Michael

A new estate-backed film, Michael, tells the story of Michael Jackson’s rise from Gary, Indiana to global fame, highlighting hits like Thriller and his record-breaking success. But it ends before major scandals, and it leaves out the US musician’s race and politics, including his solidarity with Palestine. What story is being told, and what is being erased?

In this episode: 

Episode credits:

This episode was produced by David Enders and Sarí el-Khalili, with Spencer Cline, Catherine Nouhan and our host, Malika Bilal. It was edited by Noor Wazwaz and Tamara Khandaker. 

Our sound designer is Alex Roldan. Our video editors are Hisham Abu Salah and Mohannad al-Melhem. Alexandra Locke is The Take’s executive producer. 

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“That man had clearly had too much to drink and it felt to me like his anger came out of nowhere,” Van Gerwen, 37, told Dutch sport news website Sportnieuws.nl, external.

“Just as he seemed to be heading for the exit, he suddenly lashed out.

“That man clearly knows he was in the wrong because he apologised via Instagram.”

Van Gerwen, who has decided not to press charges against the person responsible, said of his reaction to the incident: “Of course, it’s not right for me to go after him but that was an automatic reaction of shock.”

The incident occurred before Van Gerwen was back in Premier League action in Aberdeen on Thursday.

Luke Humphries beat the Dutchman 6-3 in the pair’s quarter-final clash in Scotland.

One of the greatest players in darts history, Van Gerwen was ranked world number one between 2014 and 2021, during which period he won the Masters five times in a row.

With 48 majors singles to his name, Van Gerwen is ranked second in the PDC’s all-time list behind England’s Phil Taylor.

Beau Greaves became the first woman to win a PDC ranking title by defeating Michael Smith 8-7 in the Players Championship 11 final in Milton Keynes.

The 22-year-old checked out with 142 in the deciding leg to seal victory against the former world champion, closing with a double 11.

Greaves enjoyed a strong run to her encounter with Smith, defeating Rob Cross 6-5 and Gary Anderson 7-1 on the way to the final.

It is the latest step in Greaves’ ascendant career, after she recorded a 114-match winning run in the PDC Women’s Series and became the first woman to hit a nine-dart finish on the PDC ProTour.

Elsewhere in the tournament, world number two Luke Humphries exited in the third round 6-5 to Max Hopp, while Premier League Darts players Stephen Bunting and Josh Rock fell in the first round.

The event did not feature world champion Luke Littler, who is yet to play in a Players Championship event this year, while Michael van Gerwen, Jonny Clayton, Gerwyn Price and Nathan Aspinall were also not in the field.

Lionsgate’s “Michael” is on track to unseat “Straight Outta Compton” as the king of musical biopics.

Early returns suggest the Antoine Fuqua-directed film will surpass the $60-million opening weekend box office record set by the N.W.A biopic in 2015, with the studio expecting an opening that could reach $70 million.

“Michael Jackson is one of the most influential artists in human history. His impact on music, fashion, dance, film and business has withstood the test of time,” said Adam Fogelson, the chair of the Lionsgate Motion Picture Group.

“All of those things together seem to have created a profound response from audiences of all ages,” he added.

“Michael,” starring the legendary pop star’s nephew Jaafar Jackson, hits 3,900 screens nationwide on Friday.

The film marks the first time the story of Michael Jackson’s life and career are back in movie theaters since 2009’s “This Is It.” That posthumous documentary followed the rehearsals for his London residency, which was canceled after he died, just 18 days before the first of 50 scheduled shows.

That film remains the highest-grossing documentary of all time with nearly $270 million in global ticket sales.

The stakes may be higher for “Michael,” not just because of its roughly $200-million cost, but also its circuitous journey to the big screen.

Early development on the motion picture began in 2019, but frequent changes — both in the storyline and production — forced delays. The original idea was to encapsulate Jackson’s life from childhood fame with the Jackson 5 to his solo commercial peak during the ’80s and end with the child sex abuse allegations he faced in 1993.

That version of the film was well underway when the production was forced to go back to the drawing board due to a legal issue. The Jackson estate, which is in support of the project, reportedly discovered the early draft of “Michael” violated a $15-million settlement with the accuser in that case. Part of the agreement stipulated that the alleged victim would never be pictured or mentioned in a dramatization of Jackson’s life.

Production reconvened for 22 additional days and the Jackson estate took on tens of millions of dollars in additional reshoot costs.

The current version of “Michael,” hitting theaters this weekend, is set between the 1960s and 1988. It closely follows the controlling relationship between Jackson and his father, Joe Jackson, played by Colman Domingo, and tracks the king of pop’s peak stardom. Janet Jackson is notably absent from the storyline.

Depending on how the movie performs, there are plans for a potential sequel. The follow-up would tell the second half of Jackson’s career, where much of the scrapped footage could be used. Lionsgate has done advanced work to ensure that a significant amount of the previously captured footage could be included.

So far, the movie is receiving mixed reviews. As of Friday morning, the critic’s consensus on Rotten Tomatoes was less than favorable, with a score of 40%. But Lionsgate remains confident the film will resonate positively with average moviegoers and Jackson fans, both domestically and globally.

“The audiences that are now starting to watch the movie in early previews have been euphoric,” Fogelson said. “Audiences are speaking loudly and clearly about how much they appreciate the final product.”

Even outside of theaters, Jackson’s story continues to find success. “MJ,” the jukebox musical based on his life, is in its fourth year on Broadway and has had both national and international showings. Michael Jackson’s estate has also collaborated with Cirque du Soleil for several acrobatic productions since 2011. The “Michael Jackson ONE” show, which first premiered in 2013, recently extended its run on the Las Vegas Strip until 2030.

Tiffany Naiman, the director of music industry programs at UCLA, said the sustained interest in the pop icon speaks to his loyal fan base and place in American cultural history.

“He represents not only extraordinary artistic achievement, but also the contradictions of fame at its most amplified,” Naiman said in a statement. “That tension — between brilliance and controversy, innovation and scrutiny — is precisely what continues to draw audiences back, and what will likely shape both the film’s reception and its broader cultural impact.”

Michael Tilson Thomas came onto the scene as a great hope for classical music, American music, Los Angeles music, modern music, multifaceted pop music, maverick music, Russian music, Broadway music and just plain music, whatever it might be and from wherever it might be found. He lived his 81 years as conductor, pianist, composer, educator and media personality promoting that hope, and died Wednesday having shown how hope is done. He looked ahead. He looked back. Yet he lived for the now.

It wasn’t always easy. He wasn’t, to say the least, always easy. But MTT made music matter by making hope matter. He was, moreover, one of us. He achieved greatness though an epic amplification of a uniquely L.A. positivity in which grumpy became wistful.

I first encountered MTT as a kid clarinetist and he, Michael Thomas back then, a student conductor at USC and already, at 19, music director of the Young Musicians Foundation Debut Orchestra. He was soon everywhere. A piano prodigy, he regularly performed (and hobnobbed) with the likes of Stravinsky, Copland, Boulez and Cage at Monday Evening Concerts programs when the Los Angeles County Museum of Art opened in 1965. That summer, he appeared at the Ojai Music Festival, which he would go on to lead as music director seven times.

MTT liked to describe his L.A. youth as driving from Jascha Heifetz’s house in the Hollywood Hills (where he accompanied the famed Russian violinist in classes) to LACMA to rehearse Ives and Renaissance music, to composition and conducting classes at USC. Then it was home to the San Fernando Valley to practice Beethoven.

All the while, he listened to the hip L.A. 1960s pop music stations on his car radio. He was particularly keen on, and became friends with, Chuck Berry. Home was where he would also encounter screen legends. Tilson Thomas’ father worked in films and television as a screenwriter, producer and dialogue coach. Theodor Thomas was, as well, a painter with a visionary sensibility and a pianist, self-taught other than a handful of lessons from Gershwin.

But it was Tilson Thomas’ mother and grandmother who may have had the biggest influence. His mother was a public school teacher. She instilled what became a key trait in her only child, who treated conducting as an exercise in learning both for the musicians and the audience (if not for him, because he basically knew it all). His grandmother, Bessie Thomashefsky and her husband, Boris, were stars of Yiddish theater on New York’s Lower East Side.

Boris died in 1939, five years before MTT was born. But Bessie and young Michael were close. She recognized that, like her, he was born for the stage, and regaled him with stage lore that put the stardust in his eyes. As a young kid, MTT played Beethoven piano sonatas so impressively that he wowed his babysitter, an architecture student at USC named Frank Owen Goldberg, who needed extra cash.

Frank Gehry, as he became, told me that MTT was already an entrancing showman. The two remained lifelong friends.

While MTT did not actually reside in L.A. for most of his life, he never really left it. It prepared him for all that was to follow. In high school, he met Joshua Robison, who became his lifelong partner and ultimately husband. Whether in New York, Miami, London or San Francisco, wherever they lived, they always talked about L.A. His father’s paintings were on the walls, as were Boris’ Yiddish theater posters, one proclaiming “King Lear,” translated and improved.

The Tilson Thomas package that emerged from L.A. was unlike any conductor the world had seen. He doted on the music of Rachmaninoff when Rachmaninoff was unfashionable and on Steve Reich when Reich was found unfathomable. He adopted classical music’s neglected outsiders and especially such key West Coast “mavericks” as Lou Harrison and Henry Cowell. He convinced Meredith Monk to write for orchestra and enticed everyone from Sarah Vaughan to the Mahavishnu Orchestra onto the symphony stage.

