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To prepare for his role on the 1984 comedy “Revenge of the Nerds,” Robert Carradine spent two weeks wearing “nerd clothes,” a wig and glasses everywhere he went.

This included heading to fraternity row at the University of Arizona during rush week while in character with a fellow actor. They asked the head of a fraternity if they could join.

“The guy took one look at us and said, ‘No way,’ ” Carradine recalled in 1990. “By the time the first day of shooting rolled around, I was in full flight as a nerd.”

Carradine, who played Lewis Skolnick, the king of the college nerds with a signature laugh, in the “Revenge of the Nerds” movie franchise, has died. He was 71.

In a Monday statement to Deadline, Carradine’s family said he struggled with bipolar disorder and died by suicide.

“It is with profound sadness that we must share that our beloved father, grandfather, uncle, and brother Robert Carradine has passed away. In a world that can feel so dark, Bobby was always a beacon [of] light to everyone around him,” the statement said. “We are bereft at the loss of this beautiful soul and want to acknowledge Bobby’s valiant struggle against his nearly two-decade battle with Bipolar Disorder.

“We hope his journey can shine a light and encourage addressing the stigma that attaches to mental illness. At this time we ask for the privacy to grieve this unfathomable loss. With gratitude for your understanding and compassion.”

The youngest of a prolific Hollywood family, Carradine’s siblings include actors David and Keith and architect Christopher, of Walt Disney Imagineering. David Carradine died in 2009 at age 72. Their brother Bruce, who died in 2016, was also an actor.

Keith Carradine told Deadline that his family wanted everyone to know about Robert’s struggle with bipolar disorder.

“We want people to know it, and there is no shame in it,” he told the outlet. “It is an illness that got the best of him, and I want to celebrate him for his struggle with it, and celebrate his beautiful soul. He was profoundly gifted, and we will miss him every day. We will take solace in how funny he could be, how wise and utterly accepting and tolerant he was. That’s who my baby brother was.”

The youngest son of prolific character actor John Carradine, Robert Carradine was born on March 24, 1954, in Los Angeles. Known for both his film and television work, Carradine made his debut in a 1971 episode of the long-running western “Bonanza.” His first film appearance was in the 1972 John Wayne western “The Cowboys.”

During his 50-year Hollywood career, he appeared alongside his brother David in a 1972 episode of “Kung Fu” and the 1973 Martin Scorsese film “Mean Streets.” David, Keith and Robert joined other sets of acting siblings to portray sets of real-life siblings in the 1980 Western “The Long Riders.” Carradine also landed roles in Hal Ashby’s 1978 Vietman War drama “Coming Home” and Samuel Fuller’s 1980 World War II epic “The Big Red One.”

While Carradine found success in the family business, he also had a love for racing.

“There are certain people who are supposed to be race car drivers,” Carradine told The Times in 1991. “And I’ve got that. I’ve got that thing that makes me have to race. I have to do it.”

At the time he was balancing both careers, racing at the Grand Prix level in a Lotus Esprit Turbo SE. But it was clear he would have chosen racing over acting if he could.

“The thing about racing that appeals to me is your destiny is in your own hands at that moment,” Carradine said. “I won a race in the Lotus at Road America, and I won it. And that’s it. You can’t do better.”

In the 2000s, Carradine charmed a new generation of fans as lovable TV dad Sam in “Lizzie McGuire.”

“There was so much warmth in the McGuire family and I always felt so cared for by my on-screen parents,” the show’s star Hilary Duff wrote in her Instagram tribute to her on-screen dad. “I’ll be forever grateful for that. I’m deeply sad to learn Bobby was suffering. My heart aches for him, his family, and everyone who loved him.”

Jake Thomas, who portrayed Lizzie’s brother Matt on the show, said he “looked up” to Carradine, who he’s known for most of his life.

“My heart hurts today,” Thomas wrote in his Instagram tribute. “[H]e was one of the coolest guys you could ever meet. Funny, pragmatic, sometimes cranky, always a little eccentric. He was a talented actor, musician, and director. But more than anything, he was family.”

Carradine is survived by his three children — actor Ever Carradine, Marika Reed Carradine and Ian Alexander Carradine — as well as his brothers, nieces (including actor Martha Plimpton), nephews and grandchildren, according to Deadline.

