Mary Steenburgen moved to California to work with Jack Nicholson.
It was 1977, and Steenburgen — an Arkansas native — had been waiting tables in New York at night while studying acting with Sandy Meisner at the Neighborhood Playhouse during the day. She’d been pounding the pavement for about seven years, she says, when her “overnight moment came” and she was called in to read for a film Nicholson was both directing and starring in called “Goin’ South.”
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
Getting the role, Steenburgen says, changed her life in every way. “I flew out [to film] and had an amazing introduction to the town,” she explains. “I lived at the Chateau Marmont and went to Paramount Studios every day, where [Nicholson] would screen movies for me and then come in at the end to give me a little film-slash-acting lecture about each one. It really helped me get ready to dive into the big leagues.”
Though she spent some years in an old Ojai farmhouse in the 1980s raising her kids with former husband Malcolm McDowell, she’s always had a base of operations here in L.A. She shares her L.A. abode now with husband Ted Danson, whom she married in 1995 and with whom she’s starred in numerous projects, including the Netflix series “A Man on the Inside.” L.A. is also where she filmed her latest movie, “The Dink,” an Apple TV comedy centered on one of her favorite pastimes: pickleball.
Here’s how Steenburgen would spend her perfect, pickleball-filled Sunday in Los Angeles.
This interview has been edited for length and clarity.
5:30 a.m.: Early morning meditation and mental exercise
We always wake up early. After so many years of going to work at 5 in the morning, we always wake up between 5 and 6 now.
We’re morning meditators, or we try to be since our dog [Blue] just sits on our laps and stares at us until he’s been fed. Then we have to do all the New York Times games, and then I’ll try and find a pickleball game. We love Spelling Bee. We have to get to Genius, at least. Occasionally we’ll get to Queen Bee, but if we don’t get to at least Genius, then my day is ruined.
If my husband and I are working that week, whoever’s not working will have to run lines with the one who is. So we’ll generally spend a few hours doing that in the morning, too.
8:30 a.m.: Light gardening
I love my garden. A lot of it was hand-planted by me. Not the big trees — someone else planted those — but everything else, like the ground cover and smaller plants, I did. So I’ll spend a little time out there, too.
I like to go to Armstrong Garden Centers. They hire very knowledgeable people there. When I first started planting my garden — I live on a hill and it was all dirt back there and not everything grows well that way so I was looking for ground cover that would grow quickly but also didn’t mind a hillside. The people at Armstrong knew the answer, and they were great.
10 a.m.: Pickleball-palooza
I try to play pickleball for at least two hours a day, if I can. I try to find a game with friends, or I’ll go and play in different parks.
This morning, I played at a friend’s house. She has a beautiful tennis court and they put tape down on it so we can use it for pickleball, too. I played with her daughter and her friend.
I also have a pickleball coach and sometimes we’ll go play at this place called Pickle Pop that’s on the Third Street Promenade. Other times, I’ll play at the Santa Monica Pickleball Center.
My son just brought eight members over from [one of] London’s biggest pickleball club[s], Lemon Pickleball, and they all stayed with me. We played all over the place and we had so much fun. They loved Southern California, and seeing it through their eyes made me love it even more.
On their last night here, I called a wonderful family I know that cooks fantastic Mexican food, because I knew [the Brits] hadn’t ever really experienced great Mexican food. I met them because they’re set up every weekend in the parking lot at Rustic Coffee [in Santa Monica]. They’re lovely folks. So they came over and cooked, and we had a wonderful night for the Brits, putting up all kinds of lights and decorations too.
12:30 p.m.: Magical brunch with the grandkids
We go to Kreation a lot for lunch, just because it’s nice and it’s very healthy. I was just there yesterday with my granddaughters, after we all played Pickleball.
Actually, this weekend we all went to the Magic Castle together, too. I hadn’t been for decades and two of my five grandkids were here, and they’d never been either. Mostly it’s no kids at the Magic Castle but on weekends they do a brunch where kids can come so we went to that. The last magician in the show even called my granddaughter up on stage to be a sort of assistant, and it was very cute.
3 p.m.: Hiking with the dog
Because we work a lot and our days often belong to someone else from early in the morning until pretty late at night, weekends are more laid back.
We like to go on hikes and walks around Santa Monica. We have this big Australian Shepherd and we take him for long, slow walks. They’re slow because he has to say hello to every dog and person along the way — especially babies, who are his absolute favorite.
There’s something magical about my dog, I think. People will say, “Oh, my dog hates all dogs” and then my dog pulls me over and the dog that hates all dogs just melts. It’s like he calms other dogs. He even calms people that think they don’t like dogs. I know I’m very prejudiced, but I’m also very proud.
