When Los Angeles County Museum of Art director Michael Govan first stepped up to the podium at the museum’s star-packed 14th annual Art + Film Gala, the Dodgers were down one point to the Toronto Blue Jays in the eighth inning of the final game of the World Series.
There was no giant screen in the massive tent where a decadent dinner was being served Saturday night in celebration of honorees artist Mary Corse and director Ryan Coogler. Instead guests in elaborate gowns and tuxedos discreetly glanced at their phones propped on tables and at the base of flower vases across the star-packed venue. This became apparent when Miguel Rojas hit a game-tying home run at the top of the ninth inning and the whole room erupted in cheers.
Michael Govan, CEO of LACMA, wearing Gucci, speaks onstage during the 2025 LACMA Art+Film Gala.
(Amy Sussman / Getty Images for LACMA)
When Govan returned to the stageto begin the well-deserved tributes to the artist and filmmaker of the hour, the game had been won, the effusive cheering had died down, and the phones had been respectfully put away.
“Go Dodgers!” Govan said, before joking that LACMA had engineered the win for this special evening. The room was juiced.
It made Los Angeles feel like the center of the universe for a few hours and was fitting for an event that famously brings together the city’s twin cultural bedrocks of art and cinema, creating a rarefied space where the two worlds mix and mingle in support of a shared vision of recognizing L.A.’s immeasurable contributions to the global cultural conversation.
“This is a celebration that can only happen in L.A. — where art, film and creativity are deeply intertwined,” Govan said. “I always say this is the most creative place on Earth.”
The event raised a record $6.5 million in support of the museum and its programs. Co-chairs Leonardo DiCaprio and LACMA trustee Eva Chow hosted a cocktail party and dinner that drew celebrities including Dustin Hoffman, Cynthia Erivo, Cindy Crawford, Queen Latifah, Angela Bassett, Lorde, Demi Moore, Hannah Einbinder, Charlie Hunnam and Elle Fanning alongside local elected officials and appointees including U.S. Rep. Sydney Kamlager-Dove (D-Los Angeles); L.A. County Supervisors Holly Mitchell and Lindsey Horvath; L.A. Councilmember Katy Yaroslavsky; West Hollywood Councilmember John M. Erickson, and Kristin Sakoda, director of the Los Angeles County Department of Arts and Culture.
Sakoda said she thoroughly enjoyed the festivities “as representative of the incredibly diverse culture of Los Angeles and how that speaks to our entire nation.”
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1.George Lucas arrives at the LACMA Art + Film Gala on Saturday.(Jordan Strauss / Invision via Associated Press)2.Elle Fanning arrives at the LACMA Art + Film Gala on Saturday.(Jordan Strauss / Invision via Associated Press)3.Angela Bassett arrives at the LACMA Art + Film Gala on Saturday.(Jordan Strauss / Invision via Associated Press)
A special nod of gratitude went to previous gala honorees in attendance including artists Mark Bradford, James Turrell, Catherine Opie, Betye Saar, Judy Baca, George Lucas and Park Chan-Wook. Leaders from many other local arts institutions also showed up including the Hammer Museum’s director, Zoe Ryan; California African American Museum Director Cameron Shaw; and MOCA’s interim Director Ann Goldstein.
Rising in the background was LACMA’s new David Geffen Galleries, the 110,000-square-foot Peter Zumthor-designed building scheduled to open in April as the new home for the museum’s 150,000-object permanent collection.
“Every day I’m in that little building behind installing thousands of artworks,” Govan said to cheers. “I can’t wait for people to rediscover our permanent collection, from old favorites to new acquisitions. It’s a monumental gift to L.A., and in addition to L.A. County and the public, I would like to thank the person whose generosity brought us to this landmark moment, Mr. David Geffen.”
Geffen sat in a sea of black ties and glittering gowns, near Disney CEO Bob Iger and DiCaprio — who had been filmed earlier in the week in attendance at Game 5 of the World Series at Dodger Stadium.
Govan also gave a special acknowledgment to former LACMA board co-chair, Elaine Wynn, who died earlier this year and was one of the museum’s most steadfast champions. Wynn contributed $50 million to the new building — one of the first major gifts in support of the effort. Govan noted that the northern half of the building will be named the Elaine Wynn wing.
Honoree Ryan Coogler, wearing Gucci, speaks onstage during the 2025 LACMA Art+Film Gala.
(Amy Sussman / Getty Images for LACMA)
Left unmentioned was the fact that earlier in the week LACMA’s employees announced they are forming a union, LACMA United, representing more than 300 workers from across all departments, including curators, educators, guest relations associates and others. One worker told The Times there were no plans to demonstrate at the gala, which raises much-needed funds for the museum.
The crowd sat rapt as the night’s guests of honor, Corse and Coogler, humbly spoke of their journeys in their respective art forms, with Govan introducing them as “artists whose brilliant groundbreaking work challenges us to see the world differently.”
The night concluded with an enthusiastic performance by Doja Cat on an outdoor stage in the shadow of the David Geffen Galleries, the lights girding its massive concrete underbelly like stars in the sky.
“It was a beautiful evening of community coming together around something that reminds us of our shared humanity at a time when we need it,” said Yaroslavsky with a smile as the evening wound down.
From gorgeous Getxo to the City of Love, you won’t want to come home from these mint mini-breaks
Find foodie heaven near BilbaoCredit: Supplied by PR
SPAIN – Palacio Arriluce Hotel, Getxo
Commissioning Editor Martha Cliff and fiancée Lauren found foodie heaven near Bilbao.
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THE PAD
Check in and zone out at the Palacio Arriluce
Perched on a striking cliffside overlooking the Bay of Abra in Getxo and with a beauty of an outdoor pool, this 18th-century boutique gem sits in a palatial setting and offers the perfect blend of historical charm and contemporary elegance.
Craving vistas of the rolling Basque mountains? You’ve got it. Want to gaze at boats bobbing in the harbour? No problem. A city view more your vibe? It’s got that, too.
Be sure to eat breakfast – think other-worldly Spanish tortilla and Iberico ham – on the terrace to take full advantage.
Meanwhile, come dinner at Delaunay, try local specialities such as grilled kokotxas (hake chin) on stewed spider crab, £35, and Iberian pork shoulder with passionfruit, £31.
Make sure you’re there on a Thursday to join locals in Getxo for “pintxo pote”, a foodie’s dream bar crawl and Basque country tradition.
Restaurante Ixta Bide offers four pintxos (small savoury snacks) – our fave was pintxo de txaka, akin to a mini crab sandwich – and two vinos for a mere £9.
Just don’t expect to bag a seat! Wind your way up the steps of Algorta to reach Arrantzale and finish on its perfectly salted pork belly (Arrantzale.com).
While day-tripping, step into one of Bilbao’s oldest bars, Café Iruña, just a hop from Arbando metro station.
Dating back to 1903, the beautiful tiling is reason enough to visit, but coffee for just £1.75, is a big pull, too.
Or opt for a glass of the local txakoli white wine, £2.70, instead (Cafeirunabilbao.com).
DON’T MISS
The works inside Bilbao’s Guggenheim Museum are, of course, breathtaking, but the building itself and its surrounding sculptures – including Puppy, a massive dog made of flowers by American artist Jeff Koons – are worth the trip alone.
Fly to Bilbao from London Gatwick and Heathrow with Vueling from £56 return (Vueling.com).
FRANCE – Hôtel Dame des Arts, Paris
Creative Director Mark Hayman and wife Margaret fell for cocktails and culture in the French capital.
Fall for cocktails and culture in the French capitalCredit: Getty Images
THE PAD
Rest easy at Hôtel Dame des ArtsCredit: LUDOVIC BALAY
This sleek bolt-hole in the city’s Latin Quarter has shaken off its Holiday Inn past to channel full Hollywood glamour.
Think rich woods, bamboo accents and pretty palms, with rooms that feel like film sets, thanks to glass dividers, velvet finishes and luxe bathrooms made for long soaks.
Downstairs, Pimpan serves up bold Franco-Mexican fusions on a leafy terrace – highlights include beef tartare with piquillos, £12.50, lamb shoulder with harissa, £25, and hibiscus-poached pear, £11.
But the real scene-stealer is the rooftop bar, where 360-degree skyline views stretch from the Eiffel Tower to Sacré Cœur – even locals come here for the vistas.
Order a Spritz del Arte (Aperol, mango liqueur, rum and prosecco), £17, or the punchy Uno Mas margarita, £14, pop on your biggest sunglasses and watch the city turn blush at sunset.
There’s also a sauna and a gym kitted out with sculptural wooden equipment for those partial to a designer workout.
EXPLORE
Explore the history of Notre-DameCredit: Getty Images
First time in Paris? Glide down the Seine aboard the Batobus – this hop-on-hop-off riverboat is a relaxing (and photogenic) way to tick off major sights like the Musée d’Orsay and the Louvre.
For more treasure-hunting, swing by the flea market off Rue du Faubourg Saint-Antoine – a weekend haven of vintage mirrors, mid-century ceramics and nostalgic postcards.
There’s no entry fee, just bring cash and your best haggling game.
Then head to the Panthéon, a neoclassical gem where Voltaire, Rousseau and Marie Curie lie in dramatic crypts beneath a rooftop dome offering jaw-dropping views.
Lively, retro-chic Brasserie Dubillot’s espresso martinis, £10.50, are a must, but equally good is the sausage and mash with truffle sauce, £16, steak-frites, £21, and the perfect crème brûlée, £8 (Lanouvellegarde.com/brasserie-dubillot).
Craving something casual? PNY serves next-level burgers with aged beef, brioche buns and toppings like smoked cheddar and pickled jalapeños, from £11.50 (Pnyburger.com).
Or just nab a pavement perch at Café Saint-André for a croque monsieur, £10.50, a glass of sancerre, £7, and some world-class people-watching.
Double rooms at Hôtel Dame des Arts cost from £226 per night (Damedesarts.com).
Psst…
Fancy something a little more party? Rixos Premium Dubai JBR sits in one of the UAE city’s buzziest neighbourhoods, with captivating views of Ain Dubai, the world’s biggest ferris wheel.
Suave rooms come with huge tubs, rain showers and espresso machines, from £304 per night (Rixos.com).
Rixos Premium Dubai JBR sits in one of the UAE city’s buzziest neighbourhoodsCredit: SuppliedThe suave rooms have captivating views of Ain Dubai, the world’s biggest ferris wheelCredit: SuppliedHead to Aussie beach club Byron Bathers for great foodCredit: Byron Bathers Club/Instagram
Downstairs is Azure Beach Club with its large pool, pumping soundtrack, outdoor gym and private beach (Azure-beach.com/dubai).
The breakfast buffet is, in true Dubai style, eye-poppingly big – you can even blend your own fresh peanut butter.
Plus, you’re half an hour’s cab ride from the world’s tallest building, the Burj Khalifa, for that classic Dubai selfie – viewing platform visits cost from £37 per person (Burjkhalifa.ae).
When you’re craving a chilled day, head to Aussie beach club Byron Bathers for lobster linguine, £37, and burrata pizza, £17, with excellent Whitsunday spritzes – an exquisite blend of grapefruit bitters, strawberry shrub, pink grapefruit, citrus vodka, Aperol and prosecco, £14 (Byronbathers.com).
After more than 20 years under construction, the Grand Egyptian Museum will finally open this weekend, promising more than 50,000 artifacts showing what life was like in ancient Egypt.
If you TikTok on any particular night and you can watch America arguing with itself. Most teenagers scroll through protest videos, culture-war debates, and endless outrage while rival nations quietly observe something far more consequential – the erosion of the attention of the American youth.
Think of two children, one spends an entire day watching protest clips and debating identity issues online. The other spends that same time learning robotics or coding. A decade later, only one of them is shaping the technologies that define the future. Multiply this very difference by millions and the picture becomes clear. This is how foreign countries can gain a subtle but powerful advantage by encouraging distraction.
While American youth is drawn into ideological skirmishes, China is building artificial intelligence laboratories, investing heavily in space technology, and cultivating discipline among its students. Russia, though economically weaker, still benefits by showcasing American confusion to its own citizens. By pointing to social division and cultural chaos, it strengthens the illusion that its own model offers stability. The battlefield today is not military; it is psychological.
The New Frontline of Power
I believe that the most contested territory of the 21st century is not land or trade routes but attention. Data may have been the ‘New Oil’ but Attention and the ability to capture and control it is the ‘New Data’. If you control the minds, you control the country. Young Americans live in a constant world of images, arguments, and notifications that shape how they see their nation and their ideological beliefs. They are politically aware but emotionally exhausted.
Several Surveys by the Pew Research Centre show that nearly half of American teenagers believe social media has a mostly negative effect on their generation, and about 1 in 5 say it has harmed their mental health in one way or another. What began as a tool for connection, has become an arena for reactivity, chaos and following social media trends. News is consumed not to understand but to respond.
America’s openness which has been its defining strength, has become a point of vulnerability. During the 2016 election, Russian operatives deliberately amplified such issues online, pushing both liberal and conservative extremes to deepen mistrust and cause diversity. The aim was not persuasion but polarization. It was a targeted attack on the people of America.
TikTok on the other hand, which is China’s most successful global export is designed to capture attention through endless entertainment, while its domestic version, Douyin, restricts usage for minors and promotes educational and patriotic content. The Chinese youth are trained to create and compete, while American youth are taught, unconsciously, to scroll. Why is Douyin used in China and not TikTok? Why isn’t conventional social media banned in China? What does China know about these social debates that it wants to control the flow of media and western ideologies into their country? One should question what Is really happening
The Economics of Distraction
Attention is now a form of economic power. Nations that focus their youth on innovation and competence will dominate the coming century. Those that reward distraction will decline.
The Center for Strategic and International Studies reports that China graduates more than one million engineers each year, nearly four times the number produced in the United States. When a country’s young population spends more time debating cultural issues than mastering scientific ones, it weakens its long-term competitiveness.
Political consequences follow. Polarization has become both symptom and strategy. Congress spends increasing time performing ideological battles instead of solving practical problems. Rivals interpret this as evidence that democracy can be paralyzed by its own openness, and citizens begin to lose confidence in their institutions.
The Algorithmic Advantage
Algorithms have become invisible editors of public life. They decide what people see, what they feel, and eventually what they believe. A Wall Street Journal investigation found that TikTok’s recommendation system can guide users toward extreme or divisive content within minutes of signing up. Douyin, in contrast, enforces time limits for minors and promotes academic material.
The difference in design reveals a difference in philosophy. American platforms optimize for engagement. Chinese platforms optimize priamrily for control. Both shape human behaviour, but only one leaves its users fragmented and fatigued.
Every moment of outrage online generates data, engagement, and profit. The more polarized the conversation, the stronger the business model. That is the genius of this weapon, it destabilizes societies while appearing voluntary. It is a quiet killer of growth, it is the quiet killer of a bright future. Why? Because it changes the nature of the populus to focus on ideological differences, to argue and debate on that rather than focusing on innovation, growth and developing. The American Citizen has become vulnerable to these power plays.
The Psychological Toll
This constant exposure to ideological battles leaves deep psychological marks. A few studies link sustained online conflict to higher anxiety, moral fatigue, and declining trust in authority. People become more skeptical yet also more suggestible, believing less but reacting more quickly.
The youth, despite being more digitally focused, remain more adaptable in belief than older generations. The real danger here, is not what they believe but that they begin to doubt whether anyone can be trusted to tell the truth. When the trust has evaporated, societies become easier to manipulate and it gets much harder for the country to unite and focus on growth and development.
Building Cognitive Resilience
Safeguarding democracy today requires much more than merely armies and technology, rather it requires citizens who can think clearly in an environment designed to distract them. The solution lies in resilience, not censorship or media control. Lets discuss some points that can be adopted to fight this battle
Teach Media Literacy: Schools should help students understand how algorithms shape their perceptions and emotions. Research shows that even brief digital literacy training reduces belief in false information.
Make algorithms transparent: Tech platforms should disclose what content they prioritize and why. Independent audits can reveal manipulation before it spreads.
Rebuild Offline Living: Communities that meet face-to-face build empathy that online arguments cannot. Dialogue, Community building and local participation restore the sense of shared purpose that social media erodes.
Expose Interference very Quickly: Governments should publicly reveal foreign manipulation as soon as it is detected. Transparency disarms propaganda faster than denial.
The Human Cost and the National Risk
Beneath this jargon is a human story. It is the that teenager that watches TikTok before bed and wakes up anxious without knowing the reason for that very anxiety. It is the citizen who cannot trust any sources of news. It is the slow disintegration of focus and faith in the conventional media and the American government.
Many foreign powers have learned that it is cheaper to just divide America than try to defeat it using any Economic or Military power because they sure are too strong on that front controlling the one of the most globally traded currency and one of the strongest Military powers in the world. Their weapon is distraction, which is engineered with precision and amplified through emotion.
The remedy is not to close society but to strengthen it. Attention in itself needs to be treated as a civic skill, something to be trained and protected. The ability to pause, reflect and filter out unimportant and hate-causing content is America’s last line of defence.
The next great contest between open and closed societies will not be fought on a battlefield but in the minds of the populus deciding whether to react or to think. If America’s strength once came from its freedom to speak, its survival now depends on its willingness to listen and act be aware of what is really happening.
The Louvre Museum in the French capital has closed for “exceptional reasons” after a group of intruders successfully stole eight pieces of priceless jewellery in a quick-hit heist that has rocked the world’s most-visited museum.
A manhunt for the thieves was under way in Paris on Sunday as police cordoned off the museum – famously home to Leonardo da Vinci’s painting Mona Lisa – with tape and as armed soldiers patrolled its iconic glass pyramid entrance.
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French government and museum officials said several intruders entered the Galerie d’Apollon (Apollo’s Gallery) through a window shortly after the museum opened, relying on a lift used to hoist furniture into buildings.
Within just four minutes, the thieves stole away on motorcycles laden with eight items dating back to the Napoleonic era, dropping a ninth on their way out.
French President Emmanuel Macron took to social media to denounce the heist as an “attack on a heritage that we cherish”.
“The perpetrators will be brought to justice,” he added. “Everything is being done, everywhere, to achieve this, under the leadership of the Paris prosecutor’s office.”
Here’s what we know about the heist, which arrives as the Louvre faces questions over large crowds and overworked staff.
What happened?
Around 9:30am local time (07:30 GMT) on Sunday, as tourists already roamed the halls of the Louvre, the thieves zeroed in on Apollo’s Gallery – a gold-gilded, lavishly painted hall commissioned by King Louis XIV that houses the French crown jewels.
Describing the incident as a “major robbery”, Interior Minister Laurent Nunez said the thieves used a basket lift to reach the museum’s windows, entered the gallery and escaped via motorbike with “jewels of inestimable value”.
The Louvre evacuated all visitors and posted a notice online that the museum would remain closed throughout the day under “exceptional” circumstances.
Police meanwhile sealed the gates, cleared courtyards and even closed off nearby streets along the Seine River as authorities kicked off an investigation.
It was “crazy”, one American tourist, Talia Ocampo, told the AFP news agency – “like a Hollywood movie”.
No injuries were reported, but the thieves – believed to number four people – remained at large as of Sunday evening.
The crown of the Empress Eugénie de Montijo is displayed at Apollo’s Gallery at the Louvre Museum in Paris in 2020. Thieves attempted to steal the piece on Sunday [File: Stephane de Sakutin/AFP]
What was stolen during the heist?
