museum

Édouard Manet’s “Execution of Maximilian” will go on view at Pasadena’s Norton Simon Museum next week, marking the first time the painting has been exhibited on the West Coast. The historic canvas, on loan from London’s National Gallery, has a fascinating backstory and represents a key moment in French political history, making its arrival shortly after this country’s stunning midterm election particularly auspicious.

The painting is the second of five versions Manet created (circa 1867-68) shortly after the shocking execution of Austrian archduke Ferdinand Maximilian, who briefly served as the emperor of Mexico after being encouraged to do so by the French emperor Napoleon III. In 1867, Maximilian — along with his generals Tomás Mejía and Miguel Miramón — faced a firing squad made up of soldiers loyal to former Mexican President Benito Juárez, who had been forced out of Mexico City in 1863 when French forces descended on the capital. Maximilian’s ouster and death stunned many Europeans, who blamed Napoleon III for the bloodshed.

Manet’s monumental canvas is cold and unyielding in its impersonal depiction of the violent episode, and in many ways helped birth the modern historical political painting. Through Manet’s eyes, political violence is not heroic, but pedestrian, benign even. It contains echoes of another famous political painting: Francisco de Goya’s “The Third of May, 1808,” which also depicts death by firing squad — this time the execution of civilians by French troops during Napoleon’s notorious occupation of Spain.

The canvas coming to the Norton Simon was long neglected and is thought to have been discarded by Manet when he became dissatisfied by discrepancies in the size of the figures he painted. His family cut the canvas into four pieces after his death and sold them separately. It was saved from oblivion by Manet’s friend Edgar Degas, who managed to get a hold of all the fragments. The painting was acquired by the National Gallery in 1918 at Degas’ studio sale, and the painting was pieced together again in the late 1970s.

“Manet’s Execution of Maximilian is not only an icon within the history of nineteenth-century art, but also a profound reflection on the ways in which images shape our understanding of political events and collective memory,” said Emily Talbot, vice president of collections and chief curator at the Norton Simon in a news release. “By bringing this extraordinary painting together with historical materials that document the French intervention in Mexico, we invite visitors to consider how history is constructed in visual form.”

The painting will be on view at the Norton Simon from Nov. 14 to March 1, 2027.

I’m Arts editor Jessica Gelt ready for a jubilant walk through a museum on the heels of a roller coaster of an election. This is your arts and culture news for the week.

[Update: A previous version of this story said Manet’s “Execution of Maximilian” had not been shown in the U.S. for 20 years. It has not been shown on the West Coast before, but was shown in New York in 2024.]

The week ahead: A curated calendar

FRIDAY

LA Phil’s incoming music director Daniel Harding conducting at the Hollywood Bowl in 2025.

(Etienne Laurent/For The Times)

Daniel Harding Leads Bernstein & Brahms
The Los Angeles Philharmonic’s incoming music director leads the orchestra for Leonard Bernstein’s “Symphony No. 1,” with mezzo-soprano Avery Amereau, and is joined by Norwegian pianist Leif Ove Andsnes for Johannes Brahms’ “Second Piano Concerto.”
8 p.m. Friday-Saturday, 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Idina Menzel
The Broadway star joins with the Pacific Symphony, led by conductor Enrico Lopez-Yañez, for a night of hits.
8 p.m. Friday-Saturday. Renée and Henry Segerstrom Concert Hall, Segerstrom Center for the Arts, 300 Town Center Drive, Costa Mesa. scfta.org

NOW 2026
REDCAT’s New Original Works Festival features a different program each week over three weekends. First up, Alfonso Abraham Cervera and Irvin Manuel Gonzalez’s “las cosas que enter(r)amos,” a mix of Latinx American social and folk dance, storytelling, and contemporary dance; Scottie Harvey’s “Hole Gazers,” a comedic satire about fantasy, surveillance and life online; and Jeonghyeon Joo’s “how to bathe properly,” a solo work for haegeum, a two-string instrument, performed in a staged Korean sauna.
8 p.m. Thursday-Saturday, through Nov. 21. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

Radio Galaxy
Joey McIntyre, Lesli Margherita, Sendhil Ramamurthy, Meera Simhan, Rishi Golani and Jordyn Rahman star in a new play by Michèle Aldin Kushner about a New Jersey teen who dreams of becoming an astronomer. Directed by Kimberly Senior.
Through Nov. 22. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Sable Elyse Smith
“Sky Fence Ground” features new woven works on paper, a recent video work and a monumental kinetic sculpture by the multimedia artist.
Opening reception, 6-8 p.m. Friday, exhibit runs through Dec. 19. Regen Projects, 6750 Santa Monica Blvd., Los Angeles. regenprojects.com

