Strumming a black acoustic guitar to match his black tuxedo pants and jacket, Hugh Jackman strolled onto the stage of the Hollywood Bowl and let the audience know precisely what it was in for.
“Little bit of Neil Diamond,” he said as the Hollywood Bowl Orchestra revved up the go-go self-improvement jive of “Crunchy Granola Suite.”
A dedicated student of showbiz history, the Australian singer and actor was starting his concert Saturday night just as Diamond did half a century ago at the Greek Theatre gig famously captured on his classic “Hot August Night” LP.
Yet Diamond was just one of the flamboyant showmen Jackman aspired to emulate as he headlined the opening night of the Bowl’s 2025 season. Later in the concert, the 56-year-old sang a medley of tunes by Peter Allen, the Australian songwriter and Manhattan bon vivant whom Jackman portrayed on Broadway in 2003 in “The Boy From Oz.” And then there was P.T. Barnum, whose career as a maker of spectacle inspired the 2017 blockbuster “The Greatest Showman,” which starred Jackman as Barnum and spawned a surprise-hit soundtrack that went quadruple-platinum.
“There’s 17,000 of you, and if any of you did not see ‘The Greatest Showman,’ you might be thinking right now: This guy is super-confident,” Jackman told the crowd, panting ever so slightly after he sang the movie’s title song, which has more than 625 million streams on Spotify.
The success of “Showman” notwithstanding, Jackman’s brand of stage-and-screen razzle-dazzle feels fairly rare in pop music these days among male performers. (The theater-kid moment that helped make “Wicked” a phenomenon was almost exclusively engineered — and has almost exclusively benefited — women such as Ariana Grande, Cynthia Erivo, Chappell Roan and Laufey.) What makes Jackman’s jazz-handing even more remarkable is that to many he’s best known as the extravagantly mutton-chopped Wolverine character from the Marvel movies.
Before Jackman’s performance on Saturday, the Hollywood Bowl Orchestra, conducted by Thomas Wilkins, played a brief set of orchestral music that included selections from John Ottman’s score for “X2: X-Men United.”
The ascent of Benson Boone, with his mustache and his backflips, suggests that Jackman may yet find inheritors to carry on the tradition he himself was bequeathed by Diamond and the rest. But of course that assumes that Jackman is looking to pass the baton, which was not at all the impression you got from his spirited and athletic 90-minute show at the Bowl.
In addition to stuff from “The Greatest Showman” and a swinging tribute to Frank Sinatra, he did a second Diamond tune — “Sweet Caroline,” naturally, which he said figures into an upcoming movie in which he plays a Diamond impersonator — and a couple of Jean Valjean’s numbers from “Les Misérables,” which Jackman sang in the 2012 movie adaptation that earned him an Academy Award nomination for lead actor. (With an Emmy, a Grammy and two Tonys to his name, he’s an Oscar win away from EGOT status.)
Hugh Jackman with members of the L.A. Phil’s Youth Orchestra Los Angeles on Saturday night.
(Timothy Norris)
For “You Will Be Found,” from “Dear Evan Hansen,” he sat down behind a grand piano and accompanied himself for a bit; for the motor-mouthed “Ya Got Trouble,” from “The Music Man” — the first show he ever did as a high school kid, he pointed out — he came out into the crowd, weaving among the Bowl’s boxes and interacting with audience members as he sang.
“I just saw a lot of friends as I went through,” he said when he returned to the stage. “Hello, Melissa Etheridge and Linda. Hello, Jess Platt. Hi, Steph, hi, David, hi, Sophia, hi, Orlando — so many friends. Very difficult to say hello to friends and still do that dialogue.” He was panting again, this time more showily. “It’s like 53 degrees and I’m sweating.”
The show’s comedic centerpiece was a version of John Denver’s “Thank God I’m a Country Boy” that Jackman remade to celebrate his roots as an “Aussie boy.” There were good-natured jokes about shark attacks and koalas and Margot Robbie, as well as a few pointed political gibes, one about how “our leaders aren’t 100 years old” — “I’m moving on from that joke fast,” he added — and another that rhymed “Life down under is really quite fun” with “I never have to worry: Does that guy have a gun?”
The emotional centerpiece, meanwhile, was “Showman’s” “A Million Dreams,” for which the Hollywood Bowl Orchestra was joined by 18 members of the Los Angeles Philharmonic’s Youth Orchestra Los Angeles. The song itself is pretty cringe, with a lyric bogged down by cliches and a melody you’ve heard a zillion times before. But Jackman sold its corny idealism with a huckster’s sincerity you couldn’t help but buy.