Thieves successfully removed eight items from two high-security display cases, the Ministry of Culture confirmed late on Sunday. These include pieces that belonged to Empress Marie-Louise, the wife of French Emperor Napoleon I, and others that belonged to Empress Eugenie, the wife of Napoleon III.
These are the items that were stolen:
Tiara from the jewellery set of Queen Marie-Amelie and Queen Hortense
Necklace from the same duo’s sapphire jewellery set
A single earring from the sapphire jewellery set
Emerald necklace from the Marie-Louise set
Pair of emerald earrings from the Marie-Louise set
Brooch known as the “reliquary” brooch
Tiara of Empress Eugenie
Another large brooch of Empress Eugenie
The crown of Empress Eugenie was recovered outside the walls of the museum, the ministry said, where it was dropped by the thieves as they fled. The crown contains 1,354 diamonds and 56 emeralds, according to the Louvre.
Apollo’s Gallery is home to a range of other priceless gems, including three historical diamonds – the Regent, the Sancy and the Hortensia – and “the magnificent hardstone vessel collection of the kings of France”, according to the museum’s website.
Anthony Amore, an art theft expert and co-author of the book Stealing Rembrandts: The Untold Stories of Notorious Art Heists, told Al Jazeera the items contained in the collection were priceless “not just in terms of dollars, but in terms of cultural patrimony”.
“It’s not like stealing a masterpiece where instantly news media … would publicise this image,” Amore said. “You might see pieces like this broken up and individual jewels sold that are indistinguishable to members of the public.”
This photograph shows a furniture elevator used by robbers to enter the Louvre Museum, on Quai Francois Mitterrand, in Paris, France on October 19, 2025 [Dimitar Dilkoff/AFP]
How did the thieves do it?
The thieves used a combination of power tools, motorcycles and efficiency to pull off the minutes-long heist, authorities said.
The group drew up on a scooter armed with angle grinders, one police source told AFP. They used the hoist to access the gallery from the outside, cutting windowpanes with a disc cutter.
One witness, who told the TF1 news outlet that he was riding his bicycle nearby at the time, said he saw two men “get on the hoist, break the window and enter”, adding that the entire operation “took 30 seconds”.
Le Parisien reported that the thieves entered the museum – located inside a former palace – via the facade facing the Seine, where construction work is ongoing. Two were dressed as construction workers in yellow safety vests, the newspaper said.
Culture Minister Rachida Dati said authorities arrived “a couple of minutes after we received information of this robbery”.
“To be completely honest, this operation lasted almost four minutes – it was very quick,” she said.
Footage showed the hoist braced to the Seine-facing facade and leading up to a balcony window, which observers said was the thieves’ entry point before it was removed Sunday.
What happens now?
With the thieves still at large, forensic teams have descended upon the Louvre and surrounding streets to gather evidence and review CCTV footage from the Denon wing, where Apollo’s Gallery is located, and the Seine riverfront.
Authorities also planned to interview staff who were working when the museum opened on Sunday, they said.
The Interior Ministry said it was compiling a detailed list of the stolen items, but added that “beyond their market value, these items have priceless heritage and historical value”.
Dati, the culture minister, suggested the thieves were “professionals”.
“Organised crime today targets objects of art, and museums have of course become targets,” she said.
The painting ‘La Joconde’ (the Mona Lisa) by Italian artist Leonardo da Vinci at the Louvre Museum in Paris on January 28, 2025 [File: Bertrand Guay/AFP]
Have similar heists happened in the past?
The Louvre’s most famous heist occurred in 1911, when the Mona Lisa portrait disappeared from its frame. It was recovered two years later, but decades afterward, in 1956, a visitor threw a stone at the world-famous painting – chipping paint near the subject’s left elbow and prompting the portrait to be moved behind bulletproof glass.
In recent years, the museum has struggled with growing crowds, which totalled 8.7 million in 2024, and frustrated staff who say they are stretched too thin.
In June, the museum delayed opening due to a staff walkout over chronic understaffing.
One union source, who asked to remain anonymous, told AFP that the equivalent of 200 positions had been cut at the museum over the past 15 years, out of a total workforce of nearly 2,000.
The fact that Sunday’s theft took place in broad daylight inspired a wave of consternation from French citizens and politicians.
“It’s just unbelievable that a museum this famous can have such obvious security gaps,” Magali Cunel, a French teacher from near Lyon, told the Associated Press news agency.
I can’t think of another time that I was quite as terrified as when I walked alone into an interactive horror maze called “Feast” at a chilling carnival-like event called “The Queen Mary’s Dark Harbor: Summoned by the Seas,” which takes place in the parking lot in front of the famously haunted ship, and also in the creepy bowels of its engine rooms, through Nov. 2.
“Dark Harbor,” is the scarier sister event to Griffith Park’s famous “Haunted Hayride.” Both Halloween season fright fests are produced by Thirteenth Floor Entertainment Group, which specializes in seasonal terror. The highlight of the nightly carnivals — which include food and drink booths, bars and rides — are a series of interactive mazes populated by bloody monsters, drooling ghouls, murderous clowns, spectral ghosts and maniacal serial killers.
The spooks are largely played by local actors — many of whom come back year after year for a guaranteed paycheck while pursuing a profession that is anything but financially sound. It is to these hardworking artists that the events owe their success. I was struck by just how dedicated the actors were to scaring us mere mortals out of our pants.
The masks, elaborate makeup and props, including butcher knives and bats, surely help the players stay in character— but this is not easy work. The actors must contend with aggressive guests who try to get in their faces (this is against the rules), as well as shrill, shrieking patrons who jump and run as they approach (guilty!).
But the actors are specially trained to handle these reactions and more.
“Each fall, Queen Mary’s Dark Harbor and Los Angeles Haunted Hayride hire a few hundred performers, most of our cast are locals who come back year after year. We hold open calls in the summer and focus on energy, movement, and presence more than traditional acting experience,” wrote “Dark Harbor‘s” general manager, Star Romano, in an email.
After the performers are hired, Romano explained, they attend orientation, safety training and rehearsals leading into opening weekend.
“It’s a huge community effort, part performance, part team reunion, and one of my favorite things about the season,” Romano wrote.
The result of those efforts led to me sleeping with the lights on for two nights straight.
“Get away from me! I’m too scared!” I shouted at one Leatherface-type character as he approached me with a chain saw.
“That’s the whole point,” he growled under his breath before obeying my wishes and lurching off toward another fear-stricken guest.
(NOTE: For a kid-friendly immersive Halloween experience, you can head to the company’s “Magic of the Jack O’Lanterns,” which features 5,000 hand-carved pumpkins on-site at South Coast Botanic Garden.)
I’m arts and culture writer Jessica Gelt, inviting you to sink into spooky season with me. Here’s your weekly arts and culture news.
On our radar
Benjamin Millepied’s L.A. Dance Project performs “On the Other Side.”
(Laurent Philippe)
L.A. Dance Project Renowned choreographer Benjamin Millepied continues his exploration of the intersection of dance and visual art with the ballet triptych “Gems,” featuring artwork by collaborators Barbara Kruger, Liam Gillick, Mark Bradford and others. The performance is composed of three contemporary ballets inspired by precious stones: “Reflections” (2013), “Hearts & Arrows” (2014) and “On the Other Side” (2016). The show — with music by David Lang and Philip Glass — marks the first time these pieces have been staged together. — Jessica Gelt 7:30 p.m. Thursday through Oct. 25. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. https://thewallis.org/show-details/la-dance-project-gems
New York artist Jon Henry stages photographs that reflect on reports of Black men killed by police.
(The Brick)
Monuments The most eagerly anticipated theme exhibition this fall is reflected in the emphatic title, pointedly written all in caps. “MONUMENTS” was inspired by the wave of revulsion following the violent 2017 white supremacist Unite the Right rally in Charlottesville, Va. — a deadly riot opposing the proposed removal of a local statue of Confederate Gen. Robert E. Lee. That statue is now gone, torn down along with some 200 other tributes across the country to American turncoats who supported chattel slavery. (The last known Confederate monument in Southern California was removed in 2020.) A selection of decommissioned Confederate statues will be shown at MOCA and alternative space the Brick, joint organizers of the exhibition; they’ll be paired with contemporary work by Bethany Collins, Stan Douglas, Leonardo Drew, Jon Henry, Martin Puryear, Hank Willis Thomas, Kara Walker and a dozen other artists, borrowed and commissioned for the occasion. — Christopher Knight Thursday through May 3, 2026. Geffen Contemporary at Museum of Contemporary Art, 152 N. Central Ave., Little Tokyo; The Brick, 518 N. Western Ave. moca.org
Vikingur Olafsson will perform with conductor Santtu-Matias and Philharmonia.
(Timothy Norris / Los Angeles Philharmonic)
Santtu-Matias Rouvali and Vikingur Ólafsson join the Philharmonia Orchestra It’s been almost a decade since Finnish conductor Santtu-Matias Rouvali, a former Dudamel Fellow at the L.A. Phil, last returned to Southern California as a guest conductor of the L.A. Phil. In the meantime, though, he’s been busily attracting attention in London as principal conductor of the Philharmonia Orchestra (having succeeded Esa-Pekka Salonen in 2021). For his first local appearance with the Philharmonia, he is joined by the stellar Icelandic pianist Vikingur Ólafsson in Ravel’s Piano Concerto in G. The program also includes the local premiere of a new score meant to awaken environmental awareness, popular Mexican composer Gabriela Ortiz’s “Si el Oxígeno Fuera Verde” (If Oxygen Were Green), along with Shostakovich‘s Fifth Symphony. Shortly after fall, Ólafsson heads back to Disney in January as soloist with the L.A. Phil for John Adams’ latest piano concerto, “After the Fall.” — Mark Swed 8 p.m. Tuesday. Renée & Henry Segerstrom Concert Hall, 615 Town Center Drive, Costa Mesa. philharmonicsociety.org
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The week ahead: A curated calendar
FRIDAY
Ethan Remez-Cott, left, and Matthew Goodrich in the play “Amerika or, The Man Who Disappeared.”
(Amanda Weier)
Amerika or, The Man Who Disappeared There’s Kafkaesque and then there’s the genuine article. Open Fist Theatre Company presents the world premiere of Dietrich Smith’s adaptation of the Franz Kafka novel that details the strange experiences of a 17-year-old European immigrant after he arrives in New York City aboard a steamer. 7:30 p.m. Friday; 7 p.m. Saturday; 2 p.m. Sunday; and 7:30 p.m. Monday, Oct. 20; through Nov. 22. Atwater Village Theatre, 3269 Casitas Ave. openfist.org
Ms. Holmes & Ms. Watson–Apt. 2B Two free-spirited roommates embrace mystery and adventure in the L.A. premiere of Kate Hamill’s dark modern comedy, a gender-bent spin on Sir Arthur Conan Doyle directed by Amie Farrell. 7:30 p.m. Thursday-Saturday; 2 p.m. Sunday through Nov. 2. International City Theatre, 330 E. Seaside Way, Long Beach. ictlongbeach.org
नेहा & Neel Asian American theater collective Artists at Play and Latino Theater Company collaborate for the world premiere of Ankita Raturi’s new comedy about an Indian immigrant and single mom on a cross-country college tour with her 17-year-old American-born son. Directed by East West Players artistic director Lily Tung Crystal. Through Nov. 16. Los Angeles Theatre Center, 514 S. Spring Street, downtown L.A. latinotheaterco.org
17th OC Japan Fair Japanese culture festival featuring food, shopping, a cosplay show, a tuna cutting show, popular Japanese entertainers, traditional instrument performances, games, kimono models meet and greet, and more. 4 p.m.-10 p.m. Friday; noon-10 p.m. Saturday; 11 a.m.-7 p.m. Sunday. OC Fair & Event Center, 88 Fair Drive, Costa Mesa. oc-japanfair.com
David Roussève will perform “Becoming Daddy AF” Friday and Saturday at the Nimoy.
(Rachel Keane)
Becoming Daddy AF Renowned dance-theater artist David Roussève presents the West Coast premiere of his experimental movement journey “Becoming Daddy AF.” The piece marks Roussève’s first full-length solo performance in more than two decades and explores themes that have touched and shaped his life, including HIV, genealogy and the loss of his husband of 26 years. (Jessica Gelt) 8 p.m. Friday and Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Unravelled The story of Canadian biologist Dr. Anne Adams, who turned to painting at age 53, and her remarkable connection to French composer Maurice Ravel, with whom she shared the same rare brain disease. A play infused with music and visual art, written by Jake Broder and directed by James Bonas. 7:30 p.m. Friday and Saturday; 2 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
SATURDAY
British artist Edmund de Waal will install new work in three sites at the Huntington, including the Chinese garden.
(Linnea Stephan)
The Eight Directions of the Wind British artist, potter and writer Edmund de Waal is obsessed with archives, which he describes as “places, streets, hillsides as much as card indexes.” For a body of new work, he once traveled to the place in China where the clay used to make porcelain was discovered — and then on to Dresden, Germany; Cornwall, U.K.; and the Appalachian Mountains, where subsequent cultures reinvented it. De Waal’s three site-specific, yearlong installations will be in the Huntington’s cultural and natural “archives” that are its art gallery and Chinese and Japanese gardens. (Christopher Knight) Through Oct. 26, 2026. The Huntington, 1151 Oxford Road, San Marino. huntington.org
Lorde performs Saturday at the Kia Forum.
(Scott A Garfitt / Invision/AP)
Lorde Just as her generation has, by all accounts, sobered up and gone sexless, Lorde returned this year with a defiant album about the giddy rush of partying and the frightening ramifications of a body in search of pleasure. “Virgin” pulls her back to the experimental electro-pop many fans were hoping for after the relatively complacent “Solar Power,” and the album is brimming with startling meditations on pregnancy scares, familial inheritance and the malleability of gender. (August Brown) 7 p.m. Kia Forum, 3900 W. Manchester Blvd., Inglewood. thekiaforum.com
Orchidées Cellist Kate Ellis performs composer Nick Roth’s cello étude — which traces the 100‑million‑year evolution of orchids by translating their DNA sequences into music — accompanied by time‑lapse footage of blooming specimens from the Huntington’s orchid collection. Also available to livestream. 7 p.m. The Huntington, 1151 Oxford Road, San Marino. huntington.org
Tortoise The lauded post-punk band performs “Touch,” their first new album in nine years with opening sets from local duo Jeremiah Chiu & Marta Sofia Honer and KCRW DJ Ale Cohen. 8 p.m. Saturday. The Broad, outdoor East West Bank Plaza, 221 S. Grand Ave., downtown L.A. thebroad.org
TUESDAY A Concert for Lowell A memorial tribute to Lowell Hill, one of the great patrons of new music in L.A., featuring many of the city’s top local artists, including Wild Up, MicroFest, Piano Spheres, the Industry, Partch Ensemble, Monday Evening Concerts, Long Beach Opera and People Inside Electronics. 8 p.m. Monk Space, 4414 W. 2nd Street. brightworknewmusic.com
Morgan Siobhan Green as Eurydice and Nicholas Barasch as Orpheus in the 2022 “Hadestown” North American Tour.
(T Charles Erickson)
Hadestown The Tony and Grammy Award-winning musical that reimagines the myth of Orpheus and Eurydice as a New Orleans-style folk opera returns on its latest national tour. “Born out of a concept album by Anaïs Mitchell, who wrote the book, lyrics and music, the show travels to the underworld and back again with liquified grace,” wrote Times theater critic Charles McNulty in a 2022 review. “Developed by Rachel Chavkin, the resourceful director who won a Tony for her staging, ‘Hadestown’ achieves a fluidity of musical theater storytelling that makes an old tale seem startlingly new.” Through Nov. 2. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. broadwayinhollywood.com
Learning to Draw The exhibition traces a 300-year evolution of artistic training and the mastery of drawing in Europe from about 1550 to 1850. Bringing together the physical control of the hand and the concentration of the mind, the foundational artistic act became essential to exploring, inventing and communicating visual ideas in the modern world. Through Jan. 25, 2026. Getty Museum, 1200 Getty Center Drive. getty.edu
Dispatch: Ben Platt: Live at the Ahmanson
Actor, singer and songwriter Ben Platt stands for a portrait at the Bernard B. Jacobs Theatre in New York on Thursday, April 20, 2023.
(Justin Jun Lee / For The Times)
Breaking news sure to make L.A. musical theater fans swoon: Center Theatre Group announced Friday that Broadway superstar Ben Platt will be in residency for two weeks and 10 shows at the Ahmanson Theatre , Dec. 12–21. Two-time Tony Award-winning director Michael Arden is set to direct the the residency, appropriately titled, “Ben Platt: Live at the Ahmanson.” Platt’s appearance comes a year after he staged a wildly successful three-week residency at Broadway’s Palace Theatre, which included a cornucopia of famous special guests including Cynthia Erivo, Nicole Scherzinger, Jennifer Hudson, Kacey Musgraves, Sam Smith, Micaela Diamond and Shoshana Bean. The production is staying mum on who might appear onstage alongside Platt during his L.A. run, but it’s safe to expect more big names.
“When you think of the very best in musical theatre, it simply doesn’t get any better than Ben Platt, whose stage presence and charisma make him one of the seminal performers of his generation,” said CTG’s artistic director, Snehal Desai, in a news release that promised “the holiday event of the season.”
Bassist Tonya Sweets, from left, Marlon Alexander Vargas and drummer Dee Simone in “littleboy/littleman,” directed by Nancy Medina, at Geffen Playhouse.
(Jeff Lorch)
A tale from a land of immigrants Rudi Goblen’s “littleboy/littleman” is in the midst of its world premiere at the Geffen Playhouse. The two-person show about two Nicaragua-born brothers is much like a performance piece, writes Times theater critic Charles McNulty in his review. It’s also a deeply American story. “Lest we forget our past, America is the great democratic experiment precisely because it’s a land of immigrants. Out of many, one — as our national motto, E pluribus unum, has it. How have we lost sight of this basic tenet of high school social studies?” McNulty writes.
Les Miz at 40 I went backstage at the Pantages for the opening night of “Les Misérables,” which happened to coincide with the 40th anniversary of the legendary musical. The mood was euphoric and everyone in the cast and crew seemed to have a story about a formative connection to the show. Stage manager Ken Davis walked me through the maze-like wings and filled me in on what it takes to tour a show of this scale. Of particular note: The touring production travels with 11 tractor trailers containing over 1,000 costumes, 120 wigs and hundreds of props.
Patrick Martinez, “Fallen Empire,” 2018, mixed media
(Michael Underwood)
When the sum is less than the whole Times art critic Christopher Knight was not impressed by “Grounded,” a newly opened exhibition at the Los Angeles County Museum of Art. The show’s theme, rooted in recent acquisitions of contemporary art, is promising, but ultimately falls apart. Viewed as a whole, “the 39 assembled contemporary paintings, sculptures, photographs, textiles and videos by 35 artists based in the Americas and areas of the Pacific underperform,” writes Knight. “Sometimes that’s because the individual work is bland, while elsewhere its pertinence to the shambling theme is stretched to the breaking point,” Knight writes.
Remembering Bernstein Tuesday marked the 35th anniversary of Leonard Bernstein’s death, and reminders of the great composer’s tributes to John F. Kennedy abound, writes Times classical music critic Mark Swed. In a piece of commentary about what Bernstein’s work can teach us about memorials, Swed examines multiple L.A. productions rooted in that work, including L.A. Opera’s “West Side Story” and Martha Graham Dance Company’s “En Masse” at the Soraya. Swed also wonders whether those important pieces will reach the Trump administration’s newly configured Kennedy Center in the spring.
