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OSCARS host Conan O’Brien has taken a dig at Timothee Chalamet in his opening speech after the actor’s controversial comments about the arts.

The Marty Supreme star found himself facing serious backlash after claiming “no one cares” about opera or ballet.

Conan, 62, kicked off the Oscars with a dig at Timothee, 30, as he smiled and laughed next to girlfriend Kylie Jenner, who arrived at the show dressed to the nines in a slinky red gown.

He joked about heightened security amid ongoing uncertainty in the world, pointing to an unexpected source of tension.

The former late night TV host quipped: “Security is extremely tight tonight…I’m told theres concerns about attacks from both the opera and ballet communities.”

He looked down at Timothee, who was giggling slightly.

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Kylie, 28, shifted slightly in her seat, smiling although she looked slightly uncomfortable.

Conan then added: “They are just mad you left out jazz!”

Later in the show, the Conan O’Brien Needs a Friend host circled back with Timothee, seemingly trying to smooth things over.

“I’m vibing with Timothee right now, we’re vibing, right?!” he asked, looking down at the Willy Wonka actor.

The camera did not pan to the star, but it doesn’t seem like he was feeling the same vibe.

Conan added: “He doesn’t think so, alright!”

At this point, Timothee must be somewhat used to the blowback.

He’s been taking heat for his comment for days now.

The Oscar-nominee was chatting with Matthew McConaughey at the University of Texas about efforts to preserve cinema back in February.

“I don’t want to be working in ballet, or opera, or things where it’s like, ‘Hey, keep this thing alive, even though like no one cares about this anymore’,” he said.

“All respect to all the ballet and opera people out there,” he added.

Since then, he’s taken heat from ballet and opera stars, as well as other big figures in Hollywood.

Steven Spielberg, for example, disagreed vehemently.

According to Page Six, he said of the arts during a 2026 SXSW panel: “At the end of a really good movie experience, we are all united with a whole bunch of feelings that we walks into the daylight with, or into the nighttime with.

Biggest Oscar Nominees of 2026 Academy Awards

Everyone in Hollywood hopes to snag a nod on the industry’s biggest night but only few get that honor. Here are the nominees from the major categories of the 2026 Academy Awards:

Best Picture

• Bugonia
• F1
• Frankenstein
• Hamnet
• Marty Supreme
• One Battle After Another
• The Secret Agent
• Sentimental Value
• Sinners
• Train Dreams

Best Director

• Chloé Zhao — Hamnet
• Josh Safdie — Marty Supreme
• Paul Thomas Anderson — One Battle After Another
• Joachim Trier — Sentimental Value
• Ryan Coogler — Sinners

Best Actor (Leading Role)

• Timothée Chalamet — Marty Supreme
• Leonardo DiCaprio — One Battle After Another
• Ethan Hawke — Blue Moon
• Michael B. Jordan — Sinners
• Wagner Moura — The Secret Agent

Best Actress (Leading Role)

• Jessie Buckley — Hamnet
• Rose Byrne — If I Had Legs I’d Kick You
• Renate Reinsve — Sentimental Value
• Emma Stone — Bugonia
• Kate Hudson — Song Sung Blue

Best Supporting Actor

• Benicio Del Toro — One Battle After Another
• Jacob Elordi — Frankenstein
• Delroy Lindo — Sinners
• Sean Penn — One Battle After Another
• Stellan Skarsgård — Sentimental Value

Best Supporting Actress

• Teyana Taylor — One Battle After Another
• Wunmi Mosaku — Sinners
• Amy Madigan — Weapons
• Elle Fanning — Sentimental Value
• Inga Ibsdotter Lilleaas — Sentimental Value

Best Original Screenplay

• Bugonia — Yorgos Lanthimos & Will Tracy
• Marty Supreme — Josh Safdie & Ronald Bronstein
• One Battle After Another — Paul Thomas Anderson
• Sentimental Value — Joachim Trier & Eskil Vogt
• Sinners — Ryan Coogler

Best Adapted Screenplay

• Blue Moon — Richard Linklater & Glen Powell
• Frankenstein — Guillermo del Toro
• Hamnet — Chloé Zhao
• The Secret Agent — Kleber Mendonça Filho
• Train Dreams — Clint Bentley & Greg Kwedar

Best Animated Feature

• Arco
• KPop Demon Hunters
• The Magnificent Life of Marcel Pagnol
• Zootopia 2
• The Night Gardener

Best International Feature Film

• The Secret Agent — Brazil
• Sentimental Value — Norway
• It Was Just an Accident — Iran
• Universal Language — Canada
• Sujo — Mexico

Best Documentary Feature

• The Alabama Solution
• Come See Me in the Good Light
• Four Daughters
• No Other Land
• The Perfect Neighbor

“And there’s nothing like that. It happens in movies, and in concerts. And it happens in ballet and opera, by the way.”

Timothee is nominated for two Oscars during the 2026 awards show.

He’s up for Best Actor for his role in Marty Supreme and Best Picture.

He will be up against Michael B. Jordan in Sinners; Leonardo DeCaprio in One Battle After Another; Wagner Moura in The Secret Agent; and Ethan Hawke in Blue Moon in the Best Actor category.

In Best Picture, Timothee is up against The Secret Agent, Bugonia, Train Dreams, F1, and Sinners.

CCTV footage released by Israeli police shows the moment an Iranian missile struck a street in Tel Aviv. Emergency crews say at least three people were injured, and several vehicles were destroyed.

CCTV shows the moment a car hits a Muslim woman in broad daylight in southeast London before the driver speeds away. The woman survived, and an investigation is ongoing, but no suspects have been arrested yet.

ZENDAYA grows back in time with a classic floral dress.

The actress, 29, posed in the gown, featuring a gilded ­hibiscus flower on the shoulder, at an awards bash this week.

Sarah Jessica Parker’s character Carrie Bradshaw strutted in it in 2008’s Sex and The City film.

And Whitney Houston wore a similar dress on a tribute issue of Life magazine in 2012.

Zendaya appeared to confirm she has wed Spider-Man co-star Tom Holland, 29, at the Essence Black Women in Hollywood Awards in LA.

The host asked for “a signal” on whether she should send a wedding gift, prompting Zendaya to show a gold band on her ring finger.

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Zendaya’s stylist Law Roach has told how the A-List couple, both 29, have gotten hitched after getting engaged last year.

The singer has now been snapped at a Louis Vuitton fashion show, flaunting what appears to be her “wedding ring.”

She was spotted donning a thin gold band on her ring finger hidden among three huge silver rings.

Zendaya looked incredibly chic, flashing her legs in a white bubble skirt.

The US star wore a long sleeved white shirt with dramatic collars and cuffs and finished the outfit off with a chunky black belt and matching heels.

Her short brunette locks were tightly curled and tucked behind her ears.

Speaking on the red carpet at the Actor Awards earlier this month, Law told Access Hollywood: “The wedding has already happened. You missed it.”

When asked to spill more details by the reporter, the stylist laughed and said: “It’s very true.”

GEMMA Collins has won £20k at the Cheltenham races and made £5k off of just one bet.

The reality star, 45, was left overjoyed today when she raked in the cash and took home the huge amount of money.

A source told The Sun: “Gemma was over the moon and kept showing her wads of cash to James Nesbitt in the Paddy Power box. She made £20k the whole day – and £5k off one £500 bet.”

In an exclusive video obtained by The Sun, Gemma was seen shouting: “I’m f***ing loaded!,” as she revelled in her glory, before adding: “I’m coming home with 20 large ones.”

She took to Instagram to give fans a peek into her winnings as she showcased just one of her successful betting slips.

On the slip, it revealed that the former TOWIE star had won £5k from a £500 bet.

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The television icon wrote over it: “I won @paddypowerofficial. Best day ever!,” alongside horse and four leaf clover emojis.

Gemma certainly looked the part at the Cheltenham Festival as she stunned while standing on a balcony with pals.

She kept warm in an eye-catching blue and purple checked coat with brown fur sleeves and a belt which perfectly synched in her waist.

She accessorised with a white and red headscarf and a pair of blacked out sunglasses.

Her winning moment was captured as she enjoyed a glass of bubbly and was hugged by friends surrounding her.

One of those people was Danny Dyer, who was seen throwing up a fist in celebration for the Celebrity Big Brother star.

In true Gemma fashion, she was spotted looking very animated as she celebrated her exciting victory.

Her big win comes after she was announced as part of the line-up for the second series of I’m A Celebrity… South Africa.

The show was filmed last year and will see familiar faces return for a second stint on the hit ITV series.

After it was announced earlier this week, Gemma revealed she nearly pulled out of it but was put in her place by her make-up artist.

Speaking at the press launch, Gemma said: “It didn’t work out for me the first time around in there and ever since it’s been like this black cloud hanging over my head.

“Obviously I’m older now and I just thought, I have to do this. It was one regret that I had that I left.

“I was absolutely bricking it. I was petrified. My makeup artist slapped me at Heathrow Airport because I actually said I don’t think I can actually go through with this.

“But do you know what? I took a deep breath. I went in strong. And to be honest, I think I shut it down.

“It’s not the GC in there. It’s Gemma Collins as you’ve never seen her before. You’ll see me vulnerable in there.

“I was so stripped bare going in there. And because I knew it was so disastrous the time before, I had no chance to back out of any of it.”

