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Actor Stacy Keach, best known for his title role in the 1980s television series “Mickey Spillane’s Mike Hammer,” has died. He was 85.

Keach died at home Tuesday in Magdalenka, Poland, after a long battle with a heart condition and heart failure, his wife, Malgosia Tomassi Keach, told the Hollywood Reporter in a statement.

“Stacy was not only a legendary actor, admired and loved by audiences the world over, but also my beloved husband, my companion and the heart of our family. His passing leaves an immeasurable emptiness in our lives. But his extraordinary spirit, his unforgettable voice and the love he gave so generously will remain with us forever,” Malgosia Tomassi Keach wrote.

Stacy Keach was born on June 2, 1941, in Savannah, Ga., and soon moved to Los Angeles, where his father, Walter Stacy Keach Sr., joined the Pasadena Playhouse as an actor and director. Inspired by his father’s work, Keach started acting as a teen at Van Nuys High School and UC Berkeley, where he studied English and dramatic arts.

He attended the Yale School of Drama in 1966 and was a Fulbright scholar to the London Academy of Music and Dramatic Art.

Throughout his career, Keach balanced his work in television and movies while continuing classical and Broadway stage performances, with Shakespearean roles including Hamlet, Henry V, Coriolanus, Falstaff, Macbeth, Richard III and King Lear.

In 2015, he was inducted into the American Theatre Hall of Fame and was a founding member of L.A. Theatre Works. The Times wrote in 2003 that he would appear in the group’s radio plays whenever he felt a need to flex his acting muscles.

“You get to sort of dip your foot in the water of great theatrical art. You get to wade in the pool. Most working actors in Los Angeles have other lives. They have a series or are doing a movie and they don’t have the time to devote [to a traditional theatrical production],” he said at the time.

Keach played Ken Titus on the sitcom “Titus,” Warden Henry Pope in “Prison Break” and served as the long-running narrator of CNBC’s crime documentary series “American Greed.” He also starred in the 1972 boxing drama “Fat City,” “The Long Riders,” “American History X” and “The Bourne Legacy.” His performance as writer Ernest Hemingway in the TV movie “Hemingway” in 1988 earned him a Golden Globe.

But his most well-known role was the tough guy private eye Mike Hammer in “Mickey Spillane’s Mike Hammer,” also known as “The New Mike Hammer,” which debuted in 1984 and ran for three seasons. Keach reprised the role for a syndicated series that lasted one season in 1997.

In 1984, Keach was arrested in Heathrow Airport in London on charges of cocaine possession. He pleaded guilty and was sentenced to nine months in prison. He told the judge at the time that he had been addicted to cocaine for about a year, using the drug “as a means of trying to alleviate exhaustion.”

Keach wrote about his struggles with cocaine in his autobiography, “All in All: An Actor’s Life On and Off the Stage.”

If you’re a certain age — say, the generation most excited by the prospect of a “Rocky” origin story — you probably have spent a good few decades watching people imitate Sylvester Stallone. You might be able to pull it off yourself. Start with the gravely voice that rumbles and mumbles, make your eyes as heavy-lidded as possible, add a swaggering shoulder roll and then just brood, baby, brood.

Anthony Ippolito has the moves down pat in “I Play Rocky,” Peter Farrelly’s endearing crowd-pleaser, an underdog story about making the underdog movie that went on to win the Oscar for best picture in 1977. The title comes from Stallone’s repeated insistence that he portray the working-class fighter in the film that he wrote for himself. The studio wanted a star — Ryan O’Neal or Burt Reynolds, among others — and offered Stallone $360,000 for the script if he would just walk away. Stallone refused, even though his bank account was down to $106.

“I told my wife that I’d rather bury it in the backyard and let the caterpillars play Rocky,” he said shortly before the movie opened. “I would have hated myself for selling out, the way we hate most people for selling out.”

And that’s why the new film, written by Peter Gamble, has Ippolito say the title so many times that, by the end, you feel like you’ve gone a full 15 rounds with Apollo Creed and been pummeled into submission.

But as you’re watching this breezy movie as it slipstreams its way down memory lane, it starts to feel like Ippolito really is playing Rocky and not Stallone. The difference might be negligible, since “Rocky” was, in many respects, Stallone’s story: a sensitive palooka struggling for the chance to prove himself and earn a measure of self-respect, all the while supported by a woman who believes in his dream.

But the charming, softie Stallone we see in “I Am Rocky” seems like a character from mythology, a Hercules lacking the prickly complexities that Stallone himself detailed in his recent memoir. His tumultuous relationship with his father, Frank (Matt Dillon), is given little attention. Watching this movie, you might be reminded of the quote from “The Man Who Shot Liberty Valance”: “When the legend becomes fact, print the legend.” And while the facts of this oft-told story are, for the most part, accurate, “I Am Rocky” feels too neat, a movie that relies on our love for “Rocky,” the movie and the character.

The film’s first half wastes no time laying the groundwork. It’s 1974 and Stallone is living in squalor in a New York flophouse. When he can’t even afford that, he takes to the streets, sleeping in an alley and adopting a stray bullmastiff that he names Butkus, the same dog that would go on to appear with him in “Rocky.” Desperate for cash, he accepts a part in a softcore porn flick. He eventually takes a job at a movie theater, where he meets Sasha (a lovely AnnaSophia Robb), who, growing weary of his frustrations and their precarious finances, tells him he should write a screenplay with a meaty part for himself.

Stallone soon does just that, cranking out “Rocky” in three and a half days after watching longshot Chuck Wepner (a.k.a. “The Bayonne Bleeder”) go 15 rounds against Muhammad Ali in a heavyweight championship fight. Producers Robert Chartoff (Toby Kebbell) and Irwin Winkler (P.J. Byrne) love the script and take it to brusque studio exec Sandy Maddox (Tracy Letts, gloriously cantankerous playing a composite character), who tells them to give Stallone $50,000 for the screenplay and send this complete unknown on his way. Stallone has a three-word rejoinder.

You don’t need a spoiler alert to know that he indeed does play Rocky, and the second half of the film re-creates the movie’s production, which, because of the shoestring budget, was arduous. The tight schedule forced Stallone to work even when he was sick and hurt. If he didn’t, he feared he’d be fired because the studio still wasn’t thrilled with him playing the lead.

There’s something for everyone in this section. Film nerds will glory in watching Steadicam inventor Garrett Brown (Michael Fuchs) sprinting up the steps of the Philadelphia Museum of Art, smoothly following Stallone, creating “Rocky’s” most famous scene with a fluidity that revolutionized moviemaking. Downtrodden directors will appreciate Jay Duplass’ knowing portrayal of John G. Avildsen, charged with making “Rocky” as quickly and frugally as possible. Avildsen brought the movie in on time and went on to win the Oscar for directing.

And longtime fans will appreciate that the film plays all the hits: the bare-knuckle beef pounding, the training sequences, the intimate ice rink scene with Talia Shire (Kiki Seto). Hollywood loves to celebrate its own scrappy mythmaking. (Ippolito’s biggest part prior to this was playing Al Pacino in “The Offer,” a limited series about the making of “The Godfather.”) Sure, it’s sentimental. And maybe you’d be better off just staying home and revisiting “Rocky.” What can I say? I put Bill Conti’s soaring “Gonna Fly Now” on repeat during the drive home. Nostalgia is a powerful drug.

Matt Damon revealed that his wife of more than 20 years, Luciana “Lucy” Barroso, suffered a brain aneurysm.

The revelation came during an interview with GQ, when “The Odyssey” star opened up about a time he felt a tinge of FOMO watching the Oscars from bed with his wife and then-newborn baby.

It was the 79th Academy Awards in 2007 and Martin Scorsese was nominated for best director for “The Departed,” which was also up for best picture. Damon portrays a corrupt police officer in the film.

“Lucy and I were laying in bed watching it and so nervous for Marty,” he told the magazine. “And then when he won, I was jumping up and down in the bedroom and I remember being really excited. And then the next category was best picture, and The Departed won. And I realized in that moment I hadn’t even considered that that could happen. And I turned to Lucy and I was like, ‘S—, we should be there!’ … I totally blew it.”

After the experience, Damon said his wife wouldn’t let him miss out again, even in the wake of serious medical trauma.

In 2024, “Oppenheimer” was up for best picture. In the movie, Damon plays Col. Leslie R. Groves, head of the Manhattan Project. The film won the award, and this time, Barroso had a surprise in store, an Oscar-worthy dress ready to go for the big night even though she’d just had surgery after suffering a brain aneurysm.

“She’s totally fine, thank God,” he said. “But [she] had this brain surgery the week before the Oscars. But it was the first night she felt good enough to get up and had her energy back. And she surprised me and got a dress and we went out to the after-party, because she remembered that the last time it happened, I didn’t do it. And she was like, ‘This time we’re going out.’ And it was pretty f— heroic of her to do that and really meaningful.”

The Argentine-born Barroso and Damon tied the knot back in 2005. They had met two years earlier, and during a 2011 appearance on “The Ellen DeGeneres Show,” Damon said that meeting his wife was a complete stroke of luck.

He was filming “Stuck on You” in 2002, with the Farrelly brothers at the helm. “We were supposed to shoot in Hawaii, and then the movie got moved to Miami . . . and I’d never really hung out in Miami,” he told DeGeneres, adding that in the middle of the shoot a couple of the guys from the crew invited him to grab a beer at a local watering hole. “They kind of dragged me along, and we ended up at a bar where my wife was the bartender, and I literally saw her across a crowded room, literally.

“And eight years and four kids later, that’s my life,” he joked. “I don’t know how else our paths would have crossed if that didn’t happen.”

WE MIGHT barely be in November but with the mornings chillier and the evenings darker it won’t be long before we press play on the festive films.

And one in particular – The Holiday (2006) – has one of the cosiest of cottages we all dream of staying in over the winter period.

While Rosehill Cottage might be fictional, the UK isn’t short of similarly beautiful cottages by any means.

So here are six that will give you the same feel as being in the movie’s cottage itself:

Philham Water Cottage, Devon

Nestled in the Devonshire countryside is Philham Water Cottage with a double bedroom and a lounge with a sofa bed.

Like The Holiday itself, you will find a roaring wood stove inside an open fireplace.

There’s WiFi, a TV and a DVD player too.

The cottage also has a fully equipped kitchen and a bathroom, with a bath tub.

The website says it can host two individuals or a couple, however the cottage does sleep up to four people.

It costs from £95 per night, so £42.50 per person per night if two people were sharing or £21.25 per person per night if four people did stay.

Lew Quarry Cottage, Devon

Set in the grassy green fields, Lew Quarry Cottage, also in Devon, has two bedrooms and two bathrooms.

There’s also a fully equipped kitchen, washing machine, and free WiFi.

If you fancy enjoying a cuppa in the fresh air, there is also a garden with a cosy seating area.

And of course, the cottage has a grand fireplace.

Nearby guests can head to Lydford Castle and Launceston Castle.

A seven-night stay for two adults and two children costs £465, working out at £16.61 per person, per night.

Old Blacksmith’s Cottage, Lincolnshire

Old Blacksmiths Cottage in Market Rasen has one bedroom, alongside a shower room and fully equipped kitchen.

The cottage also has a private garden and parking.

Nearby attractions include Lincoln Medieval Bishops’ Palace and Lincoln Cathedral of St. Mary.

It costs from £320 for a seven-night stay for two people, working out at £22.86 per person, per night.

The Green House, Somerset

The Green House in the village of Nunney, Frome, is a quaint Grade II listed cottage that can sleep up to four people (though children under the age of nine are not allowed).

