When David Jacks published a biography of Peter Asher in 2022, the veteran record producer and manager expressed surprise that anyone would have deemed his life worthy of the treatment. Four years later, he’s no less baffled to have become the subject of a new documentary, “Peter Asher: Everywhere Man,” directed by the filmmakers Dan Geller and Dayna Goldfine.
“It just seemed to me,” he says, “that I wouldn’t be that fascinating.”
The movie, in theaters now, argues otherwise: A child actor alongside his two younger sisters, the bespectacled Asher became an unlikely pop star during the British invasion as half of the duo Peter & Gordon, whose debut single, “A World Without Love” — written by Paul McCartney — hit No. 1 on Billboard’s Hot 100 in 1964. (McCartney offered the song to Asher while the Beatle was dating Asher’s sister Jane.) In 1968, the Beatles made Asher head of A&R at Apple Records, where he signed James Taylor; the two soon moved to Los Angeles and turned Taylor into music’s biggest heartthrob folkie.
Asher went on to shepherd Linda Ronstadt to stardom and to produce records by Diana Ross, Cher, Bonnie Raitt, Randy Newman, Neil Diamond and 10,000 Maniacs, among many others. And at 82 he’s still at it: Last year he produced Barbra Streisand’s latest duets album — they’re due to start work on a new Streisand solo LP, he says — and he’ll perform a show of his own July 19 at the Grammy Museum. Asher, who broke his leg in a recent fall, spoke about it all the other morning at his home in Malibu, where he walked into the kitchen using a cane before sitting down at a table set with pastries and several of the day’s newspapers.
What unites the jobs of musician, producer, executive, manager? What’s the through line? Love of music and admiration for the people who do it. They’re very different jobs, and I came at them from very different perspectives. Record production was something I set out to do once I understood what a record producer did. Hire musicians much better than yourself and tell them what to do? That’s a cool job — how do I get in on that racket? Whereas I never had any ambitions to be a manager. It’s just that when James and I decided to go out on our own and try to put a career together, we didn’t know who we trusted to do it, so I kind of went, I’ll do it.
What’d you discover about the job of management? The ingredients are common sense, not being a crook and having a great client.
Which is the hardest of those three? The last one. I got to induct the first managers inducted into the Rock & Roll Hall of Fame: Brian Epstein and Andrew Loog Oldham — the Beatles and the Stones. That’s the hard part. The only thing that would tempt me back into management would be lightning striking for a third time — to see James, to see Linda, then to see somebody comparably brilliant, which I occasionally do. But usually they have a manager already.
What’s the last new act that knocked you out? Ed Sheeran.
Was that just because he looks like he could be your grandson? That certainly crossed my mind.
As a producer, your records helped define the sound of rock in the ’70s. The so-called California sound.
Then the zeitgeist shifted. One became aware of that. Pop music got very electronic, which I loved.
Was there a place for you in that style? I didn’t consciously try to make records in that style because I don’t think I could have — not as well as they were being made anyway.
What’s a record from the early ’80s that made you think that? “Sweet Dreams (Are Made of This).” I couldn’t do that.
Back to the ’70s: The doc is filled with pictures of James looking — Like a movie star. With the cover of “JT,” I finally went all the way and said, “We’re doing the the glamour shot.” Then we did “Flag,” which everyone hated.
With the maritime flag. A truly perverse album cover. I loved it. James loved it. Everyone thought we were crazy.
How crucial do you think James’ good looks were to his whole proposition? I don’t know.
Oh, come on. I really don’t. I mean, how would you gauge that? There’s probably girls who fell in love with him without listening to the record.
I think you just gauged it. If he was ugly, would he be as big a star? Probably not.
(Evan Mulling / For The Times)
Same applies to Linda, right? When I first saw Linda, it was stages of realization. Someone said to me, “You’ve got to go down and see this girl at the Bitter End.” I walk in and she’s singing so well — unspeakably good. Then she looks incredibly great — barefoot, short-shorts. Oh, my God, my heart. Then you meet her, and it turns out she’s a remarkably brilliant woman — extremely well read. You just kind of go, “All these things together — how can it be?” It’s the same thing talking about the Beatles: If you cast it like the Spice Girls, you still couldn’t have gotten four to fit together so perfectly.
Did you like the Spice Girls? Terrific. “Tell me what you want / What you really, really want” — it’s a smash. And yet none of them are particularly good singers, which is kind of the point.
I went to an event not long ago where Paul McCartney played his new album for a small group of fans. It was fascinating to see the spell McCartney casts over people. He’s had to get used to it — to admit to himself that he can’t meet people who aren’t amazed that they’re meeting him. Even as someone who’s known him off and on for a long time, you still get the wave of: Holy s—.
