idea

The travel industry is on edge after Homeland Security Secretary Markwayne Mullin reiterated his threat to withdraw U.S. Customs and Border Protection officers from airports in so-called sanctuary cities in a move that could jeopardize international flights.

The U.S. Travel Assn. said that Mullin confirmed he is considering withdrawing the officers in a meeting where the trade group was pressing its concerns about other proposals the Trump administration is considering that could hamper travel. The travel association and major airlines quickly condemned the idea, and even Transportation Secretary Sean Duffy said it doesn’t make sense to him.

“U.S. Travel believes such a move would have devastating consequences for the travel industry and communities that depend on international visitation,” the industry group said Friday in a statement.

Details of the meeting were first reported by the Atlantic.

Duffy said at a congressional hearing this week that he wasn’t familiar with Mullin’s remarks, and he’d like to learn more about the context and maybe ask Mullin a question about what he meant. But Duffy said it would be a bad idea to start restricting travel based on political views. After all, he acknowledged, at some point Democrats will be in charge and “you will all switch spots at one point — hopefully not too soon, Mr. Chairman.”

“We have people from around the world and around the country that need to be able to fly into all different kinds of places. We shouldn’t shut down air travel in a state that doesn’t agree with our politics,” Duffy said.

So it’s not clear how much support this idea has within the administration, though President Trump has previously threatened to withhold funding from sanctuary cities.

There is no strict definition for sanctuary policies or sanctuary cities, but the terms generally refer to jurisdictions that limit cooperation with U.S. Immigration and Customs Enforcement. And courts have rejected the idea of pulling funding from them in the past.

In Trump’s first term in office, in 2017, courts struck down his effort to cut funding to the cities.

It’s not clear exactly which cities and airports Mullin might target, but the Justice Department last year published a list of three dozen states, cities and counties that it considers to be sanctuary jurisdictions. They include California, Los Angeles, San Francisco and San Diego County.

The Airlines for America trade group was quick to say the idea would hurt the economy and disrupt travel.

“Reducing CBP staffing at major airports would have a devastating effect on the airline and tourism industries, causing a significant operational disruption to carriers, travelers and the flow of international cargo.”

Funk and Yamat write for the Associated Press.

For a guy who has become known for his monstrous output of clips, comedy specials and content, it’s a wonder Josh Johnson has time to stop to think about what makes his comedy timeless. As a former writer and now one of the hosts of “The Daily Show,” much of Johnson’s humor outside of specials relies on his ability to deliver jokes on the dumpster fire du jour when it comes to pop culture and politics. But for his latest one-hour special, “Symphony,” premiering Friday on HBO, he wanted to orchestrate something different that would still be funny 40 years from now, regardless of what’s fashionable or who is running the country.

Using music as a canvas to paint a funny, layered portrait of the human experience, Johnson creates a set that comes alive with the sound of more than the laughter at the Wiltern, where the special was filmed earlier this year. With stories focused on surviving rowdy family, moments of loneliness, struggles with faith, and navigating our deepest human relationships, Johnson’s abilities as a pensive storyteller are conducted masterfully. The result is an hour that helps showcase his refined comedic voice, surprise the audience and sound the trumpets for his next round of touring.

This interview was edited for length and clarity.

Why was it important for you to veer so strongly into music as a theme of your new special, “Symphony”?

I think music, in a way that nothing else does, brought the central points and themes of the special home. In the beginning [scene] with the title card and the busker who has a [music-related] quote in front of him, that’s sort of the mission statement of the special and everything I’m trying to do. The thing to me is including the music to help bring about these ideas and bring each section home and bring it all the together in a way that obviously I’m also attempting to do through the comedy. I think thematically there’s nothing stronger to make the overall point than music.

What inspired you to shoot it at the Wiltern?

The Wiltern is so beautiful and it also lends itself to that sort of art aspect I’m talking about in the very beginning of the special. Things that have that look of the Wiltern help not just create a spectacle, but give you something really beautiful to look at. You get something really beautiful to listen to in the music, and then the comedy helps decorate the hour that we’re spending together.

“If you speak to a lot of people’s timelessness around family and culture and some of the bigger topics, but without naming names, I think that you create something that really stands the test of time,” Johnson says about his new special, “Symphony,” premiering Friday on HBO.

(Ser Baffo / HBO)

You definitely play around with the format of a typical special in this new hour. As somebody who has mastered the ability to release a crazy amount of comedy in recent years on YouTube and social media, what aspect of a traditional one-hour special do you still find important?

I think that everything that I’ve been doing so far is pretty topical and very of the moment, even when I’m not talking about a specific pop culture or political topic. I think that there’s a time for comedy of the moment, but then I also think there’s an aspect that you want to be timeless, and that’s what the specials are for me. You want the piece to be something that people watch 40 years from now, and I don’t always expect every single set that I put out to have that level of longevity. Because no matter how it feels right now, there’s going to come a time where we look at the people who take up so much of our bandwidth and our thoughts throughout the day as just a sort of passing political fashion or the things that we see as like huge indicators of where society is right now will eventually become forgotten crazes. But I think that if you speak to the human condition, if you speak to a lot of people’s timelessness around family and culture and some of the bigger topics, but without naming names, you create something that really stands the test of time.

There’s a duality between your timely comedy on “The Daily Show” and the timelessness you’re aiming for in specials. Was it important for you to separate the two ways that people might see you as a comedian?