In the lounge there is a cosy fire, which guests can snuggle up by and admire the period features of the cottage.

In the chilly mornings make sure to head outside to the secluded terrace that overlooks the stream.

In the village – which is often dubbed one of the prettiest in Somerset – there’s also a pub and a small shop.

Nearby attractions include Nunney Castle and Cranborne Chase – an International Dark Sky Reserve.

Stays cost from £571 for seven-nights for four people, working out at £20.40 per person, per night.

The Cottage at The Feathered Nest, Cotswolds

Now if you really want to stay in a cottage that looks almost identical to Rosehill Cottage in The Holiday, book into The Feathered Nest’s cottage in the Cotswolds.

Known as ‘Little House’ it is part of The Feathered Nest’s pub site and dates back to the 15th century.

The cottage found in the village of Chipping Norton, has a double bedroom as well as a lounge area with a sofa bed.

There is a grand open fireplace and a sleek kitchenette too.

Your four-legged friend doesn’t have to miss out on this one either as it is dog friendly.

Stays are a bit steeper costing from £800 for two nights for four people, but if you stay from a Sunday to a Monday you get a discount making it £760 – or £95 per person per night… Maybe a good one for a friend group.

Blackbird Cottage, Dorset

Blackbird Cottage in Beaminster is dog-friendly and sleeps up to five guests.

This restored Grade II listed cottage boasts its original features across its three bedrooms and walled garden.

The ground floor of the cottage also features historic stone floors as well as a wood-burning stove to keep you warm.

You’d be a short walk from shops and pubs as well as a short drive to the famous Jurassic Coast.

If you stay for three nights, you can get a £50 discount working out at £526 total or £35.07 per person per night.

What does it mean when a Sunset Strip hotel installs a white pool table with gold balls and puts a swing set on the roof?

It means that Ian Schrager, the New York lifestyle entrepreneur who co-founded Studio 54, is again reaching west to try some new ideas.

This time, his new hotel property is known as the Public West Hollywood. It opened Oct. 30, occupying the same 1962 building that was home to the Standard Hotel from 1999 to 2021.

Though rates start at about $450, Schrager said he is guided by the idea of “luxury for all.” The hotel, which also goes by PUBLIC, includes 137 guest rooms and suites and plenty of cultural and health-and-wellness programming, including Pilates, sound baths and DJs. There’s a bakery/coffee shop, a lobby bar and restaurant, a poolside scene festooned with greenery. There’s a small club called Studio with black velvet walls and six Renaissance portrait “paintings” in ornate frames. (If you watch those portraits carefully, you may see their expressions change.)

And then there’s the roof.

Faced with a snug property that has already been declared a protected local cultural resource, Schrager persuaded West Hollywood officials to let him reinforce some walls and open the hotel’s roof up as a 14,000-square-foot park-like area for up to 400 guests. Surfaced with artificial turf and pebbles, it has a swing set, firepits, picnic tables, a running track, a bar, a 30-foot-wide screen for movies and panoramic views of the Hollywood Hills and city skyline. (Non-hotel guests can access the area until 5 p.m. by buying a $35 day pass.)

“Approximately 75% of the public space in the hotel is outdoors,” Schrager said. “We feel that’s just the right thing to do when you’re in Southern California. It brought another dimension to the hotel.”

Yet Schrager confessed that he’s still not exactly sure how that will work.

“We never know how people are going to use the space,” Schrager said. “We do the best we can … and then we make adjustments.”

The Public’s building, a three-story structure by Midcentury Modernist architect Herbert R. Kameon, opened as the Thunderbird Inn and featured wave-shaped balcony walls, which remain. Later it became the Hollywood Sunset Hotel, then the Golden Crest retirement home. Its profile grew when the Standard Hotel, a venture by André Balazs, opened in 1999 and raised eyebrows with its upside-down sign, a DJ booth next to the front desk, a poolside deck covered in blue artificial turf and (as shown in a 2000 episode of “Sex and the City”) a glass box in its lobby, which often contained models and actors in provocative poses. After the Standard shut down, the building fell idle for years.

Its new incarnation features design contributions from Schrager and British minimalist designer John Pawson and departs from upscale boutique hotel tradition in several ways.

The lobby floor is white, the furniture supplying pops of blue, green and red. The front desk is a trio of pink podiums (one for self-check-in, two to be staffed). The luminous LED lighting in public rooms and corridors hints at a UFO arrival and pays homage to artists James Turrell and Dan Flavin. Room service is limited because, Schrager said, the cost of delivering a soft-boiled egg to someone’s room makes no sense for anyone anymore.

“I think really what’s important is that everybody who is working at the hotel is personable, is friendly, is charming and genuinely interested in being helpful,” Schrager said. “I think that’s more important than the gold buttons, gold epaulets and all the other accoutrements.”

As much as he loves coming up with design ideas, Schrager said, most are “a little bit like the special effects in a movie. They can make a good movie better, but they can’t make a bad movie good.”

In the Public Hotel’s guest rooms, almost everything is white and there are no visible TVs. Instead, each room has a bench housing an angled projector. Click your remote control and you have an 11-foot-wide image on a white wall — a sort of private screening room.

“I couldn’t bear to have a big, black ugly TV on the wall in my pristine hotel room,” Schrager said, adding that “it’s going to change the industry. Everyone’s going to do that and get rid of the television because it just makes sense.”

Schrager, 80, speaks with a thick Brooklyn accent. He won wide attention as co-owner of the New York night club Studio 54, which opened in April 1977, nearly 50 years ago. Though it lasted just under three years, that scene became an emblem of its era, but it ended poorly for Schrager. In 1980, he was convicted of tax evasion and served about a year in federal prison. In 2017 — after reinventing himself as a hotelier, achieving sustained success and expressing remorse — he was pardoned in 2017 by President Obama.

“I wanted it for my family,” Schrager told the New York Times. “It’s hard to be a good example for your kids when you did something like what I did, and you try to teach your kids to live by the rules and be an upstanding person.”

Schrager’s rise in the hotel business was steep. In 1984, he and business partner Steve Rubell opened Morgans Hotel, a pioneer in the “boutique hotel” category. Soon Schrager and Rubell expanded Morgans Hotel Group to include the Royalton and Paramount hotels in Manhattan and the redesigned Mondrian (now known as the Valorian) in Los Angeles. After selling his interest in Morgans Hotel Group, Schrager teamed with Marriott International to build that company’s Edition brand, including the Edition hotel that has been in business on Sunset in West Hollywood since 2019.

With the Public in WeHo, Schrager is building yet another brand, one which already includes New York’s Public Hotel (opened in 2017). Schrager’s partner in Public Hotels is Highgate Hotels, a New York-based global hotel that is handling financing and management while Schrager focuses on “branding, marketing and creating the vibe.” If all goes to plan, Schrager said, Public will soon open three more hotels in Manhattan, the first within 18 months.

But first, he needs to help introduce the Public to West Hollywood. In the run-up to opening, the New York-based Schrager said, he’s been visiting L.A. weekly for the last few months.

And since his own hotel was unfinished, where has he been sleeping?

“I hate to say this. The Four Seasons.”

The teen classics of Generation X have come under fire — even by Molly Ringwald herself, admirably — for some of their retrograde politics. But there’s too much in this John Hughes-scripted teen drama that is achingly sincere and well-intentioned to dismiss. Harry Dean Stanton gives the performance of the movie (maybe his career) as a single dad trying to get it right, even though he’s out of his depths. He buys his daughter a pink dress for her prom, which he can’t afford, and the gesture breaks your heart. Vidiots is celebrating Stanton’s work throughout November, with nights devoted to “Repo Man” and “Paris, Texas,” but “Pretty in Pink” calls out the strongest, with its soundtrack that can still instill in a young person an excellent sense of musical taste.

“Pretty in Pink” is playing Nov. 14 at Vidiots. Tickets here.

DUBLIN — Limerick, first settled by Vikings nearly 1,100 years ago, is a verdant sprawl of lush forests, rolling hills and liminal bogs.

But this region in midwest Ireland, steeped in folklore, where the River Shannon meets the estuary’s tidal waters before emptying into the Atlantic Ocean, is also the unlikely site of bustling production activity.

In a technology park, not far from 13th century castles, medieval ruins and picturesque villages, stands Troy Studios. Opened nine years ago in a former Dell Computer factory that shut down when it shifted manufacturing to Poland, Troy is Ireland’s biggest and newest soundstage complex.

It is here that Apple TV’s science fiction series “Foundation,” based on the Isaac Asimov masterpiece, was filmed, as was the SyFy horror series “Nightflyers,” adapted from the works of George R. R. Martin. It’s also where four prime-time American game shows are produced.

“It’s cheaper to bring 100 American people to Ireland than to walk across the lot at Fox,” actor Rob Lowe cracked on his podcast last year. Lowe is also the host of the trivia face-off show “The Floor,“ which relocated to Troy for its sixth and upcoming seventh seasons, after previously shooting at a studio south of Dublin.

While some in Ireland’s fiercely proud film industry bristled at Lowe’s comments, they were, in fact, a razor-sharp distillation of the pent-up frustration runaway production has engendered across the industry in Los Angeles.

Last year, 45% of all U.S. films and scripted television shows were shot internationally, up from about 33% in 2022.

As Hollywood productions have turned away from L.A., spanning the globe chasing tax credits and rebates, Ireland increasingly has become a destination for American movies, television series and the once-quintessentially L.A. creation: the game show.

Ireland’s mix of dramatic landscapes, diverse architecture and modern and historic scenery has long been a draw for international filmmakers. “Star Wars: The Force Awakens” and “The Last Jedi” turned the UNESCO World Heritage site Skellig Michael, a rocky island once occupied by a 6th century monastery, into the fictional planet Ahch-To. It was Ballinesker Beach’s soft sand dunes in County Wexford that stood in for Omaha Beach in “Saving Private Ryan’s” epic opening scene.

Now, the country is increasingly a magnet for a diverse slate of American productions. In the last year alone, the USA Network’s series “The Rainmaker” wrapped its second season in Dublin; the Netflix hit series “Wednesday” shot its third season around Dublin and Wicklow; and the A24 film “The Riders” starring Brad Pitt filmed across the country over the summer. L.A.-based Blumhouse Productions has shot a slew of movies and TV shows here, including the newly released American suburban nightmare flick “Other Mommy” and the upcoming Amazon MGM Studios horror movie “Seasons,” which is set in Idaho and filming in County Wicklow.

While filming in the L.A. region remains at historic lows, production spending in Ireland has soared, hitting a record $632.7 million last year, up 26% from the previous year, according to Screen Ireland, the national agency for film and television. In a survey conducted by ProdPro this year, Ireland was ranked in the top five preferred filming spots globally behind New York, the United Kingdom, California and Georgia.

With outsize interest in this small country, its sound stages are frequently full, and filmmakers say there is often a run on everything from lenses to edit bays to left-driving cars.

“Definitely post-COVID, it’s gone absolutely crazy in terms of the number of productions happening here,” said Ruth Treacy, producer and co-founder of Dublin-based production company Tailored Films, which served as co-producer on the 2024 biographical drama “The Apprentice.” Treacy and others in the industry call it a “green wave.”

“Obviously these projects are not necessarily shooting as if they’re supposed to be in Ireland,” Treacy told The Times. “It’s shooting the U.S. in Ireland, and that’s working quite well.”

The green wave grows

The seeds of the green wave were sown decades ago.

