conversation

Maria Astorini, a retired character actress and a minor star, is 37 years late delivering her memoir. But the project, which she has tried her best to forget, has been pulled out from under the rug by her publisher. Forced to deliver a manuscript, Maria writes an autobiography clocking in at a shade over 200 pages.

The result is Elizabeth Castellano’s second novel “Proof of Progress,” a wry, poignant and very funny twirl through a life that swerves past triumph and failure, boredom and joy, public life and private sorrow. I recently spoke with her about Bloomingdale’s, Calvin Trillin, and how cellphones are the enemy of good fiction.

✍️ Author Chat

”Proof of Progress” traces the life of your protagonist, Maria Astorini, from childhood to her mid-60s. It reminded me of something Bob Dylan wrote recently about growing older, which is that you finally get rid of the illusion that life is under your control.

For Maria, there is a lot of serendipity that feels like fate, of being in the right place at the right moment, or meeting the right person, which sends her off in a different direction. I like that in a novel. It was also helpful to be writing primarily about an era without phones, so that she’s able to meet a lot of people.

We’re seeing this a lot in contemporary narratives: writers setting their stories in pre-phone eras, so their characters can actually interact with each other.

She’s talking to people, she’s meeting people, so she’s able to be sent on different paths. Even meeting her husband probably wouldn’t have happened with the phone.

“Proof of Progress” is Elizabeth Castellano’s second novel.

(Harper Collins / Carl Timpone)

You have written a very funny book, and funny books don’t get the respect they deserve.

Anytime you have humor in a book, you’re not taken quite as seriously. Even in Barnes & Noble, when you look for humor, it’s on the back wall or on the floor. And that’s where you find the David Sedaris books, which is crazy. My last book was about a beach town, so I got lumped in with the beach read group. I had people who were looking for a fun beach read and then they picked up my book, and it’s about zoning code violations. I’m happy that this book is being marketed as literary and humorous. I’m in better shape in that sense.

It’s really hard to write funny. Or is it?

The best way I can describe it is like a stand-up comedian having a notebook full of jokes and anecdotes and she has to put together an HBO special. Sometimes I just had one line of something funny. I had all these ideas and thoughts and different things from old books that I was writing. I tried to put all of it together and find a character that could tell this story, and the through line that I could create from all of this material. So I wrote it backwards and out of order.

Who do you think is funny? Who do you like to read?

J.D. Salinger, David Sedaris, Maria Semple. I love Calvin Trillin. I think he’s a great writer.

Your protagonist is very late on a contract and has to rush to get the book written, which gives the narrative propulsion and momentum.

I had a two-book deal, so while I was working on the publicity for my first book, I raced to finish this book. And when I was finished, I realized it didn’t work and had to throw out the whole manuscript. I saved maybe six or seven little anecdotes from that original book. So it took another year to write. That was the inspiration for “Proof of Progress.”

Your writing career is a bit like Maria’s acting career, in that you chanced upon it.

I was a theater major. I don’t think I took one English course. Then I graduated right into the Recession of 2008. There were no jobs. Eventually, I applied to be an apprentice buyer at Bloomingdale’s, even though I hate shopping. That was the last resort. Then I decided, maybe I’ll be a writer, because it felt like something that I could do. I wrote a lot of things that were rejected before I wrote my first book, “Save What’s Left” [2023]. And that’s probably why I wrote Maria the way I did. We zig, we zag, we endure.

This Q&A was edited for length and clarity.

📰 The Week(s) in Books

Kyle MacLachlan’s new memoir is a funny, candid and self-aware reflection on his 40-year career in Hollywood.

(Christopher Patey / For The Times)

We loved him as Special Agent Cooper in “Twin Peaks” and as Jeffrey Beaumont in “Blue Velvet,” but according to Kyle Maclachlan’s new memoir, “Fictional Selves,” there is another unknown character: “Other Kyle,” the actor’s ever-present shadow figure. “There’s definitely another entity, an observer, the ego, the harder self,” MacLachlan tells Rachel Brodksy.

After a nine-year absence from fiction, John Green has returned with “Hollywood, Ending,” a darkly humorous show business cautionary tale that Green couldn’t have written “without spending a lot of time on film sets,” he tells Emily St. Martin. “I hope the book is a love letter to movies. But I also wanted to be honest about how difficult it is to make a work of art that, in order to be commercially successful, has to be loved by millions of people.”

Katya Suvorova’s memoir, “Ungrateful Immigrant Daughter,” is a “heart-wrenching tale of immigration” that “pulls back the velvety red curtain to reveal one story behind the oversexualized stereotypical post-Soviet mail-order bride narrative so ingrained in post-Cold War U.S. culture,” writes Diana Ruzova.

Finally, Vroman’s and Book Soup, two of L.A.’s most beloved bookstores, have been sold by longtime owner Joel Sheldon to tech executive Robert Hoffman, reports Suhauna Hussain.

📖 Bookstore Faves

Outpost Books is a new bookstore in South Pasadena.