Studying at Tanglewood, the Boston Symphony’s summer home, MTT won the Koussevitzky Prize in 1969 and, with the encouragement of Leonard Bernstein, was appointed assistant conductor to music director William Steinberg. Before long, MTT became principal guest conductor, filling in frequently for Steinberg, who was in poor health.

MTT in his early 20s was vibrant, arrogant, fearless, full of ideas, a chance taker. Ever the Angeleno, he tooled around town in a Porsche. He talked to staid symphony musicians and audiences who didn’t want to be talked to and often played music they didn’t want to play or hear. And he dazzled them. He got a contract with the distinguished German record label Deutsche Grammophon and made exciting records with the orchestra of Tchaikovsky, Stravinsky, Ives and modern Americans. They remain a thrill to hear.

By 1974, it was Tchaikovsky one moment and a wonderfully crazy avant-garde opera the next. Stanley Silverman’s “Elephant Steps,” which MTT recorded in 1974, was for pop singers, opera singers, orchestra, rock band, electronic tape, raga group, gypsy ensemble and, of course, elephants. Richard Foreman wrote the libretto. There had been nothing like it then or since. A revival could prove a sensation. The Olympic arts festival, anyone?

At the same time, Tilson Thomas, who proved a born educator, succeeded Bernstein in delivering the New York Philharmonic’s Young People’s Concerts. When Steinberg left, the Boston Symphony Orchestra passed over MTT as too young (24) and not ready (he wasn’t, nor was Boston). He was just right, though, for the Buffalo Philharmonic, which he led from 1971 to 1979. It was a wild ride, with lots of exciting new music and no small amount of controversy — arresting performances of arresting new works (Morton Feldman in particular) and an actual arrest at Kennedy International Airport when small quantities of cocaine, marijuana and amphetamines were found in his luggage.

He may have seemed ready for a homecoming in 1981, but MTT’s appointment as principal guest conductor of the Los Angeles Philharmonic did not prove to be the return of the prodigal son. These were the years of Carlo Maria Giulini’s music directorship, and MTT brought currency — new music, Gershwin, flashy showstoppers. Much of it was a breath of freshest air, but he was also remembered for his brash youth, which was now a brash 30s. He ran afoul of some in the orchestra and of its imperious head, Ernest Fleischmann.

Having been branded the next Bernstein, MTT floundered. What he needed was not L.A., but a far distant remove to find himself. That happened in two parts.

In 1987, the educator in him led to his greatest project, the creation of the New World Symphony in Miami Beach, Florida. The training orchestra guides young musicians with conservatory backgrounds into the world of professional orchestras.

Around the same time, Bernstein talked the London Symphony Orchestra into hiring Tilson Thomas as music director. Far from L.A., Boston and New York, a newly mature MTT found his bearings, no longer the next Leonard Bernstein but the first and only Michael Tilson Thomas.

Miami gave MTT meaning, and he commissioned Frank Gehry to design a revolutionary concert hall and teaching facility. In London, his conducting took on depth without losing its surface glamour. What MTT still lacked, however, was a creative outlook. He had always thought himself a composer and could, at a party, make up a clever song at the piano on the spot. He had drawers full of sketches but little finished work.

It took a return to the West Coast for MTT, having turned 50, to put all of his musical, emotional, personal and spiritual parts together and achieve greatness. For 25 years as music director of the San Francisco Symphony, MTT conducted Mahler and Tchaikovsky with a depth of soul that integrated his Russian roots and Bernsteinian character. He advocated for mavericks in summer festivals. He found his voice as a composer. He and Robison were embraced as a beloved San Francisco couple. He alchemized the San Francisco Symphony into a Bay Area beacon.

In the challenging last chapter of his life, MTT turned tragedy into triumph to became a universal inspiration. The lockdown in June 2020 meant cancellation of his farewell concerts as music director, including a production of Wagner’s “The Flying Dutchman” with a set by Gehry. The following summer, MTT fell on stage while conducting the London Symphony in Santa Barbara. He was diagnosed with late-stage glioblastoma. He likely had less than a year to live.

Remarkably, MTT continued to conduct until last April. His appearances with the L.A. Phil and the San Francisco Symphony were transformative. He guest conducted in New York, London, Prague and elsewhere. In L.A., a dying MTT led a profound performance of Mahler’s death-obsessed Ninth Symphony, not as a farewell but as a shamanistic savoring of every moment of life. He asked not for sympathy but for joy.

For MTT, the music never stopped. In his later years, he advanced the theory that what you took away from hearing a performance mattered as much, if not more, than what you experienced. That may explain why this creature of the theater who was so graceful leading an orchestra and so enjoyed talking to the audience turned stiff and awkward when bowing to acknowledged applause. Was it his reluctance to leave? Insecurity? Attempt to remove his ego from the experience, as if he was now handing the music over to you?

It was probably all of those things. During his illness, when his movement became more difficult, he let go. He was simply happy to be there, happy to share music, happy to be alive, very happy to be loved. His final bows were a celebration of life.

Sadly, Robison died Feb. 22, exactly two months before MTT, who died four days short of a year since his final concert with the San Francisco Symphony. But he lives on through about 150 recordings and his website.

He and Robison worked as tirelessly throughout his illness to archive his life. His website provides a treasure trove of compelling radio and television programs, his copious Thomashefsky Yiddish theater archive, a vast legacy of searching and believing. And hope.

Writing obituaries is a sacred, tricky task. Major news organizations compose advance obits on major figures, a just-in-case endeavor that feels both hugely important and somewhat macabre.

Several years ago, it fell to me to compose an advance death notice for the legendary conductor Michael Tilson Thomas, who was confronting a terminal brain cancer diagnosis by doubling down on his performance schedule and delivering — by all accounts — spectacular performances.

The piece lay blessedly dormant for longer than anyone thought possible as Tilson Thomas persevered in the face of his illness — an inspiration to all who knew and loved him. And then, yesterday morning, it became necessary to publish. There was a rush to update the writing, to fact-check the timeline, to be sure that all salient points were included. Here was the final story of a remarkable human’s life. The sense of responsibility cannot be overstated.

I was surprised to learn that a former colleague at the paper had also written an advance obit on Tilson Thomas, so my editor worked to meld the two together. The other writer included information that I had missed and vice versa, so in many ways it turned out to be a good thing that we had mistakenly doubled up on the weighty task.

One detail that the other writer included that was formerly unknown to me: A Times story from 1985 reported Tilson Thomas walking off the stage at the Hollywood Bowl nearly 15 minutes into the hourlong second movement of Part II of Gustav Mahler’s Symphony No. 8. Tilson Thomas did this, according to the archived news clip, because a noisy police helicopter simply would not go away.

A reader wrote in after the obituary went live to say that he had been there when it happened, and offered up this fresh insight:

“I was at the concert. The helicopter was hovering long, low and loud(!) with a bright searchlight scanning the trees behind the shell. It was an impossible situation which [Tilson Thomas] handled with quiet dignity. And when he returned to the stage he opted to re-start the Second Movement of Mahler VIII from the top! It was a long and memorable night at the Bowl.”

Our obituary described Tilson Thomas as storming off the stage. Not so, said the reader.

“More determination than storm,” he wrote.

And suddenly I could picture it, that moment from more than 40 years ago, with Tilson Thomas displaying the singular determination and love for his craft that would sustain him much later in life when he faced down death with the same quiet grace, the same unwavering resolve. And the music … I can hear it over the chop-chop-chop of the helicopter, until Tilson Thomas is all that remains.

I’m Arts editor Jessica Gelt feeling grateful for stories past. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Craft Contemporary hosts CLAY LA this weekend.

(Allen J. Schaben/Los Angeles Times)

CLAY LA
Emerging and established ceramic artists gather their wares for Craft Contemporary’s ninth annual fundraiser, a vibrant marketplace with complimentary refreshments, music and hands-on air-dry clay activities. Fun fact: The museum was founded by Edith R. Wyle, grandmother of “The Pitt’s” Noah Wyle.
Market Preview Night, 6-9 p.m. Friday, $20 general admission, $15 members; weekend market, 11 a.m.-5 p.m. Saturday (free with $9 museum admission) and Sunday (pay-what-you-wish admission); regular museum hours, 11 a.m.-5 p.m. Wednesday-Sunday; noon-8 p.m., the first Thursday of the month. Craft Contemporary, 5814 Wilshire Blvd. craftcontemporary.org

Music director James Conlon of at L.A. Opera will conduct his farewell concert Friday at the Dorothy Chandler Pavilion.