Ireland is a nation of storytellers. Over generations, it has maintained its ancient oral traditions, preserving its history, language and mythology, memorializing them on the page and eventually the screen.

Towering literary figure James Joyce helped to open the country’s first cinema, the Volta Electric Theatre, in a former metals shop in Dublin in 1909. Today, the country is said to have the highest per capita rate of moviegoers in Europe.

Ireland’s current course was set in 1980, when the government established the Irish Film Board to champion and fund domestic movies. Tax credits were introduced in 1987 to spur economic growth, but the prime minister suspended the program that same year.

Still, a small but influential group of Irish filmmakers came of age. Acclaimed movies such as “My Left Foot” and “In the Name of the Father,” directed by Jim Sheridan, and Neil Jordan’s “The Crying Game” found outside funding and became international hits. Their success and lobbying efforts prompted Michael D. Higgins, the country’s culture minister at the time, to relaunch the film board in 1993, now called Screen Ireland.

Since then, Screen Ireland has embarked on a dual strategy: to create a destination for international filmmaking and foster Irish culture on screen.

The effort has spurred a creative renaissance. In recent years, the country’s global profile has grown with a surge in homegrown talent featuring a range of actors, from Cillian Murphy to Jessie Buckley, along with projects such as “The Banshees of Inisherin” and “Normal People.” In 2023, the Irish-language film “The Quiet Girl” earned the country’s first international feature Oscar nomination. Co-production partnerships with the U.S., U.K. and other countries have flourished.

“Across Ireland, you see a real value put on arts and culture,” said Désirée Finnegan, chief executive of Screen Ireland. “For us, the investment in talent is a strategic priority. We are filmmaker-driven, artist-led.”

In the last five years, Screen Ireland has invested nearly $170 million across film, television, animation, documentaries and game design, as well as training and early talent development, Finnegan said.

In 2021, the agency established an office in the same building as Ireland’s Los Angeles consulate to further build relationships with the U.S. entertainment industry.

Ireland’s tax incentives program has evolved into one of Europe’s most stable. It provides a 32% refundable tax credit on eligible expenditures, including salaries of cast and crew (Irish feature films qualify for more), and the per project cap has increased from $81 million to $145 million.

This year, Ireland sweetened the pot, adding VFX and post-production uplifts to the incentive program. It also became the first European country to support dedicated unscripted content, for which it offers a refundable credit of 20% on eligible Irish production expenditures, capped at $16.8 million per project.

Jake Walshe, president and CEO of Screen Scene Post Production Group and chair of the trade association VFX Ireland, helped spearhead efforts for the new post-production enhancement.

“You’re going to see more growth in this area with this tax credit,” he said.

Another catalyst was the global success of HBO’s series “Game of Thrones,” which filmed its first season in Northern Ireland in 2010.

“We didn’t know how big ‘Game of Thrones’ was going to be,” laughed Walshe, whose Dublin company did post-production work on the project.

Since then, the visual effects studio has worked on “Shōgun,” “The Penguin,” “The Irishman” and Marvel’s “Black Widow.”

“A lot of high-level Irish crews today got their start on big productions like ‘Game of Thrones’ or ‘Penny Dreadful,’” said Michael Byrne, a former location manager here, now a Screen Ireland executive.

The green wave triggered a homegrown cottage film industry.

Model and prop maker Mark Maher returned to Ireland in 2012 after working in New Zealand.

“I did notice there was a gap there with the prop and prosthetics and no company to feed into the film studios here,” said Maher, who worked on the Showtime series “Penny Dreadful.”

In 2017, he opened Odyssey Studios in Limerick and has supplied miniatures and props to such projects as “Foundation” and “Wednesday” and also operates a training academy.

“There is a surge here in Ireland,” he said. “We were very lucky.”

An animation boom

The expanded credits have been a boon to Ireland’s once-fledgling animation industry, which now has nearly 50 studios employing about 2,500 staffers. Many partner with Disney, Netflix and Nickelodeon.

Cartoon Saloon, one of the country’s first animation studios, founded in 1999, got its start in Kilkenny, a medieval city in southeast Ireland. Its founders, Tomm Moore, Paul Young and Nora Twomey, met while studying animation at Ballyfermot College, a vocational school in a working-class Dublin suburb.

Instead of making computer animated movies like Disney/Pixar’s “Toy Story,” Cartoon Saloon decided to focus on hand-drawn Irish folklore. Its first feature, “The Secret of Kells,” released in 2009, was about manuscript-making monks. It was nominated for an Oscar, as were three other of the studio’s films, including “The Breadwinner,” executive produced by Angelina Jolie, and “Wolfwalkers,” which ran on AppleTV.

“We found that through our own authentic voices, [that] not necessarily every story has to be set in Ireland, it’s just every story that we tell has to have something that really resonates with us as a company of animators,” Twomey said.

The rise of co-productions

Many of Ireland’s best-known productions got their start at Ardmore Studios, just south of Dublin in the seaside town of Bray. It’s the country’s oldest studio, opening in 1958.

From the outside, the 18-acre campus of soundstages and back lots, nestled among the forests and mountains of County Wicklow, looks like a historic village. It was here that movies such as “The Spy that Came in from the Cold” and “The Commitments” and TV series like “Penny Dreadful” and “The Tudors” were filmed.

“Angela’s Ashes,” the 1999 adaptation of Frank McCourt’s Pulitzer Prize-winning memoir, also was made at the studio. More recently, Ardmore has been one of the main locations for the hit Netflix series “Wednesday,” the dark supernatural comedy starring Jenna Ortega.

David McLoughlin, the co-CEO and producer at Metropolitan Pictures, which is “Wednesday’s” Irish co-producer, has witnessed dramatic changes firsthand.

“Compared to 25 years ago, it’s obviously just a huge difference,” said McLoughlin, whose company is based at Ardmore Studios. “But that’s not just in terms of international production. There’s been an awful lot of Irish producers developing projects, and then they’re bringing in outside production partners.”

On Dublin’s north side, where the city center is divided by the River Liffey, Element Pictures operates its award-winning production company above a busy commercial street. Its conference room is filled with BAFTA awards, Golden Globes and posters from its acclaimed films such as “The Favourite” and “Room,” which each won best actress Oscars, and “Bugonia,” which was nominated for best picture.

Founded in 2001, Element is one of Ireland’s leading production companies and owned by London-based TV producer and distributor Fremantle. Founders Ed Guiney and Andrew Lowe began as the local producer for BBC series shot here and cultivated relationships with European and American filmmakers and distributors to develop their own projects.

It’s a successful model others have adopted.

“We’ve seen that change from something that was a kind of weird, little curiosity making strange, small films to something that actually has a kind of profile on the international stage,” Guiney said.

Not far from Dublin’s Trinity College are the offices of Wild Atlantic Pictures, named after the 1,500-mile stretch of western Ireland’s rugged coastline. The company began by co-producing with various American and British studios, emerging as a force in the industry here and abroad.

In recent years, Wild Atlantic served as a co-producer or the Irish production company on such films as Richard Linklater’s Oscar-nominated “Blue Moon,” “Cocaine Bear” with Universal and “The Green Knight” with A24, as well as Apple TV’s “Foundation” and the Netflix dark comedy series “Bodkin.”

“Every film I’ve made is a co-production of some description,” said Macdara Kelleher, the company’s co-CEO and founder. “It’s not an unusual thing for Irish people, for a small country. There’s just a limit to the amount that you can raise in Ireland, and U.S. films dominate our box office.”

Kelleher points to Wild Atlantic’s relationship with Santa Monica-based Blumhouse Productions.

“They’re a great partner and they give us access,” he said. The companies have a number of projects in various stages of development, including the horror film “Seasons” and the TV adaptation of John Grisham’s “The Rainmaker.”

Doubling for America

As Ireland has emerged as a major film hub, it increasingly has become a double for America.

About 15 miles south of Dublin in County Wicklow lies the Powerscourt Estate, with its 47 acres of gardens and the iconic waterfall featured in the 1981 Arthurian legend film “Excalibur.” The area also was transformed into the fictional seat of power for the “Vikings” series commissioned by the History Channel.

More recently, the same expanse of forest and lakes masqueraded as Appalachia in the film “Cocaine Bear,” Elizabeth Banks’ dark comedy and true story about a black bear that ate a massive amount of cocaine dropped by a drug smuggler in Georgia.

Beginning in 2024, veteran Irish production director Susie Cullen worked back-to-back on four movies all set in America but filmed in Ireland, including “Abigail,” the Boston-based vampire horror-comedy, and “Blue Moon,” a movie set in 1943 Manhattan about troubled lyricist Lorenz Hart, played by Ethan Hawke.

“Part of being a production designer is to create something, to create a fantasy or period, and that part of the challenge is kind of great,” Cullen said.

Cullen re-created the historic Broadway haunt Sardi’s on a soundstage at Ardmore Studios. A local artist mimicked the restaurant’s famed caricatures of celebrities, using the faces of the crew.

For the scene showing the Broadway opening of “Oklahoma!” set at St. James Theatre, Cullen said they filmed at the Gaiety, a 155-year-old opera house on Dublin’s South King Street near St. Stephen’s Green. At the time, “Riverdance,” the traditional Irish step dance troupe, was performing at the theater.

“We just had a little mini-version of ‘Oklahoma!’ in the theater, on ‘Riverdance’s’ day off,” Cullen said. “We got there in the morning and put our set in front of theirs and they shot that evening and we took ours down and ‘Riverdance’ was back the next day.”

The soundstages of Ardmore Studios hosted another production, the TV adaptation of the John Grisham’s 1995 bestselling novel “The Rainmaker” for USA Network.

While the book takes place in Memphis, Tenn., the producers wanted to update the legal thriller, setting the story in present-day Charleston, S.C.

“I was thrilled,” recalled Dan Rogers, a senior project manager with the South Carolina Film Commission, and he said that “we’d love to bring it here” after a production executive told him the series was expressly written for Charleston.

But months later, Rogers was informed the studio decided to film elsewhere. Much to his surprise, the location wasn’t L.A. or even another Southern U.S. city — but Ireland.

Showrunner Michael Seitzman said it was a matter of money.

“You’re trying to maximize that budget, make the biggest show you can, make a show that looks like the one that you wrote on the page,” he said, adding, “every producer is having the same conversation right now.”

Seitzman estimates he saved about $10 million for a 10-episode season because of the tax credits and lower costs for labor and other production expenses. Another bonus: He could cast supporting local actors adept at shifting to an American accent.

The series has shot at locations around Dublin, including a former 18th century military school, St. Mary’s Hospital, that became the fictional North City Hospital. Ireland’s oldest school of law was transformed into various institutions in Charleston.

For Season 2, which wrapped in August, Seitzman had become so familiar and enthralled with Dublin that he created a storyline in Ireland over a few episodes.

“We could really shoot Ireland for Ireland, which was fantastic,” he said. “Suddenly we could stop hiding all the beautiful things we were seeing.”

Game show mecca

Perhaps the biggest wave to crash on Irish shores is the American game show.

In January, BiggerStage — the television production company that has co-partnered with Fox Entertainment and produces six shows in Ireland for American prime time — invested a reported $11.2 million in a deal to create a global, unscripted production hub at Troy Studios in Limerick.

“We did it because we see a real opportunity to increase the amount of work here, and that’s both work we create as much as it is work that we partner with other producers around the world,” said Sean O’Riordan, BiggerStage’s chief creative officer.

Pat Kiely, a former managing director of Virgin Media Television, launched the Dublin-based company five years ago to develop original content — particularly in the unscripted segment for the global market — and position Ireland as an international television center (hence the company name).

