Alfred Hitchcock never won an Oscar for directing. Neither did Stanley Kubrick nor Robert Altman nor Sidney Lumet nor Federico Fellini nor Orson Welles.
It’s a group almost as distinguished as the list of winners.
But we’re likely going to cross one name off that ignominious list this year — Paul Thomas Anderson.
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. I already gave away who’s on top of our Oscar power rankings for director. How does the rest of the list shake out? Let’s take a look.
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1. Paul Thomas Anderson, ‘One Battle After Another’
Anderson has three Oscar nominations for directing — “There Will Be Blood,” “Phantom Thread” and “Licorice Pizza.” That feels light. He has 11 Oscar nominations in all, including five as a writer and three as a producer. He has never won. That feels wrong. So with “One Battle After Another,” he checks off both of the main boxes that Oscar winners often possess — he directed the year’s best movie and he’s well overdue for an honor. Like Sean Baker for “Anora” last year, Anderson likely will come home with an armful of Oscars, as he also produced and wrote the movie.
2. Jafar Panahi, ‘It Was Just an Accident’
Panahi has never been nominated for an Oscar, though his films have won the top prizes at the Venice Film Festival (“The Circle”), the Berlin Film Festival (“Taxi”) and, this year, the Cannes Film Festival (“It Was Just an Accident”). That movie’s withering takedown of the cruelty and corruption of authoritarianism packs a punch; it’s also unexpectedly funny in its clear-eyed social critique. Panahi has been imprisoned by the Iranian government many times for speaking out and was recently again sentenced, in absentia, to a year in prison on charges of “propaganda activities against the system.” Like we needed another reason to celebrate the man and his work.
3. Ryan Coogler, ‘Sinners’
(Eli Ade / Warner Bros. Pictures)
Coogler has two Oscar nominations, but they aren’t what you might expect. He was nominated for producing “Judas and the Black Messiah,” the thrilling 2021 historical drama looking at the politics of race. And he earned a songwriting nod for the Rihanna ballad “Lift Me Up” from “Black Panther: Wakanda Forever.” Coogler should have landed an adapted screenplay nomination for the first “Black Panther” movie, a more inventive, world-building work than the umpteenth remake of “A Star Is Born.” But that’s the past. Coogler, like Anderson, figures to be feted in multiple categories at the upcoming Oscars and may well bring home the prize for original screenplay.
4. Chloé Zhao, ‘Hamnet’
(Agata Grzybowska / Focus Features)
Zhao owns two Oscars for directing and producing “Nomadland,” the empathetic and searching portrait of America that felt like a balm when it premiered during the pandemic. After an ill-fitting detour into the Marvel Cinematic Universe with “Eternals,” Zhao came all the way back with “Hamnet,” a deeply felt look at love, loss and the cathartic power of art. Even those who find it overwrought laud the movie’s climactic sequence, a performance of “Hamlet” at the Globe Theatre. I’d argue the ending works so well because of the care Zhao took earlier in establishing the wonder and joy of the family’s life. “Hamnet,” to my damp eyes, is her best film.
5. Joachim Trier, ‘Sentimental Value’
(Lewis Joly / Invision / AP)
From here, you could shuffle the five through eight slots and make a good case for any of these directors landing the fifth slot in the field. Trier has much to recommend his subtle interweaving of past and present, hope and hurt in “Sentimental Value.” He received a screenplay nomination for his last movie, “The Worst Person in the World,” also starring Renate Reinsve. The directors branch boasts a strong contingent of voters from all over the world, a group that could easily nominate the filmmakers behind two of the year’s most celebrated international feature contenders. Plus, “Sentimental Value’s” salty view of Hollywood is bound to appeal to this bunch.
6. Guillermo del Toro, ‘Frankenstein’
The affable, movie-loving Del Toro has won many fans inside and outside the industry over the years, along with Oscars for directing and producing the 2017 best picture winner “The Shape of Water” and for “Pinocchio,” the enchanting 2022 movie that snagged animated feature. “Frankenstein” is far from his best work, but it probably has enough admirers to land a best picture nomination and mentions in several other categories. Director, though? If Del Toro didn’t make the cut for “Nightmare Alley,” he’s probably a near-miss for this one too.
7. Josh Safdie, ‘Marty Supreme’
(Atsushi Nishijima / A24)
It’s “Marty Supreme” week! The movie finally arrives on Christmas and, over the holidays, we’ll begin to have the sorts of conversations that will shed some light on the movie and its Oscar chances beyond the certain nominations for best picture and lead actor Timothée Chalamet. Is the title character, a single-minded ping-pong player oblivious to anything but his own advancement, a jerk? Or is he just like any other man in his 20s? Is the film’s last shot a sign of growth or a man contemplating his own death sentence? We’ll have time to discuss and, yes, revel in the unhinged chaos Safdie unleashes here.
8. Clint Bentley, ‘Train Dreams’
(Daniel Schaefer / BBP Train Dreams)
And finally, we arrive at the man behind “Train Dreams,” a contemplative film about an ordinary man puzzling through loss, guilt, the mundane and the magnificent. It’s the anti-”Marty Supreme” — quiet, painterly, a tad slow, sure, but hypnotic in the way it evokes a bygone America. Just the second movie Bentley has directed, following the little-seen 2021 drama “Jockey,” it has built a devoted following since landing on Netflix last month.
Therapy often gets mined for comedy but we don’t often see comedy treated as sincere therapy. “Is This Thing On?” from director and co-writer Bradley Cooper, makes the case that glum dad Alex (Will Arnett), new to Splitsville after he and his wife of 20 years, Tess (Laura Dern), mutually agree to separate, may have figured out an ideal coping mechanism by signing up for open mic night.
Not that we see this by-day finance guy reject professional help in favor of some untapped passion. (Vamping for five minutes in front of strangers negates the cover charge.) But in bringing his marital woes to the stage and getting some chuckles, Alex believes he’s hit upon something: a talking cure that comes with a fresh identity, new friends, an acceptable level of risk and a way out of unhappiness.
It’s such a frisky, alluring idea for a character study — meeting failure with the potential for more failure (and night after night to boot) — that when the movie proves to actually be about whether the marriage can be saved, instead of the granular, temperamental world of stand-up newbies, it almost feels like a bait and switch. Fortunately, the divorce saga is interesting too, featuring Dern at her best, and is plenty intelligent about the nuances of couples who have built something solid (stable lives, nice 10-year-old twin boys, etc.) at the same time they’ve grown apart. “Is This Thing On?” is that rarity: a perfectly worthy dramedy that sometimes feels off because it’s trying to cram two good movies into one.
The confidence comes from Cooper, who, after only two films in the director’s chair (“A Star Is Born,”“Maestro”), has shown himself to be not only a powerful chronicler of artistic lives but especially couples in the showbiz sphere. This time, he tantalizes us with the milieu of nightclub self-expression and a group of regular amateurs Alex gets comfortable hanging with. But over two hours Cooper makes it clear he’s simply followed his protagonist into a safe space of encouragement (featuring Amy Sedaris as a helpful veteran comic), not necessarily a complex world of personality types to be navigated. It’s codified by Cooper’s visual approach, a handheld intimacy reminiscent of European movies, in which Matthew Libatique’s camera rarely strays from tight shots of Arnett’s face, looking for change — circling it, centering it, trailing it when Alex is on the move.
Though Alex is earnest if a tad hacky with his relationship jokes, Arnett (credited as a co-screenwriter with Mark Chappell, from a story they created with John Bishop) captures a fizzy, awkward energy of midlife discovery. Invariably, the movie is unconcerned with whether Alex might be any good as a stand-up because soon it’s about how this new pep in his step registers with Tess, who’s struggling with her own sense of personal fulfillment as a former volleyball legend turned mom and how it affects their on-the-brink married friends, Christine (Andra Day) and Balls (Cooper, hilarious as a spacy actor). Christine Ebersole and Ciarán Hinds, as Alex’s parents, humorously weigh in too on what long-term togetherness entails.