People are going to have their takeaways from whatever you do. I try bringing the same amount of intention to everything, but as far as the way people see me, it’s something that’s kind of out of my control.

Religion comes up a lot in the special, the Bible specifically. I’d read somewhere that you had taken a break from practicing Christianity in recent years. If so, what was your reason for including the topic in your special?

I wouldn’t even necessarily call it a break, I just think that there’s moments you’ll find yourself in, where whether you grew up on a text or a certain few tenants that you live by, there’s always going to come a time where it’s really important to revisit those things… It’s not necessarily that I bring religion up in the special because I stopped practicing. It’s actually because I think that if I’m breaking life down into these sort of pillars that make up a person — I’m not saying religion has to be one of them — but I do find it to be an aspect for a lot of people. So if I’m once again trying to speak to things from a universal perspective as best I can, I think it’s something that that definitely comes up.

Comic Josh Johnson turns his new hour into a concertlike experience, using live music, a busker’s credo and L.A.’s ornate Wiltern Theatre to tie jokes into a single, sweeping theme.

(Ser Baffo / HBO)

Considering how well you use music as a backdrop for the special, how long did it take to come up with a concept for the hour? Did you write the jokes before coming up with the structure or vice versa?

I basically had a structure before I had a set, and I went to the director Jacob Menache about the idea for this thing like three years ago and we were talking about how best to make it work. That was long before I knew what jokes were going to go where, or how many things, how many aspects we were going to add to it, or anything. So I think that it’s been a long time coming, as far as like the actual structure of what you end up seeing.

Watching your special was the first time I paid real attention to who the musical director was in the credits. What was it like working with respected bassist and producer Derrick Hodge on creating the concept for the music in “Symphony”?

I look at Derrick as someone who was doing a lot of interesting things, and so I thought it was going to be a fantastic opportunity to get to work with him. I don’t know that much about music, to be honest. I try to dabble with producing here and there because I have ideas, but it’s the real musicians, the real artists that take the ideas that I might pitch out and create something with it. So I really leaned on Derrick as much as possible to like bring us home. I feel like so much of what I was trying to do was in bringing an overall idea of the structure of a set and asking Derek, “Hey, what do you think about this?” I don’t know if I could have ever thought up a way to create what I was trying to build without him.

Was there something about you that you felt like you wanted to get across in this special that maybe you haven’t gotten to in your previous specials?

It can be tough to show new shades of yourself when you put out a lot of stuff, and you are always kind of coming with stories about your life and your childhood or anything like that when I think of putting a set together, especially something that is attempting to be timeless. Overall, I think every new story is a new story to [the audience]. But I think that if you can express how you used to think versus how you think now, that can be revealing. Towards the beginning [of “Symphony”] I talk about how there are things I didn’t understand until pretty close to the special in theory, things I didn’t understand until like a week ago, or I’ve always held this belief, or something like that, and I think that if you can give people insight to your evolution as a person, I think that’s a really powerful thing.

“I think music, in a way that nothing else does, brought the central points and themes of the special home,” Johnson says.

(Ser Baffo / HBO)

Were there any things that occurred during the rehearsal process that genuinely surprised you?

Watching it come together was a huge surprise, because you know, [the director] Jacob’s out here in L.A., I’m in New York, and so I make the flight down and everything, but the Thursday rehearsal with the musicians [before the taping] was the first time I was seeing everything come together. It was first time I was hearing everything, and so I think watching something finally come to life after such a long period of time is always going to throw you for a loop.

Now that the special will finally be out, what plans do you have next about how to showcase your comedy?

I’m really excited for people to see what’s coming. I start the tour Comedy Band Camp in June. I have some surprises for people there as well, and I’m looking forward to showcasing lots of artists. I’m looking forward to showcasing as much as I can that helps me elevate the level of craft and what I bring to people. And so I’m doing that through even more collaborations. I’m going to be hyping up some people that maybe you’ve heard of, or maybe you haven’t heard of. The special is kind a beautiful kick off for the tour that I’m going to be doing because we are going to be on the road for quite a while, and I chose Comedy Band Camp as a theme, because camp is this thing that people are nostalgic for, it’s a place to go that is safe, where you make friends. Band is about people coming together for a shared goal, it’s about everyone having a singular purpose towards creating art. So I think mixing those two things together will be a unique experience that no one can get anywhere else, and it’ll be a challenge to present it as best as possible. But I have a lot of plans for how I’m going to do that.

Last week, news organizations and Disney bloggers learned that the Mouse House had filed building permits with the city of Anaheim related to a parking structure at Disneyland Resort.

That immediately sparked rumors about a third park — a long-held dream of Walt Disney Co. fans who want to see more rides, themed areas and Mickey-related shopping destinations.

But that will remain a dream — at least for the foreseeable future.

Anaheim city officials confirmed as much in an internal email about one of the news articles, noting to City Council members and the mayor that the permits were, in fact, for minor parking lot improvements within the existing Toy Story parking structure off Harbor Boulevard.

The email, which was reviewed by The Times, said the improvements were not related to an already-approved expansion of Disneyland Resort, or “what could ultimately be developed on the property in the future.”

A Disneyland spokesperson told me the permits are related to painting and striping at the Toy Story parking structure. So much for a third theme park.

It’s not the first time there’s been a hullabaloo about an additional park at Disneyland Resort.

In the early 1990s, there were serious talks about a Disneyland expansion called Westcot Center, a West Coast version of Walt Disney World’s Epcot in Florida. The plan at one point was to include three hotels, a public plaza and a number of retail, dining and entertainment options all around a central lake. At one point, both Anaheim and Long Beach were vying to be chosen as the site.

