classic

Ali: The stakes are high for both contenders, yet I wonder how many Angelenos will be watching.

It’s surprising the number of otherwise politically aware folks who had no idea the debate was taking place tonight until I mentioned it. Then they were irked to find it airing on network TV: “Who still has cable?!” Apparently, venturing onto Telemundo or NBC’s live feed is a bridge too far. But it shouldn’t be.

Raman is still a mystery to many, even though she’s polling ahead. Tonight, she needs to definitively show who she is beyond The Candidate Who Is Not Karen Bass. Bass has to defend her record, of course, but also contend with the electorate’s insatiable need for change — even if they know very little about what that change may bring.

As for the rest of us? Tune in! The future of L.A. requires your attention.

Lopez: Picking up on Gustavo’s framing of the debate as Round 3, we’re talking about two pugilists who used to fight for the same club, more or less, and now enter the ring looking to take each other out. So it’s personal, and could indeed get nasty.

Raman’s job in the debate is a little easier, in some ways. Though I don’t put much stock in polls, she’s ahead on points by virtue of Bass’ high negative rating alone. And yet, think of the pressure on Raman to seal the deal.

If the challenger doesn’t prevail tonight and go on to win the election next month, she could be setting herself up for a lonely political future, having alienated more than a few former allies in her quest to evict the mayor from City Hall.

For Bass, the stakes are just as high. A 21-year political career is on the line.

I hope that along with the punches and counter-punches, we get some inspiration, too, and a workable game plan for making a great but troubled city a better place to call home, even if the Dodgers end up breaking our hearts.

Arellano: Will the Third Bass-Raman debate be a classic — or a dud?

Ali-Frazier. Morales-Barrera. Liddell-Couture. Trilogies are hallowed in the worlds of boxing and mixed-martial arts as case studies of evenly matched rivals to wallop each other in the first two matches, creating the setting for a final showdown and chance at eternal bragging rights — and usually, a title.

Will tonight’s bout between L.A. mayoral candidates Karen Bass and Nithya Raman, scheduled to air at 7 p.m. on KNBC, rise to those rarified levels?

The makings of a classic are there. Bass was the wily incumbent during her primary face-off with Raman who let fellow mayoral candidate Spencer Pratt land most of the attacks against their shared opponent. That left Raman uttering loopy word salads when she wasn’t crying conspiracy between the two. But the council member nevertheless made it into the general election against Bass, and dominated their second debate, hosted in August by the Sherman Oaks Homeowners Assn.

All of a sudden, Bass was a staggering champion lunging at a revived Raman, who swung and stung and ducked the way only a hungry up-and-comer can.

The two go into their rubber match each promoting polls that they claim show voters back them, while letting proxies launch attack ads that promise to get uglier and more ubiquitous as Election Day nears. Expect Bass at tonight’s debate to try and assert her dominance early with equal part offense against Raman and defense of her record. Expect Raman, whom City Hall opponents have long trashed as conflict-averse, to focus on a message of possibility and positivity while holding her ground and striking back — and hard — when necessary.

Will tonight cement the Bass-Raman trilogy as an electoral classic — or end it on a deflating note? One thing’s for sure: the two need to leave everything on the debate stage if either wants to win and get that much closer to become L.A.’s Madam Mayor.

OSCAR-WINNER Eva Marie Saint has died at 102.

The American actress died at her LA home on Tuesday, her family confirmed.

Eva Marie was the oldest living Oscar winner.

In 1955, the star scooped up an Academy Award for her big screen debut playing opposite Marlon Brando in On the Waterfront.

The New York Times wrote in its review that “amid scenes of carnage, she gives tenderness and sensitivity to genuine romance”.

She starred in North by Northwest as a seductive blonde spy in 1959.

More to follow… For the latest news on this story keep checking back at The Sun Online

Thesun.co.uk is your go-to destination for the best celebrity news, real-life stories, jaw-dropping pictures and must-see video.

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OLIVIA DEAN may be the queen of singing about self-worth, but she won’t be feeling the love right now.

The British chart-topper is facing a messy legal battle after being sued over her song I’ve Seen It.

A fresh lawsuit has been filed claiming she copied the melody of Bill Withers’ 1981 soul classic Just The Two of Us.

Publishers of the late singer’s catalogue allege Olivia’s track, which appears on her album The Art Of Loving, “shares musical features so striking” that they cannot be by chance.

Rather than going after Olivia or her co-writers directly, the lawsuit lists Olivia’s American record label Capitol Records and its parent company Universal Music Group as the defendants.

The song has been streamed 246million times on Spotify alone.

‘WHO HURT HER?’

Emotional moment Olivia Dean breaks down in tears during love song onstage

OFFER DEAN-IED

Olivia Dean turns down Glastonbury as other Brit set to be named headliner

In comparison, Bill’s hit has 948million global streams.

Talking about penning the emotional track, Olivia previously said: “I’d had a lot of red wine.