Is a restaurant worth a visit simply because it’s been around longer than that bottle of yellow mustard in your refrigerator? Longer than your oldest living relative? Maybe. Proper respect should be paid to an institution.
Los Angeles is home to restaurants celebrating a century in business. About 36,500 days in operation. The feat alone is something to marvel at.
What is Hollywood without the martini culture built around Musso & Frank Grill? The Long Beach bar scene without the Schooners of cold beer and pickled eggs at Joe Jost’s? A South Pasadena stretch of Route 66 without milkshakes and phospate sodas at Fair Oaks Pharmacy? Over decades in business, these restaurants have become landmarks synonymous with the cities themselves.
Some of L.A.’s most popular attractions are our food halls, with Grand Central Market in downtown and the Original Farmers Market in Fairfax drawing millions of visitors each year. Grand Central Market opened in 1917 with nearly 100 food merchants. Its oldest running restaurant is the China Cafe, with a 22-seat counter that’s been around since 1959. In 1934, about a dozen farmers and other vendors started selling produce at the corner of 3rd Street and Fairfax Avenue, where the Original Farmers Market still operates today. Magee’s Kitchen, its oldest restaurant, began when Blanche Magee started serving lunch to the farmers in the ‘30s.
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1.El Coyote founder Blanche March.(El Coyote)2.The counter at Fugetsu-Do in 1904.(Fugetsu-Do Bakery Shop)3.Alicia Mijares, left, daughter of Mijares founder Jesucita Mijares, with Maria Guzman in 1984.(Mijares Restaurant)
Many of the restaurants on this list were built by immigrants from every corner of the world, their American dreams realized in a mochi shop in Little Tokyo, a French restaurant in downtown L.A. and a taste of Jalisco, Mexico, in Pasadena.
If you’re looking for the oldest restaurant in Los Angeles County, you’ll find it in Santa Clarita, a city about 30 miles northwest of downtown. Originally called the Saugus Eating House when it opened as part of a railway station in 1886, the Saugus Cafe boasts a history rich with Hollywood film stars, U.S. presidents and a train network that helped establish towns across the state.
In 1916, the cafe moved across the street to where it sits now, one long, narrow building that includes a dining room and a bar. It has closed, reopened and changed hands numerous times over the last 139 years. Longtime employee Alfredo Mercado now owns the restaurant.
It’s a place that exists in a cocoon of nostalgia. The history embedded in the walls, the decor and the friendly staff are the main draw. If you’re searching for the best breakfast in town, you may want to keep looking.
The following are decades-old restaurants that have stood the test of time, shrinking wallets and fickle diners. In operation for 90 years or longer, these 17 destinations (listed from oldest to newest) are worth the trip for both the history, and whatever you decide to order.
FIVE protesters have been arrested after they allegedly targeted the filming of Gal Gadot’s new movie.
The demonstrators disrupted production at several locations across London in recent weeks, the Metropolitan Police said.
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Five protesters have been arrested after they allegedly targeted the filming of Gal Gadot’s new movieCredit: Getty
The force said the protestors targeted sets “solely because an actress involved in the production is Israeli”.
Gadot, 40, who served in the Israel Defense Forces, previously showed support for Israel’s invasion of Gaza after the October 7 Hamas attacks.
The Palestinian Campaign for the Academic & Cultural Boycott of Israel (Pacbi) has since argued people who support their group should boycott Gadot films.
Gadot is understood to currently be filming an action thriller called The Runner in the capital.
Police were called to a set location in Westminster on Wednesday.
Officers detained five people on suspicion of harassment and offences under Section 241 of the Trade Union and Labour Relations Act.
Two of the arrests were in relation to previous protests, while three were in response to incidents that unfolded on Wednesday.
All five remain in custody.
Supt Neil Holyoak said: “While we absolutely acknowledge the importance of peaceful protest, we have a duty to intervene where it crosses the line into serious disruption or criminality.
“We have been in discussions with the production company to understand the impact of the protests on their work and on any individuals involved.
“I hope today’s operation shows we will not tolerate the harassment of or unlawful interference with those trying to go about their legitimate professional work in London.”
The Runner, produced by David Kosse, stars Gadot as a lawyer on a mission to rescue her kidnapped son.
Gadot has been pictured back on set this week, despite the protests.
Demonstrations also followed the actress to her Hollywood Walk of Fame ceremony after her role in the latest Snow White movie.
A Pro-Palestine group stood outside the ceremony carrying signs reading: “Viva Viva Palestina”.
In a Variety interview earlier this week, Gadot said: “After October 7th [2023], I don’t talk politics — because who cares about the celebrity talking about politics?