But that all collapsed in the mid-’90s amid financial concerns. Disney later built California Adventure, and briefly teased the idea of a third theme park complex with both a water park and amusement park that could complement the two-park resort. But that but never came to fruition.

The idea came up yet again about 10 years ago at an annual shareholders meeting in San Francisco, when former Chief Executive Bob Iger batted down speculation about a third park.

“We have plans at Disneyland for an expansion that we have not announced but those plans at the present do not include a third gate,” he said at the time.

More on that expansion later, but the truth is Disney simply doesn’t have enough land in Anaheim to build out a third theme park. I spoke with Len Testa, president of theme park travel site TouringPlans.com, who laid out the issues for me.

A third park would probably need a minimum of 80 to 120 acres of land to accommodate big new rides, as well as necessary behind-the-scenes facilities like employee break rooms and other back-of-the-house infrastructure.

“They’re landlocked,” he said. “And to acquire that land now in any way that would keep the campus centralized and avoid the logistics of a far-flung transportation network, that would be prohibitively expensive.”

That’s not to say that Disneyland Resort isn’t expanding on the land it does have.

Two years ago, Anaheim approved expansion plans for a project known as DisneylandForward, which will allow the company to build new attractions alongside shops, restaurants and hotels.

Development plans include a bigger Avengers campus with two new rides, as well as a “Coco” ride and “Avatar”-themed area in California Adventure, as well as a new parking structure.

Although it’s not a park, adding new lands and rides is “mission critical” for Disneyland Resort, Testa told me. After all, to drive attendance, you need to regularly open new attractions.

And these new rides can’t just be any old rides — they have to be “epic, mammoth blockbusters” that no one’s seen before, which takes time, space and money, he said.

Disneyland Paris is a good example. The European tourism resort saw a notable boost in attendance after it opened a World of “Frozen”-themed land in March.

“When you have that type of expansion and you can fill the park, you feel very, very good about that,” Disney Chief Financial Officer Hugh Johnston said last week at the MoffettNathanson media, internet and communications conference. “When we leverage our [intellectual property] and take that IP and build big new attractions, not little things … it’s these big new things that actually tend to just really bring in the consumers.”

That’s also key when you consider Disney’s growing competition from Universal Studios, which recently opened Epic Universe in Orlando and siphoned off some attendance from Walt Disney World.

And while the company’s TV and film business is vital, its theme parks still throw off most of the cash — new Disney CEO Josh D’Amaro recently called the parks the “physical centerpiece of the company.” And of course, they retain a deep link to Disney’s heritage.

As Walt himself noted, Disneyland is a “living” entity that would “never be finished.”

Stuff We Wrote

Film shoots

Number of the week

Lionsgate’s musical biopic “Michael” retook the top spot at the box office last weekend with a haul of $26.1 million in the U.S. and Canada.

The film, which chronicles the early career of singer Michael Jackson, has had remarkable staying power atop the charts since it debuted in late April. The film’s weekend revenue was down only 31% in North America compared with the previous weekend.

Overall, “Michael” has now made an estimated $703.9 million in worldwide box office revenue, with $421.1 million coming from international markets.

What I’m watching

Now that WNBA season is in full swing, I’ve been watching my L.A. Sparks and caught the game against the Toronto Tempo on Sunday. It was a rough game, but here’s hoping the Sparks can start turning things around, and quickly.

SACRAMENTO —  The Democrats’ mantra this election year — especially among wannabe governors — is that the richest Californians should “pay their fair share.” But by any objective measurement, they already do.

I’m referring to state taxes, not federal. It’s a valid argument that the most prosperous Americans should kick in more to the federal government, particularly after President Trump and the Republican Congress lowered taxes for the wealthy, who already had a pretty good deal.

But it’s a different story in California, where state government lives off the well-heeled. Yet, never-satisfied liberal Democrats and public employee unions constantly cry for more.

In fact, an unexpected surge of $16.8 billion in state tax revenue, mostly due to the stock market boom and capital gains earnings, is bailing out Gov. Gavin Newsom and allowing him to claim a balanced budget as he prepares to depart Sacramento and run for president in 2028.

The state Franchise Tax Board recently reported which income groups pony up the most taxes. The more money you earn, the steeper your income tax burden. Of course, that’s the way it should be. But California pushes its progressive tax system to the extreme.

We’ve got by far the highest state income tax rate in the nation at 13.3%.

In 2024, the latest year for which there’s complete data, the top 1% of California taxpayers accounted for 40% of the total state income tax revenue, the FTB reported. But they earned just 24% of the taxable income. To be in the top 1%, your annual earnings had to be at least $973,000.

The top 0.1% kicked in 21% of the tax, while earning 12% of the income. To be in that megarich class, you needed annual earnings of at least $4.7 million.

By contrast, middle-class families with incomes between $73,000 and $139,000 paid 9% of the state’s income tax take.

This doesn’t mean we should weep for the rich and demand more from the struggling lower middle class.

But the problem with Sacramento living off the wealthiest taxpayers is that they’re unreliable. Their fortunes flourish in boom times and fall when the economy busts. When the stock market sneezes, California state government catches pneumonia.

If the state treasury is overflowing, Democratic lawmakers tend to spend freely, expanding programs and creating new ones. Then when the cache inevitably shrinks in bad times, the policymakers’ usual response is to essentially turn their eyes.