(Simran Malik)

Walking into Outpost Books is like stepping into a smart book lover’s cozy den. With its southwestern-themed design and a well-curated selection of new and used books, the indie book store in South Pasadena already feels like home to this community of rabid book lovers. I spoke with owner Nicole Novembrino about her new store.

Why a bookstore?

I was a sales rep for a publisher of art books, but I looked at my life, wondering what I could do for a living that would give me real meaning and purpose. I love books, and so I decided to open a bookstore. It’s not easy, and you can second-guess yourself a million times along the way, or get a normal job. But I’m so glad I did it. Everyone in the neighborhood is so happy!

Why did you choose to open in South Pasadena?

I live in El Sereno nearby, and South Pasadena is such a great community. When we first opened, people were coming in and thanking us for opening in the neighborhood. There aren’t any other bookstores in this particular South Pasadena neighborhood. I definitely didn’t want to take any business away from other stores.

Pasadena loves its bookstores.

This is a very bookish community. The donations I’m getting from people are really smart volumes. I think I’ve had just one Nora Roberts book! The landlords are great, as well. They came to our opening and told me the store is all they could have dreamed of for the space, which is so sweet.

The kids section is really fun, with the tent and the fake tree stumps.

We have a lot of kids books with a southwestern theme. I’ve been collecting them over the years from my trips to the desert. You might find a book called “Armadillo Rodeo” in there.

How did you land on the western theme?

My mom is from New Mexico, so every family vacation was a trip to the Southwest, and I loved stopping and collecting things at the trading posts along the way. I wanted to give the store that kind of feel. I chose the name Outpost for that reason. It is a lived-in place where you can just hang out and find cool things and read.

Outpost Books, 1010 ½ Fair Oaks Ave., South Pasadena, (626) 399-0595

A Black police officer asked whether a monkey was named “Tyrone,” to the laughter of a roomful of Latino and Asian colleagues.

A Latina cop described how to inflict maximum pain: “You hit Black people in the liver — I heard they got weak livers,” she said, according to an LAPD internal affairs report.

The report said their boss, an Asian sergeant, stood by as his employees used terms like “midnight” and “chocolate, chocolate” to describe people’s skin tones.

Those were among the comments that came to light last year after an LAPD whistleblower secretly recorded his colleagues in a unit that screens police recruits.

The scandal, which has seen new developments in recent weeks, is forcing department officials to reckon with a harsh reality: Years of efforts to make the LAPD more diverse have seemingly done little to stamp out prejudice in the ranks.

For much of its history, the LAPD was a white man’s department. Aggressive tactics in communities of color fueled racial uprisings in the 1960s and early 1990s, when the beating of motorist Rodney King led to the discovery of messages similar to those in the recruitment unit tapes, with officers referring to Black men as “Buckwheat” and bragging about “busting heads.”

Under pressure from lawsuits and consent decrees, police leaders pushed to recruit more Black, Latino and Asian officers, seeking to build up trust in minority communities.

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1. Los Angeles Police Department graduates a total of 22 recruits at the Los Angeles Police Academy in Elysian Park on Friday, September 18, 2026. 2. (Christina House/Los Angeles Times)

Latinos now make up more than half of the 8,500-officer department. Black officers constitute less than 9% of the force, coinciding with a decline in the city’s Black population.

The officer who made the recruitment unit recordings, Daniel Flores, is Latino.

He recorded dozens of conversations over a six-month span in 2024, eventually handing them over to the department’s inspector general for investigation.

Last week, Flores filed a new lawsuit against the city, adding to a previous claim that alleged he faced retaliation from his bosses for documenting the offensive comments he heard while on the job.

According to his latest claim, department officials recommended that he be suspended for 22 days without pay. After initially seeking to keep his job with the LAPD, the 13-year department veteran said in the lawsuit that he recently decided to retire rather than endure an increasingly hostile work environment.

Flores also alleged LAPD officials were responsible for pushing a criminal case against him for violating a state eavesdropping law that prohibits recording conversations without consent. Initially alleging 16 felonies, Dist. Atty. Nathan Hochman has since reduced the charges to misdemeanors, likely allowing Flores to avoid jail time.

An LAPD spokesperson declined to answer questions about Flores’ case.

“The Department takes these allegations seriously,” Lt. Elpidio Orozco said in a statement. “Because the case and related personnel proceedings remain ongoing, we cannot discuss individual disciplinary actions or make comparisons to unrelated past incidents.”

The department’s defenders maintain that progress has been made toward rooting out bigotry.

Officers are required to undergo psychological screening and training aimed at teasing out unconscious biases. New recruits and seasoned officers alike take field trips to the Museum of Tolerance, where trainers extol the virtues of multiculturalism. The department has sent recruiters to historically Black colleges in the South and the East Coast.

But others, including civil rights attorney Connie Rice, say the latest scandal proves that the LAPD’s problems run deeper than the hateful actions of a few individuals.