In her tribute to her father, Ever Carradine described him as a “sweet, funny dad” and “the guy that’s always there.”

“Growing up in the 70s and 80 with a single dad in Laurel Canyon is not exactly the recipe for a grounded childhood, but somehow mine was,” Carradine wrote on Instagram. “Whenever anyone asks me how I turned out so normal, I always tell them it’s because of my dad. I knew my dad loved me, I knew it deep in my bones, and I always knew he had my back.”

“My dad was a lover, not a fighter. He was all heart, and in a world so full of conflict and division, I think we can all take a page out of his book today, open our hearts and feel and share the love,” she added.

Katherine Short, the daughter of actor and comedian Martin Short, has died. She was 42.

Her death was confirmed by her family.

“It is with profound grief that we confirm the passing of Katherine Hartley Short,” the family said in a statement. “The Short family is devastated by this loss and asks for privacy at this time. Katherine was beloved by all and will be remembered for the light and joy she brought into the world.”

A law enforcement source told The Times that Short, an L.A. social worker, died by an apparent suicide.

This post will be updated as the story develops.

Darkness engulfs me right before I step into a dream. The Oscar-winning Mexican filmmaker Alejandro González Iñárritu guides me from a pitch-black hallway into an open space, where beams of light and smoke, interspersed with sounds from the streets of Mexico City, create a vortex into a unique cinematic experience.

Inside the Los Angeles County Museum of Art, Iñárritu is giving me a tour of his new installation “Sueño Perro:” a sensorial celebration of his 2000 debut film, “Amores Perros,” in honor of its 25th anniversary. The only physical elements on display are six film projectors and the celluloid that contains frames of unreleased footage, which are shown on screens of different sizes around the room. Detached and unburdened by the need of a narrative, the images simply exist.

“I love doing installations,” Iñárritu says in Spanish. “It’s like playing a game with your friends. And it’s liberating for me, because I don’t have to think about selling tickets.”

Before arriving at LACMA, his “Sueño Perro” mesmerized audiences in Milan, Italy, and in his hometown of Mexico City. LACMA previously hosted Iñárritu’s intense and immersive project “Carne y Arena,” which allowed visitors to put themselves in the shoes of a person crossing the U.S.-Mexico border on foot.

In Milan and Mexico City, “Sueño Perro” occupied labyrinthine spaces with multiple rooms. Contained within a single room, the L.A. iteration is the “paranoic version,” Iñárritu says. Once inside, there’s no respite to the barrage of images and the soundscape that surround you. He aptly describes the projectors’ beams of luminosity as “light sculptures.”

Curiously, he notes, people have such reverence for these hypnotic streams of light that they duck to avoid disturbing them rather than crossing in front of them. Iñarritu wishes they would, in fact, disrupt the light, so their shadows can enter the frame and transform it.

Never-before-seen footage from “Amores Perros” projects from 35mm projectors across the walls at LACMA, Wednesday, Feb. 18, 2026.

(Sarahi Apaez / For De Los)

The projected footage is material that didn’t make it to the final cut of “Amores Perros”: a gritty, visceral drama following three different stories across different social classes in a chaotic Mexico City during the turn of the millennium. Back in 2018, Iñárritu learned that all his dailies (raw takes) from that shoot, which in most productions are thrown away, were preserved at Mexico’s National University (UNAM).

“It was like looking through an album you haven’t opened in 25 years, which smells of dust,” he says. “Because of the distance, the images actually evoked a beautiful nostalgia in me.”

And that album was substantial. Iñárritu recalls that he and cinematographer Rodrigo Prieto shot an immense amount of footage, nearly 1 million feet of film.

Gael García Bernal from a scene in “Amores Perros,” released in 2000.

“It’s like the placenta that’s thrown away when a baby is born. Suddenly, that discarded material, rich in DNA, which was already dead but was once part of a living being, has a life of its own,” Iñárritu explains vividly. “I didn’t know that these fragments, this dead material could be resurrected, but light has given new life to something that was forgotten.”

