, and effectively so; my hardest laugh came when Hansen screens the rough cut of a new episode for his young sons and brags to them about “To Catch a Predator” being moved to a better time slot. As the tone moves toward horror, though, the decision to make the host the story quickly stops paying dividends. Indeed, though the real-life broadcaster may not find all the ego-deflation very funny, even Hansen — who told my colleague Stephen Battaglio that he objects to the film using his name and likeness under the label “inspired by true events” — would have to admit that “Primetime” avoids the thorniest questions about the true-crime empire he built.
Robert Pattinson as Chris Hansen in “Primetime.”
(A24)
Compared with David Osit’s superb 2025 documentary “Predators,” a kaleidoscopic examination of the phenomenon from the perspective of Hansen, the decoys, the suspects, law enforcement, journalistic ethics and the filmmaker’s own experience as a survivor of child sexual abuse, “Primetime” seems remarkably incurious about “To Catch a Predator” and its consequences. It would probably be too much to ask a scripted feature to explore the challenge of achieving convictions against defendants ensnared on an episode of “Dateline,” or to delve into the legal niceties of surreptitious recording. But the suspects here are so anonymized — seen in profile or steep angles through a hidden camera lens, spied at a distance on a monitor in video village, heard as a disembodied voice on a phone or read via text in an instant message — that there’s not much to argue over anyway. The predators are reduced from people to “perverts,” of scarcely more interest to “Primetime” than to the bloodthirsty viewer Hansen meets on a plane.
When an entrapped rabbi attacks Hansen during a sting, screaming in his own tight close-up, “You don’t have the right to do this. Who do you think you are?” the film briefly, mercifully breaks this pattern, and generates an electric moment of moral uncertainty. But it doesn’t last. Instead, in its depiction of the Conradt case — ostensibly meant to underscore “To Catch a Predator’s” worst extremes — “Primetime” stumbles into some of the very same gutter sleaze tactics as the original series, transforming what was in reality a grim mid-afternoon standoff into a tense, pitch-dark operation punctuated by lightning strikes, power outages and night-vision cameras.
Such poetic license offers little new insight into a topic that has already been picked over for two decades, but it might be forgiven were Hansen as easily dramatized as he is made fun of. Alas. “Primetime” itself seems to know this — why else hire Gisondo to play Jimmy Olsen to Pattinson’s unlikable Man of Zeal — yet proceeds to construct its second half around Hansen’s unraveling: an extramarital affair, about to be exposed in the National Enquirer; ratings losses to ABC competitor “Lost”; desperation to reel in a “whale” and willingness to cut corners to do it. By the time the film again confronts the specter of something wicked under “To Catch a Predator’s” glossy surface, it comes in the form of Hansen’s own phantoms, introduced in a grueling flashback to India in the 1990s and carried through to the film’s conclusion. Why we’re to care about this apparent flash of horror, if not of conscience, remains unexplained. What about the faintly ludicrous figure of the foregoing 100-plus minutes was supposed to make me care about his moral compass?
In the final estimation, then, “Primetime” isn’t a Chris Hansen hit piece. In fact, it’s so in love with its flawed protagonist that it can’t see he’s the least compelling character in the movie, an ambitious, arrogant, grasping, unscrupulous man we’ve met countless times before. Which may explain the film’s final bit of poetic license. The last we last see of Hansen, muttering lines from his script as the police process the Conradt crime scene, suggests a man disturbed, perhaps even chastened, by what he has witnessed. But of course the real-life Hansen continues his sting operations to this day under the banner of “Takedown,” a series on his streaming service TruBlu, and both there and in “Predators” he appears utterly unshaken, unhaunted, unbowed. So for all the tension between the film and its subject to come through in the press of late, the gulf between them is not so wide as one might suspect.
Chris Hansen has not seen “Primetime,” the A24 film in which Robert Pattinson plays him, and he probably won’t anytime soon. He walked out of an Aug. 20 screening arranged for him at the studio’s Manhattan offices after refusing to sign a nondisclosure agreement, which he believed would prevent him from raising any legal objection to the way he is portrayed.
But Hansen’s company has purchased preshow advertising in theaters showing “Primetime,” which opens Sept. 25. The spots promote TruBlu, the subscription streaming platform where the former “Dateline NBC” correspondent presents his current sting operations under the title “Takedown.”