After a narrative coincidence that’s entertainingly handled, “Is This Thing On?” aims to be a more serious-minded, less rom-com-ish “It’s Complicated,” with Tess and Alex seeing if there’s a new way for them to acknowledge where they went astray. The actors sell it, especially when Dern is unafraid to mix revitalized pleasure with pushing for answers. But the stand-up storyline, so promising, is dropped and it feels like a missed opportunity. Still, the highs and lows of marriage aren’t merely a punch line in “Is This Thing On?” — and that’s good.
‘Is This Thing On?’
Rated: R, for language throughout, sexual references and some drug use
WASHINGTON — FBI Deputy Director Dan Bongino said Wednesday that he will resign from the bureau next month, ending a brief and tumultuous tenure in which he clashed with the Justice Department over the handling of the Jeffrey Epstein files and was forced to reconcile the realities of his law enforcement job with provocative claims he made in his prior role as a popular podcast host.
The departure, which had been expected, would be among the highest-profile resignations of the Trump administration. It comes as FBI leadership has been buffeted by criticism over Director Kash Patel’s use of a government plane for personal purposes and social media posts about active investigations.
Bongino announced his planned departure in a post on X in which he said he was grateful for the “opportunity to serve with purpose.” He did not say precisely when in January he would leave or detail his future plans.
President Trump said earlier Wednesday, in response to a question about Bongino’s fate: “Dan did a great job. I think he wants to go back to his show.”
Bongino was always an unconventional pick for the No. 2 job at the FBI, a position that historically has entailed oversight of the bureau’s day-to-day operations and typically has been held by a career agent. Though he had previously worked as a New York City police officer and Secret Service agent, neither he nor Patel had any experience at the FBI before being picked for their jobs.
Nonetheless, Bongino was installed in the role in March by Trump after years as a conservative podcast host, where he used his platform to repeatedly rail against FBI leadership and to encourage conspiracy theories related to the Epstein sex-trafficking case and pipe bombs discovered in Washington on Jan. 6, 2021.
Once in the position, Bongino struggled to placate elements of Trump’s base who expected him to quickly deliver the reform he had claimed was needed at the FBI and to uncover the truths he had said had been hidden by the federal government.
On the Epstein case, for instance, he had previously challenged the official ruling that the wealthy financier had taken his own life in a New York jail soon after his 2019 arrest. But once in the FBI, he said in a Fox News interview: “I’ve seen the whole file. He killed himself.”
Bongino had separately speculated as recently as last year that the pipe bombs placed on the eve of the Jan. 6 Capitol riot were an “inside job” and part of a “massive cover-up.” But after the FBI earlier this month arrested a 30-year-old Virginia man with no evident connection to the federal government, Bongino was pressed about his prior comments.
“I was paid in the past for my opinions,” Bongino said in a Fox News interview. “One day I will be back in that space, but that’s not what I’m paid for now. I’m paid to be your deputy director, and we base investigations on facts.”
A Gold Rush movie from director Ang Lee and a biopic set in Long Beach and produced by Snoop Dogg are among the 28 films that have been awarded a tax credit for shooting in California, the state’s film commission said Wednesday.
Together, the 28 films are expected to hire more than 4,800 cast and crew members, as well as more than 22,000 background actors, the commission said. The projects are projected to generate $562 million in economic activity throughout the state.
Of the 28 projects, 18 are indie films with budgets of $10 million or less, five are indies with budgets of more than $10 million and five are non-independent feature films.
Seventeen of the projects will be shooting outside the Los Angeles region, which qualifies them for additional benefits under the revamped California film and television production incentive program that was approved earlier this year. The state has now doubled the annual amount of funds allocated to the program from $330 million to $750 million and expanded the eligibility criteria.
This is the fourth round of TV or film projects that have been awarded tax credits under the revised program. Together, those projects are on track to generate $4.2 billion in economic activity in California and more than 25,000 cast and crew jobs across 4,000 filming days in the state, the commission said.
“In a highly competitive global environment, productions have choices,” said Colleen Bell, director of the California Film Commission. “This round shows that when California puts the right tools on the table, filmmakers want to stay, create and invest here.”
In addition to the “Gold Mountain” film from Lee, which was awarded $7.7 million in tax credits, and the untitled NBCUniversal project from Snoop Dogg ($17 million), an indie film called “Guerrero” directed by Gina Rodriguez was also awarded a $4.5-million tax credit, along with an untitled Sony project produced by actor Glen Powell ($9.9 million).
“California raised me, inspired me, and now helpin’ bring this biopic to life in 2026,” Snoop Dogg said in a statement. “Much respect — that’s real teamwork, ya dig.”
Months before his slaying, Rob Reiner talked about the power of forgiveness after the “horrific” assassination of conservative influencer Charlie Kirk.
“Horror. An absolute horror,” the director, actor and political activist said when asked about the shooting in a TV interview with Piers Morgan. “I unfortunately saw the video of it and it’s beyond belief what happened to him, and that should never happen to anybody. I don’t care what your political beliefs are. That’s not acceptable.”
“Rob Reiner, a tortured and struggling, but once very talented movie director and comedy star, has passed away, together with his wife, Michele, reportedly due to the anger he caused others through his massive, unyielding, and incurable affliction with a mind crippling disease known as TRUMP DERANGEMENT SYNDROME, sometimes referred to as TDS,” Trump said in a social media post.
“He was known to have driven people CRAZY by his raging obsession of President Donald J. Trump, with his obvious paranoia reaching new heights as the Trump Administration surpassed all goals and expectations of greatness, and with the Golden Age of America upon us, perhaps like never before. May Rob and Michele rest in peace!”
How is that anyone’s initial reaction to a tragic slaying, let alone an official comment from a sitting U.S. president? That’s a rhetorical question, of course. It’s just another Monday at Trump’s White House.
I’d be screaming into the void if I were to use the rest of this column to argue that the president is not only off his rocker but also has tumbled down the stairs and is in the foyer, mumbling something about speedboats, piggies and ballrooms. In his race to the bottom, he’s broken through the floor. Now we’re in the Trump Upside Down, where empathy and decency are negative attributes.
Even Republican lawmakers were compelled to speak out against their feared leader. “This is a family tragedy, not about politics or political enemies,” said Georgia Rep. Marjorie Taylor Greene in response to Trump’s post.
Rep. Mike Lawler (R-N.Y.) wrote on X, “Regardless of one’s political views, no one should be subjected to violence, let alone at the hands of their own son. It’s a horrible tragedy that should engender sympathy and compassion from everyone in our country, period.”
Don Bacon (R-Neb.) said it short and sweet to CNN’s Jake Tapper: “I’d expect to hear something like this from a drunk guy at a bar, not the President of the United States. Can the President be presidential?”
No, he cannot. When given the chance on Monday to appear leader-like during a White House news conference, Trump doubled down on his dislike for Reiner, saying he “wasn’t a fan” and that the director “was a deranged person.”
Translation: Reiner was a Trump critic and the president has skin so thin it’s practically rice paper at this point. But the filmmaker’s social conscience was evident in everything he did, starting with his role as “All in the Family’s” liberal, hippie son-in law to conservative crank Archie Bunker. It was the 1970s, and Meathead (a.k.a. Michael) consistently called out Archie’s racism, bigotry and sexism on the weekly sitcom. Archie’s rants are now the ugly stuff embraced by feckless politicians and attention-seeking influencers, but back then, his tirades against “queers” and “coloreds” represented old prejudices that needed to be shed if the country were to move forward. Show creator Norman Lear made the ugliness funny by using Meathead to expose Archie’s ignorance. Even back then, Reiner was poking the bear.