“The one thing that troubled me was the copious amounts of washing up,” said Gemma.

“I was on camp duty with Adam and obviously, it was a massive camp, and I’m not going to lie, I’ve got two dishwashers at home.”

ITV viewers will remember Gemma’s meltdown back in 2014 and refusal to get into a helicopter to get into camp on day one.

She was then forced to make her own way to camp, but things went from bad to worse.

After struggling with camp life and the food rations, she sensationally quit the series on day two.

HILARY Duff broke down in tears as she laid bare the heartbreaking feud with her sister.

The So Yesterday hitmaker – who is in the midst of a huge pop revival with new album Luck … Or Something – admitted the pair “don’t speak”.

Hilary, 38, first referenced bad blood with her actress and singer sibling Haylie, 41, in her album track We Don’t Talk.

The track also tellingly samples Gotye song Somebody That I Used To Know.

In a new podcast chat with Jay Shetty, she explained the delicate situation and how the ongoing drama is a “raw part of my existence”.

Hilary, who previously starred with her big sister on the pair’s infamous Lizzie McGuire TV show, fought back tears as she told the On Purpose podcast: “My sister and I don’t speak.

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“And I think in my adulthood I’ve come across more and more people that are having this experience”.

She branded the situation as “a very raw part of my existence’ before she added: “I hope it’s not forever, but it’s for right now”.

Hilary said: “As painful as it feels to share, when I decided to make this record, I could only talk about the things that I’ve gone through.

“Like there would be no purpose to make a record after 10 years than to face, you know, what it’s been like.

“That’s my truth.

“And I really worked hard to lyrically make sure that I’m just speaking about my experience, you know?”

The sisters haven’t been seen together in public since 2019.

During her recent tour Hilary, who is currently relaunching her music career with a slew of stage shows, appeared to lift the lid on the fall out with her sister, and even blamed “jealousy”.

During her recent concert in London, Hilary introduced fans to the new song, We Don’t Talk.

In a clip of her performing the song on stage, she sung: “Don’t know when it happened / Not even sure what it was about,” alluding to their broken down relationship.

She continued: “Cause we come from the same home, same blood.

“People ask me how you’re doing / I wanna say amazing, but the truth is that I don’t know / What I always end up saying is how … ”

For the chorus, Hilary sung: “We don’t talk, we don’t talk about it / We don’t talk about anything anymore.”

It is in the second verse that Hilary alluded to sibling rivalry.

“And if it’s ’cause you’re jealous / God knows I would sell it all, then break you off the bigger half,” she sung.

A fan then took to social media to put: “WOWW… Hilary Duff just sung We don’t talk and it’s 100% about Haylie. But not mean at all. Basically telling her to reach out.”

Another agreed and put: “I think Hilary misses her sister!”

In another interview, she confirmed the spat was the source material for her track.

“Yeah, it is. It’s definitely about my sister,” Hilary admitted.

After years of silence, back in November Hilary seemingly addressed the feud between her and her sister while chatting about “family drama”.

Speaking to Rolling Stone about her musical comeback, the star said she feels “ready to fill in the blanks and share with people and connect with them on the level of now”.

She then told the outlet how she and her fans have gone through twists and turns and “have gone through a lot of the same things”.

“Whether that’s complicated relationships, anxiety, raising kids, divorces, trying to find yourself in adulthood, family drama…

“Finally I felt safe enough and comfortable in my own family to step outside and open that part of myself up again,” she explained.

Chatter previously swirled that the pair, who were once very close, weren’t getting along because of differing political views.

However, social media gossip page DeuxMoi claimed that the sisters fought over Hilary’s husband, Matthew Koma, butting heads with Haylie’s husband, Matthew Rosenberg.

Dino Snores for grown-ups opens up the iconic Natural History Museum overnight

It’s one of the most iconic buildings and attractions in London and is known the world over.

The Natural History Museum is a marvel, containing tens of thousands of specimens from the natural world from across the globe and across time.

Not only that but the building is one of the most stunning in the capital, instantly recognisable and with some new wonder to be found on every visit.

And, in a real bucket list moment and a once in a lifetime experience, I was one of the people lucky enough to spend the night in this iconic building, sleeping under Hope the whale and wandering through the collections in the dead of night.

The Natural History Museum hosts Dino Snores for adults – and what an experience it is.

Not only do you get to spend the night sleeping beneath Hope the whale in the main Hintze Hall, there is so much going on there’s no way you’ll be getting your head down until the wee small hours.

Walking into the museum after the sun had gone down felt like living in my very own fairy tale. The exhibits in the incredible main hall were softly lit.

First up was a delicious three course meal in the T-Rex restaurant, followed by our first activity of the evening – stand-up comedy.

This is the Natural History Museum after all, so it did have a conservation theme in the form of comedian Simon Watt, founder of the Ugly Animal Preservation Society.

Who knew blob fish, frogs and the inexplicable inclusion of the kakapo flightless parrot could be so hilarious.

Next, there was a live animal workshop with ethical handling company, ZooLab, who encouraged us all to think how we would design our own dinosaur using traits from some of the amazing creatures who share the planet with us.

You were even allowed to touch some of these rare species – I very bravely overcame my terror to stroke a snake but have to admit to breathing a big sigh of relief when were were told the tarantula was a look only experience.

Then onto a lecture about sharks with a one of the museum’s palaeontologists – utterly fascinating.

A quick game of Dino Bingo, and then a stroll around the softly lit galleries with no crowds – the dinosaur section really is something else when the lights are out and it’s eerily quiet – and before we knew it it was 3am and we were ready to drop.

Tucking ourselves into our sleeping bags under the watchful gaze of Hope the whale, we were serenaded to sleep by a harpist – the theme from Jurassic Park as my personal favourite.

Throughout the night, there was a fully licenced bar as well as free tea, coffee and snacks to keep you going throughout the evening.

There was just so much to see and do, but for those who didn’t feel like roaming the halls of the Natural History Museum there was also a midnight film screening – what else but the original Jurassic Park.

Waking up in the iconic Hintze Hall was a real pinch me moment and off we went to our early morning yoga class – a stretch was just what we needed – before a full fry up and then some time to once again wander through the galleries, minus the crowds before the museum opened to the public at 10am.

This really was a magical experience and one I’ll cherish forever.

For more information about Dino Snores for adults check out the page on the Natural History Museum website.

There is also a Dino Snores event for kids, for more information visit the website.

Joe McDonald, lead singer and songwriter of Country Joe and the Fish — the band known for its resounding anti-war chant at Woodstock — has died. He was 84.

His wife, Kathy McDonald, announced his death Sunday morning. He died Saturday in his Berkeley home due to complications from Parkinson’s disease.

As a formative member of the American counterculture in the 1960s and ‘70s, McDonald leaves a legacy of bridging contemporary political satire and brazen anti-war sentiments with the early sounds of acid rock.

“We’re just so proud of him. He’s our hero. He instilled in us that we have to speak up when we can, on whatever platform we can, about issues that we feel are important,” said his daughter Seven McDonald, a film producer, music manager and writer.

“While he was a very serious, earnest activist, he also had such an acute sense of cynical humor that is so fantastic and was capable of scathing satire,” her brother Devin added. “He’s most famous for that, but he also did so many heartfelt benefits for different causes.”

The siblings, who spent their childhoods on the road and in recording studios with him, joke that he was always doing a benefit show.

The musician was born on Jan. 1, 1942, in Washington to Worden McDonald and activist Florence (Plotnik) McDonald, who were both members of the Communist Party. The family soon moved to the Southern California city of El Monte, where Joe McDonald was raised.

His musical roots reach back to when his father taught him to play the guitar at 7 years old. But before embarking on his career in music, McDonald enlisted in the Navy at age 17. He served as an air traffic controller at the Atsugi, Japan, air facility for three years. Upon coming back to the states, he tried out college for a short time before dropping out and moving to Berkeley.

Before experimenting with an early variation of Country Joe and the Fish alongside guitarist Barry Melton in the mid-1960s, McDonald started a small magazine called Rag Baby. Once the group was solidified, they decided to turn their folksy roots electric and made the move to San Francisco — just before the city’s legendary Summer of Love.

The group, born out of the Bay Area psychedelic rock scene, was soon signed by Vanguard Records and in 1967 released its debut album “Electric Music for the Mind and Body.” At the time the band’s label and producer were hesitant to let the musicians fully express their politics, and excluded the soon-to-be-hit anti-war anthem “I-Feel-Like-I’m-Fixin’-to-Die Rag” with the catchy chorus that began, “And it’s 1, 2, 3 what are we fighting for?”

Instead, they went with tracks like “Superbird,” a spoof of President Lyndon B. Johnson, which received little to no backlash. When the second album came around, the band was allowed to run with “I-Feel-Like-I’m-Fixin’-to-Die Rag” as the title track. Trouble started to arise with the anti-Vietnam war anthem when the group changed the beginning chant of F-I-S-H to a more profane four letter word that starts with an “F.”

They performed this altered cheer at a gig in Massachusetts, where McDonald received a charge for inciting an audience to lewd behavior and a $500 fine. With this police run-in, Country Joe and the Fish received a slew of press, riling up the public ahead of their Woodstock performance.

The moment the band members began this chant at Woodstock became arguably the biggest moment of their careers, with over 400,000 people joining in. It’s a moment of protest that has gone down in history.

