life

Away from Coronation Street, Dylan Wilson actor Liam McCheyne has a well-known sibling

Dylan Wilson has been a staple on Coronation Street for years – but what do we know about actor Liam McCheyne?

Liam plays Dylan Wilson, the son of Sean Tully (Anthony Cotton) and Violet Wilson (Jenny Platt). He first arrived on the cobbles in 2011 and later returned in 2022.

Liam’s role on the show has progressed significantly over the years, as over on the soap recently, it was confirmed that Dylan and girlfriend Betsy Swajn (Sydney Martin) are set for a new dramatic storyline examining the devastating life-altering consequences of non-fatal strangulation.

In Wednesday’s episode (July 15) Betsy is found unconscious and rushed to hospital, with doctors confirming that she has suffered a stroke caused by a blood clot. So, with more drama to come on the cobbles we’re taking a look inside Dylan actor Liam’s life, including his relationship with his soap co-star brother.

Liam on working with his brother on Corrie

The character of Dylan was originally played by both Liam and his twin brother Connor. And while Liam has continued his acting career, Connor seems to have hung up his acting shoes in favour of sport.

Talking about him and his brother landing the role of Dylan on Corrie, Liam previously said: “We were three years old and it was a total fluke way to get it.

“My neighbour across the road was on work experience for a local agency and she asked my mum if we would want to go and do an audition for her. She said even if we didn’t get it, it would help her with her work experience.

“My mum, dad and even nursery teachers all thought we would be too shy to do it. When we got here, and were in the casting, as soon as the cameras were on, we were like totally different children with our confidence and were laughing away.”

Liam and twin brother’s close relationship

Liam is still very close to Connor and regularly shares photos of them enjoying time together. Earlier this year, Liam shared a special update with his brother as in January, the pair took to their Instagram to share a post celebrating their 19th birthday.

Alongside photos of the twins over the years, Liam wrote in his caption: “Happy birthday to you best mate and right hand man @connormccheyne1 Here’s to the best memories throughout chapter 19!” Meanwhile, Connor penned: “Happy birthday to this one. @liammccheyne here’s to a top 2026.”

Liam’s Corrie return ‘was hard to take for Connor’

Meanwhile in 2024, Liam revealed that fans often stop his twin brother thinking it’s him. He said: “The funnier story is when people think Connor, my twin brother, is Dylan.

The actor added: “He’ll get stopped in Manchester on his way to college and won’t have enough time to say it’s not him before someone has a camera asking for a picture.”

Liam also previously revealed that when Dylan returned to the soap in 2020, both he and his twin brother were up for the role – and it was a hard decision for Corrie producers.

“They couldn’t decide here at Corrie who would be cast, so they sent it to an external casting agency in London. They literally went off my CV, based on the fact that I’d just come off Last Tango,” he said.

“That was hard to take for Connor, because he was very good. But we’ve both agreed in the past, and we’ve said publicly in the press, that it’s led to another opportunity for him. Acting wasn’t his thing in the end and it’s opened another door for him.”

Coronation Street airs Monday to Friday at 8:30pm on ITV1 and ITVX

WASHINGTON — Christopher J. Boyce, whose sale of CIA satellite secrets to Soviet agents was one of the nation’s gravest espionage crimes of the 1970s, pleaded before a Senate panel Thursday for improvements in U.S. security procedures and for other young persons to avoid his fate.

In an emotional, hourlong statement, the 31-year-old Boyce said his 21 months of spying at TRW Inc. offered no “James Bond” thrills and brought him “only depression and a hopeless enslavement to an inhuman, uncaring foreign bureaucracy.”

“As we sit here, a half-dozen, perhaps a dozen, perhaps more Americans are operatives of the KGB,” the former Californian told the Senate Governmental Affairs permanent investigations subcommittee, which is examining how federal security clearances are granted.

‘None Are Happy’

“Perhaps some of them have been in place for years. I tell you that none of them are happy men or women,” he said during testimony described by Sen. William S. Cohen (R-Me.) as “one of the most powerful and poignant statements we have ever heard.”

Boyce, who is serving a 68-year prison sentence for espionage and for robbing banks after escaping from the Lompoc Federal Correctional Institution in 1980, said that “for whatever reason a person begins his involvement . . . the original intent and purpose becomes lost in the ignominy of the ongoing nightmare.”

Although Boyce took the witness stand in his defense during his 1977 spy trial, his Senate testimony Thursday–in which he paused to fight back tears four times–provided his fullest statement to date on his actions and reflections as a Soviet collaborator.

He told senators that he had received a top-secret clearance from the government in 1975 after only a cursory investigation in which he was never interviewed about his anti-Establishment attitudes, which were well known among his friends.

Boyce said the government interviewed only his parents and some of their acquaintances, “who lived in another world” and knew nothing of his opinions.

Smoked Marijuana at 16

“Had the investigators asked any of my friends what I thought of the U.S. government, and in particular the CIA, I would never have gotten the job,” Boyce said. “Had they asked, they would have learned that I had first begun smoking ‘pot’ at 16 and that I had experimented with a variety of other drugs.”

He said he was hired only because his father, a former FBI agent, knew a top security official at the company.

At the Redondo Beach-based TRW, where Boyce worked as a clerk assigned to a highly sensitive satellite project, plant security was “a joke–almost laughable,” making it easy to photograph thousands of documents to pass on to Soviet agents, he said.

Boyce–who testified before the subcommittee while guarded by a dozen federal marshals–described the informal atmosphere and lax security at TRW and said his co-workers never suspected he was cooperating with the Soviets.

Parties in ‘Black Vault’

“We regularly partied and boozed it up during working hours within the ‘black vault,’ ” the super-secret room housing the CIA satellite project, he said. “Bacardi rum was usually stored behind the crypto machines.”

Boyce said a code-destruction machine similar to a blender “was used for making banana daiquiris and Mai Tais. On occasion, the project security manager would join us for a drink on the house.”

Boyce, whose case was recounted in the best-selling book “The Falcon and the Snowman” and in a subsequent film, said he understood that TRW has tightened security in recent years. Witnesses from the company confirmed this in later testimony.

Monkey Badge

So lax was security at TRW, Boyce said, that “my immediate supervisor once made a security badge with a monkey’s face on it and, to everyone’s amusement, used it to come in and out of the building.”

With tears in his eyes, Boyce said he no longer is “a rebellious 21” and agreed to testify “in the hope that I am performing a constructive act.”

He concluded: “I only wish that before more Americans take that irreversible step, they could know what I now know, that they are bringing down upon themselves heartache more heavy than a mountain.”

Austin Reaves discusses the Lakers after LeBron

From Broderick Turner: From the time Austin Reaves joined the Lakers in 2021 as an undrafted prospect, his basketball life centered around playing with a savant in LeBron James.

That no longer will be the case.

Reaves re-signed with the Lakers on a four-year, $180-million deal, but James decided to move on as he prepares to play an unprecedented 24th season.

Reaves was stunned when he heard about James’ decision while playing golf in Lake Tahoe. Nearly two weeks later, Reaves says he still is trying to process the development.

“I kind of was thinking about it last night when I got here,” Reaves said Monday in his first news conference since re-signing. “Starting the season without him being on the team is going to be different for me. He’s kind of all I’ve ever known. Just him being around, joking around, acting like he’s 15. But that’s his decision and like I said in Tahoe, anytime I’ve talked about it, I got nothing but love and respect for him and yeah, let’s play some golf soon.”

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Lakers sign Ziaire Williams to one-year, $3-million deal to bolster their depth

How France became a World Cup power

From Kevin Baxter: Before it could rise in the World Cup, France first had to fall.

And the fall was spectacular.

In 2010, four years after reaching the final for the second time in three World Cups, the players revolted against coach Raymond Domenech during the tournament. In response, the managing director of the country’s soccer federation resigned in disgust, and the team left South Africa winless after scoring just once in three games.

That matched France’s worst World Cup performance in 76 years. The team, outsiders agreed, had become impossible to coach.

Four years later France made the quarterfinals, beginning a streak in which it has reached the final eight in four consecutive World Cups for the first time. If France beats Spain in the semifinals Tuesday it will advance to the final for a third straight time.

Only Brazil and Germany have done that.

The base for that success was laid a generation before the collapse in South Africa, when a series of poor performances led the French Football Federation to create a series of 16 government-subsidized academies known as Centres de Formation.

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World Cup semifinals schedule

All times Pacific
All games on Fox and Telemundo

Tuesday
France vs. Spain, noon

Wednesday
England vs. Argentina, noon

Third-place match

Saturday, 2 p.m.

Championship match

Sunday, noon

How Justin Wrobleski became an All-Star

From Maddie Lee: Dodgers left-hander Justin Wrobleski could have been content with his performance the first couple of months this season. After all, he’d come into the year fighting for a rotation spot, and he’d shown in that time that he was ready to be a full-time major-league starter.

That wasn’t enough.

While still holding on to his identity as a pitcher who goes right at hitters, Wrobleski tallied 20 strikeouts over his last two starts of the first half.

“We’re just doing a good job with the plan,” Wrobleski said last week, days before he was named a first-time All-Star. “I feel like I’m continuing to get better at knowing where to go with two strikes, knowing where to go versus a certain hitter with two strikes and just kind of reading the game.”

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Shaikin: Love it or hate it: Would the Dodgers’ NL West rivals call a Tarik Skubal trade overkill?

Shaikin: Inside the Shohei Ohtani Economy driving a wild auction for his worn cleats

Sparks lose to the Dream

Angel Reese had 23 points and 13 rebounds for her WNBA-leading 16th double-double of the season, Allisha Gray added 20 points, and the Atlanta Dream beat the Sparks 101-92 on Monday night.

Gray made Atlanta’s first field goal of the fourth quarter with 4:07 remaining to tie it at 87. Then, Reese got a friendly roll on her third made three-pointer of the season to make it 90-87 and she added two free throws on the next possession for a five-point lead. Jordin Canada capped the 9-0 run for a 94-87 lead.

Canada finished with 16 points and Rhyne Howard added 11 for Atlanta (14-10), which had lost six of its last seven games. Reese, who missed Saturday’s game against Portland, was seven for 11 from the field and made all eight of her free throws in 32 minutes.

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Sparks box score

WNBA standings

This day in sports history

1912 — Kenneth McArthur runs Olympic record marathon (2:36:54.8).

1951 — Citation is the first horse to win $1 million in a career by taking the Hollywood Gold Cup by four lengths in Inglewood. Citation retires after the race with total earnings of $1,085,760. In 45 starts, Citation ran out of the money only once.

1964 — Jacques Anquetil wins his fifth Tour de France. It’s his fourth straight title of the cycling event.

1973 — Tom Weiskopf wins the British Open by three strokes over Johnny Miller and Neil Coles. Weiskopf goes wire-to-wire and his total of 12-under-par 276 matches the Open Championship record set by Arnold Palmer on the same Troon Golf Club course in 1962.

1985 — Kathy Baker beats Judy Clark by three strokes to win the U.S. Women’s Open golf title.

1985 — The Baltimore Stars defeat the Oakland Invaders 28-24 to win the United States Football League championship.

1986 — Jane Geddes beats Sally Little in an 18-hole playoff to take the U.S. Women’s Open championship.

1991 — Meg Mallon shoots a 4-under 67 for a two-stroke victory over Pat Bradley in the 46th U.S. Women’s Open. Mallon finishes with a 1-under 283.

2001 — John Campbell scores an unprecedented sixth victory in the $1 million Meadowlands Pace as Real Desire beats favored Bettor’s Delight in the stretch. Real Desire paces the mile in 1:49.3 in matching the record set by The Panderosa two years ago in the race that gave Campbell his fifth win. Campbell, 46, is a winner of a $1 million race 19 times.

2005 — In Oklahoma City, the United States is beaten in an international softball game for the first time since 2002, losing 2-1 to Canada in the inaugural World Cup of Softball.

2011 — Kaio breaks former grand champion Chiyonofuji career sumo victory record, beating Mongolian Kyokutenho for No. 1,046. The 39-year-old Kaio forces out Kyokutenho in the Nagoya Grand Sumo Tournament.

2011 — Amateur Tom Lewis shoots a record 5-under 65 in the opening round of the British Open. The 20-year-old Lewis posts the lowest round ever by an amateur in golf’s oldest major to pull even with Thomas Bjorn at Royal St. George’s.

2013 — Jordan Spieth becomes the youngest winner on the PGA Tour in 82 years. The 19-year-old outlasts David Hearn and Zach Johnson on the fifth hole of a playoff to win the John Deere Classic. He’s the first teenager to win since Ralph Guldahl took the Santa Monica Open in 1931.