“I’m an artist. I want to entertain people. I want to bring hope and be a beacon of light whenever I say anything about the world.
“But on October 7th, when people were abducted from their homes, from their beds, men, women, children, elderly, Holocaust survivors, were going through the horrors of what happened that day, I could not be silent.
“I’m not a hater. I’m a grandchild of a Holocaust survivor who came to Israel and established his family from scratch after his entire family was erased in Auschwitz.
“And on the other side of my family, I’m eighth generation Israeli. I’m an indigenous person of Israel.
“I am all about humanity and I felt like I had to advocate for the hostages. I am praying for better days for all.
“I want everybody to have good life and prosperity, and the ability to raise their children in a safe environment.”
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A Pro-Palestine group stood outside the ceremony carrying signs reading: “Viva Viva Palestina”Credit: Getty
When filmmakers say they’re experimenting with artificial intelligence, that news is typically received online as if they had just declared their allegiance to Skynet.
And so it was when Darren Aronofsky — director of button-pushing movies including “The Whale” and “Black Swan” — last week announced a partnership with Google AI arm DeepMind to use the tech giant’s capabilities in storytelling.
Aronofsky’s AI-focused studio Primordial Soup is producing three short movies from emerging filmmakers using Google tools, including the text-to-video model Veo. The first film, “Ancestra,” directed by Eliza McNitt, will premiere at the Tribeca Festival on June 13, the Mountain View-based search giant said.
Google’s promotional materials take pains to show that “Ancestra” is a live-action film made by humans and with real actors, though it’s bolstered with effects and imagery — including a tiny baby holding a mother’s finger — that were created with AI.
The partnership was touted during Google’s I/O developer event, where the company showed off the new Veo 3, which allows users to create videos that include sound effects, ambient noise and speech (a step up from OpenAI-owned competitor, Sora). The company also introduced its new Flow film creation tool, essentially editing software using Google AI functions.
Google’s push to court creative types coincides with a separate initiative to help AI technology overcome its massive public relations problem.
As my colleague Wendy Lee wrote recently, the company is working with filmmakers including Sean Douglas and his famous father Michael Keaton to create shorts that aren’t made with AI, but instead portray the technology in a less apocalyptic light than Hollywood is used to.
Simply put, much of the public sees AI as a foe that will steal jobs, rip off your intellectual property, ruin your childhood, destroy the environment and possibly kill us all, like in “The Terminator,” “2001: A Space Odyssey” and the most recent “Mission: Impossible” movies. And Google, which is making a big bet by investing in AI, has a lot riding on changing that perception.
There’s a ways to go, including in the entertainment industry.
Despite the allure of cost-savings, traditional studios haven’t exactly dived headfirst into the AI revolution. They’re worried about the legal implications of using models trained on troves of copyrighted material, and they don’t want to anger the entertainment worker unions, which went on strike partly over AI fears just a couple years ago. The New York Times and others have sued OpenAI and its investor Microsoft, alleging copyright theft. Tech giants claim they are protected by “fair use.”
AI-curious studios are walking into a wild, uncharted legal landscape because of the amount of copyrighted material being mined to teach the models, said Dan Neely, co-founder of startup Vermillio, which helps companies and individuals protect their intellectual property.
“The major studios and most people are going to be challenged using this product when it comes to the output content that you can and cannot use or own,” Neely said by phone. “Given that it contains vast quantities of copyrighted material, and you can get it to replicate that stuff pretty easily, that creates chaos for someone who’s creating with it.”
But while the legacy entertainment business remains largely skeptical of AI, many newer, digitally-native studios and creators are embracing it, whether their goals are to become the next Pixar or the next Mr. Beast.
The New York Times recently profiled the animation startup Toonstar, which says it uses AI throughout its production process, including when sharpening storylines and lip-syncing. John Attanasio, a Toonstar founder, told the paper that leaning into the tech would make animation “80 percent faster and 90 percent cheaper than industry norms.”
Jeffrey Katzenberg, the former leader of DreamWorks Animation, has given a similar estimate of the potential cost-savings for Hollywood cartoons.
Anyone working in the traditional computer animation business would have to gulp at those projections, whether they turn out to be accurate or not. U.S. animation jobs have already been hammered by outsourcing. Now here comes automation to finish the job. (Disney’s animated features cost well over $100 million to produce because they’re made by real-life animators in America.)
Proponents of AI will sometimes argue that the new technology isn’t a replacement for human workers, but rather a tool to enhance creativity. Some are more blunt: Stop worrying about these jobs and embrace the future of uninhibited creation. For obvious reasons, workers are reluctant to buy into that line of thinking.