You’re still amazed to be around him? Of course. I get it less — I’m ready for it. But you can’t pretend he’s not Paul McCartney. And he’s gotta live with that his whole life.
You grew up a member of the upper crust, I think it’s fair to say. I don’t think we were that crusty. But upper, probably, yes.
I wondered how that situated you to live and work among artistic types. If anything, the upper crust have more time to be artistic — less preoccupied with getting a job and making a living. But my parents worked incredibly hard — we weren’t upper crust in the sense of inherited wealth. My father was a doctor, my mother was a professor of music. But I never struggled, to be honest. I had a comfortable allowance, and then I went to school and worked hard. Everyone talks about sharing a flat with a million people, living on borrowed sandwiches — I skipped that phase.
Did that shape you in any meaningful way? I don’t know. But I think when people do struggle, it becomes a meaningful part of their lives to get away from it. With someone like James, the struggle was a struggle with drugs. Now he says the worst thing about drugs is they’re a complete waste of time — you waste time doing nothing except looking for drugs. And I think that made him anxious to succeed and to be taken seriously.
I’m sure you saw the New York Times’ list of the 30 greatest living American songwriters. You knew it was gonna be silly. Randy Newman, for God’s sake — you just cannot not include him.
No Neil Diamond either. Insane.
And no Billy Joel. [Shrugs].
How’s your health? High blood pressure, high cholesterol, need to work out more — old man stuff. Other than that and a broken leg, great.
You’re OK with the cane? It’s a considerable upgrade from the wheelchair. I like the cane — it’s kind of elegant.
What seems scarier: the body going or the mind going? The mind going. And it is, slightly. I had a stroke, and bits of my brain aren’t quite working right. But compared to other people I know, I’m fine.
We’re at a moment when a lot of foundational rock ’n’ roll figures — Are dying. It’s all the rage.
What’s it feel like to see your friends and colleagues go? Better them than me.
Couple more for you: You managed Courtney Love for a spell. I met her here in Malibu. I also managed Pamela Anderson for a while because she was a neighbor and asked me to help.
What, you put a shingle out? “Manager for hire.” I’m trying to remember how I first met Courtney — I think Merck Mercuriadis was talking to her about publishing and Kurt stuff. I liked her. Very smart. I like smart women.
She’s easy to work with? Hard to work with? Impossible to work with.
What’s James Taylor’s best album? “JT,” maybe.
What’s Linda Ronstadt’s best album? “Heart Like a Wheel.” With Linda, it’s unfair because they’re so radically different. How do you compare that to a mariachi record and then to Nelson Riddle?
Working with Riddle on those albums must have been a thrill. He told us all these incredible stories about Frank Sinatra, who he didn’t like although he admired him enormously. It was John David Souther who originally suggested Nelson. Linda had tried doing the album a different way — did some versions with Jerry Wexler and it didn’t work out. So we had a meeting with Nelson: Would he consider doing a couple of arrangements for us? He went, “No.” We said, “What?” He said, “I’ll do an album, though.”
“A World Without Love” was one of eight songs to top the chart in 1964 with “love” in the title. What’s that say about pop music in the mid-’60s? Same thing it says about pop music of all time: It’s either “I love you” or “She loves you” or “Why don’t you love me?” Weird Al pointed out to me that when you’re looking for a parody of a song, any song that has “love” in the title, substitute “lunch” and it’s funny. “A World Without Lunch” — I mean, who would want to live in such a place?
Linda Cohn, an ESPN veteran who has anchored more episodes of “SportsCenter” than anyone in history, announced her retirement Monday.
A Los Angeles resident since 2018, Cohn, 66, will make her final ESPN appearance Friday.
After starting her career in radio and local TV, Cohn joined ESPN’s “SportsCenter” in 1992 when female hosts on sports programming were still a rarity. In a statement, she acknowledged her trailblazer status.
“What I’m most proud of is that my career lasted long enough for me to see little girls grow up watching ‘SportsCenter,’ enter this business, and succeed in it,” she said. “If my journey helped make that path a little easier for them, then that’s the achievement I’ll cherish most.”
She hit a milestone of anchoring 5,000 “SportsCenter” episodes in February 2016 and appeared on at least 650 more over the 10 years that followed.
Cohn, who played collegiate hockey at Oswego Stage University and competed on the boys team in high school, regularly contributed to ESPN’s NHL coverage. She once did a live “SportsCenter” segment where she tried out for the job of emergency goalie for the Florida Panthers.
Cohn will return to ESPN’s Bristol, Conn., studios on Friday and appear on four editions of “SportsCenter” throughout the day. She will also reconnect with longtime co-host John Buccigross during coverage of the NHL Draft.