The beating of Rodney King in 1991 forced a reckoning for the LAPD.

(George Holliday / Associated Press)

“Racism is like the herpes virus in the body of the LAPD: You can suppress it with a good chief, but as soon as they leave, it breaks out again,” Rice said.

A 2024 study by British researchers examined racial attitudes among members of the department’s vaunted Metropolitan Division.

The researchers found that LAPD officers were “shockingly defensive” when asked about systemic racism, taking a negative view of diversity hiring programs and insisting that left-leaning activists, elected officials and media outlets were stoking public outrage over racial profiling.

“The dismissive reactions … to a question on such an important issue highlight an unhealthy antagonism which prevents any organization from learning or developing its practice,” the researchers concluded. “It is a fundamental barrier that must be overcome.”

While hiring more officers from historically marginalized groups has long been pushed as a way to improve police practices and build trust in minority neighborhoods, studies have not necessarily borne that out, said Daniel Gascon, a sociology and criminology professor at the University of Massachusetts Boston.

“Just because there’s more numbers of a given sort in a department doesn’t mean it’s going to change automatically,” said Gascon, who has studied the LAPD’s relationship with Latino communities.

Since the start of the year, a review of recruit graduation announcements shows the department has hired just seven new Black officers. By contrast, roughly 80% of the 241 officers to graduate from the police academy over the last nine months have been Latino.

The growing Latino presence in the LAPD has been reflected in police use-of-force numbers.

A Times analysis of police shootings since 2016 found that of the roughly 150 people who have been shot dead by the LAPD across the city, at least 94 were Latino men. In 3 out of every 4 of those shootings, at least one of the officers who fired was also Latino, the analysis showed.

LAPD Officer Daniel Flores, left, listens as his attorney Alan Jackson speaks to reporters at the Superior Court building.

(Libor Jany / Los Angeles Times)

Despite the increased diversity, interviews with current and former LAPD members indicate deep divisions are reflected in the way that Black and Latino officers see the department’s racial issues. Most agreed to speak on the condition of anonymity due to fear of retaliation.

Several Black officers told The Times they still experience workplace hostility and racial dog whistles, such as fretting about the lowering of police recruit standards. The comments, they said, came from Black and Latino colleagues alike.

Too often, the Black officers said, Latinos who wear the uniform see themselves only as victims of discrimination, and not perpetrators.

Some Black officers said they avoid conversations about race entirely for fear of upsetting conservative colleagues — who feel emboldened by the divisive rhetoric coming from the White House.

The Latino officers who spoke to The Times said the department has for too long prioritized the promotion of Black members of the force to leadership roles while the representation of Latinos in the highest ranks has slipped.

Others argue that because society tends to lump Latinos of different backgrounds together, workplace discrimination against and within the community is often missed.

Officers from both groups said their race has been used against them when it comes to promotions. But both sides also say racism is a problem in society writ large, and not limited to the LAPD.

In a recent interview with The Times, Mayor Karen Bass said that although she is pleased that the department has increased the number of Latino officers to reflect the city’s demographics, its percentage of Black officers continues to dwindle as older African Americans are on the brink of retirement with very few young Black officers coming onto the job.

Bass, who was a young community organizer in South L.A. when the King beating happened, said it was foolhardy to believe that merely because the LAPD is more diverse, old problems cannot be repeated.

“Just because this happened 30 years ago and there are new policies that were put in place, that’s not enough,” she said in an interview with The Times. “You’ve gotta make sure that those policies are constantly updated.”

Times staff writers Andrea Flores and Richard Winton contributed to this report.

“Crunch, crunch.”

If the above sounds familiar, then you might already be a Wholigan — someone who routinely listens to the long-running celebrity podcast “Who? Weekly.” Part of the fun of listening to the thrice-weekly show (one being for Patreon members), aside from its hosts contextualizing a dizzying array of tabloid headlines, is learning its lexicon. For example, “Crunch, Crunch” spoofs a bit of sponsored content the pop singer Bebe Rexha did for Lay’s Potato Chips in 2019. Other popular phrases unique to the Who-verse: “Good form, Bella Thorne.” “Scar-Jo Yummy Pop.”

Launched in 2016 by pop culture journalists Bobby Finger and Lindsey Weber, “Who? Weekly” eagerly mines the growing world of lower-tier celebrity, with the two hosts categorizing trending names under two main umbrellas: the fame-hungry “Whos” (influencers, reality stars, a pre-royal Meghan Markle) and the instantly recognizable, likely critically acclaimed “Thems” (Tom Cruise, Taylor Swift, Beyoncé). Rounding out the paradigm are the “Nahs,” or folks who aren’t well known enough to claim “Who” status.

“We came of age reading all the [gossip] bloggers, from Perez Hilton to Liz Smith,” Weber tells The Times of why she and Finger originally started “Who? Weekly,” which technically began as a newsletter before it morphed into a podcast.

Lindsey Weber and Bobby Finger have co-written the newly released book, “I Want to Be Famous: When Everybody and Nobody Is a Celebrity.”