Critically acclaimed and Oscar-nominated for international feature film (foreign-language film back then), “Amores Perros” marked a watershed for the Mexican film industry, as an ambitious production that captivated both local and international audiences while unflinchingly portraying the country’s social ills from a humanistic standpoint.

“Look at Gael! He was 19 then. That’s a beautiful image of him,” Iñárritu says of “Amores Perros” lead García Bernal, whose shaved head is projected on one of the installation screens. The actor made his feature film debut in “Amores Perros” and has since had an extraordinary career.

At one point, three of the six projectors go dark — and the three remaining show the pivotal car crash that connects the film’s three narratives. Iñárritu and Prieto shot the imposing accident with nine different cameras. Seeing all nine different angles unspool in “Sueño Perro” provides a new understanding of the moment’s challenging orchestration.

Such a sequence evinces that “Amores Perros” was the work of an artist in his mid-30s willing to put it all on the line, uncertain whether he would get to make another film.

“I’ve changed a lot as a filmmaker, but I’m still the same idiot I’ve always been. That’s the bad news,” Iñárritu says laughing. “The other bad news is that I couldn’t make a film like that anymore, because of the number of shots and setups, and the energy behind each of those shots.”

The passage of time, in tandem with the film’s anniversary, allowed an opportunity for Iñárritu and screenwriter Guillermo Arriaga (who wrote “Amores Perros,” “21 Grams,” and “Babel”) to reconcile after a long-standing falling out. The two mended their bond in public last year during an event in Mexico City.

“It was very important for me to close this chapter,” Iñárritu explains. “There was something so special about our friendship as people — and our children were also very close. I truly missed him as a friend. As you get older, you realize that grudges and animosity are the worst investment; it’s like having a disease inside you and not wanting to let it go.”

While most exhibits celebrating a film’s legacy feature artifacts or costumes that appeared on screen, Iñárritu ultimately decided to opt out of that route. Initially, he admits, the director was tempted to find the scraps of the wrecked car that belonged to García Bernal’s character in the film, a black Ford, and place it at the center of the installation. But it was LACMA’s CEO Michael Govan who persuaded him to preserve the purer approach.

“Michael loved the idea of the projectors, of the light and memory. And he wisely told me, ‘Perhaps the material object will be distracting. This work is ethereal, and maybe something solid will create a knot.’ I thought it was a great reflection, and I said, ‘That’s true. I’m going to try for this exhibition to exist without physical matter, because it’s about the analogous, but also the immaterial, which is light and time.’”

The objects or “archaeological remains of a film,” as he calls them, cause Iñárritu great sadness. To him those relics are akin to looking at a collection of lifeless butterflies preserved in a box. “When I see the shoes that so-and-so wore or the dress that so-and-so wore, they seem to me like butterflies that once flew and now they’re dead,” Iñárritu says. “Objects that once appeared in film lack life afterwards. They’re like skeletons.”

(Sarahi Apaez / For De Los)

For young people who have mostly watched movies on their electronic devices, Iñárritu thinks witnessing “Sueno Perro” could spark great curiosity about the way cinema existed for most of its history: on film. It will allow them to think of cinema in a primal manner.

“We are organic beings, and our capacity for understanding and our development involves all our organs, and digital screens have forced us to perceive everything only on an intellectual level,” he says. Entering the installation, he hopes, will resemble the feeling of entering a womb or a cave. “The flickering light from the lamps in the projectors is reminiscent of the fire in caves when people gathered and shared stories,” he adds.

Sonically, “Sueño Perro” envelops attendees not in lines of dialogue or a musical score, but the sounds of life in Mexico City — from street vendors to a marching band — recorded over the years and brought to L.A. with the help of sound designer Martín Hernández, who’s worked on every single Iñárritu film since “Amores Perros.” And while some of those aural elements still exist today, “Amores Perros” also serves as a time capsule of a city that has evolved and mutated incessantly.

“I still recognize the city when I watch the film, but it makes me laugh so much to see the cars and the clothes of the time,” he says. “It now looks like the Paleolithic era. And I think, ‘I’m so old!” But yes, it was definitely a different city back then.”

(Sarahi Apaez / For De Los)

Like Iñárritu, I still lived in Mexico City, then known as Distrito Federal, when “Amores Perros” was released. In those days, international tourists often feared visiting the metropolis for fear of being kidnapped. To see Mexico City become a trendy, sought-after destination for “digital nomads” from the U.S. and elsewhere feels jarring.