Meanwhile, Fox Entertainment had launched something called the international fund. The idea was to pilot an idea for a show and see how it could be produced for less money, partnering with international networks or production companies.

The first was a singing talent show called “The Big Deal” that BiggerStage produced for an Irish audience.

Impressed by the quality and cost-effectiveness of the show, Fox quickly began discussing collaborating on other productions with BiggerStage.

“They were incredible partners creatively. And so from there we were able to know we had a trusted production partner in Ireland,” said Allison Wallach, head of unscripted programming at Fox Entertainment Studio.

In 2022, Fox relocated “Name That Tune” from Australia to Dublin. That same year, “Beat Shazam,” the game show hosted by Jamie Foxx, relocated from Television City in Los Angeles to Ireland, where Fox also launched a series of shows including “The Floor” hosted by Lowe and “Next Level Chief.” In all, BiggerStage produces about 100 hours of American prime-time shows in Ireland.

BiggerStage leveraged its success with Fox to lobby the Irish government for the unscripted tax credit to attract even more growth.

“Hubs are going to be more crucial than ever to make things work at a price point,” Wallach said. “And I think that BiggerStage and actually Ireland is really well suited to be that hub for Europe and for the U.S.”

Unless you’re writing for a major national magazine or shooting video for Architectural Digest, it’s rare for a reporter to be invited into a celebrity subject’s home. More likely, it’ll be some neutral space like a publicist’s office, or coffee shop, or hotel room; even more likely, over the phone or Zoom. But Patrick Stewart, when I interviewed him in 2023 at the end of “Star Trek: Picard,” the “The Next Generation” sequel series in which he starred, asked to meet at his house.

Stewart, who died Wednesday at 86, was 82 then, friendly and dapper and emanating a youthful sense of wonder and readiness. He spoke of wanting to learn to play the piano and speak French — ironic for an actor perhaps best known as Jean-Luc Picard. He had written a memoir, “Make It So,” titled for a Picard catchphrase. And he was excited about the house, located on a leafy, McMansion-free, comparatively modest street in what real estate agents would call Hancock Park, where he’d been living with his wife, Sunny Ozell, since just before the COVID-19 pandemic shutdown.

“We were safe,” Stewart said of the COVID days. “We felt protected here. It was just a walk that way or a walk that way to some shops. I walk to a little post office and my pharmacy is on 3rd Street, and I always take the backstreets. It’s a fabulous neighborhood, it really is. No two houses are the same. I mean, I never thought I’d live in a house that had just got archways everywhere — no doors! Sitting here, you see one, two, three, four, five, six archways.”

From sheer weight of screen time and franchise muscle, “Star Trek: TNG” — which ran for seven seasons (on first-run syndication, a dynamic format that no longer exists), plus four films — and the “X-Men” movies have dominated coverage of Stewart’s death. (Confession: I have possibly seen one “X-Men” movie, though long before there were “X-Men” movies, I read the comics — so I am familiar with Professor Charles Xavier, a part for which Stewart did not need to shave his head, as well as his nemesis Magneto, played by Stewart’s good pal Ian McKellen.) But there’s more to the story.

Stewart’s 70-year career does neatly divide into BST and AST — before and after “Star Trek,” which arrived in 1987 at its chronological midpoint. The first half is dominated by theater. He joined the Royal Shakespeare Company in 1968, after a decade on regional stages, and was a core member until 1982. “So that was my daily experience,” he told me. “Shakespeare and his contemporaries and other great 19th century, 20th century playwrights. It was home to me.” In 1982, he took part alongside fellow RSC members, including David Suchet, Ben Kingsley, Judi Dench and McKellen, in director John Barton’s illuminating series “Playing Shakespeare,” demonstrating the relation of text and performance. You can find it all on YouTube from the Shakespeare Network and really should.

American audiences might have gotten a look at him in David Lynch’s “Dune” or PBS-imported British TV productions like “I, Claudius” and “Tinker Tailor Soldier Spy,” or as Claudius opposite Derek Jacobi in BBC’s “Hamlet” — but for many Stewart appeared new and fully formed in September 1987 on the bridge of the USS Enterprise. (This paper, reporting on his casting, apparently called him “an unknown British Shakespearean actor,” a fact you will see printed many times over in the wake of his death, and which Stewart liked to repeat.) With a handsome, sculpted head unencumbered by hair and a rich musical baritone, he exuded compassionate authority. You felt you could trust him, not just because it was in the script. With his classical training, he could make the most mundane line sing as if it were written in iambic pentameter, and do it without sounding hammy. He was a fit 47 when the show premiered. And he rocked his body-hugging Starfleet uniform.

After “Star Trek” made him Hollywood-famous, making way for his “X-Men” role — which he reprised for his final film, “Avengers: Doomsday,” coming in December — other projects followed. As an established personality there were opportunities for self-mockery and oddball choices. In Ricky Gervais’ “Extras,” playing himself, he describes a screenplay he’s writing in which his character has the power to make women’s clothes fall off (“and I’ve seen everything”). In Riz Ahmed’s “Bait,” which premiered earlier this year, he was the hallucinated voice of “Pigtrick,” a decapitated pig’s head that is somehow also Patrick Stewart. He donned a bad wig to portray John Oliver on “The Daily Show” and was a regular voice on “American Dad!” More traditionally, he played Captain Ahab, Ebenezer Scrooge and Captain Nemo.

Did success on the screen boost his stage career? Or was it just a different route to the same place? With McKellen he starred in Samuel Beckett’s “Waiting for Godot” and Harold Pinter’s “No Man’s Land” in repertory. He adapted Charles Dickens’ “A Christmas Carol” into a one-man show and played George in “Who’s Afraid of Virginia Woolf?” But it always came back to Shakespeare. Returning to the RSC, he played the Ghost and Claudius to David Tennant’s “Hamlet” and the lead in “Macbeth” (both were filmed and broadcast) as well as Prospero in “The Tempest.” He stayed busy as he aged, if not always as busy as he would have liked — the actor’s lot — and when the pandemic killed regular work, he went onto social media and spoke directly to the people in the language he loved so well, reading and commenting on all of Shakespeare’s 154 sonnets — “A Sonnet a Day” — from March to October 2020 (they’re available on CD).

“We play this game often,” he told me. “I played it when I was a kid: If you could go back in time, where would you go? And I’ve worked on my answer to that question — I want to be in the audience at the very first performance of ‘Hamlet, Prince of Denmark,’ that’s all, because I know Shakespeare would be there.”

Patrick Stewart was an imposing figure, on screens big and small, and on stage in the many theatrical productions he starred in over his long career. Depending on the role, his baritone voice could command a legion of Starfleet officers, superhero mutants or a royal court. The actor, who died Wednesday, will be best remembered for the iconic characters he portrayed, particularly in the “Star Trek” and “X-Men” franchises, but over the course of his career, he proved his versatility, playing comedic roles as brilliantly as his dramatic ones. Here, our writers detail some of his most memorable onscreen work.

‘Dune’ (1984)

Even in the wake of Denis Villeneuve’s mega-productions, David Lynch’s dreamy version has found its fandom of acolytes. To watch Stewart commit to the director’s vision is to wish he had more film opportunities outside the shadow of Capt. Picard. He’s playing Gurney Halleck (Josh Brolin does the role in the new movies), a war advisor to young Paul Atreides, and Stewart brings gruff family-friend vibes to his few scenes, which have become legendary in the Lynch pantheon. When Kyle MacLachlan’s Paul says he’s “not in the mood” for combat training, Gurney explodes at him: “Mood’s a thing for cattle and loveplay, not fighting!” Later, you can watch Gurney charging into planetary battle holding — what’s this? — a sweet-looking pug. They must be symbolic to House Atreides. The dogs don’t appear in Frank Herbert’s novel. Lynch just added them. It’s how I choose to remember Stewart. — Joshua Rothkopf

‘Star Trek: The Next Generation’ (1987-1994)

Whichever captain in the “Star Trek” franchise you fancy — Janeway, Kirk, Sisko, Pike, etc. — Jean-Luc Picard was always in the conversation. He was serious, stern, smart, curious, with the hint of whimsy that it takes to soar among the stars with theoretical science and a diplomatic flair with alien races. Undoubtedly, Stewart’s Shakespearean training helped him look past the costumes, sets and CGI into the humanity of what the writers and Gene Roddenberry intended. Though “Star Trek” was set hundreds of years into the future, Stewart gave the character a sense of now, with some of the same problems we face today. Indeed, one of his most famous quotes from the show, from the fifth-season episode “The Inner Light,” embodied how he kept Picard in the present: “Seize the time … live now. Make now always the most precious time. Now will never come again.” — Jevon Phillips

‘Robin Hood: Men in Tights’ (1993)

My nascent cinephilia was nurtured by movies on VHS. One tape (and eventually DVD, then Blu-ray) we often found ourselves watching was Mel Brooks’ “Robin Hood: Men in Tights.” The spoof of early Hollywood’s swashbuckling action-adventure movies is one of the comedy titan’s most quotable films, thanks in large part to the timing of the cast. Stewart, in a cameo at the end of the film, plays a regal King Richard who returns from the Crusades to chastise his younger brother Prince John (played by a scene-stealing Richard Lewis). Stewart gets one of the film’s best jokes, delivering one final indignity to Prince John with the panache that only a formally trained actor of his caliber could. — David Viramontes

‘X-Men’ (2000)

Casting Stewart as Professor Charles Xavier in Bryan Singer’s “X-Men” must have seemed almost too easy. He looked remarkably like the bald, wheelchair-using Marvel comic-book character and had already spent seven seasons playing a similarly cerebral, principled leader as Capt. Picard on “Star Trek: The Next Generation.” But Stewart brought more to the role than a physical resemblance and a voice that could make a grocery list sound like a royal decree. As the powerful telepath who ran a school for young mutants and believed they could coexist peacefully with humans, his Xavier barely needed to raise an eyebrow to command attention, even when surrounded by characters who could sprout claws, control the weather and shoot beams from their eyes. Playing opposite Ian McKellen as Xavier’s old friend turned rival Magneto, Stewart brought a touch of Shakespearean gravitas to the fledgling franchise, returning to the role for seven more films over the next 22 years. He’ll reprise the role a final time in “Avengers: Doomsday” in December. — Josh Rottenberg

‘Logan’ (2017)

Previous installments of the “X-Men” films are more typical of the superhero genre, with grand CGI battle sequences and a foe or foes that must be defeated. But “Logan,” which centers on the titular character, a.k.a. Wolverine (Hugh Jackman), is different, with a grounded, gritty story set in 2029 in the desert of Northern Mexico near El Paso. Logan is now a limousine driver addicted to prescription painkillers and he’s a caretaker, along with fellow mutant Caliban, for an elderly Charles Xavier. Ten minutes into the film, we see the professor not in his usual dignified manner, dressed in a sharp suit; instead, we see him thin and frail, in a dirty T-shirt, zooming around in circles in his motorized wheelchair repeating the lines of a Taco Bell commercial. Logan attempts to medicate him so that he and Caliban can rest, but Xavier fights him off, falls out of his wheelchair and has a telepathic seizure that begins to affect everyone around him. “What are you doing to me?” he whispers in a scared voice as Logan tries to inject him. It’s a scene that Stewart imbues with terror and sadness as we see the formerly stoic Xavier shrivel in his hospital bed, reminded of his ailments and his mortality. — Maira Garcia

A New York City man is facing charges after allegedly pulling out a knife near the set of the latest “Miami Vice” reboot.