6 p.m.: Breakfast (or Goop) for dinner
We’re big on breakfast for dinner, so maybe we’d have some poached eggs on toast or poached eggs on creamed spinach.
If we order in, we might get food from Goop Kitchen. They have so many healthy, fantastic choices. Even their pizzas are pretty healthy.
8:30 p.m.: TV in bed
Sometimes I read a book at night, but we also have a show we absolutely love to go to sleep to, even if you’re not supposed to do that. It’s this British game show called “Would I Lie to You?” and unfailingly it makes me laugh. I’ve seen every single episode — some of them twice — and I like to go to sleep laughing.
I also just said to Ted that I think we’re going to have to start “Cheers” again soon. We just lost our friend Jimmy Burrows, who was a magnificent human and so important to Ted’s whole career, and one of the great things about watching “Cheers” is, if you know Jimmy’s laugh, you can actually pick it out multiple times during each episode.
It’s been a long time since we’ve watched “Cheers,” and it honestly never gets old. I first watched it in Ojai when I was married and had young children. We would watch it with our best friends on Thursday nights, like everybody would go down to their house in their pajamas and we’d watch “Cheers” and then I’d come home to put the kids to bed. Then, when I was going through my divorce I would watch it at 10 o’clock at night because I was very lonely and it was the thing that cheered me up at the end of the day during a hard time in my life. Little did I know that one day I’d be sleeping with Sam Malone.
Jenner announced the news of Shannon’s death Thursday in an Instagram tribute. She was 91.
“Today, we said goodbye to my beautiful Mommy MJ. … There are no words that could ever capture what she has meant to me or the heartbreak of having to say goodbye. My mom was the heart of our family.”
Jenner wrote that her mother, the matriarch of the Jenner-Kardashian clan, taught her everything that “truly matters.”
“To love your family fiercely, to be kind, to show up for the people you love, and to never take a single moment together for granted,” she wrote alongside a glamour shot of Shannon. “She taught us that family is everything. She showed us how to love unconditionally and how to find joy in the little moments. She showed me how to face life’s challenges with resilience and faith.”
Jenner concluded the post with an open letter to MJ:
“Mom, thank you for every sacrifice you made, every piece of wisdom you shared, and every moment you loved us so completely. I will miss our daily talks, your smile, your laughter… Our hearts are broken, but we find comfort knowing that love like yours never truly leaves us. Your love will live on in our family, in our traditions, in every moment we are together, and in every life you touched. When I look at my kids and my grandkids, I will forever see pieces of you in all of us. There is not a part of me that isn’t shaped by you. And if I have done anything right in this world, it’s because I spent my life trying to live in a way that would make you proud. Every memory, every moment, every blessing, it was all because of you, and I will forever thank God every single day for making you my mommy. My heart is broken into a million pieces… thank you for giving me the greatest childhood and oh what a beautiful blessed life… I love you forever Mommy. Thank you for giving us everything.”
Born Mary Jo Campbell on July 26, 1934, MJ married her high school sweetheart, whom she divorced two months later. Then in 1954, she wed Jenner’s dad, Robert “Bob” True Houghton. She gave birth to Jenner the following year and Jenner’s late sister, Karen Houghton, in 1958. After seven years of marriage, MJ and Bob called it quits and she married Harry Shannon, a businessman who helped raise Jenner and her sister in San Diego, where MJ ran a children’s clothing store.
Harry Shannon died in 2003.
MJ was featured on the famous clan’s E! reality series “Keeping Up With the Kardashians” and the follow-up Hulu series “The Kardashians” numerous times over the years. In a clip from the show, granddaughter Kim Kardashian detailed that her grandmother had survived colon cancer and breast cancer and, in her sunset years, struggled with sickness resulting from the cancer treatments.
In one clip from the show, MJ said she didn’t have an appetite without taking her “medication” first. Then she persuaded her daughter, Jenner, to have marijuana gummies with her. Together they lit some incense and munched on muffins and chips and guacamole.
In another clip, Jenner interviews MJ about her life, and during the sit-down, Jenner asks MJ, “What’s your biggest fear?”
MJ replies, “I try not to fear,” and then follows up asking Jenner what her biggest fear is.
Jenner starts to cry and says, “I don’t want to say it. I can’t believe I’m crying. … Just, losing someone.”
On Thursday, Kim Kardashian caught flak online when a post featuring the Skims mogul and her sister Khloe Kardashian swigging tequila from a boat on a lake published shortly after Jenner announced the news of MJ’s death.
“This post was scheduled a few days ago before we lost MJ, so its timing came right alongside her passing,” Kim wrote in the comment section of the post. “I’ve been by my mom and grandma’s side this past week, and my heart is completely with my family right now. We love and miss her so deeply, and in the days ahead, we’ll be focusing on celebrating her beautiful life.”