2018 — Angelique Kerber claims her first Wimbledon title with a 6-3, 6-3 victory over seven-time champion Serena Williams.

2019 — Novak Dokovic wins the longest ever Wimbledon title over Roger Federer 7-6 (5), 1-6, 7-6 (4), 4-6, 13-12 (3) in 4 hours 57 minutes.

2019 — English Mercedes driver Lewis Hamilton wins a record sixth British Formula 1 Grand Prix at Silverstone; moves him one win clear of Jim Clark and Alain Prost (five).

Compiled by the Associated Press

This day in baseball history

1916 — St. Louis Browns pitcher Ernie Koob went the distance in a 17-inning 0-0 tie with the Boston Red Sox. Carl Mays went the first 15 innings for the Red Sox and Dutch Leonard finished.

1946 — Cleveland player-manager Lou Boudreau hit four doubles and a home run in the first game of a doubleheader against Boston, but Ted Williams connected for three home runs and drove in eight runs for an 11-10 Red Sox victory.

1956 — Mel Parnell of the Boston Red Sox pitched a no-hitter against the Chicago White Sox for a 4-0 victory at Fenway Park.

1967 — Eddie Mathews of the Astros hit his 500th home run off San Francisco’s Juan Marichal at Candlestick Park. Houston beat the Giants 8-6.

1968 — Hank Aaron hit his 500th home run off Mike McCormick as the Atlanta Braves beat the San Francisco Giants 4-2.

1968 — Don Wilson of the Houston Astros struck out 18 Reds in a 6-1 victory over Cincinnati in the nightcap of a doubleheader.

1969 — Oakland’s Reggie Jackson knocked in 10 runs in a 21-7 win over the Boston Red Sox at Fenway Park. Jackson had five hits in six at-bats, including two two-run homers and a double.

1970 — Pete Rose of the Cincinnati Reds scored on Jim Hickman’s 12th-inning single after bowling over Cleveland’s Ray Fosse at home plate to give the NL a 5-4 victory over the AL at Riverfront Stadium.

1972 — In a major league first, Bill Haller was the umpire behind the plate while his brother Tom was the catcher for the Detroit Tigers.

1995 — Ramon Martinez threw the first no-hitter of the season as the Dodgers beat the Florida Marlins 7-0. Martinez was perfect for 7 1-3 innings before walking Tommy Gregg.

2006 — The New York Yankees snapped Jose Contreras’ winning streak at 17 decisions with a 6-5 win over the Chicago White Sox. Contreras (9-1) hadn’t lost since dropping a 4-2 decision to Minnesota last Aug. 15.

2008 — Josh Hamilton of Texas, with a dazzling display of power, hit a record 28 homers in the first round of the All-Star Home Run Derby at Yankee Stadium before he was beaten out by Minnesota’s Justin Morneau in the finals.

2009 — The American League continued its dominance over the National League with a 4-3 win in the All-Star game. The AL is 12-0-1 since its 1996 defeat at Philadelphia — the longest unbeaten streak in All-Star history. Carl Crawford of Tampa, robbed Brad Hawpe of a go-ahead homer in the eighth and took home MVP honors.

2014 — Yoenis Cespedes successfully defends his title as Home Run Derby champion in the annual event held before the All-Star Game at Target Field in Minneapolis, MN. Cespedes defeats Todd Frazier in the final round, 9 long balls to 1, having hit 28 overall. Ken Griffey Jr. was the only other repeat winner in the event, winning in 1998 and 1999.

2015 — Mike Trout became the first player in 38 years to lead off the All-Star Game with a home run, and the American League beat the National League 6-3 to secure home-field advantage in the World Series for the third straight time and 10th in 13 years. Trout also became the first player to be selected the game’s MVP two years in row.

2018 — The Cardinals fire manager Mike Matheny just before the All-Star break, after a loss to the Reds that puts them just one game above .500. Hitting coach John Mabry and assistant hitting coach Bill Mueller are also let go, while bench coach Mike Shildt is named interim manager, with a permanent replacement expected to be named when play resumes after the Mid-Summer Classic in a few days. However, Shildt will do so well that he will be made permanent within a few weeks.

2023 — Brothers Josh Naylor and Bo Naylor both hit two-run homers in the 3rd inning in the Guardians’ 12-4 loss to the Rangers at Globe Life Park. It the first time that brothers hit multi-run homers for the same team in the same inning.

Compiled by the Associated Press

Until next time…

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

The story of Dan Tana’s, in many ways, is the story of Los Angeles.

In 1980, Dan Tana’s burst into flames. At the time, the Tana family was vacationing on a remote Yugoslav island when a telegram arrived: “The restaurant burned down. Call me, Pearl,” recalls Katerina Tana, one of Dan Tana’s daughters.

Dan Tana flew back to Los Angeles, expecting charred remains. Instead, he found handwritten signs taped to the restaurant’s door: “Rebuild it. This is our home. Don’t change a thing,” recounts Katerina.

News of the fire reached musician Linda Ronstadt, who swore that Dan Tana’s served the best plate of spaghetti in the world. The rock star became the immigrant-run restaurant’s unlikely patron saint, calling on her relationship with then-Gov. Jerry Brown to help clear the way for its reopening. Just six weeks after the fire, Dan Tana’s welcomed customers again, even without a roof.

“They open up the restaurant with no roof on it. There’s no air conditioning unit. It was the hottest day,” says Katerina.

Oddly, the fire ushered in a new era for Dan Tana’s — a rebirth, even. Like Los Angeles, the restaurant endured by reinventing itself. “In a weird way, he rebuilt better than he ever could have, because if the restaurant hadn’t burned down, it might not have lasted this long,” Katerina says.

Stories like these fill the pages of “Everybody Came to Tana’s,” the late restaurateur’s memoir, which chronicles the outlandish journey that carried a young immigrant from communist then-Yugoslavia to the helm of one of Los Angeles’ most adored dining institutions. Dan Tana died last year at age 90, but his legacy lives on — inside the restaurant and now in his own words.

On a summer afternoon, his daughters, Gabrielle and Katerina, sit at the Sunset Marquis bar, recounting their father’s remarkable life — particularly his championing of soccer and his contributions to the sport. With the World Cup now unfolding across Los Angeles, the sisters say they can’t help but feel his presence. “One of his big wishes was to be here for this year’s World Cup. That’s why I know he’s here,” Gabrielle Tana says. “He was very instrumental in L.A. getting the World Cup. Our father was constantly helping connect people,” says Katerina.

In the final years of his life, Tana became determined to tell that story, working with writers in Serbia and eventually a ghostwriter, Todd Gold, who requested no credit; the resulting memoir feels wholly told in Tana’s voice. “Our father, for years, was talking about how he wanted to tell his story,” says Gabrielle. “He was always pinching himself about the life that he had — the stories, the adventures, and his luck.”

Tana had an unusual path to becoming the restaurant owner of the renowned Hollywood red-sauce hideout. Born in present-day Serbia, Tana’s early life was marked by political oppression under Communist rule. His father, a restaurateur, spent years as a political prisoner.

Gabrielle and Katerina Tana with their dad at Dan Tana’s, circa 2001.

(Suzette Van Bylevelt)

“When you live in a country where political powers are constantly in play, when you own a restaurant, you’re the person who’s hosting somebody who’s having a dangerous conversation,” explains Katerina. From an early age, Dan Tana’s mother made Dan promise not to end up in the restaurant business.

Instead, Dan Tana became a soccer star, touring Europe with Red Star Belgrade before eventually escaping to Belgium — a decision that would set him on the unbelievable path to Canada and then Los Angeles, where he would serve a stint managing a nightclub called Peppermint West and even launch a modest acting career with the help of Natalie Wood.

The chapters follow the restaurant’s improbable success, offering extraordinary anecdotes, such as how a Yugoslavian immigrant happened to open a red-booth, comfort-food Italian restaurant. The answer? Hiring Mussolini’s private chef. “It was one of two chef options that he was given by his partners: Dan Reeves and Clarence Dan Martin, who funded the soccer league. [Dan Reeves] also bought the restaurant,” says Katerina.

Beyond dispatches from his red-and-white-checkered tablecloth joint and name-dropping, Dan Tana’s memoir outlines his significant contributions to soccer. Throughout his life, he maintained deep ties to the international soccer community, supporting Red Star Belgrade long after he retired from the sport. “He became an evangelist for the game because he thought it was a game that this country would appreciate,” says Katerina. “Football was always the biggest love of his life.”

Craig Susser, left in black, has been greeting patrons at Dan Tana’s for decades.

(Stephen Osman / Los Angeles Times)

Last November, when England faced off with Serbia for the World Cup qualifying games, the stadium held a moment of silence for Dan Tana’s passing. “There were people within the game who really wanted to acknowledge his contribution to the game,” says Katerina.

“A good restaurant has a good bar, and a good bar has ghosts,” reads the introduction. For Dan Tana’s, as far as ghosts go, they comprise a who’s who of Hollywood royalty. Johnny Carson once called it his favorite restaurant. Elizabeth Taylor, Richard Burton, Marilyn Monroe and other A-list stars were known to haunt the bar.

Even with its reputation as a watering hole for Hollywood’s biggest names, Dan Tana refused to pander to celebrities. “Everybody was treated the same. He never wanted the restaurant to be full of celebrities. He wanted to make sure that there were doctors, lawyers and teachers,” Gabrielle says. “He was almost a democratic socialist in that way.”

A revealing anecdote from the early pages of the book: Tana turned away Barbara Sinatra’s offer to buy out the restaurant for a night for Frank Sinatra’s birthday at $25,000. Tana refused. It wouldn’t be fair to his regulars. Frank Sinatra never set foot in the restaurant again.

Sonja Perencevic and Dan Tana attend the restaurant’s 50th anniversary party in Los Angeles in 2014.

(Alberto E. Rodriguez / Getty Images)

In many ways, Tana was one of Hollywood’s quiet power brokers, earning influence through humility and respect rather than status. In 1972, mysterious mafia members came into the restaurant to ask Tana to procure early-screening tickets for “The Godfather.” Naturally, Tana obliged. The mafia returned to report they loved the now-classic film.

The proximity to the Troubadour also made the restaurant a hangout for up-and-coming names in rock music. “He fed so many of those musicians. He wouldn’t charge them. These were kids that had nothing,” says Gabrielle. She recounts a night when musicians from the Troubadour celebrated the end of the Vietnam War at Dan Tana’s; the event went undocumented, lost to history.

Rock stars aside, the place is a writer’s joint too. Eve Babitz — who was a close friend of 93-year-old Deanne Mencher, who still makes the cheesecakes at Dan Tana’s — was known for socializing at the restaurant. “If you got hungry, you had to walk over to Dan Tana’s. Tana’s was delicious and evil — all that garlic,” Babitz once wrote in her semi-autobiographical novel, “L.A. Woman.” Screenwriters, journalists and famed L.A. writers Joan Didion and John Gregory Dunne were also known to frequent the restaurant.

In fact, Gabrielle and Katerina attribute the restaurant’s early colossal success to a Los Angeles Times review. It was 1966, and the restaurant was struggling. Art Ryon, a columnist at The Times, happened to stop at the restaurant before a screening at the Writers Guild of America and ordered mushrooms. “The L.A. Times made the restaurant,” Katerina says. “The next day there’s a line around the block, and my father has no idea what happened.” Tana was informed that he received a rave five-star review in The Times. Success soon followed.

Chicken Parmesan from Dan Tana’s.

(Jakob Layman)

The next generation of Hollywood — including comedy stars like Adam Sandler, Ben Stiller and Chris Rock — has continued the tradition. “SNL” cast member James Austin Johnson expresses his fondness for the restaurant. He discovered the restaurant after hearing Ed Begley Jr. rhapsodize about it. “The first intrigue is finding out who Dan Tana is,” says Johnson. “It has a West Hollywood mystique, like Chateau Marmont — like when Hollywood, the place and the business were all the same.”

Johnson loves restaurants that feel preserved in time. “It’s the idea that you can build something right the first time and then preserve it, so that people can be a part of your good idea when it happens,” says Austin Johnson.

Gabrielle and Katerina credit the enduring appeal of Dan Tana’s to its persistent lack of pretentiousness. The atmosphere evokes a Sinatra-era simplicity. “I think celebrities felt safe. They weren’t photographed, and they would be left alone,” says Gabrielle. The restaurant has kept its dim pink lights, which Gabrielle notes, “made everybody look good.”