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Guests attend the K.A.M.P. family fundraiser at the Hammer Museum on Oct. 12, 2025, in Los Angeles.
(Stefanie Keenan / Getty Images for Hammer Museum)
Everyone went home happy UCLA’s Hammer Museum raised nearly $200,000 last weekend with its 16th annual K.A.M.P. (Kids Art Museum Project) fundraiser. More than 700 excited parents and children showed up at the gloriously messy event co-chaired by Aurele Danoff Pelaia and Talia Friedman. Kids roamed the courtyard over the course of four hours, creating art at stations set up and manned by participating artists including Daniel Gibson; Sharon Johnston and Mark Lee of the Johnston Marklee architecture firm; Annie Lapin; Ryan Preciado; Rob Reynolds; Jennifer Rochlin; Mindy Shapero; Brooklin A. Soumahoro; and Christopher Suarez. Fairy Gardens were constructed of thick clay and foraged leaves; cardboard boxes were painted with rollers; plates were spray-painted and affixed with knickknacks and jewelry; and geometric shapes were glued to canvases and painted an array of bright colors. Children went home with their art, and parents left knowing they supported a host of free Hammer Kids programs that serve thousands of children and families annually.
Fair wages on Broadway Musicians working on Broadway, represented by AFM Local 802, voted to authorize a strike earlier this week — with 98% in favor. The nearly 1,200 musicians have been working without a contract since Aug. 31. According to an open letter the musicians sent to the Broadway League on Oct. 1, their demands include: “Fair wages that reflect Broadway’s success. Stable health coverage to allow musicians and their families to enjoy the health benefits that all workers deserve. Employment and income security so that hardworking freelance musicians have some assurance of job security. This includes not eliminating current jobs on Broadway.” Bargaining talks are ongoing.
Gene Hackman co-stars in “Bonnie and Clyde,” alongside Warren Beatty and Faye Dunaway.
(Associated Press)
Gene Hackman, art collector The late actor Gene Hackman’s art collection will go up for auction through Bonhams in November. Highlights of the 13-piece collection — which is being offered as a single-owner sale — include works by Milton Avery, Auguste Rodin and Richard Diebenkorn. Hackman was passionate about art throughout his life, and took an extra-special interest in it after he stopped acting. During that time he dedicated himself to taking classes and art-making. He even kept a journal of everything he learned, according to Bonhams.
Historic homes tour Paging architecture fans: It’s not too late to reserve a spot in Dwell’s open-house event, back in L.A. for its second year. Tours of three historically significant Eastside homes are on offer during the day-long event, which launches from Frank Lloyd Wright’s Hollyhock House in Barnsdall Art Park. The three additional houses in the tour are: Richard Stampton’s Descanso House in Silver Lake; Taalman Architecture, Terremoto, and interior designer Kathryn McCullough’s Lark House in Mount Washington; and Fung + Blatt’s San Marino House in — you guessed it — San Marino.
— Jessica Gelt
And last but not least
Still feeling sad about losing Diane Keaton? Me too. Here’s a list I put together of her 10 most important films. Watch one you haven’t seen — if that’s possible.
Watching comedians perform under the thumb of a government that is actively attacking swaths of its population is nothing new for Angelo Colina.
The 31-year-old joke teller was born and raised in the Venezuelan city of Maracaibo as the South American country faced continuous political turmoil under the prolonged presidencies of Hugo Chavez and Nicolás Maduro, among other economic, humanitarian and democratic challenges — such as hyperinflation, increased rates of starvation and decreased access to adequate healthcare services.
Colina — who carved a lane in the Americas as a Spanish-language comedian and has garnered millions of views across social media due to his whip-smart jokes and playful crowd work — left his home country at 21 and began pursuing a comedy career after moving to the neighboring Colombia.
It was the audacity of Venezuelan acts — like Nacho Redondo, Led Varela, Erika de la Vega and Luis Chataing, who spoke out against oppressive government rule — that inspired Colina and informed his worldview.
“As someone who grew up watching [them] perform and doing jokes about the government in Venezuela while they still could, that was my example,” Colina told The Times. “They really fought censorship as long as they could.”
As a self-described “double immigrant,” first to Colombia and subsequently Salt Lake City, the New York-based comedian said he felt as though he’s already lived four lives — all of which have helped shape his comic eye and sharpened his observational skills.
The current political climate, the continued artistic acceptance of Latino art in the U.S. and the ongoing Immigration and Customs Enforcement raids throughout the country were at the top of mind as Colina spoke with The Times ahead of his Oct. 11 performance at the Hollywood Improv.
This interview has been edited and shortened for clarity.
What has it been like doing comedy shows for a Spanish-speaking crowd in the time of ICE raids?
I start my shows by saying, “We’re doing comedy. You guys are not noticing, but we’re doing comedy in Spanish. In the United States in 2025. This is the closest to punk that we’ve ever been.” And people start laughing about it, because [federal officials] backed up by the law to say that if you speak Spanish, then they can ask about your current immigration status. And it’s like, all right, let’s speak Spanish. We’re not doing anything wrong. We’re just celebrating our culture in every show we do.
Do you like the idea of being a little punk?
I think it just became that; it was more organic. I wasn’t thinking that I’m part of a larger movement that started by other people of doing comedy in Spanish, which has always been and it’s certainly been a cool thing to me, but now it’s counterculture for sure. But I don’t need to invite people to my show because it’s counterculture, that’s not the reason why I want to sell. People have been freely celebrating being Latino for years already and I don’t think there’s any way to stop it, honestly.
Have you felt a change in your audience at all in recent months?
Unfortunately, I have. I do, however, have to give a shout-out to all the non-Latinos coming to the shows. They are coming because they want to see a form of Latinidad in its own rhythm and they are in love with our culture and they come and they support it.
I see the hesitance to come to shows a lot more with people that used to come with their parents. A lot of people born in the States, but with immigrants parents, used to come to my shows. My shows have always been a place where people finally can do something with their parents. Normally, they don’t find a lot of activities where they can share something like that. So their parents are now the ones that are faster on the joke and they are the ones that are catching up. It’s always been part of my whole demographic.
That’s the shift I’ve been seeing. A lot of people have reached out to me and said, “I would love to go to your show, but I don’t think it’s a good idea right now.” I got a lot of Venezuelans coming to my shows and saying, “This is the last show I’m going to in the States. I’m leaving next week. I got a deportation letter.” I got screenshots of it and they’re saying they’ll see me in Colombia or Argentina. It’s been pretty emotional. Honestly, this might be the first time I actually get emotional talking about it, but it’s hurt a bit.
It must be nice for the audience to have that time at your show to be who they are, but are you addressing the craziness of everything in your act?
I’m not pretending that’s not happening out there. Comedy gave me the opportunity to become a resident in the United States. I got my visa because of the people coming to my shows. It would be disgraceful for me not to talk about what’s happening or not to at least try to be of help, even if it’s by making people laugh.
Has it been difficult navigating the U.S. comedy scene as a fully Spanish act?
I would say dealing with the industry can be tougher sometimes because of the lack of awareness of how powerful Latino crowds can be. Luckily, it’s changing a bit because of musicians like Bad Bunny and Karol. Everything artists like them have done has made people organizing shows say, “Hmm, let’s see. Maybe I won’t give the Spanish act a Tuesday night slot. Let me try them on a Thursday or Friday night or a Sunday.” And then they see the room packed and people spending money, just having a great time.
I complained a lot about the industry last year and now I’m in a phase where I just want to do this for my people for as long as I can. I’m just enjoying being able to perform.
How has it been seeing Latinos in the U.S. further embrace Spanish-language content?
It’s not only Latinos; people from all backgrounds are interested in our culture. In L.A., a lot of Latinos that were born here didn’t have the chance to learn Spanish or practice it as much, but they love the culture. You also see a lot of people that are non-Latino at my show because they’re interested in Spanish.
It’s like music. There’s no merengue in English because there’s no need for merengue in English. If you are a non-Spanish speaker and you like the rhythm, you’re gonna come to the music. And that’s happening at my show and I’m learning how to navigate it. Sometimes I see people making faces and you don’t hear the laugh coming back at you. Then the show ends and everyone’s DMing me and then they’re signing at the very end of the DM because white people love doing that.
Thirty paintings by the late artist — and PBS staple — Bob Ross are heading for auction beginning Nov. 11. American Public Television, which syndicates programming to public stations across the country, is staging the auction in Los Angeles through Bonhams. APT has pledged to donate 100% of the profits to beleaguered public television stations nationwide.
“Bonhams holds the world record for Bob Ross, and with his market continuing to climb, proceeds benefiting American Public Television, and many of the paintings created live on air — a major draw for collectors — we expect spirited bidding and results that could surpass previous records,” said Robin Starr, general manager, Bonhams Skinner, in a statement.
The auction house established its record in August when it sold two of Ross’ mountain-and-lake scenes from the early 1990s for $114,800 and $95,750, respectively. Bonhams said it could not yet provide an estimate on the worth of the 30 works coming up for auction.
The first three paintings will go on the block at Bonhams in Los Angeles as part of its California & Western Art auction. The remaining 27 will be sold throughout 2026 at Bonhams salesrooms in New York, Boston and L.A.
The news comes as public broadcasting faces unprecedented challenges to its survival. In July, Congress voted to cut $1.1 billion in federal funding for the Corp. for Public Broadcasting, which was founded in 1968 and helps fund PBS, NPR, as well as 1,500 local radio and television stations. The cuts were encouraged by President Trump, who derided the organization for spreading “woke” propaganda.
The private, nonprofit corporation soon after announced that it would close. The majority of its staff was dismissed at the end of last month, and a bare-bones transition team remains through January to wrap up unfinished work.
Without CPB, educational programming like “The Joy of Painting” with Bob Ross will have an uphill battle finding the support it needs.
Known for his cloudlike halo of curly brown hair, soothing voice and infectious love of the art form as shown on his signature show, the artist became a mainstay in American households across 400-plus episodes and more than a decade on the air.
With its wholesome content and relaxed pace, his was the kind of show that defined PBS. Hopefully, his work can help keep the lights on at the stations that helped gain him a cultlike following.
I’m arts and culture writer Jessica Gelt, and I’m the proud owner of a Bob Ross Chia Pet head. Here’s your arts and culture news for the week.
On our radar
Kai A. Ealy stars in “Joe Turner’s Come and Gone” at A Noise Within
(Daniel Reichert)
Joe Turner’s Come And Gone Gregg T. Daniel continues his reinvestigation of August Wilson’s American Century Cycle with a production of what is arguably the finest work in the playwright’s 10-play series. Set in a Pittsburgh boardinghouse in 1911 during the Great Migration, “Joe Turner’s Come and Gone” focuses on the spiritual crossroads of Black Americans who are being reminded at every turn that their freedom comes with a prohibitive cost. The sixth Wilson production at A Noise Within in this seasons-long retrospective should be a standout: It’s one of the great American plays of the 20th century. — Charles McNulty Previews, 2 p.m. Sunday; 7:30 p.m. Wednesday-Oct. 17; opening night, 7:30 p.m. Oct. 18; through Nov. 9. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org
Tavares Strachan, “Six Thousand Years,” and “The Encyclopedia of Invisibility,” 2018, mixed media
Tavares Strachan: The Day Tomorrow Began Bahamian-born New York artist, whose immersive solo exhibition “Magnificent Darkness” filled the Hollywood branch of Marian Goodman Gallery last year, makes multidisciplinary art that seeks to amplify notable events and people — especially related to exploration, from deep-sea diving to outer space — that are often sidelined in standard cultural histories. Strachan, a 2022 MacArthur Foundation fellow, once shipped a 4.5-ton block of ice from the Arctic to the Bahamas via FedEx. We’ll see what might arrive at Wilshire Boulevard. — Christopher Knight 11 a.m.-6 p.m. Monday, Tuesday and Thursday; 11 a.m.-8 p.m. Friday; 10 a.m.-7 p.m. Saturday; closed Wednesday; through March 29, 2026. Los Angeles County Museum of Art, BCAM Level 2, 5905 Wilshire Blvd. lacma.org
Alexander Shelley conducts the Pacific Symphony Friday-Sunday in Costa Mesa.
(Curtis Perry)
Alexander Shelley conducts the Pacific Symphony At 45, the British conductor has a seemingly full and far-fledged plate: music director of the National Arts Center Orchestra in Ottawa; principal associate conductor of the Royal Philharmonic Orchestra in London; and artistic and music director of Artis-Naples and the Naples Philharmonic in Florida. Next year, the plate becomes fuller and further-fledged when he becomes music director of the Pacific Symphony. This fall, however, Shelley makes his debut as music director designate by showcasing works bursting with color — Mongomery’s “Starburst”; Arturo Márquez’s “Concert for Guitar Mystical and Profane” with Pablo Sáinz-Villegas as soloist; and Rimsky Korsakov’s “Scheherazade.” Shelley returns in November with Ravel’s glorious ballet score “Daphnis and Chloe,” the perfect enchanting complement to San Diego Symphony’s “L’Enfant,” for wrapping up the Ravel year, the 150th anniversary of the French composer’s birth having been in March. — Mark Swed 8 p.m. Thursday-Oct. 18. Renée and Henry Segerstrom Concert Hall, 600 Town Center Drive, Costa Mesa. pacificsymphony.org
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The week ahead: A curated calendar
FRIDAY
The American Contemporary Ballet dances to Shubert’s score for “Death & the Maiden.”
(Victor Demarchelier)
Death and the Maiden American Contemporary Ballet, under the direction of Lincoln Jones, dances to a live performance of Schubert’s score, complete with opera singers; plus “Burlesque: Variation IX.” 8 p.m. Friday and Saturday; Thursday performances Oct. 23 and 30; through Nov. 1. ACB, Bank of America Plaza, 330 S. Hope St. #150, downtown L.A. acbdances.com
Nightsong Times video intern Quincy Bowie Jr. recently visited artist Derek Fordjour’s sensorial experience at Mid-City’s David Kordansky Gallery. “In a time where many feel silenced, and afraid to speak up, Fordjour creates a space of darkness where truth can be revealed, heard and felt,” wrote Bowie. “‘Nightsong’ creates a unique space where the Black voice and its many songs are centered.” The free exhibit closes tonight. 6-10 p.m. David Kordansky Gallery, 5130 W. Edgewood Place. davidkordanskygallery.com
Mexican singer Lucía performs Friday at the Nimoy.
(Shervin Lainez)
Lucía The enchanting Mexican singer mixes traditional American jazz and Latin folk in her eponymous debut album, released earlier this year. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Mascogos Jose Luis Valenzuela directs the world premiere of playwright Miranda González’s drama revealing the untold stories of Mexico’s Underground Railroad. Final preview, 8 p.m. Friday; opening night, 8 p.m. Saturday; 8 p.m. Thursday-Saturday; 4 p.m. Sunday, through Nov. 9. Los Angeles Theatre Center, 514 S. Spring St., downtown L.A. latinotheaterco.org
People in the Dark: An Immersive Ghost Story A Lost Legends Ghost Tour goes frighteningly awry, placing the audience face-to-face with Hollywood’s haunted past in this enveloping theatrical experience from Drowned Out Productions. 7-11:40 p.m., with start times every 20 mins. Friday; 6-10:40 p.m., with start times every 20 mins. Saturday and Sunday (also Thursday, Oct. 16), through Oct. 31. 1035 S. Olive St., downtown L.A. tickettailor.com
Grand Kyiv Ballet performs “Swan Lake” Friday at the Ebell Wilshire.
Grand Kyiv Ballet This touring company of Ukrainian dancers is temporarily based out of the International Ballet Academy in Bellevue, Wash., while Russia continues its war with Ukraine. The troupe brings Tchaikovsky’s timeless ballet “Swan Lake” to Mid-City in a graceful performance sure to soothe even the most restless soul. (Jessica Gelt) 7 p.m. Wilshire Ebell Theatre, 4401 W 8th St, Los Angeles. ebellofla.org
SATURDAY Corey Helford Gallery A trio of strikingly distinct shows with a global sweep opens Friday. In the main gallery, “The Weight of Us,” a duo exhibition featuring solo works from Nigerian artists Arinze Stanley and Oscar Ukonu explores interconnectedness, and the complex interplay of individual and collective narratives. “Where Petals Dance,” features the work of Japanese artist aica in Gallery 2. The major exhibition featuring Latvian-born contemporary surrealist painter Jana Brike, “When I Was a River,” debuts in Gallery 3. Noon-6 p.m. Tuesday-Saturday, through Nov. 15. Corey Helford Gallery, 571 S. Anderson St. #1, Los Angeles. https://coreyhelfordgallery.com/
Vicky Chow CAP UCLA and Piano Spheres present new music pianist Vicky Chow performing the West Coast premiere of Tristan Perich’s “Surface Image.” 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Gracias Gustavo Community Block Party Hosted by Aundrae Russell of KJLH, this outdoor celebration features performances by DJ Aye Jaye, live art by Hannah Edmonds and Israel “Seaweed” Batiz, Mariachi Tierra Mia, poet Aletha Metcalf-Evans, Versa-Style Street Dance Company, YOLA at Inglewood Jazz Ensemble, Sherie, muralist ShowzArt — “The Art Jedi,” D Smoke and the Inglewood High School Marching Band, plus activities, food trucks and more. 10 a.m.-4 p.m. Judith and Thomas L. Beckmen YOLA Center, 101 S. La Brea Ave., Inglewood. laphil.com
Institute of Contemporary Art, Los Angeles An open house kicks off four new exhibitions: Sandra Vásquez de la Horra, “The Awake Volcanoes”; Samar Al Summary, “Excavating the Sky”; Liz Hernández, “Donde piso, crecen cosas (Where I step, things grow)”; and AoA x IAO, “I Smell LA.”
4-8 p.m. Friday. Noon-6 p.m. Wednesday; Noon-7 p.m. Thursday; Noon-6 p.m. Friday; 11 a.m.-6 p.m. Saturday-Sunday; closed Mondays, Tuesdays and public holidays. Institute of Contemporary Art, Los Angeles, 1717 E. 7th St., Arts District, downtown L.A. theicala.org
Sleep Token performs at the Reading Music Festival, England, in 2023.
(Scott Garfitt / Invision / Associated Press)
Sleep Token Sleep Token is by some measures the biggest heavy-rock band in the world right now. Its 2025 LP, “Even in Arcadia,” demolished streaming records for a metal act, reaching well beyond the genre’s cantankerous core fan base, which has mixed feelings about Sleep Token’s pop chart success, to say the least. (No one is more skeptical about the band’s new fame than its cryptically anonymous front person Vessel: “Right foot in the roses, left foot on a landmine,” he sings in “Caramel,” “They can sing the words while I cry into the bass line.”) The band’s high-drama live shows are where Sleep Token really shines, though, as in this return to L.A. for a set that finally provides the scale its runic masks, robes and necrotic body paint have always called for. (August Brown) 8 p.m. Crypto.com Arena, 1111 S. Figueroa St., downtown L.A. cryptoarena.com
SUNDAY Paul Jacobs The Grammy-winning organist performs Bach’s “The Art of Fugue.” 7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Julie Andrews, Christopher Plummer and the Von Trapp family in a scene from the 1965 film “The Sound of Music.”