Kim followed up with a post celebrating her grandmother, writing, “My sweet Grandma MJ, my best friend, my gossip buddy, my forever twin … You taught all of us the importance of family, and those values are something we’ll carry with us forever!!!!! You were the woman who showed me what it meant to be a hardworking businesswoman. You gave me my very first job at your store in San Diego and taught me lessons about work ethic, strength, and confidence that I’ve carried with me ever since.
“You always believed in me, championed me, and were my safe place. You truly were the matriarch of our family, and your love is woven into all of us. I know you’re at peace now. Give Papa Harry, Aunt Karen, and my dad a hug for me. You will always be a part of me, I love you soooooo much and I will miss you forever and ever. … YOU ARE THE BEST OF US!!!”
Two weeks ago, Jenner’s bodyguard, Mason Haynes, who also worked as a close protection guard for other members of the Kardashian-Jenner family, died in a traffic accident. He was 52.
Wigan Warriors prop Mary Coleman has earned her first England call-up for the mid-season Test in France later this month.
The 28-year-old switched to rugby league four years ago, having previously played union for Preston Grasshoppers.
In the 15-a-side code, Coleman also played three times at Twickenham for Cambridge University in the Varsity match – in 2016, 2017 and 2018 – and has represented Kent, her home county, at both union and athletics.
She helped Wigan beat St Helens 54-6 at Wembley on 30 May to win the Women’s Challenge Cup.
England face France in a one-off Test at Stade Ernest Wallon in Toulouse on Saturday, 25 July (18:00 BST). The match will be staged as part of a double-header with Toulouse’s men’s Super League match against Catalan Dragons (21:00 BST).
Head coach Stuart Barrow has not selected any Australia-based players, as the NRLW is in the middle of its season.
The match will provide Barrow’s side with a warm-up before the Women’s World Cup in Australia, New Zealand and Papua New Guinea this October and November.
England – who will play all of their World Cup matches in Australia – begin their campaign against Wales in Perth on Saturday, 17 October.
Barrow said: “While our immediate focus is on delivering a strong performance in France, every training session and camp over the coming months will help shape where we need to be when the World Cup begins.”
England squad: Mia-Jayne Atherton (Wigan Warriors), Keara Bennett (Leeds Rhinos), Ruby Bruce (Leeds Rhinos), Mary Coleman (Wigan Warriors), Evie Cousins (Leeds Rhinos), Jodie Cunningham (St Helens), Anna Davies (Wigan Warriors), Ellise Derbyshire (Wigan Warriors), Ella Donnelly (Leeds Rhinos), Jenna Foubister (Wigan Warriors), Shona Hoyle-Holdsworth (St Helens), Eva Hunter (Wigan Warriors), Katie Mottershead (St Helens), Lucy Murray (Leeds Rhinos), Tamzin Renouf (York Valkyrie), Isabel Rowe (Wigan Warriors), Vicky Whitfield (St Helens), Megan Williams (Wigan Warriors), Georgia Wilson (Wigan Warriors).
“Little House on the Prairie” is the third television adaptation to bear the name of Laura Ingalls Wilder’s 1935 autobiographical novel of life on the Kansas plains in 1869 to 1870. The first, the Michael Landon television series that debuted in 1974, set in Walnut Grove, Minn., is really based on Wilder’s subsequent volume, “On the Banks of Plum Creek,” while a 2005 miniseries, shown as part of “The Wonderful World of Disney,” was generally faithful to the letter and spirit of the text. The record shows that I liked it.
The new “Little House,” created by Rebecca Sonnenshine and streaming on Netflix, is fairly faithful to its spirit, and less so to its letter. At its center is the Ingalls family: father Charles (Luke Bracey), or Pa; mother Caroline (Crosby Fitzgerald), or Ma; serious older sister Mary (Skywalker Hughes), and adventurous Laura (Alice Halsey), whose story this is. They are heading out to Kansas to what they imagine is free land, though they will have a thing or two coming on that account. “This will be our new forever,” says Laura, who doesn’t yet know that her future will be in Minnesota.
To be sure, the character relations remain essentially the same. Pa will play his fiddle. Laura and Mary will dance, when not getting in one another’s hair, or sulking. There will be singing, frequently. Major episodes from the book — when Jack got lost, (Jack is the dog, and he will be found), the incident of Mr. Scott (Maclean Fish) down the well, Christmas, the one about malaria, and all the business of building the eponymous log house — are accounted for, if in some cases expanded upon or altered. So extensive are its innovations that, although I am going to point out certain departures from or additions to the text, because I am that sort of pedant, it may be best just to regard this “Little House” as an original thing, a variation on a theme by Laura Ingalls Wilder, or a reboot of the television show.
