life

When Strictly foxtrots back on to our screens later this month, it will be the first time in 14 years without longest serving female pro dancer Karen Hauer, who shimmied her way through more than 100 numbers on the show. But she’s not ready to kick off her dancing shoes just yet – revealing her ambition to cha-cha her way into the role of fiery Puerto Rican, Anita, in West Side Story. She says: “My dream role would be Anita in West Side Story. The world is my oyster.”

When Strictly’s new season launches on Saturday 19 September, it will also be the first time Karen has watched it live. She says: “I’ve never watched it live – I was always in it.”

And Karen – who announced her departure in a statement on social media in March – is not the only high profile departure. Longtime hosts Claudia Winkleman and Tess Daly have also left, as have pro dancers Gorka Márquez, Nadiya Bychkova, Luba Mushtuk and Michelle Tsiakkas. Karen says: “Things have to evolve. Whether people like it or not.”

But Karen will be rooting for the new hosts, Emma Willis, Josh Widdicombe and Johannes Rabede. She says: “The new series is so exciting. I’ll definitely be watching my friends and I’m really looking forward to seeing Johannes, Emma and especially Josh. I danced with him on the Christmas Special dressed as penguins.”

Karen, who was in the show from 2012 to 2025, has already started her new chapter – playing teacher Mavis in Devonshire Park Theatre’s production of the Richard Harris comedy, Stepping Out in Eastbourne until the end of April, before taking it on tour until the end of September. She will then be playing the Wicked Queen in Snow White at The Princess Theatre, Torquay, in December and January.

She says: “I’d been preparing myself mentally for a long time to leave [Strictly]. I’m doing great, I’m really happy. I’m going to miss Strictly, but I’m definitely enjoying my new chapter.”

But the dancer was shocked by the outpouring of love she felt from fans when she announced her departure. She says: “I’ve never felt so much love. I made such an impact without even actually knowing. I was shocked. I was like, ‘how come you guys didn’t vote for me to win?’ Goddamn it.”

Giving no dramatic reason for going, she simply says it was “the right time” to go, adding: “There’s a time when you just have to go, ‘okay, well, that’s a wrap.’ Now I have free time. I don’t know what’s going to happen in five years. So, I’m literally living the best life that I can right now, and not overthinking about the future.”

The first to admit to being a romantic, Karen has had three husbands. She was married to dancer Matthew Hauer from 2000 to 2009, to fellow Strictly pro dancer Kevin Clifton from 2015 to 2018 and then to fitness professional Jordan Wyn-Jones from 2022 to 2023.

But she now shares her rural home near Preston, Greater Manchester, with her boyfriend of three years, rugby player Simon Davidson and four rescue dogs, Betty, Phoebe, Marley and Joe. After her hectic Strictly schedule, she says of Simon: “It’s probably really weird for him to have me home.”

Positive she has now found ‘The One,’ she continues: “I love love. I think love is incredible, and I found it in Simon. I love being in a partnership, and in a partnership that’s healthy. “Knowing what a healthy relationship looks like and being in it … I think that’s what I love is, and that’s what I’ve been searching for. Joy for me is being at home with Simon and the dogs.”

Honouring her love of dogs, in November, Karen is hosting the The Burns Bravery Awards, in which the pet nutrition brand is calling on people to nominate Britain’s Bravest Dogs. Research from Burns Pet Nutrition reveals that three-quarters of owners say they turn to their dog when they’ve had a bad day.

And Karen can see why, saying: “My rescue dogs are the best thing to ever happen to me. Mentally, physically, my dogs get me out of bed, they get me out for a walk. My dogs have been through all my ups and downs. I think my dogs need therapy now.”

The dancer also turns to her mum Mirian when she needs comfort or inspiration. She says: “She inspires me every day. ‘It’s not going to be easy, kid, but you got this’ – that’s what I’ve always known since I was a kid. I’ve always fought and I’ve seen my mum struggle. I’ve seen what it takes to make it – not just as a person on television, but to make it in life.

“My mum raised three kids in New York City, in the Bronx, on her own. She always says, ‘don’t let your head get to the clouds.’ And that’s why I’ve always been very grounded, no matter what kind of job or who I’ve met. We’re all the same. On Strictly, I was never the flashy one, I was always grateful that first of all I had a job – and one that I loved and which entertained the entire nation.”

Karen made it to the Strictly final twice, with partners Jamie Laing and Mark Wright, but never lifted the glitterball. She says: “I was winning every year just being there. It’s great getting a 10, it’s fantastic, but it’s the moments that bring a smile to people’s faces and make them go, ‘That was really funny’, that I’ll remember the most.”

One such moment was when Anton Du Beke and Ann Widdecombe danced together at the Blackpool Tower Ballroom in 2010. This hilarious moment was how she likes to remember the long serving former Conservative MP, who died on July 9, aged 78, and whose death is now the subject of a murder inquiry.

Speaking fondly of Ann and Anton, Karen says: “He took her by the hand and the foot and was just swinging her around in a yellow dress. I was on the floor, peeing myself. It’s those moments, that’s what Strictly’s about.” Meanwhile, Karen gave her many famous Strictly partners – who included Westlife’s Nicky Byrne, actor Greg Wise and comedian Jayde Adams – the same advice.

She says: “I told all of my celebrities, ‘you have to enjoy it. We’re going to work hard, but I want to have a laugh. If you’re not having a laugh, then this is not going to work.’ A lot of people find it really hard to enjoy it, because there’s so much panic.”

Another of Karen’s favourite moments came in 2019, during Halloween week, when her wig came clean off her head on live TV.

“It was hilarious,” says Karen. “But so what if your wig comes off? People are going to remember that you made them smile. That’s what I’ll remember when I’m 85 … or dancing with Jeremy Vine coming out of a bath, or with the late Dave Myers, who I absolutely adored. Wow, I was living the dream, wasn’t I?”

*Following a public voting period, winners will be announced at the Burns Bravery Awards in November. For more information, and to nominate your dog, enter at burnspet.co.uk/pages/burns-bravery-awards

SACRAMENTO — Democrat Xavier Becerra defended the death penalty while serving as California’s attorney general, a punishment his office actively sought in the case of a gunman convicted of an Orange County mass shooting, but as the front-running candidate for governor he has vowed to block executions if elected in November.

Becerra said he will extend the blanket reprieve for all death row inmates that Gov. Gavin Newsom enacted by executive order in 2019, saying he supported “moving our state away from a costly, flawed system that disproportionately impacts Black and brown communities and too often gets it wrong.”

Those comments have reassured anti-death penalty advocates wary of Becerra, who has stated throughout his career that capital punishment should be an option for victims seeking justice. He reiterated that stance just a decade ago during his confirmation hearing for attorney general, though he also expressed concerns about the unjust application of the punishment.

“I support the death penalty, but I hate the way it’s being executed,” Becerra told state lawmakers in 2017.

“If you commit some heinous crime where you have taken the life of someone else, and you knew that there was a death penalty in place in that place where you committed that crime, then you should face the punishment for what you’ve done,” he explained. “It doesn’t give me pleasure to say that, but I simply do believe there’s a simple justice in that.”

Becerra’s challenger in the Nov. 3 election, former Fox News commentator Steve Hilton, opposes the death penalty but said he would rescind Newsom’s moratorium because it defies the will of voters.

Becerra has said he is concerned by how death sentences historically have been applied, including a highly disproportionate number of condemned inmates who are Black or Latino men and cases in which they later have been exonerated of crimes.

He repeated similar positions last year during a gubernatorial forum in Los Angeles.

“I do not believe every Californian has gotten a fair verdict in these fights,” he said in response to a question about extending Newsom’s moratorium. “But here is what I will tell you: We have to be aggressive in going after crime, especially the most heinous crime. … I will make sure that we have a judiciary system and a prosecution system that takes into account that we must show fairness.”

Though California has not performed an execution since 2006, prosecutors in some areas of the state continue to seek and win death sentences. As of early August, there were 565 condemned inmates in California prisons, according to the state Department of Corrections and Rehabilitation.

Newsom’s moratorium stops the state from carrying out those sentences.

In California, county district attorneys are responsible for prosecuting the vast majority of accused murderers when they go to trial and also deciding whether to seek the death penalty. The office of the state attorney general is responsible for defending death penalty convictions on appeal.

Becerra sought the death penalty in a murder case his office prosecuted early in his tenure, though unsuccessfully. Scott Dekraai, who was convicted of killing his ex-wife and seven others in a shooting at a Seal Beach beauty salon, was sentenced to life in prison without the possibility of parole after a prosecution scandal involving his case.

Some death penalty opponents criticized Becerra for fighting to uphold the death sentence of Robert Lewis Jr., who was deemed by the California Supreme Court in 2018 to have an intellectual disability that made him ineligible for execution.

“I find that reprehensible,” said Mike Farrell, president of Death Penalty Focus, an advocacy group. A longtime anti-death penalty activist, Farrell is better-known for starring as B.J. Hunnicutt in the TV show “M*A*S*H.”

“It may not have been his idea, but he was part of that process,” he said of Becerra.

Others said Becerra cannot be blamed for doing his job. Former Vice President Kamala Harris faced the same dilemma when she served as state attorney general, as does Rob Bonta, who currently holds the office.

“The AG is in a different position because it’s just inherent in their role to defend convictions and sentences,” said Natasha Minsker of the California Anti-Death Penalty Coalition. “For example, Kamala Harris is very strongly personally opposed to the death penalty and still, while she was AG, the office defended hundreds of death sentences. Same with Rob Bonta. He’s very clearly personally against the death penalty, and his office continues to defend death sentences.”

Becerra’s campaign declined an interview on the subject and referred to his statement in support of extending Newsom’s freeze on executions.

Hilton, his Republican opponent in the race, holds starkly different views.

“If you’re arguing that taking a life is such a serious crime, then I don’t think responding by taking a life actually makes that argument,” he said in an interview last month.

But he said California voters spoke clearly by voting twice — in 2012 and 2016 — against ballot measures that would have repealed the death penalty. “I don’t think it’s OK for a governor to just substitute their personal opinion on an issue where the voters had an explicit and direct say,” he said.

“I strongly believe in holding people accountable for what they do,” Hilton said. “But my sort of fundamental belief is that if we’re saying it’s wrong to kill someone, then the state shouldn’t be doing it, either.”

Hilton also would roll back Democratic-led reforms that have shortened many inmates’ prison sentences by allowing them to seek parole sooner.

End or extend? It’s not that simple

Even if a governor rescinds the moratorium, resuming executions would be a long and complicated process because the state has no approved protocol or facilities to carry out death sentences.

Newsom ordered the dismantling of San Quentin’s death row and execution chamber. Even before he took office, the state’s use of lethal injection drugs was part of a long-running and now-dormant legal battle. And a dwindling number of attorneys who specialize in death penalty cases meant 70% of condemned inmates did not have a lawyer at the end of last year, according to a state report.

California’s death penalty also faces a new legal challenge from groups arguing that capital punishment cases have been administered in a way that is racially discriminatory. In May, the California Supreme Court ordered the attorney general’s office to respond to the arguments and assigned the case to a superior court.

The shifts in California’s criminal justice system are reflected in legal battles waged by the pro-death penalty Criminal Justice Legal Foundation, a nonprofit that supports victims of crime and their families in court.

“We used to do a lot of work in the capital punishment area because that was the area where justice and the sentences were under the greatest attack,” said Kent Scheidegger, the group’s legal director.

But as California’s Democratic-controlled Legislature, governor and, at times, voters adopted measures aimed at reducing the prison population, Scheidegger said the foundation’s efforts increasingly are focused on preserving “the finality of sentences.”

Many capital cases were negotiated as “plea bargains to life without parole on the express promise that this will provide the finality that the victims need most,” he said. “Life without possibility of parole, until recently, meant life without possibility of parole. And now we’ve got one action after another coming out of the government to break down that finality and give people sentenced to life without parole opportunities to get out.”

The group has challenged attempts to expand early release for violent offenders under 2016’s Proposition 57 and new regulations that would allow people sentenced to life without the possibility of parole to seek release.

Twenty-seven states allow the death penalty, but governors in four of them — California, Ohio, Oregon and Pennsylvania — have paused executions.

Slow shifts in public opinion

Attitudes about capital punishment have shifted over time. A 2025 Gallup poll showed 52% of Americans favor the death penalty for people convicted of murder, down from its peak of 80% in 1994.

In a 2023 survey by the Public Policy Institute of California, 62% of adults in the state said they “strongly favor” or “somewhat favor” the death penalty in murder cases. When asked which punishment they prefer for a first-degree murder case, 55% said life without parole and 43% chose the death penalty. More than three-quarters believe there “is some risk that an innocent person will be put to death.”

Despite the changing opinions, Minsker, of the California Anti-Death Penalty Coalition, said there’s little appetite for another repeal attempt because of how expensive ballot measure campaigns have become.

“I am personally one of the strongest proponents of ending the death penalty, and I am not sure I would spend $30 million on that right now, given all the other needs that California has,” said Minsker, a former attorney for the American Civil Liberties Union who ran the unsuccessful 2012 death penalty repeal measure.

Putting an anti-death penalty measure on the statewide ballot also could have put Newsom in an precarious political position. If it failed, Californians would be sending a stinging rebuke to the Democratic governor’s executive decision to grant a blanket reprieve to all condemned inmates.