“It’s a movie that uses my name, image and likeness,” Hansen told The Times in a recent interview. “Why not direct people to what the real Chris Hansen is doing? Here’s where you can see it.”
Moviegoers, in other words, will be asked to have a seat twice.
The film revisits one of the most provocative and scrutinized franchises in the history of TV news. “To Catch a Predator,” which ran as a periodic “Dateline” investigation from 2004 to 2007, exposed men who used online chat rooms to solicit sex with minors. It accelerated the popularity of the true crime genre while raising lasting questions over journalistic ethics.
Directed by Lance Oppenheim in his narrative feature debut, “Primetime” is based on Luke Dittrich’s 2007 Esquire article “Tonight on Dateline, This Man Will Die,” about the suicide of a Texas prosecutor targeted by one of the stings. It premieres Sept. 5 at the Venice Film Festival.
Hansen, 66, is ready to ride the wave of notoriety the film is bound to generate. He is still pursuing online predators and a new generation of fans have found him on TruBlu, his YouTube page and on social media. “I’ve got to be the only 66-year-old man in America with 1.1 million TikTok followers,” he said.
Hansen first heard from A24 regarding “Primetime” when an executive reached out to him in late May to ask whether he would participate in promoting the film, according to emails obtained by The Times. Over the two months that followed, the journalist and his business partners repeatedly asked to see the film or a script before making any commitment. They also raised the possibility of compensation or a production credit, although Hansen said no formal request was made.
Hansen and his partners repeatedly raised concerns that he had never been contacted about the use of his name and likeness, even as a courtesy, before production was completed. The studio said it wasn’t necessary.
“Chris’s work was an important inspiration for ‘Primetime,’ which is a dramatized film inspired by true events,” according to an Aug. 8 email from A24. “While the film didn’t require individual consultation or permission during production, we’d love to have Chris’s support of the film to the extent he feels comfortable. If not, we certainly understand.”
An A24 representative declined to comment for this story. A person involved with the film who was not authorized to discuss the matter publicly said the nondisclosure agreement Hansen was asked to sign is standard for a movie screened ahead of release, so that viewers do not reveal plotlines or spoilers.
The trailer, released earlier in August, has generated buzz in media business circles for the appearance of Jeff Zucker, former NBCUniversal chief executive, who appears as himself in a small role as a ratings-hungry network executive. Pattinson’s Hansen is later seen in the trailer screaming, “I’ll be bigger than ‘Lost’!” in reference to the ABC hit.
Robert Pattinson in a scene from A24’s “Primetime.”
(Sinna Nasseri / A24)
Hansen said he is not looking for a payout from the filmmakers. But he would like a clearer statement that the film is fiction rather than “inspired by true events,” as it says in the trailer, and perhaps a financial contribution to organizations for victims of child predators.
“I want some recognition that they used my name, image, and likeness in a largely fictional story,” he said. “They used my name, my colleagues’ names and some family members. Based upon what I know about this, it’s an insult to the thousands of people who work diligently, often at great risk, every day to protect children from predators.”
The conflict is hardly the first involving a living celebrity objecting to a fictional depiction. But legal challenges are often futile.
“You don’t own your life story,” said Domenic Romano, managing partner at Romano Law. “If you’re a celebrity, the filmmaker doesn’t need your permission to dramatize it. Even if you’re alive and you don’t like how you’re being portrayed, the 1st Amendment gives broad protection.”
Actor Olivia de Havilland went to court in 2017 over the FX series “Feud: Bette & Joan,” claiming the portrayal of her as a vicious gossip damaged her reputation. The court ultimately ruled in FX’s favor.
Actor Daryl Hannah took a different route, publishing an opinion piece in the New York Times in March objecting to her depiction in FX’s “Love Story: John F. Kennedy Jr. & Carolyn Bessette.” Hannah, who dated Kennedy before he married Bessette, wrote: “In the weeks since the series aired, I have received many hostile and even threatening messages from viewers who seem to believe the portrayal is factual.”
“When entertainment borrows a real person’s name, it can permanently impact her reputation,” Hannah wrote.
The rise and fall of “To Catch a Predator” provides enough drama for a big-screen treatment.