Some touches are drawn from Wilder’s own history. Her mother was a teacher before she married Charles Ingalls; her maternal grandfather died from drowning. The black cowboy hat Laura sports is straight from a photograph of Wilder as a girl. Laura is made a sort of mini-Scheherazade to foreshadow the writer she’ll become (though she’ll also ask, “What am I ever going to need in a book?”). Baby Carrie, in the novel from the start, is born, as she really was, in Kansas, meaning that Ma is pregnant through much of the season — a condition that may have seemed too complicated for a 1935 children’s book, but which adds new strains of drama to the miniseries. It also introduces a theme in which Ma, who has lost “so many” babies, is trying to give Pa a boy, though he is not the sort to be disappointed in another girl.
Also new to the story is Independence, Kan., itself, which in the book is an offstage place to which Pa will sometimes go to fetch necessities, disappearing from the story until he returns. Here it’s nearby — a nicely realized little movie town to which the whole family will sometimes repair, to shop, raise a church or join in a Founders Day celebration. It’s dominated by a less than transparent booster, Eli James (Michael Hough), who comes with a self-important wife, Jemma (Mary Holland), and a pair of teenage twin girls who might be described as all dressed up with nowhere to go.
Notably, the series’ treatment of Native Americans feels intended to rectify, or at least deepen, their portrayal in the book — naive or romantic, maybe, though not, I’d argue, negative — with added native characters and discussions regarding the land and treaties and such. While Ma frets about the natives in the neighborhood, for no reason she can articulate — one juvenile delinquent steals her cherished china figurine, but we understand that there are social causes for his behavior — Pa, who has built his house unwittingly on an Osage trail, has sympathy and perspective. (Ma will soften considerably, because this is that kind of show.)
It’s not an issue for guileless, outgoing Laura, who acquires an Indigenous best friend, Good Eagle (Wren Zhawenim Gotts). Her father, Mitchell (Meegwun Fairbrother) will be a friend to Pa and her mother, White Sun (Alyssa Wapanatâhk), will provide a skeptical counterpoint to Ma. Mission-educated, they live in a nice house with a crucifix on the wall and shelves full of literature.
Most every character gets some backstory, some traumatic. The Ingalls left Wisconsin under a cloud. (“Why didn’t anyone come to say goodbye?” wonders Laura.) (Still, it’s good to see Martin Donovan as Pa’s angry father in a fever-induced flashback.) Ma married Pa, her social inferior, against her mother’s wishes. Caleb (Kowen Cadorath), a new character who works for another new character, Emily Henderson (Barrett Doss), at the general store, was abandoned as a small child. Echoing the character played by Victor French in the TV show, Mr. Edwards (Warren Christie) has a drinking problem, brought on by a family tragedy. (In the book he describes himself as a “wildcat from Tennessee”; here he has wild … cats.) Much of the time, someone is sad. Halsey and Hughes, who are very watchable throughout, are especially good with worried looks, and Fitzgerald, perhaps the series’ MVP, is an artist when it comes to expressing concern.
Sonnenshine also invents tentative romances between Edwards and Lacey Aubert (Rebecca Amzallag), who is French, independent, runs the saloon, I guess you’d call it, dresses in black and wears trousers; between Emily and Dr. Tann (Jocko Sims), who is in the book, but much more established here; and between Mary and Caleb. All these storylines sacrifice the centrality of Laura as a character and observer and makes this “Little House” less a story of a family out on its own than a family in the context of community. (That’s for later volumes in Wilder’s nine-book saga.)
It’s very sentimental — which the novel, with its matter-of-fact, if sensually evocative prose, and its child’s-eye view, is not. The dialogue here is ripe with sampler sentiments and weighted with meaning (“Hope is everything,” “What if this is where we finally become who we’re meant to be,” “Life can get away from you if you don’t speak your heart.”) Much of the added material would have easily fit the TV series — temperamentally, it’s very much a case of late 20th century broadcast television — which to some may be a recommendation.
It’s pretty, often very pretty, to look at. The flat expanse of Winnipeg, Canada, where it was filmed, makes a good topographical match for east Kansas. Prairies are prairies.
Lasser was born in New York City on April 11, 1939, to parents Sol Jay Lasser, a tax specialist, and Paula Lasser, a designer. She attended Brandeis University, where she majored in political science and performed in musicals and cabaret. She dropped out her senior year to pursue acting.
“My career started almost too easy,” she told the Times in 1975. “In New York the first agent I met sent me on my first audition, and I was signed for a show-stopping part [a replacement for Barbra Streisand in ‘I Can Get It for You Wholesale’]. After that there was a flood of offers.”
She told the Times that she found it frightening to hit it big with such little training.