The food has also remained consistent, with large portions and comfort food. “It’s not fancy, but it’s the best chicken Parmesan,” says Gabrielle. Over the decades, Dan Tana was approached about expanding the restaurant and opening second locations. He always refused, the restaurant’s humility always mirroring the man behind it. The restaurant, which felt like an anomaly, could not be replicated. “He always said: if I knew what I did right, I would do it again,” says Katerina.

Dan Tana’s originality continues to capture the city’s attention, its legacy now preserved in a memoir and carried on by its new owners, Mihajlo and Sonja Perenčević, who were friends of Dan Tana. Within its pages, the reader becomes one of Dan Tana’s beloved ghosts. “In a town that’s always trying to be something that’s not, it’s not trying to be anything,” says Katerina. “Dan Tana’s is longevity in the midst of ephemera.”

Connors is a culture journalist in L.A. She covers books, food, entertainment and offbeat Los Angeles. She’s currently at work on a book of essays about tourism in all its forms.

Emmerdale star Shebz Miah arrived in the village in 2025. Here’s everything you need to know about the actor.

Shebz Miah’s real age recently left Emmerdale fans surprised, as they thought the actor was much younger.

In March 2025, actor Shebz arrived in the village as Kammy Hadiq and caused a stir by stealing a quad bike from Moira Dingle’s (Natalie J Robb) land, with Ross Barton (Mike Parr) being blamed for the theft.

This incident introduced Kammy as a bad boy, and he soon caught Sarah Sugden’s (Katie Hill) attention when she found him struggling to start the stolen vehicle by the roadside.

Kammy was soon caught up in a love triangle with Sarah and Jacob Gallagher (Joe-Warren Plant) as both men tried to win her over. As fans know, Sarah and Jacob rekindled their romance, and have since gotten married and are surrogate parents to baby Leyla.

Meanwhile, Kammy caught the affection of close pal Vinny Dingle (Bradley Johnson), whom he had to gently let down, but revealed his true caring and loyal nature following Vinny’s violent attack.

In a devastating twist, Kammy recently confessed to being homeless, a revelation that left viewers in tears. He was living in a barn and explained that his family estrangement was directly linked to the difficult path his life had taken after tragedy struck in his family years ago.

“My dad died. Unexpected,” he told Belle. “I took it really bad, I didn’t look after my mum how I should have done”. Struggling to cope with his grief, Kammy started mixing with the wrong crowd and became involved in stealing cars.

This led Cain Dingle (Jeff Hordley) to welcome the mechanic into the family as his romance with Belle (Eden Taylor-Draper) blossomed.

Taking to Instagram earlier this year, Shebz, from Bradford in West Yorkshire, shared snippets for his time on the ITV soap so far and wrote: “One year bringing Kammy to life. Grateful for the journey, the incredible people behind the scenes, and everyone who’s welcomed the character into their homes…We’re only just getting started… “

Before his stint in the Dales, eagle-eyed fans might recognise Shebz from his cameo in a 2024 episode of Casualty, where he portrayed Noor Din, and from popping up in Doctors in 2023 as Reece Shaw.

How old is Shebz Miah?

Shebz recently celebrated his 29th birthday, which left fans ‘floored’ as they assumed he was much younger. One fan wrote on Facebook: “Happy 29th birthday to Shebz, who plays Kammy”, as another replied: “29!!! I’m shocked.”

A third chimed in: “I thought he was about 20!!”, as another echoed the sentiment: “Happy birthday, I thought he was only 20 years old, he doesn’t look 29.”

“I didn’t think he was 29, he doesn’t look it. Happy birthday,” exclaimed one person as another simply asked, “29?”

Soap star Shabz tends to keep his private life away from the spotlight and has yet to confirm a romance off-screen.

Emmerdale airs weekdays on ITV and ITVX

LAS VEGAS — From the time Austin Reaves joined the Lakers in 2021 as an undrafted prospect, his basketball life centered around playing with a savant in LeBron James.

That no longer will be the case.

Reaves re-signed with the Lakers on a four-year, $185-million deal, but James decided to move on as he prepares to play an unprecedented 24th season.

Reaves was stunned when he heard about James’ decision while playing golf in Lake Tahoe. Nearly two weeks later, Reaves says he still is trying to process the development.

“I kind of was thinking about it last night when I got here,” Reaves said Monday in his first news conference since re-signing. “Starting the season without him being on the team is going to be different for me. He’s kind of all I’ve ever known. Just him being around, joking around, acting like he’s 15. But that’s his decision and like I said in Tahoe, anytime I’ve talked about it, I got nothing but love and respect for him and yeah, let’s play some golf soon.”

The contract Reaves signed was the richest in NBA history for an undrafted player. At 28 and entering his sixth season, Reaves wanted to stay in L.A.

“I wanted to be a Laker the whole time. We had that period from when the season ended until the first [of July] to get something done and we figured it out before then,” he said. “My heart was in L.A. the whole time.”

Reaves will become one of the de facto leaders of the Lakers along with Luka Doncic. The two once again will be one of the most dynamic backcourts in the NBA.

“Obviously my relationship with the guys that were on the team last year,” Reaves said of why he wanted to stay. “And then Luka. I mean, he’s one of my best friends on this planet. Talk to him almost every single day. He sends me videos of his golf swing and asks me what he can do to get better and I tell him I’m not a coach.”

The Lakers have overhauled the roster: All the players who started alongside Reaves in the playoffs last spring are gone. With the signing of former Brooklyn Nets forward Ziaire Williams on Monday, the Lakers have nine new players, all of them arriving either via trades, free agency or the draft.

“They’re good,” Reaves said of the moves. “Obviously, I’ve been with the guys that are leaving for a couple years and with Bron for five years and I hate to see guys like that go. But the pieces that are coming in, I’m very excited about and I’m happy to get started today and see where it goes.”

Walker Kessler dunks during a game between the Utah Jazz and Cleveland Cavaliers on March 23.

(Rob Gray / Associated Press)

One of those new players is Walker Kessler, a 7-foot-2 center the Lakers felt fit best around Doncic and Reaves because he’s a lob threat, rim-protector and good defender and is developing his three-point shooting.

The Lakers got him from the Utah Jazz in a trade and then signed him to a four-year, $130-million contract. The Lakers sent out two unprotected first-round picks (2031, 2033) and two first-round pick swaps (2028, 2030).

Kessler, who played only five games last season after having surgery to repair a torn labrum in his left shoulder, is aware the Lakers paid a big price to get him.

“It definitely makes you feel a certain way when you know an organization believes in you,” Kessler said Monday in his introduction. “And I think what they’ve invested, they’re showing that belief in a monetary value, not just with money, but like you said, assets. And for me, I’m somebody that if I know that they have that belief in me, I’m gonna run through a brick wall for them. That’s just how I’ve been wired my whole life and it definitely makes it a lot easier to go out there and compete for a team.”

Power forward Sandro Mamukelashvili could become a fan favorite, in part because of the tattoo he has on his lower left leg — a No. 24 in honor of Kobe Bryant.

Mamukelashvili, who signed a four-year, $52-million deal, averaged 11.2 points last season with the Toronto Raptors and shot 52.3% from the field, including 38.9% from three-point range.

“I got a Mamba Mentality tattoo. I just love his mindset,” Mamukelashvili said. “Growing up, I used to always say, “Mah-moo Mentality!’ So, I know it’s a little far from each other. But we are getting closer.”

When guard Collin Sexton, another new Laker, was drafted by the Cleveland Cavaliers in 2018, James left and signed with the Lakers. When Sexton signed a two-year, $19-million deal with the Lakers this month, James left again.

Sexton could only laugh about missing out on playing with James.

“He’s just leaving every time I arrive,” Sexton said, laughing. “That’s what it is. No, but one of the other coaches made the same joke yesterday. It’s cool, I know. I’ve always wanted to team up with him for sure, but it’s definitely cool knowing him and just having normal conversations and stuff, so that’s cool.”

Sexton averaged 15.4 points and shot 48.5% last season with Chicago and Charlotte. He’s ready for whatever role coach JJ Redick and the Lakers want for him.

“They believe in me,” he said. “And I just feel like at the end of the day, whenever a coach believes in you and like he said, he’s going to be hard on me and yelling and screaming at me. So, I like that. I think that’s what gets the best from me.”

NATALIE Imbruglia has opened up on receiving new mental health diagnoses while managing perimenopause.

The 51-year-old Aussie star who is best known for her hit single, Torn, revealed she was diagnosed with OCD (obsessive compulsive disorder) and ADHD (attention deficit hyperactivity disorder).

She was also dealing with the effects of perimenopause which made her “really angry” and would contribute to her anxiety before performing.

“You name it, there’s a sprinkle of it. They’re just labels. It’s not a negative, it’s my superpower,” she told The Sunday Times.

“But there’s a particular thing about my neurodiversity that’s hard for me to accept, which is how I get when I’m nervous before a show. Perimenopause made it worse.”

Natalie added: “Let’s just say it was a grieving process. I was really angry. I fell off a cliff. It felt like someone had taken some of my personality.”

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The singer and actress reached out to TV presenter Davina McCall, who has been a public menopause campaigner, for advice after battling feelings of “anger and anxiety.”

Natalie is now on HRT (hormone replacement therapy) which has helped her symptoms and she’s glad the topic has become less “shameful or taboo.”

Perimenopause refers to the time during which your body makes the natural transition to menopause, thus marking the end of a woman’s reproductive years.

A woman may begin transitioning sometime in her 40s. However, this transitional period happens at a different age for every woman, and it could happen as early as mid-30s.

Natalie rose to fame on Neighbours in the early 1990s and in 1997 kicked off her pop career with a cover of the Ednaswap song Torn.

Natalie has also appeared in the films Johnny English, Closed for Winter and Underdogs.

She has sold 10 million records worldwide, and is believed to have a net worth of around £10 million.

In 2019, Natalie revealed she had given birth to a son, Max Valentine whom she welcomed via IVF and a sperm donor.

The architect of modern Qatar, former Emir ⁠Sheikh Hamad bin ⁠Khalifa Al Thani, has died at the age of 74.

Fondly known as Father Emir, ⁠Sheikh Hamad, who ruled Qatar from 1995 to 2013, leaves behind a legacy that includes sweeping economic, social and cultural reforms in Qatar, raising the Gulf country’s profile on the regional and global stage.

During his 18-year rule, Qatar’s gross domestic product (GDP) grew more than 24-fold as the small nation of nearly 2.5 million people became one of the world’s largest exporters of liquefied natural gas (LNG).

Sheikh Hamad’s tenure also saw the adoption of Qatar’s permanent constitution and the launch of the Qatar National Vision 2030, a long-term strategy aimed at transforming the country into a knowledge-based economy and achieving sustainable development.

Here is a look at some key moments in the former Qatari emir’s life:

Path to leadership

Born in January 1952 in Doha, Sheikh Hamad was raised and received his early education in the city.

In 1971, he graduated from the British Royal Military Academy at Sandhurst, United Kingdom, and joined the Qatar armed forces, where he reached the rank of major-general. He was credited with playing a pivotal role in developing the armed forces in terms of ordnance, according to a statement by the Amiri Diwan.

On May 31, 1977, Sheikh Hamad was appointed the heir apparent and minister of defence. On May 10, 1989, he was appointed the chairman of the Supreme Council for Planning, where he was tasked with developing Qatar’s social and economic policies.

After a successful career in the military and senior government positions, Sheikh Hamad assumed leadership of Qatar on June 27, 1995. He remained the ruler of Qatar until June 25, 2013, when he transferred power to his son, Sheikh Tamim bin Hamad Al Thani.

Economic transformation

Under Sheikh Hamad’s leadership, Qatar saw rapid economic growth driven by the expansion of its energy sector.

He viewed the country’s untapped North Field, which is the largest nonassociated natural gasfield in the world, as the cornerstone of Qatar’s future economic dominance, and invested heavily in the LNG sector. In 1996, the country began exporting LNG, with the first shipment sent to Japan.

According to the Amiri Diwan, in 2006, Qatar became the largest LNG exporter in the world, and in 2010, its LNG production capacity reached 77 million tonnes per annum. Qatar’s LNG exports currently represent 20 percent of the global market, it said.

Besides the energy sector, Sheikh Hamad also formulated comprehensive reconstruction plans which helped Qatar’s development in the education, healthcare, sports, culture and media sectors.

In October 2001, he established the Supreme Council for Economic Affairs and Investment to oversee the economy, energy and investment affairs and diversify local and foreign investments and sources of income.

Press freedom and launch of Al Jazeera

A few months after taking office as the emir of Qatar, in October 1995, Sheikh Hamad abolished the censorship of the local press, seeking to improve the country’s press freedom status.