(Ariana Drehsler/For The Times)

James Conlon Farewell Concert
The maestro, who is stepping down after 20 years as LA Opera’s music director, leads the organization’s full orchestra and chorus for an evening of Mozart, Verdi and Wagner as his grand finale. The event is followed by a celebratory gala on the stage of the Dorothy Chandler Pavilion.
7 p.m. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org

SATURDAY
John Adams & Conrad Tao
The LA Phil’s John and Samantha Williams Creative Chair conducts the orchestra in a program that includes Piazzolla’s “Two Tangos,” Stravinsky’s “Song of the Nightingale” and Prokofiev’s “Lieutenant Kijé Suite,” plus pianist Conrad Tao performing Adams’ composition “Century Rolls,” inspired by 1920s self-playing pianos.
8 p.m. Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Brewery Artwalk & Open Studios
This free semi-annual event at the former Pabst Blue Ribbon Brewery north of downtown features more than 100 artists sharing, discussing and (ideally) selling their work in the very spaces that much of it is created.
11 a.m.-6 p.m Saturday and Sunday. Brewery Arts Complex, 2100 N. Main St., L.A. breweryartwalk.com

Jerrika Hinton and Bradley Gibson in “Fremont Ave.” runs April 25-May 23 at South Coast Repertory.

(Marc J. Franklin)

Fremont Ave.
The world premiere of Reggie D. White’s multi-generational drama about three Black men in L.A. and the woman who is the glue in their lives. Directed by Lili-Anne Brown. Part of the Pacific Playwrights Festival.
Previews, 8 p.m. Saturday; 7 p.m. Sunday and Tuesday-Thursday; opening night, May 1; regular performances, May 2-23. South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa. scr.org

The Liminary
It’s 2042 in Last Call Theatre’s latest immersive experience and the U.S. is run by a nationalistic, isolationist government. Do you dare join the resistance? With interactive exhibits on immigration, community and hope, plus multiple endings and narratives inspired by the saga of immigrants.
8 p.m Saturday; 8 p.m. May 1-2, May 7-9 and May 14-16. 1919 3rd Ave. L.A. lastcalltheatre.com

Liz Larner, “smile (abiding),” 1996-2005; Rachel Harrison, “The Prepper,” 2024; and Rebecca Morris, “Untitled (#15-25), 2025” from the exhibition “planchette” at Regen Projects.

(Regen Projects)

planchette
A group exhibition featuring contemporary abstract sculptures and paintings by influential artists Rachel Harrison, Liz Larner and Rebecca Morris.
Opening reception, 6-8 p.m.; exhibit runs through May 23. Regen Projects, 6750 Santa Monica Blvd. L.A. regenprojects.com

SUNDAY
Gabriel Kahane & Roomful of Teeth
The eclectic singer-songwriter-composer teams up with the multi-Grammy-winning vocal group to perform music from their recently-released collaborative album, “Elevator Songs.”
7 p.m. Sid The Cat Auditorium, 1022 El Centro St., South Pasadena. sidthecat.com

WEDNESDAY

The Australian Chamber Orchestra comes to the Segerstrom Center for the Arts on Wednesday, April 29.

(Nic Walker)

Australian Chamber Orchestra
The ensemble from down under performs Purcell’s “Fantasia on One Note,” Handel’s “Concerto Grosso in A Major, Op. 6 No. 11,” a new work by John Luther Adams titled “Horizon,” Vaughan Williams’ “The Lark Ascending” (arranged by Adam Johnson), and Schubert’s ”Death and the Maiden” in the candlelit intimacy of the Samueli Theater.
7 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

Jason Delane, left. and Chuma Gault in “Hymn” at the Odyssey Theatre.

(Cooper Bates)

Hymn
In this drama by British playwright Lolita Chakrabarti, best known for her stage adaptations of the novels “Life of Pi” and “Hamnet,” two Black men meet at a funeral and discover a life-changing connection. Gregg T. Daniel directs this co-production between the Odyssey Theatre and the Lower Depth Theatre.
Previews 8, p.m. Wednesday, Thursday and May 1; 8 p.m. Fridays and Saturdays (an Wednesday, May 27); 3 p.m. Sundays (except May 31), through June 14. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

THURSDAY

Los Angeles Ballet presents “Giselle” with Kate Inoue at the Ahmanson Theatre, April 30-May 3.

(Alex Lopez)

‘Giselle’
The Los Angeles Ballet’s staging of this classic supernatural romance features the original 1841 choreography by Jean Coralli and Jules Perrot (updated by Marius Petipa) and score by composer Adolphe Adam.
7:30 p.m. Thursday-May 2 and 2 p.m. May 3. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. losangelesballet.org

The 1967 romantic comedy “Barefoot in the Park,” starring Jane Fonda and Robert Redford, opens the TCM Classic Film Festival on Thursday.

(Paramount Pictures)

TCM Classic Film Festival
Hollywood Boulevard comes alive with four days of movie magic beginning with the opening night presentation of the 1967 romantic comedy “Barefoot in the Park,” starring Robert Redford and Jane Fonda. Other screenings include “Alice In Wonderland” (1951), “A Place In The Sun” (1951), “Gaslight” (1944), “Out Of The Past (1947) , “Modern Times” (1936), “The Day The Earth Stood Still (1951) and “The Magnificent Seven” (1960), with appearances by Fonda, Barbara Hershey, Carol Burnett, John Turturro and many more.
Thursday-May 3. TCL Chinese Theatre IMAX, 6925 Hollywood Blvd.; Hollywood Roosevelt Hotel; TCL Chinese 6 Theatres multiplex, 6801 Hollywood Blvd.; El Capitan Theatre, 6838 Hollywood Blvd.; Egyptian Theatre, 6712 Hollywood Blvd. filmfestival.tcm.com

Arts anywhere

New and recent releases of arts-related media.

French Violinist Renaud Capucon, seen performing during the 2024 Paris Olympics, has a new live album featuring the works of composer Ernest Chausson.

(Kristy Sparow / Getty Images)

Chausson
This concert album pairs two pieces by French Romantic composer Ernest Chausson: “Concerto for Violin, Piano and String Quartet, Op. 21.,” performed by violinist Renaud Capuçon, the late pianist Nicholas Angelich and the Ébène Quartet, and “Poème” for violin and orchestra, featuring Capuçon and the Brussels Philharmonic led by conductor Stéphane Denève. The show was recorded live in 2020. Warner Classics/Erato: Digital ($10) and CD ($17).

The City Unseen
Emmy-winning producer-director Daniel Sackheim, whose credits include “Law & Order,” “The X-Files” and “The Americans,” is also a serious photographer. His new book of black-and-white images casts Los Angeles as the protagonist in a noir landscape of nocturnal beauty where its darkest secrets lurk in the deepest shadows. Hat & Beard Press: 108 pages, $60.

International Jazz Day
The 15th annual event is Thursday in Chicago, but you can celebrate early with PBS’ broadcast of last year’s International Jazz Day All-Star Concert from Abu Dabai. Hosted by Jeremy Irons, the lineup includes Herbie Hancock, Dee Dee Bridgewater, Kurt Elling, Jose James, John McLaughlin, Helene Mercier, Danilo Perez, Arturo Sandoval and more.
10 p.m. Friday. PBS SoCal and streaming at pbssocal.org

— Kevin Crust

Culture news and the SoCal scene

Attendees walk around the Los Angeles County Museum of Art’s new David Geffen Galleries in Los Angeles on Sunday, April 19, 2025.

(Ariana Drehsler/For The Times)

The Los Angeles County Museum of Art news did not stop last week as it threw a glitzy opening gala for the new David Geffen Galleries, and — a few days later — welcomed members for previews prior to opening its doors to the general public on May 4. I attended the gala and checked in with a number of wonderful artists, including Mark Bradford, Ed Ruscha and Jeff Koons, about their thoughts on the new building. Then, on Sunday, we sent a team to get member reactions to the new space. Later in the week we published critic Leah Ollman’s review of the inaugural installation. Spoiler alert: Nope, not gonna give you one. You’ll have to read it.

We also ran a lovely profile by contributor Tara Anne Dalbow about Eileen Harris Norton whose jaw-dropping art collection is currently on display at Hauser & Wirth in downtown L.A. “Few people have done more to shape Los Angeles’ art scene than Eileen Harris Norton,” writes Dalbow. “The third-generation Californian, born and raised near Watts Towers in South Los Angeles, bought her first artwork at the Baldwin Hills Crenshaw Plaza, co-founded Art + Practice in Leimert Park, and has spent 50 years collecting artists who were, in many cases, her friends and neighbors.”

Joey Stromberg and Jenny Soo in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

Times theater critic Charles McNulty was — as always — incredibly busy, publishing two reviews and a feature in the past week. First up, his take on “For Want of a Horse” by Olivia Dufault, currently receiving its world premiere in an Echo Theater Company production at Atwater Village Theatre. “The subject is zoophilia, not to be confused with bestiality, though for many of us it will be a distinction without much of a difference,” McNulty writes. Curious? Read on.

McNulty also delivered a thoughtful profile Nicholas Christopher, who he dined with on a recent trip to New York. “A new Broadway star emerges each season, and this year the spotlight has alighted on Nicholas Christopher, who has been dazzling audiences and insiders alike as part of the awe-inspiring triumvirate powering the thrilling new revival of the musical ‘Chess,’” McNulty writes.

Finally, McNulty reviewed “Eat Me,” by Talene Monahon, having its world premiere at South Coast Repertory. A fan of Monahon‘s previous work, McNulty was not as impressed at he would have liked. The play, he writes, “is a relentlessly quirky work that gorges on its own dark whimsy.”

In other news, I got the scoop that new media artist Refik Anadol’s museum of AI arts, Dataland has set its opening date for June 20.

Elinor Gunn in “Joan” at South Coast Repertory. SCR has announced its 2026-27 season.