“I had to feel prepared,” she said. So, she studied under actor and acting teacher Sanford Meisner and worked hard.
“I feel so strongly that what is worth doing is worth doing the very best you can. But it’s so important to know what you want to do. How you can develop your potentials to the highest, live your life to the richest and fullest.”
Lasser joked in a 1976 article in the Times that her role as Mary Hartman might merit identification beyond being Woody Allen’s ex-wife. The two met in 1962 on a double date — with other people — but their chemistry was potent, and they began working together on various projects, including in her first project for television, “The Laughmakers,” an unaired pilot penned by Allen.
“When we met, I was seeing a friend of his. It was one of those things, well if you think you’re complicated, you should meet so-and-so. And it was Woody,” Lasser told the Toast in a 2013 interview. They “were meant to be in the same playpen,” she said. “Immediately we just connected. He was with somebody … oh, he was married, that’s right. … So, I met him, and it was so clear the whole night the four of us were there, and neither of us are talking to anyone else, do you know what I mean? … We really understood what the other was saying.”
The two were married from 1966 to 1970. Lasser acted in Allen’s “Take the Money and Run” (1969), “Bananas” (1971) and the 1972 film “Everything You Always Wanted to Know About Sex (But Were Afraid to Ask).”
Through the early ’70s, she appeared in various TV movies and television shows including “The Bob Newhart Show” and “The Mary Tyler Moore Show.” Somewhere along the way, the biggest producer in television caught wind of Lasser’s chops and wanted her for his pet project, a parody of sudsy daytime dramas called “Mary Hartman, Mary Hartman.”
During an interview featured in an oral history of American TV by the Television Academy Foundation, Lear said he’d brought the script for the series to a colleague, and they read it and said, “You can’t do this without Louise Lasser.”
“She came in my office, started to read the lines, and forget it,” Lear said. “There’s only one Louise Lasser.”
Lasser, put off by the soap opera nature of the show, turned down the role five times.
“I kept saying, no, it’s just not right,” she said during a 2000 reunion for the show. “I had no job, no money. … I just was that way, so after the fifth meeting, I said to my manager, ‘You mean he’s not going to call again?’
“Then my friend said, ‘You know, I think you really don’t want to say no.’ So I thought to myself my rationalization was, well, maybe it’d be really good for me to work for 52 weeks out of a year.”
Lasser starred as Hartman in 315 of the show’s 325 episodes over the course of an 18-month run.
Amazon’s Prime Day sale is underway, and members can subscribe to platforms such as Apple TV, Paramount+ and MGM+ with up to 60% off.
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Project Haily Mary is streaming now on MGM+
Amazon has slashed the price of Apple TV, Paramount+ and MGM+ by up to 60% to mark the start of its latest Prime Day sale. On Tuesday (June 23), the retail giant kicked off its latest site-wide sales event, where subscriptions for several major streaming platforms now start at £2.99.
During the sale, Amazon customers can bag an Apple TV subscription for half price at £4.99 (was £9.99) per month. Those securing the deal will lock in the lower price for two months, after which it reverts to the usual £9.99 until cancelled.
Similarly, MGM+ – the home of Project Hail Mary – is now £2.99 (was £5.99) for two months, while Paramount+ is £2.99 (was £7.99) for one month. The deals are running until July 2 and come as Amazon kicks off its Prime Day 2026 sale.
A caveat is that both the reduced streaming subscriptions and free trials will roll on to standard paid subscriptions at the end of the promotional period. This means subscribers should make sure to cancel their subscription before the end of the discounted or free period if they want to avoid paying the standard rate.
Amazon customers can subscribe to Apple TV through Prime Video for £4.99 per month for two months until July 2.
Elsewhere, Sky is giving away streaming subscriptions at no extra cost with its TV packages, with customers signing up for the £24 Ultimate TV bundle able to claim free access to Netflix, HBO Max and Disney+. It also comes with around 135 channels, including Sky Atlantic
For those opting for Apple TV, the streamer has released some highly acclaimed titles already this year. Including comedy horror Widow’s Bay, which holds an impressive 98% Rotten Tomatoes score.
Just launched is the sophomore season of Sugar. The neo-noir detective series led by Colin Farrell as private investigator John Sugar.
Also available to stream are beloved series like Ted Lasso, Severance and Slow Horses. Alternatively, Apple TV offers a seven-day free trial when signing up directly on the platform.
MGM+ also has some hit new titles streaming now, such as Ryan Gosling’s space epic Project Hail Mary. The box-office smash only hit cinemas in March but is included at no extra cost with the Amazon deal, alongside series like Outlander and the James Bond film catalogue.
On Paramount+, members can catch the latest series of Michael Fassbender’s spy thriller The Agency and new episodes of Yellowstone spin-off Dutton Ranch. These are also available on the Paramount+ platform, which is running its own £2.99 deal.