(20th Century Fox)
The Sound of Music A 70mm screening of the 1965 Robert Wise-directed movie musical starring Julie Andrews and Christopher Plummer that won five Oscars, including best picture. 3 p.m. Sunday. Academy Museum, David Geffen Theater, 6067 Wilshire Blvd., Los Angeles. academymuseum.org
TUESDAY L.A. Phil Gala: Gustavo’s Fiesta Gustavo Dudamel conducts the orchestra in a few of his favorite things: De Falla’s “Three-Cornered Hat,” selections from Dvořák’s “New World” Symphony (featuring musicians from YOLA, Youth Orchestra Los Angeles), Beethoven’s Seventh, “Fairy Garden” from Ravel’s Mother Goose Suite and Revueltas’ “Night of Enchantment.” 7 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
THURSDAY Draw Them In, Paint Them Out Trenton Doyle Hancock confronts the work of painter Philip Guston in this dual exhibition that examines the role the artist plays in the pursuit of social justice. Noon-5 p.m. Tuesday–Friday; 10 a.m.-5 p.m. Saturday–Sunday. Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles. skirball.org
Yunchan Lim For his Disney Hall debut, the youngest-ever winner of the Van Cliburn International Piano Competition performs Bach’s “Goldberg Variations,” alongside “…Round and velvety-smooth blend…,” a new piece, written especially for the pianist, by Korean composer Hanurij Lee. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
San Cha, photographed in 2020, performs Thursday-Saturday at REDCAT.
(Mel Melcon / Los Angeles Times)
San Cha The L.A.-based composer, musician and performance artist presents “Inebria Me,” a new experimental opera that reimagines the melodrama of telenovelas through a queer, genre-bending lens as adapted from her 2019 album, “La Luz de la Esperanza.” In Spanish with English supertitles. Postshow Q&A with San Cha on Oct 17. 8 p.m. Thursday, Oct.18. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Culture news and the SoCal scene
Bisserat Tseggai, Claudia Logan, Victoire Charles and Jordan Rice, clockwise from top left, of “Jaja’s African Hair Braiding.”
(Christina House / Los Angeles Times)
Jaja’s African Hair Braiding Currently staging its L.A. premiere at Center Theatre Group’s Mark Taper Forum, “Jaja’s” is an uproarious workplace comedy that packs a serious political punch. I had the pleasure of interviewing four of the lead actors during a roundtable at a downtown rehearsal room a few days before the run started. The women talked about their love of the show and of the playwright, Jocelyn Bioh. They also discussed the country’s fraught political climate and how it’s laying waste to the idea of the American Dream — the one that has attracted immigrants seeking a better life for their families for hundreds of years. Their thoughts have a direct throughline to the show, which takes place on a single hot day at a West African salon in Harlem.
Times theater critic Charles McNulty caught the opening Sunday night and wrote a glowing review of the touring production, which he noted was “bursting with gossip, petty fights, audacious fashion, dazzling hair styles, full-body dancing and uncensored truth about the vulnerable lives of immigrant workers.”
Hammer biennial Made in L.A. 2025 has officially opened at UCLA’s Hammer Museum and I recently toured the highly anticipated seventh edition of the biennial exhibition in the company of curators Essence Harden and Paulina Pobocha. The pair told me interesting backstories about the 28 participating artists, including that the four large sculptures of doors made by Amanda Ross-Ho represent a door at the nursing home where her father lived.
Artist Alake Shilling stands in front of a 25-foot inflatable psychedelic bear driving a convertible titled “Buggy Bear Crashes Made in L.A,” at the Hammer Museum in Westwood.
(Genaro Molina / Los Angeles Times)
I also ate lunch with the charming and kind artist Alake Shilling, whose adorable sculptures of cuddly animals featuring melancholy faces are part of the show. I trailed Shilling as she watched a test inflation of a 25-foot sculpture titled “Buggy Bear Crashes Made in L.A.,” which will be on display on an outdoor pedestal on Wilshire Boulevard through March. I made this fun video with the help of video editor Mark Potts.
LACMA Gifts Big news keeps coming out of the Los Angeles County Museum of Art, which announced Wednesday that it had been gifted more than 100 works of Austrian Expressionism worth “well over” $60 million by the family of Otto Kallir, a renowned art dealer who immigrated to America in 1938 after the German Reich annexed Austria. The art will be transferred to the museum over the next several years and includes the museum’s first paintings by Gustav Klimt, Egon Schiele and Richard Gerstl. The exciting news comes two months after LACMA was gifted its first paintings by Vincent van Gogh and Édouard Manet by the Pearlman Foundation.
Best Friends Forever Finally, I got an update from the “satirical activist” artists with the Secret Handshake. They told me they had once again received a permit to reinstall their controversial Trump-Epstein statue (dubbed “Best Friends Forever”) on the National Mall. “Just like a toppled Confederate general forced back onto a public square, the Donald Trump Jeffrey Epstein statue has risen from the rubble to stand gloriously on the National Mall once again,” a rep for the Secret Handshake wrote in an email.
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“Arabesque over the Right Leg,Left Arm in Front,” by Edgar Degas
(Norton Simon Museum)
Norton Simon acquires sculpture The Pasadena museum announced the acquisition of a bronze sculpture by Edgar Degas titled “Arabesque over the Right Leg, Left Arm in Front.” The museum already holds more than 100 pieces by Degas in its collection, which is known as one of the largest public collection’s of the artist’s work in the world. “This significant acquisition, long sought after, completes a critical gap in the Museum’s renowned Degas collection,” a rep for the museum wrote in an email. The sculpture went on view in the museum’s 19th century wing late last week.
Mushroom Boat Ever heard of a boat made out of mushrooms? Neither had I until someone told me about an exhibition at Fulcrum Arts in Pasadena called, “Sam Shoemaker: Mushroom Boat.” As the title implies, the artist built a kayak out of mushroom mycelium. He then proceeded to use the unusual vessel to cross the Catalina Channel — a total of 26 nautical miles. He chronicled his journey the whole way, and the results of that work are on display alongside the boat. It includes large-scale projections, time-lapse videos, and soundscapes from his sometimes wild and turbulent journey.
Los Angeles Ballet dancers in pointe shoes stretch before beginning rehearsals in 2015.
(Los Angeles Times)
An anniversary for Los Angeles Ballet Los Angeles Ballet announced its 2025-26 season, which also happens to mark the company’s 20th anniversary, and its Music Center debut — “Giselle” at the Ahmanson Theatre in the spring. The season launches in December with LAB’s acclaimed annual presentation of “The Nutcracker” at Royce Hall and the Dolby Theatre. This season the company continues its residency at the Wallis Annenberg Center for the Performing Arts, and is set to stage a triple-bill anniversary production, “20 Years of Los Angeles Ballet,” featuring George Balanchine’s “Rubies,” Hans van Manen’s “Frank Bridge Variations,” and a third new work by Artistic Director Melissa Barak, who assumed her position in 2022.
K.A.M.P. fundraiser The Hammer Museum is back this Sunday with its annual fundraiser — Kids Art Museum Project, better known as K.A.M.P. Tickets support the Hammer’s free year-round family programming. Each year, the museum shuts down on a Sunday and presents an art-filled wonderland for children and families, with interactive art stations created and helmed by participating L.A. artists, as well as a special reading room featuring well-known actors. This year’s readers will be actor Justine Lupe and baseball star Chris Taylor. Artists include Daniel Gibson, Sharon Johnston & Mark Lee, Annie Lapin, Ryan Preciado, Rob Reynolds, Jennifer Rochlin, Mindy Shapero, Brooklin A. Soumahoro and Christopher Suarez.
— Jessica Gelt
And last but not least
Everybody, it seems, loves Cyndi Lauper. Readers have been going absolutely bananas for Times pop music critic Mikael Wood’s engaging profile on the iconic, red-haired pop star in advance of her induction in the Rock & Roll Hall of Fame.
UC Irvine has officially acquired Orange County Museum of Art, bringing the two organizations together under a new name: UC Irvine Langson Orange County Museum of Art. I first reported on the possibility of the merger in June when the two entities first signed a nonbinding letter of intent that needed approval by the University of California Board of Regents.
With the legal details now set, UC Irvine is absorbing OCMA’s 53,000-square-foot, $98-million Morphosis-designed building on the eastern edge of the Segerstrom Center for the Arts campus. According to UC Irvine, no money changed hands in the acquisition, which also finds the university taking over OCMA’s assets, employees and debt.
Just how much debt the Costa Mesa-based museum was in has not been disclosed by either organization, and a rep for UC Irvine declined to comment on that number.
OCMA’s board has been dissolved, and CEO Heidi Zuckerman, who announced her intention to step down in December, vacated her role. She had been planning to stay until her successor was found, but UC Irvine is now that successor and has launched a search for a new leader to take over the merged museums. A rep for the university said it is hoping to announce a candidate by early next year.
UC Irvine had long planned to build a museum for its California art collection, including its celebrated Gerald Buck Collection, but it now intends to move it to OCMA when the lease on its current off-campus space, on Von Karman Avenue, expires in late 2026. The Buck Collection, bequeathed to UC Irvine by Gerald Buck when he died in 2017, is the museum’s crown jewel, consisting of more than 3,200 paintings, sculptures and works on paper by some of the state’s most championed artists, including Joan Brown, Jay DeFeo, Richard Diebenkorn, David Hockney and Ed Ruscha.
OCMA opened to much fanfare in 2022 and its expansive contemporary art collection drew museum-goers from across the country. More than 10,000 visitors arrived in its first 24 hours, and admission was to remain free for the first decade of operation thanks to a grant from Newport Beach’s Lugano Diamonds.
All did not seem well at the new museum, however. Times art critic Christopher Knight and former Times architecture columnist Carolina Miranda wrote that the highly touted building remained oddly unfinished. Murmurs about the museum’s financial problems persisted when Zuckerman announced her departure three years later.
According to a rep for OCMA, the museum had a $7.7-million annual budget and had attracted 600,000 visitors since 2022, which is a healthy number by industry standards. Still, questions circulated among museum insiders about what OCMA’s long-term financial plan was, and how much it might have been struggling toward the end.
A rep for UC Irvine would say only that the museum had done its due diligence before the acquisition.
“UC Irvine is committed to ensuring that the region benefits from a world-class art museum that enriches the cultural fabric of Orange County, advances groundbreaking scholarship, nurtures the next generation of creators and thinkers, and inspires curiosity and connection across diverse audiences,” said Chancellor Howard Gillman in a news release.
I’m arts and culture writer Jessica Gelt, looking to acquire a healthy breakfast in a few minutes. Here’s your arts news for the week.
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Martha Graham Dance Company performs “Night Journey” and other works Saturday at the Soraya.
(Brigid Pierce)
Martha Graham Dance Company Centennial The Soraya continues its celebration with Graham’s 1947 ballet “Night Journey,” which is based on the Oedipus myth and has not been widely performed; a 2024 piece titled “We the People,” featuring folk music by Rhiannon Giddens; and the world premiere of “En Masse,” which builds on the Soraya’s exploration of Graham’s collaborations with various composers. The last — a new commission choreographed by Hope Boykin — marks the first time Graham’s work has been paired with the music of Leonard Bernstein. The posthumous partnership was inspired by a musical excerpt that was found in correspondence between the two arts legends. Christopher Rountree’s experimental classical ensemble Wild Up will perform a new arrangement of Bernstein, as well as William Schuman’s score for “Night Journey.” — Jessica Gelt 8 p.m. Saturday. The Saroya, 18111 Nordhoff St., Northridge. thesoraya.org
Dua Lipa’s Radical Optimism tour hits town for five shows at the Forum in Inglewood.
(Katja Ogrin / Getty Images)
Dua Lipa Lipa has found a formidable second life as a public intellectual with her fantastic book club, Service95. (This month’s suggestion: David Szalay’s novel “Flesh.”) But on the heels of last year’s (unfairly!) slept-on “Radical Optimism,” the singer returns to SoCal for five nights at the Forum, where that record’s exquisite catalog of disco-funk effervescence will hopefully get its due on the dance floor. — August Brown 7:30 p.m. Saturday, Sunday, Tuesday. Wednesday and Thursday. Forum, 3900 W. Manchester Blvd., Inglewood. thekiaforum.com
Pat O’Neill, “Los Angeles — From Cars and Other Problems,” 1960s, gelatin silver print
(Graham Howe)
Made in L.A. 2025 UCLA Hammer Museum’s seventh biennial survey of mostly recent art from the sprawling region will include 28 artists and collectives — including influential elder statesman Pat O’Neill, 86. The artists work in every imaginable medium, from traditional painting and sculpture to theater and choreography. The always much-discussed result will reflect the diverse artistic interests of the changing curatorial team, which this time is composed of independent curator Essence Harden, Art Institute of Chicago (and former Hammer) curator Paulina Pobocha and Hammer curatorial assistant Jennifer Buonocore-Nedrelow. — Christopher Knight Sunday through March 1, 2026. Closed Mondays. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu
The week ahead: A curated calendar
FRIDAY 🎭 Family Meal A famous chef serves his last meal, and you’re invited to this immersive theatrical experience that seats the audience at the dinner table for a round of foodie “Succession.” 7 p.m. Friday-Sunday; Oct. 10-12; Nov. 7-9; 14-16. Rita House, 5971 W. 3rd St. speakeasysociety.com
🎶 🎤 Ledisi: For Dinah The Grammy-winning singer’s new album pays tribute to Dinah Washington, “The Queen of the Blues.” 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Untitled, 2025, by Calvin Marcus. Oil on linen, 48 by 72 inches, 49 by 73 inches framed.
(Karma)
🎨 Calvin Marcus Building on a coat of deep umber, the artist adds layers of lime, Kelly, forest and other shades of green to mimic the growth cycle of his subject in the Grass Paintings. This isn’t the type of nature you can touch, but the vivid compositions of the series may offer their own sense of the sublime to the viewer. 10 a.m.–6 p.m. Tuesday–Saturday through Nov. 1. Karma, 7351 Santa Monica Blvd., Los Angeles. karmakarma.org
🎹 🎺 🎶Arturo O’Farrill and the Afro Latin Jazz Ensemble UCLA’s Center for the Art of Performance presents an evening with the Grammy-winning octet, featuring pianist and composer O’Farrill, son of the late Cuban jazz pioneer Chico O’Farrill. 8 p.m. Friday, Oct. 3, UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Music director Rafael Payare and the San Diego Symphony open their new season Friday.
(Courtesy of Gary Payne)
🎼 French Fairytales: Ravel and Debussy San Diego Symphony music director Rafael Payare opens his orchestra’s second season in the brilliantly renovated Jacobs Music Center by staging Ravel’s one-act opera, “The Child and the Magical Spells” (commonly known by its French title, “L’enfant et les sortileges”). A kind of French “Alice Wonderland,” this is the most enchanted work by a composer for whom enchantment was bedazzling second nature. The stellar cast is headed by mezzo-soprano Isabel Leonard and soprano Liv Redpath. The stage director is by the orchestra’s creative consultant, Gerard McBurney, who recently created for Esa-Pekka Salonen a new version of Mussorgsky’s “Khovanshchina,” which was the hit of this year’s Salzburg Easter Festival. Plus Debussy’s “The Joyful Isle (L’isle joyeuse)” and “The Box of Toys (La boîte à joujoux).” (Mark Swed) 7:30 p.m. Friday; 2 p.m. Sunday. Jacobs Music Center, 1245 Seventh Ave, San Diego. sandiegosymphony.org
SATURDAY 🎼 🎤 Current: Reflections in Song Countertenor John Holiday, pianist Lara Downes and an 18-piece Los Angeles Chamber Orchestra lineup glide through Chris Walde’s arrangements of Gershwin, Ellington, Strayhorn, Korngold, Chaplin and more in a program that unites cinematic romance with the elegance of jazz. 7:30 p.m. Saturday, Cicada Restaurant and Lounge 617 S Olive St., downtown L.A. laco.org
🎨 The HWY 62 Open Studio Art Tours For a 24th year, High Desert artists open their studios and share their work for three weekends of free self-guided tours. 10 a.m.-5 p.m. Saturday and Sunday; Oct. 11-12 and 18-19. Yucca Valley, Joshua Tree, Twentynine Palms and surrounding areas. hwy62arttours.org
🎭 Public Assembly’s Soirée “Everything Everywhere All At Once” director Daniel Scheinert, actor Jena Malone and other celebrities gather for this fundraiser for the non-profit theater company featuring staged readings of the group’s earlier works. 6 p.m. VIP-only cocktail party; 7:30 p.m. staged readings. Eagle Rock (location to be sent along with ticket purchase). publicassembly.us
📚Rare Books LA Union Station This year’s fair features antiquarian books, maps, fine prints and book arts, while celebrates Guillermo Del Toro’s new film adaptation of “Frankenstein,” streaming on Netflix this November. (A Frankenstein Fundraiser, hosted by Netflix in association with Rare Books LA and the Library Foundation of Los Angeles, is scheduled Friday night in Hollywood). 10 a.m.-6 p.m. Saturday; 11 a.m.-4 p.m. Sunday. Union Station, 800 N. Alameda Street. rarebooksla.com
🎨 🚘 🎶 Venice Afterburn This official Burning Man Regional brings art cars, installations, theme camps and music to the beach. Noon-10 p.m. Saturday and Sunday. Windward Plaza, Venice Beach. veniceafterburn.com
SUNDAY
Jiji performs Sunday at BroadStage.
(BroadStage)
🎼 🎸 Jiji: ‘Classical Goes Electric’ The Korean guitarist and composer who goes by Jiji Guitar and is a member of the L.A. new music collective Wild Up exchanges her acoustic guitar for electric in a solo recital program that ranges across centuries as part of the endearing Sunday morning series at BroadStage (bagels and cream cheese included). Jiji begins with an arrangement of a vocal piece by the mystical 12th century abbess Hildegard von Bingen, who happens to be the subject of Sarah Kirkland Snider’s new opera, “Hildegard,” that L.A. Opera presents Nov. 5-9 at the Wallis. Elsewhere on the program, the guitarist electrifies a neglected Baroque composer, Claudia Sessa (all women Baroque composers suffer obscurity), with Max Richter and new music including neglected electronic music pioneer Laurie Spiegel. (Mark Swed) 11 a.m. Sunday. Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org
🎼 Two Titans: The Music of Beethoven and Verdi The Los Angeles Master Chorale performs the epic works “Mass in C” and “Four Sacred Pieces” by Ludwig Van Beethoven and Giusseppe Verdi, respectively. 7 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org
Claude Monet, “The Water Lily Pond (Clouds),” 1903, oil on canvas
(Brad Flowers/Dallas Museum of Art)
🎨 The Impressionist Revolution: Monet to Matisse Is there anyone who doesn’t like Impressionist paintings and sculptures? As the Dallas Museum of Art renovates and expands its building, a selection of 50 Impressionist and early Modern works from its permanent collection, dating from the 1870s to 1925, has embarked on a three-year, five-city tour. Six paintings by Claude Monet and four by Piet Mondrian are featured. (Christopher Knight) 11 a.m.-5 p.m. Tuesday-Sunday; Oct. 5 through Jan. 25, 2026. Santa Barbara Museum of Art, 1130 State St. sbma.net
TUESDAY 🎨 Glass Sukkah: This Home Is Not a House Sukkot, an ancient Jewish harvest festival, and its messages of the temporary nature of shelter, the value of welcome and belonging, the importance of honoring ancestors and the preciousness of the natural world are themes of artist Therman Statom’s work, including glass face jugs and paintings. Noon-5 p.m. Tuesday–Friday; 10 a.m.-5 p.m. Saturday-Sunday, ongoing. Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles. skirball.org
🎵 🎭 Les Misérables Cameron Mackintosh’s evergreen production of Boublil and Schönberg’s Tony Award- winning musical – billed as “the world’s most popular” – arrives for a two-week run. 7:30 p.m. Tuesday-Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; 1 and 6:30 p.m. Sunday, through Oct 19. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com
🎼 Strauss, Pärt & Glass Members of the Los Angeles Philharmonic perform 20th century chamber music. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
THURSDAY 🎼 Mahler’s ‘Resurrection’ The conductor’s “Second Symphony” is performed by Soprano Chen Reiss, mezzo-soprano Beth Taylor, the Los Angeles Master Chorale and the L.A. Phil, under the direction of Gustavo Dudamel, for only the second time in the maestro’s tenure. 8 p.m. Thursday; 11 a.m. Oct. 10; 8 p.m. Oct. 11; 2 p.m. Oct. 12. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
🎭 Paranormal Inside Playwright Prince Gomolvilas’ latest is a sequel to “The Brothers Paranormal,” which had its Los Angeles premiere at East West Players in 2022. In returning to the ghost-hunting business launched by two Thai American brothers, the author continues his examination of intergenerational trauma through the lens of the occult. Jeff Liu directs what sounds like a wild ride into the Freudian uncanny, where the repressed makes a startling return. (Charles McNulty) 8 p.m. Thursday, through Nov. 2; check days and times. David Henry Hwang Theater, 120 N Judge John Aiso Street, Little Tokyo. eastwestplayers.org
Culture news and the SoCal scene
Francesca Zambello’s staging of “West Side Story.”