Not long after the festival, the band went their separate ways. McDonald continued to release solo music that stuck with the similar themes of politics and the Vietnam War.

“He took the toll for taking the stand,” said Seven. “He was not the biggest pop star, because he just opted to speak his mind and do his thing.”

In 1986, McDonald released “Vietnam Experience,” an album full of songs analyzing its long-term impacts on his generation. And in 1995 he was “the driving force” according to an Associated Press story, behind a war memorial to honor Berkeley veterans killed in the Vietnam War.

He told The Times in 1986 that he had “an addiction to Vietnam … I’ve been doing work with veterans now for 15 years, and I probably know more about Vietnam veterans than any other person in the entertainment industry.”

“I’ve always believed that the veterans are a basic element to the understanding of war,” he added, “and the understanding of war is the only path to peace.”

McDonald is survived by his wife of 43 years, Kathy; his five children, Seven, Devin, Ryan, Tara Taylor and Emily; a brother, Billy; and four grandchildren.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

If you are anything like me, you felt pretty out of sorts this week, not sure how to process the news that we are suddenly, apparently, a nation again at war. It can make the movies seem frivolous — a glorious, privileged sandbox to stick your head in — but it is also times like these that make them seem most vital and necessary: a place to focus energy and anxiety and maybe figure things out.

I was particularly struck by something New York Times critic Wesley Morris said in an appearance on the podcast “The Big Picture.” He was ostensibly talking about the downside of the Paramount-Warner Bros. merger news (“These people are f— with our dreams here” is how he began) but he landed on why movies matter in their moment, crucial to “how we develop as a culture, how we come to understand ourselves as a people, what this country ought to or should look like 40 years from now.”

The week’s big new release is Maggie Gyllenhaal’s “The Bride!” a sort-of adaptation of 1935’s “Bride of Frankenstein” starring Jessie Buckley and Christian Bale that is also very much its own thing, purpose-built to drive some people up a tree and already sharply dividing critics.

Christian Bale and Jessie Buckley in the movie “The Bride!”

(Niko Tavernise / Warner Bros. Pictures)

In her largely positive review, Amy Nicholson calls the movie “an unhinged scream,” adding, “‘Every wacky second, you’re well aware how perilously close it is to falling apart at the seams. This spiritual sequel to ‘Frankenstein’ is a romantic tale of obsession, possession and fantasy — adjectives that also apply to its filmmaker, Maggie Gyllenhaal, who expends massive quantities of energy jolting it to life. She succeeds by the skin of her teeth.”

I interviewed Gyllenhaal about “The Bride!” — including the significance of that exclamation point in the title. There have been numerous reports about a back-and-forth between the filmmaker and execs at Warner Bros. and Gyllenhaal didn’t shy away from talking about it. She had specific praise for Pam Abdy, co-chair and co-chief executive of Warner Bros. Motion Picture Group.

“Something really alive was born, and I think the movie is better for the work that she and I did together,” Gyllenhaal told me. “I know that’s an unusual thing to say. I know that you have lots of people saying like, ‘Ah, the studio f— my movie up.’ That is not my experience. It’s really not.”

Louis Malle’s ‘…and the Pursuit of Happiness’

A scene from Louis Malle’s documentary “…and the Pursuit of Happiness.”

(Janus Films)

On Saturday, in a co-presentation of 7th House at the Philosophical Research Society and El Cine, the will be a 16mm screening of director Louis Malle’s 1986 “…and the Pursuit of Happiness,” a documentary made for television that explores the immigrant experience in America. The French-born filmmaker traveled across the U.S. interviewing recent arrivals from all walks of life.

Writing about the film in 1988, The Times’ Kevin Thomas called it “an often amusing and always insightful survey of the contemporary emigre experience. … an irresistible array of vignettes depicting cultural accommodation and assimilation in all its variety.”

I got on a video call this week with 7th House programmer Alex McDonald and El Cine founder Mariana Da Silva to talk about why this movie matters now.

The movie is streaming on the Criterion Channel right now. Why was it important to also put this movie in front of audiences right now?

Alex McDonald: I think Mariana and I are on the same page with this. I never let streaming or home video availability deter programming. Growing up, the theater was a holy place, a cathedral of congregation. I feel like these films are meant to be seen with an audience. And thankfully, I feel like our audience recognizes that as well, even if the film is out there. Particularly in our current moment, it’s a very prescient film and it’s one that will be all the more powerful within community.

Mariana Da Silva: I agree fully. One of the biggest things within our program is the communal aspects — just seeing the same people come back, that trust that develops with the audience. The best part I love about going to movie theaters is standing outside with people I maybe would never speak to and having a conversation about a film.

A scene from Louis Malle’s documentary “…and the Pursuit of Happiness.”

(Janus Films)

Do you respond to a movie like this as a sort of time capsule of how things were, or is it important to you that it is saying something about what’s happening right now?

McDonald: That’s something I’m very conscious of when I program repertory titles. When I program social, politically minded films, a lot of what I’m trying to do is to show that the issues within these things have not really changed — the ways in which things have progressed, the way in which we have regressed. Malle has such a humane view on all of these people in the film. He narrates but he doesn’t really editorialize. He just sort of observes, and in doing so, he’s making the most compelling argument for the richness of diversity and everything that these people contribute to this country, what they lose in assimilation, what they have to give up and what they bring. There’s a complexity to it. There are certainly dissenting voices in it and those resonate differently now.

It wasn’t perfect then. Obviously, there’s always been conflict, but I think there was an open-heartedness that has really shifted. And this is kind of a poignant reminder of what we need to try to get back to and recognize.

Da Silva: If we were able to have these conversations more openly, it would put us all on an even playing field. Humans are flawed. There’s been a lot of miseducation. In this moment, especially for me as somebody who is an immigrant, I feel like there’s so many people who I know who are so liberal and so aware, but then they don’t really understand the experience of the immigrant. And it’s not their fault in any capacity. They just haven’t been exposed to somebody like me before.

I think we can all come together on the things we celebrate, but we also need to be very open and come together on the things that we differ on too.

Points of interest

‘Good Night, and Good Luck’ in 35mm

George Clooney, left, and David Strathairn in the 2005 movie “Good Night, and Good Luck.”

(Melinda Sue Gordon / Warner Independent Pictures)

On Sunday afternoon at the Los Feliz Theater, as part of the American Cinematheque’s ongoing “Sunday Print Edition” series, there will be a 35mm screening of George Clooney’s “Good Night, and Good Luck,” introduced by The Times’ own Rosanna Xia.

Starring David Strathairn as pioneering television journalist Edward R. Murrow at the height of the McCarthy era, the film was nominated for six Oscars, including picture, director, actor and original screenplay.

As Kenneth Turan wrote in his original review, “‘Good Night, and Good Luck’ couldn’t be more unlikely, more unfashionable — or more compelling. Everything about it — its look, its style, even its sound — stands in stark opposition to the trends of the moment. Yet by sticking to events that are half a century old, it tells a story whose implications for today are inescapable. … The son of a TV anchorman, Clooney had the nerve to believe that a drama of ideas could be as entertaining as ‘Desperate Housewives.’ He insisted that a fight for America’s soul, a clash of values over critical intellectual issues like freedom of the press and the excesses of government, had an inherent intensity that would carry everything before it. And it does.”

‘Days and Nights in the Forest’ 4K restoration

An image from Satyajit Ray’s 1970 drama “Days and Nights in the Forest.”

(Janus Films)

Now playing at the Laemmle Royal in a new 4K restoration undertaken by the Film Foundation is Satyajit Ray’s 1970 “Days and Nights in the Forest.” In this examination of masculinity and class, four male friends drive from the bustling city of Kolkata to a rural village, mixing with the locals with volatile results.

In a special video introduction, Wes Anderson, a longtime admirer of Ray, admits he lifted a scene from “Days and Nights” for one of his own films — 2023’s “Asteroid City” — and says, “Anything by Satyajit Ray must be cherished and preserved, but ‘Days and Nights in the Forest,’ I think you will agree, is one of the special gems among his many treasures.”

‘Grease 2’ returns

Michelle Pfeiffer on the set of “Grease 2” in 1981.

(Vinnie Zuffante / Getty Images)

The Cinematic Void series at the American Cinematheque will show 1982’s pastiche musical “Grease 2” on Monday. Directed by choreographer-turned-filmmaker Patricia Birch, the film is, of course, a sequel to 1978’s megahit “Grease” but it is also very much its own thing. Largely dismissed on initial release, it has found a growing following over the years thanks in large part to its extremely engaging young cast, including an on-the-rise Michelle Pfeiffer.

In his initial review (more complementary than one might expect), Kevin Thomas wrote, “There’s so much youthful talent and vitality in ‘Grease 2’ that it’s depressing to discover it is so unblushing and relentless and paean to ignorance. … This is a pity, because Birch displays an organic sense of how to make dance evolve out of the kids’ everyday activities — converging en mass at Rydell High on the first day of school or having fun at the bowling alley. But Birch has scant opportunity beyond letting us know she cares for these ignoramuses, most of who seem likable enough beneath aggressively crude exteriors.”

Anti-fascist films at UCLA

Ingrid Bergman and Charles Boyer in the 1948 drama “Arch of Triumph.”