(Scott Smeltzer)

South Coast Repertory announced an expanded 2026-27 season, featuring nine productions, including “Hamlet,” starring Raymond Lee; Stephen Sondheim and James Lapine’s “Into the Woods;” Lauren Yee’s “Mother Russia;” and Oscar Wilde’s classic, “The Importance of Being Earnest.” “The 2026-27 season reflects programming changes established in SCR’s recently adopted strategic plan, which includes more classics, modern masterpieces and the continuation of an annual musical on the Segerstrom Stage,” a news release notes.

“GUAC,” the heartbreaking one-man show by a father who lost his son in the 2018 Parkland school shooting, returns Tuesday to Center Theatre Group’s Kirk Douglas Theatre after playing to a packed house last September. Manuel Oliver’s devastating plea for gun control runs for three weeks only, through May 17.

— Jessica Gelt

And last but not least

If you’re sad that you missed Coachella, this story about how much people paid to attend will make you feel all better.

A FORMER bodyguard and close pal of Michael Jackson has claimed the new biopic about the star whitewashes his life by not delving further into the sex abuse claims made against him.

In an exclusive interview, Matt Fiddes claimed Jackson would have wanted any movie to include the allegations and their impact on his life.

Fiddes also revealed he received a “delirious” call from Jackson two days before he died with the star allegedly pumped full of ephedrine and desperately reaching out for his dad.

Speaking ahead of the release of a new biopic on Friday, Fiddes said the star also claimed on the call that bosses were “making him rehearse too much” and that he “never agreed to 50 shows.”

Giving a unique insight into the moments leading up to Jackson’s death, Matt claimed Jackson was forgetting his lyrics and acting erratically – but it was still a complete shock to everyone who knew him as they were convinced he would just pull out of the tour.

The new movie based on the life of the “King of Pop’ is set to hit the big screen later this month with Jackson’s own nephew Jaafar in the title role.

An earlier trailer became the most watched of all time – amassing 150million views when it was released.

Jackson was first accused of abuse in 1993 by 13-year-old Jordan Chandler and his father Evan, who reached a $23million civil settlement with the star a year later.

He was never ultimately charged in connection with these allegeations after a 18-month criminal investigation by the Los Angeles Police Department and Santa Barbara Sherriff’s Department found they could not prove the case without Jordan’s testimony.

The movie was forced to undergo expensive reshoots last year after lawyers found an overlooked clause in the settlement with Jordan that barred him from being depicted or mentioned in any movie, according to Variety.

The movie was reportedly supposed to originally open with Jackson in 1993 surrounded by cop cars and its entire third act was dedicated to the allegations before the rewrite.

But Fiddes, 46, claimed the impact of the sex abuse claims played a direct role in Jackson’s death and accused filmmakers of whitewashing the allegations.

Fiddes, who was one of Jacko’s closest confidants for many years, claimed although all the allegations made against him were “proven untrue,” to cut them out of the movie wouldn’t do justice to the impact they had on him.

Jackson was still plagued by further allegations from 1993 on.

He underwent a high-profile criminal trial in 2005 after being hit with felony charges of abuse against 13-year-old Gavin Arvizo – but was found not guilty on all counts.

After his death the FBI confirmed they had found no evidence of criminal conduct to warrant federal charges against Jackson by releasing 300 pages of their decade-long investigation.

And over a decade after his death, Jackson’s estate is still facing lawsuits about his alleged behavior.

Accusers Wade Robson and James Safechuck are seeking $400million in a civil lawsuit that will go to a jury trial in November.

Fiddes said the release of the Michael Jackson movie would be “extremely controversial” and although he hasn’t yet seen it, he’s been told what will be in and out of it.

He added: “I’ve heard accounts from people who’ve seen the film. And from my understanding, it doesn’t cover the child abuse allegations and a lot of the struggles that Michael had behind the scenes, which are well publicised and what eventually led to his death.

“I know the fans are disappointed in this. They been contacting me. They want to see the real Michael. They want to see behind the scenes Michael, how he created his genius and how he suffered, how lonely
the man was.

“But I understand how business works. I’m a businessman, and if you’re running the Michael Jackson estate, you are going to want to have it all about the music, which is what Michael would have wanted.

“But Michael, as I knew him, would have wanted his fans and the public to see what it was like to be Michael Jackson. It was not all glitz and glamour. It was anything but.

“We could not go out. He couldn’t do anything. We had to go through the kitchen entrance to go into the hotels. He was manipulated by people he couldn’t trust. Many people. He was paranoid. He struggled to eat sometimes due to being nervous and anxious.”

Matt also said he believes allegations that Jackson was a child abuser were untrue but should still be referenced in the biopic.

He added: “It fascinates me to see still now in 2026 that there’s TV shows and documentaries being made about my friend Michael Jackson, that he’s a child molester, that he’s into young boys.

“Because having known the man personally, that couldn’t be further from the truth.

“He wanted to keep his life a mystery and would always remind me wanted his life to be the greatest show on earth.

“I said to him, I think you should show how you talk about girls from the back of the car. He had a nickname for a girl he fancied or always attracted to. He’d call them fish.

“He always said, that’s a nice fish there. Well, Matt, try and get that fish to my room.

“I told him ‘Michael, you should show this side to the public. But he always refused and said one thing Motown taught him when he was a young boy, in the Jackson Five, is that he mustn’t ever show that he was straight, that he was gay, or that he was married in a relationship. As this was going to cut off his fan base and it’ll be the end of the Jacksons.

“So all the fans feel that they got a chance to marry him, whether they’re gay, straight or whatsoever.

“I understand there are contracts signed from his girlfriends that can’t be talked about. But from what I’m hearing, there’s going to be a Michael movie part two of this franchise.

“What I will say is that everything Michael Jackson touches turns to gold. And I predict that Michael the movie will be the biggest movie ever of all time, not only the biggest biopic. I think it will be the biggest movie of all time. And we’ll go past a billion dollars turnover in no time whatsoever.”

Fiddes, who now runs the largest martial arts and dance chain in the world, worked with Jackson for a decade and recalls meeting him through a friend.

He added: “He called me up in the middle of the night and said, you have to come to my house now. If you don’t, you’ll regret it. It took me a good three hours to get there, but he would not tell me who I was going to meet.

“I walked in the living room and this man walks up to me. He bows to me due to the fact that we’re both martial artists. And he said, nice to meet you, Matt. For this. My name is Michael Jackson. I’m thinking, I know who you are.”

Fiddes said they quickly became friends and hang out and do normal stuff together.

He added: “He was a very shrewd character. I always say you got two sides to Michael. You got the very shy, quiet, humble person of his mother, Mrs. Jackson. Katherine, who’s a lovely lady. And then you’ve got the toughness, brutal, ruthless businessman of his father, Joe Jackson.

“And Michael had both sides of them. But aside from that being around him, he was the the most gentle soul and would do anything for anybody. And he was just extremely clever. He loved being Michael Jackson, but he was the nicest guy in the world, most misunderstood man in the world.”

Fiddes also gave a unique insight into the state of mind of the star when he died and revealed he had desperately tried to reach out to his dad Joseph Jackson to help, but could only reach his voicemail.

Fiddes, who believes the movie would become the most watched of all time, said: “You can’t talk about Michael Jackson without talking about the bad times and the negative times and none of us were expecting that he was going to die.

“I didn’t think he was going to do the 50 show concerts. We were getting reports all the time that he was not well, that he was underweight.

“He was not remembering his lyrics. I spoke to him two nights before he passed away, and I remember that conversation vividly.

“My ex-wife answered the phone and handed me the phone and said, It’s Michael, you need to speak to him urgently. He was unhappy. He said, Matt, I need to speak to Joe, meaning his father, Joseph Jackson.

“Do you know where he is? I thought, if he’s asking for his dad, then there must be something wrong. He said ‘I need him to come and sort this situation out here. Only Joseph can do it.

“He said ‘I don’t know what I’m supposed to be doing. They’re making me rehearse too much. And I never agreed to 50 shows.’”

Fiddes, who runs a martial arts business and lives in England, said Jackson sounded erratic and he asked if he had taken anything.

He added: “He said ‘I’ve just taken something called ephedrine, which is like a, an upper, like next level up from caffeine.’

“It’s a drug that a lot of dancers and performers and bodybuilders use. And he said he got given to him by a doctor, which kind of reassured me, but he was begging for me to come to Los Angeles.

“Then he asked for his best friend’s number, Mark Lester, who he called straight away. He played the original Oliver Twist from Oliver the movie and had a similar conversation with him.

“It turns out he did call Joe Jackson asking for help, but he got Joe’s answerphone and Joe went on a TV show.

“Not long after Michael passed away, he said sadly, ‘I got a message from Michael, but it was too late.’ Michael had already passed away.

“So Michael’s death was a shock to all of us. We thought he was going to call the concerts off and not do them.

“Or maybe do one or two, but not die on us. We didn’t think that was going to happen. That is something that will stick with me forever.”

Michael Jackson’s famous clan stepped out to celebrate the premiere of the new “Michael” biopic, but some of the Jacksons snubbed the event and have opposed the film.

On Monday at the Dolby Theatre in Hollywood, several members of the Jackson family gushed about the Antoine Fuqua-helmed film, which depicts the origin story of the King of Pop and follows the hitmaker from childhood through his upward trajectory to superstar status in the 1980s.