Reiner was a staunch critic of Trump and other leaders and movements that sought to curtail the freedoms that were previously believed to be enshrined in the Constitution — until MAGA began shredding them one by one. The comedian was an advocate for democratic ideals, Democratic candidates, same-sex marriage, early childhood education, and government transparency, spearheading California’s Proposition 10 (First 5) to fund early development programs via tobacco taxes. He also helped overturn Proposition 8, California’s brief ban on gay marriage.
Reiner’s understanding that it takes all kinds was evident in his work. He was a director with range, as they say in the industry, helming a string of films that became cultural touchstones, starting with 1984’s groundbreaking mockumentary “This Is Spinal Tap,” a satire that forever changed the language around heavy-metal decibel levels (“Crank it to 11!”). Then came 1986’s coming-of-age drama “Stand by Me,” 1989’s seminal romantic comedy “When Harry Met Sally…,” and the terrifying, psychological horror-thriller, 1990’s “Misery,” about an injured novelist held captive by his biggest fan.
Some of his films directly addressed the inequity and violence that Reiner fought so hard to correct in his lifetime. “Ghosts of Mississippi” explored the 1994 trial of Byron De La Beckwith, a white supremacist accused of the 1963 assassination of civil rights activist Medgar Evers. And Reiner’s 2017 drama “Shock and Awe” told the true story of a team of reporters who countered the Bush administration’s justification for invading Iraq in 2003 when they found evidence of falsified intelligence about weapons of mass destruction.
Though it was already acceptable to speak out against that Middle Eastern war, in the same week of the film’s release, he caught flak for signing a petition led by Palestinian director Annemarie Jacir condemning Trump’s 2017 decision formally recognizing Jerusalem as the capital of Israel. Reiner, who was Jewish, told the National that Trump had “no concept of geopolitical events or how things are interconnected. There was no consideration that went into this decision, no outreach to allies in the Arab world, or even the non-Arab world to see what the impact of something like this is.”
Reiner saw tragedy and sadness in the death of Kirk because he was able to empathize with the loss of life, no matter the difference of opinion.
Rob Reiner was born into the lineage of comedy thanks to his father, television pioneer Carl Reiner, and he first gained recognition as an actor, including his Emmy-winning role on “All in the Family.” And while there is certainly a streak of humor through almost all of his films, what marks Reiner’s work as a director is his astonishing versatility, able to switch styles from one project to the next with remarkable ease. The run of films that begins with his feature directing debut, 1984’s “This Is Spinal Tap,” on through 1986’s “Stand by Me,” 1987’s “The Princess Bride,” 1989’s “When Harry Met Sally…,” 1990’s “Misery,” 1992’s “A Few Good Men” and 1995’s “The American President” is simply breathtaking for its mastery across the specrum of popular Hollywood moviemaking.
‘This Is Spinal Tap’ (1984)
Harry Shearer, left, Christopher Guest and Michael McKean in the movie “This Is Spinal Tap.”
(Archive Photos / Getty Images)
Though not strictly the first to explore the form, Reiner’s first feature as director more or less cemented the concept of the “mockumentary,” presenting itself as a documentary on the (fictional) rock band Spinal Tap. Reiner appeared onscreen as Marty DiBergi, director of the faux film-within-the-film, forming a neat transition from his career as an actor to director. And while this year’s sequel “Spinal Tap II: The End Continues” was not particularly well received, the legacy of the original, still among the most quotable comedies ever made, remains untouchable. — Mark Olsen
‘The Sure Thing’ (1985)
Made amid the teen sex comedy craze of the 1980s, Reiner’s second film, about two college students sharing a cross-country car trip together, had something special and different about it — namely the performances of John Cusack and Daphne Zuniga, who both brought an openhearted tenderness to a story that might have toppled into cynicism. The emotional earnestness that would often come through in Reiner’s work first emerged here, making what could have been a run-of-the-mill exercise into something more. — M.O.
‘Stand by Me’ (1986)
Wil Wheaton, left, River Phoenix, Jerry O’Connell and Corey Feldman in the movie “Stand by Me.”
(Columbia Pictures)
Based on a novella by Stephen King, “Stand by Me” is about four boys — played by Wil Wheaton, Corey Feldman, Jerry O’Connell and River Phoenix — who find their friendship tested during a particularly eventful Labor Day weekend of 1959. Approaching the story with a mix of dewy nostalgia and incisive clarity, the film earned Reiner the first of three nominations from the Directors Guild of America. — M.O.
‘The Princess Bride’ (1987)
Robin Wright and Cary Elwes in the movie “The Princess Bride.”
(20th Century Fox / Kobal / REX / Shutterstock)
It would be inconceivable to not include “The Princess Bride” in any consideration of Reiner’s best, as the swashbuckling fantasy romance embodies a sense of playful inventiveness and anything-can-happen ethos. An elderly man reads a story to his grandson as the action comes to life in the tale of a farm boy and a princess who are fated to be together, if only they can overcome all manner of trials and challenges. The movie has now enchanted multiple generations of children and adults alike. — M.O.
‘When Harry Met Sally…’ (1989)
Meg Ryan and Billy Crystal in the movie “When Harry Met Sally…”
(Castle Rock Entertainment)
As much as any other movie, “When Harry Met Sally…” (scripted by Nora Ephron) has come to embody the modern romantic comedy with its will they-won’t-they tale of two good friends who come to realize they may also work as something more. Grounded by the charming performances of Meg Ryan and Billy Crystal, as well as a strong supporting cast including Carrie Fisher and Bruno Kirby, the film has a rare warmth. It was Reiner’s mother Estelle who delivered the unforgettable punchline, “I’ll have what she’s having.” — M.O.
‘Misery’ (1990)
Kathy Bates and James Caan in “Misery.”
(Archive Photos / Getty Images)
Reiner named his production company Castle Rock Entertainment in honor of his deep love for Stephen King’s fiction and after making a splash with “Stand by Me,” there was no way he wasn’t going do something scarier as a follow up. (You get a hint in “When Harry Met Sally” — look at the hardcover Crystal is skimming.) King’s captive-author nightmare gets classed up by two knockout performances calibrated in perfect harmony: Kathy Bates’ psycho fan, a turn that earned her an Oscar, and James Caan as the bedbound writer. At the time, Caan was an actor in need of a second chance. Reiner was it. — Joshua Rothkopf
‘A Few Good Men’ (1992)
Jack Nicholson, left, and Tom Cruise in the movie “A Few Good Men.”
(Mondadori Portfolio / Mondadori via Getty Images)
Reiner seemingly conquered yet another movie genre with this tightly wound military courtroom thriller and received his only Academy Award nomination, for best picture. Reiner was also recognized with nominations from the Directors Guild, Producers Guild and Golden Globes for the film. Written by Aaron Sorkin and featuring a cast that includes Tom Cruise and Demi Moore, this has Jack Nicholson’s volcanic delivery of the now-legendary line, “You can’t handle the truth!” — M.O.
‘The American President’ (1995)
Michael Douglas and director Rob Reiner on the set of “The American President.”
(Archive Photos / Getty Images)
A president as a romantic lead? Such things actually happened during the Clinton era. Reiner injects warmth and realism to Sorkin’s swaggering original script, loaded with wonky dialogue and walk-and-talks. But it’s the careful steering of Michael Douglas as a widowed U.S. leader and rising star Annette Bening as an extra-persuasive eco-lobbyist that distinguish this gentle comedy, one that seems positively alien to our current climate. Widely known for his vigilant activism in later years, Reiner’s on-screen politics were no less optimistic. — J.R.
‘Rumor Has It’ (2005)
Jennifer Aniston and Kevin Costner in the movie “Rumor Has It.”
(Melissa Moseley / Warner Bros. Pictures)
Not many would dare to take on a sort-of sequel to a movie as beloved as “The Graduate,” but Reiner brought a casual ease to the tale of a woman, played by Jennifer Aniston, who believes her mother and grandmother were the inspiration for Charles Webb’s original source novel. Though reviews at the time largely savaged the movie, it now seems just the kind of self-assured studio comedy audiences yearn for, buoyed by Shirley MacLaine’s outrageous performance as a woman who may be the real Mrs. Robinson. — M.O.
