David

When David Lynch moved from Philadelphia to Los Angeles in the summer of 1970, he was stunned by the sunshine that radiated onto the city — the “most beautiful light I’d ever seen in my life,” he wrote with Kristine McKenna in his 2018 memoir “Room to Dream.” In that book, he described his first morning walking out of an apartment on San Vicente Boulevard.

David Lynch in 2016.

(Wally Skalij / Los Angeles Times)

“I kept kind of moving around with my arms outstretched and I almost got hit by a car wandering into the street,” he wrote.

That light — and Los Angeles itself — continued to inspire and energize the filmmaker and artist throughout his five-plus decades of calling L.A. home, until his death last year at the age of 78. In “Room to Dream,” he wrote about the “magical street” of Mulholland Drive and all its twists and turns: “It’s really got a history, and if you’re in Los Angeles long enough you start hearing stories about things that have happened on it that get your mind going.” In an interview with the Filmographers, he told the story of how his character in “Twin Peaks” was a name plucked from Billy Wilder’s
“Sunset Boulevard,” which very well may have been inspired by Wilder’s
commute to Paramount that passed the Hollywood streets Gordon and
Cole. And the dissolve from Naomi Watts’ face in “Mulholland Drive” to rows of palm trees has become a classic shot for representing his work and his love for the city, hopeful and drenched in his beloved sunlight.

Much like L.A., the artistic legacy of Lynch is difficult to encapsulate — trying to describe his work is like attempting to explain a dream. His films so strongly defied categorization that they necessitated an eponymous term: Lynchian.

The Hollywood Sign, as seen from Beachwood Drive. (Myung J. Chun / Los Angeles Times)

Palm trees, which Lynch often used as a symbol in his films, tower above the city. (David McNew / Getty Images)

Unsettling to many, beloved by more, he refused to explain his work, allowing and challenging his audience to parse through it and imbue their own meanings and discoveries. The reward, for him, was in the doing, in taking a daydream and forming it into an idea that he could shape into something real in the world, blending the mundane and the macabre.

Here are some places around L.A. that offer a glimpse into Lynch’s world.

Note: the Lynch compound and all other residential locations mentioned are all private residences, and not to be disturbed.

Classic diners, especially Bob’s Big Boy Burbank

Lynch would often to go to Bob’s Big Boy in Burbank to meet with creative collaborators, or simply sit and think

(Jill Connelly / For The Times)

Lynch was fond of the straightforwardness of a diner, and he considered them to be ideal for creative thinking and work meetings. In his book “Catching the Big Fish,” he said: “I’d have a milkshake and sit and think. There’s a safety in thinking in a diner. You can have your coffee or your milkshake, and you can go off into strange dark areas, and always come back to the safety of the diner.”

One of the most viscerally terrifying scenes of “Mulholland Drive” takes place behind the dumpster at the abandoned Caesar’s diner in Gardena. And he liked having meals with his family at what is now the Denny’s in Gower Gulch, a place where aspiring cowboy actors once congregated. But the most significant diner in Lynch’s legacy is Bob’s Big Boy in Burbank. He spoke of going to Bob’s almost every day from the mid-’70s until the early ’80s. In an interview with Charlie Rose, Lynch claimed he saw a man at the counter who inspired the Frank Booth character in “Blue Velvet.”

Signs of Lynch at Bob’s Big Boy: His headshot displayed alongside actors Kyle MacLachlan and Laura Dern; a milkshake at the counter. (Stephanie Breijo / Los Angeles Times)

Lynch’s order included a chocolate milkshake and coffee, the cold sugar and caffeine fueling his ideas. He believed 2:30 p.m. was the perfect time to order the milkshake, specifically ”after the lunch rush when the machine had enough time to chill, the silver goblet would be frosted when it arrives at the table, and the ice cream is almost like butter, like cold butter, it’s almost solid, and it has specks of chocolate in it, and it almost gets a frost on it when it arrives,” he said in a conversation with the Filmosophers.

Today there is a framed photo of Lynch over the door of the Burbank location, indicating that his love for the restaurant was mutual. After his death, Bob’s became the de facto location for fans needing to pay homage to the beloved director, piled high with tributes of cigarettes, cans of Coke, donuts, slices of pie and tear-stained letters of gratitude.

Franklin Canyon Park

Leaves illuminated by sunlight under a canopy of trees in Franklin Canyon.

(Blake Fagan / For The Times)

Franklin Canyon Park was once a summer retreat for the Doheny family, who built a Spanish-style home at the base of the canyon in the 1930s. The 605 acres were purchased by the National Park Service in 1981.

A frame overlooks the water in Franklin Canyon, which stood in for many interstitial woodsy scenes in “Twin Peaks.”

(Blake Fagan / For The Times)

The mysterious woods are an essential element in Lynch’s world of “Twin Peaks.” While the pilot for the TV drama and the film prequel “Fire Walk With Me” were filmed in Washington (and there’s lots of scenic footage from the Pacific Northwest throughout the series), much of the show was filmed on Southern California soundstages. And for the many interstitial scenes in the woods, Franklin Canyon and its lush forest stood in. Lynch and co-creator Mark Frost opened an esoteric window to prime-time viewers with the concept of the Black Lodge. The filming location of its entrance, known as Glastonbury Grove in the show, is in Franklin Canyon Park.

Doheny landmarks

In an interview with Charlie Rose, Lynch stated that “everybody is a detective and the unknown is a magnet.” He invited his audiences to look at a door and investigate what lurks behind it. This philosophy ties to his connections with an L.A. legacy, one that contains its own mysteries and contrasts: the Doheny family and its historic properties:

The Doheny Mansion

Glimpses of the Doheny Mansion, clockwise from left: the music room; a stained glass sky light; a sculpture adorns a table in the Pompeian Room. (Blake Fagan / For The Times)

The sprawling and opulent Doheny Mansion, now part of the Mt. St. Mary’s campus, was built in 1899 by architects Theodore Eisen and Sumner Hunt. Patriarch and oil baron Ed Doheny and wife Estelle acquired the home in 1901 and the Doheny family made it their home for nearly 60 years. Lynch used the mansion as the home for Laura Dern’s character in his 2006 film “Inland Empire,” and also filmed an Armani commercial there in the 1990s.

Greystone Mansion

The central courtyard at the Greystone Mansion.

(Blake Fagan / For The Times)

In the 1970s, Lynch was a fellow at the newly founded American Film Institute, based at Greystone Mansion at the time. He eventually took over the mansion’s stables, converting them into a production studio and occasionally (and illegally) living there while he filmed his debut feature, “Eraserhead.” He slept in the room that became the bedroom for the character Henry. “I’d lock myself in there in such a way that from the outside it looked as if no one could possibly be inside,” Lynch said in Mark Altman’s 1990 book “Twin Peaks: Behind The Scenes.” “We’d put these special blankets up on the walls to deaden the sound for shooting and it was quiet.”

Scenes from the Greystone Mansion. (Blake Fagan / For The Times)

Greystone Mansion carried an air of secrecy in itself. Built in 1928 by Gordon Kaufmann, and a gift from Edward Doheny to his son Ned and his family, the stately Tudor Revival was home to a horrific tragedy. Months after moving in, Ned and his lifelong friend and personal secretary, Hugh Plunkett, were found in a guest bedroom, victims of a murder-suicide. While their motives were never defined for certain, the accepted belief was the tragedy was tied to their involvement in the Teapot Dome political corruption scandal and Plunkett’s looming testimony that could’ve implicated the Dohenys.

The city of Beverly Hills purchased the grand manor in 1965 and installed an underground reservoir, and leased the property to the newly formed American Film Institute in 1969 for $1 a year, with the agreement that the school would maintain the property. Greystone was dedicated as a public park in 1971 and is now listed on the National Register of Historic Places.

L.A.’s Transcendental Meditation centers

After moving to Los Angeles, Lynch started visiting the Spiritual Regeneration Movement Center in Santa Monica and it altered his life. Here he learned the methods of Transcendental Meditation, developed by Maharishi Mahesh Yogi, with the focus of seeking enlightenment. His first meditation session was July 1, 1973, and from there, he practiced twice a day, every single day.

“Before I started meditating I worried that doing it would make me lose my edge, and I didn’t want to lose the fire to make stuff,” Lynch wrote in “Room to Dream.” “I found out it gives you more fire to make stuff and more happiness in the doing and way more of an edge. People think anger is an edge, but anger is a weakness that poisons you and the environment around you.”

Lynch became a staunch devotee of Transcendental Meditation and spoke about the positive effects he believed it could have for everyone, particularly veterans, those suffering from PTSD and women who have survived violence. He started the David Lynch Foundation for Consciousness-Based Education and World Peace in 2005 to offer children throughout the world the opportunity to learn to meditate. The foundation recommends several Transcendental Meditation centers in Los Angeles, including the center on Hillhurst Avenue in Los Feliz.

The Pink House, David Lynch’s compound in Hollywood Hills and his final resting place at Hollywood Forever

The historic Tower Theater, built in 1927, was converted into the Apple Tower Theatre.

(Mel Melcon / Los Angeles Times)

On screen, Lynch loved the old glamour of Los Angeles — the majestic Tower Theater in downtown Los Angeles was used in “Mulholland Drive,” “Inland Empire” and “Twin Peaks: The Return.” His characters lived in equally memorable spaces, with the women of “Mulholland Drive” going from the grandeur of the Il Borghese apartments (architect Charles Gault, 1929) to meet tragic endings in the fairy-tale-esque “Snow White” apartments (architect Ben Sherwood, 1931) that are believed to have also inspired Walt Disney. (It’s worth noting that this theater has been refurbished into an Apple store. A beautiful achievement of preservation work, but it’s hard not to see the consumer-driven sleekness and think about a theme in Lynch’s work: the terrors lurking inside a changing America.)

Personally, Lynch loved modern architecture, and experienced love at first sight with the home he purchased in the mid-’80s in the Hollywood Hills. The Pink House, as Lynch referred to it, was designed by Lloyd Wright Jr. for writer Beverly Johnson in 1963. Lynch commissioned Eric Wright (Lloyd’s son and Frank Lloyd Wright’s grandson) to add a pool and pool house in 1991. He told the Wall Street Journal that he preferred Lloyd Wright’s work over his father’s, explaining, “Lloyd Wright is more minimal. More pure. But just as beautiful.”

The house is semi-secluded against a lush hill, beneath the actual Mulholland Drive, and has a subtle chevron pattern detail that runs throughout the house, similar to the floor of the “Twin Peaks” red room. Lynch loved this house and spent much of his time in Los Angeles here, particularly in his later years. He gradually added two neighboring properties to form what would become the Lynch compound.

A “Twin Peaks” coffee cup that was gifted to David Lynch by a fan.

(Chris Pizzello / Invision / AP)

When filming began on “Lost Highway,” he struggled to find the right location for the home of the lead characters, Fred and Renee Madison. This set piece would be crucial to building their sense of dread. Lynch then had an idea: He would use the Brutalist structure in his compound. He transformed the interior and altered the exterior windows, making it difficult for the characters to see the dangers circling outside. “Some people open windows of houses, but I like interiors and don’t care about windows,” Lynch wrote in “Room to Dream.” “I like to go deeper into a house and find things underneath things.”

For the next two decades, the compound was Lynch’s dream space where he could create anything he imagined, including his 2000s-era daily weather reports for local radio stations and his website, a hobby he revived during 2020. Homebound the last few years because of emphysema, he was forced to relocate during the Sunset fire in January 2025, and died shortly after. David Lynch’s final resting place is at Hollywood Forever, across from the Fairbanks Lawn where movies are shown, under the stars.

ROMANTIC David and Victoria Beckham returned to the hotel where they sealed their love on a first holiday in 1997.

The couple went back this weekend to the retreat where they holidayed in secret 29 years ago before making their relationship public.

Posh and Becks shared a photo of themselves on a balcony overlooking the Med at the Splendido hotel in Portofino on the Italian Riviera.

Mum-of-four Victoria, 52, wrote next to the image: “Back in Portofino where we began in 1997.”

David, 51, also shared a video of his wife walking into the £2,000-a-night hotel and wrote: “29 years ago we came to Portofino to this hotel before anyone knew we were dating and here we are back again.”