(Enterprise-UA / Photofest)

The ongoing series at the UCLA Film and Television Archive titled “From John Doe to Lonesome Rhodes: Anti-fascism from the Archive” hits a real stride this weekend for two nights of restored rarities. On Friday comes a restored 35mm print of 1948’s “Arch of Triumph,” directed by Lewis Milestone and starring Ingrid Bergman, Charles Boyer and Charles Laughton in a romantic drama of refugees in 1938 Paris. Also playing is Arthur Ripley’s rare 1944 emigree drama “Voice in the Wind.”

Much of the press around the film at the time of its release had to do with the challenge of bringing the racier aspects of the novel by Erich Maria Remarque (“All Quiet on the Western Front”) to the screen. As producer David Lewis told The Times’ Philip K. Scheuer, “I promise you that as Joan, Ingrid Bergman will set the town on its ear. They’ll never think of her as anything but sexy again.”

Saturday brings the world premiere of the 35mm restoration of Walter Comes’ 1947 “The Burning Cross,” in which a returning veteran is recruited into the KKK. John Reinhardt’s 1948 “Open Secret,” about antisemitism, will also play in a 35mm restoration.

The series concludes next week with a 35mm screening of Elia Kazan’s 1957 “A Face in the Crowd,” starring Andy Griffith in an examination of the dark side of populist politics and media manipulation.

Her gleeful cruelty was matched only by the audacity of her incompetence.

Packaged in cosplay costumes — cowgirl, solider, even firefighter and pilot — we were supposed to see her as strong. But far from the mother of dragons she seems to envision herself as, she came across as the killer of Cricket (poor pup), a childish narcissist in a deadly serious job.

It was so over the top, you don’t even need a name. You know who I’m talking about. So there’s little wonder that when President Trump dumped Kristi Noem as the head of Homeland Security this week, much of America — even a bipartisan slice, I dare say — reacted much like the residents of Oz when the house landed on the wicked witch.

From late-night talk shows to the halls of power, there was more than a bit of celebration, and some actually reasonable schadenfreude. Normally, the misfortune of others isn’t something I pile on, but oh, did that woman earn some scorn.

But while I’m not one to discourage a moment of joy in these troubling days, Noem’s unceremonious firing and what comes next likely won’t provide the relief and reset many are hoping for — or are claiming this is. For all the chaos and pain that federal agents from various departments have caused under Noem’s leadership, there’s every reason to believe Trump has plans to continue and even expand his deportation efforts, and maybe even use these poorly trained, poorly vetted troops to impose his will on the next election.

What we are witnessing, rather than any acknowledgment of policy gone awry, is spotlight envy from a petty president who doesn’t like to share attention, and a backroom concession that maybe optics do matter when you’re attempting to cram white nationalism onto a pluralist country.

It was, according to Fox News and other media, a claim under oath that Trump authorized Noem to spend more than $200 million on commercials promoting herself instead of him that got her canned. Pointing to just how deeply unpopular Noem made herself even within the Trump-verse, this death knell came courtesy of a set-up by a GOP senator, John Kennedy (R-La.), who walked Noem to her own demise with awe-inspiring political skill.

After forcing Noem to claim on the record multiple times that Trump knew about and approved the mega-spend on Noem’s ludicrously over-produced ads (while also raising questions about the contract and who benefited), Kennedy — almost certainly knowing Trump would see it — laid this dig on her with dripping Southern knife-in-the-back charm.

“To me, it puts the president in a terribly awkward spot,” Kennedy drawled, likely implanting grievance directly into the president’s brain. “I’m not saying you’re not telling the truth. It’s just hard for me to believe, knowing the president as I do, that you said, ‘Mr. President, here’s some ads I’ve cut, and I’m going to spend $220 million … running them,’ that he would have agreed to that.”

Soon after, Trump posted on social media that Noem was out. I bring this up because it wasn’t, after all, the substance of Noem’s actions that ultimately got her fired. In that same hearing on Capitol Hill, Democrats blasted Noem for the deaths of Alex Pretti and Renee Good in Minneapolis and her subsequent false portrayal of them as domestic terrorists; the conditions inside our ever-expanding network of detention centers that have led to deaths; and even her mile-high airplane bedroom where she may or may not be conducting an extramarital affair.

None of that seems to have bothered Trump. It was her self-promotion. And it was that same self-promotion, the constant demanding of attention, that likely also ultimately convinced those around Trump to dump her — because it was adding to the deep unpopularity of immigration roundups that have been dragging down Trump’s approval ratings and which therefore could hurt the midterm chances of down-ballot Trumpers.

Last month, a Quinnipiac poll found that 58% of voters wanted Noem removed, and almost 60% of voters disapproved of Trump’s immigration policies.

Noem was the public face of that disapproval, strutting forward with arrogance in the face of public censure, a veritable clown show of ineptitude. With her ouster, and the possible replacement by another Trump stalwart, Oklahoma first-term Sen. Markwayne Mullin, Trump removes the most visible and annoying sign of the unpopularity of his policies.

While pugnacious (he’s a former MMA fighter) and happy to create his own questionable headlines, Mullin is also far more low-key than Noem, and knows who the spotlight belongs to. He is almost certain to put a more palatable face on deportations and detentions (for some anyway) simply by not being so thirsty for press. A low bar, but there you have it.

But Mullin has made it clear that he backs the most extreme immigration policies Trump world can offer, and has little difference of opinion from Stephen Miller, the architect of this bleak moment, who seems to be running things slightly off screen.

The risk now is that Mullin can continue these policies, even expand them, with less scrutiny simply because he’s less offensive than Noem. Detention centers are being built at breakneck speed. In Arizona, ICE has begun charging legal immigrants with a Cold War-era law if they don’t carry their papers with them at all times. The Department of Justice is gutting the ability to appeal deportations, in an effort to hasten them without recourse. Nothing is changing — except the speed and force with which ICE is moving forward.

And Trump has doubled down on claims that illegal immigrants are responsible for massive voter fraud, laying the groundwork for some sort of intervention in the upcoming election. Election deniers have been installed in key positions — Mullin himself is one of them.

So far from a reset, Noem’s removal is a retrenching — an effort to remove our focus from the deeply troubling link between immigration policy and the threat to democracy while actually grinding forward on that dark path.

Because Noem was a train wreck we couldn’t help but watch, at a moment when the government would prefer we stop looking.

Israelis filmed the moment an Iranian missile broke through Israel’s air defence systems to strike a target in West Jerusalem, in retaliation for Israel’s war on Iran.

THE Apprentice star Luisa Zissman was forced to improvise to keep her kids entertained as they took shelter during missile strikes on their adopted home in Dubai.

The podcaster, 38, is one of many celebrities who relocated to UAE and was caught up in the terrifying Iranian missile strikes in Dubai this weekend.

Luisa spoke of how the family had planned to head out to the park when the Iranian missiles started hitting Dubai, so they retreated to the basement to stay safe.

She and two of her daughters, Indigo Esme, nine and Clementine, seven, moved earlier this year to join her millionaire husband Andrew Collins.

Her eldest daughter Dixie, 15, with ex-husband Olivier Zissman, is staying in the UK to finish her schooling.

Luisa described the situation in Dubai as “surreal and scary” and showed how she was keeping her kids distracted, including doing baking and watching.

Ziss-ling

The Apprentice star Luisa Zissman shows off figure in bikini as she quits UK

DU-BYE

The Apprentice’s Luisa Zissman reveals she’s quitting ‘unsafe’ UK for Dubai

 “Home baked bread rolls. Keeping the kids entertained and indoors,” she captioned a post on Instagram.

“We got itchy feet and went to take them to the park and literally as we went to step foot out the door we heard two massive explosions that shook the house, we retreated and then heard another two. So now movie time in the basement.”

Luisa concluded: “So surreal and scary. I do faith that UAE defence will keep us all safe.”

She also showed fans how she had set up her basement to take shelter, including setting up some sleeping space for friends who were going to stay with them.

“We’ve decided to try and carry on as normal for the moment,” she explained, then showed how she’d stocked up the basement mini fridge with bottles of water though she was, “sure it won’t come to that.”

“Nothing major has happened, everything is relatively fine… when you’re here, it’s not so bad.”

Before retreating to the basement and as the missile strikes began, Luisa had thanked her fans for their concern.

“Lots of messages re Dubai,” she penned on her Instagram stories, alongside a selfie.

She added: “Lots of bangs we are hearing. Stay safe fellow UAE gang.”

Iran launched a barrage of rockets at nations across the Middle East after vowing revenge for the US and Israel’s huge blitz on the regime.

As the United Arab Emirate’s top holiday hot spot, Dubai has become a sought after travel destination for celebrities and influencers.

In more recent times, stars from the United Kingdom have been emigrating there, with many Brit celebs choosing Dubai as the place they want to bring up their families and base their careers.

Famous holidaymakers such as Vicky Pattison and Laura Anderson are currently stuck in Dubai amid the missile strikes.

Vicky was connecting through the city on her way to Australia with her husband Ercan.

But taking to Instagram on Saturday evening, she wrote: “Ercan and I were due to fly to Sydney this evening.

“But like many others, our flight has been cancelled and we are now effectively stuck in Dubai.”

Video from Abu Dhabi captured the moment a second Iranian drone struck the Al Salam Naval Base. A fire was already burning from an earlier hit and what appears to be a cruise ship could be seen docked in the background.