‘Albert Brooks: Defending My Life’ (2023)
Albert Brooks, left, and Rob Reiner in the documentary “Albert Brooks: Defending My Life.”
(HBO)
Reiner received two Emmy nominations for this documentary tribute to comedian, actor and filmmaker Albert Brooks, a friend of Reiner’s since the two met as teenagers at Beverly Hills High. It’s captured as an expansive conversation with the two sharing a meal in a restaurant. As much as the film is a portrait of Brooks, it also reflects Reiner’s own unique position as someone who knew show business and its ups and downs with a rare intimacy. — M.O.
MONTY Python star Eric Idle has revealed the heartbreaking final conversation he had with Rob Reiner only hours before he was stabbed to death.
Idle said he spoke with a healthy and happy Reiner, 78, for over an hour on the phone as the beloved director opened up on his thoughts on the future.
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Monty Python star Eric Idle has revealed the heartbreaking final conversation he had with Rob Reiner only hours before he was stabbed to deathCredit: APHollywood was left in shock after reports emerged that Reiner and his wife Michele, 68, had been stabbed to death at their home on Sunday afternoonCredit: GettyThe couple’s daughter Romy shared holiday pictures of Reiner in the weeks before his deathCredit: Instagram
Hollywood was left in shock after reports emerged that Reiner and his wife Michele, 68, had been stabbed to death at their home on Sunday afternoon.
Their troubled son Nick, 32, is now reportedly a person of interest in the double homicide investigation.
Daughter Romy, who lives across the street from her parent’s $13.5million estate, reportedly discovered the couple with fatal injuries consistent with multiple stab wounds.
Tributes have flooded in for Reiner and Michele since.
British actor and comedian Idle led the way as he revealed his heartbreaking last talk with Reiner took place just one day before the suspected double murder.
Idle, who first met the When Harry Met Sally director over 50 years ago, wrote: “Rob Reiner was a lovely man. I spoke to him last night for over an hour. I always enjoyed his company.
I met him at his Dad’s in 1975. He was telling me about filming at Stonehenge and his thoughts for the future.
“This is so awful. I shall miss him. A clever, talented and very thoughtful man. So awful.”
Investigations into the death of the Hollywood super couple are still ongoing.
Police rushed to the six-bedroom home just after 3:30pm on Sunday afternoon after an emergency call was reportedly made by Romy, 28.
LAPD Captain Mike Bland quickly confirmed the force are investigating an “apparent homicide”.
Detectives from the Robbery Homicide Division have now been assigned to the case.
LAPD Deputy Police Chief Alan Hamilton told reporters at the scene that investigations will continue throughout the night with multiple family members set to be interviewed.
He added that there was no sign of forced entry into the home.
No arrests have been made with no suspects named at the moment, cops confirmed.
Investigators are set to speak to son Nick about the horror stabbing, according to multiple sources who have spoken with the family.
Son Nick Reiner, 32, is believed to be a potential person of interest in the double homicide investigationCredit: GettyA huge police presence surrounds the Brentwood homeCredit: AP
Nick, who reportedly lives in LA, has rarely been seen publicly since he opened up about his struggles with drug addiction in 2016.
He admitted to first going to rehab at the age of 15 and said his addiction issues even left him homeless.
Romy had shared pictures of her dad on holiday just last week alongside the heartbreaking caption: “Thankful for family, health, and followers of any age.”
HOLLYWOOD ICON
Reiner, raised in the Bronx by comic father Carl, was a huge presence in the movie industry after more than five decades as a top director and actor.
He started his career in front of the camera where he played Michael “Meathead” Stivic on the iconic sitcom “All in the Family” for eight years.
He then moved into directing with his most notable projects including the 1984 cult classic This Is Spinal Tap, The Princess Bride in 1987, and When Harry Met Sally in 1989.
In 1993, he was nominated for an Academy Award for “A Few Good Men,” which starred Jack Nicholson, Tom Cruise and Demi Moore.
Reiner’s production company Castle Rock Entertainment, which he co-founded, also helped to create Seinfeld and The Shawshank Redemption.
Michele and Rob with their three children Jake (far left), Nick (second from the left) and Romy (middle)Credit: GettyReiner starred as Leonardo DiCaprio’s dad in The Wolf of Wall StreetCredit: IMBDReiner on the set of This Is Spinal Tap in 1984Credit: Alamy
He would move between acting and directing right up until his death.
His most notable role in the past 15 years was as Jordan Belfort‘s dad in The Wolf of Wall Street alongside Leonardo DiCaprio.
This year he starred in both the critically acclaimed series The Bear and featured in the Spinal Tap II: The End Continues.
Michele was also known for her work as a producer and photographer.
Her most well known project saw her take the photo of Donald Trump which appears on the cover of his 1987 book Trump: The Art Of The Deal.
Reiner and Michele had been married since 1989 and shared three children together.
They first met while Reiner was directing When Harry Met Sally.
TRIBUTES POUR IN
Tributes for the beloved Hollywood couple quickly flooded in after reports of their deaths were announced.
John Cusack, who starred in Reiner’s film The Sure Thing, said: “Shocked by the death of Rob Reiner – a great man.”
Actor Josh Gad described Reiner as “one of the greatest directors of our time”.
Lord Of The Rings star Elijah Wood later posted: “Horrified to hear of the passing of Rob Reiner and his wonderful wife Michelle.
“So much love to their kids and family.”
Dozens of mourning fans took to the streets of Brentwood to pay their respects to the couple.
Among them was Larry David and Billy Crystal, according to neighbours.
Reiner was also a political force through his Democratic Party activism.
He was widely appreciated for his work as an outspoken supporter for LGBTQ equality and early childhood development.
Former US president Barack Obama paid tribute to Reiner saying he and his wife Michelle were “heartbroken by the tragic passing of Rob Reiner and his beloved wife, Michele”.
Former House speaker Nancy Pelosi described him as “creative, funny, and beloved” as she also paid tribute to Michele.
Reiner alongside Jack Nicholson, Tom Cruise and Demi Moore after being awarded two People’s Choice Awards for ‘A Few Good Men’ in 1992Credit: ReutersReiner and Michele together in 1990Credit: Alamy
Rob Reiner, a writer, director, producer, actor and political activist whose career in Hollywood spanned more than six decades and included some of the most iconic titles in movie history, was found dead Sunday with his wife, Michele Singer Reiner, at the home they shared in Brentwood. He was 78.
“It is with profound sorrow that we announce the tragic passing of Michele and Rob Reiner,” a spokesperson for the family said in a statement Sunday. “We are heartbroken by this sudden loss, and we ask for privacy during this unbelievably difficult time.”
Reiner will be remembered as the director of the seminal 1980s rom-com “When Harry Met Sally,” the actor whose character “Meathead” faced off regularly against Archie Bunker, and the political activist who backed early childhood programs in California and railed loudly for years against President Trump.
The oldest child of comedian Carl Reiner and singer Estelle Reiner, Robert Reiner was born March 6, 1947, in the Bronx, N.Y. Raised by a father who won 11 Primetime Emmys and a Grammy in addition to the Mark Twain Prize for American Humor, Rob Reiner attended Beverly Hills High School and studied film at UCLA. He then went to work in Hollywood as an actor and writer before moving on to directing and producing.
Reiner’s writing credits in the 1960s included “The Smothers Brothers Comedy Hour,” “The Glen Campbell Goodtime Hour” and the TV movie “Where the Girls Are.” In the 1970s, he wrote several episodes of “All in the Family” as well as the Primetime Emmy Awards telecast in 1978 and episodes of “The Tonight Show Starring Johnny Carson.”
Reiner married Penny Marshall, star of TV’s “Laverne & Shirley,” in 1971 and adopted Tracy, the daughter Marshall had from a previous marriage. Reiner and Marshall divorced in 1981.