Minsker is leading a group of criminal justice advocates, faith organizations, prosecutors, murder victim family members and others urging Newsom to commute every death sentence in California before he leaves office.

But advocates are unsure whether Newsom, who is considering a run for president in 2028, would risk the backlash a mass commutation would probably bring. The California Supreme Court also must review executive clemency actions for inmates with more than one felony charge.

Commuting all death sentences to life in prison “would be the coup de grâce,” Farrell said. “However, politically, I’m sure those who are advising him are urging him to have caution in that regard.”

Known for being ‘The GC’ on screen and larger than life, viewers will see a different side to Gemma Collins in her new Sky documentary series.

Gemma Collins admits she has had “the worst year of her life” which corresponded with a time she had cameras following her every move.

The former TOWIE star, also known by her celebrity persona ‘GC’, and was due to get married to partner Rami and start a family during filming for Sky documentary series called ‘Gemma Collins: Everything. All At Once’. The series was originally called Four Weddings and a Baby, but as Gemma admits “things didn’t go to plan”.

Her relationship with Rami has had issues, the pair have also been sadly unable to conceive, and worst of all Gemma’s beloved mum Joan died at the end of July after several years of health issues. Admitting her life and TV series hasn’t been going to plan, 45-year-old Gemma said: “Mum’s been unwell for sixteen years and I’ve been dealing with that on the side, but her health started going downhill during filming and she passed away last month[actually July 2026].

“My fiancé Rami has also been struggling with his mental health and using alcohol to cope, and on top of that we had fertility issues. It was like drowning. It was the worst year of my life. I couldn’t keep hiding it.

“Being The GC was escapism. I could put the make-up on, get the hair big, and forget what was going on in the real world. But there’s been a real turn in media where people want to see the real me again. They’re sick of the bluff. I’m not afraid and I know I don’t need to deal with all this on my own.”

In the eight part series viewers will see Gemma embark on her fertility journey, and she questions whether she has left things too late, putting her career before having a family. On trying for a baby Gemma says: “Rami and I went to the Portland, and I started thinking maybe there could be a miracle. We could get an egg donor and make it work. But, as you’ll see on the show, it got increasingly difficult.

“I still have Tristan, and my nephews. I’ve known Tristan since he was three: I did his nappies, I gave him his bottles. I love that boy. With my mum gone, I’m going to be the mum of the family now, the matriarch, and I’m really happy and excited for that. If it’s meant to happen, my mum will send it to me, and a miracle will happen. If it doesn’t, I’m at peace with that.”

Gemma admitted she found filming on some days very hard but insisted she had to continue. The other deeply personal issue in the series is the loss of her mum Joan, and Gemma allows the cameras into moments like when she deals like this and when the bravado she usually uses on screen drops.

She said: “The camera crews are at your house and you’re thinking, ‘This is my life, it’s so s**t. How can I let people see it?’. But unless you go through hard times, I don’t think you grow as a person. This was the hardest thing I’ve ever done, but it’s also the thing I’m most proud of.”

On her mum Gemma added: “My mum passed away peacefully, and we were all in the room. She’s come back to me in so many ways already, which gives me great comfort. She comes back to me in spiritual ways and sends me signs. There was this butterfly in the house towards the last few days of my mum living, and it wouldn’t go away. When she passed, Tristan went to me, ‘There’s Nanny’. He went, ‘Nanny, if that’s you, flap your wings ten times,’ and it did.”

* Gemma Collins: Everything. All At Once launches 15 September on Sky and streaming service NOW.

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As a young sportswriter studying journalism at the University of Missouri, Seth Wickersham looked to Los Angeles for inspiration. At the campus bookstore, Wickersham bought his first sportswriting anthology, “The Last of the Best,” a collection of columns from the Los Angeles Times’ Jim Murray, one of four sportswriters ever to win a Pulitzer Prize.

Collections of work from Murray, Rick Reilly, Frank Deford and others offered Wickersham a road map for the career he wanted to build — and he has, with 26 years’ worth of work at ESPN meriting an anthology of his own. “Be on That Hill: Stories From the Summits of Sport,” which will hit bookshelves Sept. 22, is Wickersham’s third book. He said assembling an anthology is both “the coolest thing you could ever imagine happening” and “this weird mind warp.”

“When you’re just on a treadmill like I’ve been, the years just go,” says Wickersham, who’s been covering sports since he was hired by ESPN The Magazine straight out of college. “You don’t realize it, but then you take stock of it, and you’re like, ‘Holy cow, I’ve been doing this 26 years …’ It’s surreal to go back and look at it.”

A premier investigative and feature reporter primarily covering the NFL, Wickersham has also written “It’s Better To Be Feared: The New England Patriots and the Pursuit of Greatness,” and “American Kings: A Biography of the Quarterback.” Both books combine new, headline-generating reporting with intel Wickersham has gathered over decades covering football. With “Be on That Hill,” Wickersham selected stories that he hopes, taken together, “tell a bigger story not only about the games that we love, but the ways we consume them, and even about the country.”

Football has always been Wickersham’s first love — he weaved his journey as a high school quarterback into “American Kings” — but his latest book features stories about a college basketball coach on the job hunt and an NHL enforcer’s attempts to avoid head injuries.

“I’m trying to write about people who have a certain level of inner turmoil,” Wickersham says, “whether it’s Sean McVay after he wins the Super Bowl, or Jerry Jones when he’s threatening to sue the NFL to stop Roger Goodell from signing a contract extension.”

The sports media industry has changed dramatically since Wickersham’s career began. ESPN The Magazine no longer exists. Access to coaches and players is increasingly hard to secure. But Wickersham’s journalistic goals are the same today as they were when he bought Murray’s anthology.

“I want to be a link on a chain,” he says. “It’s hopefully an installment of a body of work that one day might help me be a link on a chain of the best who did this.”

This Q&A was edited for length and clarity.

✍️ Author Recommendations

In addition to Jim Murray’s anthology, here are some other sports books that have inspired Wickersham.

• “The Breaks of the Game” by David Halberstam: This is the Pulitzer-winning Halberstam’s first sports book, following the 1979-1980 Portland Trail Blazers. “When it comes to trying to decode a team, that’s the standard,” Wickersham says.
• “Joe Namath and the Other Guys” by Rick Telander: Namath, the Hall of Fame New York Jets quarterback, serves as an example of quarterbacks’ rising celebrity profile in “American Kings,” and Telander is one of Wickersham’s favorite sportswriters. “The portrait he gave of Joe Namath in his twilight was just so rare,” Wickersham says. “I don’t think a book like that has ever been done.”
• “When Nothing Else Matters” by Michael Leahy: Another book about an athlete in his twilight. This one documents Michael Jordan’s time with the Washington Wizards. “He worked his tail off as a reporter and really gave a brutally honest glimpse into what it was like to live and play with Michael Jordan the last few years of his career,” Wickersham says.
• “The Franchise” by Michael MacCambridge: Wickersham read this history of Sports Illustrated in college. “It really not only gave a glimpse into how so many of these great stories by my heroes … were done,” he says, “but also how those guys got hired at Sports Illustrated. It was like a job road map.”

📰 The Week(s) in Books

Our fall book recommendations answer your call for learning and discovery this season.

(Kissi Ussuki / For The Times)

Our Fall Preview includes 29 books to keep on your radar this fall, as well as television and movies we’re excited about.

Mark Athitakis reviews Marlon James’ “The Disappearers,” a Booker Prize longlisted novel that follows gay men in Jamaica across seven decades.

Can’t get enough of “The Odyssey”? Acclaimed classicist Emily Wilson, who eviscerated Christopher Nolan’s cinematic take on the epic, is translating the Greek poem for a second time.

📖 Bookstore Faves

Sons and Daughters is a new bookstore on Melrose.

(Photo from Sons and Daughters)

This week, we caught up with Raine De Leon, owner of Sons and Daughters Books, a formerly online bookstore that opened a brick-and-mortar location earlier this year. Here’s what they had to say about their IRL location, the local bookshops that inspired them and more.

This interview was edited for brevity and clarity.

Your bookstore began as an online store in 2024. What motivated you to open an online store? How did it grow from there?

A brick-and-mortar was always the end goal, since I wanted a physical space for writers, readers and other artists to come together for events and community building. Originally, the online store was actually an online poetry journal, where I published poets from around the world, wrote reviews, and held virtual readings. I wanted to translate that into an in-person experience.

What other bookstores, in Los Angeles or elsewhere, served as inspiration for the type of bookstore you wanted to open?

Skylight Books in Los Feliz and Village Well Books and Coffee in Culver City really inspired how I wanted the store to feel: warm, inviting and dynamic enough to serve both a neighborhood and a larger L.A. audience. I took inspiration from the Painted Porch in Texas in regard to curating the selection of books in the store. City Lights in San Francisco was also a huge inspiration for not only my store, but my life in general. The place it holds in the history of its community, the history of publishing and the history of poetry are profound, and I am trying to emulate that legacy as best I can.

What inspired the name Sons and Daughters Books?

The poet Charles Olson wrote a landmark essay, “Projective Verse,” in 1950. In it, he talks about poetic lineage and influence, and he says something to the effect of “We are the sons of the poets who came before us,” and that really spoke to me. I expanded it out to “Sons and Daughters,” with that same sentiment, to be a little more inclusive.

What type of selection can people expect at Sons and Daughters Books?

Our selection is almost all new books with focus on fiction, poetry, social sciences and more. We also have a cart of used books out on the floor every day, and on Sundays I bring out two more carts of used books.

For the new books, I selected each book in the store myself. I may not have read every book on these shelves, but I went line by line in our inventory sheets to select books that I wanted people to be aware of. Even though I am the only staff member, our “Staff Rec” table features reviews and picks from those closest to me. I wanted our selection to be extremely specific to me, my loved ones and the community the store is now in.

In the time you’ve been open, what events have been the most popular? Any particular upcoming events you’re excited about?

Our two most popular events are definitely our weekly stand-up comedy open mic night and our thriller book club.

September is our fullest month yet in regard to events, and I’m very excited for a few. We have two book launch events. The one on Sept. 26 is for “Valley Girl Manifesto” by Noelle Cope, a collection of both poetry and prose. The other, on Sept. 19, is for “Anger Is a Gift,” a new poetry anthology from FlowerSong Press. Both celebrate poetry, locality and connection.

Our full events calendar, which continues to grow, also features community workshops, silent reading clubs and more.

Sons & Daughters is located at 7817 Melrose Ave., Los Angeles.

Michael Lomonaco can account for every minute of the morning of Sept. 11, 2001 — including the small decision that saved his life.

Lomonaco, the executive chef who ran Windows on the World on the 106th and 107th floors of the North Tower of the World Trade Center, was on his way up to his office when he stopped at an optometrist shop on the ground level to have his eyeglass frames adjusted.

He was still inside when American Airlines Flight 11 hit the tower above him at 8:46 a.m.

“I felt the buidling shake,” he recalled in the new CNN Films documentary “Top of the World.” “And I thought that can’t be the subway. That’s impossible.”

Lomonaco was evacuated. From the street, he watched employees of his own restaurant wave a white tablecloth from a window more than 100 floors up. Seventy-nine Windows on the World employees and 91 guests died that morning in the gastronomic soul of the Twin Towers — the one part of the complex that belonged to New Yorkers who didn’t work there, and to visitors from everywhere else.

“Top of the World” premieres Monday at 8 p.m. ET/PT on CNN and begins streaming the following day on the network’s subscription streaming platforms. The documentary short arrives on a double anniversary: 25 years since the attacks, and 50 years since Windows on the World opened on April 19, 1976.

It is the work of producer-director team Betsy West and Julie Cohen, who made “RBG,” the Oscar-nominated portrait of the late Supreme Court Justice Ruth Bader Ginsburg. The film is a production of CNN Films, TIME Studios and Tribeca Studios, in association with Montalto Pictures and Storyville Films, and was inspired by Tom Roston’s book “The Most Spectacular Restaurant in the World.” Actor Denis Leary voices the restaurant’s creator, Joe Baum, drawn from decades of archival recordings.

West and Cohen were reluctant to take it on. Both were working in network television news in 2001.

“There’s like a part of you that doesn’t want to go back there,” Cohen said in a recent interview. “But when we read this book and met some of the amazing people who had worked at Windows over its 25-year history, we realized this was actually a really good way into remembering there was a lot of beautiful stuff in the Twin Towers and like we shouldn’t let that disappear just because it ended so painfully.”

What emerges is a history of how a restaurant transformed the reputation of the monolithic Twin Towers, which received little respect from architecture critics and bafflement from a public that wondered why it was built in the 1970s by the Port Authority of New York and New Jersey as the city was fighting off financial collapse.

“This film tells a story of a restaurant that was very special to New York a time when New York was getting kicked in the teeth,” the Brooklyn-born Lomonaco said in a recent interview.

The World Trade Center operators turned to restaurant impresario Joe Baum to create a dining experience that would draw people to the Manhattan neighborhood largely known for its blocks of stores that sold radios and electronic parts. Baum was known for such New York dining landmarks as the Four Seasons and Tavern on the Green, and his new creation became an immediate hit after it opened in 1976, becoming a magnet for tourists and celebrities alike who came for the eye-popping views through the floor-to-ceiling windows.