In a Netflix documentary, Victoria revealed a never-before-seen picture from the 1997 trip, saying it was the first time they had met away from a car park where they secretly dated.

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She said: “I know, it makes it sound like we’re really dodgy. We’d already fallen in love before then, but it was definitely the first time that we’d been somewhere so romantic and so private.”

They got engaged the next year.

On their current trip, the pair stopped for a drink before returning to their yacht moored at Portofino.

They are holidaying with son Cruz, 21, and daughter, Harper, 15.

It will take someone better versed in finance, corporate law, family psychology and, perhaps, the impact of great wealth on brain chemistry than I to analyze the recent actions of Paramount Skydance Chief Executive David Ellison.

To a cultural journalist, however, it seems like he continues to make himself the best argument yet for opposing his company’s proposed acquisition of Warner Bros. Discovery.

Mere days after taking to the media to insist that he is a misunderstood film buff who just wants to save Hollywood, he threatened to help destroy it.

If California Atty. Gen. Rob Bonta and state attorneys general from 11 other states, including New York, New Jersey, Washington and Colorado, refuse to negotiate a settlement of their antitrust lawsuit, Ellison said he will yank Paramount Studios, and potentially Warner Bros., out of California.

Um, OK, Ultron.

So that’s how Ellison wants to prove that he will be a steward of the flailing entertainment industry — by threatening to rip out a big part of its still-beating heart and implant it in Texas or Tennessee?

Will he be taking the Hollywood sign as well, to stick atop the Grand Ole Opry or, better yet, the Alamo?

Not only does this grant Bonta VIP access to the moral highground, it all but negates Ellison’s recent New York Times guest essay. Especially the part in which he wrote: “The states claim this deal will give one company too much influence over theatrical releases and cable operators, while the W.G.A. argues that our combined market power will hurt writers.”

If one man can decide, in a fit of pique, to scoop up a huge portion of the entertainment industry and float it thousands of miles away, I’d say that’s a decent argument for “too much influence.”

Also, good luck with the landing. Texas and Tennessee are both fine states with vibrant cities, undeniable corporate incentives and lower costs of living, but their draconian abortion laws and restrictive LGBTQ+ legislation may give many in the entertainment industry pause.

Still, according to Ellison, it’s Bonta and his gang who are trying to make things political, not him; in his essay, Ellison claimed that the suit is mostly about preventing his ownership of CNN, despite his insistence that (the hiring of Bari Weiss to oversee CBS News to the contrary) the news network would remain autonomous.

As a journalist, I would love to believe that Bonta and the other attorneys general are simply going to bat for the Fourth Estate; with President Trump openly longing for the day when Ellison controls CNN, it is no doubt a concern. But as Ellison seems intent on personally underscoring, the bigger issue is how to prevent a dwindling number of individuals from controlling enormous portions of an industry that not only employs millions, but also plays a vital role in shaping the nature of art and culture in this country and the world.

(Never mind the queasy fact that Ellison is being bankrolled by his billionaire father Larry, who is putting many, if not all, of his eggs in the AI basket, to the detriment of his employees.)

Shaping art and culture is, of course, precisely why Ellison wants to buy Warner Bros. Discovery, almost literally at all costs. When he first lost the bid for Warner Bros. to Netflix, he (and his dad) responded by offering enough money (including a $7-billion payout should the deal not clear antitrust regulation) to make Ted Sarandos blink. Money has always been a ladder to power and influence in this country, and the widening wealth gap, not to mention the current administration, has turned the ladder into a rocket ship. (See please Elon Musk.)

Ellison has continually stressed his love of cinematic storytelling. Under the proposed Paramount Warner, he promises to produce 30 theatrical films and 170 television series a year and create more work for everyone.

That would be lovely (if fiscally difficult) to believe. If only he hadn’t just tried to hold the state that gave birth to cinematic storytelling hostage by threatening to kidnap one of its kids.

As negotiating tactics go, it certainly undermines whatever public approval he hoped to gain with his “I’m just a guy, standing in front of the movie biz asking it to love me” bit.

Change is coming for Paramount Studios — the lot on Melrose Avenue — either way. If Paramount Skydance acquires Warner Bros., production will likely shift to the Warner Bros. lot, with Paramount leased or sold.

Now, it seems, Ellison is willing to have a fire sale — he’ll certainly need to raise a bunch of cash if he’s going to quickly flee to redder pastures. As for the thousands of local workers who depend on Paramount production to make a living, well, Ellison and his executives may be able to afford to relocate or (more probably) commute out of state, but most of the people who actually make movies and television cannot.

Business, of course, is business and it has become financially and politically fashionable to desert California to avoid whatever local law, regulation or tax you now find unfair. Tech mavens, including Musk, have ditched California for the Lone Star State. Ellison’s father recently took Oracle out of Redwood City, first to Austin, Texas, then to Nashville, workers be damned.

But Ellison taking Paramount and potentially Warner Bros. out of Los Angeles isn’t about business. It’s pure politics, of the savage, oligarchical variety.

Given the stakes, it’s difficult to imagine that some sort of deal won’t be struck that allows the sale to go through. But Ellison isn’t saving the entertainment industry, he’s leveraging it.

And if he has to spit in Hollywood’s face to save his own, well, apparently that’s fine too.

In less than a month, Paramount Skydance Chief Executive David Ellison has exhibited a dizzying range of emotions as the goal line for the coveted $111-billion Warner Bros. Discovery deal has moved farther away.

The tech scion initially exuded confidence that Hollywood’s biggest merger in decades was on a fast track to completion by September. Ellison and others downplayed efforts by California Atty. Gen. Rob Bonta to challenge the acquisition — until Bonta and 11 other Democratic state attorneys general gained momentum in their antitrust lawsuit, which now threatens to derail Paramount’s Warner Bros. deal or, at least, make it significantly more expensive.

Ellison and his executives have vacillated from anger to acceptance. Last week, Ellison attempted a high-profile reputation reboot, extolling his love for movies and blaming politics for opposition to the deal.

The mogul has told investors the company is willing to negotiate a settlement with Bonta in hopes of completing the massive merger as soon as possible.

But Ellison also is making contingency plans to shift Paramount’s historic home base from Melrose Avenue to Tennessee — or perhaps Texas — as early as this fall.

Paramount’s board has approved Ellison’s relocation plans, according to people familiar with the situation who were not authorized to speak publicly. Ellison shared the concept with his executive leadership team in a meeting last Wednesday but said his preference was to remain in California, these people said.

The proposal includes potentially selling the 65-acre Paramount lot in Hollywood — as well as the larger Warner Bros. campus in Burbank, should Paramount prevail in the merger battle. Such sales would generate revenue to help pay merger costs, one of the knowledgeable sources said.

Paramount’s sudden relocation plan has further rattled Hollywood, which already is reeling from thousands of job losses in recent years.

Bonta, in a statement Tuesday, blasted Paramount’s latest strategy, calling it “another attempt to blackmail the state into letting an illegal deal through.”

“Paramount has lost the plot as it continues to lose in court,” Bonta said. “My office remains committed to stopping illegal consolidation and protecting a vibrant California economy for businesses that play by the rules.”

Behind Paramount’s pivot is a desperate scramble to bolster its legal case and muster funds to help finance a deal Warner shareholders approved in April.

Paramount offered to pay Warner investors $31 a share as well as so-called “ticking fees” of 25 cents per share for every quarter after Sept. 30 until the transaction closes.

That sweetener was intended as a show of confidence that Paramount’s deal would sail through its regulatory reviews, unlike a Netflix acquisition that faced more regulatory scrutiny. Netflix subsequently dropped its bid.

Paramount was banking on the swift approval of the U.S. Department of Justice, which arrived in June. President Trump is friendly with the Ellison family, and he has been eager for a shakeup at CNN, one of Warner’s properties.

“Ellison thought he had an ace in the hole with Trump [and] the DOJ, but it backfired on him because the clearance was so obviously rubber-stamping,” London-based media analyst Alice Enders said. “Now, the issues have resurfaced and it’s a costly potential delay.”

The ticking fees could add $7 million a day — or $650 million a quarter — to the $81 billion that Paramount had already anticipated paying Warner shareholders. (Paramount also agreed to absorb about $30 billion of Warner Bros. debt left over from last merger, in 2022.)

Ellison has repeatedly defended his proposed purchase, saying the tie-up does not threaten competition because Hollywood has been transformed by Netflix and other deep-pocketed tech giants.

Already, Paramount has received clearances from 65 foreign regulators, including Britain and the European Commission.

To accelerate California approvals, Paramount requested a November trial date for Bonta’s suit. Instead, U.S. District Judge Araceli Martínez-Olguín scheduled a March 2 trial — dealing another blow to Paramount.

Ticking fees alone could add $2.1 billion to the cost of buying Warner Bros. In addition, Paramount said that delaying the transaction until next spring will add $190 million in bridge loan financing costs.

Paramount disclosed that it had $1.6 billion in cash on hand and a revolving loan of $3.2 billion available for its use.

If the deal fails to close by June 4, Paramount would have to pay Warner Bros. a $7-billion breakup fee. That’s when Warner’s board could pull the plug on the Paramount deal.

Puck News first reported Ellison’s latest plan to quickly move Paramount’s operations as soon as October.

“This is a plan — not a threat,” said a person who was in the room when Ellison discussed his plans but who was not authorized to comment.

The relocation campaign echoes a tactic employed by software giant Oracle Corp., co-founded by Ellison’s billionaire father, Larry Ellison.

Oracle was based in Redwood City for three decades, but in late 2020, the company moved its headquarters to Austin, Texas, joining other California tech firms leaving in protest of the state’s high taxes and steep cost of living.

Then, two years ago, the elder Ellison announced that Nashville would host Oracle’s new headquarters. At the time, Oracle saw that state’s healthcare industry as a promising growth business. Oracle since has bet heavily on artificial intelligence.

In contrast, it would be difficult for Paramount to pack up its operations because it depends on producers, directors, writers and stars to make its TV shows and movies. The two studio lots also boast dozens of soundstages; century-old fortresses that would not be easily duplicated. And many Paramount executives are not eager to leave Los Angeles.

Some observers questioned Paramount’s willingness to carry out a move, which surfaced a week after David Ellison’s guest essay in the New York Times, which described his love of Hollywood and movies ever since he was a boy.

Ellison believes the proposed Warner merger is the best way to save Hollywood, saying the combination of two storied studios would strengthen not harm the film industry.

“One moment he’s promising to reinvigorate theatrical releases. The next he’s talking about uprooting two historic companies and moving them 2,000 miles away in order to avoid a lawsuit,” said Gabriel Kahn, journalism professor at USC Annenberg School for Communication.

Paramount’s corporate headquarters are in New York but after the Ellison family’s acquisition last year, the center of gravity shifted west. Ellison and other top executives live in Los Angeles.

Another corporate move wouldn’t disrupt Bonta’s lawsuit, experts say.

Instead, they suggested Paramount’s flurry of recent activities — including winning the support of two large theater chains, AMC and Regal, with promises of a robust movie pipeline post-merger — appeared to be part of a public relations and pressure campaign.

“They lost a lot of leverage now that the trial is set for March,” said Abiel Garcia, a former prosecutor and partner at the Manhattan Beach firm Kesselman Brantly Stockinger.

“And when you don’t have leverage in court, you go the political route,” he said, adding that Paramount seems to be angling for Gov. Gavin Newsom to join the fight.

Newsom, who has presidential ambitions, has been sensitive to the flight of companies from California. However, he has avoided picking a side in the messy merger squabble.

What’s more, the governor lacks authority to intervene in the lawsuit brought by Bonta and 11 other state attorneys general.

“All I know is that if I was governor, I wouldn’t want to lose Hollywood from this state, I wouldn’t want to lose a major company like Paramount to another state,” Paramount Chief Legal Officer Makan Delrahim said late Tuesday at a Politico Live conference in Sacramento. He had been asked about the stances of Newsom and his potential successor, Xavier Becerra, the Democratic gubernatorial nominee.

“I hope it settles before court,” Becerra said at the conference. “It is easier to stand in a conference room and settle than it is to stand in a courtroom.”