“Linda Cohn is a legend and a major part of the history of ESPN,” said Burke Magnus, ESPN president, content. “She has brought enthusiasm, personality and her love of sports to our audience for more than 30 years and her contributions to ESPN both in front of and behind the camera would make a very long list.”
EastEnders spoilers confirm big moments next week on the BBC soap including the return of a vile villain, Bea Pollard’s sinister next plan and target and some emotional scenes
It’s another drama-filled week on EastEnders next week(Image: CREDIT LINE:BBC/Jack Barnes/Kieron McCarron)
It’s another drama-filled week on EastEnders next week, as new spoilers tease twists, discoveries and revenge.
Nicola and George return home from hospital to a surprise welcome home party for the baby. Overwhelmed Nicola orders everyone to leave but she and Gina later share a heart-to-heart.
Soon the peace is shattered when George’s estranged father Eddie reveals he’s dying. Only Nicola knows this and she keeps it from George, but when he figures it all out he sees his dad, and is shocked by his fragility.
Soon, George faces questions from his family and heads to see Eddie one final time, while Nicola has a warning for Eddie. Phil attempts to adjust to life after Nigel’s death, but is rejected by Grant who is sad about his fractured relationship with Mark.
Julie prepares to head to Nigel’s care home to collect his belongings, where she is soon joined by Sam and Phil for support. Julie finds a letter from Nigel, but she can’t bring herself to read it.
Ian is consumed by his councillor campaign but is upset to discover that the majority of supporters are voting for Elaine. Ian turns to bribery, but Bea has other ideas when she starts a smear campaign against Elaine.
Ian and Elaine anxiously prepare for the Walford debate, but things go awry when Oscar swaps Ian’s speech, but Elaine steps in to sway his nerves. But a moment leaves Ian fuming, and he agrees to let Bea post the video about Elaine.
He regrets this but the damage is done. Also next week, a discovery saddens Kat and Alfie, Sam supports Denise, and Harry agrees to lend Gina some money landing them in trouble with Nicola.
Finally, Grant offers support to Linda amid her drama with Johnny, who is having money problems, while Linda is jealous of Max and Cindy. It’s soon clear Max is thinking about Linda, and he’s not happy to find out she’s slept with someone.
EastEnders isn’t the only soap with drama next week, as Hollyoaks spoilers tease there’s plenty in the village too. Vicky wakes up from her coma, and Charlie and Frankie plead with her to echo their lies about the crash.
Later, Vicky lets slip to Misbah that it was Gemma who has been prescribing her the skinny jabs. Knowing time isn’t on her side, Diane tells Tony they need to tell Eva, Sinead and Finn the truth.
Ro is worried it’s too much for his mum, while he’s also left torn when he finds out Ste cheated on Rex with James. Cleo is determined to get proof that Sienna has been swapping her psychosis medicine for multi-vitamins.
After a confrontation, Cleo wakes to find Sienna watching her, wanting to know if she still loves her. Cleo claims there’s a way back for them as long as she does what’s right. Soon, Mercedes and Warren make a shocking discovery.
Families, in their various flavors, have been essential to television since that light first flickered on. They may be ideal or nightmarish, or both, or in between, and we take to them — be they Waltons or Addamses or Simpsons — according to our own experience or desires, having known families of our own or wanted something other than what we had.
In “Schitt’s Creek,” Dan Levy co-created — with his father, Eugene, yet — one of the medium’s greatest family comedies. It was a show that grew over time from a basic premise about rich people who lose their money and are forced to live at close quarters in adjoining motel rooms to a paean to love, understanding and acceptance. It swept the comedy categories at the 2020 Emmys, including acting awards for both Levys, Catherine O’Hara and Annie Murphy and writing and directing trophies for Dan.
“To family” are in fact the last words spoken in the first season of “Bad Mistakes,” Levy’s noisy, funny new show, co-created with Rachel Sennott and now streaming on Netflix — though given what precedes it, it’s less a blessing than a curse. Levy plays Nicky, a pastor at a sparsely attended suburban New Jersey church of no evident denomination. He’s out as gay, but supposedly celibate; that he has a boyfriend, Tareq (Jacob Gutierrez), is known only to Tareq; this, of course, creates a secret, which will create pressure, which will create comedy.
Sister Morgan (Taylor Ortega) is an elementary school teacher, a job that doesn’t quite jibe with everything else we see about her — it’s barely represented, anyway, summer having come — and a very longtime boyfriend, Max (Jack Innanen), who has decided that now is the moment to propose. She had once tried acting in New York, which means that she lived a wilder life once and is something of an improviser. Their mother, Linda (Laurie Metcalf), who owns a hardware store, is running for mayor and the campaign is being managed by extra daughter Natalie (Abby Quinn).