At the time of the 9/11 attack, the World was the highest-revenue-generating privately owned restaurant in the U.S.

West noted another draw to the story was the stories of the many immigrants who worked at Windows, which proudly called itself “the U.N. of restaurants.” The film’s focus on the contribution of the foreign-born population to the restaurant industry stands in stark contrast to the image of immigrants conveyed by the Trump White House to justify its deportation efforts.

“Immigrants continue to make a contribution to our country and to the economy,” West said. “This was an opportunity to tell that positive story as opposed to what’s going on in our country now.”

Cohen and West scoured the Windows on the World Facebook page to find surviving former employees to help tell the story. Nathalie Tolentino was a hostess whose family came to the U.S. to escape political upheaval in Peru. Sekou Siby was a line cook from the Ivory Coast, who swapped shifts with one of the workers who died during a morning breakfast held in the restaurant on 9/11. Both talk about how the restaurant changed their lives.

Lomonaco is a central character in the “Top of the World,” as his arrival as the executive chef of Windows in 1997 boosted the restaurant’s culinary reputation. A hot chef who oversaw a turnaround at the 21 Club, another legendary New York dining spot, Lomonaco turned Windows into a destination for American cuisine along with the breathtaking views.

Lomonaco arrived after the restaurant was closed for three years following the first terrorist bombing of the World Trade Center in 1993 that killed six people and injured more than 1,000 but left the towers intact.

Once Windows on the World was gone, Lomonaco was offered high-profile restaurant jobs in other parts of the country. But he had unfinished business in New York.

“I didn’t want to abandon my city,” he said.

In the first days after the attacks, Lomonaco said, he read nothing about Windows on the World; coverage centered on the massive loss of life among the first responders and at the financial firms inside the World Trade Center. But over time, he got attention and support for the families of the employees who lost their lives that day.

Lomonaco and the restaurant’s owners formed Windows of Hope, a charitable foundation that raised more than $22 million to pay for healthcare and tuition costs for the children of the victims. “We were giving checks to people to pay their rent before federal funds came through,” he said.

Lomonaco said he still meets patrons who give him a matchbook or coaster from their visit to Windows. “They feel like they have to give me or send me these little artifacts,” he said. “That’s what has touched me the most.”

Ten years ago, I went with my older daughter and a group of her classmates to see Gloria Steinem speak. Though they were part of a feminist group recently formed at their all-girls Catholic high school, some were not quite sure who Gloria was, exactly. My daughter knew her mostly as my former “boss”; my first job out of college had been as an editorial assistant at Ms. magazine. That was back in the ‘80s — ancient history.

I was a tiny bit nervous about how the evening would go. Gloria herself was in her 80’s by then; how would she connect with a group of teenagers who had come of age post-post-everything in a social media world of makeup tutorials, fit checks, and so much rage bait?

By being precisely herself, as it turned out. Calm and witty, impassioned and informed, clear-eyed yet hopeful, Gloria enthralled them — and the entire audience — for almost two hours. By the time we left, the girls were ready to follow her anywhere.

“She’s a rock star,” my daughter breathed.

That she was. Gloria Steinem did not invent feminism, not even its second wave, but for many years she was its most recognizable frontwoman. Tall, slender, with (for many years) aviator glasses framed by her signature long, straight hair, she was the Jackie Kennedy of the women’s movement: a physical dismissal of all those childish critics who deride feminists as an army of unlovely and unloved women, devoid of humor and, most likely, surrounded by far too many cats.

Even so, how she looked was beside the point. No feminist I know ever wanted to look like Gloria; we all wanted to be like her. Smart, funny, incisive, generous and, perhaps above all, unflappable.

For an activist organizer, she had a low center of gravity. Her speech was measured, her tone was mellow — even when calling out the most outrageous hypocrisies, the most sinister forms of oppression, she rarely if ever raised it. Though by her own admission she was often furious about many things, her sharpest weapon was always a deadly talent for stating the obvious. “If women could sleep their way to the top, there‘d be a lot more women at the top.” “I have yet to hear a man ask for advice on how to combine marriage and a career. ” “A pedestal is as much a prison as any small, confined space.” “This is what 40 [or 50] looks like.”

She believed in shaping the future by being fearlessly frank about the present and the past. For more than seven decades, she helped millions strip away the veils of hierarchy, patriarchy and all the stories spun about gendered expectations to confront the actual experience of women’s lives. “If the shoe doesn’t fit, must we change the foot?”

She never incited anger; she simply pointed out the facts as she saw them and let human nature take its course. “The truth will set you free, but first it will piss you off.”

Gloria listened as much as she spoke, and with great attention and democracy. When I worked at Ms., she was always running late, invariably having been pulled into some conversation or other. Her assistant groaned over her calendar; Gloria would say “yes” when asked for help, even if it meant being two places at once.

She often came in for staff meetings to which everyone was invited and, when discussing ideas for future issues, would ask for, and attentively listen to, the opinions of even a lowly editorial assistant like myself. Her interest was sincere, astonishing and made for very long meetings. Wherever she went, it was the same. She needed to know what all manner of women thought about a wide variety of topics. More important, she wanted them to learn the habit of speaking up. In a private meeting or a public forum, to colleagues, politicians, friends, the boss or even a feminist icon, she wanted women to be unafraid of saying what they thought.

When I worked at Ms., and for many years after, people would invariably ask me: “What’s Gloria Steinem like?” and it was, and remains, impossible to describe. She was kind when she didn’t need to be, generous with her attention when no one expected it. She didn’t want laws and social constructs to be fairer, less dangerous, more fulfilling for women as a concept; she wanted it for you, for me, for the lady in the back row.

She gave aura but also advice about where to find discount shoes. She instantly claimed any room she entered and then made sure there were snacks. She believed that the world could change, that with work, we could change it. But she also believed in having fun; otherwise why bother?

On the day Gloria Steinem died at 92, I awoke to a text from one of the friends I made all those years ago at Ms.; soon there were four of us on the thread. I had just arrived in New York to take my youngest daughter back to college, and we had planned to meet one of those friends in Union Square at noon. Instead, we met at Gloria’s brownstone and laid flowers along the fence outside her door. It seemed the least we could do.

My youngest never got to hear Gloria speak and, at 19, she is too young to know who Gloria was, exactly. Which was always the point of all that Gloria did. She didn’t want the future to feel beholden to the past; she just wanted it to be better. And despite the recent setbacks, particularly in reproductive rights, and all the work that still has to be done, it is.

There stood my daughter. Like her sister, she never doubts for one minute that she is a first-class citizen, entitled to equal rights, bodily autonomy, basic respect and a life of her choosing. God help the poor souls who try to tell them different.

“She’s a big part of why you are here,” I tell her. “Of why your life at 19 is so better than mine was, and why mine, at 19, was so much better than hers.”

That’s not just a rock star; that’s a revolutionary.

Eating breakfast in a South Dakota coffee shop, Gloria Steinem was all too aware of the couple eyeballing her from the next booth. He was sporting chains. She wore leather pants and what Steinem later recalled as “an improbable hairdo.” The place was packed with tough-looking, mostly male bikers pumped about a huge rally they were attending. Steinem, returning from a Sioux powwow honoring ancient tribal women, knew she wasn’t in her element.

Finally, the leather-clad woman came over and spoke up. “I just want to tell you how much Ms. magazine has meant to me over the years — and my husband too,” she told an astonished Steinem.

There was a time, the woman said, when rolling down the road meant perching on her husband’s back seat. But now she had her own sweet ride: “I even put ‘Ms.’ on my license plate, and you should see my grandkids’ faces when Grandma rides up on her purple Harley!”

The image of that breezy, boisterous grandma stayed with Steinem for years. “I’ve come to believe that inside, each of us has a purple motorcycle,” she wrote in her 2015 memoir. “We have only to discover it — and ride.”

Steinem, the co-founder of Ms. Magazine and for six decades a charismatic leader who urged women to pursue self-affirmation, political power and equality both in the workplace and at home, died Wednesday at her home in New York City, according to her foundation’s social media pages. She was 92.

“Gloria lived true to her independent spirit, always with curiosity and a great sense of humor,” the posts said.

An activist, journalist, and relentless traveler who said she went for 20 years without spending more than eight consecutive days in her New York apartment, Steinem described herself as “an entrepreneur of social change.”

“I raise money. I talk. I write. I tell stories. I want to do justice to the women I meet,” she told The New Yorker in 2015.

Steinem, who struggled with stage fright most of her life, talked with women at gigantic conferences and in intimate kaffeeklatsches. At book signings and on barstools, she sought their stories, sometimes re-telling them in her essays and on her countless speaking tours. Her portfolio of issues was vast, from sexual violence, female genital mutilation and racism to the more mundane injustices that helped fuel a movement for sweeping social change.

At one campus visit, the discussion turned to men who expect women to pick up after them. A young Japanese woman, silent for most of the increasingly raucous session, stood up, turned around to address 500 other audience members and said: “When my husband leaves his underwear on the floor, I find it quite useful to nail it to the floor.”

She had never before said a word in public, she told the cheering crowd.

Steinem had a “gift for empathy,” New York Times columnist Gail Collins wrote when the feminist icon turned 80 in 2014.

“Women who read about her or saw her on TV felt that if they ran into her on the street, they would really get along with her. And women who actually did run into her on the street felt the same way. More than a half-century into her life as an international celebrity, she remains stupendously approachable, patient with questions, interested in revelations.”

Gloria Steinem, left, and Pat Carbine, two of Ms. magazine’s founding editors, in 1980.

(Dave Pickoff / Associated Press )

Famously attractive, Steinem over the years gave hope to young women who wanted to “stand up for their rights without being called man-haters,” Collins wrote. “She was evidence that it was possible to be true to your sisters while also being really, really attractive to the opposite sex.”

At the same time, she alienated the religious right with her fervent pro-choice advocacy. When Lands’ End featured an interview with Steinem in its 2016 catalog, outraged readers threatened a boycott. Company officials then cut their ties with the woman they had headlined as a “legend.”

Steinem first drew public notice when she was in her 20s and struggling to establish herself as a freelance writer. Her breakthrough story was a funny, scathing account of her two weeks as a Playboy “bunny” — a scantily clad cocktail waitress at Hugh Hefner’s Manhattan nightclub.

In some ways, the story backfired. Steinem became known not as a crusader for women but as a former bunny. For several years, her magazine assignments continued to veer toward “women’s page” topics — in 1964, she wrote about textured stockings for the New York Times — and even after she delved into serious political issues for New York magazine, she wasn’t taken as seriously as she would have liked.

In 1968, a Washington Post columnist described her as “the mini-skirted pinup girl of the intelligentsia.” Two years later, a headline in the Los Angeles Times read, “Gloria: Beautiful Brain in Ditto Body.”

Meanwhile, the women’s liberation movement had propelled itself into the mainstream, ignited by writers like Betty Friedan. For Steinem, though, it became a passion only after she covered a meeting during which women opened up about their illegal abortions. The event was held to protest a legislative hearing on abortion where the only witnesses were 14 men and a nun.

“Suddenly I was no longer learning intellectually what was wrong. I knew,” Steinem recalled in 1983. “I had had an abortion when I was newly out of college, and I told no one. If one in three or four adult women shares this experience, why should we be made to feel criminal and alone?”

Nearly 60 years after her unwanted pregnancy, Steinem dedicated her memoir to the British physician who arranged her abortion after she agreed to two conditions.

The first was that she never reveal his name. (She did, long after his death.)

The second: “You will do what you want to do with your life.”

Born on March 25, 1934, in Toledo, Ohio, Steinem didn’t attend school regularly until seventh grade. Most winters, her father Leo, an ebullient, 300-pound dreamer who was often in debt, would drive the family down back roads in a trailer, stopping here and there to sell antiques he’d picked up along the way.

Ruth Steinem, Gloria’s mother, was a former journalist who was hospitalized for long periods with severe mental health problems. From the age of 11, after her parents divorced and her older sister Susanne left home, Gloria often cared for her mom.

In an essay, “Ruth’s Song (Because She Could Not Sing It),” Steinem recalled her mother cutting her arm when she smashed a window to escape the Nazi invaders that only she could see. “I remember a long Thanksgiving weekend holding on to her with one hand and holding my eighth-grade assignment of ‘Tale of Two Cities’ with the other,” Steinem wrote.

Despite her patchy schooling, Steinem received a scholarship to Smith College, where she graduated Phi Beta Kappa after majoring in government. After spending two years in India on a fellowship, she worked briefly for an international youth organization funded by the CIA.

Basing herself in New York in 1960, she quickly became known for her stylish prose, sharp wit, and striking appearance. Within a decade she was “Gloria-Steinem-the-antiwar-gorgeous- bachelor girl who was pictured with Henry Kissinger in Time and Life…,” according to a breathless 1970 account in the Los Angeles Times.

But she was also the Gloria Steinem who helped start New York magazine, who wrote insightfully about the intersection between racism and sexism, and who in 1971 became the first woman chosen to address an annual banquet of the Harvard Law Review.

She zeroed in on the school’s failings.

“There is a course on international whaling law but none on women’s rights internationally,” she told the black-tie gathering. “An eminent professor of administrative law said as late as last night that he didn’t know what the Equal Employment Opportunity Commission was. The same man replied to a request that at least one full-time female professor be hired by answering that women faculty brought problems because of ‘sexual vibrations’…”

The following year, Steinem, with several other feminist journalists, founded Ms. Its first, tentative edition, a 40-page insert into New York magazine, sold out in eight days.