SATURDAY

Angela Anh Nguyen
Los Angeles Nomadic Division (LAND) presents the artist’s “Entropy,” a site-specific installation that addresses the collective experience of the 2025 Eaton and Palisades fires through social media, monitoring apps, and other forms of digital communication.
Opening reception, 1-4 p.m., exhibit runs through Dec. 13. Old Fire Station No. 6, 534 E. Edgeware Road, Angelino Heights. nomadicdivision.org

Takes Care of Them
Four large-scale prints by artist Dyani White Hawk (Sicangu Lakota) each depict a dress adorned differently to reflect on the roles of Lakota women in four areas: Wówahokuŋkiya (Lead); Wókaǧe (Create); Nakíčižiŋ (Protect); and Wačháŋtognaka (Nurture).
Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park. theautry.org

SUNDAY

Billie Holiday and The Blues
L.A.’s Marlonius Jazz Orchestra, led by virtuoso bassist and composer Marlon Martinez, is joined by Brooklyn vocalist Mara Kaye for this tribute to Holiday and deep blues cuts.
8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Camerata Pacifica
The November program includes a world premiere by Niloufar Nourbakhsh, Mozart’s “Quintet for Piano and Winds in E-flat Major,” alongside contemporary chamber works by Michael Daugherty, Missy Mazzoli and the late Sarah Gibson.
3 p.m. Sunday. Bank of America Performing Arts Center, Janet & Ray Scherr Forum Theatre, 2100 Thousand Oaks Blvd., Thousand Oaks; 7:30 p.m. Tuesday. The Huntington, Rothenberg Hall, 1151 Oxford Road, San Marino; 8 p.m. Thursday. The Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A.; and 7 p.m. Friday. Music Academy of the West, Hahn Hall, 1070 Fairway Road, Santa Barbara. cameratapacifica.org

Romeo and Juliet: Time Enough for Love
Open Fist Theatre Company presents a new age-reversed adaptation conceived and directed by Christian Lebano.
Previews, 7:30 Sunday, Wednesday and Thursday, play runs Nov. 13-Dec. 19. Atwater Village Theatre, 3269 Casitas Ave. openfist.org

Sage Ni’Ja Whitson: Revival_ _Revival
A free processional performance across the once predominantly Black community of Santa Monica, visiting sacred historic sites lost to time and gentrification, with a live score of gospel, house, hip hop, and voice. Audience members are invited to wear white clothing and white masks, and the procession closes with a fellowship meal at Ocean Bay Beach.
2 p.m. First AME Church, 1823 Michigan Ave., Santa Monica. 18thstreet.org

WEDNESDAY

Destiny of Desire
Karen Zacarías’ smart and fearless homage to telenovelas yields an epic, twisting yarn, full of coincidences and cliff-hangers, mistaken identities and gobsmacking revelations. It’s invigorating fun but also radiant with insight into the age-old debate between nature and nurture. When I first saw the play at South Coast Repertory in 2016, I was seduced by the production’s Brechtian energy. And I’m eager to see what fresh light director Marcela Lorca sheds on a play that my students at CalArts one year claimed as their favorite of the semester — and they have excellent taste. (Charles McNulty)
Through Dec. 20. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

LaTanya Richardson Jackson, from left, Kara Young, Glenn Davis and Jon Michael Hill in the Broadway/Steppenwolf Theatre Company production of “Purpose.”

(Marc J. Franklin)

Purpose
The original Steppenwolf Theatre Company cast of the Broadway production of Branden Jacobs-Jenkins’ Pulitzer Prize- and Tony-winning drama reassembles at the Geffen Playhouse for the most anticipated dramatic event of the season. The play, about a prominent Black Chicago family headed by a civil rights icon with skeletons in his closet, has the scope, heft and flamboyant idiosyncrasy of the landmark American domestic dramas of the past. Under the assured direction of Phylicia Rashad, the actors brought the characters so richly to life in New York that I can’t wait to experience their ensemble alchemy in L.A. (Charles McNulty)
Through Dec. 13. Geffen Playhouse, 10886 Le Conte Ave., Westwood. geffenplayhouse.org

THURSDAY
The Heiress
Theater 40 presents the classic American romantic drama, adapted by Ruth Goetz and Augustus Goetz from Henry James’ novel “Washington Square.” Directed by Ann Hearn Tobolowsky.
Through Dec. 13. Beverly Hills High School, Mary Levin Cutler Theatre, 241 S. Moreno Drive. theatre40.org