During his run at NBC News, Hansen was an Emmy Award-winning correspondent delivering hidden-camera investigative stories on such topics as identity theft and sex trafficking. But his “Predator” franchise, which used online decoys in chat rooms to draw men seeking sex with minors into police stings turned him into a global sensation, albeit a polarizing one.
NBC News conducted the investigations with the help of a civilian watchdog group called Perverted-Justice and local police in the towns and cities where the stings were set up. The suspects arrested and convicted included a rabbi, a teacher and a doctor.
Decoys posing as young teens lured the men to sting locations, mostly set up at private homes in quiet communities. Hansen would then enter and confront the men with his signature line: “Have a seat.” After a chat with the correspondent (“You see how this looks, right?”), the men were arrested by local police, while a camera crew captured it all.
The tableau of Hansen going face-to-face with suspects seated in suburban kitchens became so familiar it was spoofed in a comedy sketch that opened the 2006 Emmy Awards.
“Predator” remained a giant hit until a November 2006 sting in Murphy, Texas, went awry. Bill Conradt, a Rockwell County assistant district attorney, had been exchanging online messages and photos with a decoy posing as a 13-year-old boy. Unlike other targets, he never came to the sting house. Police obtained warrants and a SWAT team came to his home with a “Dateline” crew in tow. He shot himself to death after law enforcement entered.
Conradt’s family sued NBC, which settled out of court. The incident sharpened the debate over Hansen’s tactics, and as the “Predator” franchise became more popular, he was criticized in journalism circles for collaborating with police and an outside group of private citizens in his investigative work.
There have been many accolades as well. Law enforcement organizations credited the program for shedding light on a new form of criminal activity in the then-emerging internet age. Over the years, Hansen has helped promote advocacy groups and legislation protecting the rights of sexual abuse victims.
“Dateline” continued producing “Predator” investigations for another year after Conradt‘s death, airing its final installment in December 2007 before NBC retired the franchise in early 2008. Hansen has long maintained that the show simply ran its course. The library of his episodes continued to air on cable news channel MSNBC, now called MS NOW.
Hansen left NBC News in 2013 after the network declined to renew his contract. He continued to orchestrate the sting operations on a short-lived syndicated series, “Crime Watch Daily.” He also became one of the first well-known TV journalists to use a Kickstarter campaign to raise money to produce his own work to present on web platforms, which eventually led to the TruBlu site he has now. He also has a podcast series distributed by Red Seat Ventures called “Have a Seat,” a true crime podcast where he interviews figures in law enforcement.
Families should be aware of some important rules before they travel
The change came into force on July 8(Image: Akabei via Getty Images)
Heathrow has issued a summer travel update telling families they can now benefit from a major change to Britain’s airport border controls.
The airport said: “Get ready for easier arrivals for families. Children aged 8 and 9 will now be able to use the eGates. They will need to have an eligible passport and be travelling with an adult”. The change could prove a welcome boost for parents returning to Britain from their summer holidays – potentially cutting the time they spend queuing at passport control.
Children aged eight and nine can use UK eGates, bringing them into line with older children who are already eligible to use the automated border gates.
But there is an important catch. The youngsters must have an eligible passport, be travelling with an adult and, under the Government’s rules, be at least 120cm (3ft 11in) tall.
The change came into force on July 8, just as the summer holiday travel season was getting into full swing. And the Government estimates that up to 1.5 million more children could become eligible to use eGates over the next year.
For parents facing the prospect of tired youngsters after a long flight, the prospect of avoiding a lengthy passport-control queue could be particularly welcome. Heathrow has urged passengers travelling with younger children to check airport signage or speak to staff if they are unsure which lane they should use.
What parents need to know
The expanded eGate access applies to eight and nine-year-olds who meet the requirements.
They must:
Be aged eight or nine
Be at least 120cm tall
Have an eligible passport
Be travelling with an adult
The Government says the change covers more than 290 eGates across the UK and at so-called juxtaposed ports, where British border checks are carried out in Europe. Millions of passengers already use eGates each year.
The Government says using one typically takes only a few minutes – and increasing the number of people who can use them should also help reduce queues for passengers who still need to go through staffed passport control.