Michael Jackson’s nephew Jaafar Jackson, son of Jermaine Jackson, starred in the title role, and his aunts and uncles dropped accolades for his performance in red carpet interviews. Marlon Jackson said, “Watching the movie, sometimes we think we’re watching Michael up there, that’s how good he is.”

La Toya Jackson called his performance “absolutely excellent” and echoed Marlon, saying that she forgot she was watching Jaafar: “I thought I was watching my brother.”

But not all of the Jacksons were up for celebrating the film. Most notably absent were the “Beat It” singer’s pop star sister, Janet Jackson, and his daughter, Paris Jackson. The eldest of the siblings, Rebbie Jackson, also skipped the event. And although the film includes portrayals of many of the Jackson siblings, some also asked to be left out of the biopic, including Janet.

“I wish everybody was in the movie,” La Toya Jackson told Variety at the premiere. “She was asked and she kindly declined, so you have to respect her wishes.”

Last month, rumors began to swirl that the “All for You” singer attended a family screening of the film and wasn’t pleased. Page Six reported that Janet and Jermaine got into a spat, with Janet critiquing almost every scene.

At Monday’s premiere, “Entertainment Tonight” asked La Toya about the controversy, which she was quick to shut down. “There was absolutely no problem whatsoever, none whatsoever,” she said. “Please believe it.”

Although both of Michael Jackson’s sons, Prince and Bigi, have supported events for the film (Prince attended Monday’s premiere, and Bigi attended a Berlin premiere last week), and Prince served as an executive producer and was regularly on set, Paris Jackson has been vocal about her lack of involvement.

Last year, she posted on social media that she gave feedback on an early draft of the film, but her notes weren’t addressed. “I’ve left it alone,” she said. “It’s not my project, they’re going to make whatever they’re going to make.”

Paris Jackson, who works in the entertainment industry as a model, actor and musician, said she had stayed quiet about her feelings toward the “sugar-coated” project because she knew many people would be happy with it. “The film panders to a very specific section of my dad’s fandom that still lives in the fantasy,” she said.

“The thing about these biopics is, it’s Hollywood. It’s fantasy land. It’s not real, but it’s sold to you as real,” she continued. “The narrative is being controlled, and there’s a lot of inaccuracy, and there’s a lot of full blown lies, and at the end of the day, that doesn’t really fly with me.”

In earlier drafts of the “Michael” script, plot points included sexual abuse allegations brought by 13-year-old Jordan Chandler in 1993. Reportedly, the Michael Jackson estate became aware of a contract that legally barred the dramatization of the Chandler family and had to scrap parts of the script.

The film was originally set to premiere last year, but the production needed a new ending and weeks of reshoots to make the new iteration of the film work. In the version that hit theaters this week, “Michael” concludes in 1988, with a teaser for a potential Part 2.

Colman Domingo and Nia Long, who portray Michael Jackson’s parents, Joe and Katherine Jackson, appeared on “Today” this week and addressed the elephant in the movie theater.

“The film takes place from the ‘60s to 1988, so it does not go into the first allegations,” Domingo said. “Basically, we center it on the makings of Michael. So it’s an intimate portrait of who Michael is … through his eyes. So that’s what this film is.

“And there’s a possibility of there being a Part 2 that may deal with some other things that happen afterward,” he continued. “This is about the making of Michael, how he was raised, and then how he was trying to find his voice as an artist and be a solo artist.”

Long added that there might be a sequel, “if the price is right.”

During a recent Zoom interview from his studio in Switzerland, Peter Zumthor offered a candid look at the making of the Los Angeles County Museum of Art’s new David Geffen Galleries.

The Pritzker Prize-winning architect addressed long-standing criticisms of the building and answered questions about his craft. He noted that the structure is a rejection of the overly “slick” architecture he believes defines the present moment, and shed light on the building’s early development, describing a contained process in which the concept was shaped before being presented to the public.

Finally, he discussed the broader ambition of the endeavor: dissolving traditional circulation and prioritizing emotional experience over institutional order.

The following interview excerpts have been edited and condensed for length and clarity.

You are well–known as both an architect and a craftsman. I think the biggest place for that focus was the concrete. I’m curious about how you formed it. It’s not the typical museum concrete.

I work like an artist in building. This means I custom-make buildings. I can use a few standard details or products, like in the basement. But where the building has an identity, becomes visible, it’s almost all handmade. I have an image of what I want to do, what the building should do, how it should look. So I need people who can help me make custom-made products.

The people who did the formwork — the concrete pouring — [worked in] groups of 100 or more. They were fantastic. They loved their work. At the beginning, formwork leaked on a door, and it looked terrible. They said, “Peter, we’re sorry. We made a mistake. We can fix this. You will not see this afterwards.” But if you make a mistake, you cannot mend it, because what you’re doing here is a concrete sculpture. Sculptures are never mended.

It’s not a perfectly smooth concrete. I’m assuming that’s on purpose?

I love this kind of rawness. This was what I gladly learned. Michael [Govan] in a very friendly, careful way let me know that he would like more “American details” and fewer “European details.” OK, my European details, they stand. That’s what I did 20, 30 years ago. My background as a furniture maker shows, and I can do this. But the challenge in this museum is to get the right “American” roughness. And I think I pretty much succeeded.

What I learned in California [came] back to Europe, and many times we now say in the office, “Let’s do this more L.A.-style.” Because we have too many slick magazines in the world. We have this corporate architecture which doesn’t want to see any touch of a hand. No mistakes. What we need is not refinement. We need wholehearted directness. This is what I take back from America. There’s a certain freshness. It’s not overly refined. I’m proud of that. The roughness has to do with our times. Because our time is slick and glossy, right? The time to make refined, slick architecture is over.

Horizontal light enters from floor-to-ceiling windows around the perimeter of LACMA’s new David Geffen Galleries, which use concrete as a kind of living building material.

(Iwan Baan)

In a 2023 interview with [architecture critic] Christopher Hawthorne, you said there were no “Zumthor details” left in the building. Do you think there are any Zumthor details now?

Of course there are Zumthor details. And I love them. They are not Swiss details. I think Christopher got this wrong. I was actually proudly speaking of how I learned a new way of looking at details. It doesn’t have to be refined all the time.

[Editor’s note: Zumthor told Hawthorne verbatim, “There are no Zumthor details any more,” in the 2023 interview with the New York Times.]

There’s always a tension with every building when it comes to value engineering. Were there any other places where you would want [David Geffen Galleries] to be different?

Basically, I say no. I’m very proud of this building. This is what I wanted to do, and this is what Michael helped me to do. This is exactly it. It’s one of my children and I love it.

Do you see this approach as an evolution in your work? Or is it more specifically for L.A.?

L.A. has changed me. And it’s in a good way. I would [not] have changed and reacted to our slick times the same way without L.A.

There were complaints that the project, and the process, were not as public as some people thought they should be. What is your reaction to that criticism?

I think I can say this: Michael said, “We cannot make a competition or anything like it, because competitions in the U.S. always end up with a winner who doesn’t build because he found out his own way of staging this whole procedure. The first, the most important thing, is that we start on a small budget, just the two of us.” That’s what we did. So when we started to talk about this museum, it was him and me, basically, and he gave me a little bit of money. And he said, “There will come a time when we will have to show something to the public. Let’s see whether people say yes.” They could have said no, but I think what they saw at that point was already too convincing.

Architect Peter Zumthor speaks at the press preview for the David Geffen Galleries at Los Angeles County Museum of Art.

(LACMA/ Museum Associates / Gary Leonard)

Because the museum’s not organized in a traditional way, it might be harder than normal to navigate for some people. It might be a little confusing. What do you say to that concern?

This will take some time, to see the benefits of this new type of museum. I think if you start to like this building in one corner or in another, or you get lost, you start to understand what it is all about. When something new comes, you have to learn, right? But I hope you can see this building never looks down on you. This building is, in a way, deeply human. And it lets you have your opinion.

There are people who have said, very loudly, this space shouldn’t have lost square footage. What is your response to that?

Small museums are beautiful, big museums tend to be really difficult. And the bigger the museum gets, the more difficult it is to make it easily accessible. So I’m very glad that this is not bigger. But it feels bigger.

What is this with bigness? What kind of a hang-up is this? You don’t have to be big. It has the right scale. We were often asked, “Can you experience this building and this collection in one day?” And we said, “Maybe. But maybe it will be better to come back.” Start from the other end. You have your own personal path. And then you research a little bit further. I think these are the beautiful ideas of how to experience the building. And I think it’s endless.

The interior of LACMA’s new David Geffen Galleries encourages guests to wander and make their own connections rather than follow a linear path.

(Eric Thayer / Los Angeles Times)

Can you go back to the beginning and talk about the core concept for the museum?

There are three major things that I always have to answer, whatever I do. What does the building do with the place? Does it help the place? Does it interpret the place? And then, what is the content of the building? What does the building have to do? Why are we building this?

To start out, there was a museum here which was modeled a bit after Lincoln Center. Later, it got clogged up with new buildings and you didn’t recognize the initial idea anymore. These things we took away. Whenever a building is there, whether it’s beautiful or ugly, it will always have grown into the soul of somebody. There will always be people saying, “No, no, I want to keep it.” This is part of my life. I understand this kind of thing always comes up.