“When I heard it back for the first time, I burst into tears.

“It felt like the loveliest note to end on.

“Whether it’s within your friends, your family, or just the love that exists in the strangers around you, it’s there, and it’s inside of you, too.”

APPRENTICE DUO LAND SWEET GIG

IT may sound like a flaky idea, but Apprentice star Lawrence Rosenberg will dress up as a croissant to launch a new bakery.

He is reuniting with Kieran McCartney Jones, his fellow competitor on the BBC One show, at Tuesday’s opening of Signorelli Broadgate in London.

And the pair will replicate the street-trader energy they wowed with on TV.

They gained an army of fans selling out supplies of their team’s carbonara at Greenwich Market this year in Lord Sugar’s talent hunt.

I don’t doubt they’ll make this stunt a success, too.

At the bakery, Lawrence will swap the egg costume he wore during the Apprentice challenge for a croissant outfit. He told me: “We’ll be begging for tips like Lord Sugar’s watching.

“I’ll be dressed in a croissant costume and you can even pretend to be Baroness Brady and mark our performance.”

Sounds like a recipe for making dough . . . 

CONGRATULATIONS to Chris Martin and Coldplay.

Their 2000 hit Yellow has just passed 4 BILLION streams on Spotify. It’s their first song to achieve this, but I’m sure it won’t be their last.

Viva La Vida isn’t far behind on 3.5 billion. No wonder they sold out ten nights at Wembley last summer.

AUSSIE rapper Iggy Azalea is plotting a comeback.

Sliding into Instagram DMs, Iggy wrote: “I stepped away from music for a long time, but now I’m back in the studio, this felt like the right place to share my journey.”

Iggy has had huge hits with the likes of Rita Ora and Britney Spears previously.

LILY STEPS UP DOWN UNDER

LILY ALLEN is legging it Down Under.

The Smile singer shows off her pins in an arty shoot after wrapping up the UK and US legs of her West End Girl show.

Lily is enjoying a break before returning to the stage in Auckland, New Zealand, on October 21.

She will then play six shows across Australia – belting out the brutal album about her divorce from Stranger Things actor David Harbour.

Lily said: “Doing the shows feels like an act of storytelling.

“It’s almost like I’m in a play every night, because I have to brush myself down and take myself back to a time and a place that isn’t now.

“It doesn’t really feel like it’s about me any more. It’s about other women who have experienced something similar.”

PIXIE SHOWS A LOTTA STYLE

PIXIE LOTT looks fashionable as ever as she heads home from another night on stage.

Dressed in a quirky jacket and tiny hotpants, Pixie strutted through London’s West End.

She’s currently starring in Who Killed Marilyn? At the Emerald Theatre.
Pixie plays the lead role of movie legend Marilyn Monroe, who died in 1962 aged just 36.

Talking about Marilyn, she said: “I grew up loving her. She was very strong and intelligent and witty.

“This whole story is told from her perspective.”

SUPERSTAR Ariana Grande is rumoured to be releasing a remix of a track from her hit album Petal.

In February 2024, she teamed up with Mariah Carey for a remix of her hit single Yes, And?

Previously, Ari featured on The Weeknd’s 2021 remix of Save Your Tears.

If she does have something in the works, I see history repeating itself.

DECEMBER 10’S HAIRY NIGHT OUT

DECEMBER 10 are going from strength to strength, but four of the lads were in for a fright this week ahead of Halloween.

John, Hendrik, Cruz, and Nicolas were seen at the scare mazes at Thorpe Park’s Fright Nights.

Simon Cowell‘s boyband have a busy winter of gigs ahead including in London and Birmingham.

Not bad for a band many thought wouldn’t amount to much.

John Steinbeck’s 1952 novel “East of Eden,” an Oprah’s Book Club Selection in 2003, is a retelling, or actually two retellings, of the Cain and Abel story, first in Connecticut with half-brothers Charles and Adam Trask, and then in the author’s native Salinas Valley with Adam’s fraternal twin sons, Cal and Aron, in each case competing with one another for their father’s love. Not wanting you to miss his meaning, if you haven’t already guessed by the title, Steinbeck has a character read the entire passage from Genesis.

The stories, which together run from the late 19th century through World War I, are connected by a woman named Cathy Ames, whom Adam marries and who gives birth to Cal and Aron — which I suppose makes her the Eve in this household, though that’s not a theological road Steinbeck chose to really explore.

In 1955, Elia Kazan directed a film version, a color-mad Cinemascope melodrama that told only the Cal and Aron part of the story; significantly, it was the film debut of James Dean and so will live forever. Writing in The Times in 2005, Kenneth Turan called it “not only one of Kazan’s richest films and Dean’s first significant role” but “arguably the actor’s best performance.”