On Friday around 11 p.m., the New York Police Department received a call about a man brandishing a knife near the intersection of Avenue N and McDonald Avenue in the borough of Brooklyn.

The caller, identified only as a 42-year-old man, told police that he had been in a verbal dispute with an “unidentified individual” when the man took out a knife, according to a police spokesperson.

The suspect was identified as Brooklyn resident Alex Perez, 23. The police spokesperson said Perez was taken into custody without incident and charged with menacing and criminal possession of a weapon. There were no reported injuries, she said.

In a video obtained by TMZ, a man the outlet identified as Perez is shown taking out a large butcher’s knife from his black sweatshirt pocket.

The Brooklyn district attorney’s office did not immediately respond to a request for comment Monday night. It was not immediately clear whether Perez has a lawyer.

NBC New York reported that “Miami Vice ‘85” had been filming nearby along Bay Parkway and McDonald Avenue, near Washington Cemetery.

Universal, the studio behind the film, did not immediately respond to a request for comment. Joseph Kosinski, the director behind “F1” and “Top Gun: Maverick,” is directing “Miami Vice ’85.” The movie, which according to Universal was in production as of Oct. 12, features Michael B. Jordan as Tubbs and Austin Butler as Crockett, according to the company’s social media posts.

The movie is based on Anthony Yerkovich’s iconic 1980s TV cop show. A movie adaptation directed by Michael Mann, also called “Miami Vice,” came out in 2006 but was a box-office flop, The Times reported at the time.

When William Jackson Harper moved to Los Angeles to star in NBC’s “The Good Place” a decade ago, he himself felt out of place.

“As an actor, I was like I don’t know if this is where I’m supposed to be,” says Harper, who earned an Emmy nomination for his role as Chidi Anagonye, the show’s endearingly panicked and indecisive professor.

“People felt more finished there,” he says of L.A. “I felt like people had sort of come into their appearance, they knew what they were selling. And I was like, you know, I’m much more of a theater guy, New York is probably where I’m going to land.”

He adds, “So I had this idea that I was going to get to L.A. and everyone was just going to laugh at me.”

Quite the opposite happened. Harper leaned into the L.A. experience, exploring the sprawling city, particularly its nature, and connecting with old friends on a deeper level. He soon grew to appreciate it — so much that he continues to split his time between L.A. and New York alongside his wife, Ali Ahn, who is also an actor.

Harper now stars in the dramatic anthology series “American Hostage,” which re-creates the true story of Tony Kiritsis, an Indianapolis man who, in 1977, kidnapped a mortgage broker whose family Kiritsis blamed for his own financial hardships. During a 63-hour standoff, Kiritsis demands that Fred Heckman, a beloved radio reporter played by Jon Hamm, interview him live on air.

“When that script came across my desk, I was like ‘This is insane,’” Harper says of the show, now streaming on MGM+. He was excited to portray Ben Hairston, a reporter and Heckman’s mentee, who attempts to help him navigate the challenging situation.

Harper says he’d been interested in being part of the show set in the late 1970s. Another draw? “I was looking forward to just rocking a mustache,” he says with a laugh. “I was looking forward to just looking like my uncles.”

Here’s how Harper would spend his perfect Sunday in L.A., from a morning hike at Griffith Park to shopping for more French tour jackets at a vintage store in Silver Lake.

7 a.m.: Start with an intense workout

Even though I typically don’t work out on Sundays, sometimes I get a wild hair and do it anyway because I enjoy it. I’ll go to a class around 7 or 8 a.m. I go to Training Mate a lot because the instructors are fun. They’re all, like, beautiful people, but they are dorks, which I find really endearing. They’re really sweet and encouraging. So we’ll do a really tough 45-minute workout an I’ll probably want to go for a hike after that. Griffith Park is one of my favorite places anywhere, so I’d kind of march around there for a couple of hours. I don’t always do the hard [route], I’m already kind of cooked. I just want to be in nature a little bit.

11 a.m.: Bond with friends over breakfast

Then it would be time to eat. I have this tradition whenever I’m in L.A. of meeting with a couple of friends of ours at Fred 62 on Vermont [Avenue]. I’ll get a tofu breakfast enchilada and then we’ll just sit there and talk for a couple of hours. The waiters remember my order even if it’s been months. Or my friends and I will go to some place like All Time, which is really good. There’s always a line and everyone is very done up and I feel really dirty and underdressed when I go, but f— it. It’s like deal with it. I’m old. I can’t be out here flexing.

2 p.m.: Nap to recharge for a shopping spree

All those things make for a powerful wave of sleepiness, so I’ll take a nap. Usually when I have days off like this, I have a shopping addiction, so there’s a few stores that I’ll probably wind up hitting. One of them is this place called Golden Age that has all these old French tour jackets. I have so many [laughs]. I rock those a lot. So I’ll go there, look around and abuse my bank account a little bit. Then there’s this other place on La Brea called General Quarters. It’s got a bunch of work wear stuff.

6 p.m.: Watch a movie at an old-school theater

After that, I might go see a movie at Los Feliz 3. It just reminds me of the movie theaters I grew up going to. I love an old-school, no frills theater that shows cool stuff.

8:30 p.m.: Have a delicious pescatarian dinner

If we are not cooking, we’re going out to eat somewhere. There’s this place in Eagle Rock that we like a lot called Little Beast. One of my favorite restaurants is Bavel. Every time I go there, I’m just like I don’t deserve this meal. I don’t deserve these cocktails. I’ve ordered something different every time. My wife and I are both pescatarian, so we usually load up on the veggies and pick whatever fish dish they have.

10:30 p.m.: Time for bed

After that, we’ll go back home, give our dog Chico another walk and watch Netflix until we fall asleep. My wife falls asleep first. When we are together, I’ll fall asleep earlier between like 11 p.m. and midnight. When I’m by myself, I’m up till 2 or 3 in the morning. I’m just up.

In the mindbending documentary “You Can See Everything,” comedian Nathan Fielder and professed inventor Elizabeth Holmes sit in her beach house staring at each other like gunslingers. Fielder is the creator of the TV series “The Rehearsal” and “Nathan for You” who constructs discombobulating sham realities that include bogus businesses such as Dumb Starbucks. Holmes is the former billionaire CEO of Theranos who pretended she’d built a revolutionary blood testing machine to squeeze investors for a few dollars more.

Each is an expert in the con. But Fielder is deadpan and cold where Holmes is earnest and warm — and he’s been nominated for Emmys while, in May of 2023 when the film begins, she’s about to serve an 11-year sentence in federal prison. As the camera cuts between close-ups of his narrowed eyes and her big, blue ones, Fielder tries to suss whether he can trust the famous fibber to be honest with him. The showdown is riveting.

“You’re being real right now?” Fielder asks, dubious.

Holmes beams. “I’m always being real,” she swears with a smile.

Her charm hits Fielder in the gut. His face stays neutral yet you can see his own confidence bleed out across the screen.

Co-directed by Fielder and Lance Oppenheim (“Primetime”), “You Can See Everything” is the closest Fielder has come to making a traditional documentary. A thrillingly cringe-tastic interviewer, he blurts out blunt questions like a bungee jumper leaping off a bridge, including asking Holmes’ romantic and business partner Billy Evans, the heir to a San Diego boutique hotel chain, whether it’s possible a woman convicted of fraud might be with him for his money.

At nearly three hours long, “You Can See Everything” won’t bore you for a minute. The hook is right there in the title, Fielder’s challenge to the audience: Here’s how Holmes held up to his scrutiny — do we think she’s telling the truth? But be alert. Fielder remains a trickster. One shot in particular proves you can see everything while being blind to what you’re actually watching.

In the first half of the movie, Holmes and Evans, the father of her two young children, give the small crew complete access to their lives during her last weeks of freedom, including inviting Fielder to sleep in their guest bedroom. It’s an act of “radical transparency,” Evans says. As evidence, there’s a fully nude shot of Evans in the shower, testifying to the intimacy the subjects claim they’re granting the team and the confidence they have that the documentary will make them look great. (Evans also boasts that he’s “excellent” in the sack.)

Holmes maintains both her innocence and her eerie smile, a rictus of empathy. She constantly nods, subliminally snake-charming the listener into a sense of agreement. That assessment might be fair or it might be her reputation making you over-analyze her tics. Doubling down, she even insists she’s never told a lie in her life — a claim that momentarily leaves Fielder at a loss for words.

Yet at times, Holmes really does appear to be sincere. Once she surrenders herself to the Bryan Federal Prison Camp in Texas (where, in an unmentioned coincidence, Epstein collaborator Ghislane Maxwell is also incarcerated), the tone shifts into film noir as Fielder struggles to reconcile Elizabeth Holmes’ dual identities. Is she the sweet-natured scientist, the only version of her he’s ever met, or a femme fatale who may still be running a scam?

“It’s personal,” Fielder says of his fixation. How frustrating that he of all people — the dark prince of pranks — may be Holmes’ latest patsy. Composer Ari Balouzian borrows bits of Bernard Herrmann’s violin score from “Vertigo” while cinematographer David Bolen makes the audience hold its breath by framing an image of Fielder and Holmes like they might kiss.

When the movie’s style gets weird, that’s when Fielder is most in his wheelhouse. Stop reading now if you want to preserve the surprise. Micro-analyzing his encounters with Holmes, he reenacts them with an actor, Amanda Seyfried, whose emotional intensity blows into the film like a gust of fresh air. Seyfried, of course, won an Emmy and a Golden Globe for playing Holmes in the 2022 miniseries “The Dropout.” The twists to come, however, feel as much like last year’s naughty hit “The Housemaid,” the domestic thriller in which Seyfried played a shady wife with a marriage made of lies.

Evans initially seems to think they’re participating in a project closer to Netflix’s glossy portrait of Meghan Markle and Prince Harry. The couple doesn’t know much about humor, pop culture or Fielder himself. Fumbling to figure out what makes him tick, Evans attempts to neg the provocateur as someone who lacks the passion to think differently. (Evans may also be the person who used Holmes’ social media account to write a flattering post calling JD Vance “Lisan al-Gaib,” revealing he’s entirely missed the point of “Dune.”)

But thinking differently is Fielder’s awkward superpower. Sooner or later, all of his projects circle around to his concern that he’s simply wired to be unpleasant. His interactions with Holmes are pure cringe comedy, like when she starts to cry perhaps a bit on cue and he stiffly sputters, “Do you want, like, a tissue?” For the record, he brings her one.

As a viewer, the biggest strike against Holmes is this documentary’s very existence. Whether or not you think she’s guilty of fraud, she is about to be separated from her infant and toddler until they’re in grade school. Who on Earth would genuinely want Fielder, the human equivalent of a skunk, to crash their last moments with their loved ones as he does his darnedest to stink up the place?

Fielder is most comfortable as the film’s villain, shooting himself lurking in the couple’s house like “Halloween’s” Michael Myers. At times, his presence does feel monstrous. In one scene, he needles Evans about whether he thinks his soulmate has ever lied to him while Holmes is on the phone in the next room, tearing up as she asks how often she’ll be able to bathe in prison.

The film doesn’t drill into the technical details of Theranos beyond one dizzying scene where Fielder tries to pin Holmes down on exactly what she meant when she said her machine can run hundreds of different tests. She means it just as I would if I bragged I can benchpress a beer keg — that is, once I strength-train beyond my piddly 5 lb dumbbells.