The place was rather difficult because I couldn’t see any big urbanistic concept in L.A. L.A. [is] not urban in the European sense with, for instance, the market square.

There was a master plan, which was made by Renzo Piano. And this presented a long axis, and I tried to follow it. It just did not feel right. So I started to react in a more organic way, inspired by the tar pits. This whole area, which to me, is the ancient part of the site, became the starting point.

There was more: like the idea that side light is the most human light. Yeah, no skylights. And another thing was the museum had to be open to its surroundings. So contemporary L.A. should be present at all times. It should come in, whenever you can look out.

Another important thing … was to create or enlarge the public space that Michael [Govan] had started to create between his buildings. Friday evenings, Saturday, you saw so many families there. There is a desire here, a wish, for public space. This is not exactly the strength of L.A. So I think it was amazing that we were allowed to lift up the building and have the whole ground free for people.

Also, let’s do the museum on one level only. Classical museums have a main level, then they have a second level and a third level, a south wing and north wing and so on. And then, as an artist, you can have your work on the main level in the most beautiful spot. But as an artist, you can also land top left, third level near to the attic. So let’s make a building type which treats everybody equal.

LACMA’s David Geffen Galleries are hoisted above the ground on discrete piers, allowing for ample public space below.

(Eric Thayer / Los Angeles Times)

And then we started to think about how we wanted something open for wandering, experiencing and dreaming. This is always difficult to explain — let’s have the knowledge of art, of the history of art, coming second. It’s not because I think this is a secondary thing. It’s just because our experience should come first.

As a boy, I saw the opposite. There’s a tour and there’s a guide, and the guide starts to tell you what you should think. And I never liked this. We thought we should lay out things on a big plane where you can stroll and wander and develop your interest in art. Follow your own path.

You’re overturning a lot of unspoken rules in the art world. And I guess that’s the point in a lot of ways?

This is our point. You see other rules. For instance, if you do a new museum, the conservators say art can be exposed to less daylight. I told them as a joke, “If it goes on like this, soon the art will be in the basement, locked away.”

We have a building wide and long enough that within the building, you can find strong daylight for, let’s say, china or pottery, which love daylight. Then you can go deep into the building where it gets darker, and you can put pieces you don’t want to expose too much to the light. All without having to flip a switch.

It took a first home defeat to Leeds since 1981 for the real moans to start.

The calmness previously viewed as an asset became a negative. Inaction was seen as conservative. All week the question has been asked, is Carrick up to the job?

Well, there was nothing aesthetically pleasing about this latest triumph.

But given only Ole Gunnar Solskjaer of all the post-Sir Alex Ferguson bosses had experienced the feeling of winning at Stamford Bridge, style was a secondary element.

Chelsea may have hit the woodwork three times. They may have carried the more consistent threat. But Carrick’s team was the one that delivered.

“It was a game for a result,” he said. “And we managed to find it.”

There was more to it though. There was overcoming the adversity of knowing that on top of the three central defenders he knew would be missing (Matthijs de Ligt through injury and Lisandro Martinez and Harry Maguire due to suspension), Carrick then lost a fourth, Leny Yoro, to a training ground injury.

That came so late in the week his chosen pairing, Noussair Mazraoui and Ayden Heaven, could only prepare with walk-throughs.

“I love when you see players thrive in those moments,” said Carrick.

Heaven, 19, had not started a game under Carrick, having first been given his chance by Ruben Amorim and then his immediate replacement Darren Fletcher.

“Ayden has not played a lot of football recently, and to come into that environment is not something that you can take for granted,” said Carrick.

“We say the same things to young players all the time. Sometimes they look at you as if to say, ‘yeah, good one’ but in terms of training every day and looking after yourself and being ready ‘because you never know when that chance comes’, he probably wouldn’t have thought it would come at that moment.

“But he was there, he was prepared, and he took it in his stride magnificently well.”

Manchester United manager Michael Carrick says his side “won’t get carried away” in their pursuit of a Champions League place after they beat Chelsea 1-0 at Stamford Bridge to open up a 10-point gap to sixth place.

MATCH REPORT: Chelsea 0-1 Manchester United

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Manchester United boss Michael Carrick says Lisandro Martinez’s red card for pulling Dominic Calvert-Lewin’s hair was a “shocking decision” during a 2-1 defeat by Leeds United.

MATCH REPORT: Manchester United 1-2 Leeds United

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It has already been established Manchester United will be trying to sign at least two central midfield players in the summer.

Casemiro’s impending departure creates one space but the reality is there is no depth.

Kobbie Mainoo’s absence with what Carrick said before the game was a “small issue” deprived Manchester United of an effective link between defence and attack, someone who can take the ball in tight spaces and move it on quickly.

It sounds simple, yet when it is not there, the loss is all too apparent.

Manuel Ugarte does not have Mainoo’s control on the ball, or his awareness. The Uruguay midfielder was not Manchester United’s worst player, but he lacks the ability to lift a toiling team.

He works hard and hopes someone else can create the magic. This is not enough for where United are, let alone where they want to be.

It will probably be Thursday, when Carrick is due to speak to the media again before the Chelsea trip, when an indication of Mainoo’s availability for Chelsea and beyond will be clarified.

If the England international is missing again, it will be a major issue, even if Carrick tried to make light of it.

“He has been fine when he has played since I have been here,” he said.

“This was a tough game, a tough night – not just for him. When we went down to 10 men I thought he was really important and did a lot of covering for other players.”

Carrick also took the bold decision to leave Bryan Mbeumo on the bench for the first time in the Premier League this season. It did not work.

Neither Mbeumo nor Amad Diallo have found their form since returning from Africa Cup of Nations duty. Matheus Cunha flits in and out of games and Benjamin Sesko – who had the home side’s best two chances and was unlucky not to find the net – has been more effective off the bench.

It means the burden falls on skipper Bruno Fernandes to create opportunities.

Fernandes claimed a 17th Premier League assist, three short of the record for a season, when he crossed for Casemiro to head home. But deep in stoppage time, when he had the chance to cross deep into the penalty area again, he only found a Leeds head. Someone has to share the responsibility.

Kelly Somers: Well, Ollie, let’s go back to the very beginning. I want to know where your love of football came from and the first time you can remember having a ball at your feet.

Ollie Watkins: Ah, it was a long time ago now!

Kelly: You were so young that you can’t remember…

Ollie: Yeah, I was so young. My mum always used to say as soon as I could walk I was kicking bouncy balls and stuff around. Then whenever I used to go out to play in the street, I’d always come back with a football.

Kelly: What, you just nicked another kid’s football?!

Ollie: I would just find footballs around and I’d have a collection of different ones. I was playing with my brothers in the street and stuff like that. One day my friend came around and he was going to football practice later, but I didn’t have a team. He told me to come with him and then it started from there.

Kelly: So, that was your first team. What can you remember of your first session with them?

Ollie: It was just different. I was used to playing football down at the park with my friends. This is a little bit more… it was still fun, but obviously you have a little bit of coaching and stuff like that. And then I found that I was quite good at it, so just kept going.

Kelly: At what point did you realise, ‘OK, I’ve maybe got something here that the other kids haven’t got’?

Ollie: Well, to be honest, there was a player that played in my team… his dad actually ran the team as well… he was the best player. And I always just wanted to kind of get close to him and just be like him really.

At that age, I don’t think you think about it. You’re just playing football. It’s maybe when you get into academies and stuff like that then you start to think about doing it more seriously and thinking of the level you’re at. But at that time – I think that’s the fun thing about when you’re young – you just go out and play. There’s no rules. You can run everywhere. I think that’s the fun bit about football at that age.

Kelly: There’s been a lot made of your journey and it not being your typical route. It was Exeter that picked you up first, wasn’t it? But that wasn’t the easiest path straight away was it, either?

Ollie: No, I went for a trial when I was nine. I didn’t get in and then they told me to come back in six weeks, but I couldn’t concentrate. I was always looking around and stuff like that, so coming back six weeks later, I didn’t feel like I was going to improve. I needed to go back and, you know, play with my friends and just enjoy it because at that age it is very serious.

Kelly: So, you didn’t go back six weeks later? You decided not to?

Ollie: No, I went back two years later. I got in the academy and then, yeah, I was there until I left at 21 I think.

Kelly: I know it’s a long time ago now, but at nine years old that must have been your dream to play for your local team. To be told, ‘no, sorry, this isn’t right for you at the moment’ … can you remember how that felt? Or were you able to just go and enjoy football again?

Ollie: They weren’t saying: ‘Oh no, you aren’t good enough.’ It was more the fact that I couldn’t focus. Well, that’s what they told me anyway. But I just kind of saw it as… I just went and played more football and just enjoyed it. And I think I kind of saw it as a little bit of a blessing. At that age, you just want to go out and play, have that freedom to express yourself. So, that’s what I went away and did. When I then went into it, I was ready to focus more.

Kelly: And when you were at Exeter as well, you went on some loan spells. I know Weston-super-Mare was quite a big one, wasn’t it?

Ollie: Yeah, I feel like that was crucial in my development. One of my best friends at the time, Matt Jay, he made his debut at 16 I think. Obviously, I was very happy for him. He was my best friend, but I was so envious because you want that to be you.