In 1996, he launched the Al Jazeera Media Network, which resulted in “a new dawn” in the Arab and international media world, according to the Amiri Diwan.

Since its launch, Al Jazeera has become one of the world’s most prominent media outlets covering global news, geopolitics and underreported topics and giving a voice to minority communities through its stories.

In August 1995, Sheikh Hamad founded Qatar Foundation for Education, Science and Community Development, which helped expand the country’s influence in media, education, and innovation.

Constitution and national vision

Sheikh Hamad played a key role in introducing democratic measures in the country after he assumed power. In March 1999, he introduced municipal elections, in which women were allowed to vote and stand as candidates.

On June 8, 2004, Sheikh Hamad led Qatar to adopt its first permanent constitution.

According to the Amiri Diwan, the permanent constitution sets out the country’s “preamble, the foundations of democratic rule” and lays out the “basic pillar” for society to guarantee the rights and freedoms of Qatar’s citizens.

In 2004, Sheikh Hamad launched “Qatar National Vision 2030” to guide the country’s long-term development and modernisation and help it transform into a knowledge-based economy.

Global profile

Qatar’s political influence today stretches across North Africa, the Middle East and Asia, with the country using its diplomacy to mediate several conflicts.

Sheikh Hamad drove the country’s mediation efforts in conflicts including the Hanish Islands dispute between Eritrea and Yemen in 1995, the Yemen war between 2007 and 2010, the Lebanese political crisis in 2008 and the Darfur peace process between 2010 and 2011, among others.

In October 2012, he became the first Arab leader to visit Gaza, since the imposition of a widespread international boycott of the Palestinian territory, which was spurred after Hamas began its rule in 2006.

Sheikh Hamad arrived with 90 tonnes of aid and pledged $400m to invest in housing and infrastructure, as he embraced the Hamas leadership of Gaza with an official visit, breaking the isolation of the Palestinian movement, much to the dismay of Israel, its allies, as well as the Western-backed Palestinian leaders in the occupied West Bank.

Besides diplomacy, the late former leader also focused on improving Qatar’s international status by projecting the country as a suitable venue for global sports and entertainment events.

In 2022, Qatar hosted the men’s FIFA World Cup, the world’s most-watched football tournament. Sheikh Hamad received rapturous applause from fans when he attended the tournament’s opening match.

The actor and musician Jason Schwartzman pulled a cassette tape from his pocket on stage at the L.A. Phil’s tribute to Wes Anderson. Schwartzman was just a teenager when he was cast as the obliviously ambitious Max Fischer in Anderson’s 1998 film “Rushmore,” and on Friday, he recalled the night Anderson played him the film’s entire soundtrack in his car.

“He said, ‘This is the soundtrack to the movie, this is the order it’s going to be in, and he walked me through the entire film narrating it,” Schwartzman said, still agog at the completeness of Anderson’s vision before a frame was shot.

More recently, Schwartzman said, “I was at my mom’s house tying my shoe, and I see a cassette tape on the ground titled ‘Rushmore songs’.” He then chucked the tape into the audience, a piece of film history that hopefully someone caught unscathed.

Anderson’s use of far-flung needle drops and lovely original score work is, like everything in his film universe, planned down to exacting detail. But this opener of a three-night stand — sporting an all-star roster of guest vocalists, an exceptional backing band, and a light touch from the Phil — was more in the spirit of how fans revisit Anderson’s films. As old friends that pop back into your life, affection only deepened with time, right when you need them.

Guided by the genial riffing of the night’s MC, Bill Murray (an Anderson regular from “Rushmore” onwards), the program made its case that Anderson’s savvy with soundtrack curation and delicate, evocative scores are the heart of his films, right along with his meticulous visual style and arch, melancholy tone.

The director, recently freed from a malfunctioning elevator in a pithily Andersonian incident, made a brief appearance onstage with Murray in his regal white suit. But the focus was the music itself on Friday, and the ragtag roster of artists that fully conjured it.

To start, huge credit due to the show’s musical director Justin Meldal-Johnsen and the session-killer band of Roger Joseph Manning Jr., Jason Falkner, Joey Waronker and Gus Seyffert. The sheer amount of music to arrange and assemble for this was vast and demanding, and they got to all of it from 1996’s “Bottle Rocket” to the present.

The Phil took a more modest role, performing poignant, rigorous slivers of scores from Anderson’s go-to composers Alexandre Desplat (“Canto at Gabelmeister’s Peak” from ‘The Grand Budapest Hotel” and “Mr. Fox in The Fields,” from “The Fantastic Mr. Fox”) or his frequent collaborator, Devo’s Mark Mothersbaugh (the propulsive “Ping Island” from “The Life Aquatic with Steve Zissou.”)

Pianist Jean-Yves Thibaudet took a lively solo crack at “Moses Rosenthaler” off “The French Dispatch;” Rajib Karmakar and Aakash Pujara played aching sitar and flute drones from “The Darjeeling Limited,” and taiko drummer Kaoru Watanabe nearly blew out the Bowl’s speakers on “Shinto Shrine” from “Isle of Dogs.”

The surprises came from the rock acts brought in to re-imagine the most evocative needle drops from Anderson’s ouvre.

Jackson Browne, in an unbelievable career first, finally got around to performing “Fairest of the Seasons” and “These Days,” tracks he wrote as a teenager eventually covered by German art-rock chanteuse Nico, mournfully used on “The Royal Tenenbaums.”

Beck took a pass at the late Elliott Smith’s ghostly “Needle in The Hay,” used to harrowing effect in the same film, and later Love’s “Alone Again, Or”. Karen Elson beautifully covered Françoise Hardy’s “Les Temps De L’amour” from “Moonrise Kingdom” while the Yeah Yeah Yeahs’ Karen O simmered through the Rolling Stones’ “Play With Fire” off “Darjeeling.”

Yet the delighted gang’s-all-here element that ties Anderson’s regular cast together was embodied by an endearingly shaggy run through “Zorro Is Back” with Jenny Lewis and Rogê. Towards the end of the night, just before a closer with the Faces’ “Ooh La La,” Murray brought out a one-of-a-kind instrument for a big flourish. A nine-dollar desk bell, seemingly purchased at Staples hours before showtime, requested specifically by Anderson.

“Front of house, make sure Bill’s bell is ripping,” Beck implored the sound techs at the Bowl. Indeed, as the band, including Jim James of My Morning Jacket, Lewis and Schwartzman, performed the Bobby Fuller Four’s single “Let Her Dance,” Murray indeed whacked the hell out of that thing.

Mothers and daughters are often caught in a double bind: biologically kindred yet divided by competing claims on identity and selfhood. In Cay Kim’s debut novel “The Future Perfect”, that bond is tangled by cultural discontinuity.

The novel’s mother has been reared in a South Korean household that places a high value on academic rigor and head-down discipline. She devotes all of her energy to grinding that work ethic into her daughter (Kim’s characters are unnamed), who is shuttled between her native Seoul and Minnesota, and grapples with finding the one true way for her to navigate the world.

I spoke with Kay, a native of Seoul who relocated to the States, about mothers, daughters and the unstoppable power of language.

✍️ Author Chat

Author Cay Kim

(Margaryta Bushkin)

This is your first novel. Did you start writing it in college?

This actually originated from a long poem that I wrote. I didn’t know I was going to turn it into a novel at the time. I just had the idea, the summer before my MFA, to expand each stanza into a chapter. That made the writing process relatively easier for me because it was such a straightforward process. I already had the frame of it.

Even though the novel is grounded in a very specific milieu — that of a child who is ensnared between Korean and American cultures — it’s very much a universal story, of a mother who feels the burden of raising a perfect daughter and is resentful when the daughter rebels against her ministrations.

It’s something that occupies so much of my head space. I wanted the mother to be portrayed as a victim of her society. The way that people choose to parent isn’t something that they learn in a vacuum. She has deep-seated beliefs about suffering and self-abnegation. But there’s a point at which an act of service risks inverting into a selfish act.

A big concept for the mother is endurance.

Exactly. It’s a generational trauma the mother is dealing with. She has had such ingrained beliefs passed down to her, and she’s unable to recognize when her methods result in her own mental and physical splintering, as well as her daughter’s.

Is it a function of the mother’s ego, or some kind of twisted narcissism?

She is putting herself through so much suffering because she believes she is doing the right thing. And there’s an extent to how much you can excuse that self-unawareness.

Yet despite this, the daughter feels tied to her mother, even when they are at loggerheads and she is living thousands of miles away.

The mother is such an integral part of the daughter’s consciousness that severance is impossible. They have a shared history and the daughter wants to share things with her mother, even when they are fighting. When she feels lonely at Stanford, the daughter verbalizes the fact that she has learned loneliness from her mother.

There are a lot of scenes in the novel tied to meals prepared by either the mother or the grandmother.

I do a lot of thinking about how cooking plays a role in our everyday lives. It’s something that people can spend hours preparing, only to have it disappear. It’s her mother’s domain. It is so opposed to the way the father thinks, which is very much tied to capital, to amassing and saving money.

The daughter really comes into herself when she is exposed to American culture.

Minnesota is where she acquires language for the first time. Language is so important to this character. Then she is shuffled back to Korea, and this disjunction is the thing that propels her narrative development. But as the story goes on, the daughter reaches a point where she has such mastery of expression and that is a power she acquires.

“The Future Perfect” is written in a very precise and concise way. What fiction writers do you admire, or who may have served as models?

I love writers whose use of language jolts the mind. My favorite writer of all time is Marguerite Duras. “The Lover” reads so easy but when you pay attention to the language, it’s very precisely engineered. I also love Clarice Lispector, for the way she expresses human spirituality.

Is this book drawn from your life? I ask that only because your protagonist winds up attending Stanford, as you did.

When I first started learning how to write, my teacher always used to say that writing shouldn’t necessarily contain the factual truth, but it should have emotional truth. And I feel like that has been the core of my writing practice throughout my life, and that even for those that don’t think consciously about it, that’s often the case.

This Q&A was edited for length and clarity.

📰 The Week(s) in Books

Country music performer Kenny Chesney sat down with Holly Gleason, the co-author of his new memoir, to talk about writing the book.

(Jill Trunnell)

The state of Ohio is celebrating America’ssemiquincentennial by offering a statewide reading project that features Toni Morrison’s fictional oeuvre, thus providing a vivid alternative history of the country. “Not only does her work re-center African Americans in the story of our country, it also tackles major events from our founding, through slavery, to the impact of Jim Crow, to the great migration and beyond,” Literary Cleveland Executive Director Matt Weinkam tells Leigh Haber.

Chef-Podcaster-Author etc. Eddie Huang has written his first novel, a lightly autobiographical twirl through the foodie-verse called “Come Undone.“ “This book was very much about breaking up with your family to start your own,” he tells Mariella Rudi.

At a time when teen literacy is declining, Rudi polled five high school teachers to find out what books students should be reading now.

Gabrielle Korn’s novel “Long Island Girls” is a Millennial coming-of-age story that drips with Y2K nostalgia and the ways in which youthful optimism and hope can drift into middle-aged cynicism. “One thing I wanted to capture about early adulthood is the constant humiliation,” Korn tells Emily St. Martin. “The thing about being young is that people are so resentful of your youth, but you don’t understand that it’s resentment, you just think everybody hates you.”

📖 Bookstore Faves

The Loved Ones bookshop

(James Alan Duran)

J.C. Gabel, the owner of local book imprint Hat and Beard, has opened a new bookshop called The Loved One, and it already feels like an essential anchor for Historic Filipinotown’s burgeoning cultural scene. The store, which is also a gallery and events space, is expansive (5,000 square feet) and inviting, with patinated hardwood floors and a wall of picture windows that bathes the interior in natural light. I spoke with Gabel about his future plans for his new space.

What is the mission statement of The Loved One?

The Loved One reflects our ongoing commitment to independent publishing, original exhibitions, and the belief that books (and ideas within them) are best experienced in conversation with one another, in-person, whenever possible. In our post-post digital age, the serendipitous nature of organically curating physical objects is, in a sense, the point of the entire operation. We envision The Loved One as a space where everyone can exchange ideas, free from data-mining tech overlords, AI slop and click-bait tomfoolery.

What kind of books are you selling?

We’re going to focus mostly on new books about the visual arts, but we’ll also have several curated tables of fiction and nonfiction organized by subject and publisher, to highlight and promote the work of publishers we admire. Moreover, our genre-based book clubs and live author events — which will run weekly by August — will also influence the titles carried in the shop, too. Lastly, we’re bringing back Big Table, our books and conversation podcast — which we started with Dub Lab during COVID — now that we have a physical space to host and record these conversations.