Delaying the trial until March has been “devastating,” Delrahim said, adding that Paramount proposed settlement terms on May 19 — but the state attorneys general instead moved forward with their suit.

“It’s costing jobs. It’s costing a lot of uncertainty for a lot of our employees, for Warner Bros. employees,” Delrahim said.

Still, Garcia and others expressed doubts about Paramount’s full-court press.

“It just feels a little over the top. It feels like a PR blitz,” Garcia said. “It suggests to me that they think their case is weaker than I even thought.”

Former West Ham United co-chairman David Sullivan has attended their Carabao Cup match against Portsmouth despite being advised he should stay away from home games at London Stadium.

Sullivan resigned from his position as co-chair of West Ham in June after seven women accused him of sexually exploitative and predatory behaviour, allegations he categorically denies.

West Ham are in the opening round of the EFL Cup for the first time in 15 years following last season’s relegation from the Premier League.

The match against Portsmouth is the first the club have played since the allegations against Sullivan were reported.

A joint investigation by BBC Panorama and The Times revealed Sullivan has been banned from contact with West Ham’s women’s and youth teams for the past three years because of safeguarding concerns.

Despite resigning from his position as co-chairman in June, Sullivan remains the largest single shareholder at the club with a 38.8% stake.

A spokesperson for London Stadium on Monday told BBC News it had “recommended” to West Ham that Sullivan does not attend with concerns about fan unrest.

However, there did not appear to be any problems inside the stadium before and shortly after kick-off.

Aug. 6 (UPI) — A D.C. judge has dismissed the Lincoln Reflecting Pool vandalism case against U.S. Olympian David Hearn, according to court documents filed Thursday afternoon.

A grand jury charged Hearn with one felony count of destruction of property early last month, alleging that the 67-year-old willfully ripped up a piece of recently installed blue pool sealant from the Lincoln Reflecting Pool, which President Donald Trump had recently ordered renovated.

The alleged incident involving Hearn occurred June 19 as videos were posted online showing its surface green with algae and blue paint seemingly peeling from the bottom of the pool. Trump claimed vandalism and vowed those responsible would be held to account.

In his order filed Thursday afternoon, Associate Judge Todd Edelman dismissed the case but allowed litigation to continue over whether the dismissal should be with or without prejudice.

On July 31, U.S. Attorney Jeanine Pirro for the District of Columbia filed a motion to dismiss the case without prejudice, stating that the Department of Interior had provided “less than fulsome information at the outset of this case” that led prosecutors to charge Hearn. After he was charged, the DOI provided documents that “strongly suggest that a rushed and botched installation by AIC, the primary contractor, led to the damage to the lining of the reflecting pool.”

On Aug. 5, Hearn’s lawyers agreed the case should be dismissed but argued that the dismissal should be with prejudice.

“David Hearn is innocent and today’s dismissal reflects that simple fact,” Hearn’s counsel Norm Eisen of Democracy Defenders Fund, Mary Dohrmann of Washington Litigation Group and Steve Levin of Steptoe LLP said in a joint statement Thursday.

“The Department of Justice’s decision to seek an indictment was a miscarriage of justice.”

They said they intend to “vigorously advocate” for the case to be dismissed with prejudice to prevent the government from bringing the case again.

“All other legal options also remain on the table,” they said.

Trump maintains that vandalism was the cause of damage to the reflecting pool, despite the admission by his own Department of Interior. After Pirro filed for dismissal, Trump criticized her online, leading to speculation that the former Fox News host may be the next woman he fires.

“I disagree 100% with Jeanine Pirro,” he said online.

“I don’t know what she was thinking? To me, it was a pure case of VANDALISM,” he said, before referring to alleged vandalism to grass near the reflecting pool. “There may have been some contractor difficulty, but the major damage was caused by VANDALS!”

Trump had ordered the Reflecting Pool be painted “American flag blue” ahead of celebrations marking the United States’ 250th birthday. But within days of the $15 million work being completed on June 6, the pool began experiencing issues, from algae blooms to blue coating peeling off the bottom.

Hearn is a three-time Olympia, having competed in the Barcelona games of 1992, the Atlanta games of 1996 and the Sydney games of 2000. He is a former canoe slalom athlete.

Paramount Chairman David Ellison believes the tug-of-war over his proposed $111-billion purchase of Warner Bros. Discovery comes down to a single question: whether he can be trusted to control CNN.

“I believe this fight is not really about market share,” Ellison wrote in a Tuesday op-ed in the New York Times, noting that regulators around the world, including the U.S. Justice Department, have approved the deal that has been temporarily blocked by an antitrust lawsuit brought by California Atty. Gen. Rob Bonta and his coalition of Democrat state attorneys general.

“I believe a plainer worry sits beneath the briefs and the news releases … The issue is whether I can be trusted as a steward of Warner’s CNN,” Ellison wrote.

The rare opinion piece serves as Ellison’s acknowledgment that his family’s close association with President Trump has sullied his standing in Hollywood and beyond.

Shakeups at CBS News, which is part of Paramount, the departure of CBS late night host Stephen Colbert, and a visible presidential lobbying effort — including hosting a dinner for Trump in Washington in late April and attending Trump’s birthday extravaganza in June with UFC fights on the White House lawn — have come with a cost.

More than 5,000 entertainment industry workers, including such high-profile stars as Jane Fonda, Ben Stiller, Bryan Cranston and Mark Ruffalo, signed an open letter early this year, calling on Bonta to try to block the merger.

Bonta and the other state attorneys general sued, saying the merger of two of the major film studios would give Paramount-Warner Bros. more than 25% of the wide-release theatrical film market. Their lawsuit also alleged the combined company would own too many cable TV channels — more than 50, including CNN, TBS, HGTV and Comedy Central.

Many in Hollywood fear that the consolidation of two historic studios will bring thousands of layoffs and contribute to a bleaker employment picture. Ellison’s Skydance Media’s takeover of Paramount a year ago resulted in the loss of 2,000 jobs.

Some have opposed the Warner Bros. deal, saying one family shouldn’t be allowed to control two significant news operations: CBS News and CNN, which is owned by Warner Bros. Discovery.

“There has been speculation about my politics, my loyalties, my intentions,” Ellison wrote.

“Unfortunately, I can’t give anyone a view into my heart and mind, but I can share this: I have regularly voted for candidates of both parties; I hold some views that would be called conservative and others that would be called liberal, just like most Americans,” Ellison said. “And when it comes to our news operations, I do not aspire to lead these companies to bend their newsrooms to my views. I believe that news should be based on facts and truth.”

“Great news organizations like CNN and CBS News are here to tell it straight down the middle,” he said. “That requires newsrooms that reflect the whole world, not one side of it. And it requires independence. Our journalists will continue to answer to the facts and to all the people they serve — not to any party or cause.”

“These were founding principles for both CNN and CBS News, for legends like Ted Turner and Edward R. Murrow, and it is exactly that kind of independence that has always fueled the greatness of “60 Minutes,” Ellison wrote.

Fired “60 Minutes” correspondents, including Cecilia Vega, have complained that since Bari Weiss became editor-in-chief of CBS News last fall, journalists have been asked to tilt the presentation of controversial news events, including protests to Immigration and Customs Enforcement actions earlier this year in Minnesota, which led to the deaths of two Americans.

Paramount has pushed back saying the plaintiff states have defined markets that fail to factor in the rise of technology companies, including Netflix, Google’s YouTube and Amazon Studios, which also attract significant swaths of viewership.

The Writers Guild of America has separately sued to block the merger, saying the deal would lead to less opportunities and lower pay for writers struggling to stay in the industry.

U.S. District Judge Araceli Martínez-Olguín, who is overseeing the high-profile case, issued a temporary restraining order to block the merger from finalizing while the two sides hash out the evidence. Late last month, Paramount agreed to delay the merger until after a trial — or until June 1, whichever date comes first.

In court documents filed Friday, Bonta and his coalition of 11 other Democratic attorneys general proposed having a two- to three-week trial in April to weigh the evidence.

Ellison’s Paramount pushed back, saying the media company would like to start the courtroom action on Nov. 4.

Now the judge must schedule the court date.

“The states claim this deal will give one company too much influence over theatrical releases and cable operators, while the W.G.A. argues that our combined market power will hurt writers,” Ellison said in the opinion piece. “Both suits imagine a Hollywood that no longer exists — an industry ruled by a handful of legacy studios.”

The administration of United States President Donald Trump has moved to drop a criminal charge against former Olympic athlete David Hearn, in a remarkable about-face.

In a motion filed on Friday afternoon, US Attorney Jeanine Pirro acknowledged that the accusations levelled against Hearn — blaming him for vandalising the Lincoln Memorial Reflecting Pool — did not appear to be substantiated.

“The damage was the result of a botched installation and not vandalism, as initially represented by [the Department of the Interior],” Pirro wrote.

Earlier this month, the prosecutor had accused Hearn, an Olympic canoeist, of “forcefully and violently” ripping the newly installed liner of the Reflecting Pool, part of a renovation project Trump had championed.

She described his actions as “an affront to the dignity of our shared history” and warned that Hearn could face up to 10 years in prison for the destruction of government property.

But in Friday’s court filings, a different narrative emerged.

Pirro repeatedly emphasised she did not receive the new information until after the criminal indictment against Hearn had been returned. She blamed, in part, the “barebones police reports” her office had received.

“It was not until after the return of the indictment, that the DOI provided additional documents to the [US Attorney’s Office for Washington, DC] indicating that damage to the Lincoln Memorial Reflecting Pool in June 2026 was the result of flawed installation by the contractor,” Pirro wrote.

She added that the pressure to finish the Reflecting Pool renovation project before the Independence Day holiday — marking the 250th anniversary of the US — contributed to the renovation’s failure. Trump had planned several events for the occasion.

“The rush to complete the project led to hasty and botched work that was not remediated before the project was finished and the fencing removed,” Pirro explained, citing delayed installation work, inclement weather and repeated testing failures.

Reshaping Washington, DC

The Reflecting Pool project is one of several changes to the landscape of Washington, DC, that Trump has pursued during his second term in office.

In seeking to leave his mark on the US capital, the Republican leader has torn down the East Wing of the White House, gilded statues with a fresh coat of gold leaf, and proposed to build a large triumphal arch on the road to the Arlington National Cemetery.

Just this week, he unveiled a $22.5bn project to revamp the Dulles international airport, the main air terminal for the capital region.

Several of his public works projects have been challenged in court, including an attempt to affix his name to the John F Kennedy Center for the Performing Arts.

The Reflecting Pool renovation was among Trump’s most controversial.

The 618-metre (2,028-foot) pool has served as the backdrop for many iconic moments in US history, including the 1963 March on Washington, when civil rights leader Martin Luther King Jr delivered his “I Have a Dream” speech.

It sits between the Washington Monument, a large obelisk, and the Lincoln Memorial, two popular tourist sites mere blocks from the White House. But the pool had long struggled with leaks along its granite edge and concrete bottom.

In April, Trump abruptly announced he would address the problem by resurfacing the Reflecting Pool’s bottom with swimming pool coating in a shade of “American Flag Blue”.

The project, he added, would be finished “long before July 4” and at relatively little cost to the government.

By early June, Trump had announced the project was complete. But within days, a thick layer of green algae appeared on the surface of the pool, and the blue coating appeared cracked, with sheets of paint flapping in the water.

The project also attracted criticism for how the government contract for the renovations was awarded.

The Trump administration granted a $13.1m contract to Atlantic Industrial Coatings, a company he claimed to have worked with as a real estate developer, led by one of his donors. The deal was struck without taking competitive bids, as is standard, on the basis that the renovation was necessary immediately.

Within two days of the site’s final inspection, on June 11, a National Park Service engineer observed that the Reflecting Pool’s new lining had begun to peel, according to Pirro.

Citing the engineer’s report, Pirro wrote that the damage to the pool appeared to have been caused by “over spraying and delamination”.

Accusations of vandalism

But Trump had aggressively pushed accusations that the algae and tears in the Reflecting Pool’s new bottom had been the result of vandalism.