The debut issue of Ms. included pieces on gender stereotypes, lesbian relationships, and job discrimination. It also featured an open letter from 53 prominent women — including tennis great Billie Jean King, singer Judy Collins and Steinem — who revealed that they had undergone abortions.

While the magazine’s monthly circulation eventually topped 500,000, it also fueled skeptics. “I’ll give it six months before they run out of things to say,” newscaster Harry Reasoner predicted on national TV.

Ms. also took flak from some of Steinem’s sister feminists, who contended that it cast women as victims. As new waves of feminists confronted different issues, some became exasperated by Steinem’s seemingly perennial role as the face of the women’s movement.

“Guys in the media chose Gloria as our leader,” said feminist writer Susan Brownmiller in 2016. “A lot of us, our hope is that eventually, history will straighten this all out and say, no, Gloria came in a little later, and her very loyal supporters have backtracked that history.”

Steinem remained a contributing editor to Ms. for 15 years.

Gloria Steinem at home in New York City, 2010.

(Annie Leibovitz / Penguin Random House)

Meanwhile, she was crisscrossing the country, campaigning for liberal Democratic candidates, fighting laws restricting abortion, and urging legislators to adopt the Equal Rights Amendment.

“Like Sky Masterson, the wandering gambler in Damon Runyon stories, I’ve been in more hotel rooms than the Gideon Bible,” she wrote, “and he didn’t wash his hair with hotel soap, eat from vending machines, or sit up late organizing with the hotel maids.”

In 2013, President Barack Obama gave Steinem the Presidential Medal of Freedom, the nation’s highest civilian honor.

Her books include a 1983 essay collection, “Outrageous Acts and Everyday Rebellions”; a 1986 portrait of Marilyn Monroe; her 2015 memoir, “My Life on The Road”; and works on aging and self-esteem.

Over the years, Steinem had longstanding romantic relationships with a number of men but vowed never to marry or have children.

However, at 66, she broke her vow and married David Bale, a British businessman and animal rights advocate. By then, the institution of marriage had changed for the better, she later explained.

“We spent 30 years in the United States changing the marriage laws,” she said. “If I had married when I was supposed to get married, I would have lost my name, my legal residence, my credit rating, many of my civil rights.”

Three years after their marriage, Bale died of brain cancer. Steinem’s stepchildren include the actor Christian Bale.

At 80, Steinem celebrated her birthday by riding an elephant in Botswana.

In the following years, she campaigned for Hillary Clinton, spoke at the Women’s March on Washington, helped save her hometown’s last abortion clinic and gave numerous interviews denouncing President Trump’s views on women. She was the subject of an off-Broadway play and was honored by Rutgers University with the Gloria Steinem Endowed Chair in Media, Culture, and Feminist Studies.

For fun, she danced. When asked by TV hosts, she occasionally demonstrated a well-worn soft shoe routine, though her heart was with the tango.

“It’s a sick, authoritarian dance,” she told a reporter, “but I loved it.”

Chawkins is a former Times staff writer.

Jared Freid remembers the moment he found his true calling in comedy.

Oddly it came after he’d already found success with his debut Netflix special “37 & Single” in 2023, which allowed him to live the stand-up dream of making it to a big streamer. But then that moment passed and the Boston-bred comic was once again starting from square one scrounging for joke ideas. That’s when he decided to dig up an old story he’d told on stage about his dad body-shaming him during a family outing in Delrey Beach, Fla.

“We’re sitting at the beach, and my dad asked me how much I weighed, and I was so mad about it,” Freid remembers. Seething at his dad for poking at his body insecurities, the comedian dealt with his emotions like any good millennial — by podcasting about it. Venting the story that took only about a minute to tell on a microphone led to more fights with his aging boomer parents soon after when they heard the episode.

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Jared Freid sits down with LA Times Entertainment Editor Nate Jackson to discuss his new Netflix hour, “The Family Plan,” which turns a beach blowup with his dad into a sharply observed, big-hearted look at boomer-millennial family warfare and reconciliation.

Scrolling back through that memory, Freid said something clicked when he thought about the alarmingly close relationship millennials still have with their parents in adulthood including still being on the family cellphone plan. “I can pay my own cellphone bill, but I’m still on their family plan,” he said. “That says something about the millennial/boomer relationship, in my opinion. We’re weirdly attached to our parents, and in a way that no other generations were tied like that, like not mushed together.”

Extending his one-minute bit into a full hour in his new Netflix special “The Family Plan” (out on Tuesday) took two and a half years of dedication polishing the story and seeing it start to resonate on tour at shows around the world. It also required him understanding that what underlies the struggles between millennials and their parents is how shockingly alike they are despite being constantly annoyed by each other. Freid now says his goal is to be a family-friendly comedian for families that usually aren’t friendly with each other but can easily agree on that fact while they laugh at jokes about themselves.

This interview was edited for length and clarity.

Your new one-hour special was inspired by a one-minute story you’ve told about a fight with your dad at the beach. You tapped into something really universal with the strife between boomer parents and their millennial children — a real tug of war for power that’s happening in a lot of people’s lives right now.

Totally, I and I feel it, especially because we can talk back to [our boomer parents] in a respectful way. We can have debates. You’re finding out your parents are just people too. I started telling people on my podcast, “Bring your parents.” This special is to be enjoyed with your family. You’d see a guy with his dad [at one of my shows], point at him and go “[Jared’s] talking about you!” That made me feel so good. I did it in Canada, Australia, New Zealand, Europe, I did it everywhere, and it was always just unbelievable how much people related to it and now it’s how I want to do comedy. This is who I am. This special means so much to me. It’s been a fight to get it out. I wanted it on a platform like Netflix because I want parents to watch it with their kids. It’s hard enough to get your parents on your Netflix account. Imagine getting them to watch a special on YouTube? They’re not going to do it. So I need this to be in a place where boomers and millennials can share it with each other and enjoy it together.

As an adult, what’s been the most interesting thing about seeing what things you picked up from your parents despite constantly arguing with them?

We’re exactly the same. We’re so alike that that’s probably why my dad’s asking me how much I weigh at the beach because I also look like him. It’s almost like an argument with yourself. I’m a version of him, and he’s a version of me. I have a lot of empathy for my parents. I’m 41, no kids, never married. They had to grow up while having a kid. I can’t understand that.

Right now there’s a lot of talk about divorcing your parents going around. I also can’t understand that for a second, because it’s not in my nature. For so many of the things that I go through in my life and feel frustrated by, [my parents] are, they’re my conscience a lot of times. Like when I wonder whether I should go right or left, I hear my mom in my head like, “You’re gonna go right? Why would you go right? You always go right. You’re lazy.” I hear them. I feel like I understand them more now, being older.

From selling life insurance in New York to headlining global tours and hit podcasts, Freid has built a devoted, largely female fan base that treats his stand-up like family therapy.

(Christina House / Los Angeles Times)

Every generation has their obstacles, and we’re constantly looking at each saying “Oh, you have it easy, no you have it easy!” But in your special, it kind of comes out that there’s obstacles for every group.

Totally. I don’t do comedy to make anyone feel bad. I do it to make people laugh and enjoy. And like it was cool to see a family would come to me to take a picture afterwards, and then the parents would be like, “We’re the boomers you’re making fun of.” I’m making fun of them, but I’m also making fun of ourselves [as millennials]. And I think it strikes a balance between the two because it does show that I love my family. I love how I grew up. I love that you know the people in my life. That doesn’t mean you can’t be totally angered by them.

Where did you cut your teeth in comedy?

I started in New York. I was selling life insurance and annuities in New York, and I was writing funny emails to friends. Any time we were on the same group email, Gmail, or G Chat it was always “what did we do last weekend, and what are we going to do this weekend?” And then you just make fun of each other. Anytime someone would write back “Oh my God, I’m dying at my desk. That made me laugh so hard,” I was like, “That that feels like drugs. How do I get that?” I started doing open mics, and I kind of treated it like grad school. I did improv, sketch, and storytelling. I took all these classes, and just to see what I liked, because I just wanted to be funny for my friends. Plus I could go to open mics at night, so you could add that in and feel forward momentum.

Being a millennial comedian right now seems very much like being stuck between two worlds of having the old model of success in comedy you learned from your idols and then you have people who are younger than you who are blowing up just by like posting a random video.

What you’re saying is completely right. Like we’d look up to these guys like Colin Quinn on his show “Tough Crowd,” that’s the table I wanted to sit at, and I wanted to hang out with those guys and bust each other’s chops, that’s what comedy is. I always could see myself at that table, but I also understood that table is kind of earned. You don’t just get to it because you’re funny. When I started, you could count the comedians on one hand that could do theaters, without being on a TV show. You know, there was like Brian Regan, Kathleen Madigan, Jim Gaffigan. These people weren’t on TV, but they had their audience, so it was very different to be a stand-up. Earthquake is in that group. Then you look at the sitcom people who get to do stand-up because they were on a sitcom, like you know Seinfeld and you know Ray Romano, and these are great stand-ups.

A millennial comic wedged between club legends and viral upstarts, Freid uses candid stories and crowd work to bridge generational divides — including in L.A.’s intimate, under-the-radar comedy rooms.

(Christina House / Los Angeles Times)

How did podcasting allow you to grow your career in a different way?

I thought “well, I’m listening to these podcasts. I should start a podcast.” And I was downloading podcasts in 15-minute increments to my iPod Nano. I love talk radio. I grew up on WEI in Boston. I love sports, I like sports talk, I like high energy shows. At that time, I thought everyone had one, but now I look like I started early. I can do a podcast where I can speak directly to people who might want to come to my shows. I didn’t even think of ads. I wasn’t thinking of that stuff. I was just [thinking] I can talk right to someone who likes what I do, and I would team up with these websites… I was trying to do this internet stuff, understanding there was power there. I was caught between two worlds, working on my stand-up as kind of my nighttime job, and then doing these podcasts and contributing wherever I could as a daytime job.

When you started working with Betches Media through podcasting on shows like “U Up?” [with platform co-founder Jordana Abraham] it opened up a lane for you to suddenly grow a female audience in a way that seemed natural despite being out of the ordinary for most straight male comedians. What’s that been like to grow that type of audience?

It’s weirdly gratifying. It’s not what I was like angling towards. I think if I was angling towards a female audience as a stand-up, it wouldn’t work. I think that it would be a lie. I’m so happy with it. I feel really thankful because you know the [founders of] Betches [Abraham, Aleen Dreksler and Samantha Fishbein] they’re my sisters. The audience is family like when they come to shows I know them, you know, that’s like a beautiful thing and I think especially in the world of stand-up where all you hear about is like the Manosphere and the Rogan types, and a lot of stand-up comedy is men dragging a girlfriend to someone they think is funny because they get an ego puff out of showing a woman who they know is to be funny. And my shows are very different. It’s women bringing their boyfriends, women who now bring their husbands, couples coming together, and I love it.

Lastly, what cellphone family plan are you and your parents currently on?

Oh, we’re on T-Mobile. I’m getting kicked off by my dad currently.

Because you’re too famous?

Yeah, he’s like it’s getting embarrassing for him. I could pay for it myself. I just like, now I got to go to the store, I gotta go do it. It’s annoying.

Meow Wolf is getting closer to unveiling its Los Angeles locale. When doors open — the company is targeting late 2026 — anticipate a walk-around, floor-to-ceiling experience that pays homage to the art of cinema with a sci-fi, psychedelic-like bent.

And to bring that vision to life, the Santa Fe, N.M.-based experiential art collective will be working with nearly 40 L.A. artists across multiple mediums. Expect more than a dozen sculptural and diorama artists to contribute, along with those who specialize in mixed media for interactive and video content. Local artists will also create a number of murals for the space, and a handful of artists have been chosen to curate their own life-size rooms in the venue at West L.A.’s Howard Hughes entertainment complex.

Artist Gabriela Ruiz will be contributing a major piece to Meow Wolf L.A.

(Jason Armond / Los Angeles Times)

While the bulk of a Meow Wolf exhibition is envisioned and designed by a core in-house team in Santa Fe, the company partners with dozens of local artists in each city to ensure a local flavor. Here in Los Angeles, the task of curating L.A. artists fell heavily to Han Santana-Sayles. As a SoCal native from a Mexican American family, Santana-Sayles has told me, “I would be dishonored” if the exhibit failed in its mission to capture the breadth of the L.A. population.

“It’s really important to make that intentional,” Santana-Sayles said. “I’m not just going out and saying, ‘They have art I like. I’m going to bring them in.’ It’s a combination. Yes, they’re an amazing artist, and they have a really important story for this region.”

Santana-Sayles worked closely with art curator AJ Girard as Meow Wolf’s local art liaison. Girard has spoken of being inspired by everything from L.A.’s emphasis on social media to commercialism to graffiti art.

“Social media and social capital is so relevant in our city,” Girard said. “How do we make fun of it in an avant-garde, punk, radical way? How do we poke holes at it?”

Artists tapped to create full-scale rooms at Meow Wolf L.A. include Gabriela Ruiz, who crafted an adorably vibrant, multicolored insect that will serve as a periscope, and collective Everything Is Terrible, who described their space as featuring a “cartoony, root vegetable floating alien god.”