But me going out on loan definitely helped me, because I felt like I was then… I’d experienced playing men’s football. I just learned to fight for three points. People had mortgages to pay and stuff like that and I didn’t understand that because I’d just been playing reserve-team football and playing games where I could win 5-0 or lose 5-0, it didn’t matter. Going out and playing for three points was a real learning curve for me and it definitely helped me. I learned a lot that year.

Kelly: You did, of course, make it at Exeter and then the rest is history because that’s where the rest of your journey started. But has there been a turning point along the way, where if you look back, you think, ‘OK, all of this… I wouldn’t be an England international scoring that goal at Euro 2024, playing in the Champions League… none of this would have happened without it’?

Ollie: I think there’s an element of luck. I remember the day I got into the first team at Exeter. Ryan Harley – one of the main midfielders – was ill that day. I ended up playing, scoring and then I stayed in the team and did well.

But after that, I think just working hard. And when I made the jump to Brentford, I was a little bit surprised at how well I took to it.

Kelly: Really?

Ollie: Yeah, I think because when you’re younger, you look at players that you want to play against… you search them on YouTube and then the next thing you know, football changes so quickly, you can be playing with those players that you had once watched or aspired to be like. I think just working hard and timing – everything just kind of falls into place naturally, I think.

Kelly: Is it quite hard to believe in that at times, though, because you kind of… you can control so much, but you can’t control your luck? Or can you, do you think?

Ollie: Yeah, I think it’s still something I’m coming to terms with. You can do all you can throughout the week and prepare as best as you can for a game, but sometimes things are out of your control. There are times where, you know, it’s lonely. You can’t take your mates everywhere with you and your family and the people closest to you.

You’ve got to work hard and do it yourself and persevere at the end of the day, and if you keep working hard it will pay off.

Kelly: What’s been the toughest moment?

Ollie: The toughest moment for me has probably been… throughout all my career… I would probably say this season. Just because I’ve done so well to get to where I am – getting to the Premier League… we had a bit of a dip… I scored goals. And then you set that expectation of… I think I hit a new level, scoring goals and being in Europe as well. That goal… after the Euros, I think there’s more eyes on you then.

This year, I haven’t been at the level I wanted to. So, to learn to deal with that is hard. And, look, it can always change. Football can always change. It will be a game where you can go out, score three goals and then everyone talks about you, like: ‘Ah, he’s back in form.’

I think that change of not being at the level where you want to be… I think for me this year has been difficult. But I’ve always got faith in my ability and I work so hard that I know I can get back to the level that I’ve achieved in previous seasons.

Jonny Clayton came from 5-2 down to beat Michael van Gerwen 6-5 and claim his third nightly win to move top of the Premier League.

Van Gerwen missed four match darts in total as the Welshman reeled off four straight legs to take the win in Brighton.

Victory takes Clayton, who began the evening in third, three points above Luke Littler after the world champion was beaten by Stephen Bunting in the quarter-finals and failed to add to his points tally.

While Van Gerwen had the edge both in terms of average and checkout percentage in the final, Clayton produced when it mattered as he made the seven-time champion pay for failing to wrap up the match at 5-2 and 5-4 and forced a decider.

Clayton then finished it in style, hitting two 180s in the leg before sealing it on double 16.

“I thought the game was over at 5-2 up for Michael,” Clayton told Sky Sports.

“He missed, he gave me a chance. You’ve got to take chances. That last leg was probably my best of the game.

“I’m back on top of the table, Luke Littler can start chasing me again.”

Despite falling just short of a first nightly win since the opening week in Newcastle, Van Gerwen’s run to the final helped him shore up his play-off place and open up a four-point gap to fellow Dutchman Gian van Veen in fifth.

Uncapped striker Cora Chambers has been included in new Northern Ireland boss Michael McArdle’s first squad for their April World Cup qualifying double-header against Malta.

The 22-year-old was involved in Kenny Shiels’ full-time panel ahead of Euro 2022, but did not go to the tournament and has not been involved with the senior side since.

The Linfield forward netted 20 league goals for the Blues last year and has scored 39 goals in 47 appearances since making the move to the club from Sion Swifts in 2024.

She is included in one of two changes from the squad which lost both games in Kris Lindsay’s interim spell as manager against Switzerland and Turkey.

Hearts midfield Joely Andrews also returns to the 23-strong squad after missing last month’s games through injury.

Experienced defender Sarah McFadden drops to the standby list while Glentoran midfielder Mia Moore, who made her first start in the defeat against Turkey, will instead be part of the under-19 squad competing in Euro qualifiers this month.

McArdle, who was the Scottish FA’s head of elite women’s football and former interim head coach of Scotland, was appointed as Tanya Oxtoby’s permanent successor in March.

His first game as NI manager will take place at Mourneview Park against Malta on Tuesday, 14 April.

His side will then travel to Malta for the second of April’s double-header on Saturday, 18 April as they look to pick up their first win in qualifying.

Northern Ireland manager Michael O’Neill praised the “character” of his side in Tuesday’s 1-1 draw in Wales.

Both Wales and Northern Ireland lost their respective World Cup play-offs to set up the friendly that nobody wanted.

Jamie Donley scored a deserved opener but Wales hit back less than 60 seconds after the restart as Sorba Thomas tucked home.

Eoin Toal and Callum Marshall had chances to snatch victory, but it was the response to the equaliser which impressed O’Neill as his young side bounced back from the World Cup defeat by Italy with a solid performance in Cardiff.

“The team has good resilience because at the end of the day, as much as we sat deep and it was difficult for us to get out in the last 20 minutes, we still had an opportunity to win the game,” O’Neill, who also hit back at concerns over a conflict of interest with his dual role with Blackburn Rovers.

“To come away, with the age profile of the team and where the team is at this minute at time, and not be beaten here was a real positive.”

O’Neill added it was “a good night’s work for us” as he “asked a huge amount” of young players in a second half that was littered with substitutions, but Northern Ireland deserved their draw in Cardiff.

He handed a debut to 19-year-old defender Tom Atcheson, who plays under him at Blackburn Rovers, but Liverpool’s Kieran Morrison did not make his senior bow as O’Neill made eight substitutions.

“He’s a very young player. I think he’s shown up well in the camp all week,” O’Neill said on Atcheson.

“We would have liked to have got Kieran Morrison on the pitch as well at some point, but you wouldn’t have been able to do it without having to take a sub that you put on, off again, without asking someone to play in a position which was totally alien to them.

“Given the number of substitutions we made, we’re pleased with the response we got from the players.”

O’Neill has always spoken of wanting his players to play at the highest level, but as mentioned, a significant number of players will be going up against his Rovers to avoid the drop and it’s tight at the bottom.

They include Price at West Brom, who are also four points above the relegation zone, Ciaron Brown, Jamie McDonnell, Jamie Donley and Brodie Spencer at Oxford United, who are one point from safety and Terry Devlin at Portsmouth, who are one point above the drop, while he manages Tom Atcheson at Rovers.

Is it a cause for concern for Northern Ireland that the international boss could potentially relegate some of his regulars in the international squad?

O’Neill certainly didn’t think so.

When asked in February he said he isn’t “having that blood on my hands” and the fate of those clubs lay with their respective managers.

“At the end of the day, my job is to do the best I can for Blackburn Rovers,” he said.

“The lads who manage those respective clubs, their job is to do the best for their clubs as well. I don’t think that’s an issue at all.”

Cynics may question whether O’Neill, who will have reduced preparation time with Rovers for two big games by virtue of preparing NI to face Wales, will deliberately disadvantage Championship rivals while in charge of NI in terms of how he manages the aforementioned players’ loads against Wales with a busy spell of domestic action to follow.

Coincidentally, three of the four players released from the NI squad in Norwich’s Ruairi McConville (knee), Preston’s Ali McCann (knock) and Hull City’s Paddy McNair (thigh) will face three of O’Neill relegation rivals in Portsmouth, Leicester and Oxford on Friday.

O’Neill would refute any suggestion of meddling no doubt and when asked about the cramped schedule said he was “aware of the situation” but stressed he would still focus on helping Northern Ireland win the game in Cardiff.

“We’re not in charge of the schedule of the games for either the international window or the EFL. I think 80% of my squad play in the EFL. We’re mindful of the situation for the clubs, of course, but when the clubs signed these players, they knew they were international players and, we’re not going to be reckless with the players or anything like that there, but, we have to obviously look after ourselves as a group of players,” he explained.

“The most important thing is that the players just go out and play the game. They’ll be fine. The lads who play in the EFL, they play a lot of football and they’re used to playing regular football. So they’ve got resilience and I’m sure they’ll get through the game fine.”

WASHINGTON — The Justice Department has settled for roughly $1.2 million a lawsuit from Michael Flynn, the former national security advisor to President Trump who pleaded guilty during the Republican’s first term to lying to the FBI about his conversations with a top Russian diplomat and was later pardoned.

Court papers filed Wednesday do not reveal the settlement amount, but a person familiar with the matter, who spoke to the Associated Press on condition of anonymity to disclose nonpublic information, confirmed the total as about $1.2 million.