“We caught some people vandalising our beautiful Reflecting Pool,” Trump said at a news conference in June. “They took a cutter, a box cutter, or something very sharp. Can you imagine? Where do these people come up with this? And they threw a little fertiliser in the water.”

Separately, he suggested those responsible should face “years in jail” for their alleged crimes.

Hearn, a three-time Olympian representing the US, has said he was among the members of the public drawn to the hullabaloo surrounding the Reflecting Pool’s controversial renovation.

In media interviews, he admitted he bicycled past the pool, reached in and felt the peeling sealant, out of curiosity. He has adamantly denied, however, damaging any property.

Hearn was among at least seven people arrested or cited over alleged damage to the Reflecting Pool. His indictment was announced at a news conference held by Pirro on July 2.

Friday’s motion to dismiss arrived just four weeks later. In it, Pirro acknowledged the peeling was not caused by vandalism.

She wrote that the revelation came around July 17, when her office inspected the Reflecting Pool site, which had once again been drained for repairs.

“It was at that time that [the US Attorney’s Office] first became aware of the significant damage throughout the pool and accordingly requested all documents from [the Department of the Interior] concerning how the pool was lined,” Pirro said.

Her office received “695 megabytes of additional documents” in return, revealing “a rushed and flawed installation process”.

Since indicting Hearn, Pirro’s office has faced questions about whether it was pursuing justice — or simply doing Trump’s political bidding, as he seeks to save face after the botched renovation.

The withdrawn indictment also comes as courts have repeatedly pressed the Department of Justice about prosecutions that appear to be hastily submitted and lacking in evidence.

“ Did you ultimately decide to charge this so harshly at the president’s direction?” one reporter asked Pirro at the outset of Hearn’s case.

“I didn’t charge anything harshly. I charge according to the evidence,” she replied at the time.

In a statement, Hearn’s legal team called the case an “abuse of government power”. They added that the Trump administration owes their client an apology.

Ambitious Harper Beckham is aiming for world dominance with her fledgling make-up brand, we can reveal.

The Sun told earlier this month how the teenage daughter of David and Victoria planned to name the new line Harlo by Harper.

Now we can also reveal that 15-year-old Harper’s team has lodged papers with the US Patent and Trademark Office asking to be granted sole rights to use the name across the Atlantic.

Her representatives have filed documents with the UK’s Intellectual Property Office to trademark the brand.

It comes after The Sun told how the youngest Beckham child plans to start rolling out the brand next year.

A source said: “Harper has been working on a name with the team working on the brand for a while and came up with Harlo By Harper.

BLEND IT LIKE BECKHAM

Behind-the-scenes of Harper’s beauty brand with new name revealed

GOLDEN GIRL

Harper Beckham’s World Cup outfit makes clear who she backs at Spain v France

“The trademark applications are signed and sealed.

“Although there is no set date for a launch yet, the aim is to officially start the roll out at some point next year.

“Victoria has been guiding and supporting Harper every step of the way in this venture.

“Both Victoria and David couldn’t be more proud of Harper.”

The Sun first revealed how Harper was working on her own beauty empire last year.

She is following in the footsteps of fashion designer Victoria, whose own beauty range has proved hugely lucrative since she launched it in 2019.

A UCLA jersey worn by Lew Alcindor in the 1968 NCAA national championship game and the 1969 Final Four is set to garner more than $1 million at auction.

The man who has owned it for the past half century — a former Los Angeles resident who was a huge fan of the player now known as Kareem Abdul-Jabbar — didn’t have to pay nearly as much for the historic piece.

In fact, he paid no money at all. Instead, he traded for it after a Lakers game in the Forum parking lot back sometime in the mid- to late-1970s, giving up one of his prized possessions as a teenager living in South Gate:

His transistor radio.

“I used to listen to Dodger games on it under my pillow,” said the auction’s consignor, a man named David who asked to have his last name withheld because of privacy concerns.

Back then, David and some friends would often take the bus to the Forum, where they would try to convince fans to give them their extra tickets to attend the Lakers game that night. Afterward, they would wait in the parking lot for players to leave the building.

A UCLA jersey, worn by Lew Alcindor during the 1968 national championship game and a 1969 national semifinal, is up for bid at Grey Flannel Auctions.

(Grey Flannel Auctions)

“We were young and crazy. We waited till the players came out and kind of talked to them,” said David, who says he once walked with Wilt Chamberlain to his car. “And there were other kids there. We would trade stuff, and that is basically how I got the jersey.”

By then, Abdul-Jabbar was a star with the Lakers, after winning three NCAA titles under legendary UCLA coach John Wooden and leading the Milwaukee Bucks to an NBA championship in 1971.

The young man who was originally wearing the No. 33 Bruins jersey that night was actually a USC fan, David said, so the trade was fairly easy to pull off.

“Back then transistor radios were real popular,” David said.

Over the decades, he mostly kept the jersey stored away neatly, occasionally pulling it out for a look or to show others. Recently, David said, he was “just cleaning things out” and decided it was time to part ways with the cherished item.

“I said, you know, someone else will really enjoy this,” David said. “And they’ll display it, and people can enjoy it more than I will stuck in some kind of storage thing.”

According to Michael Russek, director of operations for Grey Flannel Auctions, David didn’t know a lot about the jersey’s history when he first brought it in, only that it was issued by UCLA and had likely been worn by Alcindor in some game at some point.

Photo-matching revealed that he had worn it in several games, including some very significant ones. He wore it while scoring 34 points with 16 rebounds in UCLA’s 78-55 victory over North Carolina in the 1968 national championship game and also during multiple games the following season, including the Bruins’ 85-82 victory over Drake in a national semifinal game (Alcindor had 25 points and 21 rebounds).

UCLA’s Lew Alcindor steals the ball and dribbles away from a group of North Carolina players

(Harold Filan / Associated Press)

“That’s when it really started to come together that we have something that’s truly special,” Russek said.

As of Friday morning, bidding had reached $850,101, with a 22% buyer’s premium bringing the price to nearly $1.04 million. The auction ends Aug. 16.

David said he was “very surprised at how it took off so quick. I’m not familiar with these kind of auctions or jerseys, really. But there’s a lot of alumni from UCLA down there, and a lot of people would like something like that.”

The current Oregon resident added that he hasn’t thought about what he’s going to do with all that cash.

“I’m not the kind of person who does plans for money until I have it,” he said.

Paramount Skydance Chief Executive David Ellison isn’t waving a white flag.

After Paramount agreed Friday to delay its proposed merger with Warner Bros. Discovery to battle a stiffer-than-anticipated antitrust challenge from California Atty. Gen. Rob Bonta and 11 other state attorneys general, Ellison is resetting expectations. In a Monday memo to employees, Ellison wrote that he still believes his mammoth merger will be consummated in the coming months.

Paramount stock has lost about 20% of its value since the beginning of July amid concerns that the company will have to shoulder higher costs to get its $111-billion Warner Bros. acquisition across the finish line. Friday’s agreement with the state attorneys general to delay the merger’s close until after an antitrust trial, which will likely be held in 2027, also was unsettling to shareholders and some employees.

Paramount Skydance shares closed at $8.03, down 2.19% Monday afternoon.

“Let me be clear: we remain highly confident that this transaction does not pose any legal issues, and we will complete it and bring these two companies together,” Ellison wrote in the memo shared with media outlets.

Paramount’s internal teams and Warner Bros. have been diligently working to lay the groundwork for the two rival companies to integrate their operations. The rush had been on because Ellison wanted to close the deal this week — or at least by the end of September — to avoid a higher payout to Warner shareholders.

However, Paramount suspended such ambitions on Friday, agreeing to delay the merger until after a trial to litigate the merits of the antitrust case brought by Bonta and the other Democrats. Oregon, Washington, Colorado, Nevada, New Mexico, New Jersey and New York are among the states joining California in the fight.

The Writers Guild of America separately sued this month, alleging the merger would harm writers. Over the weekend, SAG-AFTRA announced that it supports the state attorneys general as they try to beat back the merger.

“Our members have every right to expect that the government will do thorough regulatory oversight when a deal of this magnitude takes place,” SAG-AFTRA President Sean Astin said in a statement.

“The workers in this industry should not have to rely on promises and aspirational statements,” he added. “This isn’t a conversation about shareholder value, it’s about the survival of the entertainment business in America.”

Teamsters already have spoken out against the deal.

Bonta and fellow attorneys general from Democrat-led states have argued the deal would violate the century-old Clayton Antitrust Act in three markets: wide-release theatrical films, potential blockbuster movies and cable television channel concentration.

U.S. District Judge Araceli Martínez-Olguín, who is overseeing the antitrust suit filed by Bonta two weeks ago, wrote in an order last week that the plaintiff states had presented “compelling evidence” that the proposed merger may violate U.S. antitrust law.

California Atty. Gen. Rob Bonta is leading an effort of 12 state attorneys general attempting to block Paramount Skydance’s $111-billion takeover of Warner Bros. Discovery.

(Genaro Molina / Los Angeles Times)

Paramount disputes that. The firm, controlled by the Larry Ellison family, has pointed to regulatory approvals it has already garnered, including from the U.S. Department of Justice, which found its acquisition of Warner Bros. Discovery would not harm competition.

The deal also won clearances from regulators representing 65 jurisdictions, including Australia, China, the European Commission, Germany, France, Spain and Canada. Paramount has pointed to those approvals as proof that the law is on its side.

In his memo, Ellison said delaying the deal until after a trial before Martínez-Olguín made sense.

“We believe this is the right path because the facts and the law are on our side, and a full hearing will demonstrate why the plaintiffs’ arguments should not prevail,” Ellison wrote.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

I have been writing this newsletter, most weeks, for more than 10 years now. I wouldn’t even want to do the math on how many of them that would be, or just how many movies I have written about. That count is about to come to a close as this is the last one.

Don’t worry: I will still be covering the world-class scene of moviegoing in Los Angeles as well as writing about a broad swath of films and filmmakers, just finding new ways to go about it.

When this newsletter began, it was a catch-all for movie coverage and related events from The Times and eventually settled into a curated survey of the best new releases each week. We helped figure out what you should go see. As theaters reopened following the closures forced by the pandemic, the repertory scene in Los Angeles exploded, with new audiences turning out for old movies in astonishing numbers.

We followed their lead, flipping the focus of the newsletter to the rep scene while still keeping an eye on new releases. Venues around the city had a newly revived energy to match audiences’ enthusiasm. The Academy Museum opened with two gold-standard theaters, while the American Cinematheque expanded the number of screens it programs. (Just recently, it added the historic Village Theater in Westwood.) The Vista began bringing first-run films in 35mm and 70mm, along with classic movies. Vidiots opened in Eagle Rock, helping to redraw the map of L.A.’s movie-loving community.

The David Geffen Theater at the Academy Museum seats a thousand and is often fully attended.

(Ricardo DeAratanha / Los Angeles Times)

The city has also seen the rise of itinerant pop-up series such as Mezzanine, Acropolis Cinema and Hollywood Entertainment pulling off must-see events. Smaller venues such as Now Instant Image Hall, 2220 Arts + Archives, Eastwood Performing Arts Center, Brain Dead Studios and the Philosophical Research Society have made a home to all kinds of movies. The Laemmle and Landmark chains have continue to play traditional arthouse releases and international films, while the Frida and Gardena theaters bring great movies to the South Bay.

Entities such as Revival Hub and MovieTown do a vital job of collating extensive listings info. (We will also continue to give monthly overviews of the best movies to see.) This is simply an incredible time for going to the movies in Los Angeles, arguably the best ever.

My main takeaway from the experience of working on this newsletter is confirmation of my belief in the movies themselves and the community of people around them. I was recently at a sold-out screening of Akira Kurosawa’s “Ran” and the idea of sitting with nearly a thousand other people watching a Japanese movie from the 1980s, each connecting to the events on screen in their own way, was deeply inspiring.

Among my favorite recent developments is how many venues now name the show’s projectionists as part of a screening’s introduction, which is always met with an enthusiastic round of applause. It is a reminder that what this is really about is people, dedicated to something we love.

And since this isn’t really a goodbye, it seems fitting to turn to the movies once again, as another week demonstrates why the scene here in Los Angeles is so truly special.