Rather than sharply whack spending and raise taxes, they gimmick up the budget with borrowing, deferred spending and crossed fingers. And they dig the hole deeper.

For decades, under Democratic and Republican governors, we’ve sorely needed to update our archaic tax system to make it less volatile and more dependable.

A reform that makes lots of sense is to extend the sales tax to services primarily used by businesses. They could deduct the cost on their federal tax returns. And California state and local governments would steadily collect several billion dollars annually. Some income and sales tax rates could even be lowered.

California also has the nation’s highest state sales tax rate at 7.25%. Combining state and local sales tax rates, we have the seventh-highest at 8.99%.

Taxing deductible business services makes sense to many politicians — but only privately. They’re too weak-kneed to seriously consider it in public. There’d be winners and losers and high political risks.

When Xavier Becerra, the current Democratic front-runner in the June 2 gubernatorial primary, entered the race a year ago, I asked him about extending the sales tax to services, as all other states do. He wanted nothing to do with it.

“We need to stabilize our tax system in California with a more steady source of revenue,” he told me. “But I’m not a fan of the sales tax to begin with. It lands on working families.”

He was not interested in exploring a possible tax on services that didn’t hit working families.

Becerra, a former California attorney general and U.S. health secretary, added: “Before we start exploring new taxes, we should explore existing budget spending. We have to scrub the budget.”

In revising his new budget proposal last week, Newsom proposed $5.1 billion in modest tax hikes on businesses — even as unanticipated revenue was surging. He asked the Legislature for a limit on corporate tax credits and a tax on digital software.

He also proposed to trim $3.7 billion from Medi-Cal healthcare for the poor.

Newsom proposed spending $349.9 billion in the next fiscal year and asserted that budgets would be balanced for 18 months. But after that, he and practically everyone else in Sacramento foresee deficit spending without extensive fiscal restructuring.

But you don’t hear a peep about that from leading Democratic candidates running to replace Newsom. Most are talking about imposing significantly higher business taxes to pay for new or expanded programs.

Billionaire hedge fund founder Tom Steyer wants to close “the corporate tax loophole.” What he’s talking about is gutting Proposition 13’s property tax breaks for commercial holdings. He’d make it easier to reassess when partners sell their portions of a property — a commonly called “split roll” that would treat commercial property differently than residential.

That was tried in 2020 and rejected by voters.

Steyer also supports the billionaire tax that’s expected to be on the November ballot. It would impose a one-time 5% tax on the net worth of California’s 200-plus billionaires.

To their credit, no other gubernatorial candidate supports this misguided proposal. Practically all the $100-billion windfall would flow solely into healthcare while causing fed-up super wealthy to flee the state.

Former Orange County Rep. Katie Porter would raise taxes on the most profitable corporations to pay for free child care and college tuition. They’re both good causes but of questionable fiscal feasibility right now.

Rather than pushing rich investors and job creators out of state, we should be encouraging them to stick it out in California and continue to pay their fair share.

What else you should be reading

The must-read: Who won and who lost in Thursday night’s California gubernatorial debate? Our columnists weigh in
TikTok dough: The Steyer campaign pays influencers. Their posts don’t always make that clear
The L.A. Times Special: Steyer campaign staffer linked to video of rival Katie Porter berating staff

Until next week,
George Skelton

—
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If, god forbid, there’s a natural disaster in L.A. in the near future, Jena Malone might be one of your first responders.

“I’ve been studying Community Emergency Response Team training,” the actor-musician, 41, said, drinking coffee in the living room of her home overlooking pomegranate trees and a canyon in northeast L.A. “Whether it’s fire management or building a neighborhood tool shed, it’s less important for me to hit career milestones now than to transform how I live on this planet. Let’s build something where we’re all taking care of each other’s needs through mutual aid.”

Those are galvanizing priorities from Malone, who’s led generationally beloved films like the sci-fi noir “Donnie Darko,” played the axe-chucking Johanna Mason in two “Hunger Games” tentpoles and recently co-starred in the lesbian bodybuilding revenge flick “Love Lies Bleeding.” For almost as long, she’s also made experimental folk and electronic records that toy with avant-garde noise and quietly poignant songwriting.

This is a wild time in L.A. for anyone concerned about the city and its culture industries, and Malone is deeply invested in both. Just before the release of her new Netflix series, the Duffer Brothers-produced “The Boroughs,” she’s released her first album in nearly a decade. “Flowers For Men” is an effects-shredded, future-primitive record, written after the birth of her son upended her obligations — and expectations — toward the men in her life and the world they’ll inherit.

“It changed everything,” Malone said, about raising a son. “I grew up learning to thrive and mask in masculine spaces. Grind culture is a masculine toxicity that I inherited and indoctrinated myself in. But parenthood offers you this opportunity to burn your entire life down in sacrifice to finding out what’s real. I had no idea what it was to be a man. All of my ideas burned down and not much was being raised back up.”

For millennial film fans, Malone’s been a consistently compelling, trust-anything-she’s-in actor since her child-star turn in 1997’s “Contact.” Few embody a tortured, beguiling Americana quite like her.

“The Boroughs” — a high-profile follow-up to “Stranger Things” from the masters of unreality, created by Jeffrey Addiss and Will Matthews — has a stacked cast that includes Alfred Molina, Geena Davis and Bill Pullman, set amid a bucolic retirement community under supernatural threat. A ragtag group of Duffer Brothers misfits teaming up to fight off eldritch horror might be the last safe bet in television.