“People from the U.S. have for so long been snobbish about Mexico, and now they go and say, ‘F—, this is a city with incredible cultural depth,’” Iñárritu says. “They realize that their snobbishness came from a misconception, based on propaganda they’ve been fed, which portrays us Mexicans only as “sombrerudos.’”

What’s so bewitching about Mexico City, and the country at large, Iñárritu thinks, is the people’s worldview and how they confront their realities.

“There’s no other country that has that kind of vitality, because despite all of its problems, and there are many — like how violence and corruption have become so normalized — the people have an energy, a joy, a vitality that’s very hard to find in any other city around the world,” he says.

On the subject of the ingrained issues that still plague his home country, Iñárritu recalls that those in power were not pleased with how “Amores Perros” addressed them on screen.

“The Mexican government was ashamed of the film,” he says. Whenever the film would win an award at an international festival, the Mexican ambassadors or diplomats in any given country would decline invitations to celebrate the accomplishment.

“They said it was a bad representation of Mexico, that what the film showed wasn’t Mexico,” Iñárritu recalls. “They said it showed too much violence. Give me a break, as if I were the secretary of Tourism.”

Aside from promoting this latest stop in the “Sueño Perro” installation’s journey, Iñárritu is in the post-production stage of his upcoming film “Digger,” starring Tom Cruise. Besides that, he’s also working on a project to honor Mexican American artist Judy Baca.

Baca is best known for the mural “The Great Wall of Los Angeles,” which extends for over half a mile along the Tujunga Wash and depicts the complex history of California. Iñárritu and cinematographer Emmanuel Lubezki shot a piece on this major work that will be screened at Walt Disney Concert Hall on March 7, alongside a special concert put together by Gustavo Dudamel and Gabriela Ortiz, and featuring several guest composers.

“I want to showcase the work of Judy, a Chicana who was 50 years ahead of her time and told the story of California through her eyes. I want it to be a landmark in Los Angeles. I want people to say, ‘You can’t go to L.A. and not see this mural.’”

As part of the ongoing celebration of “Amores Perros,” MACK has published a book featuring essays, behind-the-scenes photos, and storyboards. A double vinyl compilation including Gustavo Santaolalla’s score, plus tracks by generation-defining Mexican rock bands like Control Machete and Café Tacvba, has also been recently released.

Iñárritu hadn’t seen the film in a theater in many years. But when he saw it again at the Cannes Film Festival last year, he was pleased to realize it maintains its potency.

“I was struck by how well the film holds up. And it’s not just because I made it. It still has a rhythm and a muscle. It hasn’t aged badly at all. On the contrary, it’s like a young old soul,” he says with a laugh.

“Sueño Perro” will be open to the public from Feb. 26 until July 26.

Faced with numerous complaints about broken streetlights that have plunged neighborhoods into darkness, two Los Angeles City Council members unveiled a plan Friday to spend $65 million on installing solar-powered lights.

With 1 in 10 streetlights out of service because of disrepair or copper wire theft, Councilmembers Katy Yaroslavsky and Eunisses Hernandez launched an effort to convert at least 12% of the city’s lights to solar power — or about 500 in each council district.

Broken streetlights emerged as an hot-button issue in this year’s election, with council members scrambling to find ways to restore them. Councilmember Nithya Raman, now running against Mayor Karen Bass, cited the broken lights as an example of how city agencies “can’t seem to manage the basics.”

By switching to solar, the streetlights will be less vulnerable to theft, said Yaroslavsky, who represents part of the Westside.

“We can’t keep rebuilding the same vulnerable systems while copper theft continues to knock out lights across Los Angeles,” she said.

Three other council members — Traci Park, Monica Rodriguez and Hugo Soto-Martínez — signed on to the proposal. All five are running for reelection.

Miguel Sangalang, director of the Bureau of Street Lighting, said there are 33,000 open service requests to fix streetlights across L.A., although some may be duplicates. The average time to fix a streetlight is 12 months, he said.

Repair times have increased because of a rise in vandalism, the department’s stagnant budget and a staff of only 185 people to service the city’s 225,000 streetlights, he said.