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Major change for families
The move was announced by the Home Office in May as part of a wider programme to transform the UK’s border system. Migration and Citizenship Minister Mike Tapp said: “Travel with young children can be stressful for parents.”
He said expanding eGate access would allow more families to have a “swifter and smoother journey home” while keeping Britain’s borders secure.
Border Force Director General Phil Douglas said eGates were an “essential part” of keeping the border secure.
He said the expansion would deliver safe and smooth journeys while freeing officers to concentrate on intercepting people who pose a threat to the UK.
Karen Dee, chief executive of AirportsUK, welcomed the change, saying it would give more families the opportunity to use the technology and could reduce waiting times.
Part of wider border overhaul
The change comes alongside the Government’s wider push to modernise Britain’s borders. The Electronic Travel Authorisation scheme has also been introduced for eligible travellers, with almost 25 million ETAs issued, according to Government figures.
The longer-term ambition is for a more “contactless” border, with facial comparison technology being used to verify travellers’ identities.
Undaunted by reality, and likely law, Bianco announced he was going to have his deputies recount the votes, even though this kind of interference in the chain of custody of ballots never had occurred anywhere in the United States.
This unprecedented seizure of ballots — something election-denier-in-chief President Trump has been hinting at trying himself for years — quickly became a national news story, and a national concern.
With midterms looming and more than one MAGA sheriff out there, what would stop another conspiracy-minded, badge-wearing maverick from doing something similar this November, potentially throwing our national election into turmoil?
The specter of Bianco setting a precedent for like-minded conspiracists to follow prompted two significant lawsuits — one led by the election experts at the UCLA Voting Rights Project and the other from state Atty. Gen. Rob Bonta.
The state Supreme Court heard arguments in those cases Monday, and while we’ll have to wait for the official rulings, things did not seem to go well for the sheriff.
What surprised me most, or maybe just relieved me, was how thin Bianco’s arguments were to support his actions. In the end, his legal team came with little more than contortions and cartwheels, trying to twist Bianco’s overreach into existing law.
His lawyer, Bradley Hertz, attempted to argue that legislators, when crafting laws protecting ballots, meant different rules to apply to investigations of elections preceding formal prosecutions. If that sounds confusing, it’s because it is.
Hertz seemingly was trying to convince the court that Bianco legally could pull his shenanigans as long as he didn’t actually find criminal wrongdoing, which would trigger a different set of rules.
“That seems bizarre,” Justice Goodwin H. Liu said during a back-and-forth with Hertz.
Indeed.
But it was Justice Joshua Groban who hit at the national implications of what Bianco had done — and what it could mean for the midterms if this court ruled in his favor.
“It seems like under your broad view of the warrant power … the sheriff could could seize ballots even before election day, right?” Groban asked. “Even before they were counted.”
It’s terrible to have ballots seized after they’re counted. It’s devastating if they were to be taken before there was an official tally, because how would anyone trust that there hadn’t been tampering? Simply seizing uncounted ballots, no matter what happens next, would create such paranoia and uncertainty that the election results almost certainly would be called into question — something that could play into the favor of, say, a wannabe authoritarian who fears he’s likely to lose a fair vote count.
Even Hertz seemed to acknowledge such a scenario was bad.
“If search warrants were allowed during the election or preelection, that would obviously wreak havoc,” he said. “There would be, kind of, a cat out of the bag, so to speak. You can’t count ballots if they’re not in the possession of the registrar.”
But then Hertz tried to come up with logic that what Bianco was arguing wouldn’t mean that ballots could be seized anytime, anyhow, and that instead courts could find a way to allow seizing only after the official count. The court did not seem convinced that this was a good idea, or that that is what the law should or did allow.
If that case didn’t go well for Bianco, it was the second case brought by Bonta that really might end up being a hard loss.
For years, decades really, in California and across the country, there has been a group of sheriffs who have argued they are a law onto themselves because they are elected, not hired or appointed. Some of these sheriffs argue that they are literally above federal law.
In California, there has at times been momentum to rein in this line of thinking by creating clear boundaries in law, but the state Legislature always has backed down in the face of opposition from law enforcement.
One potential curb on sheriffs’ power comes from a single line in our state Constitution that seems to say the state attorney general has supervisory power over them. But the meaning and power of this particular clause has long been debated and seldom invoked.