Yet that’s also how Malone feels about the current climate of Hollywood — a once-stable neighborhood fending off malign forces. Institutional consolidation and retreat, spiraling costs, technological upheaval — they all add to a creeping sense that an era is over, and worse is coming.

“Film is in such a delicate transition. I think that where music was 20 years ago, film is now,” she said. “It’s like being on an elevator where every floor is on fire. A lot of the things that I loved about it no longer exist, even if what I love about it is still wildly potent. My stress levels go down and my creativity goes up when I’m building a world that does not rely on the film industry, even though it’s my main love.”

That feeling called her back to music on “Flowers For Men,” arriving nine years after her last LP. The ego-shattering experience of giving birth in 2016 and raising a son prompted reflections about what men’s inner lives were really like, and she wanted to write about them.

“I was raised by two moms, and I had this strange aspiration to become the dad,” Malone said, laughing. “I was the breadwinner of my family then. But being a parent was all brand-new to me. I kept seeing my father in him, my grandfather, these older relationships with men. It was asking me to look at him with curious, childlike eyes.”

“Flowers For Men” was written from a sincere curiosity about mens’ strictures, bad influences and better aspirations. To inhabit someone else’s life, she had to sound different, too.

“Film is in such a delicate transition. I think that where music was 20 years ago, film is now,” Malone said. “It’s like being on an elevator where every floor is on fire. A lot of the things that I loved about it no longer exist, even if what I love about it is still wildly potent.

(Evan Mulling/For The Times)

The most prominent instrument on the album is its layers of vocal treatments. Malone has a lovely natural voice — intimately whispered, with hints of ‘70s country rock. But here she douses it in pitch-shifted digital acid, like a late 2000s R&B record dropped in the pool at the Joshua Tree Inn.

It’s an uncanny combo, but its lends modern melancholy to “Barstow,” which has the narrative structure of a Townes Van Zandt banger but is corroded with bleary effects. “Create In Your Name” has a Billie Eilish-worthy late-night murk, with lyrics so devotional they almost sound consumptive. “Disaster Zones” is all blown-out ambience, and the LP closes on a showstopping cover of John Prine’s classic “Angel From Montgomery.”

“I just love that a man wrote a song where the first line is ‘I’m an old woman,’” Malone said. “As a female songwriter, it gives me so much permission. Now all the doors are open. If I was to give flowers to all of the different men that have touched or changed things that deserve celebration, John Prine would be one of them.”

That idea — celebrating men for the good they’re capable of — felt transgressive enough today that it cohered the album for her. But it also came with questions about how romantic partnership fit into her life. Settling into motherhood, she read up on relationship anarchy — which she sees as not abiding by tiers of connection. She bought books on ethical nonmonogamy (“Sex at Dawn” was a big one) to learn how other lives were not just possible, but maybe even more fulfilling.

(Perhaps this was not a stretch from an actor who played the wild child Lydia Bennet in “Pride and Prejudice.”)

“I had been under this societal understanding that hierarchical love, placing one partner above everything else, was the ultimate romantic expression. I could name hundreds of movies that brought that up,” she said. “But while I’m learning to take care of this child, I’m realizing that self-love is one of the most important parts of this equation. I need to have expression, some work in life that felt like another love. And then my family, and how important friends were. And all of a sudden there’s no world where I would just have one love, not even just romantic love.”

“I had been under this societal understanding that hierarchical love, placing one partner above everything else, was the ultimate romantic expression. I could name hundreds of movies that brought that up,” Malone said. “But while I’m learning to take care of this child, I’m realizing that self-love is one of the most important parts of this equation. I need to have expression, some work in life that felt like another love.

(Evan Mulling/For The Times)

“Flowers For Men” is, in her way, a bargain with that contradiction — to love men deeply, but never put them above all else, even as she got engaged to her partner, actor Jack Buckley, earlier this year.

She’s still sorting out how to present this album live. She said she’s a fan of the Dead City Punx model of renegade shows in forgotten corners of L.A. Maybe as the city seems to fall apart, she’ll find a leafy park or the back of a dingy bar that’s the right home for these strange, lonely yet hopeful songs.

“I want someone to walk into the bathroom and be like, ‘Whoa, why is there a woman singing to me?’” Malone said. “I like the idea that art makes you a little uncomfortable and you don’t have the previously held expectations to know how to hold it.”

SHE became the youngest ever Bond girl at 21 – and Gemma Arterton thinks one reason she landed the role as MI6 agent Strawberry Fields is because she teased 5ft 10in Daniel Craig about his height at the audition.

Now 40, the actress recalls how she had been relaxed about applying for the part in Quantum Of Solace because she did not realise quite how huge the 007 films were — and just tried out for “fun”.

Talking about Daniel, 58, who played Bond for 15 years, she says: “He’s got his sense of humour, so that was good.

“I used to poke him a bit, like, I think that’s why I got the job.

“I did a screen test with him and I came on set and said, ‘Hi’, and he said, ‘Hi’. I said, ‘You’re not as tall as I thought you would be in real life’.

“He said, ‘That’s really nice of you to say so’. I was joking with him. I didn’t think I’d get it.”

TV CREW

Princess Andre & Ella Rae Wise lead the glam at star-studded ITV Showcase

‘MORTIFIED’

Gemma Arterton’s brave response to director demanding last-minute sex scene

After she landed the part, Gemma — who is 5ft 7in — says Daniel had to use height-boosting shoes for a few scenes when she was ­wearing stilettos.