He wrote for the first “Comic Relief,” hosted by Robin Williams, Billy Crystal and Whoopi Goldberg. That and the dozen “Comic Relief” telethons that followed raised awareness and money to fight poverty in the U.S. and elsewhere.
“This Is Spinal Tap” in 1984 further established Reiner’s comedic sensibilities in the American milieu. His work took a dramatic turn when he directed the 1986 adaptation of Stephen King’s novella “Stand by Me,” which starred Wil Wheaton, River Phoenix, Corey Feldman and Jerry O’Connell, but he returned to comedy with 1987’s “The Princess Bride” starring Cary Elwes, Robin Wright and Mandy Patinkin. Also in 1987, he co-founded production company Castle Rock Entertainment.
Then he directed what would emerge as one of the most beloved rom-coms ever — “When Harry Met Sally,” starring Crystal and Meg Ryan.
On the set of the movie he met photographer Michele Singer and the two married in 1989, the year the film came out. They went on to have three children, Jake, Nick and Romy, born in 1991, 1993 and 1997, respectively.
Reiner was finally nominated for a best picture Academy Award in 1994 for “A Few Good Men,” starring Jack Nicholson and Tom Cruise, though the movie lost out that year to Clint Eastwood’s Western “Unforgiven.”
Reiner’s work had sweeping cultural impacts. Three of his movies, “When Harry Met Sally,” “The Princess Bride” and “This is Spinal Tap,” are on the National Film Registry. The phrase “up to eleven,” coined in “This Is Spinal Tap” during an improvised sequence between Reiner and Christopher Guest, is in the Oxford English Dictionary.
“It’s weird that something that we just threw off like that suddenly becomes part of the lexicon of our lives,” Reiner said on NPR’s “Fresh Air” in September. “It’s very strange how these things have taken root.”
In 2015, Reiner was the producer on “Being Charlie,” a drama based on his family’s struggles while son Nick was addicted to hard drugs and rotating in and out of rehabs and homelessness.
“It was very, very hard going through it the first time, with these painful and difficult highs and lows,” Reiner told The Times in 2015. “And then making the movie dredged it all up again.”
Growing up, Reiner balanced conflicting feelings about his relationship with his own father, who was someone he strongly admired. But he also felt as though his father didn’t fully know him. That dichotomy inspired a scene in “Stand by Me” when Gordie declares his father hates him.
“Loving your father and looking up to your father doesn’t necessarily mean you’re feeling that back,” Reiner said on “Fresh Air” in September, recalling how writing that scene made him cry. Reiner, added, however, that he had two “great guides” in his life, his father, who died in 2020, and “All in the Family” creator Norman Lear.
Reiner was a writer on “The 40th Kennedy Center Honors” in 2017, capping a career that included myriad variety show writing credits. “Spinal Tap II: The End Continues,” which he directed, was his final project as a scribe. “Spinal Tap at Stonehenge: The Final Finale,” due out in 2026, was his final directing credit.
Reiner was nominated five times for supporting actor Emmys for his “All in the Family” work, winning in 1974 and 1978. He was up for two Emmys in 2024 for the documentary “Albert Brooks: Defending My Life.”
A staunch liberal, Reiner also emerged as a force in California politics and child welfare and education issues, and campaigned for presidential candidates including former Vice President Al Gore, endorsed former Secretary of State Hillary Clinton for president and spoke up for President Biden’s reelection. Reiner was also an unapologetic critic of President Trump.
He campaigned in California against tobacco use and in 1998 saw the passage of Proposition 10, which called for a tax on tobacco products to be spent on early childhood programs. Reiner became chairman of the First 5 California Children and Families Commission in January 1999. He resigned in March 2006 amid accusations that the commission had used tax money to boost his campaign for the ultimately unsuccessful Proposition 82, which would have raised income taxes on wealthy Californians to pay for preschool for 4-year-olds. An audit later concluded that he and the commission had not violated state law.
“Rob Reiner has always put California’s kids first, and I thank him for the great work he has done over the last seven years,” then-Gov. Arnold Schwarzenegger said in a statement at the time. “Because of Rob’s efforts, California has become a national leader in providing early childhood health and education services for our youngest children and their families.”
Times editor Brittany Levine Beckman contributed to this report.
Los Angeles police are investigating an apparent homicide at the Brentwood home of Rob Reiner, where two people were found dead Sunday afternoon.
The bodies of a 78-year-old man and a 65-year-old woman were found at the home in the 200 block of Chadbourne Avenue, according to Police Capt. Mike Bland.
Law enforcement sources told The Times that a family member was being questioned in connection with the death. .
The sources, who were not authorized to speak publicly about the ongoing investigation, confirmed that there was no sign of forced entry into the home. The names of the victims have not been released.
Margaret Stewart, a Los Angeles Fire Department spokesman, said the department was called to the residence around 3:30 p.m. for medical aid. Inside the home, fire personnel discovered the bodies of the man and woman.
Rob Reiner and wife Michele Reiner attend the 46th Kennedy Center Honors gala at the Kennedy Center for the Performing Arts in Washington in December 2023.
(Kent Nishimulra / AFP via Getty Images)
Reiner, 78, has had a five-decade-long career in Hollywood.
Early in his career, he played Michael “Meathead” Stivic on the iconic sitcom “All in the Family” from 1971 to 1979, alongside Carroll O’Connor as Archie Bunker.
As a director, Reiner helmed a string of hits including “When Harry Met Sally,” “The Princess Bride” and “This Is Spinal Tap.” His work took a dramatic turn when he directed the 1986 adaptation of Steven King’s novella “Stand by Me.”
Reiner was finally nominated for an Academy Award for 1993’s “A Few Good Men,” which starred Jack Nicholson and Tom Cruise, though the movie lost to Clint Eastwood’s western “Unforgiven.”
Reiner also was a leading political voice in Hollywood.
He was a co-founder of the American Foundation for Equal Rights, the organization that led the fight to overturn Proposition 8, which banned same-sex marriage. He’s also been active in children’s issues through the years, having led the campaign to pass Proposition 10, the California Children and Families Initiative, which created an ambitious program of early childhood development services.
Proposition 10 was considered landmark policy. Reiner enlisted help in the effort from Steven Spielberg, Robin Williams, and his own father, comedy legend Carl Reiner.
Reiner was married to Penny Marshall, star of “Laverne & Shirley,” from 1971 to 1981. He met photographer Michele Singer on the set of “When Harry Met Sally” and the two married in 1989, the year the movie came out.
Michele Singer Reiner began producing films over the last decade, including “Shock and Awe,” “Albert Brooks: Defending My Life” and “Spinal Tap II: The End Continues,” all directed by her husband. She also produced “God & Country,” a look at Christian nationalism in the U.S.
By Sunday evening, law enforcement had swarmed Reiner’s sprawling estate in Brentwood, though an eerie quiet hung over Chadbourne Avenue, which had been sealed from the public with yellow crime scene tape.
Police cars were stationed at either ends of the block where the Reiner residence is located while a chopper circled overhead.
Officers spoke to a young man inside of the sealed off area, who left the scene around 7:30 p.m. in a white Tesla and declined to speak to the media.
Councilmember Traci Park, whose Westside district includes Brentwood, said in a statement that the LAPD had increased patrols in the neighborhood “out of an abundance of caution.”
“As we continue to wait for more updates, I want to express my profound concern and sadness at the news coming out of Brentwood,” Park wrote in the statement. “We are in close contact with LAPD as the homicide unit continues their investigation.”
This breaking news story will be updated.
Times staff writer David Zahniser contributed to this report.
Filmmaker Carl Erik Rinsch, who directed the 2013 action film “47 Ronin” starring Keanu Reeves, was convicted Thursday for defrauding Netflix of $11 million.
U.S. District Judge Jed S. Rakoff found Rinsch guilty of wire fraud, money laundering and other charges, the U.S. Attorney’s Office, Southern District of New York announced. Attorney Benjamin Zeman, who represents Rinsch, denounced the verdict in a statement shared Friday.