(Justin Jun Lee / For The Times)

Finger also cites influence from “Oh No They Didn’t,” a 2000s-era LiveJournal page that aggregated celebrity headlines and invited users to comment (kind of like a proto-Subreddit). “You read the story just as you read the comments, which were integral to the story,” Finger says. “All of the inside jokes, the additional commentary. That’s what ‘Who? Weekly’ has become, especially in our Patreon Discord. [Listeners] are always chiming in and creating their own language and extensions of the ‘Who? Weekly’ universe.”

That universe is about to expand again: In conjunction with the pod turning 10 this year, Weber and Finger are releasing a new book, “I Want to Be Famous: When Everybody and Nobody Is a Celebrity,” which looks at fame and celebrity through a historical lens while also exploring how the line between Whos and Thems got that much blurrier in the social media age. “I feel like we were always barreling towards a book,” Weber says. “Both of us are trained journalists. We were always kind of like, ‘When are we going to put our money where our mouth is?’”

To demonstrate how the binary is evolving into a spectrum, Weber and Finger revisit juicy pop cultural anecdotes (remember when Courtney Love threw her compact at Madonna at the VMAs? Or when Ariana Grande dated Pete Davidson? Or when Katy Perry flew into space on the Blue Origin?) while blanketing every chapter with an elucidation of why, no matter what decade we’re in, society just can never get enough gossip.

Meanwhile, unlike the podcast, “I Want to Be Famous” gives the hosts ample room to go deeper into the cultural framework of modern celebrity than they normally have time for. Each week, Weber and Finger dedicate one episode to unpacking a prepared list of Who-y headlines, and a follow-up episode, titled “Who’s There?,” is dedicated to listener calls. Which is to say, Weber and Finger usually spend more time explaining and trading jokes about what each micro-celeb is known for rather than how celebrity itself has evolved.

Lindsey Weber and Bobby Finger are celebrating the 10th year of their podcast “Who? Weekly.”

(Justin Jun Lee / For The Times)

“The pod is on the surface funny, [but] if you are a real fan, you’re like, ‘Oh, there’s actually some interesting stuff beneath the funny,’” Finger says. “We wanted this book to be the opposite, where it’s actually outwardly interesting and smart, and then inwardly funny when it can be.”

The writers’ tone might lean more academic within “I Want To Be Famous,” but longtime fans of the pod will recognize dozens of niche names, stories and extremely online subjects that were at one point or another discussed on the show. The authors present their grand theory of Whos and Thems by opening with the story of how former Who Meghan Markle shot to Them-dom after marrying Prince Harry. Other chapters observe what happens when Thems date or marry Whos. There’s a history of how celebrities say sorry (where there were once press releases there are now Notes app apologies) and a conversation about how nepo babies fit into the framework. As the book moves across history and demonstrates how the internet has completely upended the binary, they also show what hasn’t changed about the way fans relate to their favorites. “What we want most in a celebrity is authenticity,” Weber theorizes.

For Weber and Finger, the chance to tie the disparate threads they discuss on “Who? Weekly” was a major incentive to work on their book. “I kept being like, ‘Is this the first time anyone’s ever written about this in a book?’” Weber says with a laugh. “Because some of it was so stupid — these references to fandoms and Club Chalamet and niche things that are newer … I’m like, ‘Oh my God, are we doing this thing where now people have to read about Club Chalamet in 100 years?’ Obviously that would be incredible.”

“There’s a temporality to our show that is not the case with this book, which is very exciting,” Finger adds. “Because our show kind of exists to go in one ear and out the other. And I say that because it goes in one of our ears and out the other too, as the creators.”

Woven into the conversations around Whos, Thems, Thems behaving like Whos (see: brand deals), and Whos aspiring to be Thems is the authors’ palpable anxiety about the decaying role of entertainment journalism in an age in which celebrities can simply promote themselves via social media — or host their own podcasts. The authors are also painfully aware that most audiences have less of an appetite for reading, period. A chapter titled “The 2010s Killed the Cover Star” looks back what is thought to be the greatest piece of celebrity journalism ever written (Gay Talese’s 1966 Esquire classic, “Frank Sinatra Has a Cold”) and contrasts it with today’s style of uncritical, PR-friendly celebrity Q&As that boast nothingburger headlines that don’t tell us much of anything.

Conversations about media and journalism itself run through the podcast too, and that’s by design. “Sometimes we go so niche that it’s like, ‘Are we just making a podcast for our friends that work in media?’ And sometimes the answer is yes,” Weber says. “We can only speak from our experience. … But the most shocking thing about ‘Who? Weekly’ is that [media discourse] is actually quite interesting for lots of people.”

Finger adds, “Our past in media and our abundance of friendships with people who are still in media is like a crucial part of our show. It’s an industry we respect so much, you know, and we’re obsessed with the way it evolves. If we didn’t have that background, I don’t think the show would exist the way it does at this current moment.”