Gemma, whose parents split when she was young, grew up on a Kent council estate with her mum Sally-Anne, a cleaner, and younger sister Hannah.

She said at the 2024 Marrakech International Film Festival: “I knew nothing about the Bond legacy because I grew up in an all-female household where we didn’t really watch movies.

“I literally didn’t know how big James Bond was, which sounds ridiculous because everyone else does. The ­surprise of how big it was — I couldn’t believe it.

“I auditioned for it because my agent told me to, not expecting to get it, and got it and just did it because it was fun.

“But I had an amazing time making it and it was huge. I had no idea what I was letting myself in for.

“We went on all these amazing locations. I had just left drama school, it was one of my first jobs, and it was the first time I was on a big film set.”

Now, Gemma is about to appear in another spy thriller — but this time she will take on the lead role in new ITV crime drama Secret Service, which starts tomorrow night.

She plays Kate Henderson, who balances being a suburban married mother of two teenagers with secretly being a senior MI6 operative and heading the Russian desk at the intelligence service.

It is based on the book of the same name by ITV newsreader Tom Bradby.

Gemma says: “She trains spies and finds out some very important information, which is that there is a Russian spy within the British government.

“Her mission is to find out, by hook or by crook, who that is. It’s really gripping. It’s edge-of-your-seat stuff.”

For this role, Gemma did plenty of research and, with writer Tom’s help, she even met a real-life spy to perfect the part.

She told ITV’s This Morning: “I was lucky enough to meet someone who could advise me on how they negotiate their lives and live day to day — you know, their family and their kids.

“There’s a scene where I tell my kids what I do and they don’t believe me, they laugh it off. And that came from this ­previous spy and what happened when he told his daughter and she thought, ‘You’re joking’.

“But it was invaluable to me because it’s not just the high-stakes lives they live, it’s about the attributes they have to be a spy, which are very specific — very risk averse, good at problem solving.”

Gemma has been acting since she was a teenager and was 16 when she first considered it as a career.

She says: “I come from a humble family. My father was a metal worker, my mother is a cleaner, and not involved in the arts in any way.

“I always liked performing and showing off. I didn’t know that acting was a profession really until I was about 16 and I was doing a lot of amateur dramatics as a hobby.

“There was a lady there who said, ‘You should go to college to study acting’.

“I thought, ‘OK let’s see what happens’. Then I saw Breaking Away and Dancing In The Dark and I was inspired.

“That’s when I realised I would like to give it a go.”

She first broke through with comedy film St Trinian’s in 2007, followed by Quantum Of Solace a year later.

Since then, she has made more than 30 films, including 2018’s Vita & Virginia, in which she played author Vita Sackville-West, who had a romantic ­relationship with fellow writer Virginia Woolf.

Talking about why she left Hollywood films behind to make more independent movies, Gemma says: “I think at the time it was very different in the industry to how it is now for women.

“In those films — not the Bond film. I had a really good time making that film, but the other ones — I didn’t feel very empowered.

“I didn’t feel like I had a voice and I didn’t feel comfortable. I always felt good doing independent films.

“My taste is that as well. I like independent film, it’s my passion. Usually, the stories are better and the characters are stronger and I felt like I had a voice on set.”

Films such as Byzantium, The Voices, Their Finest and The Disappearance Of Alice Creed followed, alongside performing with the Royal Shakespeare Company and starring in stage productions such as Nell Gwynn, which won her an Olivier Award in 2016.

On the Dish podcast, Gemma told how, when she starred in The Little Dog Laughed at London’s Garrick Theatre in 2010 with Tamsin Greig, Rupert Friend and Harry Lloyd, they had a novel way to try to dispel their nerves.
Laughing, she said: “We used to play this game called bum slap.

“We’d be on stage before the audience came in, obviously, and you have to run around and smack each other’s bum.

“Basically, you have to smack as many bums as you can. And it was the best warm-up ever because you were all loosey goosey.

“I think I’d rather do bum slap than any of the old acting rituals.”

Gemma loves working in Britain because she gets to perform different accents.

She said: “I do enjoy a Liverpool, that melting pot of accents that is Lancashire, Manchester and Blackburn, it’s insane.”

Gemma herself had a Cockney accent before gaining her scholarship to the Royal Academy Of Dramatic Art, where it “softened up a bit”.
London is now her home, but her mum still lives in Gravesend — and now does watch films, thanks to her famous daughter.

Gemma says: “She’s grand, she’s living the life. She’s down in Kent where I grew up, the same home — I paid off the mortgage.

“I think she does eventually watch my shows. She takes her time and needs to watch them with the subtitles on, maybe to absorb them.

“She’s very honest. She’ll say, ‘Why did you do that? You sold out there’.”

Gemma has her own family now, too — son Theo, three, and a baby boy whose name she has not revealed — with her husband, Peaky Blinders actor Rory Keenan, who she married in 2019.

They do not live a showbiz life, but he is supportive of her work.

Gemma says: “My family life is my world now, whereas before it was work.

“It’s made me hyper-focused on what I do want to do.

“Before, it was like, ‘I will do that with that director or that actor I like’, even though it wasn’t the best thing for me.

“But now it’s made me really specific about what I want to do, because if I’m going to be away from them, which I inevitably will, it’s hard.

“But if I’m in it and enjoy the work, then it’s OK.”

Timeline of James Bond actors

Over the years there have been seven actors who have played 007.