A tribute to Sam Neill

Sam Neill and Nicole Kidman on the set of 1989’s “Dead Calm.”

(Michael Ochs Archives / Getty Images)

Anyone looking for an example of just how intimate the screening scene in Los Angeles can be should make their way to the New Beverly Cinema on July 24. The theater already had a three-night double-bill of Rob Reiner’s “Misery” and Phillip Noyce’s 1989 thriller “Dead Calm” booked when news broke last weekend that actor Sam Neill had died at age 78.

The New Bev quickly announced that it would make one of those screenings into a tribute to Neill, who co-stars in “Dead Calm.” Director Noyce, along with co-star Billy Zane and filmmaker Roger Donaldson (who worked with Neill on 1977’s “Sleeping Dogs”) will all be there to celebrate their friend and colleague.

“Dead Calm” is a tight thriller set within the confines of a small sailing boat. Reviewing the movie when it was first released in 1989, Sheila Benson wrote, “Neill is probably one of the screen’s most underrated actors … ‘Dead Calm’ was probably far and away his nastiest assignment physically, yet his presence, sexuality and all, is absolutely vital to the balance of the story.”

Remembering the actor as part of a rundown of his greatest performances, Glen Whipp described Neill in “Dead Calm” as “part Cary Grant, part MacGyver.”

Two by Ross McElwee

Documentary filmmaker Ross McElwee in his 1986 movie “Sherman’s March.”

(Music Box Films)

Documentary filmmaker Ross McElwee helped to reinvent the form with his 1986 film “Sherman’s March,” which comes with the explanatory subtitle of “A Meditation on the Possibility of Romantic Love in the South During an Era of Nuclear Weapons Proliferation.”

Ostensibly a film about Union General William Tecumsah Sherman’s campaign of destruction during the Civil War, the movie actually ends up being about McElwee revisiting old girlfriends and forging a few new ones along the way, reflecting on his own campaign of romantic misadventure. As charming as it is revelatory, the movie is being rereleased in a new 4K restoration.

McElwee’s latest film, “Remake,” reflects on the death of his son Adrian and whether the director himself had a detrimental effect on the boy’s life. Reviewing “Remake,” Tim Grierson calls it “especially revealing — both in terms of the glimpses we get of this father-son relationship and of unsolved mysteries that linger just outside the frame.”

A weekend with Robert Rodriguez

Quentin Tarantino, George Clooney and Salma Hayek in the horror movie “From Dusk Till Dawn.”

(Academy Museum)

The Academy Museum will present “A Weekend with Robert Rodriguez” to celebrate the 30th anniversary of “From Dusk Till Dawn” and the 25th anniversary of “Spy Kids.” It speaks to Rodriguez’s undersung range as a filmmaker that one movie is a bawdy, gory comedy about a criminals on the run who encounter an ancient den of vampires, while the other is a family-friendly tale of two siblings who discover their parents are secret agents and must rescue them from a supervillain.

Rodriguez will not only be present to talk about both movies, he will be performing music each day with a different band.

Reviewing “From Dusk Till Dawn,” which was scripted by Quentin Tarantino, Jack Matthews said it was “a film nerd’s fever dream, a Frankenstein’s monster of used movie parts, deliberately mismatched styles, and deliriously implausible characters.”

Elaine May’s secret success

Dustin Hoffman and Jessica Lange in the movie “Tootsie.”

(Everett Collection / Columbia Pictures)

One of the most exciting things about the ongoing revival of L.A.’s repertory scene is the upheaval of the notion of the “canon.” What are the most lauded movies of all time and who gets to do the lauding? Case in point is the now widely accepted coronation of Elaine May as a towering creative figure, no longer relegated to being merely a fringe character unfairly saddled with the commercial failure of “Ishtar.”

May is credited as director on only four feature films, though she’s an uncredited writer on a number of other projects, perhaps most notably 1982’s comedy “Tootsie,” starring Dustin Hoffman as a struggling New York City actor who finds success when he lands a part by secretly posing as a woman. Directed by Sydney Pollack, who also makes a tremendous turn as Hoffman’s agent, the movie will be playing at Vidiots on Saturday.

Finding new moves

Wiley Wiggins and Patrick Riester in the movie “Computer Chess.”

(Kino Lorber)

The very first thing I ever wrote under the banner of Indie Focus was about how independent filmmakers such as Andrew Bujalski and Alex Ross Perry were working on 35mm at a time when mainstream Hollywood was very much forcing the idea of shooting on digital. So it only seems appropriate that this final edition of the newsletter should include something on Bujalksi, who has long been one of my favorite contemporary American filmmakers.

“Computer Chess,” Bujalski’s oddball experiment in using antiquated video equipment to tell a heady, offbeat story about a weekend chess tournament in the early ’80s, will screen in a 35mm print at Brain Dead Studios on July 24, presented by Mezzanine. Bujalski will be present, along with Blair Barnes, a filmmaker who will be showing the L.A. premiere of his short “sitrep,” also shot on an analog-era tube camera.

New this week

Matt Damon and Zendaya in the movie “The Odyssey.”

(Melinda Sue Gordon / Universal Pictures)

Sure to be one of the biggest movies of the year, Christopher Nolan’s adaptation of “The Odyssey” opens today. Los Angeles audiences have multiple venues to choose from that are showing the film in Nolan’s preferred Imax 70mm format — these theaters are among only a small number across the world that are doing this. Presenting a movie in Imax 70mm isn’t the easiest endeavor. Eloise Rollins-Fife has a report on how that’s actually done. Get your epic on.

Reviewing the movie, Amy Nicholson wrote, “Nolan refuses to tremble before the canon. Grabbing mighty scissors, he cuts and rejiggers Homer and a bit of Virgil to transform these classical texts into his type of tale: one fixated on memory, self-identity, destructive genius and the slippage of time. As ever, it’s light on sex, heavy on wine-dark angst.”

Kenneth Turan spoke to Nolan about the movie’s origins, saying, “I’ve been telling this story in all my films for years. It’s a family story, a love story, a revenge story, a war story, a coming-of-age story. It’s a very strong foundational text for me.”

NORTHRIDGE — Of course David Duke did not come dressed in sheets. Of course he did not burn crosses on the Cal State Northridge campus. They’re always more clever than that. He wore a dark suit, a bright red tie and his best winning smile. He quoted Shakespeare and recited many of the same gentle, if disingenuous, arguments for ending affirmative action put forward by proponents of Proposition 209.

It was about “fairness,” Duke said. Preferences were by definition a form of discrimination, and discrimination in any form is deplorable. Public safety demands that merit be the only qualification in hiring police officers and firefighters. The debt of history has been paid; it’s time to move forward.

David Duke, in fact, looked and sounded not at all unlike the patron of Prop. 209, Gov. Pete Wilson–with one notable exception. Duke himself was more than eager to point it out. “Wilson,” he said with contempt, “and most of the so-called Republican establishment are afraid to even use the word ‘white people.’ ” They cloak their arguments in what he called “fine words.” They talk around the heart of the matter.

And that’s when the sheets came on.

*

Duke has been reading my mail, it occurred to me as the debate heated up. He has tapped into my telephone service. As he made his own bent case against affirmative action, I closed my eyes and could hear echoes of the many angry letters and answering machine soliloquies I receive from white men who have found in Prop. 209 a vehicle for their frustration.

“What’s wrong,” they ask bluntly, if often anonymously, “with white people sticking up for white people?”

They speak of being “fed up,” of things simply having gone “too far” in the realm of race relations. Almost invariably, they link Prop. 209 to the O.J. Simpson verdict, as if the jury represented the end game of affirmative action. They wrap in immigration–to them another sign of the decline of the American ideal–and lament the “political correctness” they believe has muzzled them.

Duke came to Northridge decidedly unmuzzled. He brought a warning for “white people.” They were becoming “second-class citizens” in, as he put it, their own country: “You have a right to have your children live in a nation that reflects the values of their forefathers, not become more like Mexico, or Haiti, or Zimbabwe. . . . That is where we are headed, and that is what affirmative action is all about.”

At this bilge, most of the students began to hiss. Duke seemed undaunted. He was not speaking to the students. He was speaking to the television cameras. He was speaking to all those anonymous correspondents and callers out there who believe that “white people” are the ones getting the raw deal in America these days. He was reminding them that this is what Prop. 209 really “is all about.” In his view. In their view.

*

Now, the invitation of Duke was a source of great controversy. Wilson and Ward Connerly, chairman of the Prop. 209 campaign, saw it as a political setup, an attempt to lay a guilt-trip-by-association on those who would support Prop. 209. Their opponents no doubt worked to exploit Duke’s appearance, to make wobblers on the issue ask the question: If Duke is for this thing, then why am I?

It’s possible, however, that as a strategy, Duke’s presence could prove to have been too clever. Surely a portion of Prop. 209 supporters has bought honestly into the argument that affirmative action has outlived its purpose, that it has become unnecessarily divisive. Duke’s appearance could only inflame this constituency: Nobody wants to be accused of keeping company with bigots.

At the same time, Duke, without question, does represent the views of those who would eliminate affirmative action to strike a blow for “white people.” How many of these are there? It can’t be said. These are not people who open their hearts to pollsters. They can, however, vote–and their votes will count the same as everybody else. And, Duke’s appearance also worked to rally and reinforce this part of the Prop. 209 base, to quell any confusion that might be created by those soft, pro-Prop. 209 commercials about Martin Luther King and civil rights and all that.

Still, it wasn’t a total loss for the opposition. Perhaps the strongest argument against the initiative is that it simply is too early to abandon the struggle for civil rights, that now is not the time to start dismantling the few, flimsy ladders America has managed to stretch across the racial divide. The demons of racism might be on the run, but the exorcism is hardly complete. A point David Duke, by his mere presence, made abundantly clear.

It is a question that has been repeatedly asked.

Not least at the various reunions to mark Leeds‘ title triumph in 1992 or Blackburn Rovers’ Premier League win three years later.

Batty was involved in both of those landmark achievements, but ex-Blackburn midfielder Mark Atkins has not caught up with him since their playing days.

“We have tried to get him to the dos we have had, but nobody can get hold of him,” he said.

“He’s not that type of person. Even if he was living five miles away, he wouldn’t turn up because he’s a very personal guy, really.”

Aside from a rare trip to Elland Road to lay a wreath on the pitch in memory of his close friend Gary Speed, following his tragic death in 2011, Batty has tended to keep out of the public eye.

Viduka, who quietly opened a cafe in Croatia after hanging up his boots, can relate.

“In this day and age, everyone shows off everything they do in every moment, like what they had for breakfast,” he said. “Who cares?

“If anyone was not going to be like that, it was Batts.”

Rather than entertaining corporate guests, representing footballers or working in the media, Batty always planned to dedicate his time solely to his family in Yorkshire after retiring.

It has only added to the cult surrounding a player who former Leeds team-mate Eirik Bakke called one of his “heroes”.

“If someone tackled you, Batts was always there to stand up for you,” he said. “You don’t find those types of players a lot. You could always rely on him.”

Batty was more than a mere enforcer, however.

As well as standing his ground, and aggressively winning the ball back, the England international rarely gave away possession.

Those qualities quickly struck ex-Leeds midfielder John Sheridan, who was Batty’s “mentor” in his early days at the club.

“You would think butter wouldn’t melt in his mouth when you looked at him then,” he said.

“But he was tough as nails. He made the game look very simple by doing the simple things easily.”

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

One of the big discoveries for me at this year’s Sundance Film Festival was the erotic thriller “Night Nurse,” which opens in theaters this week. A remarkably confident feature debut from writer-director Georgia Bernstein, the film is hypnotic and entrancing, with a powerfully sustained sense of mood and menace. Brought to life by two assured lead performances, the story is about a young woman (Cemre Paksoy) who takes a job as an attendant at a senior living community and is assigned to help a man (Bruce McKenzie) who quickly ensnares her into an ongoing phone scam in which he swindles other residents.

Taking cues from the likes of Catherine Breillat and David Cronenberg, there are moments where you start to feel turned on and then feel weird about feeling turned on. It’s delightful stuff, full of the unexpected and unnerving, with shifting power dynamics that destabilize everything. See it with someone you maybe aren’t so sure about.