Instead, it tilts into becoming a caper flick as Seyfried’s commitment to understanding her character’s motivation inspires the actor to invite herself along. The drama they uncover is psychological, as befits an era where Silicon Valley CEOs are closer to cult leaders than engineers, making their cash from being televangelists for their IPOs. And both are attuned to the moments when Evans lets his aggravation slip. One scene is a doozy.

Ultimately, suspicion reigns. “You Can See Everything” is an absorbing study of public presentation and private doubts, a documentary that asks more questions than it answers. I hope Fielder will smile and nod approvingly at me if I say I left the film distrusting him, too, especially Seyfried’s re-staging of a long monologue Holmes delivered in prison where recording devices aren’t allowed. Can we believe that Holmes really did say, “I’m tired of having other people speak for me,” or was that laugh line written by the master manipulator himself? I’m now as paranoid as he is — and what a pleasure.

For over five decades, there have existed two types of movie lover: those who have been at least a little corrupted by Ken Russell’s 1971 iconoclasterpiece “The Devils” and those who haven’t seen it. With the release of a newly restored director’s cut, which premiered in Cannes this year to a reception that begs to be described as orgiastic, ejaculatory, lubricious or orgasmic — take your pick — the unjustly deprived inhabitants of the latter category get to be inducted into the former.

Some are going to hate it. Some may affect a “can’t see what all the fuss is about” attitude — that is their right, as it is mine to simply not believe them. But some, witnessing what critic Judith Crist once referred to as a “grand fiesta for sadists and perverts” will find that abandoning themselves to its wantonly grotesque, profane imagery will feel like the giddiest liberation. From what, exactly? The tyranny of tastefulness? The despotism of decency? Whatever it is, blasphemy loves company, so welcome, sickos!

Several honey-roastings beyond hammy and a hundred rows of tents beyond camp, “The Devils” tells the story of a real event: the 1634 heresy trial and execution of Urbain Grandier (Oliver Reed), a libertine Catholic priest, who fell afoul of the religious and political establishments when defending the independence of the Protestant-friendly fortified city of Loudon in western France. The torrid tale involves an order of Ursuline nuns led by hunchbacked Sister Jeanne (Vanessa Redgrave) who accuse Grandier of witchcraft, which provides wily Cardinal Richelieu (Christopher Logue) and peevish Louis XIII (Graham Armitage) with the pretext for suppressing dissent.

Aldous Huxley’s 1952 nonfiction account “The Devils of Loudon,” and John Whiting’s 1960 play “The Devils” both formed the source material for Russell’s screenplay, in the sense that he clearly read them, then flung them, along with the Latin bible, the Kama Sutra, a bit of Looney Tunes, a dose of swinging ’60s psychedelia and some of the more stomach-turning passages from the Marquis de Sade onto the pyre of his own unholy, lapsed-Catholic imagination.

The resulting film became infamous almost as soon as it was released and has never been readily available in the U.S, at least not in its full form. The 2026 cut (technically the first release from Clockwork, a distribution arm of the newly merged megacorp Skydance, which is hilarious) reinstates several minutes, including the full “Rape of Christ” sequence, in which a bevy of uninhibited and un-habited nuns writhe atop a statue of the crucified Christ, as well as the scene where Redgrave’s deranged, scoliotic Sister Jeanne apparently begins to masturbate on Grandier’s charred femur bone.

Both of these sequences have long been the Holy Grail for aficionados, but they are not the most impressive thing about this new version: That would be the immaculate re-conception of its visual splendor, which makes the movie dazzlingly sharp and new. The edges of Derek Jarman’s severe, anachronistically abstract sets are crisp and white again, the blood so very bloody and Oliver Reed’s eyes, which in the older, muddier versions look gray-brown, are suddenly so vivid they remind you that the hottest flames — hotter than the screaming orange conflagration that eventually consumes him — actually burn blue.

Hotness defines Reed’s Grandier beyond just his eyes and the smoky baritone in which he delivers his proclamations, prohibitions and occasional jokes. “Do you love the church?” asks Baron de Laubardemont (Dudley Sutton) as mad-eyed hipster Witchfinder Father Barre (Michael Gothard) drives another wedge between his mangled legs. “Not today,” grunts Grandier.

It’s hard to imagine any other actor being convincingly witty under torture and at other times quite silly (as when he fends off an attack using a stuffed crocodile that he happens to have just thrown out of a nearby window) while still radiating such charismatic cocksmanship that the local womenfolk invent sins just to confess to him. The mere mention of his name can send an entire hysteria of nuns into roiling spasms of sexual frenzy.

But to glimpse Reed here, at his most beautiful, is to think: yup, plausible. And yet his towering performance is characterized by restraint, even more so as the ghastly climax arrives, and we realize that all of Reed’s brutish sensuality, all of Russell’s sensationalism and all of “The Devils’” chicanery, buffoonery and primping, preening vanity have been in service of a furious message that is as deadly serious as its presentation is garish.

That message — a howl of righteous anger at state corruption and the perversion of religion to serve the nefarious agendas of cruel, power-mad men — is what makes “The Devils” sacrilegious yet not apostate. It does not scorn God or faith, but the misuse of both by petty manipulators. Sure, Russell has a little dirty fun in doing so — OK, a lot of dirty fun. However, charges of “The Devils” therefore being an inherently sexist piece of work also don’t really stand up, and not only because of Redgrave’s fearlessly creepy, giggly performance of outré erotic obsession.

In fact, there’s a whole feminine tragedy written in one single monologue: “Most of the nuns here are noblewomen who have embraced monastic life because there was not enough money at home to provide them with dowries,” crows Jeanne crookedly, “Or they were unmarriageable because ugly and a burden to the family.” Remembering that the naked nuns are not cloistered because of some vocational dedication to Christ but because of their troublesome uselessness to the patriarchal order, they become that much more sympathetic. These women are just doing what they must to survive another day as the most expendable members of a grossly unequal society; who among us should begrudge them an orgasm or two while they’re at it?

The debauchery is the point. Just as Grandier’s ultimate sacrifice is only made meaningful by his history of repeated, lascivious indulgence in the fleshier sins, so can “The Devils” be an unapologetically maximalist exhibition of carnal depravity that is also quite profoundly moral. And that its morality involves speaking truth to power and resisting authoritarian control makes it shockingly relevant right now. Writing in the Los Angeles Times in 1971, critic Charles Champlin ended his elegant pan with the observation that “you weep not for the evils and the ignorance of the past, but the cleverness and the sickness of the day.” To that, as to many of the negative responses, especially in our peculiarly sickly times, it is possible simply to respond, “Yes, isn’t that great?”

Imagining the movie lying dormant all these years just waiting for the right moment to be reborn, it becomes irresistible to conflate that small section of the public who have been avidly anticipating its return with Sister Jeanne, clamoring for the elusive object of her lust through a barred window. And to once more conflate Grandier — the repentant sinner immolated on the pyre of mass delusion, political machination and religious intolerance only to be rehabilitated as a charismatic martyr for liberty — with “The Devils” itself, as it finally rises from the bone-ash of its contemporary reception to shock, titillate, corrupt and invigorate anew. What you choose to do with its charred femur is between you and your God.

As Puerto Rico continues to grapple with the long aftermath of Hurricane Maria — from an unreliable electrical grid to ongoing water shortages — the need for stories that see the island as more than a backdrop feels especially urgent.

That’s part of what makes “Hurricane Seasons,” an intimate new independent film about a Puerto Rican family returning home, feel so timely. The film, which screens Sunday at the Newport Beach Film Festival, stars comedian Aida Rodriguez as Glori, a Brooklyn-based artist and community-center worker. She returns to Puerto Rico to help her sister (Justina Machado) care for their terminally ill mother (Priscilla Lopez).

When their matriarch convinces the family to embark on a bucket-list road trip around the island, old family secrets surface as the 2019 protests following Hurricane Maria unfold around them. Directed by Nicole Gomez Fisher and written by Xavier Ortiz — with Rodriguez also serving as a producer — the film is both a story of a multigenerational family and a love letter to Puerto Rico.

For Rodriguez, who is best known as a stand-up comedian, “Hurricane Seasons” also marked a return to a part of her artistic identity that existed long before comedy — her love of acting. But she admits that stepping back into acting, especially as the film’s protagonist, wasn’t an easy transition.

“It was terrifying. It was very scary because as a stand-up comedian, I work very hard at trying to obtain my most authentic self so that I can share it with everybody — to be my truest self, my truest Aida,” she says. “And when you loan yourself to a character and the art form of acting, you’re loaning yourself to that character and bringing yourself to that character, of course, because that is why they choose you. But you are telling a story from the perspective of another person.”

Rodriguez had pursued acting before going into stand-up comedy. Upon moving to Los Angeles, she quickly booked acting work, signed with an agency and began taking classes.

But comedy eventually taught her to do almost the opposite of what acting required.

“When I started doing standup, the direction and the notes were always like: ‘Release any character you have in mind and just access yourself,’” she says. “So it was a battle for me. Coming back to becoming an actor and giving the character Glori what Glori deserved — and allowing Glori to live, and Aida to sit in the back — became something important for me to do.”

She adds that it took a lot of work with coaches and classes for her to relax into acting again, allowing Aida the comedian to rest while focusing on what this role required of her.

The film’s protagonist, Glori, is a Brooklyn-born-and-raised Puerto Rican woman whose connection to the island runs deep, despite her living stateside. This is something Rodriguez, who is half Puerto Rican and half Dominican, born and raised in the States, also personally relates to.

That tension — between where you live, where your family comes from, and who gets to decide whether you are “Puerto Rican enough” — is one of the film’s central themes and one reason the script resonated with Rodriguez.

“My testimony through my art has always been finding unity, solidarity, power and connection with other people,” she says. “I think that the story of growing up in the States and connecting to the island is a universal story that most people, regardless of where they come from, experience. [There’s this] idea that you’re never American enough nor whatever you are — in this case Puerto Rican enough — because there’s always a judge and jury on both sides.”

Rodriguez sees those tensions as a consequence of a much larger and complex history. She believes so much of the judgment on both sides is a lingering effect of colonization.

“For me, that was one of the most attractive things about the script — [it] was being able to engage in a conversation about what being Puerto Rican really is,” she says. “Is it based on colonial standards? Or is it based on maintaining our cultural richness and our legacy, that is handed down to us regardless of where we are?”

That question takes on even more weight today as Puerto Rico sits in the aftermath of Hurricane Maria, which Rodriguez believes shifted the relationship between Puerto Ricans on the island and those living stateside.

“There was a shift, because there are wounds from both places,” she says. “There are wounds from the people on the island that stayed and stuck it out. [They want to ask] the ones who left, ‘why do you get to claim this, if you’re not here sticking it out with us?’ Then the people who leave feel like, ‘we had to do this, so that we can not only survive, but send money back to the island.”

Rodriguez explains that, in many ways, the aftermath of the hurricane sparked arguments on both sides that were necessary to begin healing the tension. She believes it highlighted issues that Puerto Ricans, as part of a diaspora, could no longer ignore; it also highlighted an island and a community that Americans outside of the Latine community paid little to no attention to.

“It took a hurricane for people to know what Puerto Ricans were,” she says. “I think there was a cultural shift and there was a conversation that needed to be had, about what happens on the island. And what that means to those of us who are not there.”

That conversation serves as the meat and bones of “Hurricane Seasons,” in which Puerto Rico isn’t simply a location. It’s an integral presence in the story. Rodriguez, Ortiz and Gomez Fisher all agreed that filming most of the movie on the island was essential, not only creatively but also economically and culturally.