A waterfront amphitheater roughly twice the size of the Greek Theatre and two-thirds the size of the Hollywood Bowl is set to open this week in Long Beach — and there’s a lot riding on its success.
City leaders hope F&M Bank Amphitheater of Long Beach, located next to the famed Queen Mary, will supplant declining revenues from oil extraction and lead to an uptick in tourism. Concert promoters, meanwhile, see it as filling an important gap in Southern California’s music venue market.
The temporary amphitheater, which has a maximum capacity of 11,000, is meant to be a precursor to a permanent “Long Beach Bowl,” which is being pitched as the largest waterfront venue on the West Coast. The site opens June 6 with a performance by native son Snoop Dogg, and is expected to last for up to 10 years.
The new amphitheater represents a years-long dream of Mayor Rex Richardson, who began championing an outdoor performance venue on the waterfront in 2023. Soon after the closure of Irvine’s FivePoint Amphitheatre in October of that year, he accelerated those plans by proposing this facility. The general feeling was that Irvine’s loss could be Long Beach’s gain.
“This will be a place where memories are made, where music brings people together and where our city shows up on the big stage,” he said during a January groundbreaking. “The amphitheater represents direction to invest in our city’s future, to embrace our creative economy [and] to shape how people experience Long Beach for generations to come.”
Good vibes by the water is the driving energy behind the temporary venue.
(Eric Thayer / Los Angeles Times)
While Los Angeles and Orange County have no shortage of cavernous indoor arenas, the region has recently lacked a proper “summer shed” capable of hosting many national amphitheater tours, said Nick Storch, head of global artist development for booking agency Independent Artist Group. Those tours typically play venues larger than the Greek, Irvine’s Great Park Live or Costa Mesa’s fairgrounds-adjacent Pacific Amphitheatre, but smaller than the Hollywood Bowl.
Such tours, Storch said, are of “massive” importance to the concert industry. “With amphitheaters, it’s not just the music — it’s the experience of being outside and watching a concert, getting a bite to eat with your friends and all those kinds of things,” said Storch, whose agency’s clients Motley Crue and Five Finger Death Punch will perform at the F&M Bank Amphitheater in September.
“FivePoint was a great venue to help artists that are in that in-between stage, and not fully ready for arenas,” he said. “Long Beach having an amphitheater is going to grow the market again.”
Amphitheaters are also crucial to veteran artists with established fan bases. The long-running hard rock band Tesla — who also will perform at the F&M Bank Amphitheater in September — has not played a show in Los Angeles or Orange counties since the closure of FivePoint, which hosted the group twice.
Brian Wheat, the band’s bassist and manager, said he’s excited the new venue will help change that. “Sheds are great in the summertime, and outdoor summer gigs always create a great atmosphere for both bands and fans,” he said.
Much like the F&M Bank Amphitheater, FivePoint Amphitheatre was designed to serve as a temporary venue following the closure of Irvine Meadows Amphitheatre, which operated from 1981 to 2016. (From 2000 to 2014, it was known as Verizon Wireless Amphitheater.)
At 11,000 seats, the amphitheater is roughly two-thirds the size of the Hollywood Bowl. Its permanent replacement will be “architecturally iconic,” said Mayor Rex Richardson, while this temporary version is likened to a “summer shed.”
(Eric Thayer / Los Angeles Times)
From its opening in October 2017 until its closure, FivePoint hosted nearly 500 concerts, including artists such as KISS, Dave Matthews Band, Charlie Puth, Morgan Wallen and Luke Combs.
Venue operator Live Nation — which manages more than 300 facilities across the country — initially hoped to build a permanent amphitheater nearby, but scrapped those plans in 2023 after the Irvine City Council ended negotiations. Soon after, Live Nation announced the venue would shutter.
After learning of Live Nation’s fallout with Irvine, Richardson and members of his economic development team attended the final FivePoint concert, a performance by the Zac Brown Band, to “explore the feasibility if we were to do the same thing.”
Three months later, Richardson announced plans to build a temporary amphitheater in Long Beach to bridge the gap until a permanent facility — which he envisions as an “architecturally iconic and significant” waterfront venue akin to San Diego’s Rady Shell at Jacobs Park — can be permitted, financed and constructed.
The site’s location is central to its appeal, said Dan Hoffend, executive vice president of North American venues for Legends Global, the operator for F&M Bank Amphitheater. “If you sit in the very top row — what you would consider the worst seat in the house — it’s a spectacular view,” he said. “The Queen Mary is sitting there in all its glory. You’re looking across the harbor. What would be perceived as the worst seat is actually the best seat because you see it all.”