PHOENIX — The Dodgers have played mostly great baseball in Los Angeles for 68 years. How many position players wear the iconic L.A. cap on a Hall of Fame plaque?

Go on, take a guess.

Freddie Freeman, the Dodgers’ star first baseman: “Three?”

Andrew Friedman, the Dodgers’ president of baseball operations: “Two?”

The correct answer is zero.

The players that wear the L.A. logo in Cooperstown: Sandy Koufax, Don Drysdale and Don Sutton. The Fox ownership deprived us of Mike Piazza, and the voters deprived us of Maury Wills, but the answer remains zero.

“That is fascinating,” Freeman said. “That is amazing.”

That means the first position player to wear an L.A. cap in the Hall of Fame might well be the one that shed tears over leaving the Atlanta Braves. Freeman preferred to stay, but the Dodgers offered him a six-year contract and the Braves did not.

“Going into that offseason, it was hard to imagine him in a different uniform,” Friedman said. “And now it’s really hard to see him in a different uniform than ours.”

Yet the love affair between Freeman and Braves fans was so evident in his 2022 return to Atlanta that, in the moment, Clayton Kershaw said, “I hope we’re not second fiddle.”

Said Freeman: “I don’t shy away. I had 12 great years in Atlanta, but I’m having a blast here. It’s been four wonderful years, a couple of World Series titles. I’m here. I love every minute of this.”

We remember best what we remember last. Freeman is well aware of his legacy.

“Walk-off grand slam,” he said.

Freddie Freeman tosses his bat after hitting a walk-off grand slam in Game 1 of the 2024 World Series against the New York Yankees at Dodger Stadium.

(Wally Skalij / Los Angeles Times)

No one else in major league history has hit one in the World Series. That was the “Gibby, meet Freddie!” moment.

What is Kirk Gibson remembered for? Do we have to ask?

Gibson played 12 years in Detroit and won a World Series. He played three years in Los Angeles, won a World Series, and one of the greatest moments in baseball history was immortalized by one of the greatest calls in baseball history: “In a year that has been so improbable, the impossible has happened!”

Gibson is a Dodger.

Freeman played 12 years in Atlanta and won a World Series. He has played four years in Los Angeles and won two, with the walk-off grand slam to end one World Series game and a walk-off home run to end an 18-inning World Series game.

Freeman is a Dodger.

If you could follow him around town, you would see.

“I haven’t been able to leave my house once in the last few years without someone coming up to me,” he said. “Sometimes you just want to incognito and get to somewhere, but you can’t. It’s OK. That just means we’re doing something special here.

“Even in Orange County, it’s kind of taken over. There’s a lot more L.A. hats walking around than Angel hats in Orange County.

“It’s just fun to be a Dodger right now. It’s hard not to watch us wherever we go, and that’s special. It’s a great place to play. People want to come here and play. The fans obviously love us, and we appreciate all of it.”

Freddie Freeman waves to fans during Dodgerfest at Dodger Stadium on Jan. 31.

(Ronaldo Bolanos/Los Angeles Times)

Even the traffic. Freeman grew up in Orange County, so he takes the L.A. traffic in stride.

“The 55 isn’t that good either,” he said with a grin. “Or the 91.”

It sounds crazy to say that Freeman could play two or three times as long with the Braves and enter the Hall of Fame as a Dodger.

The totals through 12 years in Atlanta: one championship, five All-Star appearances, one most valuable player award, three top-5 MVP finishes, .295 batting average, .893 OPS.

The totals through four years in Los Angeles: two championships, four All-Star appearances, two top-5 MVP finishes, two legendary moments, .310 batting average, .907 OPS.

Freeman is 36. His contract covers two more seasons, although he said he would like to play four more with the Dodgers and then call it a career. That would make 12 years with the Braves, eight with the Dodgers.

Then, assuming his career does not fall off a cliff: Cooperstown.

“I’ve only been here for four years, and you’re already talking about this?” Freeman said. “That makes me happy because that means I’ve done my job well.”

Reggie Jackson played 10 years with the Oakland Athletics, five with the New York Yankees. His Hall of Fame cap features the Yankees.

Nolan Ryan played nine years with the Houston Astros and eight with the Angels. His Hall of Fame cap features the Texas Rangers, his team for five years.

If Freeman is elected, he and the Hall will confer about which team should be represented on his cap. That conversation might be a decade away, but I’ll say it now: In L.A. and in Cooperstown, Freeman is a Dodger.

The US Ambassador to the United Nations Mike Waltz says striking Iran was necessary to protect American allies, prevent proxy militias, and to ensure that Tehran can never “threaten the world with a nuclear weapon.”

Matthew Lillard has been campaigning for a while.

He wanted to get back into the “Scream” franchise. Of course his character, Stu Macher, could survive a television being dropped on his head (though it’s said that he was electrocuted). Lillard even thought about dropping an actual TV on his head to prove that it was possible. Luckily, he didn’t go through with it, becausea lot of TV figuratively dropped on his head anyway.

The “Scooby-Doo” actor has been cast in several high-profile projects. He’s on “Cross,” the Amazon Prime show starring Aldis Hodge as a homicide detective and forensic psychologist. He will be in the eight-episode “Carrie” miniseries — yes, that Carrie — developed by filmmaker Mike Flanagan for Amazon MGM Studios. He’s dipping his toes in the Marvel cinematic pond with a role in Netflix’s “Daredevil: Born Again.”

On the big screen, he’s prepping for a third “Five Nights at Freddy’s.”

And his campaign paid off: He’s in the newest chapter of the popular “Scream” franchise — which just released its final trailer earlier this week.

All of this from an actor whom Quentin Tarantino (speaking on “The Bret Easton Ellis Podcast”) “doesn’t care for.” Lillard has answered questions about and commented on Tarantino’s viral comments often in the last few months. An actor for almost four decades, Lillard says he has built up a thick skin, but the comments were hurtful.

He talks about those comments, along with his recent projects, working with friends and his constant desire to say “F— ICE.”

So. Tarantino said some things about your (and Paul Dano’s) acting prowess …

Look, candidly, it was a weird moment. It was a bummer. It was a drag at the beginning. But I’ll say this — I have never felt so seen by this industry. My entire career, I felt like a blue-collar working-class actor trying to be in the best movies and do the best work I possibly can. In that moment, along comes an industry that I’ve served now for 35 years, rising up and saying really lovely things. I said, in the past, it felt like I was living through my own wake. You don’t normally see that outpouring of love until after somebody passes. At the end of the day, it ends up being a really beautiful moment for me.

It’s not like I’m this fragile little thing. I’ve been around a long time. Did it suck? Sure.

This Quentin Tarantino thing … I’m good. I love his films. It also sucked because I was like, “Oh, I would love to get in there and kick ass for him.” But whatever. It is not about the box office wins that week. It’s about a body of work, a community of friends, and longevity that really defines. Which is the goal, and it defines a life well spent.

You mentioned longevity, and a quick IMDb search shows that Shaggy is your world! There’s so much “Scooby–Doo.” Straight-to-video. Live-action. Video games.

Yeah. Isn’t that crazy?

Looking back, how did you approach doing the voice work and being in the movies, and what was your thought process when that first came to you?

My first thought process was, “I’m getting that job.” I’m like, “I will kill that.” The way I got into the voice was that I would have to scream myself hoarse. I’ll never forget coming down and being in the car, an empty Warner Bros. lot, screaming to prepare my voice for the audition, and having Chuck Roven, the producer, walk by and knock on the window and be like, “Dude, are you OK?”

The first movie was so successful that I felt like I was launched. James Gunn and I went in and pitched “Plastic Man” at Warner Bros. I felt like, “Oh, I’m now an option to be No. 1 on a call sheet.” Then “Scooby-Doo 2” came out, didn’t do great, and started a reset of my career that took a couple of years.

I look back now at 56 years old and think, without that, I wouldn’t be in this career. I don’t know if I would have been around long enough to get this comeback that I’m in the middle of and enjoying.

“Scream 7” revisits one of the most successful horror franchises ever. How did you feel about being approached to come back? Can you say much about your role?

Ghostface in Paramount Pictures and Spyglass Media Group’s “Scream.”

(Brownie Harris / Paramount Pictures / Spyglass Media Group)

I’m not going to lie, I was over the moon. At some point, right before I got the offer, probably three or four months before I got the offer, [“Scream” franchise creator] Kevin Williamson put it out in the world that the “Scream” franchise does not need Matthew Lillard. I remember reading that and thinking to myself, “Why don’t you just leave me alone? I’m planning on getting back in.”

[Film producers] Radio Silence had set up in [the fifth and sixth films] the potential or the whisperings that Stu was still alive. So I was like, “We’re trending in the right direction here. Why is Kevin Williamson kicking me in the teeth?” And the funny thing is, he called me in the middle of the afternoon and he’s like, “Are you interested in coming back?” I was super excited. And … there’s not a lot I can say about the movie, for obvious reasons. But I think that people are going to be really excited.

You’re continuing in the horror field with “Carrie.” No release date yet, but what can you say about it?

I had a small scene [in “Life of Chuck”], but the scene’s great and the movie’s beautiful. I saw Kevin Williamson at [“Life of Chuck” and “Carrie” producer] Mike Flanagan’s house because we were playing a game of “Mafia.” I was doing “Five Nights at Freddy’s” and I was sitting talking to Mike and he was talking about doing “Carrie” and everything he’s got coming up. After he and I did “Life of Chuck,” he’s like, “Well, congratulations. You’re now in the Flanafam.” He works a lot with the same actors.