(Todd Rosenberg / Lyric Opera of Chicago)
The legendary Broadway musical “West Side Story” is getting the L.A. Opera treatment as it opens the company’s 40th anniversary season at the Dorothy Chandler Pavilion. Times classical music critic Mark Swed caught a show and gives a bit of history in his review — namely that when choreographer Jerome Robbins talked with Leonard Bernstein in 1949 about the idea of updating ‘Romeo and Juliet’ into a contemporary musical, “Robbins didn’t know what it would be, but he knew what it wouldn’t be: An opera!” Nonetheless, the show is operatic, Swed notes, and redoing it as an opera means one important thing: more attention is given to the music.
Gustavo Dudamel is currently straddling two worlds as he kicks off his final season at the Los Angeles Philharmonic while at the same time assuming the role of music director designate at the New York Philharmonic, prior to becoming the orchestra’s artistic director in 2026. The opening concerts for both orchestras were a mere two weeks apart, with New York coming first. Swed invokes Charles Dickens’ “A Tale of Two Cities” to explore the new state of affairs that finds one city losing a beloved figurehead to another. In both cities, however, Dudamel is making superb music.
I spoke with a member of the anonymous “satirical activist” group the Secret Handshake, which recently installed a 12-foot-tall statue of President Trump holding hands with convicted sex offender Jeffrey Epstein on the National Mall in Washington, D.C. The statue was removed less than 24 hours later by the National Park Service despite having a permit. The NPS claimed the statue had violated height restrictions, but the Secret Handshake rep said that it should have been given 24 hours to fix the problem before the statue was removed. The following day the group again tried to get a permit to reinstall the statue, and was denied without explanation. On Thursday afternoon, however, the statue was reinstalled for a limited time. Stay tuned.
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A brand new mural of ballet star Misty Copeland by the artist El Mac is being unveiled on Oct. 5 in San Pedro. The colorful painting takes up an entire outside wall of San Pedro City Ballet at 13th Street and Pacific Avenue, and was made possible by Arts United San Pedro. The unveiling also includes the renaming of the building in homage to donor Dr. Joseph A. Adan. “I’m incredibly honored to be featured in this stunning mural by El Mac at San Pedro City Ballet, my very first ballet studio and a place that will always feel like home,” Copeland said in a news release. “What he’s captured through my image is so much bigger than me, it represents every young person from this community and beyond who deserves access to the arts. This is such a beautiful tribute to where it all began for me.”
Long Beach Opera has named former L.A. Opera Production Director Michelle Magaldi its new chief executive officer. While at L.A. Opera, Magaldi oversaw the company’s popular Santa Monica Pier simulcasts; helped guide operations for L.A. Opera Off Grand; was responsible for hiring and training various producers and technical staff and also helped spearhead the world-premiere production of Ellen Reid’s “Prism,” which later won a Pulitzer Prize. Magaldi has a long working history with LBO’s Chief Creative Officer and Artistic Director James Darrah. Magaldi succeeds Marjorie Beale, who served as interim managing director since 2024.
Doja Cat will be the musical guest for Los Angeles County Museum of Art’s Art+Film Gala, the museum announced earlier this week. The always glitzy soiree is set to take place on Saturday, Nov. 1, and will honor artist Mary Corse and filmmaker RyanCoogler. It’s co-chaired by LACMA trustee Eva Chow and Leonardo DiCaprio.
Christine Vendredi has been apponted Palm Springs Art Museum’s new executive director, the board of trustees announced Monday. It’s a role Vendredi has occupied on an interim basis since April 2025. Prior to that she served as chief curator — a role she took on after serving as global director of art, culture and heritage at Louis Vuitton.
— Jessica Gelt
And last but not least
Join me in a moment of silence for Jane Goodall. She communicated across species, showing the world that we have more in common with all living creatures than we think. It’s a lesson we would do well to remember in these trying times.
NORFOLK, Va. — President Trump did not let the government shutdown interfere with a stop in Virginia on Sunday to salute the Navy as it celebrates its 250th anniversary.
“I believe, ‘THE SHOW MUST GO ON!’” Trump posted Friday night on his social media site. And he wrote before leaving the White House for Naval Station Norfolk, “This will be a show of Naval aptitude and strength.”
The government shutdown that began Wednesday has triggered partisan blame in both directions as military personnel are working without pay, several thousand federal employees are furloughed and Trump has put on hold energy projects in Democratic-run areas such as New York and Chicago.
There is the possibility that an event designed to honor the Navy could be dragged into the bitter politics.
Trump accused Democrats in his post of enabling the shutdown and trying “to destroy this wonderful celebration of the U.S. Navy’s Birthday.”
Senate Democrats rejected efforts to preserve a continuation of government operations when the new budget year started Wednesday. They cited the lapse in subsidies that could cause health insurance costs to climb rapidly for people who get coverage through the 2010 Affordable Care Act. Democratic lawmakers also have sought to reverse cuts to Medicaid that Trump signed into law.
On top of that, both sides cite a mutual sense of distrust.
Democrats oppose Trump’s move to have his administration decline to spend congressionally approved funds, saying it undermines the budgeting process, among other concerns. Meanwhile, Trump has threatened to lay off federal workers at what he called “Democrat Agencies.”
Among those joining Trump for the festivities were First Lady Melania Trump, Defense Secretary Pete Hegseth, Navy Secretary John Phelan, Veterans Affairs Secretary Doug Collins and U.S. Rep. Ronny Jackson (R-Texas), a former Navy rear admiral who was a White House doctor during Trump’s first term.
After his arrival in Norfolk, Trump went to the USS George H.W. Bush and spoke to the sailors and handed out challenge coins.
The Trumps watched a military demonstration while standing on the deck of the aircraft carrier. Navy destroyers launched missiles and fired shells into the Atlantic, Navy SEALs descended from helicopters and fighter jets catapulted off.
Awaiting Trump’s speech was a large crowd on a pier, mostly sailors in their dress white uniforms and some families.
Trump on Tuesday addressed a gathering of military leaders abruptly summoned by Hegseth from across the globe to Virginia. The Republican president proposed using U.S. cities as training grounds for the armed forces and spoke of needing military might to combat what he called the “invasion from within.” Hegseth declared an end to “woke” culture and announced new directives for troops that include “gender-neutral” or “male-level” standards for physical fitness.
The administration is seeking to reshape Pentagon culture and use military resources for the president’s priorities, including quelling domestic unrest and fighting what he calls a surge in violent crime, despite statistics to the contrary.
Trump has also engaged the U.S. military in an armed conflict he says is targeting foreign drug cartels, leading to four deadly strikes on boats in the Caribbean that Washington says were involved in trafficking. Critics have called the attacks extrajudicial killings in violation of international law.
Boak and Finley write for the Associated Press and reported from Washington and Norfolk, respectively.
Craggy coves and sandy bays make up the resplendent mix that is the Athens Riviera. So it was that at the end of an autumn day I found myself with a not unpleasant question: where to head to soothe bones still aching for a last splash of summer sun. For Athens offers something that other European cities cannot: a coastline of more than 40 miles dotted with beaches many a Greek island would covet.
Out of season, the shores of Attica still have a magnetic allure, as I discovered when swimming into a fading sun across the bay of Vouliagmeni. For those seeking rejuvenation in marine blue waters primed to turn orange pink as the sun sets, bathing off one of the Riviera’s public or private beaches does not disappoint.
With sea salt still clinging to my skin, I sat at Sardelaki, a tavern whose Mediterranean fare is as good as the spectacular view of the bay it sits on. In a nod to times past, the meze is served on large wooden trays.
Vouliagmeni beach, south of Athens. Photograph: Geopix/Alamy
Athens is as celebrated for its hills as its coastline: natural elevations within view of the Acropolis that make it a treasure trove for amblers when temperatures are cooler. For those who want to escape a metropolis that sprawls across almost 200 square miles, these rocky outcrops – bearers of fabulous names such as the Hill of the Nymphs and the Hill of the Muses – are a must.
In my view, this ancient capital is also Europe’s most soulful and sublime. If you reach the top of Mount Lycabettus, the city’s highest point, either by foot or on the funicular rail car, the reward is a spectacular vista of the entire Argo-Saronic Gulf and the islands beyond.
If you want to stay centrally, the ancient Plaka district remains the best base. The old-school Adrian hotel has doubles looking on to the northern face of the Acropolis from about £120 B&B. In the same area, Zorbas is a favourite restaurant with locals and serves the most succulent lamb chops. With views of the Acropolis, Athens’ rooftop restaurants are wonderfully atmospheric and perfect for warm autumn evenings – for a real treat head to Kuzina or the Michelin‑starred Macris. Helena Smith
Palermo
A 16th-century sculpture at the fountain of Piazza Pretoria. Photograph: Paul Williams/Alamy
Think Neapolitan margherita is the last word in pizza? Think again. In Palermo they prefer sfincione, a soft, well-risen rectangle of dough topped with intense, onion-heavy tomato sauce and sprinkled with caciocavallo cheese and oregano. Savoury, filling and comforting, it’s sold in bakeries, kiosks and carts all over the city (Via Maqueda in the historic centre usually has several vendors).
We try it at a kiosk on Piazza della Kalsa, near where we’re staying. Panineria Chiluzzo often has long queues, but they move quickly as young staff dish out slices of sfincione, as well as arancini and panelle (chickpea fritters). There are a few tables under the trees outside, but we eat as we walk into town along narrow Via Alloro. This is a pleasant stroll in October but wouldn’t always be. As heatwaves rolled over Europe this year, temperatures in Palermo topped 40C in the shade. At the end of July one sunbaked corner hit a record 70C at ground level.
Now, as temperatures creep to 24C by mid-afternoon, we can wander the city and savour how its long history is written in its streets. Passing baroque and art nouveau palaces, and Casa Stagnitta, the city’s oldest coffee roastery, we take in the Arab-Norman domes of the 12th-century church of San Cataldo; Piazza Pretoria, with its 16th-century fountain, installed under Spanish rule; and the impressive cathedral, built on the location of a ninth-century mosque.
The 12th-century Church of San Cataldo (foreground, left) in Palermo. Photograph: Sean Pavone/Alamy
On the way back we detour to Vucciria market, the origins of which also stretch back over 1,000 years. Some decry its touristification, but it is still noisy and brilliantly theatrical. Feeling brave, we stop for a traditional pani câ meusa (spleen roll), which is surprisingly OK, with its slightly sweet “meat” set off by grated cheese. The stallholder is particularly proud of his grilled goat’s intestines but, I’m sorry, no amount of salt and lemon can make those a treat for me.
We’re glad to head back to quieter La Kalsa, the former Arab quarter to the east, which was bombed in the second world war and languished for decades before being revitalised this century. Maison Butera (sea-view doubles from €161 B&B) is a four-room B&B with lots to see nearby. Up the street is Palazzo Butera, a 17th-century baroque pile restored and reopened in 2021 to house the Valsecchi art collection, which includes works by Gilbert & George and Andy Warhol.
Next day we walk 10 minutes to Palermo’s Botanical Garden, with its record-breaking multi-trunk fig tree. Birds are singing their hearts out as the sun pours down. Soon we’ll be in London, the clocks will go back and winter will start. We relish a last week in the light. Liz Boulter
Vienna
Parks in Vienna are a colourful delight in autumn. Photograph: Rusm/Getty Images
While lamenting the end of summer and hanging out at beach bars and bathing spots on the tributaries of the Danube, I’m now chasing a new hue. Vienna isa city of parks and manicured gardens, meadow sweeps and woodland belts, which swap their emerald halo for a rusty amber and ochre glow the Austrians call Goldener Herbst (golden autumn).
I leave behind the grandiose architecture and cobblestones of the historic centre. South-west of it, Schloss Schönbrunn Park splays from the grand Habsburg summer residence, where the gilt isn’t reserved for the interior, and makes its way into corridors of towering bronzed hedgerows and arched tree terraces that lead to the butter-yellow palace.
To the east, in the city’s Prater Park, I stroll beneath the chestnut trees of the Hauptallee, an avenue that’s almost three miles long and centuries-old. On the edge of the park, the retro-styled Superbude Prater hotel (doubles from €78 B&B) is a perfectly placed retreat.
Superbude hotel, Vienna
In a city with hundreds of urban farms (thanks to a long-standing commitment to promoting green spaces and fostering community spirit), autumn brings a feast of fresh produce on menus.Pumpkin cream soup is the seasonal staple – best devoured in a wood-panelled Beisl (Viennese gastropub) such as the art-splashed Am Nordpol 3 – and followed with a Wiener Schnitzel.
Unbeknown to many, Vienna is the only European capital to grow wine within its city limits, with 700 hectares (1,723 acres) of vineyards. There are 14 designated city hiking trails, known as Stadtwanderwege. Track 1 leads you through the vintner lands of Nussdorf. Settle in a hillside Heuriger (wine tavern) such as Wieninger am Nussberg, sipping a citrussy grüner veltliner with a Brettljause(a platter of cold cuts and cheese), while soaking up the sublime city vista.
The days are getting shorter, but now is the perfect time to wander among Vienna’s stately palaces, museums and historic abodes – a cultural crop in gilded gallery wings, mirroring nature’s showcase outside. Becki Enright
Budapest
Autumn at Fisherman’s Bastion in Budapest’s Castle District. Photograph: Noppasin Wongchum/Alamy
After the heat and crowds of high summer, autumn brings a less intense atmosphere to Budapest, and it’s the season I most love to visit the city. The sun mellows, green leaves drain to golden, and a cuisine that’s all about comfort food really comes into its own. Even the Hungarian word for autumn – őszi – has a cosy, laid-back sound to it.
That’s not to say it’s a place to hunker down. Few capitals are better suited to walking, and early autumn promises a Goldilocks sweet spot of temperatures, neither too hot nor too cold. It’s a joy to wander the cobbled streets of the Castle District without sidestepping tourists, to follow the Danube promenade without melting, and to meander among whisky-coloured trees on Margaret Island.
Many of the five-star hotels – such as the wonderfully styled Kimpton BEM and the Dorothea Hotel, with its oasis of a courtyard restaurant – offer affordable shoulder-season deals. But if you don’t need heaps of facilities, try Giselle Vintage Doubles (doubles from €87 room-only), an 18th-century royal mansion near Elizabeth Bridge brimming with yesteryear elegance that is surprisingly light on the wallet.
House of Music in Budapest’s City Park offers a journey through the country’s musical heritage. Photograph: E Fesenko/Alamy
From here, Budapest is your oyster. I always head to the Central Market Hall, a soaring masterpiece of 19th-century industrial architecture with stalls selling Hungarian products such as rich, sweet tokaji wine and lace tablecloths. The must-visit House of Music Hungary in City Park (itself lovely for an autumn stroll) leads visitors on an absorbing journey through the country’s musical heritage. And nearby Széchenyi baths is a favourite for a soak afterwards: the outdoor pools are particularly atmospheric as the air cools and steam curls from the thermal water.
There are autumn festivals and events aplenty too. Liszt Fest (9–22 Oct) at the Müpa concert hall celebrates not only works by the Hungarian composer but contemporary music and dance.
Budapest Design Week (8–19 Oct) showcases movers and shakers in jewellery, clothing and art. For something more active, time your visit for the Budapest Marathon weekend (11–12 Oct) or go skating in the shadow of the fairytale Vajdahunyad Castle at the outdoor City Park Ice Rink (opens from mid-November).
But a key draw for me is the delicious comfort food that’s abundant at this time of year: goulash stews, savoury pancakes and paprika sauces aplenty. Café Kör, in an old building with vaulted ceilings, and the retro Menza are longstanding restaurants that serve Hungarian classics. Just leave space for some dobos torte at Gerbeaud, because nothing says autumn like a caramel-topped wedge of sponge cake filled with chocolate buttercream. Monika Phillips
Zurich
Wherever you are in Zurich, you’re never far from water says William Cook. Photograph: Dalibor Brlek/Alamy
People get the wrong idea about Zurich, and I blame Harold Wilson. In the 1960s, the UK prime minister tried to blame the “gnomes of Zurich” for the pathetic performance of the British pound, and more than 60 years on, some misguided Britons still think of Switzerland’s biggest city as a boring financial destination. They couldn’t be more wrong. Banking is still a major industry, but the city’s tidy, tree-lined streets are full of people having fun.
I’ve been to Zurich more times than I can count, and like it more with each visit. For first timers, the big surprise is the vast and lovely Zürichsee (Lake Zurich), two miles wide, 25 miles long and crisscrossed all day by antique ferries. Wherever you are around town, you’re never far from water.
Another nice surprise is the abundance of fine art. Zurich’s palatial Kunsthaus is one of Europe’s great art galleries (check out the sleek new extension by British starchitect David Chipperfield), but there are also loads of smaller commercial galleries, especially in Zurich West, a former industrial quarter that’s become the city’s new creative hub.
Stay at 25 Hours Zurich West (from 230 Swiss francs/£214 room-only), a funky bolthole in the beating heart of this rejuvenated district or the new cool Mama Shelter (from £175 room-only), which opened in the lively Oerlikon area this summer with a garden terrace overlooking the city and a stylish bar and restaurant.
The interior of Cabaret Voltaire, where dadaism started. Photograph: Prisma by Dukas Presseagentur GmbH/Alamy
Zurich has always been a magnet for creatives and eccentrics. James Joyce wrote much of Ulysses here (his grave is in Zurich’s Fluntern cemetery) and his favourite haunt, the chic Café Odeon, is still going strong. The place that sums up Zurich’s rebellious streak is Cabaret Voltaire, the anarchic nightclub where dadaism, the multifaceted modern art movement, was born. The building is still a gallery and performance space, as well as a museum.
When the trees turn golden brown, this compact metropolis looks especially pretty. The best views are from the summit of Uetliberg, on the leafy edge of town. The Uetlibergbahn, Zurich’s mountain railway (which reopens on 5 October after a major refurbishment) takes you within a short walk of the summit.