More broadly, it’s still unclear whether all the spending on the AI arms race will ultimately be worth the cost. Goldman Sachs, in a 2024 report, estimated that companies would invest $1 trillion in AI infrastructure — including data centers, chips and the power grid — in the coming years.
But that same report raised questions about AI’s ultimate utility.
To be worth the gargantuan investment, the technology would have to be capable of solving far more complex problems than it does now, said one Goldman analyst in the report. In recent weeks, the flaws in the technology have crossed over into absurd territory: For example, by generating a summer reading list of fake books and legal documents polluted with serious errors and fabrications.
Big spending and experimentation doesn’t always pan out. Look at virtual reality, the metaverse and the blockchain.
But some entertainment companies are experimenting with the tools and finding applications. Meta has partnered with horror studio Blumhouse and James Cameron’s venture Lightstorm Vision on AI-related initiatives. AI firm Runway is working with Lionsgate. At a time when the movie industry is troubled in part due to the high cost of special effects, production companies are motivated to stay on top of advancing tech.
One of the most common arguments in favor of giving in to AI is that the technology will unshackle the next generation of creative minds.
Some AI-enhanced content is promising. But so far AI video tools have produced a remarkable amount of content that looks the same, with its oddly dreamlike sheen of unreality. That’s partly because the models are trained on color-corrected imagery available on the open internet or on YouTube. Licensing from the studios could help with that problem.
The idea of democratizing filmmaking through AI may sound good in theory. However, there are countless examples in movie history — including “Star Wars” and “Jaws” — of how having physical and budgetary restrictions are actually good for art, however painful and frustrating they may have been during production.
Even within the universe of AI-assisted material, the quality will vary dramatically depending on the talent and skill of people using it.
“Ultimately, it’s really hard to tell good stories,” Neely said. “The creativity that defines what you prompt the machine to do is still human genius — the best will rise to the top.”
Like other innovations, the technology will improve with time, as the new Google tools show. Both Veo 3 and Flow showcase how AI is becoming better and easier to use, though they are still not quite mass-market products. For its highest tier, Google is charging $250 a month for its suite of tools.
Maybe the next Spielberg will find their way through AI-assisted video, published for free on YouTube. Perhaps Sora and Veo will have a moment that propels them to mainstream acceptance in filmmaking, as “The Jazz Singer” did for talkies.
But those milestones still feel a long way off.
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The Memorial Day weekend box office achieved record revenue (not adjusting for inflation) of $329.8 million in the U.S. and Canada, thanks to the popularity of Walt Disney Co.’s “Lilo & Stitch” and Paramount’s “Mission: Impossible — The Final Reckoning.”
Disney’s live-action remake generated $183 million in domestic ticket sales, exceeding pre-release analyst expectations, while the latest Tom Cruise superspy spectacle opened with $77 million. The weekend was a continuation of a strong spring rebound for theaters. Revenue so far this year is now up 22% versus 2024, according to Comscore.
This doesn’t mean the movie business is saved, but it does show that having a mix of different kinds of movies for multiple audiences is healthy for cinemas. Upcoming releases include “Karate Kid: Legends,” “Ballerina,” “How to Train Your Dragon” and a Pixar original, “Elio.”
“Lilo & Stitch” is particularly notable, coming after Disney’s previous live-action redo, “Snow White,” bombed in theaters. While Snow White has an important place in Disney history, Stitch — the chaotic blue alien — has quietly become a hugely important character for the company, driving enormous merchandise sales over the years.
The 2002 original wasn’t a huge blockbuster, coming during an awkward era for Walt Disney Animation, but the remake certainly is.
A 90’s TV star looks unrecognisable after swapping lads’ mags for a luxury LA lifestyle.
The fan favourite featured in more than 30 shows – including Big Breakfast.
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This 90s TV star swapped lads’ mags for a glamourous LA lifestyleCredit: Instagram/Dani Behr
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Dani has since embarked on a whole new careerCredit: Getty
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She became a lads’ favourite during the 90’sCredit: Getty
Dani Behr started her career with a brief appearance on the hit school drama series,Grange Hillin 1989.
She went on to be a presenter on Channel 4‘s music show The Word for five years.
Dani became a lads’ favourite and later moved to the US to continue presenting over there.
Following brief stints on I’m A Celebrity and Come Dine With Me, she embarked on a new career as a luxury real estate agent.
In this role, the TV legend lets out and manages property for the Hollywood elite.
Fans may have seen Dani appear on popular show Million Dollar Listing LA.
She married restaurateur Carl Harwin in 2005, having two children, although the two went their separate ways nine years later.
Speaking onWhite Wine Question Time in 2020, she revealed her full time switch to real estate came when on-screen work dried up – around the time of her 2014 divorce.