Bonta, however, invoked it against Bianco, claiming the the sheriff had to back off the ballot-seizing because Bonta had authority to order him to stop. Bianco did stop, to his credit. But the standoff was heard by the court Monday and likely will force clarity on an issue that has long lacked it.
Here again, the justices seemed amenable to Bonta’s argument that sheriffs, at least to some extent, answer to him as the state’s chief law enforcement officer. But the justices seemed far more cautious on this issue, and even the state’s attorney conceded that “it’s actually pretty remarkable how little our Constitution says about county sheriffs.”
If Bianco loses on this issue, it would be huge. It would mean that Bianco not only overstepped his power by seizing the ballots, but that he also had forever lessened the power of California sheriffs by clarifying they do answer to the attorney general. I’m sure that will be very popular with other sheriffs.
We’ll see what the justices say, but at least it seems likely that this embarrassing chapter of California election history will end in favor of the law, and democracy.
Maybe Bianco really does believe his conspiracy theories. After all, “there are some people who believe they had breakfast with Elvis on Sunday,” pointed out Chad Dunn, who argued the case for the Voting Rights Project.
“We can’t satisfy them,” Dunn warned.
More importantly, we shouldn’t — even when they wear a badge. Our laws already have robust protections for elections, and rogue sheriffs aren’t one of them.
NEW YORK — It was 2023 when Laufey, the Icelandic singer-songwriter known for her neoclassical jazz-pop, decided to create a global fan event. Her second album, “Bewitched,” was soon to be released and she wanted to do something big to celebrate it. But more than that, she says, she “wanted to find a way to get my fans out of their homes, and to really follow an itinerary of my perfect idea of a day and have the music from ‘Bewitched’ follow it.”
And thus, “A Very Laufey Day” was born. Each year, the Grammy-winning singer curates itineraries for different locations across the globe for her listeners to follow. It’s “anywhere I have been and loved,” she says. It allows them to live what she refers to as “a perfect day,” but also to connect with their community offline and in person. And as she approaches its fourth edition, it has only grown larger.
“It became much bigger than I anticipated, really,” she says. She sought to inspire her audience to find “third spaces,” and explore some of her favorite locales: museums, bookstores, cafes, concerts and the like, and foster community in the process. And each year, it has only grown bigger, with fans dressing up in their favorite Laufey-themed vintage fashions to celebrate the unofficial holiday.
And Aug. 23 will mark the fourth annual “A Very Laufey Day.”
“It is a fun puzzle every year,” she says.
‘A Very Laufey Day’ 2026
This year, “A Very Laufey Day” will include experiences in 75 cities across 25 countries, centering on the theme of “A Celebration of the Arts.”
“Wherever in the world you’re spending your day, I hope you feel inspired and invigorated,” Laufey wrote in a note on her “A Very Laufey Day” website.
Fans can expect performances spanning symphony orchestras, ballet, jazz, opera and theater as well as events with libraries, bookstores, coffee shops, yogurt/ice cream shops and more. Her concert film, “A Night at the Symphony: Hollywood Bowl,” will be screened at select theaters. And she’s partnered with many museums around the world, including New York City’s Guggenheim, the Los Angeles County Museum of Art, the Museum of Contemporary Art Chicago, London’s Tate Modern and National Gallery, Chile’s Museo Nacional de Bellas Artes, Seoul’s Daelim Museum and more. At some participating businesses, fans will be able to acquire limited-edition merchandise and Laufey-themed specialty drinks.
LACMA is offering a discount code, AVLD, for museum visitors on Aug. 23. As of Aug. 16, the code took $2 off tickets. “Come spend the day enjoying something beautiful,” LACMA wrote on Instagram.
“This year it was really about focusing on the arts and culture and finding ways to bring this barrier of entry down between my audience — which is mostly Gen Z and Gen A — and these kind of so-called high cultural experiences,” she says. “Whether it’s going to see an orchestra show … museums or galleries, we really want to find ways to connect with those institutions.”
Some of these spaces can be intimidating for younger fans, and Laufey says this year was all about making these rooms, some of her favorites, inviting to her audience.
“It doesn’t have to be this scary thing. And so, I’ve kind of made it my life’s mission to make spaces like that fun and accessible,” she says.