The Zurich film festival is the one of the autumn highlights, but the most atmospheric spectacle is on the water. From 30 Oct-13 Nov, Zurich’s fleet of pleasure boats hosts the 70th Expovina Weinschiffe, the city’s annual wine fair. Anyone can buy a ticket (from £28) to go onboard and sample a huge range of wines from dozens of different countries (Switzerland’s crisp light whites are seriously underrated). If you’d rather drink beer, head to Bierwerk Züri, a fashionable modern brewery with a youthful clientele.
New restaurants are opening all the time, but my go-tos have both been around for ages and never seem to change. For traditional Swiss cuisine, you can’t beat Alpenrose, a homely historic hideaway a short tram ride from the city centre. For veggie cuisine, Haus Hiltl is a must. The decor is fairly modern and the menu is contemporary, but it was actually founded back in 1898, making it (by some accounts) the oldest vegetarian restaurant in the world. William Cook
Lyon
A spectacular view of Lyon. Photograph: Sander van der Werf/Shutterstock
Traboules, Lyon’s secret passages, pass through houses and courtyards, joining one street to another, transporting curious walkers from the Renaissance to the modern via a stone staircase and gothic arcade. They crisscross Vieux Lyon and the Croix-Rousse hillside where, in autumn, you might enter a traboule in the rain and come out beside the street market on the main boulevard in bright sunshine.
At the morning market in La Croix-Rousse, where the city’s silk factories used to be, a noisy line of food stalls offer roast chickens, clanking bags of walnuts and piles of oversized pumpkins, a contrast to the artistic displays of conserves and truffles at Halles de Lyon Paul Bocuse food hall in the east of the city. It’s almost truffle season but Lyon, the “gastronomic capital of the world”, has year-round delights including Saint-Marcellin cheese, rosette sausage and praline tart.
With their rich flavours and hearty portions, traditional dishes suit the colder months. If I need warming up, I go to Le Garet near the opera house, one of Lyon’s typical bouchon restaurants serving pig’s trotters, tripe and quenelle de brochet (pike dumpling). If I wake up hungry, Le Café du Peintre serves a mâchon (a selection of cooked pork with a jug of beaujolais) from 8.30am. For something more refined, Burgundy by Matthieu has one of the best wine cellars in France. It is on the banks of the Saône, near the new Navigône ferry stop.
On Wednesdays, weekends and public holidays, the riverbus continues to the spectacular Musée des Confluences, where the Saône meets the Rhône. Its programme this autumn includes exhibitions on the people of the Amazon, amazing animals and zombies.
Lyon’s Fête des Lumières. Photograph: Brice Robert/Only Lyon
This year marks the 130th anniversary of Auguste and Louis Lumière’s first film, Workers Leaving the Lumière Factory, which they created while living at the family’s art nouveau villa in Lyon’s Monplaisir district. It’s now part of the Institut Lumière, which houses cinemas as well as the museum, and is the hub of the annual Festival Lumière. Films and cinematic events take place from 11-19 Oct, with almost 450 showings across the city, including two remastered 1920s silent movies by Victor Sjöström – Le Vent (The Wind)and La Charrette Fantôme (The Phantom Carriage) – accompanied by the National Orchestra of Lyon.
Just before the start of winter, Lyon’s Fête des Lumières (lights not the brothers) runs from 5-8 Dec. The city’s heritage buildings are illuminated, and light installations are set up in the squares and on the riverbank. I watch from Place Bellecour and then wander down to the water where locals place lanterns in their windows to celebrate solidarity and brace themselves for the cold.
I stay at the Fourvière Hôtel (doubles from €139 room-only), a former convent near the city’s Roman ruins, which has a heated indoor pool, restaurant and great views over the city. Jon Bryant
Accommodation prices correct at time of going to press. These are the lowest available rates for October
The expression “stay woke” started out as an affirmation for African Americans.
In the last decade it has been used by some Republicans — and some Democrats — as a pejorative for people thought to be too “politically correct,” another term that took on negative connotations as it gained wider use.
“Woke” has come up in cultural and political firestorms. Eight months into his second term, President Trump pledged to review content at the Smithsonian Institution for being “WOKE” and where “everything discussed is how horrible our Country is, how bad Slavery was.” At the beginning of this year, Texas Gov. Greg Abbott declared in his State of the State address that government would keep “woke agendas” out of universities and K-12 schools, including “woke gender ideologies.”
On Tuesday, Defense Secretary Pete Hegseth said he was ending the “woke” culture in the military, saying the service has been hamstrung by political correctness. He referenced diversity efforts, transgender troops, environmental policies and other disciplinary rules.
“America is no longer woke under President Trump’s leadership. The word ‘woke’ represents radical ideologies that are used [to] divide the American people and harm our country,” Liz Huston, a White House spokesperson, said in a statement.
Here’s where “woke” came from, and how its meaning has evolved:
The history of ‘woke’
“Wokeness” originated decades ago as African American cultural slang for having awareness and enlightenment around racism, injustice, privilege or threats of white supremacist violence.
Several historians trace the idea to a 1923 compilation of speeches and articles by Jamaican-born Black nationalist Marcus Garvey. In one essay, Garvey writes “Wake up Ethiopia! Wake up Africa!” Another reference appears in 1938 in the song “Scottsboro Boys,” by blues artist Lead Belly, whose real name was Huddie Ledbetter. The tune follows the true story of four Black youths unjustly convicted by an all-white jury of the rape of two white women (they were later freed). The lyrics warn Black listeners to be careful and “stay woke. Keep your eyes open.”
Gerald McWorter, a professor emeritus of African American studies and of information sciences at University of Illinois Urbana-Champaign, says “woke” was about having a voice after hundreds of years of Black suffering going back to the African slave trade.
The phrase also popped up in a 1962 essay by novelist William Melvin Kelley for the New York Times. The headline — “If You’re Woke, You Dig It.” Kelley’s widow and daughter believe he heard the term while walking around their Harlem neighborhood, said Elijah Watson, a pop culture writer and editor who has written about Kelley, who died in 2017.
‘Woke’ reawakening
In the 21st century, singer-songwriter Erykah Badu is often credited with reviving the term “woke.” Her song “Master Teacher” on her 2008 album, “New Amerykah: Part One,” includes the refrain “I stay woke.” Badu picked up the phrase from co-writer and producer Georgia Anne Muldrow, who heard it from a saxophone player she collaborated with — Lakecia Benjamin.
The 2014 fatal shooting by a white police officer of 18-year-old Michael Brown — who was Black and unarmed — in Ferguson, Mo., made “woke” and “stay woke” galvanizing pledges in the growing Black Lives Matter movement.
The movement drew support from other racial groups. “Woke” also became popularized by white liberals who wanted to show they were allies.
The war on woke
The backlash against “woke” and “wokeness” bubbled up in the 2010s, amid discussions about including more Black history in American history lessons. Many people said that bringing “critical race theory” to schools was meant to program children to feel guilty for being white.
This argument became front and center in 2022 when Florida Gov. Ron DeSantis signed the “Stop W.O.K.E. Act” into law. It banned teaching or business practices on race and gender. (The law is now on hold after a federal judge deemed it unconstitutional).
For George Pearson, a former chair of the Illinois Black Republican Coalition, “woke” is a hollow word.
Democratic politicians who purport to be “champions” of wokeness and DEI have done little for Black people, he said. So, “woke” has no sway as a rallying cry. He also thinks it’s unfair that those who do not support “woke-ism” are told “’you’re racist. You’re a homophobe. You’re a bigot.”
Even among liberal Black Americans, there is a debate whether the intention of “woke” does more harm than good.
Who says woke now?
In Watson’s experience, “woke” is no longer part of Black vernacular. If he hears it from anyone in his social circles, it’s almost always said “in jest.”
Some progressives are trying to take the word back. Academy Award-winning actor and activist Jane Fonda brought up being “woke” while receiving the Screen Actors Guild lifetime achievement award in front of an A-list audience.
“Make no mistake, empathy is not weak or woke. By the way, woke just means you give a damn about other people,” Fonda said.
Seena Hodges started her own business as a DEI strategist for individuals and groups in 2018 and called it the Woke Coach. She and her team consult on everything from workplace interactions to best recruiting practices. She touches on inclusion for groups from people of color to breastfeeding mothers.
The “bastardization” of “woke” and DEI as words akin to slurs doesn’t bother her, she said. To her, at its core being “woke” is about awareness.
“What it really boils down to is helping people develop a more acute level of emotional intelligence,” she said.
Tang writes for the Associated Press. AP writer Christopher Megerian in Washington contributed to this report.
The NFL announced the musical headliner for Super Bowl LX’s halftime show, and — much to MAGA’s chagrin — it’s not Kid Rock.
Music’s most lucrative spot went to a relevant artist who actually sells albums: Bad Bunny. Letting the Puerto Rican rapper and singer turned global megastar perform 2026’s halftime show gifts right-wing influencers with a fresh conduit for the old grievance that woke culture has permeated every crevice of American culture, especially the Super Bowl.
Their proof: The NFL chose a predominantly Spanish-language artist who is known to wear women’s dresses, who endorsed Kamala Harris in 2024, and who has decried this year’s immigration sweeps. Clearly, this decision was designed to irk them rather than serve Bad Bunny’s millions and millions of fans.
“The NFL is self-destructing year after year,” conservative commentator Benny Johnson wrote on X. He said of Bad Bunny: “Massive Trump hater. Anti-ICE activist. No songs in English.”
Other critics accused the reggaeton artist of flip-flopping, particularly following Bad Bunny’s statements earlier this month that he would not include any mainland U.S. dates on his Debí Tirar Más Fotos world tour out of concern that U.S. Immigration and Customs Enforcement agents might target and detain his fans.
“There were many reasons why I didn’t show up in the U.S., and none of them were out of hate — I’ve performed there many times,” he said to I-D magazine. “But there was the issue of — like, f—ing ICE could be outside [my concert]. And it’s something that we were talking about and very concerned about.”
The artist, whose real name is Benito Antonio Martínez Ocasio, explained his decision to join the long list of Super Bowl halftime notables in a short statement following the NFL’s announcement Sunday.
“What I’m feeling goes beyond myself,” he said. “It’s for those who came before me and ran countless yards so I could come in and score a touchdown … this is for my people, my culture and our history. Ve y dile a tu abuela, que seremos el HALFTIME SHOW DEL SUPER BOWL.”
Bad Bunny in glasses, not a dress.
(Jordan Strauss / Invision / AP)
The year-after-year decision to cast top-ranking pop artists and music legends in the featured Super Bowl halftime spot is hardly a mystery. They are stars that sell or performers that appeal to millions. But that dull reality hasn’t stopped the characterizations that the Bad Bunny decision is a deep state conspiracy, designed to rot American households from the inside out.
“Barack Obama’s best friend Jay-Z runs the Super Bowl selection process through his company Roc Nation which has an exclusive contract with the NFL. This is who chooses the halftime show, the most-watched musical performance in America,” wrote alt-right figure Jack Posobiec.
The NFL in 2019 partnered with rapper Jay Z’s entertainment and sports company, Roc Nation, to produce its Super Bowl halftime shows. The first show under the new partnership featured 2020’s Latin music in performances by Jennifer Lopez and Shakira. Since then the institution’s halftime performances have largely featured hip-hop artists such as Kendrick Lamar, Rihanna and the OG trio of Snoop Dogg, Dr. Dre and Eminem.
Lamar’s 2025 politically charged performance was the source of condemnation from the right. Clad in red, white and blue, his predominantly Black dance crew assembled in an American flag formation. And guest star Samuel L. Jackson, dressed as Uncle Sam, called out the nation’s systemic racism. Lamar had already rankled the right with 2017’s “The Heart Part 4,” where he referred to Trump as a “chump.”
Kendrick Lamar performs during halftime of the NFL Super Bowl 59.
(Frank Franklin II / AP)
It’s one of many moments over the last decade that have galvanized conservative factions around calls to boycott the Super Bowl, or at least publicly bash the event. Beyoncé’s 2016 Super Bowl halftime show was once such flash point, where she performed “Formation” featuring dancers in Black Panther-inspired outfits and paid tribute to the Black Lives Matter movement.
At least those complaints were rooted in a performance that actually happened, as opposed to claims that the NFL was manipulating games for the Kansas City Chiefs to enable tight end Travis Kelce and his then-girlfriend (now fiancée) Taylor Swift to endorse Joe Biden. Sure, totally feasible.
Yet there should be no secret around why the Super Bowl hasn’t featured wildly popular, globally celebrated MAGA-promoting performers: There aren’t any. It’s no wonder Kid Rock and Lee Greenwood always seem to be the entertainment of choice for Trump rallies.
Bad Bunny is the most-streamed male artist on Spotify, running just behind the platform’s most-streamed artist of all time, Swift. As of Sunday, his release “DeBÍ TiRAR MáS FOToS” became the first album of 2025 to surpass 7 billion streams on Spotify. And the 31-year-old artist just finished a sold-out, month-long residency at the José Miguel Agrelot Coliseum in San Juan, Puerto Rico.
Though the Super Bowl is still five months away, those who aren’t among the haters can enjoy an early kick off: Bad Bunny is scheduled to host the new season opener of “SNL” this weekend.
When I was in high school in the 1990s, I worked the box office at Tucson’s sole art house, the Loft Cinema. My favorite shift was Saturday night when a parade of true characters began lining up for the weekly midnight screening of “The Rocky Horror Picture Show.”
The shadow cast arrived before the audience, a ragtag group of aspiring and established actors and fans, costumes in hand. They’d decamp in the bathrooms on either side of the lobby without regard for who was in the women’s or men’s, and proceed to cake on makeup and rib each other in delightfully uncouth terms.
The actors would wait by the theater doors to make their appointed entrances beneath the screen after the film began, and soon the theater was a sweaty mess of wild hair, dripping foundation, torn fishnet stockings, smeared lipstick, thrown popcorn, spilled soda and ribald song and dance.
There was no doubt in my 16-year-old mind that this was underground musical theater at its finest. At that time — when one of my best friends was struggling with how to come out as gay, fearing fierce social backlash — the topsy-turvy sexuality of the show, with its outlandish, cross-dressing lead, felt deliciously subversive. This was not “Grease” or “Godspell,” it had more in common with the stage shows in “Cabaret.”
Week after week, the same shadow cast arrived, treating the show as its professional run. If someone was out sick, an eager understudy would step in. This was one small art theater in Tucson. The “Rocky Horror” phenomenon, with its live shadow casts, has been ongoing around the world for decades now. That means thousands of shadow casts in thousands of cities beneath thousands of screens — each engaging in their own form of participatory community theater.
As the film honors its 50th anniversary this year with special engagements and talks across the country (see below for an Academy Museum screening), star Tim Curry is being celebrated for breaking boundaries with his onscreen portrayal of the eccentric, cross-dressing scientist Frank-N-Furter. But it’s important to remember that the show began as a stage musical in London in 1973 — with Curry originating his role upstairs at the Royal Court Theatre. The musical then moved to L.A.’s Roxy Theatre for an electric yearlong run.
“Rocky Horror” is now known as as the longest continuous theatrical release in cinema history. But thanks to the talent and dedication of its legions of shadow casts — it just might be the longest continuous piece of live musical theater too.
I’m arts and culture writer Jessica Gelt, inviting you to do the Time Warp. Here’s this week’s round-up of arts and culture news.
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Wei Wang and Max Cauthorn in Liam’s Scarlett’s ballet “Frankenstein.”
(Erik Tomasson)
Frankenstein San Francisco Ballet brings Mary Shelley’s 1818 gothic horror story to life in a three-act production of British choreographer Liam Scarlett’s “Frankenstein.” The ballet originally premiered at the Royal Ballet in 2016 and has gone on to become a modern classic with a score by Lowell Liebermann and stage design by critically acclaimed ballet and opera artist John MacFarlane. – Mark Swed 7:30 p.m. Thursday and Oct. 3; 2 and 7:30 p.m. Oct. 4;and 1 p.m. Oct. 5. Segerstrom Hall, Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org
Brittany Adebumola, left, and Dominique Thorne in a New York production of “Jaja’s African Hair Braiding” in 2023.
(Matthew Murphy)
Jaja’s African Hair Braiding Playwright Jocelyn Bioh (“School Girls; or, the African Mean Girls Play”) captures the camaraderie and competitiveness, solidarity and rivalry of workplace relations in this entertaining comedy about the African immigrant employees of a Harlem hair salon earning their daily bread as they work their fingers — and mouths! — to exhaustion. The play is wildly amusing, but Bioh isn’t just kidding around. By familiarizing us with the workday rhythms of these flamboyant women, she makes us feel all the more acutely the threats that accompany their marginal status in a not-always-welcoming America. Whitney White, who directed the impeccably acted Broadway premiere, helms this much-praised co-production. — Charles McNulty Wednesday through Nov. 9. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. centertheatregroup.org
Laufey performs Driday and Saturday at Crypto.com Arena.
(Christina House/Los Angeles Times)
Laufey This young pop-jazz singer from Iceland shot a concert movie last year at the Hollywood Bowl; now she’s doubling down with two adopted-hometown shows at Crypto.com Arena just as her album “A Matter of Time” is garnering substantial Grammy buzz. — Mikael Wood 7:30 p.m. Friday and Saturday. Crypto.com Arena, 1111 S. Figueroa St., downtown L.A. cryptoarena.com
The week ahead: A curated calendar
FRIDAY
“Something Else No. 61,” 2020, by Edith Baumann. Acrylic on canvas, 60 x 60 inches.