The series begins as their grandmother is dying, and at Linda’s command, they rush out to buy her a present — Linda is trying to squeeze in an “early birthday” before her mother passes. And because she is that sort of person, Morgan shoplifts what she imagines is a cheap necklace from a convenience store. (Attendant Yusuf, played by Boran Kuzum, will have much to do.) The necklace isn’t cheap, it turns out, for no particularly good reason, and the convenience store isn’t just a convenience store, but a kind of waystation for stolen goods run by local Russian mobsters. As a result, Morgan and Nicky find themselves forced to run errands for them, under threat of death, or worse.
The show gets very complicated on its way to a circular semi-conclusion; there is a lot going on, with Linda’s mayoral ambitions and various relationship issues. (Elizabeth Perkins plays Max’s mother, bridging storylines.) But it’s a good ride, and classic in its way; searching the phrase “get mixed up with gangsters” brings forth a host of old comedies. Through the dodgiest situations, brother and sister do not hesitate to argue. Nicky would love to be anywhere else, while Morgan finds it invigorating. Though it is all improbable, the parts do mesh neatly; they make television sense.
Finally, the series rests on the shoulders of the three principal players, who are just a pleasure to watch; the camera obliges by moving in close. Levy brings a soft-spoken breathlessness you may recognize from his David Rose on “Schitt’s”; his softly muttered “OK,” which might just mean “stop talking,” is almost a trademark. Ortega brings a kind of poignance to her reborn wild child, while Metcalf plays Linda with a kind of small-town operatic intensity, eyes popped and pronunciation precise — she’s like a country cousin to O’Hara’s Moira Rose — as if she were onstage pitching to the back row of the theater.
Michelle Pfeiffer and Elle Fanning in “Margo’s Got Money Troubles,” premiering April 15, 2026 on Apple TV.
(Allyson Riggs/Courtesy of Apple)
In “Margo’s Got Money Problems, premiering Wednesday on Apple TV, Elle Fanning plays the title character, a college student flattered into bed by her married-with-children writing professor, Mark (Michael Angarano), despite my shouting at the screen for her not to do it. Soon she is pregnant, and soon after that the essentially single mother of baby Bodhi, unable to find work or the time to write. (As the heroine, we assume her talent.)
Presumably in search of some normalcy, Margo’s mother, Shyanne (Michelle Pfeiffer), a former good time girl — but still sparkly — has become engaged to Kenny (Greg Kinnear), Christian, square and sincere; the Ralph Bellamy of the piece, you are not asked to take him quite seriously (though Kinnear plays him straight). Shyanne’s ex-husband is Jinx, a former professional wrestler, played by Nick Offerman with the low-key affect of Ron Swanson, dialed down even further; depression and drug addiction will do that to you. Fresh out of rehab, he trades a championship belt for a motorcycle and joins the household; though he left Margo early, and unlike Shyanne, he proves to have a marvelous, easy way with Bodhi. (The baby himself, or babies — they use twins for this job — are themselves marvelous.)
Also in residence is roommate Susie (Thaddea Graham), a chirpy cosplayer — and coincidentally Jinx’s biggest fan — whose skills will become valuable as Margo, needing cash, sets off into the world of OnlyFans. First picking up tips describing followers’ penises in terms of Pokémon (no explanation has been thought necessary), she pivots to video, mounting increasingly elaborate sexy sci-fi productions alongside Susie (sets and costumes), Jinx (narrative advice, stunt coordinator) and OnlyFans veterans KC (Rico Nasty) and Rose (Lindsey Normington), a fabulous tag team to whom Margo turns for advice. (Margo does seem to take things over, but it’s her name in the title, so there you go.) This introduces an element of Mickey and Judy, my uncle’s got a barn, let’s put on a show comedy. More important, it creates a team, melding the family you make with the family you have.
It’s as sweet as can be. Apart from sleeping with one’s professor — students, do not do this! — the show is positive about just about everything: motherhood, daughterhood, professional wrestling, second chances, sex work, cosplaying and the way art shows up in strange places. Only Marcia Gay Harden, as Mark’s mother, Elizabeth, is an outright villain, and you will hate her.
The series was created by David E. Kelley (Mr. Michelle Pfeiffer), from Rufi Thorpe’s 2024 novel, once again under the umbrella of Nicole Kidman’s Blossom Films (following their collaborations on “Big Little Lies,” “Nine Perfect Strangers” and “Love & Death”), with its house style of well-upholstered capital-Q Quality (as distinct, in its pop-cult, way, from prestige). (Kidman has a small role as a wrestler-turned-lawyer and it’s been a while since I’ve seen her this well used.) “Margo’s Got Money Problems” can be terribly sentimental, almost corny — the climax is pure Hollywood — but undeniably effective. And if its mix of comedy and drama can be a little destabilizing, you won’t need to worry about where it ends up.