Dani told Kate Thornton: “They don’t have careers as presenters out here, like back home.
“You’re either a news journalist or a sportscaster or a late night comedian, those were the hosts of all the shows here and I didn’t fit into any of those categories.”
Nineties TV star, 51, looks like she hasn’t aged a day as she strips off to workout gear to show off her abs
She already had ties to real estate industry – with her dad himself working in real estate while her mum is an interior designer.
Dani therefore decided to study for real estate exams in order to obtain a license.
She hosted a podcast titled The Behr Essentials for two years – focusing on her career in property.
Born in May 1999, Bonnie – whose real name is Tia Billinger – grew up in a small Derbyshire village, and attended the Friesland School in the village of Sandiacre.
She has two half-siblings – a sister and a brother – who have always remained out of the public eye.
She never knew her biological father, and considers stepfather Nicholas Elliott her dad.
Bonnie also became something of a dance star in her local area, and competed in the British Street Dance Championships alongside her sister back in 2015.
She also had a part-time job at Poundstretcher as a teenager.
After school, she began working in recruitment.
In October 2022, Bonnie married Oliver Davidson, who she had started dating when she was just 15.
Once they were married, they moved to Australia, where Bonnie continued working in recruitment.
However, it was in Australia that she decided to pursue a different line of work, and tried her luck as a ‘cam girl’ – crediting Oliver for giving her the confidence to enter the adult entertainment world.
She quickly made a name for herself in the industry, and was soon making £5,000 a week.
But while her work life was going from strength to strength, her relationship was crumbling, and she and Oliver split after almost a decade together.
She moved over to OnlyFans following her cam girl success, and once again found fame on there.
She quickly became a favourite on the site, especially thanks to her “niche” of sleeping with young male students – such as when she bedded 158 students during Nottingham Trent University’s freshers week in September 2024.
Bonnie is now estimated to be worth £3 million, and makes around £600,000 a month on OnlyFans.
Her family are also supportive of her work, with mum Sarah Billinger even claiming she’s her daughter’s PA, and helps clean up after Bonnie’s events – as well as handing out condoms to young clients.
In January 2025, Bonnie claimed to have broken the world record for the most amount of sex in 12 hours, after apparently sleeping with 1,057 men from 1pm to 1am at a secret London event.
Bonnie opened up on how she was banned from Forest’s ground on the Only Stans podcast.
She said: “I recently went to a Nottingham Forest game. Well, I attempted to.
“I put on my socials, ‘hey boys, I’m going to be at the game, I’d like to film with you afterwards’.
“I turn up at the football game and the gate security was like, ‘you are permanently banned from the ground’.
“I thought when they asked me to go to the side, ‘maybe they’re upgrading my tickets, maybe they want to escort me to my seat, this is quite nice, it’s a good service’.
“They asked to see my tickets, I showed them and they took them off me, saying, ‘we’re escorting you off the premises’.
“Apparently they don’t discriminate against sex workers but I was banned because I was a sex worker.
“I was going to encourage them (the players), give them a good time. I also think if I’m entertaining the supporters it’s less people drinking so I’m actually doing something good for their health.”
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The Sun previously revealed how she is currently filming a documentary with Channel 4Credit: TikTok/@bonnie_blue_xoxo
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Bonie quit her 9-5 for OnlyFansCredit: Instagram/@bonnie_blue_xox
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She claims to have bedded over 1,000 men in a 24 hour periodCredit: Instagram
ACTRESS Madeline Brewer makes a splash — in a dress made from a Sun front page.
Redhead Madeline, 33, star of Netflix hit You, wore it for Behind the Blinds magazine.
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Madeline alongside actor Penn Badgley in popular Netflix series YouCredit: PA
It features a January 1986 edition of The Sun — the first printed at Wapping.
The style resembles the John Galliano newspaper dress worn by Sex and The City star Sarah Jessica Parker in the popular series.
Madeline starred alongside actor Penn Badgley in popular series You.
In the fifth and final series, which is now streaming, viewers will see Joe embarking on an affair with a young woman named Bronte, played by Madeline.
They meet after she gains employment at his bookstore but it soon becomes clear that she has an ulterior motive after she developed suspicions that Joe was responsible for the death of her close friend.
Penn has led the show since its inception on the streaming service but has shied away from getting down and dirty on-camera for the past two series.
However, he has since decided that in order to give the show a “proper conclusion,” he needs to head back to the bedroom to spice things up for the final series.