Long Beach Mayor Rex Richardson, left, and amphitheater general manager Tra Jones sit in the stands. Even from the nosebleeds, you still have a view of the waterfront at the F&M Bank Amphitheater.
(Eric Thayer / Los Angeles Times)
Tra Jones, general manager of the new amphitheater and a Long Beach native, said he’s striving to make it feel less stopgap and utilitarian than FivePoint.
“It doesn’t have a temporary feel at all,” he said. “We looked at all our surroundings and said, ‘What does this look like from a stylistic point of view?’ We leaned into the port/SteelCraft vibe — a very cool industrial look. When you walk in, you’re experiencing a vibe. That’s what we want to resonate with concertgoers coming here.”
The word “vibe” also pops up frequently in conversation with Richardson. Under his watch, Long Beach recently started branding itself as “Vibe City,” which he said is an attempt to encapsulate the charm of L.A. County’s second-largest city, and the state’s seventh-largest.
“Long Beach is special, but it’s hard to explain why if you haven’t been here,” he said. “Because you have to experience it for yourself, the best way to describe it is that it’s a vibe.”
Still, Richardson is aware that vibes can only go so far. During an April meeting with residents of downtown Long Beach, attendees were more interested in discussing homelessness and a recent uptick in traffic fatalities than how a new concert venue might add to the city’s cultural cachet. Some downtown residents have circulated a petition regarding noise-related concerns.
“The job of the mayor is to meet the needs of your residents today — keeping a roof over your head, making sure it’s safe to walk down the street, making sure you have access to amenities and services in your community — but also to think about the future,” he said.
That means finding a way to offset revenues from oil extraction, which currently finance many municipal services, and are projected to drop from more than $50 million annually to around $21 million by 2035. According to Richardson, the new amphitheater — managed by Legends Global, but owned by the city — will help cover that shortfall. The venue is projected to be profitable within five years and generate nearly $29 million in revenue by 2036.
Oil revenues, which pay for city services, are projected to drop by more than half. The amphitheater is being pitched as a budget gap solution.
(Eric Thayer / Los Angeles Times)
“We were fortunate that revenue from oil provided a lot of our services and built our beautiful waterfront, but as California moves away from oil production, we have to plan a more sustainable future by investing in what we know will be here in the long haul,” Richardson said. “In order to do that, we have to invest in arts and culture and tourism.”
Richardson is betting on music at a time when other cities — including Los Angeles — are doubling down on sports, warehousing or data centers. The amphitheater is also meant to remind the world of the city’s impact on pop culture.
From War to Warren G and Sublime to Snoop, Long Beach has a rich musical history. The city hosted the first concerts by the Beach Boys and No Doubt, while Rock & Roll Hall of Famers Elvis Presley, the Eagles and Iron Maiden all graced the stage of the Long Beach Arena.
While that venue currently holds more conventions than concerts, Long Beach has hosted notable outdoor music festivals in recent years, including Warped Tour, Day Trip and Dreamstate. Richardson believes the success of those events helped prove the city’s viability as a concert destination.
“This is the first step toward a legacy of leaving our city in a more economically resilient position,” Richardson said. “At every big turn in our city’s economy, we’ve leaned on arts as a way forward, and this is no different.”
Even the bleacher seats represent Long Beach pride at F&M Amphitheater.
Hollywood has been waiting for Kane Parsons since the year he was born. The 20-year-old director is the same age as YouTube’s first videos and grew up with no barriers between his creativity and an audience. “Backrooms,” his debut feature, marks the start of a new new wave of filmmakers raised by internet feedback who are ready to reinvigorate the industry.
Young Steven Spielberg screened his 8mm reels for his neighborhood. Parsons uploaded his early shorts online where he could analyze the mass response. When one, an unsettling nine-minute experiment about a warren of dingy carpets, taffy-yellow walls and gridded drop ceilings clicked with 78 million viewers, he made sequels. A24 offered Parsons a deal before he finished high school. He’s graduating into multiplexes having spent his adolescence writing, directing, editing, composing and market-testing what people want to watch. I’d toast to that, but Parsons isn’t old enough for Champagne.
Given that backdrop, “Backrooms” would be one of the year’s most significant releases even if the movie itself was merely fine. But it’s better than fine — it’s a work of honest-to-goodness art. Working with screenwriter Will Soodik, Parsons has gone back into that banal maze to find an uncannily mature story about loss and stagnation, about how our self-serving narratives barricade us from emotional growth.
Set in 1990, “Backrooms” has the fritz of an old VHS tape. (Like so many other Gen Z kids, Parsons is nostalgic for a pre-smartphone era he never knew.) A failed architect-turned-furniture salesman named Clark (Chiwetel Ejiofor, superbly expressive) tumbles through a portal in his store’s basement to the backrooms of the title — less Alice in Wonderland, more Alice in Wonderbland.