The first ever James Bond film was in 1962, and this is who has played the lead role over the years:

• Sean Connery – The late star was the first ever actor to play Bond, and reprised the role for seven movies.
• George Lazenby – The star only played Bond once, but was the youngest actor to ever play the spy.
• Roger Moore – The late movie star spent 12 years making seven films in the famous franchise.
• Timothy Dalton – The smooth actor took over from Roger Moore and appeared in The Living Daylights and Licence to Kill.
• Pierce Brosnan – The handsome star played Bond for four movies from 1995 to 2002.
• Daniel Craig – The British star was the first blonde James Bond and the sixth actor to win the role in 2005.

WASHINGTON — The Republican chair of the House Oversight Committee said some of its members would support a presidential pardon for convicted sex trafficker Ghislaine Maxwell in exchange for her assistance in the committee’s investigation into Jeffrey Epstein.

But good luck getting any of them to admit it.

Rep. James Comer (R-Ky.) told Politico Wednesday that “a lot of people” support the idea of Maxwell receiving a pardon from President Trump in exchange for her cooperation in the committee’s investigation.

Although Comer said he opposed a pardon himself — “other than Epstein, the worst person in this whole investigation is Maxwell” — he offered that his committee was “split” on the issue.

Rep. Robert Garcia of Long Beach, the top Democrat on his committee, condemned the idea of a Maxwell pardon and said Democrats on the committee uniformly oppose it.

“It’s outrageous that Republicans on the Oversight Committee are considering a pardon for Ghislaine Maxwell,” Garcia said in a statement. “She is a sexual abuser who facilitated the rape of women and children.”

The Times reached out to all 26 Republicans on the committee to see who, if anyone, supported the idea of a pardon.

Although most didn’t respond, the few who did expressed outrage at the idea.

“I am absolutely not supporting a pardon for her nor have I heard that from anyone else,” said Rep. Anna Paulina Luna (R-Fla.).

“Never in a thousand years,” said Rep. Clay Higgins (R-La.).

Maxwell declined to answer the committee’s questions during a video deposition in February from the Texas federal prison where she is serving her 20-year prison sentence.

She is still challenging her 2021 conviction on five counts related to the sex trafficking of minors for her role in recruiting and grooming girls for Epstein to abuse. She was accused at trial of also participating in the abuse of one victim.

At the time of her February deposition, Maxwell’s attorney David Oscar Markus said she would offer the “unfiltered truth” if granted clemency by Trump.

Attorneys who have represented victims abused by Epstein and Maxwell strongly opposed the idea of a pardon.

“This is a woman who belongs behind bars for the rest of her life for what she did to women,” said Spencer Kuvin, who has represented numerous Epstein victims.

Sigrid McCawley, a managing partner at Boies Schiller Flexner, questioned the value of information Maxwell could provide.

“Ghislaine Maxwell is a proven self-serving liar,” McCawley said in a statement. “There is nothing credible that she will offer the government, and the assertion that she would provide information is simply a smoke screen.”

Trump has not said he is considering a pardon but when asked by reporters he has declined to rule it out.

Epstein abused more than 1,000 girls and young women over the span of decades. He negotiated a lenient deal nearly two decades ago with federal prosecutors in south Florida that allowed him to serve 13 months in a Palm Beach County jail where he was allowed to come and go freely to settle claims that he had abused dozens of high school girls.

Following investigative reporting on that deal by the Miami Herald, federal prosecutors in the Southern District of New York brought new sex charges against Epstein in July 2019. He died in federal custody one month later.

Epstein and Maxwell counted members of the British royal family, multiple presidents and business titans among their friends.

They have been accused of forcing some of their victims to have sex with some of those men. But Maxwell is the only other person who has ever been charged in connection with Epstein’s crimes.

The committee has deposed numerous people who knew Epstein, including Ohio billionaire Les Wexner, who hired Epstein to manage his finances, and former President Clinton and former Secretary of State Hillary Clinton.

The committee has not, however, deposed Trump, who once famously called Epstein a “terrific guy” and said, “I just wish her well,” when told of Maxwell’s arrest in 2020.

The Department of Justice has also released millions of pages of documents from its investigations into the deceased sex offender in response to the bipartisan Epstein Files Transparency Act, which was signed into law last year.

The release of the files has led to criminal inquiries in the United Kingdom into Andrew Mountbatten-Windsor, the former prince, and Peter Mandelson, the former British ambassador to the United States, over allegations that they provided secret government information to Epstein.

So far, the files have not led to any publicly known criminal investigations in the United States.

The co-creators of the new Prime Video series “Kevin” tried to make the show “as personal as possible,” says Joe Wengert, explaining that he and Aubrey Plaza looked back to the end of their relationship nearly two decades ago for inspiration. Then, Wengert says, they focused on “the emotional story and investing in the inner lives” of the main characters. (Plaza’s production partner, Dan Murphy, was a third co-creator.)

And, Plaza adds, they strived to give the show a real “groundedness” in its specific New York neighborhood — Astoria, Queens, where she and Wengert lived together — while also “infusing some of my film nerdiness and love of New York films.” There’s even a rooftop scene that’s a homage to Al Pacino’s first leading film role, in “The Panic in Needle Park.”

OK, so all of that’s totally true, but “Kevin” is mostly a silly, raunchy animated series with a star-studded comedy cast about talking animals and their escapades in a life generally free of human owners.

The show opens with a couple, Dan (Mike Mitchell) and Dana (Plaza), breaking up and their cat, Kevin (Jason Schwartzman), deciding he’s done with both humans and will find his own way in the world.