It’s a very large space. What are your plans for it?

We are really keeping the space as modular as possible so we can change the interior of both storefronts to exhibit art and photography, as well as host author events, artist talks, live music, comedy, book clubs, etc.

You’re also a publisher, with Hat and Beard. How will that tie into The Loved One?

At least half of the arts programming I bring to the table will tie back to Hat and Beard’s original publications; the other half will be curated by Aubrie Wienholt and her team, working in tandem with myself and the H&B family. H&B will, of course, continue to program events all over the city regularly, but it will be nice to have a storefront again for the publishing house. We also intend to sell our rare and limited edition bundles of our books at TLO. There will finally be a physical space where one can come see this work in person before purchasing.

What about Historic Filipinotown? The Loved One is such a cool addition to what is becoming a vital cultural hub for L.A.

We are honored and thrilled to be working out of Historic Filipinotown. So much has opened in and around this neighborhood since COVID. It is a really vibrant community. There is a great camaraderie among all the small businesses in and around our cluster off Temple Street and Glendale Boulevard. Our immediate neighbors, Couplet Coffee and the bar 1642, are both actively involved in our programming monthly: Couplet has sent over a pop-up barista to serve coffee and tea at our literary events, and most of our after-parties are now held at 1642, two doors down.

Huey Lewis shared just how much his relationship to music has changed in a recent podcast interview.

“I’m basically deaf,” the former lead singer of Huey Lewis and the News said in an episode of the “Inside of You” podcast released Tuesday. “My life has changed immeasurably. I can’t hear music. Music is not part of my life anymore, which is a hard pill to swallow.”

Lewis explained that he uses a cochlear implant to help him hear and understand speech, but he is unable to distinguish pitch because of the way the device operates.

“My cochlear implant, it breaks everything down into digital bits so I can understand,” he said. “Speech is easier to listen to than music. Music occurs in all frequencies, with overtones and harmonics and everything. It comes at you in a lot of different frequencies, so it distorts for me … It makes pitch impossible to hear.”

”The Power of Love” singer explained that because of this, he can no longer enjoy music.

“When I cook or I have people over for dinner, I always used to play them music,” he said. “I have a great collection of old big band stuff and old New Orleans jazz and I don’t play it at all anymore. … It’s weird. I can hear the beat, I know what’s going on. But I can’t enjoy it.”

“Music used to be so much fun,” he added. But “it just ends up being frustrating for me when I can’t enjoy it. I can’t feel the warmth.”

Lewis previously discussed his struggles with hearing loss with The Times. The “Hip to Be Square” singer said his Meniere’s disease diagnosis in early 2018 was “brutal.”

“When it first happened, I thought I might as well kill myself,” Lewis said in the 2020 interview, which described him as being “surprisingly upbeat” for someone whose life was so deeply affected by the diagnosis. Meniere’s disease is a disorder of the inner ear that can cause severe dizziness, ringing in the ears, hearing loss and ears feeling congested, according to the NIH. Not much is known about its causes and there is not yet a cure.

While it’s clear that Lewis misses aspects of his musician life, he also appears to appreciate having time for his other passions since his life doesn’t revolve around being on the road performing 75 to 100 shows a year.

“I fish a lot,” Lewis said in the “Inside of You” podcast. “I love to fly fish and I love Mother Nature. I get out there by myself in a stream and I’m conducting nature with my fly rod and it’s just a wonderful thing. I love to do it, and hearing not required.”

Some of us are booked and busy six days a week traveling to the Mamanuca Islands of Fiji by way of the current season of “Love Island USA.” But sometimes an escape needs an escape. Peacock has a new beachy series that adapts Elin Hilderbrand’s bestselling 2023 novel, “The Five-Star Weekend.”

Now streaming, the series stars Jennifer Garner as Hollis, a lifestyle influencer grieving the death of her husband who decides to host a getaway to Nantucket with old and new friends — played by Regina Hall, Chloë Sevigny, D’Arcy Carden and Gemma Chan — to try to heal. It’s primarily a story of grief, resilience and female camaraderie. But there are glimmers of romance, too, courtesy of Hollis’ childhood boyfriend Jack, played by Timothy Olyphant. It reunites Olyphant and Garner two decades after they starred in the 2006 romantic comedy “Catch & Release.” And it’s not the only series that features Olyphant this month. He’ll also appear in Apple TV’s “Lucky,” which premieres Wednesday with two episodes, as a con artist father to the titular character (Anya Taylor-Joy). Olyphant stopped by Guest Spot to discuss both series.

But this week didn’t just bring new summer launches. A look back at some of the standout series and performances from the recent season of television arrived Wednesday when 2026 Emmy nominations were announced. HBO Max’s “The Pitt” and “Hacks” led the pack — you can check out the full list of nominees here. But you may have more fun reading what our awards czar Glenn Whipp considered a snub or a surprise — come for his pitch-perfect Taylor Swift-Travis Kelce wedding comparison, stay for his astute observations. We also checked in with some of this year’s nominees: Rhea Seehorn (“Pluribus”), Sepideh Moafi (“The Pitt”) and Matthew Rhys (“Widow’s Bay”). (And, hey, if you’re a fan of “Widow’s Bay,” be sure to check out TV critic Robert Lloyd’s brilliant spotlight on K Callan, who has received well-earned praise for her turn as Ruth, the town’s forgetful secretary with a secret.)

Elsewhere in Screen Gab, our writers recommend two animated series that expand two beloved franchises. One focuses on the early days of your favorite “Adventure Time” duo, Finn the Human and Jake the Dog, the other revisits Marvel’s band of heroic mutants.

Meanwhile, I’ve been on my own nostalgia kick, revisiting episodes of “Tales From the Crypt” on Shudder. That decaying Crypt Keeper’s maniacal laugh, I fear, makes me feel like a kid again. Let’s see how long that lasts. See you next week!

— Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Finn and Jake in “Adventure Time: Side Quests.”

(Cartoon Network Studios)

“Adventure Time: Side Quests” (Disney+, Hulu)

We return to the Land of Ooo in the days when Finn the Human (now voiced by Sasha Knight, Jeremy Shada being almost 30) had not yet turned 13, and the order of the day was to go out and fight things. You’d think reviving a cartoon was easy — just draw the characters, make some similar voices — but we are talking about one of the greatest epics of this century, and I approached this revival with some trepidation. First, I looked to see whether longtime showrunner Adam Muto was still in charge, and he isn’t. But new captain Nate Cash is a veteran of the “Adventure Time” art department, wrote more than 40 episodes of “SpongeBob SquarePants” and was the supervising director on Patrick McHale’s great “Over the Garden Wall,” whose art director Nick Cross is the art director here. The new visual style, which dispenses with the usual outlines and detailing in favor of a sort of painterly Little Golden Book look, is jarring at first, but it grows on you — I mean, I’d buy an “Adventure Time” Little Golden Book — and keeps “Side Quests” from reading like a retread. The stories are good, the new monsters inventive. It’s got spunk. Most importantly, John DiMaggio is back as Jake the Dog, along with Tom Kenny as the Ice King, Olivia Olson as Marceline and Hynden Walch as Princess Bubblegum. Even series creator Pendleton Ward popped in to voice Lumpy Space Princess and write an episode — a seal of approval. — Robert Lloyd

A scene from Season 2 of Marvel’s “X-Men ’97.”

(Marvel)

“X-Men ‘97” (Disney+)

Regardless of whether you attribute it to “fatigue,” it’s no secret that comic book superhero stories have struggled to draw audiences to theaters these last few years. But some of the best offerings of the genre have been on TV. “X-Men ‘97” is a revival of one of my formative media experiences — “X-Men: The Animated Series.” Boasting some returning talent among the cast and creatives, “X-Men ‘97” continues the story of the iconic mutant team as they navigate being superheroes in a world that doesn’t always accept them for who they are. The first season leaned into some signature X-Men themes around tolerance, xenophobia and extremist violence while trying to thwart a superpowered genocidal human-android hybrid that wields an army of killer robots. The second season, which premiered earlier this month, picks up after the cliffhanger that saw members of the X-Men team scattered across time to cross paths with different versions of the powerful supervillain Apocalypse. Expect plenty of action, interpersonal tensions and philosophical dilemmas around destiny and morality. — Tracy Brown

Guest spot

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

Timothy Olyphant in “Lucky.”

(Jessica Brooks / Apple TV)

Is it even July if Timothy Olyphant isn’t on your screen? Whether you prefer a breezy watch or a grifter thriller, the veteran actor has it covered. In Peacock’s “The Five-Star Weekend,” he plays the cool and charming high school sweetheart who softly orbits the show’s grief-stricken protagonist (Jennifer Garner) as she tries to heal from the death of her husband. The green flags are less obvious with his turn in Apple TV’s crime thriller “Lucky” as John Armstrong, an imprisoned father whose daughter (Anya Taylor-Joy) is on the run after the multimillion-dollar heist he got her caught up in collapses. It has the pair caught between a determined FBI agent (Aunjanue Ellis-Taylor) and the ruthless mob boss (Annette Bening).

And there’s more Olyphant in the pipeline. Production on Season 2 of FX’s “Alien: Earth” is underway. And later this year, he can be seen reprising his “Once Upon a Time in … Hollywood” character James Stacy — the true-life star of late-1960s western show “Lancer” — in David Fincher’s “The Adventures of Cliff Booth.” When does he sleep? When we caught him by phone in mid-June, he assured us he had just completed a lengthy nap. He discussed what it was like sharing screen time with Bening, reuniting with Garner and the small-time sports event that had his attention. — Y.V.

In “Lucky,” you’re playing a con artist who has brought his daughter into a criminal underworld. What did their father-daughter dynamic reveal to you?

There is something compelling about exploring a relationship in which a man has done a lot of damage to his kid without even seemingly knowing it. The idea of hurting your kids is like just the worst nightmare possible. The idea of doing it without even being aware of it makes it even worse. I knew [creator Jonathan] Tropper was behind it all, and he’s an extremely good writer, so I knew it was in good hands with exploring that material in a really elegant way.

You’re known for playing lawmen, but you have also played antagonists — both types of characters are often willing to cross lines or bend rules or sacrifice things to achieve what they see as the greater good. How do you think about those two types of figures?

I do find it compelling exploring the conflict between of feeling like you have to break rules in order to enforce rules and this idea of the original sin. Any interesting character has to be aware they’re capable of sin, except for maybe on “Law & Order,” but for the most part, life is complicated.

In the first two episodes of “Lucky,” your interactions are strictly with Anya and with Annette — both are dynamic performers at different stages in their careers. What stands out to you about sharing scenes with them?

Anya is really impressive because she has a composure and a strength to her that just seems beyond her years. I certainly didn’t have it when I was her age, and I just have a tremendous amount of respect for her and how she handled things on the other side of the camera,. And Annette is just a wonderfully unpredictable actor, take to take. You never see the same thing twice, and you never feel like you’re not playing in the right sandbox. It’s just a honor and a pleasure to work with her.

There’s a moment where Annette put her hand on your cheek — it terrified me.

Can I tell you? Only one take. And I’m smart enough to know, when that she did that, I thought to myself, “This is going to be on TV.”

Let’s also talk about “Five–Star Weekend.” Its focus is not necessarily on romance, but of friendship between women, but you do factor in as a flirtation of sorts for Jennifer Garner’s character. You’ve worked together before in 2006’s “Catch and Release.” How was it to reunite with her for this?

A pleasure. She’s a pro and gave just a wonderful performance in that show. It was easy-peasy working with her. I show up. They gave you a lot of cool things to say, and somebody hands you really cool wardrobe, the acting partner is really good, and so it makes the job pretty simple.

Timothy Olyphant as Jack and Jennifer Garner as Hollis in Peacock’s “The Five-Star Weekend.”

(Greg Gayne / Peacock)

You’re also reprising your “Once Upon a Time in … Hollywood” character James Stacy in David Fincher’s “The Adventures of Cliff Booth.” What’s it like being directed by him? How does he deliver a directing note?

That’s just that experience is really high up on the bucket list, and I just thank my lucky stars I had that opportunity. It was a very special experience.

He gives them [notes] out quite generously, is what he does. He gives you many and often, it’s really unlike anything I’ve experienced. I really enjoyed. It felt like a workout; it was this intense exploration of of the work. I hope I get another opportunity [to work with him]. I’d be thrilled.

You’re beginning production on Season 2 of “Alien: Earth.” What has it been like playing this android with bleached hair and eyebrows in this fictional world? The level of artistry of that set is quite something; I can’t imagine what it’s like being on that set.