Also look for contributions from Compton’s Charles E. Dickson, a renowned self-taught sculpture artist, whose public works can be found throughout the region, including at Metro’s Mariposa Station and outside the California African American Museum, and Jen Stark, whose geometric kaleidoscope art flirts with the natural and the synthetic. Stark’s “Chromatic Cascade” is a staple of downtown’s Art’s District.

Lauren YS (a.k.a Squidlicker) is also tapped to have a room at Meow Wolf L.A., known for hyper-vivid colors and surrealist mythology. The artist currently has a piece in “Mythical Creatures: The Stories We Carry” at the USC Pacific Asia Museum.

Downtown L.A. street artist S.C. Mero will be contributing a sculpture piece to Meow Wolf L.A.

(Kayla Bartkowski / Los Angeles Times)

Others with exhibiting rooms include Wayne White, album artist, surrealist and puppeteer, perhaps best known for his work as the main puppet-maker for the children’s show “Pee-wee’s Playhouse; Seth Bogart, known best as a local musician (Hunx and his Punx); upcycled fashion specialist Corinne Loperfido; cartooney psychedelic artist Killer Acid; and longtime Meow Wolf contributor Nick Toll.

Meow Wolf L.A. lists seven artists as contributing either video installations and games to the space, including artist/musician Vinyl Williams and musician/animator Hugo Shiboski with director/media artist Will Wharton. Animators Réka Bucsi, Agnus Oakes and Cadmiumcoffee, as well as digitial artist Blake Kathryn will also contribute. It was previously announced that local animation house Titmouse would be supplying media for Meow Wolf L.A.

Six artists are slated to paint murals for Meow Wolf L.A. Look for work from Bunnie Reiss, Ozzie Juarez, Greg Ito, Harlen Hue, Evelyn Tan and Devin Reynolds.

Finally, more than a dozen L.A. artists are listed as contributing either sculptures or dioramas to the exhibition. Those artists range from downtown L.A. street artist S.C. Mero to multidisciplinary artist Ruben Ulises to former Coachella Valley Music & Arts Festival contributor Sofia Enriquez.

Rounding out the list will be David Altmejd, Sharif Farrag, Joe Holliday, Nemo Gould, Alake Shilling, Elrod, Brooke Weston, Shrine, Hana Ward, Roberto Benavidez, Estevan Oriol, Wizard of Barge, Mike Chattem and Karla Ekaterine Canseco.

Meow Wolf helped define the modern immersive space. Since 2016, when the once-scrappy Meow Wolf opened Santa Fe’s “House of Eternal Return” exhibition, the company has welcomed about 10 million visitors across its four venues in locales such as Las Vegas, Denver, Houston and the Dallas suburbs.

WASHINGTON — President Trump has frequently suggested he wants to seek a third term, posting about mounting another campaign, donning 2028 caps and discussing ways to make it happen — even as he’s acknowledged the Constitution prohibits it.

But lately, Trump has begun showing signs that even he doesn’t really believe another run will happen.

During recent speeches, the Republican president has begun describing life after the White House when his term ends in January 2029, predicting he’ll be at home and agonizing as his successor claims credit for his accomplishments.

“Your next president is going to say, ‘What a great job I did,’ ” Trump told an event on Long Island, N.Y., this month. “He’ll be sitting around, watching television. A real stiff. Unless you vote Republican, of course.”

A sitting president talking about becoming a former one is always politically fraught. But with midterm elections now just nine weeks away, Trump is approaching the point of his presidency where there will be more and more reminders that his power will soon wane.

Being willing to say he’s contemplating a White House without him marks a notable shift for Trump. Going back to his first term and from virtually the moment he won a second, he’s left the door open to staying put for more than eight years.

“He is all over the place,” said Brian Kalt, a Michigan State University constitutional law professor. “And what that does is, it allows him to point to his own words to support any number of mutually exclusive things.”

Trump can say, “ ’Oh, yeah, I made it clear that I wasn’t gonna run,’ ” Kalt said. “Or, if he decides that he will, he could say, ’Well, you know, I never said I wouldn’t.’ ”

Trump suggests his post-presidency may make him cry

The White House dismissed suggestions that Trump’s thoughts are increasingly turning to the clock running out on his presidency — and the legacy he’ll leave behind. Spokesperson Olivia Wales said he “is fighting every day” to deliver on promises to reduce violent crime, crack down on the U.S.-Mexico border and lower prescription drug prices.

“The only legacy President Trump is concerned with is making America greater than ever before,” Wales said.

Still, hinting at how he’ll be remembered is something Trump is suddenly talking about a lot.

During a recent Pennsylvania rally, he said, “Whoever the next president is, he’s going to be talking about what a brilliant president he is. And I’ll be home. And I’ll be saying, ’That son of a gun,’ because we did the job.”

A week later in Georgia, Trump was predicting that once his presidency was over, “I’ll be sitting home.”

“I may be crying,” the president added, arguing that Democrats could retake the Senate and scrap filibuster rules, making it easier to move their key legislation.

Then, in Michigan, Trump injected some doubt into whether he was ready to hand over the Oval Office and move back to Florida.

“In two and a half years, you may have a different president — may,” he said, emphasizing the “may.”

“I’ll be sitting home. I’ll be reading the papers. I’ll be watching television,” Trump said, before swiping at his predecessor, President Biden. “And I’ll be having some guy — like last time, a real idiot — stand up and say, ‘We are doing record business.’ ”

Mixed Trump signals are still most common

But even as he’s begun to suggest he’ll be leaving the presidency, Trump has also continued to tease a 2028 reelection run.

Addressing the rescheduled White House Correspondents’ Assn. dinner last month, Trump joked, “Just like my presidency, the second time is always better” and that “the third time will be better yet. I’m only kidding.” He later wore a 2028 campaign cap to finish the speech.

The Constitution’s 22nd Amendment says no one can be elected president more than twice. It was ratified in 1951, six years after President Franklin Delano Roosevelt died, months into his fourth term. Until Roosevelt, no other president had defied the tradition of stepping down after two terms that George Washington started.

Still, Trump had only been back in the White House for a couple of months when he told NBC News, “There are methods which you could” use to seek a third term.

He acknowledged that one method was to be the running mate to Vice President JD Vance in 2028 — then have Vance step aside if the pair won.

“There are others, too,” Trump said then, alluding to more options. He later told Time magazine, “There are some loopholes,” while also saying he didn’t believe in using them.

The president has since often used his social media posts to promote “Trump 2028” logos featuring his slogan “Make America Great Again.”

But Trump has also at times seemed definitive about the ban on him making another run, acknowledging recently to reporters: “I’d love to run, but the law is very strong.”

Kalt wrote about a two-term president possibly getting back to office by running for vice president in “constitutional Cliffhangers: A Legal Guide for Presidents and Their Enemies.”

“People do tend to find, in Trump’s words, whatever it is that they want to hear,” he said.

Trump may be fighting the ‘lame duck’ factor

Second-term presidents typically see their power and influence wane during their last two years, particularly if their party suffers big midterm defeats. But Trump’s comments could also be a sign he’s thinking about cementing his legacy, a stage that many of his predecessors also reached.

“They all, particularly as they cross the midpoint of their second term, start thinking about legacy,” said Paul Begala, a former adviser to President Clinton.

“They all banish the word. I know Clinton and Bush, they said, ’Can’t use the L-word.’ But they do,” Begala said, referring to his old boss Clinton and to President George W. Bush. “They all think about it. And the staff thinks about it and the Cabinet thinks about it.”

In his last two years of office, Clinton threw himself into trying to broker a Middle East peace agreement. Bush used the slogan “sprint to the finish” during his presidency’s final year in 2008, and Biden adopted a “run through the tape” ethos after abandoning his reelection bid.

Trump has leaned into molding the White House and Greater Washington in his own image, harkening back to his days as a real estate developer in 1970s and 1980s New York.

He’s ordered up a towering arch near the Lincoln Memorial and restored city fountains, while constructing a Rose Garden patio area and helipad on the White House lawn and adding scores of gilded touches to the building’s stately interior and exterior.

And then, there’s the massive ballroom that Trump has crews rushing to finish in the face of legal challenges — a project the president says will only be completed late in 2028, shortly before he leaves office.

“It’s not for me, ‘cause I’m going to be here a very short period of time” when the work is finished, Trump recently told reporters in the Oval Office. “I’ll be there for four, five, six months. This is for future presidents.”

Weissert writes for the Associated Press.

BERKELEY — Twelve hours after walking offstage at the Greek Theatre on Tuesday night, David Byrne sits down with a cup of coffee on the patio of a tony hillside hotel and admits that he’s starting to get a little misty.

Last night’s concert on the campus of UC Berkeley was one of the remaining few on Byrne’s yearlong world tour after 2025’s “Who Is The Sky?” album. About an hour from now, a bus will pull up to ferry the 74-year-old musician and the dozen or so members of his touring company to the airport for a quick flight to Los Angeles, where they’re set to perform Friday and Saturday nights at the Hollywood Bowl.

“There’s a firepit over there,” Byrne says, pointing across the patio, “so after the show we all sat around and told stories. Everyone’s such a joy to work with — we’re all having a really good time.” He sighs. “That’s kind of rare, actually.”

“Who Is The Sky?,” which Byrne made with the producer Kid Harpoon, contrasts deep lyrics about art, home and enlightenment with bright pop arrangements filled with crisp grooves and singalong melodies. (Kid Harpoon, whose real name is Tom Hull, is known for the hits he’s created with Harry Styles and Miley Cyrus.) In the show, Byrne blends whimsical new tunes like “My Apartment Is My Friend” and “I Met the Buddha at a Downtown Party” with jittery oldies by Talking Heads, the hugely influential art-rock band he formed in 1975 with Jerry Harrison, Chris Frantz and Tina Weymouth.

Yet even when the songs get dark — as in “Life During Wartime,” which comes with images of police violence on the enormous digital screens behind the players — the mood is euphoric: Like Byrne’s previous tour behind 2018’s “American Utopia,” this one has the musicians holding their instruments as they execute choreographed moves on a bare stage; the result is more or less a nonstop dance party. (Also like “American Utopia,” which Spike Lee adapted into an acclaimed concert film, this tour will make its way to movie screens courtesy of “The Brutalist” director Brady Corbet.)

So you can see why Byrne would be sad to see it come to an end, not least because he’s been using his days off to tool around a given town and take pictures of cool local color. At the top of the gig in Berkeley, he showed photos from a hike he’d taken and of a car he’d come across with a tricked-out sound system.

“Any ideas of things to see in L.A.?” he asks me, dressed in a violet-colored chore jacket only a few shades removed from the blue one he wore onstage. “That hike was a workout. Even some of the dancers said those hills were steep.”

“Life During Wartime” was maybe 15% faster last night than the original record.
Could’ve been, yes. You’ll have to ask the drummers — they set the tempo, and they get excited and it kind of ramps up. It’s sometimes hard for me to keep up — I’ve got a lot of words to get out.

I was fortunate to be at Van Halen’s next-to-last show at the Hollywood Bowl, and I remember every song felt insanely fast.
Wonder if that was drugs?

You ever see Van Halen?
Never saw them live. David Lee Roth was a Talking Heads fan — came to visit our rehearsal loft once. I was kind of surprised: “How did you…?”

David Byrne performs at the Coachella festival in April.

(Christina House / Los Angeles Times)

Would you say things turned out better or worse than the future you predicted in “Life During Wartime”?
Well, we’re not having a total civil war. There’s maybe still a chance that could happen, but it seems there’s more resistance now than there was before — a sense that we don’t have to just roll over and take all the stuff that’s going on. The footage we got kind of hits home.

You show the video of the guy on the bike pedaling away from ICE agents in Chicago.
That often gets a cheer.

I wondered if it ever doesn’t.
In the United States, no. Seeing the underdog get away — that’s a pretty timeworn story. We didn’t have that video at the beginning of the tour — it didn’t exist. I saw it on some news service, and I thought, oh, this has to lead the whole sequence. When we were first putting the show together, we had more video stuff. But screens are really seductive, so you start looking at that. We said, no, you have to connect with real live people, then you can put it up.

Have you been to the Sphere in Las Vegas?
A bunch of the band and I went to see “Wizard of Oz.” I haven’t seen a band in there. But it was really a lot of fun — quite a spectacle with the video all around you.

Don Henley compares the Eagles’ role there to the organist at a silent movie.
The pit band, yeah. That’s a thing to do — works especially well, I would imagine, for bands like the Eagles and other groups that don’t do a whole lot of song and dance.

At 74, can your body do all the dancing you want to do?
Oh, no. With more physical training, I’d probably be able to do a little more than I can now. But I’m never gonna be able to do what some of the dancers can do.

How about what you used to be able to do?
Like in “Stop Making Sense”? There’s some stuff in there where I go, nope, can’t do that. But I can do other things. I don’t have a feeling that I’m barely getting by.

Are you an exerciser?
I have a person I see in New York. It hasn’t happened so much lately because we’ve been moving around so much. But Sasha [Rivero, from the touring company] leads us through these warm-up exercises before shows — kind of a cross between strength training and yoga.

Beyond the value of staying agile, how do you think about maintaining your looks?
I’m aware it’s a thing. If I came across as old and decrepit, it might be less exciting for some of the audience. Not great for business.