“The other thing that was very important about taking the movie back to Puerto Rico was to invest in Puerto Rico and to stimulate some sort of revenues for the island and that the crew was a Puerto Rican crew,” she says. “The DP [director of photography] was a Puerto Rican DP — all people that live on the island.”

It was important to them that if they were going to tell a story about Puerto Rico that was also shot in Puerto Rico, that Puerto Ricans on the island actually benefited from the production.

“It’s not cool to go to Puerto Rico and shoot a movie and bring in your own people from the States, and the people in Puerto Rico have to be inconvenienced with their roads being blocked and things shut down and an influx of Americans that come there to be disrespectful and them not making anything out of it,” Rodriguez says.

This commitment shows in the protest scenes. Rather than using background actors, the film features real Puerto Rican residents, including a local activist and singer.

“It didn’t feel rehearsed. It didn’t feel fake,” she says. “I just think that the feelings and the passion and the rage and the sense of urgency is still there.”

Ortiz’s commitment to specificity extended to the family casting, intentionally matching the actors to the real-life relatives they are based on.

“It wasn’t performative. It was actually real because that’s what all of our families look like,” she says. “Puerto Ricans, Dominicans, we just have that diversity because of all the stuff that’s happened in the past.”

Glori’s character also represents a refreshing departure from the way Latina women are often portrayed onscreen. She is a mother, a daughter, a community center worker, an artist — and a woman with a complicated romantic and family history. She is beautiful and desirable, but her sexuality isn’t the defining characteristic of her existence — something we don’t see enough when it comes to Latina roles.

“For me, I didn’t have to step outside of myself for the role, which was really refreshing because every audition that I ever get, I do have to step out of myself because when people write Latinas in Hollywood, they tend to write them one way,” says Rodriguez. “They look a certain way, they talk a certain way, and that’s not the reality of what being Latino, especially in America, is like.”

Rodriguez could freely inhabit a Latina character without feeling as though she had to perform her Puerto Rican-ness for the audience.

“I didn’t feel like I had to perform my Latinidad. I could just exist in it,” she says.

Rodriguez adds she’s ready for a Hollywood that wants Latina actors to have the same range of characterization that white actors have long been afforded. She’s open to seeing Latinas being everything in TV and film, where can they exist in a world in which they can just be people who just happen to be Latinas.

“I really do look for a day when we can just be people and not just be the funny, spicy friend,” she adds. “Some Latinas are not spicy. Some Latinas are nerds, and some Latinas are quirky, and some of them are goofy and some of them are clumsy. And just like everybody gets to see the spectrum of whiteness with all the different kinds of characters, I would love to see that for our people. For all people of color, actually. I think it’s important to see us all as full human beings, and that means that we can be anything.”

The film’s multigenerational story touches on the cultural inheritance passed between mothers, daughters and grandmothers — whether through old traditions or ordinary rituals. It’s something audiences, regardless of background, can likely relate to.

“The most important message that I’ve kept from my [foremothers] was never to lose my sense of Puerto Rico; that, even if I don’t live in Puerto Rico, Puerto Rico lives in me,” she says. So much of that inheritance lives in the little things she remembers about her Puerto Rican grandmother, she says, from the té de tilo she’d make for an upset stomach; the recao that grew on her grandmother’s balcony because she didn’t have a backyard; or the azabache she still wears to this day for spiritual protection. They are the same small traditions she has passed on to her kids.

“My daughter makes better arroz con gandules than all of us,” Rodriguez says. “And her recipe is true to what my grandmother’s recipe was. That will continue to live on, until we are able to go back to our island and live in peace.”

That freedom is one reason Rodriguez believes independent film is so important for stories like “Hurricane Seasons.” Without a studio machine making decisions based primarily on commercial expectations, filmmakers have more room to tell a story on their own terms.

“Once the studio gets involved, they start thinking about dollars, which they got to make money, but they prioritize the dollars,” Rodriguez says. “And I think that’s why a lot of these big projects that they spend a lot of money on have failed because they don’t honor the storytelling. They don’t honor the authenticity of the world, the authenticity of the stories.”

Her hope is that “Hurricane Seasons” encourages more people to tell their own stories — especially Puerto Ricans.

“Puerto Ricans are not a joke; we’re not a punchline. You don’t get to tell us we don’t speak correct Spanish and make fun of our songs. Then, years later, appropriate our culture and become big time doing what we do, using our terms and our colloquialisms because it brings you capital,” she says. “We are people. We’ve been doing this for a very long time, and our grandmothers and our tias and tios matter, and they’re not [a] costume that you can just put on [to] make money off of it.”

Before we wrapped up the call, Rodriguez paused for a moment when I asked her what Puerto Rico means to her. Then her eyes lit up, and her voice softened as she described why the island means so much to her — and why so many people, even outside of the diaspora, find themselves drawn to it.

“Puerto Rico is a very special place, which is why so many people want to kick us out, so they can move [in],” she says. “But they’ll never have the magic, because the magic is us.”

Heidi Burge Horton, a former WNBA player who started her basketball career alongside her twin sister at Palos Verdes High School and inspired a Disney Channel Original Movie, has died. She was 54.

Horton died Oct. 5 after a battle with gliobastoma, a type of brain cancer, according to an online obituary. The former University of Virginia standout was reportedly diagnosed with the Grade 4 cancer last year and briefly went into remission, but the tumors returned in July, according to Houston news site Chron.

“We are deeply saddened by the passing of Heidi Burge Horton,” the Virginia women’s basketball team said in a statement posted last week on X. “Heidi was a cherished member of the Virginia Women’s Basketball family, her legacy will forever be a part of Virginia Athletics.”

Horton and her identical twin, Heather Burge, played four seasons at Virginia, where they helped the team win three Atlantic Coast Conference titles and make three NCAA Final Fours under future Hall of Fame coach Debbie Ryan. Among their teammates at college was Dawn Staley, the Hall of Famer and Olympian who coaches the University of South Carolina.

“We are all heartbroken!” Staley wrote on X following Horton’s death. “We love you Heidi. May your soul rest in peace and your body pain free.”

After graduating from college, Horton and her sister headed overseas to play professionally in Europe. When the WNBA was formed in 1996, she joined the Sparks to play in the inaugural season alongside a familiar face, Lisa Leslie.

“I played with the twins since we were 14 years old,” Leslie wrote, along with a broken heart emoji, in the comments of the WNBA’s Instagram post announcing Horton’s death. “I’m so sad to hear this! I pray for the whole family.”

Heidi Ann Burge was born six minutes after her twin sister, Heather Marie, on Nov. 12, 1971, in Harbor City. She grew up in Redondo Beach before her family moved to Palos Verdes so the sisters could attend the high school there, according to a notice by Eickenhorst Funeral Services.

The twins didn’t grow up playing basketball but were recruited by Palos Verdes High‘s coach, who noticed their towering height. Both sisters were 6 feet 1 by ninth grade and would grow to be 6-5.

Horton was more resistant to trying out than her sister, and both were novices when they joined the team. The sisters would become star players over the course of their high school careers, but they were praised more for their character and work ethic than their impact on the court.

“I don’t think they’ve had a weekend off in three years,” their coach, Wendell Yoshida, told The Times in 1989. “They’ve practiced when they didn’t want to practice. They’ve worked through the tears, the sweat, the hurt, the pain. That’s what made them special. They didn’t make it just because they’re tall.”

Horton was known as the more outgoing and gregarious of the pair, but both sisters were described as being inquisitive, opinionated, fiercely loyal and competitive.

The adjustment to the college game was a bit rough for them at first, and the sisters did not get much playing time together until their junior year. They developed a reputation for being prone to mistakes and turnovers and were considered a bit soft. But once again, the sisters put in the work to improve and became key pieces for their team.

“When we did cry it was mostly out of frustration,” Horton told The Times in 1992. “Just not being able to do the things the other players could do. … Our defense wasn’t effective enough for us to deserve to be out there together. Now, we’ve proved offensively and defensively that we are an unstoppable pair when we get to play together.”

After graduating with degrees in Spanish and rhetoric and communications studies, Horton played basketball professionally in Europe. After the establishment of the WNBA, she played for the Sparks in 1997 and the Washington Mystics in 1998 before retiring after two seasons.

Horton and her sister inspired the 2002 Disney Channel Original Movie, “Double Teamed.” The movie told a fictionalized account of the twins’ time at Palos Verdes High School. Horton was portrayed by Annie McElwain.

After retiring from playing, Horton moved to Houston, where she briefly served as a commentator for the Comets. She later became involved with Hoops-School, a youth basketball camp where she served as a coach and mentor.

“When you had the kind of coaching I did, you have to work really hard,” Horton told the Buzz Magazines in 2024. “But I also want to give a lot of credit to my coaches. Now I get to give the golden nuggets of wisdom to the kids I coach.

“Second graders, fifth graders, they listen,” she added. “That’s the biggest reward in your whole life. I had so many people pour into me, and I get to just pour it right out. That’s the torch.”

Horton is survived by her husband, Patrick; their children, Jonathan and Holly; her twin sister, Heather Quella, and other loved ones.

It was a crowning moment. Netflix appeared to have prevailed in an audacious $82.7-billion deal to scoop one of the industry’s most prestigious studios: Warner Bros. The move seemed to cement Netflix’s status as the ultimate Hollywood gate-crasher and its dominance as the leading new player in media.

Now, nearly a year later, the plotline for Netflix has dramatically changed. The streaming giant lost out to Paramount Skydance in its bid for Warner Bros. Discovery and is facing headwinds on multiple fronts.

That was underscored this week when the streaming giant Netflix began shedding 6% of its workforce, or about 1,000 jobs — believed to be the largest layoff in the company’s history and exceeding the last round of job cuts in 2022, when it reported subscriber declines.

On Wednesday morning, Ted Sarandos and Co-Chief Executive Greg Peters sent a note to employees confirming the job losses, adding that the bulk of the cuts would affect the tech, product, legal and human resources teams.

“Our mission — to entertain the world — is ambitious, and delivering on it requires us to be disciplined about where we prioritize our people and resources,” wrote Sarandos and Peters in the memo obtained by The Times.

The cuts mark the latest reductions across the film and TV industry. Other entertainment and media companies have slashed their payrolls, including Walt Disney Co., Paramount and Sony Pictures Entertainment during a period of economic uncertainty in Hollywood.

But the scale of such downsizing is unusual for Netflix. Industry analysts and insiders chalk up the reversal of fortune to several factors. Although it still dominates the television business, the Los Gatos company hasn’t been able to produce enough new hit franchises to replace culture-defining shows from years past such as “Stranger Things” and “Squid Game.”

At the same time, Netflix faces rising competition from rivals such as HBO Max, Apple TV, Hulu and others that have upped their game. Free, ad-supported streaming platforms such as YouTube are increasingly taking a larger slice of consumer streaming hours. And Netflix’s efforts to diversify its business into new areas such as games have yielded mixed results.

The upshot: Netflix continues to be the dominant video subscription streaming player with more than 325 million subscribers, but the time that consumers spend on the platform is growing at a slower pace than what investors want. In the first half of this year, consumer watch time on Netflix increased only 2% compared with a year earlier, even as content spending increased 11% to $20 billion this year. Netflix also narrowed its annual revenue forecast last summer, disappointing some investors.

“Netflix’s layoffs show that even the top streaming companies are not immune to stagnation and financial difficulties,” said Ross Benes, senior analyst at research firm Emarketer.

Amid the sobering signs, investors have grown restless. Netflix shares, which closed at $70.57 on Wednesday, have plummeted 42% in the last year. Part of that decline was fueled by anxiety among investors over Netflix’s deal to buy Warner Bros. Discovery, but the share price hasn’t rebounded even after that deal fell apart.