“It’s like it was made by a bunch of construction workers on acid,” he muses. The hallways lead to more hallways, the overhead fluorescents whine like hornets. Someone — or something — has piled lamps and stools into the center of one room, scattered chairs in another and embedded shoes into the floor as though the ground were made of sand. The disorder looks like the wreckage of an unknown chaos. Aboveground, Clark is trapped in his own resentments, throwing temper tantrums like a toddler. Down here, frustration feels natural.
Should he be afraid? And if so, then what of?
Distant thuds warn that Clark isn’t alone. Soon after, three other characters follow Clark into this liminal space: his loud employees Bobby and Kat (Finn Bennett and Lukita Maxwell) and his exasperated therapist, Dr. Mary Kline (Renate Reinsve), who is haunted by flashbacks of her agoraphobic mother. There’s also a mysterious man in a lab coat (Mark Duplass) who works for a company that factors into the backrooms’ preexisting internet lore, but doesn’t have much purpose in this script. It’s fine just to see Duplass as a gesture toward corporate apathy. More beings will appear too and cinematographer Jeremy Cox’s deliberately low-fi look forces you to do triple and quadruple takes to comprehend what you’re even seeing.
How does a 20-year-old fathom adult-sized discontent? Lord knows, but Parsons does. One theory is that today’s 20-year-olds were just launching into teenhood when the pandemic teleported them from their classrooms to isolated computer screens. Meanwhile, they overheard their parents fret that society might be forever hollowed out. When a young person looks toward the future, what do they see? Probably not an office building bustling with entry-level jobs.
Think about how the act of buying a couch no longer involves interacting with a salesman like Clark, but peering at a pixelated living room that doesn’t actually exist with a couch that changes colors at a tap. Think about how lately the internet at large feels human-less. Then layer that emptiness over the images here.
Sparse yet gripping, “Backrooms” and its minimalist story accommodate the audience’s own free-ranging imagination. The infinite size of these drab catacombs triggers sense-memories of feeling small and confused in an ordinary place that feels all wrong. It’s a time travel trip back to childhood — mass entertainment made intimate — with Parsons tossing us scraps of Clark and Mary’s personal histories like a breadcrumb trail. I remembered what it felt like to get lost in a motel on a road trip with my grandparents. More recently, I tidied the home of a friend who was in the hospital, the pill bottles and crumpled blankets left in situ as evidence of someone else’s pain. “Backrooms” felt like that, too.
There’s an incredible special effects shot where the camera sinks through the floor of Mary’s living room to find a mutation of the same room — and then another and another — each replica deteriorating further from reality until it becomes a new room altogether that would fit right into the backrooms. This, we wordlessly understand, represents how memories of the past can be at once factually inaccurate and emotionally true. We’ve all been bewildered kids, Parsons more recently than most. Some of the most powerful people on Earth still behave like they’re stuck in that headspace.
Describing “Backrooms” as a horror film doesn’t feel exactly right. It’s a surrealist painting in motion, the equivalent of staring at Salvador Dali’s wasteland of melting clocks until it makes gut-sense. Dali made that famous masterpiece, “The Persistence of Memory,” in 1931, a breath-holding moment between wars when daily life looked normal enough but vibrated with the dread that no, things were definitely not OK. Kids don’t know that, but they vibe with Dali anyway because he keys into their suspicion that the world doesn’t really obey the rules.
That anxiety hums through “Backrooms.” It’s why millions of people watched and shared the original short. Yet as fraught as it sounds — and as abruptly as it ends — I left elated. A major new moviemaking talent has arrived and he’s the beginning of a movement. Other internet-honed young filmmakers will follow with their own fresh insights into genres like action, comedy and romance. Kane Parsons is just the first one through Hollywood’s labyrinth.
‘Backrooms’
Rated: R, for language and some violent content/bloody images
London City Lionesses are an ambitious club under owner Michele Kang and had a steady debut campaign in the WSL, finishing sixth after eight wins from 22 matches.
Sources at the club say an agreement with Earps has not yet been made, but they remain optimistic about their summer business.
Eder Maestre’s side have been linked with several players including Barcelona defender Mapi Leon and England winger Beth Mead, who announced her departure from Arsenal this week amid additional interest from Manchester City.
Earps is one of a number of big-name players potentially available on a free deal this summer, with Arsenal’s Mead and Katie McCabe leaving, Barcelona’s Alexia Putellas yet to sign a new contract, Sam Kerr departing Chelsea and Manchester City top scorer Khadija Shaw rejecting contract renewal proposals.
During her time in England, Earps became one of the country’s most recognised and influential players, though her book – released in November – caused controversy and dominated headlines in the media for several weeks.