Even with a massive archive of episodes and no plans to stop, Weber and Finger are thrilled to have cemented their legacy with a book that could (and really should) be taught in media and communications classes. “Bobby and I both obviously love celebrities,” Weber says. “But we love media more.”

Brodsky is an L.A. culture and music writer. Her biography of Stevie Nicks, “Lessons & Lace,” published by Penguin Random House, is out now.

Sept. 23, 2026 5:09 PM PT

A two-part docuseries about Melania Trump arrives later this year, the first lady revealed Wednesday. The new project follows the January release of director Brett Ratner’s documentary, which made $16.7 million worldwide at the box office and was universally panned by critics.

“It will come out this year, and it will be very different what is in the movie,” Trump told “Fox & Friends” ahead of her appearance to ring the New York Stock Exchange opening bell. “It’s more [like a] conversation one on one with me.”

Trump indicated that the docuseries will cover new ground.

“So when I was traveling and doing all of the filming, the director was asking me questions, and there’s some private questions that I will answer that people never heard before,” she said.

The Times has reached out to Amazon Studios for more information on the project, which does not appear in press materials, though Ratner teased the new “chapters” in an Aug. 11 Instagram post.

“Here we go again….” the director wrote. “The saga continues …. can’t wait to share with everyone around the world the next two chapters of MELANIA, THE DOCU SERIES!”

Ratner’s film followed the first lady in the 20 days leading up to President Trump’s 2025 inauguration, promising “exclusive footage capturing critical meetings, private conversations, and never-before-seen environments” as Melania “orchestrates inauguration plans, navigates the complexities of the White House transition, and moves her family back to the Nation’s Capital.”

Critics, however, found the cinematic experience lacking.

“I’m hesitant to call ‘Melania’ propaganda because I can’t imagine anyone watching this movie and thinking that Melania Trump comes off well,” Times film critic Amy Nicholson wrote in a February review. “If this vapid, airless, mindless time-waster had subversive designs of being a satire about the first lady of the United States, there’s not much it would have changed. Yet somehow, ‘Melania’ is exactly the film that the first lady wanted to make — her company was paid $40 million for the rights to this self-greenlit production — and no one around her warned that it was a very expensive bad idea.”

“Melania” was Ratner’s first film since six women accused him of sexual assault in 2017. In February 2026, The Times reported that the “Rush Hour” filmmaker appeared in the unsealed Epstein files in photos with unidentified women and the financier, who died by suicide in 2019 while awaiting trial on sex trafficking charges.

In addition to the initial $40 million Amazon MGM Studios paid to license the project, the marketing and promotion budget was reportedly another $35 million.

Born into an African American family with a grim history of enslavement, Marian Anderson was determined from an early age to master the art of singing for the concert hall. A contralto of great range and warmth, Anderson’s abundant gifts as a performer of spirituals, arias and German Leider brought her global fame even as she endured the indignities of racial discrimination at home. Her Easter Sunday performance at the Lincoln Memorial in 1939 in front of 75,000 spectators remains a touchstone of defiance in an age of racial violence.

Anthony Tommasini’s excellent biography of Anderson, “Voice of A Century,” reclaims the singer as a great artist who only embraced her power as a symbol of racial equality much later in life. I spoke with Tommasini about Anderson, Franz Schubert and Albert Einstein.

✍️ Author Chat

Anthony Tommasini’s biography reclaims Anderson as a great artist who embraced her power as a symbol of racial equality later in life.

(Ahna Tessler Photography)

I feel like people know Marian Anderson in the abstract, but they regard her as a symbol rather than an artist. And among the virtues of your book is that you reestablish Anderson’s legacy as a great singer and performer.

She was a contralto, which is the lowest female vocal register. But that register had such resonance, and she had complete control over it. She also had enormous range; the uncanny, beautiful thing about Anderson’s voice is that when she started ascending even into the soprano sphere, she held those notes so beautifully. They were emanating from below, grounded in that low voice. It made for a mesmerizing sound. I’ve made a playlist to accompany the book.

She embodied this kind of fierce dignity and grace in the face of racial discrimination. But as you point out, she was reluctant to make herself a symbol of the civil rights movement, preferring to let audiences focus on her artistry.

In 1939, she was banned from performing in Washington’s Constitution Hall because of her race, and her manager, with help from Eleanor Roosevelt, arranged a performance in front of the Lincoln Memorial on Easter Sunday. Yet, the night before the performance, she was trying to get out of it. She felt the whole affair had turned into a civil rights demonstration. When it came time to write her memoirs in 1956, she wanted to excise the event from the book. She felt that what she could do is be an example of excellence and possibility for aspiring black artists.

She did play to segregated audiences, even long after she had become a national star.

[This type of segregated performance featured what] was called vertical seating. But she refused to forsake her career, which she had worked so hard to attain, and so she played these segregated shows. Eventually, there was a performance in Virginia which was boycotted, and that sort of broke the trend. She then performed in front of an integrated audience in Florida.