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Madeline Brewer posed in a dress made from a Sun front page from 1986Credit: @foxhunter for Behind The Blinds Magazine
@behindtheblinds. Madeline is wearing @vetements_official on the cover. She’s captured by @foxhunter & styled by @orettac. Shot for Behind The Blinds Magazine.
For the second time in less than a year, Willie Nelson and Bob Dylan played the Hollywood Bowl on Friday night, bringing together two legends of American song on one stage. The concert — actually Nelson’s third recent visit to the Bowl after his 90th-birthday bash in 2023 — was part of the annual traveling Outlaw Music Festival, which will keep Nelson, now 92, and Dylan, who’ll turn 84 next week, on the road through mid-September. Here are nine highlights from the show:
1. Last year’s Outlaw tour stopped at the Bowl in late July, which at that time meant Nelson didn’t have to ward off the chilly May gray that inevitably settles after dark over the Cahuenga Pass. Here, a day after reportedly suffering from a cold in Chula Vista, Nelson kept warm in a stylish black puffer jacket to go with his signature red bandanna.
2. John Stamos played percussion in Nelson’s six-man band Friday — a somewhat lower-key role than the prominent guitar-and-vocals spot he often holds down these days in Mike Love’s touring Beach Boys. Yet the TV star looked pleased as punch to be back there, shaking a shaker as Nelson opened his set, as always, with “Whiskey River.” Also on hand, filling in for Nelson’s son Lukas was singer-guitarist Waylon Payne, who sang lead in a moving version of Kris Kristofferson’s “Help Me Make It Through the Night” — the folk-soul masterpiece made a hit in 1970 by Payne’s mother, the late Sammi Smith.
3. My favorite of Nelson’s styles to hear him do at this point in his career, with a voice and a soloing hand as free as they’ve ever been, is the spectral country-jazz mode of “Angel Flying Too Close to the Ground” and “Always on My Mind,” which gave him a pair of No. 1 country hits between March 1981 and May 1982. On Friday, he nailed high notes you might not have expected him to in the former and used the latter to show off the rhythmic daring of his line readings. Both were achingly beautiful.
4. Nelson didn’t perform anything from his latest album, “Oh What a Beautiful World,” which came out last month and collects his interpretations of a dozen Rodney Crowell tunes. (By some counts, it’s Nelson’s 77th solo studio LP — and the 15th he’s dropped since 2015.) He did, however, do a cut from his second-most-recent effort: a stately rendition of Tom Waits’ “Last Leaf,” in which he rhymes “They say I got staying power” with “I’ve been here since Eisenhower.” In fact, Nelson’s been here since FDR.
5. The big event in Dylanology between last year’s Outlaw tour and this year’s was, of course, James Mangold’s Oscar-nominated biopic, “A Complete Unknown,” which inspired a widespread resurgence of interest in Dylan’s music — particularly the early stuff Timothée Chalamet performs in the movie. Perhaps that’s why Dylan is singing “Don’t Think Twice, It’s All Right” on the road again for the first time in six years, including at the Bowl, where he gave the song a jaunty rockabilly vibe. (Anyone wondering why Chalamet wasn’t at Friday’s gig clearly hasn’t seen the TikToks of him wilding out after his beloved Knicks defeated the Celtics at New York’s Madison Square Garden.)
6. A rare-ish bit of stage banter from His Bobness, directed toward an audience member near the front row: “What are you eating down there? What is it?”
7. The whole point of going to see Dylan play is to be delighted — or to be outraged, or baffled — by his determination to reinvent songs so deeply etched into the history of rock music. Yet I was still thrilled by how radically he made over some of his classics here: “Desolation Row” was bright and frisky, while a sultry “All Along the Watchtower” sounded like Dire Straits doing ’80s R&B.
8. In addition to Nelson and Dylan, Outlaw’s West Coast leg also features two younger roots-music acts in Billy Strings and Sierra Hull. (Later in the summer, the tour will pick up the likes of Nathaniel Rateliff, Sheryl Crow, Waxahatchee and Wilco, depending on the city.) Strings, who’s been bringing bluegrass to arenas lately — and whose tattooed arms meshed seamlessly with the sleeves of his tie-dyed T-shirt — sang “California Sober,” which he recorded in 2023 as a duet with Nelson, and offered a haunting take on “Summertime” from “Porgy and Bess.”
9. A former child prodigy on the mandolin, Hull opened the evening flexing her Berklee-trained chops in a series of lickety-split bluegrass numbers that got early arrivers whistling with approval. But she also showed off a winsome pop sensibility in originals like “Muddy Water” and “Spitfire” — about “my spitfire granny back in Tennessee,” she said — and in a yearning cover of “Mad World” by Tears for Fears.