The settlement resolves a 2023 lawsuit in which Flynn sought at least $50 million and asserted that the criminal case against him amounted to a malicious prosecution. It also represents a stark turnabout in position for a Justice Department that during the Biden administration had pressed a judge to dismiss Flynn’s complaint. Atty. Gen. Pam Bondi, a former personal lawyer for the president, has openly criticized the Russia investigation in which Flynn was charged and the Justice Department in the last year has opened investigations into former officials who participated in that inquiry.

The Justice Department cast the settlement as an “important step in redressing” what it says was a “historic injustice” of the Russia investigation that shadowed Trump for much of his first term.

“This Department of Justice will continue to pursue accountability at all levels for this wrongdoing. Such weaponization of the federal government must never be allowed to happen again,” a spokesperson said.

In a separate statement, Flynn said: “Nothing can fully compensate for the hell that my family and I have endured over these many years — the relentless attacks, the destruction of reputations, the financial ruin, and the profound personal toll inflicted upon us all. No amount of money or formal resolution can erase the pain caused by a prosecution that should never have been brought.”

The settlement is the latest turn in the long-running legal saga involving Flynn, one of six Trump associates charged as part of special counsel Robert Mueller’s investigation into potential ties between Russia and Trump’s 2016 presidential campaign. That investigation found Russia interfered in the election on Trump’s behalf and that the Trump campaign eagerly welcomed the help, but it ultimately found insufficient evidence of a criminal conspiracy.

Flynn, a retired Army lieutenant general who vigorously campaigned at Trump’s side, served for weeks as his first national security advisor before being pushed out of his position. He remained a Trump ally even after agreeing to cooperate with Mueller’s team. He was pardoned in the final weeks of the president’s first term.

Flynn pleaded guilty in December 2017 to lying to the FBI when he said he had not discussed with the Russian envoy, Sergey Kislyak, sanctions that the outgoing Obama administration had just imposed on Russia for election interference. During that conversation, Flynn advised that Russia be “even-keeled” in response to the punitive measures, and assured him “we can have a better conversation” about relations between the countries after Trump became president.

The conversation alarmed the FBI, which at the time was investigating whether the Trump campaign and Russia had coordinated to sway the election. In addition, White House officials were stating publicly that Flynn and Kislyak had not discussed sanctions, which the FBI knew was untrue.

Flynn was ousted from his position in February 2017 after news broke that Obama administration officials had warned the White House that Flynn had indeed discussed sanctions with Kislyak and was vulnerable to blackmail. He pleaded guilty months later to a false statement charge.

But Flynn later sought to withdraw his guilty plea, saying federal prosecutors had acted in “bad faith” and broken their end of the bargain when they sought prison time for him.

The Justice Department in 2020 moved to dismiss the case, asserting that the FBI had no basis to interview Flynn about Kislyak and that any statements he made during the interview were not material to the FBI’s broader counterintelligence probe.

Flynn was pardoned by Trump in November 2020, ending the court case and the legal wrangling.

In his lawsuit, Flynn maintained his innocence and said he was targeted by the “virulently anti-Trump leadership” of the FBI’s Russia investigation. He contended that investigators pursued him despite knowing there was no evidence of a crime and coerced his guilty plea.

“He was falsely branded as a traitor to his country, lost at least tens of millions of dollars of business opportunities and future lifetime earning potential, was maliciously prosecuted and spent substantial monies in his own defense,” says the lawsuit, adding that Flynn will continue to suffer “mental and emotional pain.”

Tucker and Richer write for the Associated Press.

Key was also a guest on the the TMS programme and he said England will make changes in the way they approach selection.

There had been a perception that the England Test team felt like a ‘closed shop’, particularly to players in county cricket who did not fit the aggressive Bazball style.

Key said the introduction of a “county insight group” to offer input into selection will attempt to formally rebuild relations with stakeholders, including directors of cricket, in the domestic game.

The 46-year-old former Kent captain also said England’s selection policy will become more cut-throat compared to the past when certain players have almost appeared undroppable.

“We’ve overvalued loyalty and overvalued having a settled team,” Key said.

“We thought what we wanted to do is make sure we have a team that is settled out there [in Australia], that we go out there and we’re not giving debuts to opening batters [during the Ashes] and stuff like that.

“But what that does is it creates an environment where there’s not enough consequence. We need to be more ruthless with our selection.”

McCullum is due to return to work towards the end of May as England gear up for a Test series against his native New Zealand which starts at Lord’s on 4 June.

However, Vaughan felt it would have been worthwhile McCullum spending time on the circuit during the early rounds of the County Championship – for good PR if nothing else.

“I’m a bit disappointed that he’s not coming a bit earlier,” Vaughan said.

“I think at this stage, when you’re trying to win back the fans, trying to win back a little bit of the game, if I was Brendon McCullum, I’d come a few weeks earlier, get seen around the counties.

“I’d go and talk to a few coaches, go and speak to a few umpires, get seen out and about just for the optics. Because at this stage he needs the fans, and he needs the game to kind of get behind his philosophy a little bit more.”

You can watch the full TMS debate over the post-Ashes review on BBC iPlayer or download it as a podcast.

Michael Jordan didn’t seem too upset.

Hours after Kevin Durant knocked him out of the top five on the NBA’s all-time scoring list , Jordan was all smiles as he walked to Victory Lane to greet Tyler Reddick after the driver’s win Sunday at Darlington Raceway.

Reddick — who drives for 23XI Racing, which is co-owned by Jordan and veteran driver Denny Hamlin — joined NASCAR Hall of Famers Dale Earnhardt and Bill Elliott as the only Cup Series drivers to win four of the first six races in a season.

To do so, Reddick had to overcome a malfunctioning battery and a large deficit in the final 50 laps. Afterward, Jordan jumped the track’s safety barrier to greet Reddick and his team with some hard high fives and enthusiastic cheers.

“I think the key to him winning was just keeping his head,” Jordan said after the race. “We just had to get the car right, and I think he did an unbelievable job. I just wanted everything to be good, because once he gets back out there, then I feel like his competitive juices are going to carry him all the way to the end. He earned it all week, and I’m real proud of the team.”

Earlier this year, Reddick became the first NASCAR driver to start the season with three consecutive wins. He stands atop Cup Series standings, leading second-place Ryan Blaney of Team Penske by 95 points. Reddick’s 23XI teammate Bubba Wallace is currently in third place.

One night earlier, Durant scored 27 points in the Houston Rockets’ 123-122 victory over the Miami Heat to overtake Jordan for fifth place on the NBA’s all-time leading scorer list. In his 18th season, Durant has 32,294 points — two more than Jordan, who played 13 seasons for the Chicago Bulls and two for the Washington Wizards. Durant and the Rockets play the Bulls in Chicago on Monday.

Jordan has yet to comment publicly on the matter, but Durant had plenty of praise for the man considered by many to be basketball’s GOAT on Saturday during his postgame news conference.

“It’s kind of crazy passing him up because he’s meant so much to the game,” said Durant, who passed Wilt Chamberlain and Dirk Nowitzki on the scoring list earlier this season and now trails only Kobe Bryant, Karl Malone, Kareem Abdul-Jabbar and all-time leader LeBron James.

“I’ve been inspired by all of these players that I’m either coming close to or passing up, and MJ is in a world of his own,” Durant added. “He’s in a galaxy of his own as somebody that I look up to, respect and who basically shaped the game for me.”

Durant also pointed out that Jordan would have scored many more points had he not taken multiple seasons off during the span of his playing career.

“He left a few, I want to say, thousand or so points on the table, too, with the amount of games he missed,” Durant said. “… He scored points quickly, man. So he set the bar high, and it’s pretty cool to reach that bar.”

The Associated Press contributed to this report.

Michael Conlan began his professional boxing career with great fanfare and an ambition to become a multi-weight champion, but despite going close, he was unable to replicate his success as an amateur.

The 34-year-old called time on his career following Friday’s defeat to Kevin Walsh in Belfast when his last roll of the dice to get back into title contention unravelled.

A polarising figure, Conlan could sell out arenas and outdoor venues to the tune of 12,000, while eliciting the ire of others in his home town.

What could not be disputed was he talent inside the ring, with his silky switch-hitting skills bringing his from the streets of west Belfast to the top of the amateur game and within a whisker as a pro.

“I didn’t think I lost tonight but it was too close for my liking and no matter how I would lose, no matter if it’s a robbery, I said that would be my time,” Conlan told reporters in his dressing room after his defeat to Walsh.

“It’s all very raw at the minute and how I’m answering questions is all emotion.

“How light I feel at the minute is probably relief. I’ve had so much pressure on my, so many expectations, even my own.

“I’ve not achieved what I wanted to but I said when I came back into it [in 2025] it would be if I achieve it, then great but if I don’t then so be it. This is the so be it situation and now I can spend time with my family.”

Having followed his brothers into the boxing gym as a seven year old, Conlan would blossom into one of, if not the best Irish male amateurs.

Collecting Antrim, Ulster and Irish titles as a junior, his first major international senior competition came at 2010 Commonwealth Games in Delhi, where, as a 17-year-old, he came unstuck against Australia’s Jason Moloney.

It was just the beginning as the following year, he won the first of five Irish Elite titles which earned him a place on the team for the World Championships in Baku, reaching the quarter-finals which earned a place at the 2012 Olympic Games in London.

There, he made the big breakthrough, reaching the semi-finals where he lost to Cuba’s Robeisy Ramirez but returned with a bronze medal to great acclaim.