When did your hair go gray?
In the ’90s, I want to say. I dyed it for a while when I started seeing a fair amount of gray coming in. Then at one point I was on holiday with my then-wife and just said, “Let’s cut it off and see what’s under there.” By that point it was pretty much all gray. I was OK with it.

Who’s a performer you admire who’s still out there doing it late in life?
Caetano Veloso — he’s served as a role model for me. He’s someone who’s reinvented himself over and over and over again — done records that are very different than the record before. Even on the same record, he can be really experimental and then do something incredibly romantic.

Can you envision a time when you’d stop performing?
I don’t think so. I can see there might be a point where I don’t do as much dancing around.

I’ve seen Willie Nelson probably half a dozen times in the last 10 years. He sits there and plays, and it’s great.
“My Apartment Is My Friend,” that was inspired by a Willie Nelson song: “Hello Walls.” There’s also a George Jones song, “The Grand Tour,” where he takes you into his place: “This is where she sat, that’s where she put out her cigarette,” all this kind of stuff. I loved that you can make an apartment into a character. So I started putting down ideas, and I realized: Should I reveal that it’s about an apartment right off the bat, or should I wait till the last line of the chorus? Before that, you don’t know — it sounds like a love song. The title gives it away. But Tom, when I said “should I change the title?” he said, “The title’s what got me to listen to the demo.”

If I say that the songs from the new album didn’t come alive for me until the show, how does that strike you?
Good and bad. I wish the record had the same impact that the songs have live. But then I also think to myself: Well, the reason you go to see a live show is because you’re getting something more than you get by just putting a record on.

(Josh Edelson / For The Times)

You’ve been playing for years now with this mobile handheld setup.
I wasn’t sure an audience was gonna go for it. I don’t know why, but I thought it was kind of a big step for an audience to take in.

To not have the traditional rock band stage set.
“Here’s the drummer — we know what he does.” There were people on the last tour who would say, “It’s got to be playback — you’re not really playing it.” So I added an introduction to a song where one by one we introduced the musicians at the beginning of the song, and you could hear how we put it together. An unexpected consequence is that it democratized the whole stage experience for the band members. There’s parts where the drummers come to the front and I go to the back, which you would never have in a regular kind of show where the drummer’s stuck on a riser. Everyone gets to be a star — everyone gets to be recognized as an individual.

Would you say your eagerness to share the spotlight could only have come after years of being the focal point?
I have no idea.

Most of the musicians are pretty young.
Younger than me, anyway.

Why is that important to you?
I learn from them — musically but also personally. I learn about what music they’re listening to, what their experiences have been, what their take on things is. They’re not living in the past — they don’t have nostalgia for the good old days.

In 2023, you spent a fair chunk of time looking back with the rest of Talking Heads for a rerelease of “Stop Making Sense.” Did you enjoy that or grit your teeth through it?
It was fine — it was really nice. As we said over and over, we’re very proud of that show and the music that we did and the film that Jonathan [Demme] made. And that it was going to connect with a completely new generation. Jerry came to the show last night. He lives in Marin.

You guys hang out?
Afterwards, yeah. I mean, he had to drive back. He said he enjoyed it — said it was a good show. I connected him with our keyboard player because the keyboard player came up with these interesting technical things I thought Jerry might be interested in. He has an accelerometer attached to his arm — you don’t see it because his sleeve covers it — where he raises his arm and it increases the volume like a foot pedal on a keyboard.

Tell me about Brady Corbet’s concert movie. He shot it in 70mm.
To be honest, I wasn’t sure why. But Brady made the case, and it wasn’t about bringing people into the theater. He said when you go to 70mm it’s a little bit closer to what your eye experiences.

Talking Heads in Italy in 1982: Tina Weymouth, from left, Jerry Harrison, Chris Frantz and David Byrne.

(Luciano Viti / Getty Images)

This is kind of a cutesy formulation, but I wonder if it’s pushing back on the dominance of vertical video.
Biologically and evolutionary-wise, we experience the world horizontally. We don’t go walking around looking up at the sky — the stuff that’s gonna come get us is somewhere on our eye level.

Jimmy Iovine gave an interview to the New York Times the other day where he said one of the last things he asked AI was about your set list.
He could’ve just asked me.

Iovine was extremely pro-AI in this interview. What’s your vibe?
My vibe is positive and negative. On the positive side, we’ve all heard the hype from Silicon Valley that we’re gonna have medical breakthroughs. The negatives — how could there not be massive job loss? What concerns me is the environmental stuff. The last thing the planet needs is a massive increase in energy usage. We’re talking about the survival of species — of everything that lives on Earth. To ramp up that part of what humans do just seems like the worst possible thing you could do.

The other thing that worries me is that machines aren’t really thinking — they’re probabilistic. This stuff has been designed intentionally to mimic human beings, and we are very, very easily fooled. I think that’s dangerous because we give it agency. We assume all these things about it — we trust it. I mean, people will listen to a political argument from a chatbot more than they will from another person.

Seems bad.
Right?

Any worthwhile creative application you can identify?
I used it a little bit to animate my drawings in one of the sequences from the show. They’re my drawings — I wasn’t taking from anybody else. In that case I feel like it’s a tool that’s very efficient. Might put some animators out of work, but if I had to pay the rate for animators on something like that, it would take a year to do and cost me a fortune.

What if the producer on your next record says, “Hey, here’s a little shortcut we can use”?
We already use little shortcuts — Auto-Tune is one. That’s not AI, but we’ve been using those kinds of tools, and there’s always the danger of overusing them. When people use Auto-Tune a tiny bit, it’s pretty much invisible. But on a lot of records — I’m not talking about the Cher record — it’s a little too perfect, and you start to lose the human connection. So it’s not a clear-cut choice of: Do I use this or not? It’s: Do I get seduced and use it too much?

Gladys Knight has announced she’s gearing up to embrace the next phase of her life and career at 82.

The announcement comes after recent performances raised alarm with fans and staff worried about the storied singer’s health.

“After much soul searching I’ve decided that I will be easing into fewer performances while focusing on transitioning into the next stage of my career and life moving forward,” Knight said via Instagram on Thursday.

Knight said she’ll be spending more time on projects with her husband and manager; William McDowell, 68; and visiting with her grandchildren.

“I’d like to take a moment, in advance, to thank all my fans over this last three quarters of a century for making a little girl’s dream come true and supporting her every step of the way,” she continued. “I am immensely grateful to all of you and send my eternal love back to you. … I hope to see your smiling faces out and about and on the road.”

Her publicity team declined further comment Friday.

During her Aug. 18 show in Detroit, Knight took several breaks. And back in July at the Hollywood Bowl, the Grammy-winner seemed to lose her place while belting, “Midnight Train to Georgia,” one of her signature songs.

Backup singers appeared to come to the rescue more than once, guiding the singer back toward the stage as she wandered off and filling in when the lyrics to her classic soul hits seemed to escape her.

In an interview with the Shade Room last year, Knight’s son, Shanga Hankerson, claimed McDowell pushed the singer into performing and manipulates her.

Hankerson said that he drove to North Carolina to see his mom and was kept from being alone with her. He subsequently filed a complaint with the state Department of Health and Human Services.

“I noticed that William would always chime in, make sure that I didn’t get to speak with her by myself or by herself,” he said.

During a performance, Hankerson said he was concerned watching as his mom, who’s been performing for 75 years, fumbled through the set.

“The band played two or three extra bars, and she zoned out. The background singer started singing, and that brought her back. They’re having to rewind the teleprompters because my mom is forgetting to even look at them,” he said.

The back-to-back news this week of the deaths of Dolly Parton and Tim Curry — both at age 80 — felt like an unfair and twisted threat to our peace.

Both were extraordinary cultural forces whose screen and stage work lit up and shaped our lives, so its no wonder the emotional whirlpool led to one large group chat on social media, with fans posting favorite performance clips and interview soundbites. I took comfort in many, including Parton singing “Jolene” at the Grand Ole Opry in 1988 and eight minutes of Curry in the frantic “how it was done” climax in “Clue” (1985), which he reportedly performed so intensely he had to be taken to the hospital for high blood pressure.

Our writers captured the depth of the legacy each leaves behind.

Greg Braxton reflected on Curry’s significant contribution to the twisted image of clowns with his terrifying portrayal of Pennywise in “It.” Robert Lloyd took on highlighting the actor’s most memorable roles on TV. And in his appreciation of Curry, Steve Appleford praised how Curry’s roles “turned out wilder and more varied than he might have expected but his seriousness and sense of fun never faded, pushing boundaries and himself. No one was ever bored watching Tim Curry onscreen.” (Appleford spoke with Curry in 2025 for his final interview published in The Times; I encourage you to read it.)

Meanwhile, Mikael Wood waxed on Parton’s storytelling prowess in her music. Lloyd looked at her legacy on the small screen, where she appeared in variety shows (two of her own), specials, TV movies, guest shots, interviews and music videos — contending it’s where “much of America met Dolly.” Mary McNamara explored Parton’s unexpected persona as a feminist icon. And Emily St. Martin reminded us of Parton’s contributions to literacy.

The country music superstar’s performance in 1982’s “The Best Little Whorehouse in Texas,” which earned her a Golden Globe nomination, is one of our streaming recommendations this week. (For those seeking community while celebrating the life of Parton, AMC Theatres announced screenings for the film, as well as “Steel Magnolias,” in select locations through Sept. 2.) Our other streaming suggestion, if you need a life vest to keep afloat through the tears, is a series featuring veteran fashion police partners reuniting again — this time, to dole out critiques of fictional characters.

Also in this week’s Screen Gab, we spoke with actor Kristen Johnston about the Season 2 return of “Leanne.” Best known for her role as Sally Solomon in the hit ’90s sitcom “3rd Rock From the Sun,” Johnston has built a career bringing laughs to comedies like TV Land’s “The Exes” and CBS’ “Mom.” Lately, she’s been bringing her seasoned comedy skills to Netflix’s multi-cam sitcom, which captures the messy (and funny) experiences of women navigating midlife — like dealing with menopause or the horrors of the modern dating scene. Stand-up comedian Leanne Morgan stars as the titular character, while Johnston plays her brutally honest sister, Carol.

“Not every show has to be, you know, medieval dragons,” Johnston says. “There’s room for a couple of silly women in their 50s trying to figure it out.” Read more from Johnston in Guest Spot. In the meantime, I’m off to mix and bake a cuppa flour, a cuppa sugar and a cuppa fruit cocktail with the juice at 350 till it’s gold and bubbly. See you next week. — Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Dolly Parton as Miss Mona in the 1982 movie “The Best Little Whorehouse in Texas.”

(Universal Pictures)

“The Best Little Whorehouse in Texas” (VOD)

Dolly Parton cemented her movie star status with her feature debut “9 to 5” alongside Jane Fonda and Lily Tomlin. But outside of the irresistible title song, Parton did not sing in the film. She makes up for it with her second film, 1982’s “The Best Little Whorehouse in Texas.” Adapted from the Broadway musical, the country superstar dazzles as Miss Mona Stangley, the proprietress of the popular “Chicken Ranch” brothel. With her characteristic down-home charm, she makes her place of business seem as wholesome as apple (“There’s lots of goodwill and maybe one small thrill, but there’s nothing dirty going on,” she sings in the opening number). Parton also contributed two extra songs to the soundtrack alongside the original Broadway score, including her hit “I Will Always Love You.” — Greg Braxton

Clinton Kelly, left, and Stacy London in “Why’d They Wear That?”

(Jordan Petsy / Simple Alien)

“Why’d They Wear That?” (YouTube)

Stacy London and Clinton Kelly are back with a third “Wear” show, after “What Not To Wear” and last year’s “Wear Whatever the F You Want.” This one’s for the Stacy and Clinton fans, as it removes the clients and makeover elements and sits the hosts on a bed together in front of a TV as they critique what characters wear in the movies, viewing film through the lens of clothing, hair and makeup. (It’s very smart.) The films and actors they highlight are meaningful to one or the other — they don’t always agree — which is to say they broadly represent the tastes of people born in 1969. The range of subjects encompasses “Meatballs,” “Poltergeist,” “Best in Show,” “Gentlemen Prefer Blondes” and “The Empire Strikes Back,” in which episode you will learn that London views Darth Vader as “the Karl Lagerfeld of outer space” (“monochromatic dressing … quiet luxury and he doesn’t change — he invests in his pieces”). One episode is a tribute to Catherine O’Hara. With no one’s feelings to dance around, they can be as critical as they like, but snark isn’t the point so much as celebration and the delight of old friends sharing their own, often self-deprecating stories. Come for the analysis, stay for the laughter, or vice versa. — Robert Lloyd

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Leanne Morgan, left, and Kristen Johnston in Season 2 of “Leanne.”

(Patrick Mcelhenney / Netflix)

In “Leanne,” Kristen Johnston plays the ultimate ride-or-die sister you want in your corner — she turns chaotic moments into fun, tells the hard truths and provides unwavering emotional support. The Netflix sitcom stars comedienne Leanne Morgan as a woman trying to rebuild her life after her husband of 33 years left her for someone else. Helping her navigate the emotional rubble is her family, including her fiercely loyal, unfiltered, twice-divorced sister, Carol (Johnston). As Leanne confronts more change in Season 2, like turning 60 and coming to terms with aging parents that require more care, Carol remains a blunt support system. Over the phone, Johnston discussed her connection to the themes explored in the comedy and the genre of TV that has her hooked these days. — Y.V.