His other notable roles include Wadsworth the butler in the cult classic Clue and Pennywise the Dancing Clown in the 1990 adaptation of Stephen King’s It.
The stroke had a severe impact on Tim’s mobility, leaving him reliant on a wheelchair and carers for support with everyday tasks.
Since 2012, Tim has undergone extensive physical therapy and rehabilitation to regain as much movement and speech as possible.
He has kept a low profile in recent years, rarely seen in public and not active in major acting projects.
However, Tim has made some notable appearances and engaged with fans through interviews and virtual events.
Neighbours legend set for huge UK comeback as he reprises iconic role for the first time in 25 years
In 2015, almost three years after his stroke, he made a rare public appearance at the Actors Fund Tony Awards Viewing Party in Los Angeles.
There, he received a lifetime achievement award and spoke openly about his recovery, highlighting how maintaining his sense of humor was vital to coping with his health challenges.
More recently, since 2023, Tim has participated in virtual video chats with fans through conventions like GalaxyCon.
He has also shared occasional video messages on social media, providing insight into his life post-stroke and answering fan questions about his recovery and career.
In addition to these appearances, Tim marked a notable return to acting in 2024 with a role in the horrorfilm Stream – his first feature film role in 14 years.
The film was released in select theaters in August 2024.
He has also remained active in voice acting, lending his talents to animated series and projects, further demonstrating his enduring passion for performance.
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Tim is a celebrated actor, known for his roles in cult filmsCredit: Getty
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His 2012 stroke left him partially paralysed on one side of his bodyCredit: Getty
Rams owner Stan Kroenke will build a movie studio next to SoFi Stadium in Inglewood that will serve as the international broadcast center for the 2028 Olympic Games.
Construction will start by summer on the studio and production facility that will house hundreds of broadcasters from around the world that have acquired rights to cover the Summer Games in Los Angeles, Kroenke’s company said Tuesday.
After the Games, the facility known as Hollywood Park Studios will be used to make movies, television shows and other productions and perhaps host live broadcasts.
The development is part of Hollywood Park, a multibillion-dollar complex built on the site of a former horse racing track also known as Hollywood Park that includes the stadium, apartments, theaters, offices, shops and restaurants.
Kroenke’s organization hopes that attention from the Olympics will boost Hollywood Park Studios’ appeal as a future entertainment production center.
“We want it to be recognized around the world,” said Alan Bornstein, who is overseeing development of the studio for Kroenke.
The studio is part of Hollywood Park’s master development plan focusing on media, entertainment and technology, Bornstein said, anchored by SoFi Stadium, YouTube Theater and the NFL Media office building.
“There has been an increasing convergence of media and technology and sports, all under the notion of entertainment that is now distributed in in multiple channels,” Bornstein said, “whether it’s through streaming or whether through broadcast television or movies in theaters,”
The first phase of Hollywood Park Studios will occupy 12 acres and will consist of five soundstages, each 18,000 square feet, two of which may be opened to a single 36,000-square-foot stage.
The complex will have a three-story, 80,000-square-foot office building to support stage, production and postproduction activities. The studios will have a dedicated open base camp where trucks, equipment and actors’ trailers could be placed, along with a parking structure for 1,100 cars. Future development could include as many as 20 stages and 200,000 square feet of related office space.
The additional stages would be built to suit for future tenants as demand emerges, Bornstein said, who declined to estimate how much the studio complex will cost.
Although demand for soundstages outstripped supply a few years ago, production has recently slowed and dampened the current need for them.
A rendering of the Hollywood Park Studios broadcast center and movie production facility.
(Gensler)
Last year, the average annual occupancy rate dropped to 63%, a further indication of Hollywood’s sustained production slowdown, according to a recent report by FilmLA, a nonprofit organization that tracks on-location shoot days in the Greater Los Angeles area.
That was a decline from 2023, which saw an average regional occupancy rate of 69%. That was the year when dual strikes by writers and actors crippled the local production economy for months.
The foray into Hollywood-level production facilities is part of Kroenke’s goal to combine sports, entertainment and media from around the world, Bornstein said.
In addition to the Rams, Kroenke is owner of the Denver Nuggets basketball team, the Colorado Avalanche hockey team, the Colorado Rapids soccer team, the Colorado Mammoth lacrosse team and Arsenal Football Club, the Premier League soccer team based in London.
SoFi Stadium, where the Chargers also play football, will be converted into the largest Olympic swimming venue in history during the Games in 2028. It will host the Olympic opening ceremony with the Los Angeles Memorial Coliseum, as well as the opening ceremony for the Paralympic Games.