I finally got up the courage to say, “Hey, listen, what is that? I mean, if I’m in the Flanafam, what does that mean? How does that work? Am I supposed to tell you my schedule?” He’s like, “Oh, no, no, no. I have a part for you in ‘Carrie.’ I want you to come and do ‘Carrie’ if you’re interested.”

Everyone knows the story. Carrie, pig blood, all that. But that De Palma version only uses certain specific aspects of the book. The thing I’m excited about is that Mike Flanagan pulls in elements of the book that are not necessarily in the first film, and then adds headlines ripped from today’s day and age in terms of bullying and things we’re seeing in social media and all of that. So he’s giving it a new lens to look at what bullying looks like for kids today. I saw the first three episodes — the entire cast gathered at a screening room — and it blew me away.

Summer Howell plays Carrie, and she’s incredible, and Sam Sloyan plays her mother. There’s three basic parties. There’s the kids, there’s the parents, and then there’s the faculty. I play the principal at the school, watching the entire thing fall apart around them.

You’re also dipping your toes in the world of Marvel with “Daredevil: Born Again.”

I can talk about “Daredevil” a little. I played Dungeon & Dragons with three incredible showrunners. Dario Scardapane, who runs “Daredevil,” Matt Nix, who’s doing the new “Baywatch,” and then Elwood Reid, who does “Tracker.” I’m their dungeon master. We play with Abraham Benrubi, this beautiful actor (“ER,” “Buffy the Vampire Slayer”), a dear friend of mine. … Dario brought me in to play Mr. Charles [on “Daredevil: Born Again”], who’s like a CIA spook. He’s a guy that controls power from afar. He helps nations rise and fall, but he’s very clandestine. He is not impressed by the powers of [Vincent] D’Onofrio’s character [Kingpin] at all. He and I get into this really delicious struggle over power. It’s good. It’s fun.

Matthew Lillard taps “Scream” vibes with Ghost Face Vodka, whose release will coincide with the seventh installment of the film franchise.

(Andreas Branch)

You’ve combined storytelling with alcohol for your lines of whiskey, vodkas and the like. How did you decide to mix the two?

I started a Dungeons & Dragons company six years ago now called Beadle & Grimm’s. Somebody approached me about building a spirits company around Dungeons & Dragons.For me, what I heard in that was like, “Hey, build a luxury item for niche communities that people don’t always respect and know and understand.” My experience with Beadle & Grimm’s was very clear. They will come out and support it.

So we created Quest’s End Whiskey. Quest’s End is a 16-bottle drop over four years. Each bottle is a different character class, but each bottle delivers a new chapter of an ongoing saga. We sold out in the first two weeks. In a week, we had 25,000 people on the waiting list to purchase that first bottle.

I know the impact that “Scream” [has] had on the horror community. I realized that if we could license the [intellectual property] of [film villain] Ghostface that we could make something super badass that fans would go crazy for. It took us a while to secure those rights. But once we did, we built Ghost Face Vodka.Our hope was to sell 2,000 units of a collector’s edition. We had 40,000 people sign up for early access in the first 72 hours.

Ghost Face Vodka has a game on the back, a QR code. When you sit down, all your people can hit that QR code with their smartphones and load an automated game of “Mafia.” It’s a communal game. It’s like two or three of you are Mafia members, and you have to figure out who that is. And it’s super fun. Again, trying to build community. Our hope is that, launching around “Scream 7,” it’s going to catch the zeitgeist and blow up.

Lastly, we have “Cross,” your most current TV project.

Matthew Lillard in “Cross.”

(Ian Watson / Amazon MGM Studios Prime Video)

I’m in love with that creative team and Aldis Hodge and everything he represents. I don’t think people understand that that show did 40 million views in the first 20 days for Amazon. It is unapologetically a Black show that … it feels like it’s being ripped from the headlines. I think Aldis Hodge and the creative team do an incredible job representing a man who is a Black man as a detective in this world. The relationships, the friendships, the bonds he has with his community — just being around that creative team has been really inspiring, and [show creator] Ben Watkins is an incredible storyteller.

I think the thing about “Cross” is that it really challenges you, especially given what we’re living through in this moment. I have to say it — politically speaking, we’re in a s— storm. I went viral a month ago about saying, ‘F— ICE.’ But … f— ICE.

Could you describe your character?

Another dubious character. He’s a billionaire named Lance Durand, and he’s out to solve world hunger. Sometimes, a billionaire has very questionable scruples as to the best ways to go about things. Solve world hunger, kill all the people. That’s how you do it.

The whole series opens up with a bunch of middle-aged white men on an island doing horrible things to girls. So when I say “ripped from the freaking headlines” … It’s, like, crazy.

This fairytale run to the knockouts will have felt unlikely for Bodo after failing to win their first six league phase games, meaning they were left needing results against Manchester City and Atletico Madrid to qualify for the play-offs.

And, against the odds, they provided them.

A 3-1 victory over Pep Guardiola’s men brought deserved attention and acclaim, but it was no one-off as Bodo overcame Atleti 2-1 in Madrid to claim a play-off spot.

Knutsen’s side lost to Spurs in the Europa League semi-finals last season, having become the first Norwegian side to reach the last four of a major European competition.

Key to their success has often been their ability to make their home games as tough as possible.

In the north of Norway, Bodo can often be bitterly cold, snowy and windy during the long winter months, with temperatures deep into minus figures.

The difficult weather conditions mean the team play on an artificial pitch made of plastic, something many sides used to playing on grass find difficult to deal with.

Those aspects, coupled with the players’ determination and strong belief in their ability, means many have left Bodo defeated.

They famously thrashed Jose Mourinho’s Roma 6-1 at home in the Europa Conference League five years ago, while Celtic, Besiktas, Porto and Lazio have also been victims in recent years.

Manchester City won’t relish another meeting in the last 16 if they are drawn together, with Bodo buoyant after proving they have nothing to fear against Europe’s top sides.

“It’s amazing,” captain Patrick Berg told Canal+.

“For the club and city it’s unbelievable. I don’t think people thought we could beat Manchester City, Atletico and now Inter two times.

“It’s magnificent.”

Beethoven’s “Missa Solemnis” is a grand mass for large orchestra, chorus and four vocal soloists that lasts around 80 minutes. It was written near the end of Beethoven’s life and is his most ambitious work musically and spiritually. “Coming from the heart, may it go to the heart,” he wrote on the first page of the score.

The Beethoven biographer Jan Swafford put it this way: “ ‘Missa Solemnis’ is Beethoven talking to God, man to man. And what they talked about is peace. Creation was for Beethoven’s the magnificence in the world which we inhabit; ‘Missa Solemnis’ is meant to keep it thus.”

Yet among Beethoven’s major works, “Missa Solemnis” is, by far, the least performed, and not merely because of the need for large forces. Conductors struggle to get a handle on its mysteries and intricacies. Upon turning 70 last year, Simon Rattle contended “Missa Solemnis” remains beyond him. Upon his reaching 70, Michael Tilson Thomas made a momentous meal of “Missa Solemnis” 11 years ago with a staged performance with the Los Angeles Philharmonic at Walt Disney Concert Hall.

Gustavo Dudamel, who has been conducting Beethoven since he was a teen, waited until he passed his 45th birthday last month. His first “Missa Solemnis” performances over the weekend at Disney were the centerpiece of his month-long L.A. Phil focus on Beethoven.

That venture began a week earlier with a political statement. Beethoven’s incidental music to Goethe’s drama of liberation, “Egmont,” was updated with a new text that served as an urgent call for protest in our own era of authoritarianism and militarism. Here, Beethoven exerts a compulsion for triumphant glory.

The glory in “Missa Solemnis” is that of stupefaction. By this point in his life, Beethoven has had it with weapons, the drumbeat of soldiers, the addictive emotion of trumpet calls to action. His man-to-man with God is celestial diplomacy. There is no compromise. We either care, at all costs, for our magnificent world or nothing matters.

Dudamel clearly cares. He conducted the massive mass from memory. And costs be damned. He imported from Spain two spectacular choruses — Orfeó Català and Cor de Cambra del Palau de la Música Catalana — a total of some 130 singers who sounded like they had rehearsed for months under their impressive director, Xavier Puig. The four soloists — soprano Pretty Yende, mezzo-soprano Sarah Saturnino, tenor SeokJong Baek and bass Nicholas Brownlee — were needfully robust and powerful. They were placed mid-orchestra, behind the violas and bravely in front of the timpani.

“Missa Solemnis” follows the standard mass text but doesn’t necessarily follow the liturgical narrative. It is a work of theater, dramatizing feelings, as the earlier Disney staging attempted. Director Peter Sellars and conductor Teodor Currentzis have also been promising a major staged “Missa Solemnis” for many years.

The Kyrie opens with a strong D-major chord in the large orchestra that seems an obvious downbeat but turns out to be an upbeat. Down is up. Eighty or more minutes later at the end of the Agnus Dei, when the great plea for peace reaches its ultimate transcendence, up becomes, in one of the most profoundly unsettling moments in all music, down again. We never fully know where we stand in “Missa Solemnis.” Every expectation is thwarted. Beethovenian peace is a nearly superhuman endeavor.