“They need to better prepare their balance sheet and economics since engagement has plateaued,” said Brandon Katz, director of insights and content strategy at Greenlight Analytics.

Katz said that Netflix’s five most-watched English-language scripted summer movie releases in their first eight weeks posted the lowest average hours watched compared with the streamer’s top five summer releases in 2025, 2024 and 2023, citing Nielsen data.

Sarandos acknowledged concerns about engagement at a Bloomberg Screentime event Sept. 30.

“Overall we’re not growing as fast as I want us to, and we’re working on making that move faster,” Sarandos said.

Netflix declined to comment on the layoffs.

“We’ll continue to invest aggressively in high-impact areas to improve our service and further drive growth and innovation,” Sarandos and Peters said in their memo to employees.

In some ways, Netflix has been victim of its own success. It has produced a string of shows and movies that have hit the cultural zeitgeist such as “KPop Demon Hunters” and “Squid Game.” But finding enough new popular shows that continue to drive subscriptions has been a challenge.

“A lot of these major hits are coming to an end at similar times, and they don’t yet really have heir apparents to replace them,” Katz said.

Sci-fi hit “Stranger Things” released its finale last year, followed by the young-adult drama “Outer Banks” and “Emily in Paris,” which ends this year. Netflix also announced that “The Witcher” and “The Lincoln Lawyer” will wrap after their next seasons.

What’s more, the second seasons of some shows with big followings have seen large view drop-offs compared with their first seasons. For example, the fantasy series “Avatar: The Last Airbender” season 1 debuted with 21.2 million views, but views for its second season dropped 59% to 8.7 million, according to Netflix data.

New series from Netflix also haven’t captured as much consumer demand as other competing shows from rival streamers, according to Parrot Analytics.

Last year, Netflix had just one show — the Japanese anime and manga series “Sakamoto Days” — that made it in Parrot’s top 10 list of first season original series on streaming platforms. Parrot’s ranking measures consumer demand in the U.S. and is based on digital interactions such as social media chatter and Google searches. By comparison, Netflix had three titles in 2022 alone: the true crime show “Monster,” the documentary series “Harry & Meghan” and the sci-fi mystery show “1899,” Parrot said.

Sarandos told investors in July that such declines are typical and that second season falloff is slightly improved this year. But popular shows on rival streaming services such as the medical drama “The Pitt” on HBO Max have not seen such declines. “The Pitt” drew even more viewers in its second season than the first.

To diversify its business, Netflix has expanded its programming offerings beyond TV shows and movies to include live sports, such as football and baseball games.

Although live programs have helped to spur significant subscription sign-ups, they still represent just 1% of watch time on Netflix while costing 5% of the company’s content budget, Sarandos has said.

Netflix also has added video podcasts that have helped to boost daytime viewing on the platform, and has made deals with YouTube creators to bring their content to the streaming service.

But some of the new content hasn’t clicked, particularly in games, analysts said. In August, Netflix shut down Hollywood-based Night School, the maker of supernatural adventure game “Oxenfree,” and said it was closing a Helsinki-based games studio.

“They are spending on a lot of things that haven’t necessarily proven to be effective yet,” said Rob Rosenberg, a partner at law firm Moses & Singer and former Showtime Networks general counsel. “It feels a lot like they’re trying to send a message to Wall Street that ‘we’re re-examining how we do business.’”

Meanwhile, Netflix continues to face more competition from rivals such as YouTube, which offers a free, ad-supported version of its video library.

Unlike Netflix, YouTube does not pay for the creation of many of the videos on its platform. Instead, creators or companies upload and produce the programs themselves and YouTube shares ad and subscription revenue.

YouTube’s share of streaming watch time in the U.S. on TVs has steadily increased. In July, YouTube represented 14.2%, compared with Netflix’s 7.8%, according to Nielsen.

The pressure to boost engagement on Netflix has caused tension within the company, particularly between the teams of people responsible for how programs are promoted on the platform and the employees responsible for bringing shows and movies on Netflix, according to people familiar with the matter who were not authorized to speak publicly.

Some blame the content for not being enticing enough, while others contend that the programs could be promoted better on Netflix.

“It’s a bit of a quagmire,” said one of the sources familiar with the matter. “There is a tension when things aren’t working. People tend to point fingers.”

In their staff memo, Sarandos and Peters said Netflix is on track to deliver its full-year forecast and will continue to invest in areas that improve its service and drive growth and innovation.

“Doing that means making focused choices across the business so we can keep delivering for our members, partners, employees, and investors,” they wrote.

Despite the downsizing, Netflix remains highly profitable. In the second quarter, the company generated $3.4 billion in net income, up 9% from a year earlier. Revenue rose 13% to $12.6 billion last quarter, including double-digit revenue growth in all of its regions. Next week, the company will share its third-quarter results.

The streamer is expected to get a boost from new seasons of popular shows — including season 4 of the political drama “The Diplomat” and spy series “Lupin: Part 4,” as well as Thanksgiving Eve and Christmas Day NFL games.

Having new seasons of popular shows such as “Lupin” and “The Diplomat” will help boost Netflix’s engagement, said Alejandro Rojas, vice president of applied analytics at Parrot Analytics.

“The new season is like a catalyst for people to watch the previous seasons,” Rojas said.

On the theatrical side, Netflix also has high hopes for upcoming movies including La Bola Negra, starring Penelope Cruz; and “The Further Mis-Adventures of Cliff Booth” featuring Brad Pitt. Next year, Netflix will release the Greta Gerwig-directed film, “Narnia: The Magician’s Nephew” on Imax screens.

Netflix has not signaled any changes to its strategy for releasing movies or TV shows. But some analysts said it could benefit from having more theatrical releases and by dropping episodes of shows once a week, instead of all at once, to generate more buzz for programs. They also expect that Netflix will be more disciplined in its content spending.

“While the company will expand its sports roles, it’s cutting back at a time when revenue matters much more than subscriber additions,” said Benes of Emarketer. “With pressure mounting, Netflix will look to turn the tide by getting a boost from low-cost content. The battle for top creators will become more pitched.”

Times staff writer Samantha Masunaga contributed to this report.

Skydance-owned Paramount Pictures has taken over the lease for the Bay Theater in Pacific Palisades and intends to reopen the cinema, which has been closed since the January 2025 Palisades fire last year.

Paramount plans to upgrade the theater with state-of-the-art projection systems and in-seat food and drink service, Rick Caruso, whose company owns the Palisades Village shopping center where the Bay Theater is located, said in an interview. Caruso is founder and executive chairman of the real estate firm Caruso.

Paramount plans to show first-run theatrical movies from all studios. The theater will be operated by The Lot, a La Jolla-based luxury dine-in theater chain with four locations in California. The theater is expected to reopen later this year, Caruso said.

“The comeback of this movie theater is a great signal for all of L.A.,” he said. “Los Angeles is resilient, and we’re going to show the country that Los Angeles can bounce back from a terrible, terrible disaster, and the comeback is going to be much greater than the setback.”

Palisades Village reopened in August after more than $100 million in renovations, including major infrastructure work. The upscale outdoor mall survived the Palisades fire, but needed refurbishment to eliminate any potential contaminants from the blaze.

Caruso declined to share terms of Paramount’s lease agreement, saying only that it was long-term. Paramount declined to comment on the size of its investment in the theater.

Caruso said he brought up the Bay Theater over lunch last year with David Ellison, chief executive of Skydance, who was then working to acquire Paramount. The two were discussing that deal and Ellison’s belief in the importance of the movie theater business to the industry.

“Together with Caruso, we are proud to help bring the Bay back to life as a place for the Pacific Palisades community to gather around the shared experience of cinema,” Ellison said in a statement. “This theater has always meant more than movies alone — it’s woven into the fabric of this neighborhood, and helping restore it is a privilege.”

The Bay Theater was previously leased by Netflix, which took it over in 2021. The company used the theater to host special events, screen classic films and showcase its own original theatrical movies.

Caruso described Netflix and company Chief Executive Ted Sarandos as “incredible stewards” of the theater, adding that Sarandos was “very much a gentleman” in having the discussion about Paramount stepping in at the theater.

The Bay Theater announcement comes just about a week after Paramount completed its acquisition of Warner Bros. Discovery. The newly combined company, which took the name Skydance after the deal closed, must release at least 30 films a year as part of a settlement agreement with 12 state attorneys general over antitrust claims.

Ellison has long extolled his love of movies and appeared at the CinemaCon movie theater owners convention earlier this year to reiterate his commitment to theatrical releases.

Studios were barred from owning theaters for decades under the Paramount consent decrees, which a federal judge terminated in 2020. Netflix has since operated the Egyptian Theatre in Hollywood and the Paris Theater in New York.

“Through our curated offering and dedicated hospitality, we look forward to welcoming the Pacific Palisades community back to the movies, the way they were intended to be shared,” Adolfo Fastlicht, founder and chief executive of The Lot, said in a statement.

Danny Trejo made his stance on Immigration and Customs Enforcement tactics clear.

The actor spoke out Friday after it was revealed last week he was cast in the film “Pawn Shop,” which is reportedly inspired by the fatal shooting of Renee Good by an ICE officer in Minneapolis.

The feature is co-produced by the Daily Wire — the right-wing media company launched in 2015 by conservative political commentator Ben Shapiro — and Bonfire Legend, a production company formed by prolific producer Dallas Sonnier in 2021.

Frequently featured in movies targeting Latino audiences, Trejo built a devoted following within the demographic over the years as one of the more prominent Mexican American actors in Hollywood.

He was criticized online for his involvement in “Pawn Shop” due to its positive portrayal of ICE agents, who have been antagonizing the Latino community at an accelerated clip over the last two years. Trejo was called a “sellout” and a “traitor” across social media in recent days.

“I want to address some social media comments about me. Make no mistake. I am a proud Mexican who has always been and will always be a supporter of my community,” Trejo wrote in an Instagram post. “I am also obviously pro-immigrant. I am not pro ICE. I know where I come from and I know our struggles. I am an actor. My job is to tell a story.”

Trejo’s casting was first announced by the Montana newspaper Bozeman Daily Chronicle after speaking with one of Trejo’s cast members on the film’s set in Livingston, Mont., as well as Livingston locals who had seen and photographed the actor in the city’s downtown area.

Deadline confirmed that Trejo, along with “Reservoir Dogs” actor Harvey Keitel and “E.T. the Extra-Terrestrial” star Henry Thomas, was scheduled to appear in the film after reviewing the call sheet.

The 82-year-old Trejo has previously voiced support for immigrant communities. During the initial onset of the COVID-19 pandemic in spring 2020, he was part of a coalition of Latino actors who pushed forward the #AyudaEnEspanol campaign, which advocated for providing COVID-19 resources kits in Spanish for Latino migrant farmworkers across the U.S.

In an interview with TMZ in fall 2025, the actor, who has appeared in over 400 films and television programs, was asked to give a message to the families that had been affected by ICE raids.

“To the families, keep up hope,” Trejo said. “Help your neighbor and do whatever you can for people in need.”

His recent statement came after “Pawn Shop” made headlines for hitting snags in its production in Livingston following local protests. Residents claimed the movie’s production interrupted local businesses’ operations — and that the crew did not properly communicate with businesses about its schedule.

Production on the film was temporarily paused on Oct. 3 from an order by the Livingston city commission. Filming resumed on Oct. 6 after Livingston officials reinstated permits for the movie.