Change continues to be a theme in Season 2. It opens with Leanne resisting the idea of turning 60 and still not ready to be alone with herself. Carol is there to remind her that she’s capable. Tell me about your 50s, Kristen. How are you feeling about this stage of your life and the prospect of turning 60?

Oh my God! Honestly, I never even thought I’d make it to my 50s. So, the fact that I’m still here is a pretty big miracle. My 50s has just continued to be about trying to figure out my place in the world and deepening my friendships with my friends, my family. That’s about it.

Are there things you used to worry about that now you’re like, “I can handle that”?

I used to worry about everything, and now I really couldn’t give a s—. I don’t live for other people’s opinions anymore, and that was probably something I lived for for a long time. When you get fame really early, you just condition yourself to not make anyone upset and not get found out by the tabloids or be stalked. I don’t know. I do enjoy really just trying to live. Other people’s opinions matter to me, but they’re not the reason I do or don’t do anything.

You and Leanne both get a chance to play with the idea of getting older early in the season with a daydream sequence about being in the retirement home. What was that like? It hits at such a big topic that many people come to grips with at some point, which is the idea of caring for aging parents.

That’s a huge topic this season, and it one it matters to me because my mom is still here — thank God. But it’s stuff that really comes up a lot. When it’s time to get them into a home, it’s so hard, and of course, they never want to go. Who would? But literally doing that scene was so great because I’m so into prosthetics and makeup. We had a lot of fun coming up with what each of us would be.

Kristen Johnston, left, and Leanne Morgan in “Leanne.”

(Patrick Mcelhenney / Netflix)

The bond between Leanne and Carol is such an important element of the show. What do you think this show really gets right about sisterhood?

It feels very real. You have one who’s a black sheep and always blamed for everything, then you’ve got one who’s the Goody Two-shoes and got married at the right time and had kids. Carol did none of that. But throughout that, and much more important than the rivalry and being mad at each other or whatever, is just this absolute unending love. And I feel very sisterly towards Leanne. I get really emotional about her because I feel like she’s my sister. They’re pretty easy scenes to act.

You’ve worked in multi-cam sitcoms across broadcast, cable and streaming. Do you feel a difference?

I don’t know if it’s as much that they’re different, but the times sure have been different. I’m from the era where we would have the head of the studio come to every taping and send us cards and thank you or call you to come over to his house for his 60th birthday or whatever. That doesn’t really happen anymore. I’m from this other era, which really felt more personal and felt more one-on-one. Now it really just feels like, “Don’t look at me. I just want thanks for the paycheck.”

And it seems hard to even gauge how well the shows are doing.

Exactly. Leanne was so nervous about all that at first, and I just said, “Look, all we can do is our our best. Let’s just be funny and have fun, and everything else is above our pay grade.” So she went with that. That’s how we kind of roll.

OK, tell me — how often are you asked about the “Splat!” episode of “Sex and the City”? How often do people come up to you about Lexi?

It’s crazy. It’s all anybody wants to talk about, any podcasters or anything. Really, I would say 80% of the conversations I’ve had in the last few weeks are focused mainly on that.

What does that tell you that a role that was a one-off could have that kind of lasting impact?

It’s the shock of what happens in that scene more than almost anything. There was kind of this angry “I’m gonna live no matter what” vibe to her. So to watch her fall to her death out of her own hubris, it’s just a perfect little encapsulation of a moment in New York City, and I think that’s why people love it. It’s also probably one of the bigger, bigger acting choices I’ve ever made. That was Michael Patrick King. I can’t believe it still matters to people, but obviously, I’m thrilled it does. I did like three takes [of the fall]. And it could have been the stunt woman [who made the cut]. I honestly don’t know who they cut to for what.

Because when people say, “Are you a Carrie? Are you a Charlotte?” A lot of people say, “I’m Lexi.”

They tell me that all the time. I just go, “Oh, babes.” I wouldn’t really want to cling to her as like an inspiration for your character, but I think what they mean is they’re probably bawdy. There are worse things to be in life.

What’s the most recent thing you watched that you’re obsessed with?

I’ve gone down the K-drama rabbit hole. And something I loved is this C-drama called “Pursuit of Jade” on Netflix. It’s so well-done, really good and very thrilling. A period show. Love it. I’ve been sucked into that. Oh, for K-drama — “Bon Appétit, Your Majesty.” That’s pretty much where I’ve been living.

What’s your go-to comfort watch?

I like spooky, weird stuff like “True Detective,” “Broadchurch.” I just did a rewatch. I can’t believe “Broadchurch” is my comfort show. Anything with really good character development, fantastic acting. I love it.

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L.A. County Dist. Atty. Nathan Hochman did something last week few prosecutors ever do — changed his mind in public, swapping out felony charges for misdemeanors in the case of an LAPD officer accused of secretly taping homophobic, racist and misogynistic remarks made by colleagues.

Since then, Hochman has been slammed for playing politics, embarrassing his office and even backing down for no reason other than the pressure was too intense.

Not a stellar look for a politician relatively new to elected office.

After speaking with Hochman about the reversal, I have a more optimistic take on it — drawn from a Talmudic quote that Hochman keeps on his desk, and which his father — a tax lawyer who represented at least one mobster — kept on his desk before him.

It’s Deuteronomy 16:20, “Tzedek, tzedek, tirdof” — Justice, justice you shall pursue.

It’s that double justice that holds weight in this situation, because, as Hochman explains it, his god rarely repeats himself without reason. Hochman said he reads that echo as referring to two parts of delivering justice — the process and the result.

“We try to get the right result. We try to get it in the right way,” Hochman told me.

When things go wrong, like they did in this case, he’ll reevaluate, he said, even if it leaves him with egg on his face.

“If that means that I have to publicly come out at a press conference and say that our initial decision-making, and what went into it, turns out not to have been perfect, and it is not set in stone, and we think there’s a better way of doing something, I’m going to stand up in a press conference and say exactly that,” he said.

A prosecutor who is willing to change his or her mind is critical to delivering real justice, because people get things wrong. Hochman holds incredible power over the thousands of lives entangled in the matters his office handles. Leaving that power of process in the hands of someone who can’t admit they made a mistake (as is the case with more D.A.’s than not) puts justice on a greased slide into a cesspool of hubris.

The distinction between the two forms of justice may seem like splitting hairs, but to anyone who has ever been involved with our justice system — as a victim or defendant, innocent or guilty — being dragged into a prosecution can often feel like an avalanche of misfortune.

Don’t get me wrong. I don’t think every person charged with a crime is a victim. There are plenty of predators out there, committing violations big and small, that require accountability.

But the process of administering justice is far more subjective and messy than we often admit. Sometimes, even when the prosecutor involved almost certainly knows something other than justice is in the works, there is a momentum of ego and bureaucracy that is hard to reverse.

And it doesn’t take a guilty verdict to derail a life. Simply having charges filed can mean a job loss, losing custody of kids, incarceration for months or years waiting for a trial, financial hardship and stigma.

We like to think of an innocent verdict as a great vindication, but by the time one arrives, if it does, a lifetime of damage may already have been done — that is the unseen power of process.

Just ask Daniel Flores, the LAPD officer whose case we’re talking about. Though he likely will eventually see all criminal charges dismissed, Flores told my colleagues Libor Jany and Richard Winton that this incident has “ruined” his life.

Hochman for weeks has faced intense public anger over his initial decision to charge Flores with 16 felonies. Folks from the lofty heights of the mayor to this lowly columnist objected, pointing out that punishing whistleblowers, even ones who may have technically broken the law as Hochman said Flores likely did (though Flores’ lawyer disputes that), would chill other officers from coming forward.

Hochman at first defended the charges, pointing out that as a sworn officer, Flores had an even higher duty to adhere to the letter and spirit of the law.

But, he said, he was unprepared for how strongly the public would react to the whistleblower part of the case. Though he contends he never meant to send a message silencing those who would expose wrongdoing, he concedes that did happen.

“People interpreted it that we’re trying to discourage all whistleblowers by the way we went about this prosecution,” Hochman said.

He also acknowledges that he is still learning what it means to be in this elected office. Though he has been both a federal prosecutor and a defense attorney, this is by far the most publicly accountable and visible role he has held, and he’s still figuring out that part of the job. It’s easy to be the candidate lobbing criticisms, or even the defense lawyer arguing the facts. It is much harder to be the person answerable to the nearly 10 million people of Los Angeles County when it comes to ensuring they feel both protected and respected by the law.

In his first year in office, more than one civil liberties advocate has taken issue with his approach.

“It is a continuous learning experience. In fact, anyone who takes this job and doesn’t view this as a daily learning experience cannot possibly do the job well,” he said. “If you don’t adapt to what’s out there, you don’t listen to what’s going on … you will fail, and by failure, I mean that you won’t achieve a society where people trust that the district attorney’s office is doing its job and doing it as best as it possibly could,” he said.

He blames the media in part for distracting from his accountability message in favor of the whistleblower-chilling angle in the Flores case — likely including headlines such as the one I wrote, “Protecting the blue wall of silence is not justice in LAPD whistleblower case.”

I’m willing to stand by the process that got me to that opinion, and also to give Hochman credit for being willing to change direction on his process when it was leading our city down the wrong path.

There are plenty of places where I hope Hochman will apply that rigor in the future — issues such as the death penalty, which he has brought back to Los Angeles, or in other difficult cases such as the killing of Keith Porter Jr. by an off-duty ICE agent. Porter’s family recently asked Hochman to convene a grand jury to hear the facts.

But that Hochman thinks about process, and the power that it holds, speaks well for justice in Los Angeles — even, maybe especially, when things go awry.

Eight months have passed since Rob and Michele Reiner were killed and their youngest son was arrested and charged with murder, but the couple’s eldest son still feels he “will never understand why this happened.”

The children of film director Rob Reiner and photographer Michele Reiner mostly have kept mum despite extensive coverage of the brutal stabbings of Dec. 14, 2025.

In a television interview with KABC-TV’s Marc Cota-Robles, Jake Reiner, the eldest son, described the aftermath of the slayings and the arrest of his brother, Nick, as a “living nightmare.”

“Nobody really understands what it’s like to go through something like that until you’re living it,” said Jake, 34. “It’s been eight months. It feels like eight years at the same time. And it also feels like eight minutes because every moment that I wake up, I’m reminded of my reality.”

Jake said he learned the night of their deaths that the Los Angeles Police Department was looking at Nick as a prime suspect. A grand jury indicted Nick last month on murder charges with special allegations of committing multiple murders and lying in wait, making him eligible for life without parole or the death penalty if convicted.

“He’s in jail,” Jake said. “It’s like, I physically lost my parents, and then Nick was arrested. Now it’s just me and Romy, and we have to navigate this by ourselves essentially.”

Asked whether he was surprised that Nick was suspected in the crime, Jake declined to answer. He also declined to discuss his brother’s attempt to use family trust money to fund his legal defense. Instead he discussed the anger he is feeling.

“It manifests into rage, into how unfair this was, how I didn’t get a say in what happened. I didn’t get to stop it from happening. I had no choice in the matter,” Jake said. “I just have to accept the reality of it. And to me, that is just one of the most infuriating parts of all of this.”

He said he learned of his parents’ deaths while attending a celebration of life event for a high school friend at Union Station. His sister, Romy, tried to call him.

“I screened it because I thought, at the time, I’m in the middle of something, you know, I’ll call her back,” he recalled, “and then she called immediately again, and I knew at that point that something was wrong.

“Romy told me our dad was dead, and then she said, ‘I can’t find mom.’ I immediately went into shock.”

Investigators found the body of Rob Reiner in the master bedroom. Michele Reiner subsequently was found in the bedroom area as well.

Romy, 28, has not publicly commented.

Nick’s struggles with addiction and mental health were public knowledge. In 2015, he partnered with his father on the film “Being Charlie,” about a drug-addicted son, which Nick wrote and Rob directed. It was loosely based on Nick’s life.

Jake was no stranger to crime scenes — as a longtime television news reporter he said he witnessed plenty, but nothing could have prepared him for his parents’ home that night.

“As a reporter, I did it for 10 years; I came up on crime scenes all the time,” he said. “But when it’s your crime scene, a crime scene at your childhood home, it’s like the most surreal thing I’ve ever seen.”

Nick has pleaded not guilty. A pretrial hearing is slated for Sept. 15, a day after his 33rd birthday.

“I’ll never understand. I don’t care how it’s explained to me. I don’t care what facts come out, ” Jake said. “My parents had unconditional love for all three of us. I can tell you they never stopped wanting to help him. They never stopped helping him.”

Jake and Romy made their first public appearance together since the tragedy on Aug. 2 at Dodger Stadium, where they took part in the ceremonial first pitch. Dodger Stadium meant a great deal to their father.

“One of the great pleasures I have is walking into Dodger Stadium. It’s like I feel at peace,” Rob Reiner once said.

“He had season tickets for the Dodgers,” Jake said, “and we would go anywhere from three to four games a week, and it was just the greatest time with him.

“It was an emotional thing that we did. I don’t know if I really could take in the moment, because everything happened kind of fast, but I was really happy that we got to do that.”

Shelley Fabares’ cause of death has been revealed.