It’s essentially child’s play, but sometimes it feels like you’re saying that with capital letters — this falls under that category. So many of the effects are practical, so many of the creatures are practical, so it’s a kick to be around that stuff. It’s a lot of oohing and aahing when you’re working with practical effects. And it’s about something. It’s got something to say. That’s pretty special when those two things come together.

Being on a set with those monsters that I watched as a kid, that I was thrilled watching those movies — to now wake up one day, and you’re part of that, you pinch yourself a little bit.

What can you tease about the new season?

It’s gonna get weird. There’s a lot going on on the surface and under the surface on this one.

Before I let you go, what show has your attention? I know you’ve been busy, so if you can’t tell me what you’ve watched recently, is there something you plan to watch on your long plane ride?

Does the World Cup count? I’ve got the World Cup fever. It’s just one of the greatest sporting events in the world.

Are you primarily rooting for us? Who are you going for?

What do you mean, am I rooting for us?

I mean, when we’re not playing, who are you rooting for?

I root for Brazil. My wife grew up in Brazil, so there’s a lot of Brazilian enthusiasm here in this house. I root too for our people to the north; I’m a fan of the Canadians. I just love that event. I love that it’s all these countries and everything evens out on that grass. It’s pretty great.

ICYMI

Must-read stories you might have missed

STORAGE Wars legend Darrell Sheets left behind a chilling suicide note blaming online bullying before taking his own life.

Newly released police documents have shed shocking new light on the 66-year-old’s death as police records reveal his final days.

Darrell died at 67 from a self-inflicted gunshot wound to the head, the US Sun confirmed in April.

Officials responded to reports of a deceased person at Darrell’s home at 2am on April 22, according to a statement from Lake Havasu City Police Department obtained by The U.S. Sun.

He was pronounced dead at the scene after his girlfriend called 911 reporting she had heard a gunshot

Investigators have found a handwritten note hidden inside a black basket in a bathroom closet near where he was found dead.

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According to the report, obtained by TMZ, detectives said the note appeared to reference the online abuse Darrell had been facing

Police summarised the message as reading: “I could not take anymore the Facebook bulling, f*** you [redacted]”.

Investigators also noted the handwriting appeared shaky.

The heartbreaking discovery came as cops pieced together Darrell’s final hours, revealing a disturbing picture of stress, sleepless nights and family turmoil before the fatal gunshot.

Darrell’s girlfriend told investigators he had struggled to sleep on the night he died and got out of bed in the early hours before walking into the doorway of his office

She said he told her to “go back to bed” – before moments later a single gunshot rang out.

Police records also reveal growing family tension in the days before his death.

Darrell’s girlfriend said his son had recently visited and the pair became embroiled in a heated argument over “family drama” before he left.

She claimed the situation worsened after Darrell received text messages from his daughter-in-law accusing her of being suspicious and stealing money from him.

The messages allegedly left the reality star visibly upset.

In a follow-up interview, his girlfriend told detectives the arguments between Darrell and his son became so intense she left the house after the son was yelling at him.

She claimed Darrell later told her he did not want to be alone with his son and had been “sad as hell” following the confrontation, believing he had let him down.

Investigators also revealed Darrell had been battling severe insomnia for months and was under huge pressure in the run-up to his death.

His girlfriend said he often struggled to sleep and was dealing with overwhelming stress – but insisted he had never spoken about harming himself and that their relationship remained strong.

The medical examiner later ruled his death a suicide.

Following the tragedy, his son Brandon Sheets broke his silence with an emotional tribute, calling Darrell “the best dad a son could ask for”.

He also revealed plans to reopen his father’s Arizona store, Show Me Your Junk, to continue the family legacy.

The mention of Facebook bullying in Darrell’s final note has also raised fresh questions, after fellow Storage Wars star Rene Nezhoda previously claimed Darrell had been facing relentless online harassment before his death.

Police investigated the bullying claims as they worked to understand what led to the TV star’s devastating final moments.

Darrell appeared on Storage Wars as a main castmember from 2010 to 2021 and was known as “The Gambler” for his high-risk purchases.

He continued to make appearances on seasons 14 and 15 as a guest buyer before leaving the show for good.

Darrell was joined by his son, Brandon, for nine seasons on Storage Wars.

Darrell also made appearances on The Tonight Show With Jay Leno and on Rachael Ray’s cooking show.

After retiring from Storage Wars, he moved to Lake Havasu, Arizona, where he operated an antique shop called Show Me Your Junk.

He previously had health issues, including a heart attack in 2019 that he had surgery to recover from.

UK: For help and support, call the Samaritans for free from a UK phone, completely anonymously, on 116 123 or go to samaritans.org. 

US: If you or someone you know needs help, the national suicide and crisis lifeline in the U.S. is available by calling or texting 988. There is also an online chat at 988lifeline.org. 

Martina and artist Sketkh Williams, Sketch by Sketkh’s host, provide a welcoming atmosphere across identities, skill levels and nerdy interests, while also playing to their own backgrounds in theater. The sessions feature dramatic lighting, staging and soundtracks, and use professional cosplayers as models. Embodying characters from “Star Wars,” video games, anime and other IP, these pros don’t just dress the part, they take pains to hit their characters’ canonical stances for attendees to capture.

For Martina and Williams, the events are an alternative to nude or more traditional figure drawing sessions. “That just doesn’t interest us,” says Martina. “We’re both theatrical people, so for us part of putting on a show is seeing characters, some cool costume design and a theme.”

• Best for: Practiced amateurs with nerdy interests
• When: Every other Thursday at 7:30 p.m.
• Ticket price: Starts at $23.18

Dallas Cowboys defensive end Marshawn Kneeland had early-stage chronic traumatic encephalopathy when he died by suicide at age 24 in November, according to test results released by his family Tuesday through the Concussion & CTE Foundation.

“While this diagnosis does not change the tragedy of his passing, it provides important context about some of the struggles he may have been facing,” Kneeland’s family, including girlfriend Catalina Mancera, said in a statement.

CTE is a degenerative brain disease that has been found in people who experience repetitive head trauma and can be diagnosed only after death.

“We share this information to help people understand what NFL and other high contact sport athletes might be struggling with,” the family said. “Raising awareness is important to us. We continue to remember Marshawn with compassion for the person he was, rather than defining him by the final moments of his life. One Love.”

Frisco, Texas, police said Kneeland didn’t stop when state Department of Public Safety troopers tried to pull him over on Nov. 5 for a traffic violation. The 2024 second-round draft pick was pursued by authorities in his vehicle and then on foot before being found “deceased with what appeared to be a self-inflicted gunshot wound,” Frisco police said in a statement at the time.

Police-dispatch audio from the incident revealed that Kneeland had sent out a group text to say goodbye to his family.

Researchers at the Boston University CTE Center analyzed Kneeland’s brain tissue and determined that the athlete, who started playing tackle football at age 7, was in stage one of four of CTE.

“Unfortunately, I was not surprised to find CTE in the brain of Mr. Kneeland, because we have found this progressive brain disease in nearly half of the athletes we’ve studied who have died before the age of 30,” Dr. Ann McKee, the center’s director, said in a statement.

“Thanks to the generosity of our brain donor families, we now better understand the earliest stages of CTE, and it is bringing us closer than ever to diagnosing it during life. My team and I are fully dedicated to finding effective treatments and a cure for CTE.”

The Associated Press contributed to this report.

LOS ANGELES — A lawsuit filed Tuesday alleges that the Trump administration’s immigration agencies have been sharing confidential information about Iranian asylum seekers with the Iranian government, violating national immigration regulations and endangering countless Iranians, court filings argue.

The lawsuit depicts a coordinated campaign between the U.S. and Iranian governments to identify Iranians in Immigration and Customs Enforcement custody and pressure them to return to Iran — a marked departure from decades of diplomatic hostility between the two governments and an ongoing war.

Roughly 600 Iranians were put in immigration detention last year, according to public records obtained by the National Iranian American Council. In June, an Iranian woman was among the two dozen migrants the U.S. deported to the Central African Republic — in a marked departure from a decades-long practice by the U.S. of welcoming Iranian dissidents, exiles and others since the 1979 Islamic Revolution forced a large number of Iranians to flee.

The U.S. government is allowed to work with government officials of foreign countries to coordinate deportation logistics. However, federal regulations passed in the late 1990s prohibit the government from sharing information that could reveal that the individual getting deported applied for asylum.

“Congress made these confidentiality protections mandatory precisely because lives depend on them, and no agency and no administration, of either party, may set them aside,” said Ali Rahnama, the interim executive director of Iranian American Legal Defense Fund.

Starting in March 2025, the U.S. State Department arranged monthly meetings with Iranian officials, using the Pakistani embassy as an intermediary, in which U.S. officials shared detailed, sensitive information about detained Iranian immigrants who the U.S. government hoped to deport, lawyers for the Iranian American Legal Defense Fund and the Public Citizen Litigation Group wrote in a complaint.

The information included details about asylum applications filed by people who say they were persecuted for converting to Christianity, for their sexuality or for participating in the Women, Life, Freedom protests against the Iranian government in 2022, according to the lawsuit, which was filed in U.S. District Court in Washington, D.C.

ICE forced Iranian asylum applicants who had been detained in numerous facilities, mostly southern states, to meet with an Iranian government official who had extensive and specific knowledge about their applications, according to the complaint. The information was shared even after the joint U.S.-Israeli strikes on Iran started the Iran war in February 2026.

The lawsuit is seeking to halt sharing information about asylum seekers with the Iranian government and appoint an independent monitor to prevent future disclosures.

“Despite the U.S.’s ongoing war with Iran, the administration seems more committed to mass deportation than protecting human lives,” Michael Kirkpatrick, attorney at Public Citizen Litigation Group said in a statement.

The complaint names the Department of Homeland Security, Secretary of State Marco Rubio, Secretary of Homeland Security Markwayne Mullin and the Department of State as some of the defendants. The Department of Homeland Security and the State Department didn’t respond to an emailed request for comment on Tuesday morning.

The allegations come amid President Trump’s ambitious and aggressive immigration crackdown that involved over 600,000 deportations and causing roughly 1.9 million immigrants to voluntarily leave in 2025 alone, according to an announcement made by DHS.

Iranian officials acknowledged in September 2025 that as many as 400 Iranians could be returned under an agreement with the Trump’s administration. That month, the first of three deportation flights brought dozens of Iranians back to Iran. The second deportation flight was in December 2025, and the final recorded deportation flight departed at the end of January 2026, roughly a month before the war on Iran started, and just weeks after the Iranian government killed thousands of citizens as part of a brutal crackdown on protests. The New York Times reported at the time that some of those deported in the flights in September, December and January were asylum seekers.

Riddle writes for the Associated Press.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

– Evolution, BBC2, Monday 13 July, 9pm

Gustavo Dudamel’s farewell to Los Angeles will also function as a benefit for his homeland of Venezuela, which suffered catastrophic losses from twin earthquakes in late June.

Dudamel and the Los Angeles Philharmonic announced Monday that the beloved composer’s final Hollywood Bowl performance as the orchestra’s music and artistic director, originally programmed as “Celebrating Gustavo at the Bowl: A Musical Legacy,” will instead be called “A Concert for Venezuela.” Still scheduled for Aug. 23, the show will raise funds for communities affected by the earthquakes.

“Venezuela will always be my home, and every moment, my thoughts are with the families whose lives have been forever changed by this tragedy,” Dudamel said in a statement. “The suffering is immense, but so is the strength and resilience of our people. This concert at the Hollywood Bowl is an invitation to stand together and transform our compassion into action.”

A full program and special guests will be announced later. Dudamel and the musicians will contribute their time and services free of charge.

Donations will benefit Dudamel’s Earthquake Recovery to Support Venezuelan Communities fund, in partnership with the United Nations Development Programme and the Development Bank of Latin America and the Caribbean fund. The L.A. Phil will contribute $50,000 to the fund, announced President and Chief Executive Kim Noltemy.

“In moments of profound need, our responsibility as an institution extends beyond the stage,” she said. “We are grateful for the opportunity to provide direct financial support to relief efforts for communities in Venezuela with a $50,000 charitable donation and to stand alongside Gustavo in bringing this concert to life at the Bowl.”

Twin earthquakes on June 24 devastated Venezuela, with more than 3,300 deaths and more than 30,000 people reported missing. As international rescue teams depart and locals are left to search through rubble, Venezuelans abroad, including L.A. restaurants, have looked for ways to send support.