“I think the verdict was wrong and I fear that this could set a dangerous precedent for artists who become embroiled in contractual and creative disputes with their benefactors,” Zeman said, “in this case one of the largest media companies in the world, finding themselves indicted by the federal government for fraud.”
A representative for Netflix did not comment on Rinsch’s conviction.
Federal prosecutors alleged in a March indictment that the $11 million was meant to go toward finishing a TV show in which $44 million had already been invested. Prosecutors allege the money instead went into Rinsch’s personal accounts, his personal spending and his personal gains and losses. The director, 48, “quickly transferred” the money from the Rinsch Co. account, where it had been deposited March 6, 2020, by Netflix, through a number of additional accounts until about $10.5 million wound up weeks later in a personal brokerage account. Rinsch proceeded to lose more than half of that money in less than two months via risky investments in the stock market, the indictment said.
Though he told the streamer that his sci-fi show “White Horse” was “awesome and moving forward really well,” Rinsch, over the next couple of years, allegedly moved the remaining money into cryptocurrency and ultimately profited from crypto speculation. He was accused of spending around $10 million on five Rolls-Royces, a Ferrari, watches, clothing, luxury bedding and linens, credit card bills, attorneys to sue Netflix for more money, and lawyers to work on his divorce.
According to the indictment, about $3.8 million was spent on furniture and antiques, including two mattresses that cost $638,000 total. The half-dozen cars cost a little over $2.4 million.
Rinsch was arrested in West Hollywood in March and released the same day after agreeing to post a $100,000 bond to guarantee his appearance in a New York federal court.
“Carl Erik Rinsch took $11 million meant for a TV show and gambled it on speculative stock options and crypto transactions,” U.S. Attorney Jay Clayton said Thursday. “Today’s conviction shows that when someone steals from investors, we will follow the money and hold them accountable.”
Rinsch never finished the show. His sentencing is set for April.
Times assistant editor Christie D’Zurilla and the Associated Press contributed to this report.
We should be grateful for filmmakers who have a special artistic relationship with an actor: Akira Kurosawa with Toshiro Mifune, Martin Scorsese with Robert De Niro and, by all indications, Yorgos Lanthimos and Emma Stone. Count the Italian duo of Paolo Sorrentino and star Toni Servillo among them, a fertile partnership that began nearly 25 years ago with the director’s first film (“One Man Up”) and continues with their seventh together, the political drama “La Grazia” (“Grace”).
The wielding of power seems to be a frequent backdrop for these two, with “La Grazia” — about an Italian president facing tough decisions as he ends his term of office — marking the third time Sorrentino has asked his favorite leading man to be a head of state, following their breakthrough 2008 collaboration “Il Divo” (about Prime Minister Giulio Andreotti) and 2018’s romp about Silvio Berlusconi, “Loro.”
The difference this time is that, while the other two films centered controversial real-life figures, Servillo’s character in “La Grazia” is fictional, yet pressured to deal with contentious issues. The result is a much more somber, ruminative exploration of morality in governmental authority than the stylish violence of “Il Divo” and exploitative raunch of “Loro.”
A decade after his lush Oscar-winning bacchanal “The Great Beauty” (starring an especially great you-know-who), Sorrentino is no less drawn to pictorial beauty or arresting visuals. But there’s a grayer, graver tone to the long shadows of “La Grazia,” as if the natural, appealing gravitas of Servillo playing an important man fighting a planned obsolescence was the only palette Sorrentino and cinematographer Daria D’Antonio needed.
Servillo’s Mariano De Santis has mere months left — as a leader, that is. But besides being pushed to eat healthier and stop smoking cigarettes by his daughter Dorotea (a wonderful Anna Ferzetti), the idea of ending things isn’t entirely figurative as this austere jurist-turned-president wanders the halls of his official Roman residence, the grand Palazzo del Quirinale, wryly contemplating retirement.
He’s a widower, for one thing, whose love for his deceased wife is still deep enough to keep him jealous regarding her early infidelity with a mystery man he’s eager to identify, even as his old friend, art curator Coco (a vibrant Milvia Marigliano), stays tight-lipped about what she knows. He’s also being pushed by Dorotea, a treasured advisor who is herself a legal scholar, to consider two cases of clemency for convicted spousal killers, both with circumstances that would test any arbiter of sound legal judgment. And finally, though De Santis is a devoted Catholic, on good terms with the pope (Rufin Doh Zeyenouin), he’s grappling with signing right-to-euthanasia legislation.
You wouldn’t think a movie with such heavy topics would count as escapism. But when you consider current headlines, a thoughtful leader engaging with thorny issues from a place of psychological honesty, social integrity and fatherly love could almost count as fantasy. And Sorrentino, a dedicated sensualist, does allow himself some lighter touches, including, toward the end, a fanciful visual metaphor for a burdened man’s spirit that maybe only he could get away with.
Most assuredly, though, this is a duo of director and star once more moving in concert together, maybe not as confidently as with some previous efforts, but with a knowing intelligence. Servillo is no less than magnificent, conveying a buttoned-up statesman’s management of earned wisdom and inconvenient emotion (and, at one point, an interest in rap lyrics) with enough lessons in actorly craft to fill one of his character’s treasured law tomes. The title doesn’t just describe what’s sometimes elusive in governance. “La Grazia” is Servillo in every scene.
The sale of Warner Bros. — whether in pieces to Netflix or in its entirety to Paramount — is stirring mounting worries among Hollywood union leaders about the possible fallout for their members.
Unions representing writers, directors, actors and crew workers have voiced growing concerns that further consolidation in the media industry will reduce competition, potentially causing studios to pay less for content, and make it more difficult for people to find work.
“We’ve seen this movie before, and we know how it ends,” said Michele Mulroney, president of the Writers Guild of America West. “There are lots of promises made that one plus one is going to equal three. But it’s very hard to envision how two behemoths, for example, Warner Bros. and Netflix … can keep up the level of output they currently have.”
Last week, Netflix announced it agreed to buy Warner Bros. Discovery’s film and TV studio, Burbank lot, HBO and HBO Max for $27.75 a share, or $72 billion. It also agreed to take on more than $10 billion of Warner Bros.’ debt. But Paramount, whose previous offers were rebuffed by Warner Bros., has appealed directly to shareholders with an alternative bid to buy all of the company for about $78 billion.
Paramount said it will have more than $6 billion in cuts over three years, while also saying the combined companies will release at least 30 movies a year. Netflix said it expects its deal will have $2 billion to $3 billion in cost cuts.
Those cuts are expected to trigger thousands of layoffs across Hollywood, which has already been squeezed by the flight of production overseas and a contraction in the once booming TV business.
Mulroney said that employment for WGA writers in episodic television is down as much as 40% when comparing the 2023-2024 writing season to 2022-2023.
Executives from both companies have said their deals would benefit creative talent and consumers.
But Hollywood union leaders are skeptical.
“We can hear the generalizations all day long, but it doesn’t really mean anything unless it’s on paper, and we just don’t know if these companies are even prepared to make promises in writing,” said Lindsay Dougherty, Teamsters at-large vice president and principal officer for Local 399, which represents drivers, location managers and casting directors.
Dougherty said the Teamsters have been engaged with both Netflix and Paramount, seeking commitments to keep filming in Los Angeles.
“We have a lot of members that are struggling to find work, or haven’t really worked in the last year or so,” Dougherty said.
Mulroney said her union has concerns about both bids, either by Netflix or Paramount.
“We don’t think the merger is inevitable,” Mulroney said. “We think there’s an opportunity to push back here.”
If Netflix were to buy Warner Bros.’ TV and film businesses, Mulroney said that could further undermine the theatrical business.
“It’s hard to imagine them fully embracing theatrical exhibition,” Mulroney said. “The exhibition business has been struggling to get back on its feet ever since the pandemic, so a move like this could really be existential.”