‘Hudson Hawk’ will have its day

Andie MacDowell and Bruce Willis in the 1991 movie “Hudson Hawk.”

(Columbia TriStar / Getty Images)

Its name has become synonymous with box office bomb, with tales of an out-of-control production leading to terrible reviews and rejection by audiences. Yet 1991’s “Hudson Hawk” is one of those movies that over the years has seen its reputation slowly turn around and is now en route to becoming a cult classic in the vein of “Ishtar” or “Showgirls.”

On Monday at Brain Dead Studios there will be a 35th anniversary screening of the film in 35mm with director Michael Lehmann and co-writer Daniel Waters in-person. Presented by Hollywood Entertainment, the evening could be ground zero for the next stage of the misbegotten movie’s revival.

The movie is a playful buddy-comedy / caper-heist hybrid, starring Bruce Willis as the title character, a master thief newly released from prison who reteams with his old partner (Danny Aiello) as they are drawn into a convoluted conspiracy involving the CIA, a villainous ultra-rich couple (played with maniacal, scene-stealing glee by Richard E. Grant and Sandra Bernhard) and ancient designs by Leonardo da Vinci. Upending action movie conventions, “Hudson Hawk” is simply a fun hang.

On a recent video call together, there is a certain gallows humor shared by Lehmann and Waters over the film, which at the time threatened to derail both of their careers. Waters was already working on the script for Tim Burton’s “Batman Returns” by the time the movie came out, while Lehmann admits he spent some time in director jail — “I was in director federal penitentiary and death row for a while,” he says — before going on to direct films such as “Airheads” and “The Truth About Cats and Dogs.”

“You can’t escape a big failure in Hollywood,” he adds. “You have to be good-natured about the fact that you’ve made something that so many people hated when it came out, but that you feel still has some value — quite a bit of value, I think. And that eventually people would start noticing that.”

The project began as an idea between Willis and his friend Robert Kraft that snowballed into having action super-producer Joel Silver attached and a screenplay draft by “Die Hard” writer Steven E. De Souza. Eventually Lehmann became involved to direct and he helped bring on Waters, the two having worked together on the hit black comedy “Heathers.” (Waters had also worked with Silver on “The Adventures of Ford Fairlane.”) The reunited writer-director team set about subverting what began as a more conventional action movie.

“My intention was to turn that kind of movie on its head,” says Lehmann. “I thought people have seen these things so many times, they must be ready to see the truly odd version of it.”

“In the Olympics you can’t just go up and make any dive,” says Waters. “You tell the judges what dive you’re going to do and then they grade you. And ‘Hudson Hawk,’ we never told the judges what dive we were doing. I think people got angry: Wait a minute, you didn’t give us a Bruce Willis action movie.”

Leading up to the film’s release, there were reports of a shoot hijacked by a star whose ego was getting the better of him as he rode the wave of the success of the first two “Die Hard” movies. Lehmann admits the clash of personalities made for a complicated shoot.

“Of course, when you’re hired by Bruce Willis and Joel Silver to do what is essentially a vanity project of Bruce’s, you’re not going to have the kind of control that you have when you make a piece of personal filmmaking,” says Lehmann. “But it was really difficult to deal with somebody who, in theory, was one of my bosses as producer on the film and a big star, which is always a thousand-pound gorilla.”

Author David Hughes recently published “The Unmaking of Hudson Hawk,” a book on the film’s production, reception and afterlife. Calling from England, Hughes thinks the critical reappraisal and resuscitation of the movie has gained a bit of momentum — and is in danger of slipping.

“I feel like any day there’s going to be a headline that says, ‘Nope, despite what you’ve heard, “Hudson Hawk” is still s—.’ The pendulum is about to swing back the other way and people are going to start saying that it’s bad again. And when that happens, I think that will be the most perfect life cycle of the film.”

But for now two of the key people behind making the film in the first place want to enjoy a moment they have rarely been allowed.

“People are finally laughing with the movie, not at the movie,” says Waters.

Celebrating a fallen friend

Harry Dean Stanton, photographed in Los Angeles in 2013.

(Jordan Strauss / Invision / AP)

To celebrate the centennial of the birth of the beloved character actor Harry Dean Stanton, Vidiots will screen the 2013 documentary “Harry Dean Stanton: Partly Fiction” on Tuesday. Director Sophie Huber will be joined in conversation by actor Logan Sparks for an evening hosted by Cherry Jones.

The film is a tender portrait of Stanton, who found relative fame later in life with roles in films such as “Alien,” “Paris, Texas,” “Repo Man” and “Pretty in Pink.”

“He makes it look really easy,” said Stanton’s friend and frequent collaborator David Lynch around the time of Stanton’s death in 2017. “But it’s not that easy to be looking like it’s easy.”

A flaky love story

Gena Rowlands and Seymour Cassel in the 1971 movie “Minnie and Moskowitz.”

(Michael Ochs Archives / Getty Images)

One of my most memorable moviegoing experiences of the last few years was seeing John Cassavetes’ 1971 “Minnie and Moskowitz” for the first time. The movie has a joyful, unpredictable energy thanks to the openhearted, dynamic performances of its two leads, Gena Rowlands and Seymour Cassel, as two mismatched strangers who find temporary solace in each other. Romantic, funny and with lots of great L.A. locations and moments — I often think of a perilous U-turn across La Brea by Cassel — this is a singular gem.

It was just announced that a new restoration of the film will premiere later this year at the Venice Film Festival, but there is no reason to wait. The movie is showing tonight at the Philosophical Research Society as part of its “YesterdayLA” series celebrating the city. On Saturday there will also be a rare theatrical screening of 1972’s “Columbo: Étude In Black,” starring Cassavetes as an L.A. symphony conductor who may have committed the perfect crime until he catches the attention of Peter Falk’s rumpled detective.

On the road again

Maribel Verdú, left, Diego Luna and Gael García Bernal in the movie “Y Tu Mamá También.”

(Criterion Collection)

Playing as part of the American Cinematheque’s “Summer Breakdown” series, which, true to its name, features movies about car trouble, Alfonso Cuarón’s 2001 “Y Tu Mamá También” is showing tonight and tomorrow at the Los Feliz Theater in 35mm.

It stars Gael García Bernal and Diego Luna as two teenage best friends who set off on a road trip with an alluring older woman (Maribel Verdú) they don’t know particularly well. Emotions fly fast and furious among all three of them, as the film seems at times like a horndog teen comedy and at others like a subtle exploration of class and sexual dynamics. Of course, it is all of those things, made with a fresh sense of style.

As Kenneth Turan put it in his 2002 review, “Nominally a simple road movie about two Mexican teenagers taking off to look for a mythical beach in the company of a suddenly available woman of 28, ‘Y Tu Mamá’ manages to be comic, dramatic, erotic, sociological and even political, all without breaking a sweat.”

New this week

• Amy Nicholson calls the new movie “Gail Daughtry and the Celebrity Sex Pass” a “screwball joy … a sex comedy that’s as innocent as a Labrador puppy.”
• Less positively, Amy reviewed the live-action adaptation of “Moana,” noting “Every one of Disney’s remakes and spinoffs of its animated hits has been a naked cash grab.”
• The new “Evil Dead Burn” is brutal and not much else, per our reviewer Joshua Rothkopf: “The gore comes like a tide, shockingly for a mainstream studio wide release.”

Ricky Gervais today marked the 25th anniversary of the hit BBC sitcom with a countdown of his favourite 25 David Brent moments.

Ricky Gervais has crowned David Brent’s dance his favourite moment of The Office – but admitted it could have left him needing hospital treatment.

The co-creator of the show, along with Stephen Merchant, has marked the 25th anniversary of the hit BBC sitcom with a countdown of his favourite 25 David Brent moments.

In a specially curated retrospective on his YouTube channel Gervais had a training role play scene, Brent’s song Freelove Freeway and the dance by Brent as his top three.

Speaking about the crazy dance and how the scene was made, Gervais revealed: “It probably is the most famous single thing I’ve ever done, and when we had to do that, that’s three takes cut together, the first time they laughed, the second time I laughed, and then the third one we got to the end, and and then just cut it together in the edit using people looking like bewildered, but it sort of looked like one take.

“I sort of knew the type of thing I was gonna do. It’s totally improvised, obviously. I quite like the fact that it looked nearly real. Some of them looked a bit like dance moves, and I can’t believe how low I got when I did the crab, I couldn’t do that now.”

And anymore takes might have been dangerous. He added: “I remember after I filmed it, I was sat in a corner on a chair and they were fanning me.

“I was, I think I was the blobbiest I’ve ever been. I think I was like 14 stone, no muscles to speak of, just a blob, and you know, there was a small chance of heart failure.

“So, I think people were genuinely worried the way I was breathing afterwards. Tom Cruise jumps off buildings. Do I want to do a little dance? I’ll have go. It would f***ing kill me now. I’m glad I recorded it to show I did it once.”

The Gervais special is not the only celebration of the show, as the BBC also aired a programme called Remember… The Office.

On the second show Martin Freeman and Mackenzie Crook reflected on their time on the TV show. The pair spoke about how some of the scenes features small bits of improvisation which helped make them even more magical.

Freeman said: “The writing on it that they did was brilliant. But you only need to know us a little bit or know the process of it. We’re also in there, you know? It doesn’t mean it’s a co-credit. Doesn’t mean it’s improvised, but it’s nicely loose.”

Freeman, who played Tim, also said he had a good feeling about the show from the beginning.

He explained: “At the read-through, I remember thinking, ‘This script is really good, it’s brilliant’.”Despite huge success The Office was just two series long along with several Christmas specials. It inspired the award-winning US version, which ran for nine ­seasons

* The full countdown of David Brent moments is available to watch on Ricky Gervais’ YouTube channel.

The BBC has confirmed that David Mitchell’s comedy-drama Ludwig will return for a third series, even before its eagerly awaited second season premieres

The BBC has announced that David Mitchell’s popular comedy-drama Ludwig will be back for a third series.

Even before its highly anticipated second season launches later this year. The detective programme, which is ideal for fans of Death In Paradise, has become the broadcaster’s most successful scripted show since 2024, leading executives to commission another run for both BBC One and BBC iPlayer.

Made by Big Talk Studios, in partnership with That Mitchell and Webb Company, the series is also a co-production with Germany’s ZDF. The programme’s first series proved an enormous ratings triumph, becoming the BBC’s most successful comedy debut since at least 2018, reports the Express.

Its initial run drew 9.5 million viewers within its first 28 days, while the opening episode has steadily grown its audience, achieving an impressive 11.8 million viewers in total.

Created and penned by Mark Brotherhood, the six-part mystery features David Mitchell as the unconventional puzzle-enthusiast detective Ludwig, with Anna Maxwell Martin portraying Lucy Betts-Taylor, the wife of the missing James Betts-Taylor. Both performers are confirmed to return to their roles when the series comes back.

Expressing his delight at the third series commission, actor David Mitchell told the BBC: “I am delighted that Ludwig will be returning to solve more of Mark Brotherhood’s brilliant mysteries. I can’t wait to get started and have renewed the subscription on my denouement-learning app.”

Meanwhile, Kenton Allen, Executive Producer and CEO of Big Talk Studios, said: “Ludwig has become one of those rare shows that genuinely cuts through – critically, commercially and internationally. We’re hugely grateful to the BBC, ZDF and ITV Studios for the confidence they’ve shown in greenlighting a third season ahead of the launch of series two.”

He went on to say: “What Mark Brotherhood has created is brilliantly original, hugely entertaining and deceptively distinctive in the way it blends smart comedy with a richly satisfying detective engine. At the heart of that success is the remarkable partnership between David Mitchell and Anna Maxwell Martin, brought to life by an exceptional creative team.

“In a crowded global market, for audiences to have embraced Ludwig on this scale feels incredibly special. There’s clearly nothing puzzling about that.”

Jon Petrie, BBC Director of Comedy Commissioning, added: “Ludwig is exactly the kind of smart, distinctive, audience-pleasing show we love at BBC Comedy. Sharp writing, a compelling story, big laughs and, naturally, a generous helping of puzzles. The team at Big Talk have crafted something truly distinctive and much-loved, and we’re excited to see what mysteries Ludwig tackles next.”