There is an encounter with Albert Einstein, of all people, who counsels her to take a stand against these racist booking policies.

In 1937, she showed up for a concert in Princeton, New Jersey, only to discover she was being refused a room at the Nassau Inn. As it turns out, she had a friend in Princeton who had seen her at Carnegie Hall and had meekly gone backstage to meet her. This was Albert Einstein, who was teaching at Princeton University at the time, and who offered to put Anderson up for the night at his house. He really pressed her on being more outspoken on racial equality.

Anderson played Europe multiple times in the 1930s, right before the rise of Hitler and the Third Reich. As you write, German audiences were blown away by Anderson’s mastery of their music, specifically Franz Schubert’s Lieder, or art songs, which were among Anderson’s most beloved repertoire.

So extraordinary, right? She also made two tours of the Soviet Union during that time. They went crazy for her in the Scandinavian countries, as well. But for the German audiences who are so nationalistic about their Leider, it was confusing. They couldn’t imagine how a Black American woman could sing their music so beautifully.

Anderson was the first Black soloist to perform at the Metropolitan Opera in New York, in Verdi’s opera Un ballo in maschera.

That was really a huge risk and a huge leap for her. She wasn’t a trained opera singer, and she had to dig deep into that material. She was already 58 by that time. There is a radio recording of the performance. There’s this dignity, like she’s calling upon this power. It’s exhausting and it’s draining, but it’s also exhilarating.

This Q&A was edited for length and clarity.

📰 The Week(s) in Books

Book jacket for “Body Language” by Meg Howrey

(Los Angeles Times illustration; jacket from Doubleday)

Marlon James has published his highly anticipated new novel “The Disappearers,” a sprawling story about gay culture in ’80s Jamaica, and Mark Athitakis is quite taken with it. “James is … determined to unwind the cliches of gay fiction: the tragic victim, the heartwarming gestures of solidarity, the blunt porniness,” he writes. “Mere survival will have to be enough for most of these characters; the sense of fear is pervasive, but so is a determination to work through it.”

What’s it like to be the primary dissenting liberal voice on Fox News? Stephen Battaglio found out when he talked to Jesssica Tarlov about her hybrid memoir and self-help book “I Disagree.” “I have a good amount of shyness to me,” she tells Battaglio. “I have a lot of imposter syndrome. I’m constantly in wonder that I ended up getting to do this and that hopefully, am the right person to do it.”

Meg Howrey’s fifth novel, “Body Language,” a twisted family saga, is “smart, sardonic and powerful,” according to Meredith Maran.

Finally, Emily Wilson, the classicist who has been a lightning rod of controversy over her disparaging remarks in regard to the film version of “The Odyssey,” is going to translate Homer’s epic for a second time, reports Emily St. Martin.

📖 Bookstore Faves

The Hammer Museum’s gift shop is one of the best art book shops in L.A.

(Eric Petschek)

Sure, the Hammer Museum’s gift shop stocks the requisite art-themed mugs, tea towels and tchotchkes, but it’s also one of the best art book shops in L.A. Inside the sleekly designed Hammer Store is a vast inventory of monographs, children’s books and critical texts about modern and contemporary art. In an email exchange, store managers Sara Beattie and Brooke Berlin tell us what museumgoers are buying right now.

Hammer’s store is really the best museum bookshop in L.A. How do you decide what to put on the shelves?

We’re an eclectic bunch of book nerds and love the written word. We start by looking at upcoming programming, exhibitions and the season, and we buy accordingly. And we have a great team that gives us suggestions. We’ve learned to trust our instincts. The Hammer is an experimental institution, and we approach our buying in that spirit.

Do you have patrons that are not necessarily there to check out museum exhibits?

Of course! We’re not only a museum, but a cultural center, which means there’s always something happening — like mindful meditation on Thursdays, or family programming on weekends, or people coming in just to enjoy a meal at Lulu.

What kinds of books tend to do well for you?

Art monographs, especially on contemporary or Los Angeles artists; books about living more conscientiously; and everyone loves a children’s book (even if it’s just to heal your inner child). We love finding unique books that can’t be found elsewhere. Whenever we can, we work with small presses and book distributors. They often make books that can only fully be enjoyed or understood by seeing them in person.

Is there any particular title that is presently selling well?

“Mindfulness in the Garden: Zen Tools for Digging in the Dirt” by Zachiah Murray; Sanzu Wada’s “Vol. 1 Dictionary for Color Combinations”; “The Hippest Trip in America: By Land, Air and Sea” by Alake Shilling.

Why do we still enjoy art books, when we can look at millions of paintings and sculptures on the internet?

Why go outside if you can look through a window? There is a lot of talk of people returning to the analog or physical media, and that includes renewed interest in physical books. BookTok is huge. People love talking about books and showing off their special deluxe book editions on TikTok. Art books by their very nature are deluxe, image filled and thoughtfully designed. A well-produced book is an art object in itself. Nothing beats the experience of paging through a beautiful book. That experience can’t be replicated on a screen.