About 60,000 street lights are eligible to be converted to solar, according to Yaroslavsky.

Council members also are looking to increase the amount the city charges property owners for streetlight maintenance. Yaroslavsky said the assessment has been unchanged since 1996, forcing city leaders to rely on other sources of money to cover the cost.

Last month, Soto-Martínez announced he put $1 million into a streetlight repair team in his district, which stretches from Echo Park to Hollywood and north to Atwater Village. Those workers will focus on repairing broken lights, hardening lights to prevent copper wire theft and clearing the backlog of deferred cases.

On Monday, city crews also began converting 91 streetlights to solar power in Lincoln Heights and Cypress Park. Hernandez tapped $500,000 from her office budget to pay for the work. The shift to solar power should save money, she said, by breaking the cycle of constantly fixing and replacing lights.

“This is going to bring more public safety and more lights to neighborhoods that so desperately need it and that are waiting a long time,” she said.

In recent years, neighborhoods ranging from Hancock Park and Lincoln Heights to Mar Vista and Pico Union have been plagued by copper wire theft that darkens the streets. On the 6th Street Bridge, thieves stole seven miles’ worth of wire.

Yaroslavsky and Park spoke about the problem Friday at a press conference in the driveway of a Mar Vista home. Andrew Marton, the homeowner, pointed to streetlights around the block that have been targeted by thieves.

Many surrounding streets have been dark since shortly after Christmas, Marton said. He has changed his daily routines, trying not to walk his dog late at night and worrying for the safety of his family.

He said he reported the problem to the city and was told it would take 270 days to fix. He then reached out to Park, who contacted the police department, he said.

A couple of neighboring streets had their lights restored, he said, but his street remains dark at night.

Park said she and Yaroslavsky identified $500,000 in discretionary funds to pay for a dedicated repair team to fix streetlights, either by adding solar or by reinforcing the existing copper wire, in their respective Westside districts.

Mumbai, India — For most of a warm and breezy Sunday afternoon in Mumbai, the Wankhede Stadium felt closer to Kathmandu than India’s southern metropolis as thousands of Nepalese fans sang, danced and dared to dream while their cricket team took on the mighty England in the ICC Men’s T20 World Cup 2026.

A sea of red and blue replica shirts heaved in every nook and corner of the iconic 33,000-capacity venue, with supporters turning the famed Indian stadium into their adopted home.

A banner, saying “Feel the Thrill” stretched across stands and captured the mood perfectly as chants, drums and Nepali tunes echoed throughout the ground.

From children arriving with flags painted on their faces to elderly supporters proudly wearing the traditional Dhaka topi – a traditional Nepalese hat – fans of all ages turned up for what felt like a cricketing festival drenched in Nepali culture.

‘We almost won’

On the pitch, Nepal’s players delivered one of their most memorable performances in recent years, with the match ending in heartbreak as the team’s spirited chase fell agonisingly short on the final ball.

With the odds stacked heavily against them, Nepal walked out to face two-time champions England fully aware of the vast gulf in experience and pedigree compared to their opponents.

They hoped, though, that their hunger, intensity and fearless approach to the game could keep them firmly in the contest.

Chasing a challenging target of 185, the Rhinos proved why they are one of the most promising teams in associate cricket, as Lokesh Bam’s late heroics, coupled with Rohit Paudel and Dipendra Singh Airee’s onslaughts, pushed the contest to the last ball.

“We almost won but couldn’t go through because the players lack experience,” Nepal fan Subodh Dhakal, who travelled from Kathmandu, told Al Jazeera. “Experience will come with time, but the team played well.”

Dhakal, a doctor and passionate Nepal supporter, planned a quick two-day trip to attend the match with his wife, after watching the Nepal Premier League – the domestic league whose growth has been central to the nation’s progress in the sport.

Like Dhakal, Satyam Pokhrel also made his way to Mumbai from the Nepalese capital. Joined by a group of friends, Pokhrel revealed his plans to stay for the remaining three Nepal games, all of which are scheduled at the same venue.

“Nepal had a really good chance [to win], but were unlucky,” he said. “The match was very close; I’m proud of the team. They showed great energy and are capable of winning the upcoming games.”