But the Writers Guild also has issues with Paramount’s bid, Mulroney said, noting that it would put Paramount-owned CBS News and CNN under the same parent company.
“We have censorship concerns,” Mulroney said. “We saw issues around [Stephen] Colbert and [Jimmy] Kimmel. We’re concerned about what the news would look like under single ownership here.”
That question was made more salient this week after President Trump, who has for years harshly criticized CNN’s hosts and news coverage, said he believes CNN should be sold.
The worries come as some unions’ major studio contracts, including the DGA, WGA and performers guild SAG-AFTRA, are set to expire next year. Two years ago, writers and actors went on a prolonged strike to push for more AI protections and better wages and benefits.
The Directors Guild of America and performers union SAG-AFTRA have voiced similar objections to the pending media consolidation.
“A deal that is in the interest of SAG-AFTRA members and all other workers in the entertainment industry must result in more creation and more production, not less,” the union said.
SAG-AFTRA National Executive Director Duncan Crabtree-Ireland said the union has been in discussions with both Paramount and Netflix.
“It is as yet unclear what path forward is going to best protect the legacy that Warner Brothers presents, and that’s something that we’re very actively investigating right now,” he said.
It’s not clear, however, how much influence the unions will have in the outcome.
“They just don’t have a seat at the ultimate decision making table,” said David Smith, a professor of economics at the Pepperdine Graziadio Business School. “I expect their primary involvement could be through creating more awareness of potential challenges with a merger and potentially more regulatory scrutiny … I think that’s what they’re attempting to do.”
You often hear that short stories make the best movies, as if the notion is to take something compact and widen it with cinema’s scalability. But the reverse can also be true: Certain movies benefit from feeling pocket-sized and unfettered, as if you’ve curled up with a tight, evocative short story, filled with just enough humor, detail and feeling to evoke a warm glow.
Set over two days during the instant relationship between a desperate young man from New York and a lonely older Los Angeles street musician, the black-and-white micro-indie “Burt” from director and co-screenwriter Joe Burke is one such half-slice of heart and calories, neither too much nor undercooked. You could watch a lot of films made with its equivalent budget (think that of a used 2007 sedan) and sense an ambition straining against constraints or a deliberate attempt at slumming. Not so with “Burt,” the movie equivalent of a cherry sour drop on a day when you need something a little tart, a tad sweet and that won’t outstay its welcome.
“Burt” stars Burt Berger as, well, Burt Berger, a 69-year-old troubadour type whom we first see in a sparsely attended coffeehouse plucking away at his guitar and, as if the ’60s never went away, singing about freedom. (Via Berger’s earnest, aged voice, the concept sounds hard-won.) Watching him intently is Sammy (co-screenwriter Oliver Cooper), who asks for a moment of Burt’s time. Over a picnic table in a field, this kind-eyed, spindly musician, visibly dealing with Parkinson’s, is informed that Sammy is the son he never knew he had. To which you might think: Finally, a movie that doesn’t waste time getting straight to what we’re already thinking.
Burt is tickled by the news and very quickly wants Sammy to stay overnight in the modest North Hollywood house he shares with his live-in landlord Steve (Steven Levy), a suspicious, rules-obsessed crank with mad-prophet facial hair, a nascent vegetable garden and, he’d like this new visitor to know, a gun. The distrust is mutual for Sammy, but he’s trying to stay focused on getting to know Burt for reasons that soon become apparent and which give this quirky, Jarmusch-inflected scenario an extra dab of seriocomic urgency.
But “Burt” isn’t driven by narrative. Director Burke is way more invested in the interpersonal dynamics of oddballs than anything else and, to that end, a fair amount of humorous tension is maintained — from Sammy’s fearful accommodation of Steve’s peculiarities to some contentious phone calls with a haranguing aunt (Caitlin Adams) who lives in a trailer park, is behind on rent and apparently makes a fine soup. Meanwhile, one of the more endearingly amusing aspects of “Burt” is how spiritedly the title character takes to sudden dadhood, especially his immediate adopting of such phrases as “No son of mine is …” and “That’s my boy!”
There’s no way for a general moviegoer to know what the ratio of fiction to nonfiction in is a scruffy DIY object like “Burt,” with characters playing versions of themselves. (If Levy doesn’t have an agent, he should consider it.) And while you don’t expect things to get sentimental, there’s a quiet faith as “Burt” shuffles along — its jazz-tinged music score a little rough and the editing not always smooth — that the movie won’t ignore the feelings its director has efficiently triggered. Most notably, Berger, whose life inspired the film, is a natural, easy to root for and an ideal center for a movie with a warmhearted view of life as best appreciated when you can set aside your hang-ups and adopt the occasional stray.
‘Burt’
Not rated
Running time: 1 hour, 18 minutes
Playing: Opens Friday, Dec. 12 at Laemmle Glendale
Kathy Kanjo, the director and CEO of the Museum of Contemporary Art San Diego, has been named the new director of the UC Irvine Langson Orange County Museum of Art. The news comes a little more than two months after UC Irvine announced it had acquired Orange County Museum of Art in a merger that created the new institution.
At that time, a rep for UCI said the hope was to announce a new director in the new year, so Kanjo’s appointment comes ahead of schedule. Kanjo has been at MCASD since 2016. Prior to that, she served as director of the University Art Museum at UC Santa Barbara.
When I first wrote about the merger, UC Irvine confirmed that it was taking over OCMA’s assets, employees and debt. A rep for UC Irvine declined to comment on a number, writing in an email that the budget for the new museum will come from university operating funds.
Kanjo inherits responsibility for a substantial collection of more than 9,000 artworks, including UC Irvine’s Gerald Buck Collection of more than 3,200 paintings, sculptures and works on paper by some of the state’s most important artists, including David Hockney and Ed Ruscha.
“The newly merged collection is both anticipated and underknown,” wrote Kanjo in an email. “I am eager to unveil and contextualize the artistic legacies of the Irvine, Buck, and OCMA collections from a particularly California point of view. Collected over time and together at last, these objects are an asset to be shared generously and supported by scholarly research. The constellation that is the UC Irvine Langson Museum offers a portrait of our state’s innovative artistic impulses.”
Kanjo also said the new museum would get a significant boost from UC Irvine’s research strength and commitment to public service.
“We will create rigorous and welcoming exhibitions that resonate with our region’s diverse audiences, young and old,” she wrote.
Despite the great fanfare of its opening in 2022, OCMA — with its 53,000-square-foot, $98-million Morphosis-designed building on the eastern edge of the Segerstrom Center for the Arts campus — never seemed fully realized. Problems were hinted at — but never explained — in April when CEO Heidi Zuckerman announced her intention to step down.
Meanwhile UC Irvine had been planning to construct a museum for its collection for quite some time. That, too, never really got off the ground. If there were ever a time to build consensus around a new mandate for the merged organizations, that time is now. Kanjo has a vision for the future that appears to center scholarship.
“I want to clarify the core identity of the collection and find connections back to campus and into the community,” she wrote. “The post is appealing because of its connection to UC Irvine, a leading research university, and the opportunity to work with the students within the Claire Trevor School of the Arts and all of the campus resources. The potential to foster innovation by working in a cross-disciplinary/cross-campus way is strong.”
I’m arts and culture writer Jessica Gelt, planning a drive to Orange County in the new year. Here’s your arts and culture news for the week.
On our radar
Broadway star Ben Platt will perform 10 shows at the Ahmanson starting Friday.
(Rob Kim / Getty Images)
Ben Platt: Live at the Ahmanson The award-winning star of stage and screen hits town for 10 shows where he’ll sing his greatest hits and Broadway favorites. And where Platt goes, his big-time friends follow, so expect some great surprise guests each night. 8 p.m. Friday-Saturday and Dec. 19-20; 3 and 8 p.m. Sunday and Dec. 21; 7:30 p.m. Wednesday-Thursday. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. centertheatregroup.org
“Holiday Legends” is this year’s seasonal performance by the Gay Men’s Chorus of Los Angeles.