(Alan Shaffer)
🎨 Acts of Surface A three-artist show featuring works by Edith Baumann, Chip Barrett and Vincent Enrique Hernandez that explore the literal and emotional facets of surface as a repository for memory, transformation and abstraction. Noon-5 p.m. Sunday and Tuesday through Friday or by appointment, through Oct. 23. 7811 Gallery, 7811 Melrose Ave. 7811gallery.com
📷 Corita Kent: The Sorcery of Images A trove of more than 15,000 35mm slides from the archive of the activist nun offers a peek into her artistic practice, her life as a teacher at Immaculate Heart College and the world she lived in between 1955 and 1968. 11 a.m.-6 p.m. Tuesday through Saturday, through Jan. 24. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org
🎤 Tate McRae The main pop girls have been expanding their portfolios of late. After showing off a limber pop sound on 2023’s “Think Later” that made full use of her dance gifts, McRae proved her staying power with this year’s “So Close to What,” which topped the Billboard 200 by pulling from a rich seam of Y2K R&B and club jams. Yet she scored her first No. 1 single with the Morgan Wallen collab “What I Want.” Whatever you think of Wallen — and McRae’s young, queer fan base had thoughts — the song showed that McRae’s Alberta roots could drop right into a pop-country setting. (August Brown) 7:30 p.m. Friday, Saturday and Nov. 8. Kia Forum, 3900 W. Manchester Blvd., Inglewood. thekiaforum.com
🎭 Parallel Process Writer-director David Kohner Zuckerman’s drama stars Alan McRae and Tom Jenkins as brothers facing down a 50-year divide over the Vietnam War. 8 p.m. Friday and Saturday; 2 p.m. Sunday, through Nov. 2 (except Oct. 26). Odyssey Theatre, 2055 S. Sepulveda Blvd. parallelprocesstheplay.com
🎞️ The Rocky Horror Picture Show Shiver with anticipation as star Tim Curry, producer Lou Adler and a shadow cast performance alongside a 4k screening of the movie mark 50 years of delectable decadence. 7:30 p.m. Friday. Academy Museum, David Geffen Theater, 6067 Wilshire Blvd. academymuseum.org
🎼 🎹 Daniil Trifonov One of the most impressive pianists of his generation, the 34-year-old Daniil Trifonov, who starred in a Rachmaninoff week with the Los Angeles Philharmonic at the Hollywood Bowl in August, opens the Soka Performing Arts fall series at Soka University in Aliso Viejo with a recital program that features seldom heard solo piano works by three early 20th century Russian composers — Taneyev, Prokofiev and Myaskovsky — along with a Schumann sonata. In the meantime, Deutsche Grammophon recently released a stunning new Trifonov recording of overlooked, intimate solo piano works by Tchaikovsky. (Mark Swed) 8 p.m. Friday. Soka University Concert Hall, 1 University Drive, Aliso Viejo. soka.edu 7 p.m. Wednesday. UC Santa Barbara, Campbell Hall, campuscalendar.ucsb.edu
SATURDAY 🎭 Anthropology Prolific and popular playwright Lauren Gunderson gravitates toward brainy subjects. Here, she delves into a fraught philosophical question: Can AI substitute for the human comfort we need, or are we only hastening the demise of our species by depending on digital simulations of people who actually care about us? John Perrin Flynn directs the North American premiere of a play by a dramatist whose work (“I and You,” “The Book of Will”) is as thought-provoking as it is emotionally resonant. (Charles McNulty) Through Nov. 9, check specific dates. Rogue Machine at the Matrix Theatre, 7657 Melrose Ave. roguemachinetheatre.org
🎞️ Dazed and Confused Vidiots’ third annual celebration of Richard Linklater’s 1993 coming-of-age classic includes screenings, a takeover of the Microcinema with games on freeplay, a unique commemorative T-shirt, giveaways, food and drinks, all-vinyl DJ sets from KCRW’s Dan Wilcox and Wyldeflower and more. Close out the festivities with the period-appropriate 1976 Led Zeppelin concert film “The Song Remains the Same” at 9:30 p.m. 3 and 6:45 p.m. Saturday. Vidiots, Eagle Theatre, 4884 Eagle Rock Blvd. vidiotsfoundation.org
🎭 Lagartijas Tiradas al Sol The artistic collective’s “Centroamérica” tells the story of a Nicaraguan woman on the run from Daniel Ortega’s dictatorship, exploring history and the present to discover the region’s diversity, conflict and resilience. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Installation view, “Echoes,” at 839.
(Vanessa Wallace Gonzales/839)
🎨 Vanessa Wallace-Gonzales “Echoes,” a solo exhibition by the multiracial Black and Mexican artist originally from Southern California, now based in New York, features cyanotypes, sculptural vessels and a multimedia installation in a hybrid home/gallery. Noon-6 p.m. Saturday or by appointment, through Oct. 18. 839 Gallery, 839 N. Cherokee Ave. 839gallery.com
🎼 Quintessential Classical The Colburn Orchestra opens its season with conductor Nicholas McGegan, clarinetist Minkyung Chu and masterworks from Bach, Haydn and Mozart. 7 p.m. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu
TUESDAY
“The Buddhist Deities Chakrasamvara and Vajravarahi,” Tibet, circa 15th century; pigments on cotton.
🎨 Realms of the Dharma Gallery Tour LACMA conservator Soko Furuhata and curator Stephen Little discuss preservation and highlights from the exhibition of pan-Asian Buddhist art created across centuries. 7-8:30 p.m. LACMA, Resnick Pavilion, 5905 Wilshire Blvd. lacma.org
Writer Roxane Gay is the guest Tuesday at Oxy Live!
(David Butow / For the Times)
📘 Oxy Live! Occidental College’s speaker series kicks off a new season with a new host, artist Alexandra Grant, and bestselling author and feminist icon Roxane Gay. Future guests include Taylor Mac and Robin Coste Lewis. 7 p.m. Occidental college Thorne Hall, 1600 Campus Road. oxy.edu
WEDNESDAY
Alex Hernandez, left, and Marlon Alexander Vargas rehearse for “Littleboy/Littleman” at the Geffen Playhouse.
(Jeff Lorch)
🎭 Littleboy/Littleman Nicaraguan brothers have different ideas about the American dream in the world premiere of playwright Rudi Goblen’s drama, which mixes poetry, live music and ritual. Alex Hernandez and Marlon Alexander Vargas star for director Nancy Medina. Through Nov. 2. Geffen Playhouse, 10886 Le Conte Avenue, Westwood. geffenplayhouse.org
THURSDAY 🎼 The Rite of Spring with Dudamel In an online note, the conductor writes, “if the LA Phil has a signature piece, it’s The Rite of Spring. Stravinsky shocked the world when it was first performed more than a century ago, and even today, it still feels bold, modern, and full of energy — just like this orchestra.” The evening also includes John Adams’ “Frenzy” and Stravinsky’s “Firebird.” 8 p.m. Thursday and Oct. 4; 2 p.m. Oct. 5. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Culture news and the SoCal scene
Ken Gonzales-Day, “The Wonder Gaze, St. James Park (Lynching of Thomas Thurmond and John Holmes, San Jose, 1933),” 2006, digital print on vinyl
(USC Fisher Museum of Art)
Times art critic Christopher Knight reviewed “Ken Gonzales-Day: History’s ‘Nevermade’,” a poignant retrospective at USC’s Fisher Museum of Art. The show features a mural-sized photograph titled, “The Wonder Gaze, St. James Park (Lynching of Thomas Thurmond and John Holmes, San Jose, 1933),” which shows the scene beneath a tree used to lynch two men accused (but not convicted) of kidnapping and murder. To create the image, Gonzales-Day photographed the original photo of the brutal scene and digitally removed the ropes and the victims, leaving only a bare tree and the many humans milling about beneath it. “What’s left is a spectral scene, ghosted by the limitations of old black-and-white photographic technology and further heightened by the uneven glow generated by the camera’s flashbulb. The mob has become the subject,” Knight writes.
A trio of vibrant 99-seat theaters are in the spotlight of Times theater critic Charles McNulty’s newest column, which features reviews of Tennessee Williams’ “The Night of the Iguana” at Boston Court; the West Coast premiere of Brian Quijada’s play, “Fly Me to the Sun,” at the Fountain Theatre; and Rogue Machine Theatre’s world premiere production of “Adolescent Salvation” by Tim Venable. McNulty was particularly taken by the fine production of the not-often-revived “Night of the Iguana,” writing, “Williams is the humane, humorously defiant playwright we need when authoritarianism is on the march.”
Earlier this week, I got to spend the morning in the company of artist Jeff Koons as he arrived at the Los Angeles County Museum of Art to install the celebratory first planting of a diminutive succulent in his monumental topiary sculpture, “Split-Rocker,” which is set to anchor the east side of LACMA’s new David Geffen Galleries when it opens in April of next year. LACMA CEO and Director Michael Govan was also on hand, and the two men walked into the not-yet-finished building to regard the sculpture from the floor-to-ceiling windows above. “It’s an outdoor sculpture and indoor sculpture,” Govan said.
Museums across the country are feeling the chill from the Trump administration’s push against DEI, as well as its pressure campaign against the Smithsonian Institute for what it calls “divisive, race-centered ideology.” This hasn’t stopped the Getty from continuing to ramp up a growing slate of programs and grants aimed at preserving and strengthening Black arts and cultural heritage in Los Angeles and across the country. I spoke with a variety of curators, researchers and administrators at Getty about the institution’s efforts.
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A statue depicting President Trump and Jeffrey Epstein holding hands is seen near the U.S. Capitol on Sept. 23 in Washington, DC. A plaque below the figures states “In Honor of Friendship Month.”
(Anna Moneymaker / Getty Images)
A 12-foot-tall statue showing President Trump and Jeffrey Epstein holding hands while engaged in a gleeful dance was removed from the National Mall earlier this week — a day after it was first erected there. The statue, created by an anonymous group that received a permit to place it on the mall, was titled “Best Friends Forever” and featured a plaque that read, “We celebrate the long-lasting bond between President Donald J. Trump and his ‘closest friend,’ Jeffrey Epstein.” The National Park Service removed the sculpture before it was scheduled to be taken down, saying it was “not compliant with the permit issued.”
LA Opera is staging its annual free simulcast on Saturday — this time for “West Side Story.” Per usual, one simulcast will take place on the Santa Monica Pier (bring a blanket, it will get chilly), but for the first time, a second simulcast will take place at Loma Alta Park in Altadena. The community event comes as fire recovery efforts continue, and excitement is building with a variety of local performers and vendors expected to take part in pre-show events, including “the Jets” from JPL.
George Soros’ Open Society Foundations, which awards fellowships to artists and curators worldwide, is being targeted by President Trump’s Justice Department as part of Trump’s efforts to crack down on what he calls the “radical left.”
— Jessica Gelt
And last but not least
Take a break from doomscrolling to read this delightful story by Deborah Netburn about how a shoemaker in East L.A. ended up with shoe forms for some of Hollywood’s biggest stars.
A defining image of the horrors of slavery has emerged as the latest flashpoint in the Trump administration’squest to root out what Trump has called “divisive, race-centered ideology” from the nation’s museums and national parks.
Earlier this week, the Washington Postbroke the news that the administration had ordered the removal of signs and exhibits related to slavery at multiple national parks, “including a historic photograph of a formerly enslaved man showing scars on his back.”
The photo in question — “The Scourged Back,” 1863 — is among the most famous images of the Civil War era and has been credited with driving home the brutality of slavery to the masses in what would become a turning point for the abolitionist movement. The image, which appeared in the political magazine Harper’s Weekly the day after the battle of Gettysburg, showed the deeply scarred back of an escaped slave-turned-Union soldier referred to as “Gordon,” but whose real name may have been “Peter.”
The photo was copied and distributed far and wide in pamphlets and on cards, eliciting shock and raising awareness wherever it appeared. Today, the image is housed in the collections of major museums including the Smithsonian’s National Portrait Gallery and the National Gallery of Art, as well as at the Metropolitan Museum of Art.
The New York Timesreported that the copy of the photo the administration has targeted for removal is on display at Georgia’s Fort Pulaski National Monument, which was a Union-captured Confederate stronghold that served as a prisoner-of-war camp. The story notes that a spokeswoman for the Interior Department wrote in an email that “all interpretive signage in national parks is under review”; she also “accused media outlets of spreading ‘false claims’ and ‘misinformation’ about the review, although she did not specify what information was incorrect.”
The review of signage, monuments and display materials at national parks, as well as at the Smithsonian’s 21 museums, stems from a March executive order titled “Restoring truth and sanity to American history.” In the order, Trump wrote that the Secretary of the Interior would work to identify “improper partisan ideology” at properties within its jurisdiction.
In August, Trump made it clear in a post on Truth Social that focusing on the country’s history of slavery was unacceptable. He criticized museums for being the last bastions of “woke” in the country, and zeroed in on the Smithsonian in particular for exhibits that discuss “how horrible our Country is, how bad Slavery was, and how unaccomplished the downtrodden have been — Nothing about Success, nothing about Brightness, nothing about the Future.”
It’s unclear if the indelible photo of Peter will remain on display in national parks, but one thing seems certain: The controversy surrounding the way we engage as a country with our shared history is likely to rage on for quite some time.
I’m arts and culture writer Jessica Gelt, looking back to make sense of the present. Here’s your arts news for the week.
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Lee Byung-hun in the movie “No Other Choice.”
(Neon)
Beyond Fest The event “proves once again why it has become much more than a genre festival and is now the best film festival in L.A.,” says Times film writer Mark Olsen, ”playing movies straight from Sundance, Cannes, Venice and Toronto with guests including Conan O’Brien, Al Pacino, Luca Guadagnino and John Carpenter.” The award-winning “No Other Choice,” Park Chan-wook’s adaptation of the Donald Westlake thriller “The Ax,” opens the festival, 7 p.m. Tuesday at the Aero. Through Oct. 8. Aero Theatre, 1328 Montana Ave., Santa Monica; Egyptian Theatre, 6712 Hollywood Blvd.; Los Feliz Theatre, 1822 N. Vermont Ave. americancinematheque.com
Gustavo Dudamel performs with the Los Angeles Philharmonic at Walt Disney Concert Hall in April.
(Etienne Laurent / For The Times)
Gracias Gustavo Gustavo Dudamel’s farewell season as the Los Angeles Philharmonic‘s music and artistic director begins as all his 17 seasons in Walt Disney Concert Hall have begun — with a world premiere. Ellen Reid’s “Earth Between Oceans,” a co-commission between the L.A. Phil and New York Philharmonic (which Dudamel will take over in 2026), evoking nature’s command of the four elements (earth, air, fire and water) as they operate in both cities. In our case, that involves contending with fires and our swelling oceans but also the promise of a future of unity through celebration of our multicultural communities. The opening program also includes Richard Strauss’ nature-saturated “Alpine Symphony.” — Mark Swed 8 p.m. Thursday-Sept. 27 and 2 p.m. Sept. 28 Where: Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Francesca Zambello’s staging of “West Side Story.”
(Todd Rosenberg / Lyric Opera)
West Side Story L.A. Opera turns to Broadway for this Leonard Bernstein-Stephen Sondheim-Jerome Robbins masterwork, which was originally conceived as an opera. James Conlon conducts the orchestra in such classic songs as “America,” “Somewhere” and “I Feel Pretty” as director Francesca Zambello utilizes Robbins’ original choreography in a “maximalist” production. Through Oct. 12. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
The week ahead: A curated calendar
FRIDAY
The cast of South Coast Repertory’s production of ”Million Dollar Quartet,” includes Chris Marsh Clark as Johnny Cash, JP Coletta as Jerry Lee Lewis, Armando Gutierrez as Carl Perkins and Rustin Cole Sailors as Elvis Presley.
(Scott Smeltzer / SCR)
🎭 🎶 Million Dollar Quartet On a December night in 1956, music legends Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins gather to jam on “Blue Suede Shoes,” “Great Balls of Fire,” “I Walk the Line,” “Who Do You Love?” and more in this jukebox musical written by Colin Escott and Floyd Mutrux. Through Oct. 11. South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa. scr.org
🎥 Mysterious Skin The Academy Museum presents a 4K screening of Gregg Araki’s haunting 2004 coming-of-age drama. In his review, Times critic Kevin Thomas wrote, “It’s hard to imagine a more serious or persuasive indictment of the horrors inflicted on children by sexual abuse.” Oscar-winning filmmaker Sean Baker will moderate a Q&A with Araki, actor Joseph Gordon-Levitt and novelist Scott Heim. 7:30 p.m. Academy Museum, Geffen Theater, 6067 Wilshire Blvd. academymuseum.org
SATURDAY 🎥 Born in East L.A. Cheech Marin’s 1987 comedy about a third-generation Chicano who is inadvertently deported following an immigration raid is a chilling reminder that this type of behavior from the government isn’t new, just more flagrant. Filmmaker Jorge R. Gutierrez will moderate a Q&A with Marin. 7 p.m. Academy Museum, David Geffen Theater, 6067 Wilshire Blvd. academymuseum.org
Derek Fordjour “Nightsong,” a solo exhibition that combines painting, sculpture, live performance and video to create an immersive, multifaceted experience. 6-10 p.m. Tuesday-Saturday, through Oct. 11. David Kordansky Gallery, 5130 W. Edgewood Place. davidkordanskygallery.com
🎭 Go Play! Three strangers meet for the first time at a dog park, while their four-legged companions — a flamboyant show poodle, a pampered Yorkie and a scrappy rescue — offer a running commentary in writer-director Barra Grant’s new stage comedy. 2 and 8 p.m. Saturday; 2 p.m. Sunday, through Nov. 2. Odyssey Theatre, 2055 S. Sepulveda Blvd. GoPlayOnStage.com
🎨 Habitat: Making the California Environment Period landscape paintings depict the radical change in the region between the state’s late-19th century genocide of Indigenous people and the urbanism that erupted in the 1920s. 10 a.m.-4 p.m. Tuesday-Saturday. Langson Institute and Museum of California Art, UC Irvine, 18881 Von Karman Ave. imca.uci.edu
🎥 🎶 La La Land in Concert Moonlit screening of Damien Chazelle’s Oscar-winning 2016 romantic musical starring Emma Stone and Ryan Gosling with a live concert conducted by the film’s composer Justin Hurwitz. Food trucks and local vendors offer gourmet fare, and themed cocktails will be available from a full bar. 7:30 p.m. Saturday and Sunday, door opens 4:30 p.m. Los Angeles State Historic Park, 1245 N. Spring St. streetfoodcinema.com
💃 San Pedro Festival of the Arts Eighteen dance companies perform a wide variety of styles including modern, ballet, Indian, jazz and flamenco. 1 p.m. Peck Park near the Community Center, 560 N. Western Ave. triartsp.com
🎨 Manoucher Yektai A survey of early paintings of the Iranian-born artist and poet, “Beginnings” charts the first decades of his career and early experimentation with genre, color, shape and form. 6-8 p.m. Saturday, opening reception; 10 a.m.–6 p.m. Tuesday–Saturday, through Nov. 1. Karma, 7351 Santa Monica Blvd., Los Angeles. karmakarma.org
THURSDAY Carol Bove The industrial heritage of Cold War-era Los Angeles is evoked in “Nights of Cabiria,” a new exhibition that incorporates the artist’s sculptures into the architecture of the gallery. 6-8 p.m. Thursday, opening reception; 10 a.m.-6 p.m. Tuesday–Saturday, through Nov. 1. Gagosian Beverly Hills, 456 N. Camden Drive gagosian.com
🎨 The Other Art Fair Larger than ever, the quirky event presents affordable works from more than 150 independent artists alongside immersive installations, performances, DJs and and a fully stocked bar. 6-10 p.m. Thursday; 5-10 p.m. Friday; 11 a.m. 7 p.m. Saturday; and 11 a.m.-6 p.m. Sunday. Barker Hangar, 3021 Airport Ave., Santa Monica. theotherartfair.com/la/
📷 Paul Outerbridge The exhibition “Photographs” celebrates the work of the provocative artist (1896–1958), presenting a rare selection of Carbro prints, silver gelatin photographs and platinum prints. 7-9 p.m. Thursday, opening reception; 10 a.m. to 5 p.m. Tuesday-Saturday, through Nov. 8. The Fahey/Klein Gallery, 148 N. La Brea Ave..faheykleingallery.com
📷 Matthew Rolston A multi-venue Los Angeles exhibition of the photographer and artist’s latest series “Vanitas: The Palermo Portraits,” in which he uses “expressionistic lighting” to document dozens of 500-year-old mummified remains in Sicily’s Capuchin Catacombs, accompanying the release of a special limited-edition monograph from Nazraeli Press. 7 p.m. Thursday, opening reception; 10 a.m. to 5 p.m. Tuesday-Saturday, through Nov. 8. Fahey/Klein Gallery, 148 N. La Brea Ave. faheykleingallery.com; 6 p.m. Saturday, opening reception; 8 a.m.-7 p.m. daily through Nov. 9. ArtCenter College of Design (South Campus), Mullin Transportation Design Center – Oculus Space, 2nd Floor, 950 S. Raymond Ave., Pasadena. artcenter.edu; 1 p.m. Oct. 26, Opening reception, artist talk and book signing; 10 a.m. to 6 p.m. Monday-Saturday, noon-5 p.m. Sunday, through Nov. 2. Leica Gallery, 8783 Beverly Blvd., West Hollywood. leicagalleryla.com
Culture news and the SoCal scene
Roxana Ortega in “Am I Roxie?” at Geffen Playhouse, directed by Bernardo Cubría.