Gustavo Dudamel conducts L.A. Phil, vocal soloists and Catalan choruses in Beethoven’s ‘Missa Solemnis’ at Walt Disney Concert Hall.

(David Butow / For The Times)

Dudamel‘s approach is to attempt the all-encompassing. He conducted without a baton but with his body. His arms were often open and wide as if embracing the musician masses on the stage, holding the whole world in his hands. Tidiness wasn’t necessarily the issue. Grandeur was. Molding sound was. And, of course, awe.

Throughout his career, Beethoven was the overwhelming master of awe. In “Missa Solemnis,” he out-glories the Gloria. His fugues are a draftsman’s rendering of heavenly splendor. Such awe asks for the superhuman from singers, especially in this ensemble from their ravishing high notes.

But Beethoven also questions every sentiment in the Mass. Grandeur can so suddenly turn solemn that it feels almost a ceremonial sleight of hand. In the Sanctus, a solo violin sails in from nowhere (“descending like a dove from heaven,” Hugh MacDonald nicely puts it in the program note), and suddenly we’re in a violin concerto with vocal soloists of transcendent allure.

The Agnus Dei begins in glum realization that there may be no compensation for humanity’s great sins when, again astonishingly without expectation, one of Beethoven’s uniquely wondrous melodies takes over. Saber-rattling trumpet and timpani intrude and are shushed away as worthless. Peace returns but just as it is about to climax it weakens. There is no grand Beethoven ending. “Missa Solemnis” just stops.

Dudamel’s approach was not, as his Beethoven has generally become, filled with fervent intensity in the moment. That may happen as he gains more experience with Beethoven’s most exigent score. The big moments were still huge, especially with the help of his fabulous chorus. The somber moments were well of the heart. There was eloquent solo playing in the orchestra, and extravagance from the solo singers.

Most unusual was the violin solo. The L.A. Phil is in a concertmaster search, and Alan Snow, the associate concertmaster of the Minnesota Symphony, sat in. He brought silken “descending dove” tone to his solo playing, but at low tone becoming more a voice from afar than soloist. Whether that is simply his sound or what Dudamel was after is, like so much in the “Missa Solemnis,” up to question. Still, its quiet exemplified the elusive essence of peace.

When Dudamel first walked on stage, he got, as he always does and especially in his last season as music director, a strong ovation. At the end of “Missa Solemnis,” the reaction was a respectful standing ovation, unlike the de rigueur rapturous reception he always earns with Beethoven.

Dudamel earned something far more rewarding. It wasn’t a moment for cheering but reflection. True peace in “Missa Solemnis” comes not from winning but from ending conflict, be it between nations, nature or among ourselves. We have as yet too little to celebrate.

WASHINGTON — President Trump will deliver his annual State of the Union address Tuesday night at a moment of unusual upheaval, confronting a cascade of crises that have left Washington unsettled and his own political standing diminished early in his second term.

When lawmakers gather to hear the president’s agenda for the year ahead, the scene is expected to reflect an undeterred president under increasing political strain.

The president is facing a partial government shutdown triggered by his administration’s aggressive deportation campaign, rising tensions over the United States’ involvement in foreign conflicts and growing domestic dissent that is fracturing the president’s political alliances and aggravating his rivals.

Adding to the turbulent atmosphere is the economic unease in an election year. The president, who a year ago promised to bring down prices for consumers, insisted Monday that America has “the greatest economy we’ve ever had” even though public polling shows economic pressures are worrying a majority of Americans.

Trump said he plans to talk about the country’s economic successes in his speech, saying “it is going to be a long speech because we have so much to talk about.”

Republicans have recently pushed Trump to focus on the push to lower costs, a message they see as crucial to help them keep control of Congress. What remains to be seen is how much of Trump’s economic message will be colored by a Supreme Court decision last week that struck down his use of tariffs, a key portion of his economic agenda. In recent days, the president has remained defiant on the issue, lashing out at the justices for delivering a legal setback on his tariffs, and looking to impose new global tariffs in a different way.

Trump said Monday he does not need to seek congressional approval to impose new levies, even though the nation’s highest court ruled his tariffs cannot stand without the approval of Congress.

“As president, I do not have to go back to Congress to get approval of Tariffs,” Trump wrote on Truth Social. “It has already been gotten, in many forms, a long time ago!”

Trump’s rebuke underscores the president’s increasingly combative posture toward both the judiciary and Congress, at a time when he is heavily relying on his executive authority to advance sweeping policies on immigration, trade and national security.

His willingness to wield executive authority has been seen in the last year as the president led U.S. forces to capture former Venezuelan President Nicolás Maduro, threatened to seize Greenland, considered an attack on Iran and eyed an armed conflict with drug cartels in Mexico.

At home, Trump has said he thinks the federal government should assert control over state elections as he continues to push false claims of a stolen 2020 election.

Whether that will happen remains to be seen as Republican leaders, and other conservative lawmakers, voice opposition to some of the president’s legislative pitches.

In recent months, Congress has tried to reassert its authority over the executive branch — in some cases led by small Republican defections by lawmakers who have grown concerned about the president’s involvement in foreign wars and his economic policies.

One of the most notable rebukes to Trump’s authority occurred late last year, when a bipartisan group of lawmakers secured legislation that forced the Trump administration to release investigative files related to convicted sex offender Jeffrey Epstein.

While Trump maintains the release of those files cleared him of wrongdoing, the findings have so far ensnared key figures in Trump’s political orbit and reinforced a sense of scandal that continues to loom over his administration. Anger over the administration’s handling of the Epstein case has led to bipartisan backlash, even prompting some conservatives to call for U.S. Atty. Gen. Pam Bondi to resign.

Another sign of the polarized moment Trump will face Tuesday night will be led by Democrats.

About a dozen Democrats in the Senate and House of Representatives plan to boycott the president’s speech and participate in what they have dubbed the “People’s State of the Union.”

“I will not be attending the State of the Union,” U.S. Sen. Adam Schiff (D-Calif.) said in a social media video over the weekend. “We cannot treat this as normal. This is not business as usual. I will not give him the audience he craves for the lies that he tells.”

In recent years, lawmakers who wished to disavow the president’s address would typically stand and shout in protest, disrupt the remarks or coordinate outfits to signal their opposition.

In 2020, for example, former House Speaker Nancy Pelosi (D-San Francisco) stood behind Trump at the podium as he delivered his remarks and then shredded a copy of his script. She later called it a “manifesto of mistruths.”

This year, even the president’s allies appear to be on notice.

While it is a long-standing custom for the Supreme Court justices to attend the president’s annual address, Trump told reporters on Friday that the six justices who voted against his tariffs policy were “barely” invited to the event.

“Three of them are invited,” he said.

Trump’s State of the Union remarks will be dissected to see how he intends to advance his agenda and to deal with a divided Congress that remains at a standstill over how to fund the Department of Homeland Security.

The partial government shutdown was triggered by partisan tensions over Trump’s aggressive immigration crackdown in Minneapolis, where two U.S. citizens were shot and killed by federal agents.

At a White House event Monday, Trump lamented that public polling shows waning support for federal immigration agents.

“It just amazes me that there is not more support out there,” Trump said. “We actually have a silent support, I think it is silent.”

When Jared Snow goes to the hospital, he’s usually in serious pain, which he hopes will be assuaged soon. But living with sickle cell disease as a Black man in America often tests this hope.

The Compton born stand-up comedian and actor has been living with sickle cell disease since he was a child. Hospital visits and pain have always been part of his life. But now he’s using his latest project, a documentary film called “You Look Fine,” to show the world how he copes as an entertainer with living with sickle cell disease in an industry steeped in image and perception.

Alongside actor-comedian Marlon Wayans, Snow wanted to make the film to raise awareness about the realities of sickle cell disease and how it impacts Black communities.

In the United States, sickle cell disease affects about 100,000 people, with more than 90% of cases being among Black people, according to the U.S. Centers for Disease Control and Prevention. Sickle cell disease occurs in about one out of every 365 Black or African American births. People living with sickle cell disease have red blood cells that are crescent shaped due to a gene mutation. Because of this, the red blood cells can block blood flow to the rest of the body and can cause chronic pain, strokes, lung problems, infections and kidney disease.

The nearly 90-minute documentary has Snow filming himself inside small hospital rooms, nurses trying to find a vein in which to stick needles, and even him trying to work on material as he lies in hospital beds. The film also includes interviews with his friends.

Snow was adamant about showing the blood and needles in the film as well as footage of himself writhing in pain on hospital beds and the frustration of waiting hours for doctors to provide adequate dosages of pain medication that can help him. He cracks jokes during his hospital stays, but in between you get a front-row look at how tiring, tearful and emotionally devastating his illness can be. Interspersed within such footage are clips from his stand-up shows and him trying to live his best life by traveling, skydiving and even experiencing New York City snowfall.

The Times caught up with Snow and Wayans to talk about the film, vulnerability, Black men’s health, and finding levity through the pain.

J. Snow in the hospital in “You Look Fine”

(J. SnowPro)

I was struck by the handwritten notes with title ideas. Tell me where “You Look Fine” comes from?