Ludwig is produced by Big Talk Studios in collaboration with That Mitchell and Webb Company for the BBC. The third series, comprising six hour-long episodes, will once again be penned by creator Mark Brotherhood, with Chris Foggin returning to helm the show as lead director.

Ludwig series one is currently available to stream on BBC iPlayer.

A SCULPTURE of David Brent has been unveiled – at a Premier Inn in Slough.

The clay creation of Ricky Gervais’ most iconic character marks 25 years since The Office UK first hit British TV screens.

Commissioned by Premier Inn, it is positioned inside its Slough Trading Estate hotel – the exact location of the original exterior shots used for ‘Wernham Hogg’ in the series’ opening credits.

The beloved TV show followed the fortunes of character David Brent from his life as a regional manager in a paper office to life on the road as a travelling salesman.

It was unveiled by Brent impersonator Tim Oliver, who re-enacted the pose as well as some of the character’s signature dance moves, which helped make Berkshire-born writer Gervais internationally famous.

The bust – which took 120 hours to put together and weighs seven kilograms – will be a permanent installation at the site.

OFFICE POLITICS

Inside The Office rift as Ricky Gervais snubs BBC on show’s 25th birthday

SHAKE-UP

Woke Bafta hosts could be axed after Ricky Gervais offers to turn it into roast

A spokesperson for the hotel chain said: “The exact site of the world’s most famous office, Wernham Hogg, is now one of our hotels and so we’re thrilled to unveil this brilliant tribute to mark its place in British comedy history.

“Ricky’s iconic character truly put Slough on the map, and it’s only fitting to honour him with this memorable statue, which we hope will be particularly popular with some of the millions of business travellers who stay with us each year.

“Whilst the building itself is totally transformed – our guests are more likely to be interested in pillows than photocopiers – eagle-eyed fans will certainly spot the similarity in the footprint of the site.”

The hotel company also commissioned research of 2,000 adults which found David Brent’s unforgettable Comic Relief dance topped a list of favourite moments from the show.

It picked up 26 per cent of the vote from Office fans and was followed by Dawn returning to the Christmas party to kiss Tim in the denouement of the festive special (15 per cent).

More than one in 10 (13 per cent), meanwhile, selected Tim’s prank from the very first episode, encasing desk mate and nemesis Gareth’s stapler in lurid yellow jelly.

It emerged 72 per cent of respondents who watched the show consider it a nostalgic snapshot of what working life was like in the early 2000s.

Although 68 per cent are glad they don’t work in an environment like Wernham Hogg – the fictional working home of David Brent.

Elements of working life people believe have changed for the better include flexible working hours (39 per cent), improved office technology (28 per cent) and the business attire (27 per cent).

A fifth (20 per cent) cited an increased focus on wellbeing, and 16 per cent a greater diversity in teams, according to the OnePoll.com figures.

The spokesperson for Premier Inn said: “From tech to business attire, office life has changed drastically in the 25 years since the show aired but what hasn’t changed is the need for business travellers to know what they’re getting with a great night’s sleep in a comfortable room ready to face the day – no matter how embarrassing their boss is.”

The study also saw Ricky Gervais and Stephen Merchant, creators of The Office, named the best comedy writing duo of the 21st century (16 per cent).

They narrowly pipped James Corden and Ruth Jones, writers of Gavin & Stacey (15 per cent), and Dawn French and Jennifer Saunders (12 per cent).

The history of all living things is examined through five key species chosen for the way they move, feed and reproduce and also for their size and intelligence

Chris Packham famously hates so-called “T-shirt” animals – preferring beetles and bugs to the more box-office elephants, lions and tigers.

But for his major new BBC series examining the history of every living creature’s existence, the presenter had to block that prejudice as he looked back over 4 billion years. In Evolution, viewers will see how every plant and animal evolved – differently – from a single celled organism called LUCA.

And in order to explain this effectively, the five episodes focus on the elephant (size), ostrich (reproduction), horse (movement), bat (feeding) and dolphin (intelligence) to show what changes have happened over the millennia until they started to look a bit like the creatures we recognise today.

“TV likes an iconic species, something to put on the T-shirt,” Chris laughs, acknowledging that he doesn’t normally go for these “celebrity” animals which tend to draw in viewers, but go against the grain for Chris. “On Springwatch we’re always keen to champion the underdog, we make films about slugs and snails and flies and all those sorts of things, so we’re trying to build up that idea in people’s minds that everything counts – not just the fluffy birds in the nest, or the cute pine-marten kits. Survival of the cutest has always been an issue.”

“But had we picked, I don’t know, some innocuous little bug, it wouldn’t have looked great,” he laughed. “I’m not a great fan of T-shirt animals, but I am a fan of using them constructively.”

He even admits that filming the series, in different locations around the globe, brought him one of the best moments of his life, when he found himself right in the middle of a pod of dolphins during a break in filming. “It was absolutely extraordinary,” he says. “There were times when the cameraman was doing something and I was still in the water and I could just actually just be there with them.

“I dived down about four metres and I looked down and I had a dolphin right underneath me, under my chest. And I had couple on one side, I mean they never touch you, but they’re close, and a couple on the other side – and then I looked up and they were above me. And I was like in the middle of a pod of dolphins. You can hear them the whole time, they’re constantly clicking. So you can here that that’s that communication going on.

“It was just five minutes or something, it wasn’t a lot of time, but long enough to actually just engage, and realise that this was one of the most remarkable moments in my entire life. To be in that environment with these astonishing animals. I thought ‘blimey, I’m Flipper’.”

The five-part science show, which must be Packham’s most ambitious programme to date, has clear similarities in scope to Sir David Attenborough’s 1979 series Life on Earth, which set out to look at the earliest life forms. “I’d say it was more modern in its narrative structure,” he says thoughtfully. “Also, we’re catering for an audience that we know we need to surprise. We want to feed them short snippets, which are basically entry information into a bigger story, if you like. Those twenty-second things that get people to prick up their ears. And we want people to down the pub and say, ‘do you know what? I just watched this programme and, you won’t believe it, we couldn’t have a head before we had an arse’.

“I don’t think Life on Earth is like that. That felt very 1970s, because that’s when it was made, this just feels like a really modern, cutting-edge version.”

To film the series the BBC team were very careful about where they went in order to limit the carbon footprint. “Ten or 15 years ago, we would have gone to multiple locations to make a series like this,” Chris says. “But I’m pleased to say that each of our programmes was essentially made in one location.”

The elephants in the series opener were filmed in Kenya and the ostriches in South Africa. The horses were in the UK, with three days in France which was reached by train. Then the dolphins were in the Bahamas and the bats were in Borneo.

Chris says his role as presenter on the show, from the team who previously brought us Earth, is to keep the audience enthralled, and showing his own excitement is a big part of that, just as he experienced while watching his hero Attenborough. He particularly remembers a programme made by the veteran broadcaster about birds of paradise, filmed in Papua New Guinea.

“They were my dream birds because they’re mental, they look like space aliens,” he explains. “And I was sat there waiting for it to come on, just thinking, ‘you b****rd, I want to go to Papua, I want to see that.’ But in fact my response to the programme, and a testament to his broadcasting, was that I absolutely loved it because I felt the connection to the birds through his joy.”

Chris found himself caught up in some beautiful moments that will also tug at the audience’s heartstrings, such as when a baby ostrich hatched out of its egg right into his hands. “You’re peering into it, it’s not even in the world yet, and it’s like you’ve had a sneak preview into a life which is going to unfold,” he marvels. “It’s just this little thing moving, and that was really very emotional, that formation of new life.”

Learning new stuff is “the greatest joy” of his job. “I get to work with people who know more about a subject than I do. And their job is to tell me and the team everything they know about it in 30 seconds,” he says. “So my joy is that I attend the University of Zoology every single day that I’m working, and this is updated information, so we’ve constantly gone to the latest science.”

While they don’t skirt away from the technical stuff, like explaining how DNA works, Chris feels it is carefully woven into the narrative. “There’s no dumbing down, but we are conscious constantly of building a narrative which will keep our audience engaged.”

– Evolution, BBC2, Monday 13 July, 9pm

VICTORIA and David Beckham have celebrated 27 years of marriage with sweet tribute posts on their wedding anniversary.

The superstar couple said “I do” in 1999, and have been smitten with each other ever since.

Today, they thrilled fans when they each shared posts to commemorate their long and happy marriage.

Victoria, 52, posted a picture of herself lovingly kissing her husband on the cheek, and penned: “After 27 years of marriage, four amazing children and countless matching outfits, you’re still my *everything*.

“Happy anniversary!! I love you so much.”

While David, 51, shared a slew of pics from their time together, dating back to when they first met.

READ MORE ON THE BECKHAMS

foul play

Brooklyn Beckham takes savage swipe at family in big-money World Cup ad

JANE MOORE

Dear Brooklyn, your ENTIRE mollycoddled existence is based on Brand Beckham

The smitten husband then wrote: “29 years together. 27 years married & you have given me everything I could ever wish for.

“Our proudest achievement will always be our family 🩷 I love you & Happy Anniversary.”

The famous couple said their “I do’s” on July 4, 1999, with their first-born Brooklyn as their ring bearer.

The big day came after the two started dating in 1997 and Becks popped the question the following year.

Posh and Becks sat on golden thrones at the altar and spent all the money needed to have their dream wedding.

According to reports, they splashed out around £500,000, making it one of the most extravagant celebrity weddings.

Along with Brooklyn, the couple also share three more children – Romeo, 23, Cruz, 21, and Harper, 14.

However, their eldest son is currently embroiled in a bitter estrangement with David and Victoria.

In January, Brooklyn made a dozen explosive accusations in a ruthless statement hitting out at his family.

The aspiring chef called out his famous parents for their “inauthenticity”, accused them of making bribes and scolded the family for their treatment of his wife on their wedding day.

In a shock move, he also sent his parents a legal notice warning they can only contact him via lawyers.

In the extraordinary “desist” letter, he also instructed them not to “tag” him on social media.

But in a surprising twist, last month Brooklyn filmed a World Cup advert taking a savage swipe at his family’s estrangement.

It showed the eldest Beckham boy throwing down his match tickets onto the coffee table, which appeared to show a £250,000 designer watch gifted to him by his dad and a stack of unopened letters.

The ad went live on social media after we revealed Brooklyn spurned his sister Harper’s attempt at a reconciliation.

The teenager was pictured delivering a letter to the house Brooklyn shares with his wife Nicola Peltz, 31.

They quickly hit back at the Beckhams, claiming the letter felt like an “orchestrated move by his family” – insisting it “made them feel uncomfortable.”

A spokesman for the couple added: “That photographers were in place as the letter was hand-delivered says it all.

“This was choreographed for the cameras.”

But a source close to the Beckhams called it “another untrue and unfair accusation”.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

July is another month absolutely packed with essential repertory screenings at venues all over Los Angeles. It’s genuinely impossible to attend everything that feels like a must-see. Joshua Rothkopf and I compiled a list of the 10 movies you need to see in L.A. this month to help in making some tough decisions.

On Monday at the Academy Museum will be a 30th anniversary screening of Wes Anderson’s debut feature, “Bottle Rocket,” which introduced the world to his still-evolving mix of whimsy and melancholy with an unmistakably specific sense of style. Anderson will make a rare Los Angeles appearance at the event, along with actor Luke Wilson and producer James L. Brooks.

The New Beverly will have a double bill on July 9 and 10 of Paul Brickman’s “Risky Business” and Steve De Jarnatt’s “Miracle Mile,” two neon-drenched artifacts of the 1980s that both feature scores by the German electronic group Tangerine Dream. (Be sure to also note the screening of “Sorcerer,” featuring another of their pulsing scores, below.)

John Travolta in Brian De Palma’s 1981 thriller “Blow Out.”

(Criterion Collection)

On July 10 there will be a 35mm screening at the Academy Museum of Brian De Palma’s paranoid 1981 thriller “Blow Out,” starring John Travolta as a sound recordist who accidentally captures a political assassination. Anyone who still hasn’t gotten enough from the Fourth of July will want to see this for the thrilling fireworks display as part of its finale.