The Hammer Museum store is located at 10899 Wilshire Blvd., Los Angeles.

Ed Sheeran’s Loop tour, in the span of less than two weeks, became an unexpected lightning rod for controversy and conversation about artist activism amid Israel’s deadly war in Gaza. Still, the show will go on.

Sheeran’s tour will proceed as planned, The Times has learned. He is scheduled to play on Saturday at Lincoln Financial Field in Philadelphia. The venue also confirmed on Wednesday that the Saturday concert is still a go, but that supporting acts have yet to be finalized.

A representative for Sheeran’s tour did not immediately respond to requests for additional information, including who will be the new supporting acts.

In a rapid turn of events since rapper and former opening act Macklemore called for Palestinian liberation onstage earlier this month, Sheeran — the singer of inoffensive hits including “Thinking Out Loud” and “Shape of You” — fell out with the fellow Grammy winner, witnessed all supporting acts drop from his lineup and defended himself against accusations of complicity in silencing criticism of Israel. Additionally, Sheeran confronted scrutiny over his largely apolitical public presence. He attributed this to his longtime desire to “bring people from all backgrounds and cultures together” via his music and performances.

“I am not complicit. I have my personal views on this devastating conflict,” he wrote Tuesday on Instagram. “Just because I choose not to speak publicly, it doesn’t mean I don’t have them, and it doesn’t mean I don’t care. Nor does it mean I don’t support causes in my own, personal way.”

Ahead of Sheeran’s first concert since the scrutiny surrounding Macklemore’s performance, read on for what preceded the fallout of Sheeran’s Loop tour.

Macklemore goes from “Thrift Shop” to “Hind’s Hall”

Macklemore performs at Rod Laver Arena on May 15, 2024, in Melbourne, Australia.

(Morgan Hancock / Getty Images)

Before hitting the stage for Sheeran’s Loop tour, Macklemore famously burst onto the music scene in 2012 as part of the duo Macklemore & Ryan Lewis. The pair gained popularity for the then-inescapable hit “Thrift Shop,” the fourth single off their acclaimed debut album, “The Heist.”

The duo gained further notoriety with hits “Can’t Hold Us” and same-sex marriage anthem “Same Love.” They notoriously bested Kendrick Lamar at the 2014 Grammy Awards in the rap album category. Lamar was nominated for his striking debut “Good Kid, M.A.A.D City.”

A year after releasing their 2016 album, “This Unruly Mess I’ve Made,” the duo announced an indefinite hiatus. Macklemore focused on his solo work, including collaborations with Kesha, Lil Yachty and Skylar Grey. In recent years, Macklemore has taken on a new purpose with his platform.

Macklemore, like many musical acts including Kehlani, Finneas and Irish rap group Kneecap, became a vocal supporter of the Palestinian cause after Israel began its offensive in Gaza in the wake of the Hamas attacks on Oct. 7, 2023. The rapper has channeled his views on the conflict into his music, releasing his protest song “Hind’s Hall” in May 2024. The song calls for a ceasefire, an end to Israeli occupation in Gaza and highlights pro-Palestinian protests on college campuses.

Ed Sheeran announces his Loop tour

Ed Sheeran performs during iHeartRadio Kiss 108’s Jingle Ball 2025 at TD Garden on Dec. 14, 2025, in Boston, Mass..

(Scott Eisen / Getty Images for iHeartRadio)

Last September, Sheeran unveiled his plans to hit the road to promote his eighth studio album, “Play.”

The British “A Team” singer announced at the time that his tour would begin June 2026 with a stop at Arizona’s State Farm Stadium and would run through early November. The announcement did not disclose the supporting acts set to share the stage with him, but informed fans the singer would perform shows across large venues including Inglewood’s SoFi Stadium in August and a pair of performances at MetLife Stadium in New Jersey.

The concerts at MetLife Stadium would later embroil Sheeran, his tour, Macklemore — and somehow pop star Pink — in controversy.

Macklemore calls to ‘Free Palestine’: Performance or ‘propaganda?’

When Macklemore took the MetLife Stadium stage as the supporting act for Sheeran’s Sept. 4 and 5 concerts, he did not mince words in his message. During his set, Macklemore criticized Israel for its war in Gaza and accused it of genocide of Palestinians. He also projected an edited version of his “Hind’s Hall” music video, which features footage of pro-Palestinian college encampments and protests and military strikes in Gaza.

Video of Macklemore’s performance spread online, drawing ire from some Jewish advocacy groups including StopAntisemitism, which accused Macklemore on Instagram of turning “a mainstream event into a political nightmare against the Jewish state.” Pop star Pink, who is Jewish, shared StopAntisemitism’s post to her Instagram story. She faced backlash for the repost and later clarified in a three-part statement that she took issue with the imagery Macklemore displayed during his performance. She also accused the rapper of taking “the mic to tell all the Jews in the stadium that it wasn’t about them.”