“Joe and I were talking and realized we both weirdly wanted to do a cat comedy, and he had this idea and I loved it,” Plaza says, explaining that when they broke up, Kevin and another cat, Howard, passively went with Wengert. (Howard died relatively young, but, spoiler alert, Plaza says a cat named Howard will make an appearance as a tribute.)

“Joe was then doing a lot of comedy about being a single guy with cats.”

Wengert, who serves as showrunner, says the breakup was “a significant moment in my life” and he wanted to explore that, but a sad man going off to reconnect with his friends was not as funny as this concept. “The idea of this just made us laugh,” he says.

The real Kevin was a homebody, not a cat who looked longingly out the window, Wengert says, adding that he always felt bad for Kevin: “You could have been with Aubrey Plaza but you’re stuck with me in my studio apartment.”

In the series, Kevin soon lands at an animal rescue where he falls in with Cupcake (Whoopi Goldberg), a self-declared feral cat with a kinky and rebellious side; Armando (John Waters), an aristocratic cat with a haughty attitude; Judy (Aparna Nancherla), a cat with gross eye infections who is way more upbeat and hopeful about the world than she should be; and a shrill and bossy dog named Brandi (Amy Sedaris), who runs the human Seth (Gil Ozeri) — ostensibly the operator of the shelter.

After his owners break up, Kevin decides to stay at an animal shelter, where he makes friends with a rag-tag group of cats, dogs and other animals.

(Courtesy of Prime)

“This idea of fending for yourself and trusting your instincts is part of checking off boxes to show you have lived a quote unquote real life,” says Schwartzman, briefly growing philosophical about what intrigued him about playing a neurotic cat.

The cats encounter plenty of other animals on their adventures, from a drunk spider to a deer that gets hit by a car and curses out the driver. “That made me laugh out loud,” says Plaza, who also voices numerous animals, including the spider and a pitbull love interest for Cupcake. “I’ve always wanted a love story with Whoopi Goldberg,” she adds.

(Wengert voices a parrot named Paco, among others, and says there’s talk of adding a tortoise.)

One secondary character is a horse named Patti Lupony, who, naturally, is voiced by Patti LuPone. She’s part of a stacked guest star roster that includes Addison Rae, Cary Elwes, Charles Melton, Nicole Byer, Jim O’Heir, Maria Bamford, Quinta Brunson and Tig Notaro. Many of the actors, including Schwartzman, Waters, LuPone and O’Heir, are Plaza’s friends.

“I like to do things that people don’t expect me to be in, and this is definitely one of them,” says Waters, adding that “Armando is not a real fan of humans, and as a human, I’m not a real fan of cats.”

Still, Waters, who prefers dogs, says he was easily able to get into Armando’s skin. “I’m a Method actor, so I was crawling around the floor,” he jokes, before adding, “If I was a cat, I would probably act like Armando.”

For what it’s worth, Schwartzman also owns dogs, though he’s quick to point out that growing up in Los Angeles, he volunteered at a cat shelter, and these days Plaza actually owns a dog, too. But as anyone who has seen her in “Parks and Recreation” or other roles would surmise, Plaza says, “I have cat-like tendencies and relate more to cats.”

Plaza and Wengert also incorporated the actors’ sensibilities and personalities.

“We would change things on the fly based on the actor’s input,” Wengert says.

Plaza says that Waters is known for being provocative and loves reading tabloids but that he asked to tone down Armando’s snide put-downs of celebrities. “I felt ill at ease about them,” Waters says. “I’ve gotten away with my career for 50 years because I’m not mean. My specialty is praising things other people hate, not the other way around.”

Wengert says the change “forced us to dig deeper and find something more unique in the character, so I’m happy that he asked us to make the change.”

(He adds that he expected Goldberg to object more “because we gave her so many outrageous lines” but she rarely did, except “to pitch something that was even funnier that worked better.”)

Plaza knew Kevin’s neuroses fit Schwartzman but also that he could bring his own touches while improvising. “He’s really funny about his own body,” she says. “We were hanging out once and he just said, ‘Feel this, my leg is really heavy.’ So we put that in for Kevin.”

Schwartzman says, seemingly seriously, “Wow, I don’t have a memory of that exact moment, but it is true that my leg does feel heavy.” And he adds that his friendship with Plaza enabled him to feel comfortable throwing out ideas during recording, adding that the improvising and tweaking went both ways, with the writers constantly adding new ideas. “It was a collaboration and an evolution,” he says.

The writers room is stacked with people who, like Plaza and Wengert, hail from the Upright Citizens Brigade improv world. (Wengert, who also imported writers he’d worked with on Netflix’s “Big Mouth,” was running the UCB school when they met.) “Our sense of humor is very aligned,” Plaza says.

While Plaza loves how “freeing” animation is — “your imagination can run totally wild” — she says that even though it’s out of character for her, she’d play the “bad cop” in the writers room. Wengert says one day she brought Schwartzman in and he and the writers pitched some wild ideas that made them say, “What the f— is going on.”

“We’re just building the world, so you need some rules, otherwise all the inanimate objects can start talking,” Plaza says. “When things started getting too crazy, I’d say, ‘Let’s rein it in.’”

The example Wengert gives is that they can briefly have a talking pizza slice (it is New York, after all) but they don’t want it to become close friends with Kevin in a major plotline.

But if they get to produce a second season — the scripts are already written — Plaza says the leash will get looser “and it will get more insane.”