(Gay Men’s Chorus of Los Angeles)
Holiday Legends The Gay Men’s Chorus of Los Angeles’ annual celebration pays homage to the greats, including Mariah Carey, Irving Berlin and Johnny Mathis, plus traditional choral classics, pop Christmas anthems and Hanukkah favorites. 8 p.m. Saturday. 3 p.m. Sunday. Saban Theatre, 8440 Wilshire Blvd., Beverly Hills gmcla.org
The Huntington in San Marino.
(Allen J. Schaben/Los Angeles Times)
Stories from the Library: From Brontë to Butler This series highlights the literary side of the Huntington and its world-class library. In the newest exhibition, journals, letters, photographs and personal items provide a behind-the-scenes look at two centuries of women writers bookended by Charlotte Brontë and Octavia E. Butler. Through June 15. The Huntington, 1151 Oxford Road, San Marino. huntington.org
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The week ahead: A curated calendar
FRIDAY Holiday Soirée & Cabaret Fountain Theatre celebrates the season with a live announcement of its 2026 season, a cabaret performance from Imani Branch & Friends, plus, a raffle and reception. There will also be two separate performances of the cabaret. Soirée and cabaret: 7 p.m. Friday. Cabaret: 7 p.m. Saturday; 2 p.m. Sunday. Fountain Theatre, 5060 Fountain Ave. FountainTheatre.com
Violinist Renaud Capuçon.
(Los Angeles Philharmonic)
Mozart & Sibelius Violinist Renaud Capuçon joins conductor Gustavo Gimeno and the L.A. Phil for a program that combines “Mozartian elegance with brooding Nordic drama.” 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Santasia The long-running holiday spectacle featuring broad comedy, musical parodies and old school claymation returns to L.A. for a 26th year. Through Dec. 27. Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks. santasia.com
SATURDAY
Laurel Halo performs Saturday at the Nimoy.
(Norrel Blair)
Laurel Halo Currently based in L.A., the musician combines ambient, drone, jazz and modern sensibilities in new works for piano and electronics in a preview of her forthcoming album. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Sound + Source Art meets music as DJs Novena Carmel, Francesca Harding and KCRW music director Ale Cohen provide a site-specific soundtrack to the exhibition “Corita Kent: The Sorcery of Images.” 11 a.m.-6 p.m. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org
Pacific Jazz Orchestra The 40-piece hybrid big band and string ensemble, led by Chris Walden, presents its “Holiday Jazz Spectacular,” featuring vocalists Aloe Blacc, Sy Smith and Brenna Whitacre. 8 p.m. Alex Theatre, 216 N. Brand Blvd., Glendale. pacificjazz.org
Holiday Family Faire Theatricum Botanicum’s annual daylong winter wonderland featuring performances, food and drink and a marketplace; followed by “It’s a Wonderful Life: A Live Radio Play,” by Joe Landry, and starring Beau Bridges, Wendie Malick, Joe Mantegna and Rory O’Malley. 11 a.m. Family Faire; 5 p.m. “It’s a Wonderful Life.” Will Geer Theatricum Botanicum, 1419 Topanga Canyon Blvd, Topanga. theatricum.com
SUNDAY
The band Emily’s Sassy Lime in Olympia, Wash., circa 1995.
(Emily’s Sassy Lime)
Artist Talk Emily Ryan, Amy Yao and Wendy Yao of the ‘90s Orange County riot grrrl band Emily’s Sassy Lime join artist-activist-musician Kathleen Hanna of the band Bikini Kill for a discussion of adolescence, creativity and community. The talk is part of the museum’s “2025 California Biennial: Desperate, Scared, But Social,” which closes Jan. 4. 2 p.m. UC Irvine Langson Museum/Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art
English Cathedral Christmas The Los Angeles Master Chorale brings the magic of Canterbury Cathedral downtown, reveling in the grand tradition of British choral works from the 16th century to the present.. 7 p.m Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org
TUESDAY Aron Kallay In “Midcentury/Modern,” the pianist performs works from world premieres by Michael Frazier, Zanaida Stewart Robles and Brandon Rolle, along with 20th century works by Grażyna Bacewicz and Sergei Prokofiev in a program presented by Piano Spheres. 8 p.m. Thayer Hall at the Colburn School, 200 S. Grand Ave., downtown L.A. pianospheres.org
WEDNESDAY BOTH: A Hard Day’s Silent Night Open Fist Theatre Company’s annual holiday charity concert benefiting Heart of Los Angeles, an organization that helps kids in underserved communities, infuses the music of the Beatles with Gospel flair to tell the Christmas story. 8 p.m. Wednesday-Friday; 3:30 and 9 p.m. Saturday; 3:30 and 7 p.m. Sunday. Atwater Village Theatre, 3269 Casitas Ave. openfist.org
Elaine May and Walter Matthau star in “A New Leaf,” which screens at the Academy Museum on Wednesday.
(Film Publicity Archive/United Archives via Getty Images)
A New Leaf Elaine May made Hollywood history with this 1971 screwball noir as the first woman to write, direct and star in her own feature film. Walter Matthau co-stars as a playboy who has burned through his own fortune so plans to marry and murder May’s kooky heiress to get hers. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Culture news and the SoCal scene
Architect Frank Gehry in his Playa Vista office in 2015.
Swed also wrote a story that came out of a recent trip to Tokyo about Carl Stone, an L.A. based composer from the Japanese capital, who uses his laptop to record environmental sounds and transform them into sonic sculptures. “Stone’s iPad, with its open sonic complexity, created a sense of space, a roomy aural soundscape in which jazz and butoh became elements not egos, not larger than life, just more life, the merrier,” writes Swed.
McNulty wrote an interesting essay about characters breaking the fourth wall and how it can galvanize an audience. “Breaking the fourth wall is a tried-and-true method of calling an audience to attention. But a new breed of dramatist, writing in an age of overlapping calamities — environmental, political, economic, technological and moral — is retooling an old playwriting device to do more than inject urgency and immediacy in the theatrical experience,” McNulty writes.
I spent time in Palm Springs over the Thanksgiving break to cover the grand reopening of the Palm Springs Plaza Theatre, which recently underwent a $34-million restoration. To celebrate, it hosted an intimate show featuring actor, singer, songwriter Cynthia Erivo.
I also had the pleasure of sitting down for an interview with Broadway actor Ben Platt in advance of his 10-day residency at the Ahmanson Theatre. We bonded over being anxious people, and he shared that he keeps his anxiety in check through live performance.
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Cameron Watson is the new artistic director of Skylight Theatre Company.
(David Zaugh)
Cameron Watson has been named Skylight Theatre Company’s new artistic director, beginning Jan. 1. He will replace Gary Grossman, who is stepping down after four decades at the helm of the Los Feliz-based theater, during which time he turned the company into one of the most respected small theaters in the city. “Cameron’s passion, his theatrical vision and his ability to lead, listen, nurture and mentor make him the perfect fit for Skylight,” Grossman said in a statement.
Earlier this week, philanthropist MacKenzie Scott gave $20 million to the Japanese American National Museum — the largest single gift in the organization’s history. Scott, the former wife of Amazon founder Jeff Bezos, also gave the museum $10 million in 2021.
Hamza Walker, the Brick executive director who is behind the critically acclaimed “Monuments” exhibit at the Brick and MOCA, has been honored with the 2026 Audrey Irmas Award for Curatorial Excellence, given by the Bard College Center for Curatorial Studies. “Hamza’s three decades of curatorial practice have brought forward voices and perspectives that challenge dominant narratives, create dialogue, and have left a lasting imprint on the field,” said Tom Eccles, executive director of the Center for Curatorial Studies, in a statement.
The Times this week released its annual list of the 101 best restaurants in Los Angeles. I plan to go to every one. Well, maybe, like 20. It could get expensive.