In the wake of Macklemore’s performance, the Israeli American Council and the Anti-Defamation League also decried Macklemore’s performance on social media, with the former publishing a petition calling on Sheeran to remove the rapper from the remaining shows of his tour.

“Freedom of expression does not give anyone the right to turn someone else’s stage into a platform for political propaganda,” the Israeli American Council said on Instagram.

Amid the mounting backlash, Macklemore defended his stance and shared video on social media of his full address to the MetLife crowd. “I said ‘Free Palestine.’ I want those words to be loud and clear so that the people in Gaza all the way to the occupied West Bank know that we have not forgotten them,” he tells concertgoers in his introduction to “Hind’s Hall.”

“To all my Jewish brothers and sisters, criticism of Israel, criticism of apartheid, being against genocide in no way is a criticism of you,” he adds, according to video of his address. “My message is for peace, love for all human beings to be treated with dignity, respect and equality.”

The fallout begins: Macklemore fired from Loop tour

Whether Macklemore would remain on Sheeran’s tour amid the public outcry remained uncertain, until he confirmed his status earlier this week. He said in a lengthy statement shared to Facebook that his continued, vocal support for Palestinians amid Israel’s war in Gaza has cost him professionally.

The rapper said he was removed after “some difficult conversations” with Sheeran. He also went into depth about the inner workings that led to his removal from the tour, including conversations between Sheeran and wealthy venue owners, including billionaire Robert Kraft, whose Kraft Group owns Gillette Stadium in Massachusetts, where Sheeran is set to play later this month.

“Ed told me that Kraft said I would not be allowed to perform in his stadium,” Macklemore wrote. “Ed also told me that Kraft had rallied some of the other stadium owners and collectively they gave him an ultimatum: if Macklemore stays on the tour, you will not be allowed to play in our venues.”

Sheeran in a separate statement shared on Tuesday confirmed he had conversations with Kraft but did not speak to the alleged ultimatum. The singer also said removing Macklemore from the tour “was the promoter’s decision, it was not mine” and that Macklemore’s contract was with its promoter. Messina Touring announced on Monday it had dropped Macklemore from the remaining tour dates “after discussions with stakeholders.”

Additionally, Macklemore wrote that Sheeran’s “typical apolitical stance was being challenged” amid the public scrutiny and “he couldn’t get past his public facing, ‘I don’t take sides.’”

Sheeran appeared to address that criticism, writing in his missive that attendees at his concerts “do not expect a political forum.” The singer also wrote he thinks there can be different ways to work toward peace.

“If we only focus on shouting the loudest, nothing will ever change,” he wrote.

Macklemore said in his Monday statement he was hopeful this turn of events would not mean an end to his friendship with Sheeran and he was grateful for the opportunity to play on tour, regardless.

“I didn’t need 10 Shows from Ed. I needed 2,” he wrote. “Two chances to stand in front of 90,000 people and say … ‘Free Palestine.’”

Supporting acts depart tour in solidarity

Grammy winner Finneas was among the supporting acts who announced their departure from Ed Sheeran’s tour on Tuesday.

(Monica Schipper / Getty Images)

Hours after Sheeran shared his side to the controversy, numerous musical acts including Grammy winner Finneas and folk band Beoga, Sheeran’s backing band, pulled from the Loop tour in solidarity with Macklemore and in support of Palestinians.

“Artists must not be silenced when they speak up for the oppressed. I have decided to withdraw from my upcoming tour dates with Ed Sheeran,” wrote Finneas, who has been a vocal supporter of Palestinians. “I stand with Palestine and its people.”

Pop band Lukas Graham and Irish singer-songwriter Aaron Rowe, both billed as supporting acts for several upcoming dates on Sheeran’s tour, voiced support for the Palestinian people and spoke against the inner workings that led to Macklemore’s removal.

In its statement, Lukas Graham wrote: “Money doesn’t give you the right to own the conversation. Nobody’s bank balance should decide who gets to speak or which suffering we’re allowed to acknowledge.”

Rowe in his Instagram statement said that Sheeran “has been a friend to me and has changed my life” but that he is sympathetic to the Palestinian cause. “As Irish people we know all too well about genocide, forced famine and violent occupation,” he wrote. The “Hey Ma” singer accused elites of leveraging their power to “silence the rightful voices” and criticism of Israel.

“I need to be true to myself and my ancestors who resisted colonisation, and fought for a freedom that I enjoy today in Ireland,” Rowe continued.

Macklemore announced Wednesday that he will donate his earnings from his shows with Sheeran to charities supporting Palestinians. He also invited Kraft to match his donation and reaffirmed his dedication to the Palestinian cause.

“This is what this has always been about,” he wrote. “Not me. Not a tour. Not the headlines or the controversy.”

The North American leg of Sheeran’s Loop tour is scheduled to end Nov. 7 at Raymond James Stadium in Tampa, Fla. — the same venue that platformed controversial rapper Ye (formerly Kanye West) earlier this summer.