On July 12 at the American Cinematheque’s Los Feliz Theatre will be a screening of Alexander Mackendrick’s show-biz noir “Sweet Smell of Success” in 35mm with an introduction from filmmaker Shane Black, who presumably learned a thing or two about snappy, acid-drenched dialogue from the film. Black will also be appearing at the Culver Theater on July 22 for a 10th anniversary screening of his crime comedy “The Nice Guys.”

As part of the American Cinematheque’s ongoing 70mm festival, on the 22nd there will be a screening of Damien Chazelle’s 2022 “Babylon,” a bold and ambitious look at the early days of Hollywood starring Margot Robbie and Brad Pitt. It was a box office disaster when it came out but has already seen a passionate fan base grow around it.

Have a killer holiday

Richard Dreyfuss, left, Roy Scheider and Robert Shaw in the 1975 movie “Jaws.”

(Universal Pictures)

There is something rather wholesome about the fact that Steven Spielberg’s 1975 seaside horror-thriller “Jaws” has become the official unofficial movie of the Fourth of July. Set amid a beach community suddenly beset by a great white shark as the town prepares for the holiday, the movie is a mix of ’70s-style ramshackle, good-natured ease and precison-tooled action that prefigures the blockbuster era of the ’80s. Even now at more than 50 years old, there is something undeniable about the movie’s ability to entertain, delight and terrify an audience.

This weekend “Jaws” is playing at venues all over the city, including the Frida Cinema and the Academy Museum, as well as Vidiots, the Gardena Cinema and other theaters.

An underground masterpiece

An image from Ken Jacobs’ 2004 movie “Star Spangled to Death.”

(Los Angeles Filmforum)

When acclaimed avant-garde filmmaker Ken Jacobs died last year at age 92, the world lost one of its most singular voices. In tribute to Jacobs and as a celebration of the 250th anniversary of America, on Sunday at 2220 Arts + Archives, Los Angeles Filmforum will show his “Star Spangled to Death,” a six-and-a-half-hour masterpiece that took decades to complete.

Beginning work on the project in the 1950s, Jacobs would eventually premiere the film in 2004. It is an epic compilation of his own imagery, some of it of his longtime friend and colleague Jack Smith, along with found footage that coalesces into a grand statement on nothing less than the state of the nation. Jacobs himself described the film as a portrait of “a stolen and dangerously sold-out America, allowing examples of popular culture to self-indict.”

A tribute to Marjane Satrapi

An image from the 2007 movie “Persepolis,” directed by Marjane Satrapi and Vincent Paronnaud.

(Sony Pictures Classics)

In tribute to Iranian French cartoonist and filmmaker Marjane Satrapi, who died at age 56 last month, the Los Feliz 3 will have a 35mm screening of her 2007 animated film “Persepolis” on Thursday. Director Ana Lily Amirpour will introduce the movie, which was nominated for an Oscar for animated feature.

Based on Satrapi’s own autobiographical graphic novel, “Persepolis” is about a young girl coming of age during Iran’s Islamic Revolution told with bold line drawings and a belief in the freedom of the imagination.

Love, crime and sweat

Katy O’Brian, left, and Kristen Stewart in the 2024 movie “Love Lies Bleeding.”

(Anna Kooris / A24)

Some movies arrive seeming ready made as cult revival objects. Ross Glass’ 2024 “Love Lies Bleeding” was overlooked when it was first released but seems ripe for rediscovery. In a story that knowingly plays with the motifs of classic film noir and crime dramas, Kristen Stewart plays a hapless, easily manipulated loner in a small dead-end town who falls in with a mysterious and charismatic drifter played by Katy O’Brian. Their chemistry is electric and gives the film a real charge.

The film will show on Thursday at the Frida Cinema as part of its ongoing Nu-Classics series, along with a conversation between actors and online personalities Maggie Mae Fish and Abigail Thorn.

In an interview at the time of release, Glass talked about the film’s appeal, saying, “It’s people meeting each other and falling in love for the first time and those whirlwind sort of first few weeks. Going into it, I don’t think I was specifically thinking of it as horny, but I definitely knew going into it that I wanted it to feel sweaty and intense.”

Road to nowhere

An image from William Friedkin’s 1977 adventure movie “Sorcerer.”

(Criterion Collection)

Though it is a movie we have talked about here before, it is always worth mentioning when there is a screening of William Friedkin’s 1977 “Sorcerer.” It will be playing tonight in the main room at the Academy Museum in a recent 4K restoration, which should be big and loud. The score by Tangerine Dream should be even more brain-rattling than usual in that venue.

The film notoriously first opened a week after “Star Wars” in 1977 and was left in the dust, though it has more recently become revered as one of Friedkin’s best — a movie of relentless, ratcheting tension. An adaptation of the novel that also inspired 1953’s “Wages of Fear,” Friedkin’s film is about a group of desperate men, each on the run from something, who must transport a truckload of nitroglycerine through a dangerous South American jungle.

New this week

• Amy Nicholson found “Minions & Monsters” to be a “delightful dingbat homage to Tinseltown set during the transition from silents to sound.”
• Carlos Aguilar spoke to Minions creator Pierre Coffin about all the old-school movie homages in the new film and its cameo from no less a film figure than George Lucas.
• Katie Walsh reviews Jon Erwin’s “Young Washington,” calling it “propaganda in the form of a history lesson wrapped in a summer blockbuster.”
• Tim Grierson reviews “Romería,” an autobiographical tale from Spanish writer-director Carla Simón starring newcomer Llúcia Garcia, noting “Simón and her star bracingly recall the electricity of youth.”

NEW YORK — David Clayton-Thomas, the lead singer of Blood, Sweat & Tears, whose husky, high-strung tenor on “Spinning Wheel,” “And When I Die” and other hits helped make the so-called brass rock band among the most popular acts of the late 1960s, has died at age 84.

Spokesperson Eric Alper said that Clayton-Thomas died peacefully Wednesday at St. Michael’s Hospital in Toronto. Alper did not cite a specific cause of death.

Clayton-Thomas was a onetime street fighter and petty thief from Canada who briefly became a rock superstar, the front man of a nine-member group that sold millions of records and won two Grammys for “Blood, Sweat & Tears,” which beat out the Beatles’ “Abbey Road” for best album of 1969. Calling out amid a jazzy parade of horns, keyboards and percussion, Clayton-Thomas’ urgent shout was a signature voice of the era, preaching love on the Motown cover “You’ve Made Me So Very Happy,” a lasting legacy on Laura Nyro’s “And When I Die” and a cool head on his own “Spinning Wheel.” Meanwhile, Blood, Sweat & Tears helped inspire a wave of horn-led bands, among them Chicago, the Electric Flag and Ten Wheel Drive.

“A lot of the guys [in Blood, Sweat & Tears] would play a Broadway show matinee, then go up to Harlem and play Latin music or R&B and funk at night, or come down to the Village and play pure jazz the next night,” Clayton-Thomas told Bestclassicbands.com in 2023. “I was just a blues player: Give me three chords and I’ve got a song.”

At its peak, Blood, Sweat & Tears’ appeal was so broad it helped lead to the band’s downfall.

Hip enough to perform at the 1969 Woodstock festival, where they were among the highest paid acts, they also were known enough to the establishment to tour Eastern Europe the following year on behalf of the State Department. When Clayton-Thomas and other band members denounced the Communist regimes on the other side of the Cold War, Rolling Stone’s David Felton wrote that “the State Department got its money worth.” Counterculture Yippies would turn up at a 1970 Blood, Sweat & Tears show at Madison Square Garden, carrying obscene banners outside and dumping manure by the front gate.

The band had practical reasons for going along with the government: Clayton-Thomas, who had allegedly wielded a gun at his girlfriend, had been denied a green card and faced deportation. But after topping the charts in 1970 with the album “Blood, Sweat & Tears 3,” their appeal soon faded. A burned-out Clayton-Thomas left the group in 1972, and neither he nor the remaining musicians ever regained their old stature. Blood, Sweat & Tears would continue recording over the next few years, and even briefly reunited with Clayton-Thomas, who went on to release more than a dozen solo albums and tour on his own for decades.

Beginning under a licensing agreement reached in 1984, Clayton-Thomas toured as “Blood, Sweat Tears” for 20 years with a revolving roster of bandmates. A 1994 Times review of a show at the Coach House in San Juan Capistrano reported that “BS&T’s formula has legs, that its music has withstood the test of time. Indeed, in a world full of today’s pop harmonic minimalism, the sound of trumpets, trombones, guitar and sax backing a singer somehow seems fresh, even if it has been around for so long,” and Clayton-Thomas “still has all the enthusiasm and buzz-saw roughness that gave his voice its distinctive quality way back when.”

In 2005, BS&T re-formed (without Clayton-Thomas, who continued his solo career) and has toured since with various lead singers.

Clayton-Thomas was inducted into the Canadian Music Hall of Fame in 1996. “Spinning Wheel,” covered by everyone from James Brown to TV star Barbara Eden, was voted into the Canadian Songwriters Hall of Fame a decade later.

Born David Henry Thomsett on Sept. 13, 1941, in Kingston upon Thames, near London, and raised near Toronto and Ottawa, he was the son of a Canadian World War II veteran and of a pianist-entertainer who helped inspire her son’s interest in music. Thomsett was lucky to have the chance. He fought violently with his father, was living in the streets by his mid-teens and by age 20 was serving time in a reformatory for vagrancy, assault and other crimes.

An old guitar, left behind by a fellow inmate, changed his life. He taught himself to play and began spending extensive time in the early 1960s around Toronto’s Yonge Street music “strip,” where peers included the American rockabilly star Ronnie Hawkins, a mentor to Robbie Robertson and other future members of the Band and a guide for Thomsett early in his career.

Eager to reinvent himself, he changed his last name to Clayton-Thomas while leading his own groups. In the mid-’60s, he released such albums as “Sings Like It Is” and had a hit single with the antiwar rocker “Brainwashed.” He would also befriend a rising star, Joni Mitchell, whose childlike “Circle Game” helped inspire “Spinning Wheel,” and the venerable John Lee Hooker, who would indirectly contribute to Clayton-Thomas’ breakthrough in the U.S.

The band Blood, Sweat & Tears, including David Clayton-Thomas, far right, from the documentary “What the Hell Happened to Blood, Sweat & Tears?”

(Sony Music Archives)

Hooker had encouraged Clayton-Thomas to move to New York, where the American bluesman had an engagement at the Cafe Au Go Go in Greenwich Village. When Hooker unexpectedly departed for a tour of Europe, club owner Howard Solomon needed a replacement and recruited Clayton-Thomas.

“So I played him a couple songs on the guitar,” Clayton-Thomas told Bestclassicbands.com. “He said, ‘Do you have a band?’ I said, ‘Sure,’ and went out into Greenwich Village looking for anybody carrying a guitar case or even looking like a musician, and we put together a little band and we opened there that night. We ended up staying there for several months.”

Around the same time, session man-producer Al Kooper was looking to form a jazz-rock group and was joined by such musicians as guitarist Steve Katz, drummer Bobby Colomby and horn players Randy Brecker and Jerry Weiss. They called themselves Blood, Sweat & Tears, releasing the debut album “Child Is Father to the Man” early in 1968. Although praised by Rolling Stone publisher Jann Wenner as “a fine, exemplary group,” members were torn between those allied with Kooper and those who thought his vocals too weak to attract a substantial audience.

By the end of the year, Kooper and others had departed, and the band was seeking a new singer. After Judy Collins saw Clayton-Thomas perform, she recommended him to Colomby.

“I got home and just a couple of days later, Bobby Colomby called me up and said, ‘Hey, Kooper’s gone. We got four guys left out of the nine. And we still got a record contract with Columbia. Do you want to come down and try out for the band?’ ” Clayton-Thomas told Bestclassicbands.com. ”I said, ‘You’re damn right.’ I knew [bassist] Jim Fielder real well and I knew they were superb musicians. So I was on the next plane. We had a rehearsal that afternoon, an audition, and it was instant magic. We just knew right off the bat.”

Clayton-Thomas is survived by his daughters, Ashleigh Clayton-Thomas and Christine Graham.

Italie writes for the Associated Press.