Kroenke is also a major real estate developer and landlord. The 300-acre Hollywood Park project is one of the largest mixed-use developments under construction in the western United States. SoFi Stadium alone cost $5 billion to build.
Last month, he also unveiled plans for a new Rams headquarters on a 100-acre site at Warner Center in Woodland Hills that would include a residential and retail community intended to be the centerpiece of the San Fernando Valley. It could cost more than the total price of Hollywood Park, which has been valued by outside observers at more than $10 billion.
Creating a second epicenter in Woodland Hills allows the Rams to significantly increase the size of their footprint in the Southern California market.
“When you’re looking to do a practice facility, you don’t need to be right in the middle of everything, and typically that real estate is very expensive,” Kroenke told The Times. “We built an identity in the Valley, with Cal Lutheran, and a lot of our players and families are up there. Our experience was really good.”
Architecture firm Gensler spearheaded the design for the Warner Center headquarters and Hollywood Park Studios. Clayco will be the general contractor for the studio, with Pacific Edge acting as project manager. Financing was arranged by Guggenheim Investments.
Times staff writer Sam Farmer contributed to this report.
A GIANT dragon which fans will recognise from a classic Harry Potter film stunned Londoners today as it roared its way through the capital’s streets.
The 25-foot-long animatronic creature appeared ‘captured’ in chains, snarling past iconic landmarks like Westminster Bridge and King’s Cross Station.
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A 25-ft-long animatronic ‘Hungarian Horntail’ dragon makes its way through London en route to Warner Bros.Credit: Joe Pepler/PinPep
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The animatronic stopped off at St PancrasCredit: Simon Jacobs/PinPep
The theatrical stunt was staged to mark the launch of ‘Triwizard Tournament – Making of Champions’, a new feature at Warner Bros.
Studio Tour London – The Making of Harry Potter, which celebrates the 20th anniversary of the cinematic release of Harry Potter and The Goblet of Fire.
The Hungarian Horntail, which weighs in at a hefty 1.3 tonnes, recreates the jaw-dropping moment in the fan-favourite film, where Harry battles the beast in the first task of the ‘Triwizard Tournament’.
Replicating the drama of the film, the dragon’s chained journey mimicked its on-screen escape before heading back to Warner Bros. Studio Tour via the Houses of Parliament and a quick pitstop at St. Pancras.
Giant 25ft-long Harry Potter dragon stuns onlookers as it roars through London’s streets
Designed by Harry Potter filmmaker and animatronic designer Joe Scott, the lifelike creature features a moving head, mouth and eyes, and sound effects.
Crafted over 750 hours, the dragon includes a 3D printed head, 25kg of fibreglass, and 119 hand-applied spikes.
Its menacing mouth is lined with 38 resin-printed teeth, recreating the film’s fearsome look in painstaking detail.
Scott drew on original sketches, CGI mock-ups and scans of the original movie model to guide the design process.
He said: “Revisiting the creation of the Hungarian Horntail 20 years on from Harry Potter and the Goblet of Fire has been magical.
“Creating the dragons for the Triwizard Tournament was no mean feat, with engineers, animatronics, designers and the special effects teams all working together to bring them to life.
“It’s fantastic to see the craftsmanship that went into this on display at the new feature – inspiring visitors with the magic of our filmmaking secrets.”
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The animatronic was crafted over 750 hoursCredit: Joe Pepler/PinPep
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Laura Sinclair-Lazell, Head of Show Experience at Warner Bros. Studio Tour LondonCredit: Simon Jacobs/PinPep
The Triwizard Tournament – Making of Champions exhibit will run from 15 May to 8 September 2025 at Warner Bros. Studio Tour London – The Making of Harry Potter.
Fans will be transported behind the scenes of the iconic Triwizard Tournament, discovering how the thrilling magical challenges were brought to life.
The Studio Tour’s new summer feature invites visitors into the all-new Backlot Stage to explore the Secrets of Special Effects.
The dedicated indoor space includes a digital screen, tiered seating and live demonstrations revealing how filmmakers created the magic.
Among the highlights is a reimagining of the Beauxbaton and Durmstrang students’ arrivals, complete with costumes and choreography.
Visitors will also discover the techniques used to show Harry holding his breath underwater during the second task.
Geoff Spooner, senior vice president at Warner Bros. Studio Tour London, said: “We’re excited to launch our brand-new summer feature, Triwizard Tournament – Making of Champions, where visitors can learn behind-the-scenes secrets of the fourth Harry Potter film.
“To celebrate and bring the magic of Warner Bros. Studio Tour London to the streets of the capital, we recreated the iconic moment of the escaped Hungarian Horntail dragon 20 years on from ‘Harry Potter and the Goblet of Fire.”