Dudamel, who was born and raised in Barquisimeto, Venezuela, wrote in a 2015 op-ed for The Times that he is a “product” of El Sistema, the country’s government-funded youth music program. He has been the music director of the Simón Bolívar Symphony Orchestra since 1999.

Once again, Walker Kessler sat hunched forward, ears and eyes intently locked onto the person whose words would change his life.

This wasn’t his bewildering 2022 NBA draft day experience captured on video that began with him hearing commissioner Adam Silver announce he had been chosen by the Memphis Grizzlies only to learn moments later that he had been traded to the Minnesota Timberwolves, only to learn two weeks after that he’d been dealt to the Utah Jazz.

No, this time it was about the love of his life, Abbie Stockard. Glued to a screen, Kessler reacted to the words, “Your new Miss America is … Alabama!” as if he’d been electrocuted. He jumped from his chair and put his hands over his mouth, speechless as Stockard was crowned.

Nineteen months later, Kessler — now the Lakers center — found his voice while on a Fourth of July outing at Lake Martin, Ala., and asked Stockard to marry him. She said yes.

The Lakers obtained the 7-foot-2 Kessler from the Jazz on July 1 in exchange for 2031 and 2033 first-round picks and 2028 and 2030 pick swaps, bringing to L.A. a strong defensive presence to accompany offensive-first star guards Luka Doncic and Austin Reaves.

Kessler, 24, agreed to a four-year, $130 million contract, not a bad nest egg for newlyweds. The Instagram story of the two sharing their engagement was captioned: “The future Kessler’s. Let’s get y’all married!!!”

Kessler’s mother, Andrea, played matchmaker two years ago, taking a photo of Stockard during an Auburn basketball game and sending it to her son. He messaged her on Instagram.

Stockard was on the dance team at Auburn, where she studied pediatric nursing. Now she is a former Miss America engaged to the Lakers’ newest star.

“I get to marry Walker Kessler — my best friend!,” she wrote on social media. “Our story is truly one that only the Lord could have written. So many things I once thought were coincidences were really His perfect plan unfolding, and our story is greater than anything I could have imagined.

“There’s no one else I’d rather spend the rest of my life with, doing life together and cheering each other on!”

In 201 games with the Jazz, Kessler averaged 9.5 points, 9.3 rebounds and 2.4 blocks across 25.3 minutes. He played only five games last season while recovering from a shoulder injury.

The American democratic experiment stands on shaky ground. Not since the Civil War have these proverbially United States been so disunited. As the nation throws itself a grand old 250th birthday bash in Washington, the mood in much of the country is more funereal than festive.

All-out partisan warfare has sown chaos. Republican legislators, taking their lead from a president who sees half the nation as his personal enemy, have put their own party’s interests over the republic’s. Staying in office has become the only thing that matters. The values imparted to me throughout my public school education — equal opportunity, impartial justice, respect for expertise, basic honesty — have been abandoned by a new breed of politician that has turned governance itself into a blood sport.

Where can one turn for reassurance that America’s best years are still ahead? Would you believe me if I said the theater? I’m not toeing the line for my field. I’m merely calling attention to a development that’s been gaining strength since I first reported on it in 2015. A cohort of playwrights, breathtakingly diverse demographically as well as aesthetically, has been rejuvenating American theater.

These writers aren’t on a sociological mission. They’re not trafficking in grievance or appealing to a particular political base. They let their plays do the talking. And they’ve been trying to have a conversation that isn’t hijacked by the most doctrinaire voices in the room.

From an institutional perspective, the American theater is in bad shape. The triple whammy of the COVID-19 closures, inflation and technological disruption has left everyone hurting. The Mark Taper Forum had to suspend programming for more than a year, smaller companies still in operation are producing fewer shows, and producers everywhere are gravitating toward the bankably familiar.

But despite this difficult terrain, it has been a boom time for American playwriting. For more than a decade, I’ve been teaching a course at the California Institute of the Arts called American Drama Now, and each year the selection of plays has become harder to whittle down. I designed the seminar partly around theater offerings in Los Angeles to connect students to recent developments in the field and to consolidate awareness that something special is happening in the American theater.

The current generation of playwrights has revealed itself to be remarkably resilient and independent. It has had no other choice. By the time many of these rising talents were accruing debt in graduate writing programs, the dream of a sustainable career in the nonprofit theater had already gasped its last breath.

When Wendy Wasserstein, Tony Kushner, Craig Lucas and Jon Robin Baitz emerged in the late 1970s and ’80s, it was still imaginable that a chosen few playwrights could make a living via the regional theater circuit, that constellation of companies founded as an alternative to the Broadway model.

That prospect was growing dimmer a few years later when playwrights such as Suzan-Lori Parks and Lynn Nottage came into prominence. But hope was still alive in the late 1990s and early 2000s. Regional theaters such as Seattle Rep, the Guthrie, the Goodman and Baltimore Center Stage remained committed to their missions while New York nonprofit companies continued to hold the line off-Broadway.

When did the picture change? In 2009, “Outrageous Fortune: The Life and Times of the New American Play” was published by the Theatre Development Fund, and one of the key findings in this study written by Todd London with Ben Pesner and Zannie Giraud Voss is that “there is no way to view playwriting as anything but a profession without an economic base.” A chasm had opened between the network of increasingly corporate-minded nonprofit theaters and the artists this system was built to serve.

The situation has grown bleaker in the last decade and a half as commercial pressures have ramped up and media consolidation and digital shortsightedness have obliterated arts coverage. Yet there’s been an unexpected upside. Theater artists who have come of age in this period have been released from the burden of having to conform to notions of regional theater respectability.

Instead of worrying about the timid taste of subscription audiences, these dramatists have been writing for themselves and their communities, dreaming up plays that don’t have to fit into institutional slots or stay within the staid bounds of traditional proscenium house decorum. The irony is that in not trying to pass muster with more conservative theatergoers (and their fastidious institutional guardians), playwrights have been winning over not just critics but also formerly squeamish artistic directors and perennially nervous Broadway producers.

The playwrights who appear regularly on the syllabus in American Drama Now — Young Jean Lee, Tarell Alvin McCraney, Annie Baker, Branden Jacobs-Jenkins, Samuel D. Hunter, Martyna Majok, Jeremy O. Harris, Will Arbery, Jackie Sibblies Drury, Quiara Alegría Hudes, Ayad Akhtar, among them — are of different ages, sensibilities and backgrounds. What they share is an appreciation of the complexities and contradictions in being an American.

The politics of identity for them is a lived experience. And as dramatists, they’re uniquely positioned to appreciate the conflicted loyalties and communal tensions of American life in dramatic rather than dogmatic terms. Whatever agendas they may personally espouse, these writers are too alert to the messiness of history and human nature to be rigidly ideological in their work.

The ongoing war between woke and anti-woke factions is a fatuous melodrama best left to the satirists. The goal of playwrights grappling seriously with what it means to be an American today isn’t to score social media points but to shed light on the fractured reality of our collective experience.

Characters in plays by Young Jean Lee, such as “Straight White Men,” are often “trying on masks to see what might prove effective in a given situation.”

(Lawrence K. Ho / Los Angeles Times)

Identity is not a fixed fact but a raucous collision of parts. No single category can contain the Whitmanesque multitudes jockeying for position inside us. Race, religion, ethnicity, gender, age, sexuality, class, disability and geography don’t line up in perfect political harmony, and each social marker tells only a fraction of the whole story. (Money, the great unequalizer, may be the most taboo subject of all.) “We are not only but also,” the sociologist and cultural historian Todd Gitlin wrote in his 1995 book “The Twilight of Common Dreams: Why America Is Wracked by Culture Wars.” We also overlap and often even clash with ourselves.

Discussion around identity can be dangerous. How can anyone be expected to navigate the minefield? Tribalists and traditionalists have controlled the terms of the battle, one by simplifying, the other by denying, the way privilege has shaped our compound selves.

Playwrights know better. They understand the way oppression, which falls disproportionately on the marginalized, has warped all of us. History, whether acknowledged or not, is etched in our souls.

It is a long-held tenet of the theater that the most interesting characters, like the most interesting people, are defined by their schisms and paradoxes. (How else could Hamlet have maintained his centuries-long hold?) Dramatists are more cognizant than ever of the sociopolitical import of these contradictions and they’ve been chronicling the way this historically freighted baggage emerges in the drama of everyday life.

All the world is indeed a stage and all its inhabitants merely stock players, as Jaques lays out in “As You Like It.” Hegel described Shakespeare’s characters as “free artists of their own selves.” The truth where we and our contemporary stage surrogates are concerned is somewhat more constrained. Culture and representation largely determine the range of our performance possibilities.

Plays such as Branden Jacobs-Jenkins’ “Appropriate” reexamine “the canon of great American family dramas … to uncover the stories that have been suppressed.”

(Craig Schwartz)

Jacobs-Jenkins has recognized perhaps more acutely than any of his peers the way dramatic forms have locked us into set scripts about our lives. He tackles genres — adapting a Dion Boucicault melodrama in “An Octoroon,” reexamining the canon of great American family dramas in “Appropriate” — to uncover the stories that have been suppressed in the dominant white middle-class narratives that would prefer not to think of themselves as political.

Lee’s standout identity plays — “Straight White Men,” “The Shipment” and “Songs of the Dragons Flying to Heaven” — reject the illusion of stable, coherent characters propagated by psychological realism. The figures in her uncategorizable works are in experimental flux, trying on masks to see what might prove effective in a given situation. Even “Straight White Men,” which uses the old home-for-the-holidays genre as a springboard, can’t help spinning away from the drama’s droll hyper-naturalism toward something resembling performance art. (Not even straight, white men want to be confined to a box, even a relatively plush one.)

“Fairview,” by Jackie Sibblies Drury, “theatricalizes the experience of the white gaze.”

(Jeff Lorch)

In “Fairview,” Jackie Sibblies Drury theatricalizes the experience of the white gaze, ultimately reversing the comfortable position white theater audiences have traditionally held. Bess Wohl’s “Liberation,” this year’s most decorated play, reanimates the history of the 1970s feminist movement by questioning what it could be leaving out of the picture. “The Balusters,” by David Lindsay-Abaire, brings the current culture wars to the stage with unique sensitivity through the squabbles of a neighborhood association torn between protecting its town’s heritage status and coming to terms with the more pluralistic demands of the 21st century.

“Fairview,” “Liberation,” and “The Balusters” are extremely funny plays that also happen to be deadly serious. If philosophy begins in wonder, trenchant social drama seems to start in laughter.

What do theatergoers want? They don’t just want to look; they also want to be seen. Isn’t that what any of us wants when gazing into the mirror held up to nature, as Hamlet describes the theater? To be granted a more expansive view of ourselves and others?

E pluribus unum, the motto of the United States, is so fundamental that it’s printed on our currency. There’s perhaps no place where the truth of this phrase — out of many, one — is more regularly realized than at the theater, where strangers transform over the course of a show into that mysterious organism we call an audience.

Gitlin ends “The Twilight of Common Dreams” with a plea: “For too long, Americans have busied themselves digging trenches to fortify their cultural borders, lining their trenches with insulation. Enough bunkers! Enough of the perfection of differences! We ought to be building bridges.”

A coalition mindset doesn’t mean denying history or pretending that America has been a level playing field. It’s been anything but in this “melting pot where nothing melted,” to quote the rabbi whose eulogy sets Kushner’s “Angels in America” in motion. But history happens to all of us, not just a select few. And to be an American is to be embroiled in the great democratic experiment that has been defined by division from the beginning. Empathy, the nuclear fusion of playwriting, is expanded when we’re allowed to take in more of our patchwork selves. Today’s dramatists have been extending a generous invitation to their compatriots: We’ll show you our complexity, if you’ll show us yours.

Can you tell the story of America in 10 movies? Maybe so — at least a version of it — if you stick to moments of serious national friction and those rare instances when a filmmaker meets the mood with a true vision. If you want tearjerkers about red, white and blue triumph, this is not your list (although the Space Race drama “The Right Stuff” always does the trick). Meanwhile, our current state of disunity and division will find its own expressions in time; start with “Civil War,” though it’s a bit too soon. Instead, we thought about historical pivot points and built a list of classics, along with a few alternatives for each title.

The Great Depression

Henry Fonda, left, in the 1940 film “The Grapes of Wrath,” directed by John Ford.