Fabares was known best for her television roles , including Christine Armstrong on the ’90s sitcom “Coach,” Francine Webster on the 1970s sitcom “One Day at a Time” and Mary Stone on “The Donna Reed Show,” as well as her Billboard Hot 100 song “Johnny Angel” and appearances opposite Elvis Presley in “Spinout,” “Clambake” and “Girl Happy.”

The actor died Saturday in Los Angeles surrounded by loved ones after battling pneumonia, her family told The Times on Thursday. In the 1990s, Fabares fell ill, but doctors struggled to pin down what the problem was. After years of health problems, she was diagnosed with autoimmune hepatitis. Doctors ultimately discovered severe liver deterioration, and she spent nearly two years on a waiting list for a liver transplant. She received the lifesaving surgery in the fall of 2000.

In 2011, Fabares told PBS Houston that after suffering liver failure and facing death, her outlook on life completely changed. “It really brought home the fragility of life and how fast everything can change and how extraordinarily lucky we are to be alive, and to have this opportunity to be here, and in my case, to get really an entire second chance,” she said during the appearance. “It does make things more precious.”

She said that, after the close call and lengthy recovery, she feared death less.

“To her family and friends, Shelley was a source of love, strength, laughter, and comfort,” Fabares’ husband, “MASH” actor Mike Farrell, said in a statement.

“She was a devoted wife, cherished stepmother, daughter, sister, niece, aunt, family member, and loyal friend whose warmth, generosity, humor, and grace made an enduring difference in the lives of everyone who knew her. She had a remarkable ability to make people feel welcomed, valued, and cared for.

“For millions, Shelley was a beloved actress whose work became part of the fabric of American television and film. … But to those closest to her, her greatest legacy was personal: the love she gave so freely, the friendships she treasured, and the family bonds she held dear.

“We will remember Shelley for her kindness, loyalty, wit, courage, and beautiful spirit. We will miss her deeply — not only as a celebrated performer, but as the loving and extraordinary person she was in our everyday lives.

“We are heartbroken by her loss, yet profoundly grateful for the years we shared with her and for the joy, compassion, and love she brought to so many. We ask that our family’s privacy be respected as we grieve. We take comfort in knowing that Shelley’s work and the memories she created with those who loved her will continue to live on.”

She is survived by her husband and her daughter, Erin.

Emmerdale fans will remember John Barton’s dramatic exit following a romantic reunion with his wife Moira

Emmerdale icon James Thornton has a very famous wife who sitcom fans will instantly recognise.

It’s been 17 years since James Thornton arrived in the Dales as dashing John Barton, and alongside his wife, Moira (Natalie J Robb), he became the new owner of Butlers Farm.

The farmer took over the agricultural business from the iconic Sugden family, kick-starting a new dynasty on the ITV soap and a long-standing feud between the two families.

John and Moira were childhood sweethearts, and the parents of Matty and Holly Barton, and James was also the adoptive dad of Adam Barton, though his biological father was James Barton.

Before his arrival, series producer Gavin Blyth described James’ character, John, as “a very charismatic and modern farmer”.

However, despite the Bartons initially appearing as the perfect, hardworking family unit, cracks began to show in John and Moira’s marriage.

John’s kiss with Eve Jenson (Suzanne Shaw) and Moira’s subsequent affair with Cain Dingle (Jeff Hordley) tested their relationship. Despite struggling to forgive Moira for her infidelity, John eventually realised he couldn’t live without her.

When the couple reconciled in February 2012, their happiness was short-lived when a harrowing incident saw John and Moira’s car crash following a skid on ice, leading to a tragic plunge off a ravine. John died in the incident, leaving Moira heartbroken.

Speaking to Digital Spy in 2012 about his dramatic Emmerdale exit, James thought the storyline was “brilliant” and said: “As I learned more, I discovered that the scale of John’s departure was going to be huge, and that the amount of money they were spending was massive.

“So I was really, really pleased. As an actor, you always want to do something that’s going to grab the audience’s attention.”

Famous wife

James married Welsh actress Joanna Page, famous for her role as Stacey in the BBC hit Gavin & Stacey, in December 2003, four years after they both starred in the two-part BBC drama David Copperfield – he was Ham Peggotty, and she was Dora Spenlow.

The couple share four children – Eva, Kit, Noah, and the youngest, Boe, who was born in 2021.

It was having children that, Joanna says, completely changed their relationship. She told Woman magazine: “It completely changes you. You’re really close and a unit, then you have kids, and it kind of completely splits you because they’re now the focus.

“We know that romance is going to be on the back burner for now and life is exhausting and hectic, but in 15 years’ time it’s just going to be and him and then we’re going to get to go travelling around the world.”

Road accident

In February 2010, James was hit by a motorist in London and received medical treatment for leg injuries. Emmerdale producers rewrote scenes involving his character. At the time, an Emmerdale source told the Daily Star the entire cast was shocked.

James now works as a voice artist and has narrated several documentaries, including BBC series This Farming Life. He has narrated and appeared in the documentary Benefits By the Sea: Jaywick (2015–2016), narrated the Channel 5 series The Motorway, and has been the voice of Talk TV.

He also narrates ad campaigns for high-profile brands like Ford, Amazon, Shell, and BP.

Emmerdale airs weekdays on ITV and ITVX

It’s decision-making time.

With a 53-man roster needing to be finalized by Sunday, the Chargers wrap up the preseason against the Rams at SoFi Stadium on Thursday night.

The Chargers looked sloppy in their 41-17 home loss to the San Francisco 49ers last week, following an inspiring 27-7 road win over the Houston Texans, and now aim for a better on-field product in their final tuneup.

“Just want it to be crisp [and] clean,” Chargers coach Jim Harbaugh said. “Want to see improvement. … Everybody doing what they’re supposed to do.”

Here are four things to watch for — from the Chargers’ perspective — during Thursday’s game at 7 p.m. PDT (CBS, KCAL).

Who rises or falls as roster cuts loom?

The pressure is on for players on the bubble of earning a roster spot.

“From a player standpoint, how you feel, it’s so important it’s like life or death,” Harbaugh said. “Your football life is at stake; your lifestyle’s at stake, your job. That’s how important it is to the individual player. And then, to the team — I use the analogy [of] a deck of cards [and] the shuffle — you’re trying to create your best hand.”

How many offensive linemen will the Chargers keep in the wake of starting center Tyler Biadasz’ season-ending left knee injury? Which linebacker will turn heads enough to earn a spot? Which wideout or defensive back will literally and figuratively drop the ball?

Left guard competition

Chargers guard Kayode Awosika speaks during a news conference on June 8.

(William Liang / Associated Press)

It appears the starting left guard spot is all but Kayode Awosika’s.

“Kayode has kind of taken the lead,” offensive coordinator Mike McDaniel said. “It’s almost his job to lose, just because of his growth in the last two weeks.”

Awosika wants to seal his top spot on the depth chart, so keep an eye on him. With Jake Slaughter becoming the Chargers’ starting center, their depth at left guard after Awosika is slim.

McDaniel mentioned that Trey Pipkins is still in the mix for the starting left guard spot. But Awosika probably would have to play terribly for that debate to pick up steam.

Trey Lance vs. DJ Uiagalelei

Chargers quarterback Trey Lance passes against the 49ers on Aug. 20.

(Mark J. Terrill / Associated Press)

The competition is fierce for the role of Justin Herbert’s backup.

Lance and Uiagalelei have each seen similar amounts of action throughout training camp, and neither seems to have an advantage so far.

Whoever looks better against the Rams could secure QB2 on the depth chart, while the other will likely receive a practice-squad opportunity, if not a shot elsewhere.

“I feel like I’ve made strides,” Uiagalelei said. “Each and every day I go out there, I try to get better [and] attack a certain thing.”

Although each signal-caller is still in the hunt for No. 2, Lance does have experience in McDaniel’s offense from their shared time with the 49ers. A decent showing from Lance could be enough to keep him in the same position he held last season.

“I’m talking to [McDaniel] more than I did when I was in San Francisco,” Lance said. “He hasn’t changed — same energy, same guy.”

Real glimpse of starters?

Most of the Chargers’ starters didn’t play against the Texans. And against the 49ers, they called it a game after one series.

Harbaugh said starters will be in for six to nine plays against the Rams.

“It’s been a good camp so far,” special teams coordinator Ryan Ficken said. “Ups and downs; some things we’ve been learning [and] going through; some good plays, some bad, obviously; coming off last week’s game, obviously wasn’t the expectations we were hoping for … but again, it’s a learning process.”

TIKTOK star Baylen Dupree broke down in tears as she married her fiance and accidentally called him ‘the greatest d**k of my life’ in a sneak peek of her big day.

The social media favourite, 24, and Colin Dooley, 26, tied the knot back in May this year at the Airlie estate in Warrenton, Virginia.

The loved-up pair filmed the whole thing as part of her TLC show Baylen Out Loud – and the two-part special concluded on August 25.

Baylen couldn’t control her emotions as they came face to face at the aisle.

Fighting back the tears, she said: “Oh God, everyone bear with me.”

Baylen, who has Tourette syndrome, went on to say: “Three years ago, what started as a simple swipe became the greatest d**k… god damn!”

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As their guests laughed, she continued: “The greatest blessing God has ever given me.

“You came into my life in some of the darkest moments and without even realising it you became my medicine.

“When I was hurting you loved me gently, when I felt lost you reminded me of who I was.

“God used your heart, patience and your love to pull me out of places that I thought I would never escape.”

Baylen and Colin started dating in 2022.

The pair got engaged in February last year.

Baylen Out Loud hit our screens last year on American channel TLC.

“Following the journey of Baylen Dupree, a young woman living with an extreme case of Tourette Syndrome.

“Despite her challenges, Baylen and her family are not afraid to laugh and embrace the chaos,” Apple TV’s synopsis reads.

The first season aired in January, followed by a second in October, and a third in May this year.

Baylen shot to fame in lockdown on TikTok and now boasts an incredible 13m followers on the platform.

When Dolly Parton sang, “Working 9 to 5, what a way to make a living,” it was an understatement.

The legendary country singer, who died Tuesday after a brief battle with cancer, “worked up until the day she died” on multiple projects, her longtime manager Danny Nozell said in a statement to The Times.

“She loved seeing her dreams come to life, and loved knowing her work brought people joy,” Nozell said. “Ever the planner, Dolly worked with the team that she handpicked, for the past several years to build a project roadmap that will guide us for decades to come.”

The projects vary from a line of Dolly Parton dolls, which will launch online Sept. 15, to a biopic and a docuseries with release dates to be revealed later. A scripted show and an animated series based on Parton’s “Billy the Kid” book franchise are scheduled to be released on a date to be determined.

Other projects announced were Dolly’s Tennessean Travel Stop — a travel center in Cornersville, Tenn. — which will celebrate National Truck Driver Appreciation Week beginning Sept. 13; and Dolly Parton’s SongTeller Hotel in Nashville, where patrons can book stays starting Sept. 14, with a grand opening scheduled for Sept. 29.

The Parton estate will open the 20,000-square-foot Dolly’s Life of Many Colors Museum at the SongTeller Hotel on Sept. 29 and launch Dolly’s Cup of Ambition Coffee online on the same day. The coffee line will be available at retail stores starting spring 2027.

Dolly’s Dog Treats are on the calendar for early 2027, along with Dolly Bedding & Home Decor debuting in the third quarter of next year.

Broadway previews for “Dolly: A True Original Musical” will begin in December, with opening night scheduled for Jan. 19, 2027. The estate is also collaborating again with fashion designer Kendra Scott for a “9 to 5” jewelry collection.

Nozell guaranteed Parton’s fans that if any unreleased music, products, books, experiences and campaigns are launched through the official Dolly Parton channel, each was personally stamped on by the singer.

“As the leader of the team responsible for overseeing her legacy, we will ensure the many dreams she had yet to fulfill are brought to life,” Nozell said. “Many projects were in various stages of development, and we want to be transparent with her fans about this fact.”

Dolly Parton had reportedly been battling cancer before her death.

A spokesperson for Parton’s estate confirmed the cause of death to the New York Times.

In a statement, also shared with People, a representative for the country music icon said: “After bravely facing a brief battle with cancer, Dolly departed her Earthly life today at the Vanderbilt-Ingram Cancer Center surrounded by loved ones.”

The type of cancer was not specified. TMZ had previously reported that Parton had been hospitalized early Friday for kidney and autoimmune issues.

Parton’s death at age 80 was announced earlier Tuesday by her nephew Bryan Seaver in a news release and in a video shared to the singer’s Instagram page. Tributes from entertainment luminaries, politicians and others immediately followed.

An entertainer and philanthropist, Parton had previously had a series of health issues that led her to postpone several public appearances and performances. She missed the announcement of a Dollywood attraction to recover from a kidney stone in September 2025. Later that month, she delayed her residency at Caesars Palace in Las Vegas for unspecified “health challenges.”

“Our beloved Dolly Parton spent her life and career bringing joy, laughter, hope and integrity into everything she touched,” the statement from her representatives read. “Her unmatched generosity reached the lives of countless people whom she would never meet, yet she was always there to offer a helping hand.

“Whether it be the hundreds of millions of books donated through her invaluable Imagination Library or funding research that helped create a lifesaving vaccine used around the world, Dolly’s unconditional love for all people was the guiding force for her lasting impact.”