Kazan’s granddaughter Zoe Kazan has written the screenplay and worked with Jeb Stuart as co-showrunners for a new “East of Eden” adaptation, a seven-episode miniseries debuting Thursday on Netflix. Though it omits a sizable chunk of what is after all a very long book, it takes its chronology whole, putting Cathy front and center in the publicity and in the show, owing largely to Florence Pugh‘s performance as its most dynamic character.

Kazan begins her telling with a badly beaten woman dragging herself through the night as a female voice delivers an edited, elaborated version of the author’s thoughts on difference. (It is a book brimming with thoughts.) “I believe there are monsters born in this world to human parents … A child may be born perfect of body but without kindness or the potential of conscience. Still, you must not forget, everyone is normal to himself. And to a monster, the norm must seem monstrous.” Given that the novel’s narrator is Steinbeck, it’s hard to say just who the “I” is here, but I assume the gender swap has something to do with wanting to literally give this version a female voice.

The monster is Cathy, crawling to the porch of the farmhouse occupied by Charles (Mike Faist), who thinks they should call the sheriff, and Adam (Christopher Abbott), who is compelled to care for her. Close your eyes if you don’t want to know anything more about this 73-year-old bestseller, but Cathy has already possibly driven a man to suicide and definitely burned down her house with her parents locked inside. She was beaten up by her former pimp, whose mistress she’d become and from whom she was stealing. You may be thinking “sociopath.”

The series backs up 25 years to a Connecticut farm where father Cyrus Trask (Tracy Letts), a peg-legged Civil War veteran, rejects Charles’ gift of a new knife in favor of Adam’s present of a stray puppy, creating a long trail of jealousy. He’ll later pack pacifistic Adam off to the army (because, he says, he loves him better), with Charles unhappily constrained to stay and work the farm (though he proves good at it). After years in service and living in hobo jungles, Adam returns home.

Standout performers include Hoon Lee as Lee, left, and Ciarán Hinds as Samuel Hamilton.

(Kirsty Griffin / Netflix)

Cathy crawls to their doorstep; Charles sees through her, which will earn him her respect, but Adam falls for her, marries her and drags her west to California, where she doesn’t want to go and doesn’t plan to stay. (She’s quite upfront about this, but Adam is a poor listener.) She gives birth to Cal (younger, Bodhi Aisher; older, Joseph Zada), who will grow up to wonder if he’s bad, and Aron (younger, Jonah Wren Phillips; older, Joe Anders), whom everyone thinks is good, and returns to the life of a prostitute, which suits her fine. And that is probably enough plot for me to relate.

Pugh impressively represents Cathy’s outward self through successive stages; she’s not a character born to develop, though she will have various crises to navigate, and the actor imbues her with as much nuance as the part allows. She’s the main reason to watch, though there are standout performances from Hoon Lee as Lee, a philosophical, intellectual, American-born Chinese man who works for Adam and becomes a kind of surrogate mother to Cal and Aron; and from Ciarán Hinds as Samuel Hamilton, a jovial Irishman, virtually the only remnant of the novel’s Hamiltons, who stand in for Steinbeck’s own family. Faist does a lot with the taciturn, perceptive Charles. Martha Plimpton, never not great, plays Faye, a madam for whom Cathy works; and Zoe Phillips makes an impression in her scattered scenes as Abra Bacon, who’ll date Aron but feels connected to Cal.

Kazan and Stuart do cover all the main plot points and themes — good and evil, love and jealousy, inherited character and (the big one) the possibility of change. Unavoidably the text has been chopped and channeled, with some swapping of parts, bits of narration screwed into dialogue and events described in a paragraph blown out into scenes. Certain thoughts inside Cathy’s head have been made concrete.

The adapters don’t add too much material of their own, Steinbeck having provided a wealth of character descriptions, backstory, philosophical rumination and social criticism for every occasion, but here and there they’ll stress a point or provide something new in order to make sense of Cathy. But they don’t overdo it. (Steinbeck, declaring her unknowable, cuts her a lot of slack, walking back his earlier “monster” comments: “Who knows but that she tried to tell someone or everyone what she was like and could not, for lack of a common language. It is easy to say she was bad, but there is little meaning unless we know why.”) Oddly, the Cain and Abel elements in the Cal and Aron story, which launched Dean’s career, don’t really register.

If nothing else, the miniseries reminds us that adaptation is a difficult job that grows harder the more complex and celebrated the original text, and the more necessary it is to honor it. (This is why pulp fiction has produced so many memorable movies.) Things will always be lost in translation, not least from the pictures in your head to the pictures on the screen. If you’re going to film a literary monument, and a period piece to boot, you’re going to have to spend some money.

But the production here betrays its economy, and the direction, by Garth Davis and Laure de Clermont-Tonnerre, remains earthbound, held down by mournful strings and devoid of color. The New Zealand landscape does echo the rolling hills of Central California, in a dry season, but it’s a dreary vision, hardly the paradise of Steinbeck’s memory, book or metaphor.