J. Snow: It’s just something I hear a lot. It’s something I’ve heard a lot during my life. It’s cultural Black gaslighting is what it is. When you’re in pain, sometimes you look fine. When you are telling people, “I’m not fine,” they’re like, “Your hair is nice.” I can’t go to the hospital with gold. I had gold beads. Sometimes you go there looking too nice. Sometimes I got to dress down just to try to get the help. But if I dress too far down, I look homeless, and they really won’t be open to helping me. So you got to find the balance. But that’s kind of where it comes from. … I wanted to throw it back into people’s face. This is something that a lot of sickle cell warriors, and people with chronic illnesses in general hear, people with mental illness hear, and so I think it’s important to highlight how that literally is gaslighting.

What was your motivation to do this documentary now?

J.S.: I wanted to show that humor lives within this and that a lot of resilience and strength are also within this, and that was really the motivator. Also, just growing up with it, not having a lot of information, not seeing a lot of men talk about it. I wanted to be different, you know.

Marlon Wayans: For me it fits on brand for several reasons. One is because I love taking the dark things in life and finding some humor in it. And I think I try to do that with my comedy. I try to do it with my specials. I try to do it because I think we need to all find smiles no matter what your situation is; laughter is always healing and always necessary. Being African American, I grew up when sickle cell was like a prominent disease, and in our culture I know even when it came to dating, my mother would ask “Who you dating? You know, because if she got the trait, and you got the trait, you know, what could happen.” So I’ve always been aware of it, and I’ve lost now four friends to sickle cell. I just lost two in the last year. It’s a long fight, and so I’m here to support them and our culture and the awareness. And you know, Jay is a friend, and you know, I want him to see fame.

For Jared, in the film, you say, “I just want to see what my body can do.” I thought that was just so deeply profound. What is your relationship like with your body now, compared with the moment you were filming that?

J.S.: When somebody sees me eating a salad, and they’re like, “Oh, you eating salad?” I’m like, “This could save my life.” When I’m stretching and doing yoga, it’s not because I want to be a yogi. It’s because it literally gets oxygen into the joints that are suffering without oxygen. It stretches my hips and I want the longevity. I see what happens in sickle cell warriors and people without sickle cell who just age without moving frequently.

J. Snow walks through the halls of a hospital while dealing with issues from sickle cell.

(Courtesy of J. SnowPro)

Black people, especially for Black men, don’t have their pain taken seriously — be it their physical pain or their emotional pain. What has it been like for you to publicly show that pain?

J.S.: It’s been challenging. It took awhile for me to get to the point where I could even talk about this publicly, especially being in entertainment and trying to maintain a certain persona and image in entertainment where like your ego clashes against your vulnerability and you feeling like you’re weak. That’s the stigma that comes with people who admit that they have illnesses and stuff like that, especially in entertainment. It makes people not want to work with you. I’ve suffered through that. I’ve lost jobs while in the hospital because of this. And so it got to a place where it just was unavoidable. The pressure built so much and the frequency of the hospital visits became so crazy that it was like, you’re either going to be viewed as this very lazy, sometime-y person, or you’re going to come clean about what you’re actually dealing with and just face it.

M.W.: I live in the pain. I live in the vulnerability. I think that’s why I create my best work. You know, my parents died. I thought it was only appropriate to talk about that thing that hurts me so much. I think part of it takes courage, but at the same time, I know it’s necessary.

What was going through your mind when you first saw that footage of [Snow] in the hospital?

M.W.: “This [man] is crazy. Why you filming?” He made sure he had a GoPro on his foot and set cameras up — dude really wants to make it. Forget this disease. He may be faking it just to make it bigger. I was proud, right? That’s because I love the resilience, I love that you still have a passion, that you still have a thing that you want to do, and you have this art and this vessel and this expression, and I know that even though he’s hurting, that he’s healing at the same time, at least, you know, emotionally and spiritually. Because to put art out there at the time that it’s happening, that you’re in pain, that takes a lot of courage from the artist, and so I was proud. That’s why I stand behind it, because I think it’s something I’ve never seen, and I think it’s something that’s necessary for the culture.

How has this film changed your relationship to your understanding of masculinity and strength?

M.W.: For me, it’s just on theme. It hasn’t changed, it just enforced how I feel. You know, I’ve never been one to hide my feelings. I go to therapy. I have two therapists, I go on my walks. I talk to God. I’m reading my Bible. I understand that life is a long journey of suffering, and you need these outlets, and this movie and art are part of that. I have the stage. I always have this thing that I’m expressing because it helps me reconcile all that’s going on with me, especially when I take this pain and make other people laugh or are entertained by it, then I go, all right, I did something good with that thing that was bad. And so this enforces what I want people to feel. I want people to watch this. That’s why I stand behind this, because it’s on theme spiritually for me.

J.S.: I think when you stand outside of that vulnerability and you’re afraid to really go into it, I don’t know, I feel like that’s orbiting your true power. The most masculine thing you can do is face your highs and lows head on and own them. And that’s where you find out who you really are. This is where you find out what you can really bring to the table for yourself, for others, and where you become fearless. And that’s exactly what this showed me, was that I can do anything, I can conquer a lot of things. I walk around with a new energy because I’ve done this. I literally had a film on hard drives, and I sat for 11 months and edited it relentlessly, and now I have my first feature film because I was fearless enough to at least try to do it and not feel, what are people going to think, or what are people going to say? That didn’t matter to me. Also with this clock over my head, you don’t got time to think about stuff like that. It’s like, what do you want to do while you’re here? And what I wanted to do was make movies, make people laugh and inspire others to do things that they want to do too. And that took letting go of whatever this masculine image was that was blocking me.

J. Snow on stage at the Hollywood Laugh Factory

(Brianna Joseph)

The whole film is endearing, but I found those moments of levity so well- timed and so thoughtful and funny. How do Black people find those moments of levity, oftentimes, during these moments of pain?

M.W.: Because Black people have been through so much trauma before we get into family trauma, just as a people. We have suffered the most trauma from being separated from our family, slavery — we’ve been through it — and yet, and still, we find that funny. And that has been, I think, our saving grace is our sense of humor. It’s been a lifesaver. It’s been a raft in a really rough ocean for us. And I think it’s beautiful that we can. I will always promote laughing when you’re in your most pain to find the funny, because that takes a little pressure off. You’re laughing and crying at the same time. It’s like the best feeling.

J.S.: It’s like oxygen, like when the air is being sucked out of the room by your circumstances, your trauma, your pain or whatever. That little laugh is like a little breath of oxygen. It gives you something to keep going forward, to continue to think, “OK, like, where’s another solution from here? What else can I do here?” It gives you that breath that you need.

THIS is the moment Katie Price’s marriage to Lee Andrews was finally legalised – after weeks of rumours.

The new couple got hitched again in a secret ceremony just five days ago.

Katie and Lee could be seen holding hands and gazing into each other’s eyes as they repeated their wedding vows.

Towards the end of the ceremony, instead of sealing the marriage with a kiss Lee leaned and embraced the mum-of-five.

It seems it was a very casual second ceremony with the pair opting to wear jeans, jumpers and trainers.

Katie and Lee faced have faced concerns about the legitimacy of their wedding last month, but The Sun can now reveal Katie and her fourth husband’s real marriage certificate.

I DO… AGAIN

Katie Price’s marriage made legal FIVE days ago in 2nd ceremony despite fears

BABY BUZZ

Katie Price’s husband says he’s ‘blessed’ as he places hand on her stomach

The 47-year-old officially said “I do” again inside Abu Dhabi’s judicial department despite her family and friends voicing their fears over Lee.

Self-proclaimed businessman Lee, 41, and former glamour model Katie signed on the dotted line to formally register their marriage on February 17.

Katie’s whirlwind marriage to the Dubai-based Lee marks the fourth time she has walked down the aisle after her marriages to Peter Andre, Alex Reid and Kieran Hayler.

In the exclusive snaps obtained by The Sun, Katie and Lee appear to be the only ones present for the ceremony – no one attended their first wedding either.

It’s believed that podcaster Katie wanted the official marriage documents ahead of her return to the UK for a shock third ceremony.

Reality TV star Katie married Lee in a quickie ceremony last month after shocking the world with her unexpected engagement that came just weeks after she split from her long-term boyfriend JJ Slater.

Katie been spending time in the UAE on honeymoon following a brief return to the UK since their wedding – despite warnings from her pals.

And it’s been far from smooth sailing for the ex-glamour model.

After meeting up with close pal Kerry Katona and her boyfriend Paolo Margaglione in Dubai, the day descended into chaos following a row.

It led to Lee punching Paolo in a shock bust-up.

Katie was then seen slurring in a video hours after claiming she’s having Lee’s baby .

It triggered a reaction from her sister Sophie Price who shared an emotional post about “pain” and “coming to your senses” amid Katie’s out of the blue marriage.

The video dived into the complexities of family relationships, following claims their once close relationship is strained.

After the dramatic Dubai trip, which saw Kerry and Paolo leave early, Katie and Kerry’s friendship is also said to be on thin ice.

Katie’s pals say they are deeply worried for the mother of five who launched a verbal attack on Lee’s ex-fiancee Alana Percival in a damning Instagram statement.

In the aftermath, Katie’s partnership with domestic abuse charity Woman’s Trust was terminated – despite those close to her insisting she did not write it.

Another of Lee’s exes, Crystal Janke, claimed he took £123,000 from her as an investment, but had failed to give her any money back.

He said he denied all the claims made by the women.