(Jeff Lorch)
The fall theater season is in full swing and Times critic Charles McNulty has been busy seeing as much as possible. First up this week: his review of the world premiere of Groundlings Theatre alum Roxana Ortega’s world-premiere, one-woman show, “Am I Roxie?,” which has the actor exploring what it was like being the caregiver for her mother as she suffered from the increasing effects of dementia. “The show is more of a personal essay composed for the stage than a deeply imagined performance work. Ortega’s approach is friendly and wryly conversational,” McNulty writes.
McNulty was effusive in his praise for the concert version of the National Yiddish Theatre Folksbiene’s production of “Fiddler on the Roof” in Yiddish, which staged its West Coast premiere at the Soraya. He begins his review with one word, “Magnificent,” and the plaudits keep coming from there. If you were not in the audience for the show’s three performances, reading McNulty’s words will make you very sorry indeed.
“Eureka Day,” a comedy that skewers the vaccine-mandate debate at a liberal private school in Berkeley, is making its L.A. premiere at the Pasadena Playhouse. In many ways, the play is more topical than ever given the current “anti-science” moment of the Trump era, but it was first performed in 2018, before the COVID-19 pandemic. “The production, directed by Teddy Bergman, has a field day with the woke-run-amok ethos of Eureka Day, where kids at the school cheer the other team’s goals at soccer games,” McNulty writes.
Gustavo Dudamel officially stepped into his role as the New York Philharmonic’s music and artistic director designate on the 24th anniversary of 9/11, and Times classical music critic Mark Swed was there to take stock. The New York orchestra, Swed writes, “is basically his baby now.” From here on out, Dudamel will increase his presence on the East Coast while winding down his work with the Los Angeles Philharmonic during his final season in L.A. Read Swed’s review of Dudamel’s inaugural performance, here.
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Big news for L.A.’s gallery scene as Venice Beach’s L.A. Louver, established in 1975 by Peter and Elizabeth Goulds, announced that it’s winding down its public exhibition program in order to “shift to a new model that embraces private art dealing, artist support, consulting, and projects.” As part of that move, the gallery said it is donating its archive and library, including correspondence, photography, publications, records, objects, graphics and related ephemera, to the Huntington by 2029. “Until that time, L.A. Louver and Huntington archivists and librarians will collaborate to process and prepare the collection to facilitate its transfer, and optimize access and use,” L.A. Louver said in a news release.
School children’s access to the Getty Museum received a significant boost with the establishment of the Mia Chandler Endowment for School Visits — a $12-million gift from the Camilla Chandler Family Foundation in support of the Getty Museum’s Education Department and its engagement with the city’s students and educators. The money will go toward the Getty’s free bus service for field trips to both the Getty Center and the Getty Villa. The gift is the largest financial contribution received by the organization since J. Paul Getty’s original bequest, the Getty says. Camilla “Mia” Chandler Frost died in 2024 at the age of 98; she was the granddaughter of Harry Chandler and daughter of Norman Chandler, former publishers of the Los Angeles Times.
A new one-hour PBSdocumentary on theGetty’s 2025 PST: Art and Science Collide, which, according to a news release, “highlights collaborations between artists and scientists in Southern California to address some of humanity’s most urgent challenges, from climate change and space exploration to biodiversity and environmental justice,” is scheduled to air Friday, Oct. 17 at 8 p.m. on PBS SoCal and at 10 p.m. on PBS stations nationwide. It will also stream on PBS.org and the free PBS App.
— Jessica Gelt
And last but not least
Spooky season is just beginning, and features columnist Todd Martens checks in with a creepy séance at Heritage Square Museum called “Phasmagorica.”
As the nation’s attention reluctantly turns to the political parties’ conventions, with their scripted suspense and stage-managed sentiment, it is important to keep in mind that these are phony representations of American political life. But the slick video profiles, the teary appearance of a beloved party elder — these are not what is most phony about the conventions.
This gathering of America’s civic tribes — and the reporters who love them — in separate cities for days of synchronized cheering and jeering is the embodiment of a great American myth: that the nation is divided into “two Americas,” polarized between “red” and “blue” camps that have fundamentally different values and moral outlooks. Each of the nominees will tell our allegedly divided country that he, and he alone, can manage to unite America for the next four years.
The idea that there is vast war over the moral and spiritual compass of the nation is a dramatic narrative, and it has dominated popular political analysis for nearly two decades. It makes for potent, inflammatory political commercials. It just doesn’t have the added virtue of being true.
In 1991, a scholar at the University of Virginia named James Davison Hunter coined a term that has haunted us ever since in his provocative book, “Culture Wars: The Struggle to Define America.” His argument was that America’s history of religious pluralism had devolved into two antagonistic movements, one progressive and the other orthodox or fundamental. But Hunter also noted, “In truth, most Americans occupy a vast middle ground between the polarizing impulses of American culture.” That was and remains the case.
But at the 1992 Republican National Convention in Houston, Pat Buchanan fired the phony war’s first shot in anger. “There is a religious war going on in our country for the soul of America,” declared Buchanan in prime time. “It is a cultural war.” The assembled press corps loved it. And red and blue bruises have distorted the American body politic ever since.
Poll after poll, focus group after focus group show that the vast majority of Americans — the Silent Majority, perhaps? — are pragmatic, independent and un-partisan in their basic views. They are eclectic: “liberal” on some matters, “conservative” on others. They are not slaves to that hobgoblin of small minds, consistency. On fundamental matters such as belief in equality for women and minorities, or how large a role religion and family play in individuals’ lives, the consensus among voters is broad. Unlike other times in U.S. history, there simply are no issues such as slavery, Prohibition or Vietnam that inspire violent protest or social disruption.
In his 2005 book, “Culture War? The Myth of a Polarized America,” Stanford University political scientist Morris P. Fiorina showed that when you examine the actual views of Americans, “voters are not deeply or bitterly divided.” This held true even on the issues that are supposedly the most contentious: abortion, immigration and gun control. To analyze the most polarized recent presidential election, that of 2000, Fiorina divided the nation into Democratic-voting “blue” states and Republican-backing “red” ones — and found that voters in these supposedly warring camps had much in common. On immigration, for example, he found 41% of blue-state voters wanted it reduced, as did 43% of red-state voters; 43% of blue-state voters believed protecting the environment should trump protecting jobs, as did 42% of red-state voters. And 62% of voters in red and blue states believed that Americans should tolerate each other’s moral views. Fiorina also has found that these patterns held through the 2004 election.
In fact, it’s because we agree on so much that our elections are so close. Fiorina’s “sorting” theory of voter behavior explains it with a certain simple elegance: Voters dislike both parties equally. And since the widespread disenchantment of Watergate, they trust neither party with great power. So in election after election in which most voters face only two choices, both unpopular, their votes understandably get sorted into two roughly equal halves.
Extremists, however rare, are becoming more common and, importantly, more rabid. Analyzing survey data from the National Opinion Research Center, political scientist Arthur Brooks discovered that the percentage of people who described themselves as either “extreme liberals” or “extreme conservatives” grew a stunning 35% from 1972 to 2004. Still, as a percentage of the total population, the extremist factions — right and left combined — remain a small slice, 6.6%. These civic slivers obsess disproportionately on whatever issues are most divisive at the moment, while the majority of voters stick with basic economic and national security concerns.
Extremists, Brooks also found, have grown more intolerant and prone to “personal demonization.” Pollsters use something called “feeling thermometers” to gauge how people react to others. Extreme liberals and extreme conservatives are now essentially dead to one another, as Tony Soprano might have put it. That is new.
The political elite and the politically engaged are, of course, much more likely to be on the extreme wings than the majority. These also happen to be the people who not only go to conventions, but whom the cable news bookers corral to argue about politics on their shows. Increasingly, they are also the people who host television and radio talk shows, who publish blogs and who make civic noise.
But they are not us. Despite the stories we will read, hear and see this week and next, Americans are a much more pragmatic, moderate and independent crowd. But we do need to be careful not to pick up the intolerance and bad manners of those who seek our votes.
Dick Meyer is the editorial director of Digital Media for National Public Radio and the author of “Why We Hate Us: American Discontent in the New Millennium.”
United States television host Jimmy Kimmel’s live show was pulled off the air by Disney-owned ABC after he made comments about conservative influencer Charlie Kirk, who was fatally shot last week in what has been deemed by right-wingers in the US a political assassination.
But critics claim Kimmel’s removal is a violation of his free speech rights, which are enshrined under the US Constitution’s First Amendment.
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On Thursday, hundreds of Kimmel fans gathered on the streets in Burbank, New York and Hollywood, protesting the removal of his show.
Here is a closer look at what happened and what the US Constitution says about free speech rights.
What happened to Jimmy Kimmel?
Conservative influencer Charlie Kirk was shot and killed in front of a crowd of about 3,000 people on September 10 while he was speaking at a university event in Utah.
After a 33-hour manhunt, 22-year-old Tyler Robinson was arrested on suspicion of killing Kirk. Robinson has since been charged with aggravated murder.
Some right-wing figures, affiliated with US President Donald Trump’s MAGA (Make America Great Again) wing, have described Robinson as “left-wing”.
On Monday, Kimmel said on his show: “The MAGA gang (is) desperately trying to characterise this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it.”
Kimmel continued, criticising the response by Trump – who described Kirk as being “like a son” – to his death. “This is not how an adult grieves the murder of someone he calls a friend. This is how a four-year-old mourns a goldfish,” Kimmel said.
Following a backlash, broadcasters Nexstar and Sinclair said they would pull Kimmel’s late-night show from their affiliated stations.
Brendan Carr, the chairman of the Federal Communications Commission (FCC), also said he had a strong case for taking legal action against Kimmel, Disney and ABC.
Anna Gomez, the only Democrat on the FCC, criticised Carr’s response in an interview with CNN. “This administration is increasingly using the weight of government power to suppress lawful expression,” Gomez said.
The FCC has the authority to grant licences to broadcasters, including ABC and its affiliated stations.
Democratic critics have said that pulling his show off the air is an infringement of Kimmel’s right to free speech, as guaranteed by the First Amendment of the US Constitution.
What does the First Amendment say?
The First Amendment protects free speech from government interference. It states: “Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.”
In 1963, the US Supreme Court issued a key ruling that the government cannot create a “system of informal censorship” by putting pressure on private companies.
This was issued after a Rhode Island agency had threatened to prosecute book and magazine distributors for selling publications it considered objectionable.
Last year, the Supreme Court ruled that, in such situations, plaintiffs must demonstrate that the government’s actions exceeded allowable persuasion and directly caused them harm.
Was the removal of Kimmel’s show unconstitutional?
Experts say Kimmel’s show being pulled is unconstitutional since it infringes the free speech rights guaranteed by the First Amendment.
Ronnie London, a general counsel with free speech advocacy group Foundation for Individual Rights and Expression, told PolitiFact that Carr’s actions are “a classic case of unconstitutional jawboning”, which means improperly using government threats to pursue policy goals.
“The FCC has long held that ‘the public interest is best served by permitting free expression of views,’” the FCC says on its website.
“Rather than suppress speech, communications law and policy seek to encourage responsive ‘counter-speech’ from others. Following this principle ensures that the most diverse and opposing opinions will be expressed, even though some views or expressions may be highly offensive.”
How have people reacted to Kimmel’s removal?
Many Democrats, politicians, Hollywood stars and fellow talk-show hosts have stressed the importance of protecting free speech rights.
Former US President Barack Obama shared a series of articles and commentary on X on Friday, saying: “This commentary offers a clear, powerful statement of why freedom of speech is at the heart of democracy and must be defended, whether the speaker is Charlie Kirk or Jimmy Kimmel, MAGA supporters or MAGA opponents.”
This commentary offers a clear, powerful statement of why freedom of speech is at the heart of democracy and must be defended, whether the speaker is Charlie Kirk or Jimmy Kimmel, MAGA supporters or MAGA opponents.
In another post, Obama wrote: “This is precisely the kind of government coercion that the First Amendment was designed to prevent – and media companies need to start standing up rather than capitulating to it.”
Former late-night host David Letterman said during an event in New York on Thursday: “I feel bad about this, because we all see where this is going, correct? It’s managed media. It’s no good. It’s silly. It’s ridiculous.”
Ken Martin, the chairman of the Democratic National Committee, said in a statement: “The state under Donald Trump has amassed a chilling record of restricting speech, extorting private companies, and dropping the full weight of the government censorship hammer on First Amendment rights.”
Democratic California Senator Adam Schiff posted on X on Thursday: “This administration is responsible for the most blatant attacks on the free press in American history. What will be left of the First Amendment?”
By contrast, the suspension of Kimmel’s show has drawn celebration from the political right.
“Great News for America: The ratings challenged Jimmy Kimmel Show is CANCELLED,” Trump wrote on his Truth Social platform.
“Congratulations to ABC for finally having the courage to do what had to be done. Kimmel has ZERO talent, and worse ratings than even Colbert, if that’s possible. That leaves Jimmy and Seth, two total losers, on Fake News NBC,” Trump continued, referring to late-night show hosts Jimmy Fallon and Seth Meyers.
Conservative podcaster Megyn Kelly wrote on X on Thursday: “I’m not sure who needs to hear this but Jimmy Kimmel got on the air and falsely stated as a fact that Charlie Kirk’s killer was MAGA, smearing an entire movement and Trump in particular with a vile disgusting lie.”
In the days since Charlie Kirk’s killing, conservatives have embraced a phenomenon they previously called toxic: cancel culture.
The impulse to cancel some voices this past week is understandable: Celebrating murder is cruel. It’s gross. It’s wrong. But the irony is impossible to miss: Conservatives, who long treated cancel culture as an affront to the 1st Amendment spirit of open discourse, are now calling for people to lose their jobs and their livelihoods, all because of something stupid they said on the internet.
This is the same issue that drove numerous stand-up comedians, young men, podcasters and Silicon Valley tech bros into the arms of Donald Trump in 2024. But now, in an amazing turn of events, conservatives are now aping the progressive scolds and speech cops, only with red hats.
Actually, their version is worse. The left’s “accountability culture” mob might have been overbearing, but their agenda was (with a few notable exceptions) largely driven by hall monitors. Today’s “woke right” is executing things in a more overt, efficient and official manner — which for the record means it can violate not just the spirit of the 1st Amendment but the actual, you know … 1st Amendment.
As a case in point, JD Vance, the vice president of the United States of America, recently told Kirk’s radio audience: “When you see someone celebrating Charlie’s murder, call them out. And hell, call their employer.”
Which raises the question, what if their employer is the government? That would be awkward. But no problem! Defense Secretary Pete Hegseth is reportedly telling staff to track down soldiers guilty of wrongspeak. Rep. Nancy Mace (R-S.C.) is trying to get teachers terminated, tweeting: “We don’t fund hate. We fire it” — which feels like the sort of slogan Mao might have had printed on a T-shirt.
And speaking of printers, Atty. Gen. Pam Bondi has warned that the government can “prosecute” any professional printer who refuses to “print posters with Charlie’s pictures on them for a vigil.” She also pledged to “absolutely target” anyone who targets anyone with “hate speech.”
Not long ago, progressives insisted bakers must bake cakes for gay weddings, and now a U.S. attorney general from a Republican administration is insisting that printers must print images for vigils. Funny how the tables turn.
Then, there’s the so-called Charlie Kirk Data Foundation, which claims to have a searchable list of tens of thousands of people who posted mean tweets after Kirk’s death. Collectively, this purge campaign seems to be working. A lot of scalps have already been claimed, including those of prominent pundits and late night host Jimmy Kimmel (who was suspended after making remarks about the motives of Kirk’s killer).
But — let’s be clear — opposition to cancel culture is merely the latest principle that Trump-era Republicans have conveniently abandoned. Indeed, almost every tenet that conservatives held dear a decade ago has been reversed.
And people are starting to notice. Oregon state Rep. Cyrus Javadi recently switched parties, citing the GOP’s abandonment of principles like “limited government, fiscal responsibility, free speech, free trade, and, above all, the rule of law.”
He has a point. Trump’s America now owns a chunk of U.S. chipmaker Intel (so much for small government), spends like a drunken sailor, slaps tariffs on everything that moves (bye-bye, free trade) and ignores laws he doesn’t like — most recently, the TikTok sell-off mandate that was passed by Congress and upheld by the Supreme Court, which Trump decided to treat like a menu item he didn’t order — until he found a suitable buyer.
But it’s not just normie Republicans who are worried about Trump diverting from the Reagan-Bush playbook.
Comedian and podcaster Tim Dillon recently observed that the Trump agenda looks suspiciously like the dystopia that conspiracy theorist Alex Jones used to warn us about between colloidal silver ads: “Military in the street, the FEMA camp, the tech company that monitors everything, the surveillance. This is all of that.”
So why is this happening? Why the contortions? I’m reminded of an old story Rush Limbaugh used to tell about the late actor Ron Silver.
As the story goes, Silver went to Bill Clinton’s first inauguration as a bleeding-heart liberal and was horrified by the military flyover. And then he realized, “Those are our planes now.”
That’s where conservatives are when it comes to cancel culture. They’ve finally realized that this is their cancel culture now.
And maybe that’s the grubby little secret about politics in the Trump era. Almost nobody cares about values or morals — or “principles” — anymore. Free speech, limited government, fiscal restraint — these are all rules for thee, but not for me.
Cancel culture wasn’t rejected, it was just co-opted. So go ahead. Drop a dime. See something, say something. Big Brother is watching.
LA28 announced Starbucks as the official coffee partner for the 2028 Olympics and Paralympics and Team USA on Tuesday, adding a fourth founding-level partner to the growing sponsorship list with less than three years to go before the Games.
Starbucks will enter the Olympic arena for the first time by providing specially designed coffeehouses in the Olympic and Paralympic village, competition venues and volunteer hubs for athletes, fans and spectators.
“Starbucks is proud to bring connection, culture, community and incredible coffee to the world stage,” said Tressie Lieberman, executive vice president and global chief brand officer of Starbucks Coffee Company.
The Seattle-based coffee giant represents LA28’s second major founding partner of the year, joining Honda, which announced its Olympic deal in April. Longtime partners Delta and Comcast are the cornerstones of the corporate sponsorship program that will be the backbone of what LA28 has promised will be a privately funded Games.
Domestic sponsorships are intended to cover $2.5 billion of the Games’ estimated $7.1 billion budget. As of August, the private organizing committee had contracts for more than 70% of its total sponsorship goal, LA28 chairman Casey Wasserman told The Times. Financial terms for the latest deal were not disclosed.
“This is our chance to co-create a Games that will resonate for generations to come, and welcoming Starbucks to the LA28 and Team USA family marks the coming together of a world-class brand and a globally embraced event, with a shared commitment to shaping culture and community,” Wasserman said in a statement.
LA28 has also announced two other partnerships in September, bringing in equipment rental company Sunbelt Rentals and T-Mobile for Business.
Costa Coffee supplied coffee for the Tokyo and the Paris Games after the British chain was acquired by Coca-Cola — one of the International Olympic Committee’s longest-standing and most prominent partners — in 2019. But Coca-Cola has been exploring a sale of Costa Coffee, according to Reuters. As a worldwide partner, the Atlanta-based soda company has exclusive Olympic and Paralympic rights to non-alcoholic beverages.