(20th Century-Fox)

‘The Grapes of Wrath’ (1940)

America is a broken place in John Ford’s poetically charged adaptation of the Steinbeck novel: a downbeat landscape of Oklahoma dust storms, long shadows and the teetering sight of a car turned into a truck transporting a family westward. This will always be one of those essential movies about a particular national dream — not just a myth — of emerging from economic catastrophe and being reborn in the promised land of California. Ford, with the instincts of a showman, foregrounded hope on the horizon via inspired performances by Henry Fonda and Jane Darwell’s pragmatic Ma Joad getting the final word (“We keep a’coming…”). But there is still so much darkness in “The Grapes of Wrath,” especially in its scenes of John Qualen’s Muley Graves, crumpled on the ground, suddenly a squatter on his own piece of land. He’s no match for the bulldozers. As long as the idea remains that property gets its purpose from those tending it, working it, nourishing it and dying on it, the film will never become a relic. Its binding values of labor and community remain relevant, even if today’s Hollywood rarely speaks to them. — Joshua Rothkopf

See also: “Modern Times,” “Sullivan’s Travels,” “Bonnie and Clyde”

Postwar optimism

Michael Hall, from left, Teresa Wright, Myrna Loy and Fredric March in the 1946 movie “The Best Years of Our Lives.”

(Samuel Goldwyn Productions)

‘The Best Years of Our Lives’ (1946)

World War II ended with ticker-tape parades and soaring expectations. William Wyler’s sweeping drama arrived just as America was beginning to reckon with what coming home actually meant. Harold Russell, a real-life veteran who lost both hands during the war, plays a sailor struggling to imagine a future with the woman he loves. Dana Andrews is a decorated bombardier who returns to the same soda fountain job he held before the war, discovering that military heroism doesn’t necessarily translate into peacetime opportunity. The movie became one of the biggest hits of 1946 because it understood a challenge facing millions of Americans: The war had given the country a common purpose but peace meant each person had to find their own. Yet for all its honesty about that dislocation, the film remains remarkably hopeful. Its faith that people can rebuild their lives and start over feels almost radical today. Seen from the distance of eight decades, it feels like a dispatch from a country that had just survived a catastrophe and still believed its best days lay ahead. — Josh Rottenberg

See also: “It’s a Wonderful Life,” “Miracle on 34th Street,” “Giant”

Capitalism, unchecked

Daniel Day-Lewis in the 2007 movie “There Will Be Blood,” directed by Paul Thomas Anderson.

(Paramount Vantage)

‘There Will Be Blood’ (2007)

“I drink your milkshake — I drink it up!” Oil man Daniel Plainview’s deranged metaphor, allegedly taken from congressional transcripts from the 1920s Teapot Dome scandal in which Interior Secretary Albert Fall defended the practice of directional oil drilling, a.k.a. drainage, became a catchphrase when “There Will Be Blood” arrived in 2007. Elon Musk probably has a T-shirt in the back of a drawer emblazoned with the line. It epitomizes the American ethos of extracting resources that belong to someone else and then brutally bragging about the beatdown. Paul Thomas Anderson’s movie is part history lesson, part horror film, which, when it comes to chronicling the American experience, feels like the perfect blend. The oil man’s exploits take place more than a century ago, but seem particularly relevant now with Musk newly minted as the world’s first trillionaire and income inequality rapidly widening. Plainview confesses, “I have a competition in me. I want no one else to succeed.” It neatly sums up the endgame in which we find ourselves — and his vanquishing of the preacher Eli speaks to what we worship in the United States. He’s finished and sometimes it feels like we are too. — Glenn Whipp

See also: “The Wolf of Wall Street,” “WALL-E,” “Sorry to Bother You”

Post-Vietnam/Watergate cynicism

‘Nashville’ (1975)

Ronee Blakley in the 1975 movie “Nashville,” directed by Robert Altman.

(Paramount Pictures)

Could one movie capture the breadth of emotions around this year’s 250th anniversary celebrations as well as Robert Altman did the bicentennial? As the country was still reeling from the assassinations and discord of the 1960s, the despair of Vietnam and the scandals of Nixon and Watergate, there was a soul-baring uncertainty to what it even meant to be an American. With 24 main characters interwoven around the town of Nashville, home of country music and intersecting political undercurrents, the film tries to make sense of the chaos. While the conspiracy thrillers of the 1970s are seen as the most direct response to the moral malaise of the moment, Altman finds an unexpected way to gild his innate skepticism with a light filigree of hope, a complex quilt of characters capturing the contradictions inherent in the American identity. And yet as cynical and beaten-down as the film’s viewpoint can often be, there is still a spark of decency and perseverance. That is the America that Altman celebrates, even as he lets no one off the hook. Few films capture the hum of life in all its maddening beauty quite like this one. — Mark Olsen

See also: “Blow Out,” “The Conversation,” “The Parallax View”

‘Network’ (1976)

Robert Duvall, Faye Dunaway and William Holden in the 1976 movie “Network,” directed by Sidney Lumet.

(MGM Studios / Getty Images)

Much has been made over the years about how prescient this film was, as if screenwriter Paddy Chayefsky and director Sidney Lumet saw the constrictive dangers of corporate consolidation in the distance and came back to warn us. But if these rumbling premonitions have remained true across multiple eras of an ever-evolving media landscape, have we really learned anything? Perhaps we really do live in a “demented slaughterhouse of a world,” as the unhinged newsman Howard Beale says in one of his apocalyptic broadcasts, and have all along. Maybe what “Network” nails most of all is apathy: that even the most righteously committed can have their heads turned from their true goals and then struggle to get back on track. What may be most shocking rewatching the film today is the suspicion that some current media figures see the maneuverings of villainous executives played by Robert Duvall and Faye Dunaway and somehow think that they were the heroes of the story all along. Not even Lumet or Chayefsky would have predicted that. — Mark Olsen

See also: “Broadcast News,” “The Insider,” “Nightcrawler”

Gentrification and racial tensions

Spike Lee, left, and Danny Aiello in the 1989 movie “Do the Right Thing.”

(Universal Pictures)

‘Do the Right Thing’ (1989)

Spike Lee’s masterpiece was met with hand-wringing when it arrived in theaters 37 summers ago, with white critics fretting how “urban audiences” would react to its shocking ending of brutality and angry protest. “If some audiences go wild, [Lee] is partly responsible,” critic David Denby wrote in New York Magazine. Nobody rioted. “Do the Right Thing” made some people uncomfortable because it told truths from a Black perspective that they did not want to accept. That unwillingness to have hard conversations and learn from them remains evident today as we prepare to celebrate our nation’s 250th birthday without an honest reckoning of the anguish that lies beneath the storybook version of America’s founding. The paradox is that Lee’s movie is itself that conversation, its characters engaging in a series of arguments, evenhanded and empathetic, about how race affects the lives we lead in America. Until our country engages in that dialogue, nothing will change. For a moment, the Black Lives Matter movement signaled a willingness to grapple with the past. But the pendulum swung and we’re back to days of “Driving Miss Daisy” denial. But “Do the Right Thing” remains with us, its urgency and relevance undiminished, waiting for an America open to listen and live up to its idealized aspirations. — Glenn Whipp

See also: “Get Out,” “12 Years a Slave,” “Fruitvale Station”

The rise of the yuppies

Roddy Piper, left, and Keith David in the 1988 movie “They Live,” directed by John Carpenter.

(Universal Pictures)

‘They Live’ (1988)

“I believe in America,” the guy says, but we’re not in the private office of some all-powerful Corleone. Rather, this is a working man in a plaid shirt and denim. As the sun sets on his sad L.A. tent city (inspired by the real-life Justiceville), he only wants what everyone else wants: a hard day’s work for fair pay and the chance to get ahead. “It’ll come,” he says, serenely. He doesn’t know he’s in a John Carpenter movie — Roddy Piper was never put to better on-screen use — and that those keeping him down are, in fact, aliens hypnotizing us into an unseeing stupor as they carve up the world’s resources. Released at the tail end of Reaganomics, Carpenter’s most politically forward thriller now feels like a decoder ring for ’80s-era greed, detachment, complacency and ruthlessness. Carpenter meant us to to see his bug-eyed space invaders as yuppies. He also intended us to question whether we were selling each other out, just to join the “human power elite” for a tiny piece of pie. “They Live” looms just on the other side of appreciated. Many genre films say what our more prestigious dramas can’t about the creeping forces that are changing America; this one still feels like it’s getting away with murder. — Joshua Rothkopf

See also: “American Psycho,” “Invasion of the Body Snatchers,” “After Hours”

’80s women in the workplace

Harrison Ford, left, Melanie Griffith and Sigourney Weaver in the 1988 movie “Working Girl.”

(20th Century Fox)

‘Working Girl’ (1988)

Mike Nichols’ zeitgeisty hit opens on a shot of the Statue of Liberty hoisting her torch like a paycheck. Down by her green toes, Melanie Griffith’s Staten Island secretary Tess McGill ferries to Manhattan to type memos for important men. Tess has a job, not a career. But 1988 was the first year that female undergraduates outnumbered men on college campuses. Even without a degree, Tess is ambitious to climb the corporate ladder — once she swaps out her practical white sneakers for a pair of pumps. The script by Kevin Wade throws up hurdles of sexism and class snobbery, never sugarcoating how Tess’ male co-workers treat her like a blow-up doll. (Critics dismissed Griffith, too, until this performance earned her an Oscar nomination.) Yet note how her Ivy League-educated boss Katharine (Sigourney Weaver) isn’t immune to harassment either; she’s just mastered how to parry her colleagues’ advances. Fantastic as it is, “Working Girl’s” core flaw is that Tess can’t snag her seat at the conference table until she yanks Katharine out of it. Weaver said that when she showed the script to real-life working girls on Wall Street, they asked, “This awful secretary steals your man, wears your clothes, takes your office — who’s going to sympathize with her?” Millions did and still do. — Amy Nicholson

See also: “9 to 5,” “Baby Boom,” “Silkwood”

Digital alienation

Justin Timberlake, left, and Jesse Eisenberg in the 2010 movie “The Social Network,” directed by David Fincher.

(Merrick Morton / Columbia TriStar )

‘The Social Network’ (2010)

In 2010, Apple introduced the iPad, Instagram launched its app and Silicon Valley still looked to many tech-besotted Americans like a force for progress. At a moment when technology companies were promising to bring people closer together, David Fincher’s acerbic drama about the founding of Facebook had a darker theory about why people wanted to connect in the first place. Aaron Sorkin’s screenplay traces Facebook’s creation back to a very old human desire: getting noticed by the people who matter. Instead of celebrating innovation, the movie unfolds through lawsuits and broken friendships. At Harvard, Jesse Eisenberg’s Mark Zuckerberg fixates on the exclusive final clubs that won’t quite accept him. It’s a surprisingly sour approach for a Facebook origin story. Years before social media became a political battleground, Fincher was focused on something more basic — the fear that everyone else had been invited to a party you couldn’t get into. The movie ends with Zuckerberg alone at a computer, refreshing the Facebook page of the woman who dumped him and waiting for her to accept his friend request. More than 15 years later, it’s still hard to think of a better image for the loneliness and insecurity lurking beneath our connected lives. — Josh Rottenberg

See also: “Her,” “Eighth Grade,” “Ingrid Goes West”

Post-9/11 anxieties

A scene from the 2004 movie “Team America: World Police,” directed by Trey Parker.

(Melinda Sue Gordon / Paramount Pictures)

‘Team America: World Police’ (2004)

To add drama to the ennui over the 2000 U.S. presidential campaign, “South Park” creators Trey Parker and Matt Stone pledged to immediately produce a silly sitcom about the winner. “That’s My Bush!” ran for eight episodes in the spring of 2001, with plans to spin off into a feature called “George W. Bush and the Secret of the Glass Tiger.” But the Sept. 11 attacks changed everything, including the work of satirists. Parker and Stone pivoted to “Team America: World Police,” a bomb-throwing comedy about our country’s napalm-strength combination of naiveté and swagger. To prevent an attack hailed as “9/11 times a thousand,” a squadron of puppet commandos blows up the planet themselves. The dark joke is these marionettes aren’t behaving much differently than the action heroes who have shaped the national id — it’s a through-the-looking-glass lens into our Hollywoodized view of the globe, down to the Parisian streets made of cobblestone croissants. At once straight-faced, sacrilegious and scatological, “Team America” needed nine tries to eke past the MPAA. Yet in divided times, it was a unifier. The political spectrum from Kim Jong Il to Alec Baldwin got equally savaged and the film’s eff-yeah patriotic theme song (“Rock and roll! The internet! Slavery!”) could even be heard blaring from real-life tanks in Fallujah. — Amy Nicholson

See also: “Eddington,” “Idiocracy,” “Harold & Kumar Escape From Guantanamo Bay”