Sunday’s heroics against England were not the first time Nepal troubled stronger opponents. Five months before the World Cup, they beat the West Indies 2-1 in a three-match series — their first bilateral series victory over a full member of the International Cricket Council (ICC) — while in 2024 they came within a run of upsetting South Africa at the T20 World Cup.

Nepal’s debut at the tournament, in 2014, led to a famous win over a highly-rated Afghanistan team.

‘Don’t count us out’

For many in the stands, being part of the atmosphere required journeys just as memorable as the match itself.

Bhuvan Rawal travelled from Tikapur in far-western Nepal, spending three days on the road to reach Mumbai by bus.

“I wasn’t bothered by the time or money taken to come here. Watching Nepal play at a World Cup is a once-in-a-lifetime opportunity for me,” said the 26-year-old.

“I’ve come with around 200 to 300 supporters from Nepal. We were aware of the match schedule since last year and were excited to be at Wankhede Stadium… Mumbai is our second home now!”

Rawal, who played cricket in his younger years and works as a gym trainer, believes lowly-ranked teams such as Nepal aren’t just here to make up the numbers at the expanded 20-team T20 World Cup.

“We may be a small country, but Nepal is very beautiful and can play wonderful cricket. I understand there’s a difference between full ICC members and associate teams, but don’t count us out.

“No team is too small to challenge the giants,” he said.

A NEW theatre is coming to the UK and it is set to be the largest in England.

Given the green light for London, a new 3,000-seat theatre is set to be built in Greenwich.

The theatre will be on the eastern side of Greenwich Peninsula and will be split into two auditoriums, each with 1,500 seats.

Once complete, the Troubadour Theatre will overtake the London Coliseum with 2,359 seats, as the biggest theatre in the capital, as well as England.

It won’t quite be the biggest in the UK though, as that title will remain with the Edinburgh Playhouse, which has 3,059 seats.

Construction on the new theatre is expected to start this June and take nine months to complete.

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The Troubadour already operates two other theatres in London – one in Wembley Park and the other in Canary Wharf, which opened in October last year and is currently home to The Hunger Games: On Stage.

At Troubadour Wembley Park, Andrew Lloyd Webber’s Starlight Express is currently playing.

The Greenwich theatre wouldn’t be permanent though, as planning permission has only been granted for a decade, after which the land would be used for tower blocks of flats.

These plans form part of the Greenwich Peninsula Masterplan, which will make the area “an expression of the world’s boldest architects”.

The development will span across 195 acres and create 17,500 homes.

There will also be 47 acres of open public space which will include a creative hub.

New shops and office spaces will open too, with a focus on the creative industries.

A large part of this will be a new Design District.

And there will be The Tide – a mile long park for pedestrians and cyclists with access to the riverfront.

The whole development is then set for completion in 2043.

There have been a number of new openings in the area recently as well including The Dial – a three-floor microbrewery.

On the lower floor, visitors will find a tap room home to brewing facilities.

The first floor is then focused on live sports screenings and the top floor is where visitors will find a rooftop bar with a terrace.

In May last year, The Telegraph revealed how Greenwich had become one of London’s “loveliest spots”.

The publication said: “Greenwich’s riverside pubs, bustling market and impressive museums make it the ideal place for a weekend escape (even if you live in London).”

One of the main attractions of Greenwich is its sprawling green park – which if you climb to the top of, you will find the spot where the Prime Meridian line splits the globe in two.

Here you can explore a museum as well as head inside a planetarium.

For a bite to eat, head to Greenwich Market Food Court to pick up some street food.

It is open daily and features a range of cuisines including Indian, Sicilian and Ethiopian.

Near the riverfront, you will also find a ship seemingly suspended in mid air.

The Cutty Sark used to carry tea from China to London, with the first voyage taking place in 1870.

Known as a clipper – which is a fast, three-masted sailing vessel – the ship spent eight years in the tea trade.

Visitors can explore the ship, with tickets costing £22 per adult and £11 per child.

In other theatre news, here are all the best theatre shows for kids coming to the UK in 2026 – from Dogman to Spongebob and Great Showman.

Plus, here’s how to get cheap theatre tickets in London for top West End shows.