Kafka’s Letter to His Father
Keeping things in weird perspective, CAP UCLA, in collaboration with Brightwork Ensemble, presents a production of Czech composer Jiri Trtik’s opera “Letter to His Father.” About Kafka’s artistic liberation from paternal authority, it is produced by and stars the most transformative tenor of our time, Timur. (Mark Swed)
8 p.m. Thursday-Nov. 14. UCLA Nimoy 1262 Westwood Blvd. cap.ucla.edu

Las Migas
The Spanish Latin Grammy-winning all-women quartet melds traditional flamenco with contemporary stylings to reimagine the classic art form.
7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Orpheus Chamber Orchestra with Isata Kanneh-Mason
The New York-based classical ensemble is joined by the British pianist for a program featuring Mozart, Handel, Haydn and Welsh composer (and New York transplant) Katie Jenkins.
7:30 p.m. Broad Stage at Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica. broadstage.org

Dispatch: A harrowing exhibition of Iranian art in Chinatown

“Lunch,” by BSisters (Behnaz and Baharak Khaleghi), on view at the Fellows of Contemporary Art gallery in Chinatown.

(Fellows of Contemporary Art)

“Lunch,” a centerpiece installation at Fellows of Contemporary Art’s new exhibition centered on the works of Iranian-born women artists in California, is an upsetting sculpture that’s as soft and intimate as a pillow.

The piece, by the Bay Area duo BSisters (Behnaz and Baharak Khaleghi), riffs on the myth of Zahāk — a vain tyrant with snakes around his head that eat human brains to keep him alive. It’s a tale from the Shahnameh, a 1,000-year-old Persian epic poem. BSisters have rendered it here in cozy pastel fabrics and gauzy spilled cotton, materials that speak to how women activists in Iran have been brutalized and consumed by the fundamentalist regime there. The sculpture — very funny and unnerving at once — also evokes the strange mix of distance and intimacy of Iranian immigrants to the U.S., watching the current conflict curdle their hopes for change into deeper worry.

It’s one of several affecting pieces on display at FOCA’s Chinatown gallery as part of “I Saw a Woman, Pounding Light into Mortar,” an exhibition in which six California-based Iranian women artists grapple with distance and helplessness, amid a conflict where both governments seem driven by an almost cannibalistic consumption of people and resources.

“Growing up in Iran, political repression was never something distant from our everyday lives. It shaped our childhood, our experiences as women, and the ways we learned to express ourselves,” said Katayoun Bahrami, the exhibit’s curator. “Living in the United States now, I feel a constant tension between building a life here and remaining deeply connected to what is happening back home. This past year has been especially painful. After the deadly crackdown on protesters in January and the war that followed, hope and anger have been hard to separate. Watching from thousands of miles away, unable to do much, has brought a sense of helplessness that is difficult to describe.”

Much of the work here is quietly devastating in evoking absence, fear and exile. Shaghayegh Cyrous’s video installation “Reenacting the Future” is a mirror image of a mother and daughter, filmed over 12 years in the U.S. and Iran, a visual echo cleaved by exile. Narges Poursadeqi’s sculpture “Between Dots of Blindness” could fit in a desk drawer, but the braille poem it spools through a music box feels like the last thing you would shove in a suitcase, fleeing for a new country.

“This exhibition was born during the internet and phone shutdowns in Iran, when we had no way to reach our families or know whether they were safe. That silence was terrifying,” Bahrami said. “Bringing these artists together became deeply personal for me. I recognize parts of my own fears, memories, and longing in their work. Through their art and our conversations, I’ve found ways to process feelings that are difficult to carry alone. Curating this exhibition has helped me turn some of that helplessness into something meaningful. It has also reminded me how much we need one another, especially when we feel powerless to change what is happening.”

“I Saw a Woman, Pounding Light into Mortar” at FOCA-LA through Nov. 28; 970 N. Broadway, Suite 208, Los Angeles 90012.

— August Brown

Culture news and the SoCal scene

Director Zhailon Levingston sits outside before the rehersal of “Passing Strange” at the Pasadena Playhouse.

(Carlin Stiehl / For The Times)

“Passing Strange,” a 20-year-old musical that takes place in downtown L.A. and went to Broadway, has never been performed here — until now. Pasadena Playhouse hosts its SoCal premiere.

The Los Angeles Philharmonic is shaking things up. This week it announced a slew of new leadership positions that will go into effect alongside incoming music director Daniel Harding. The orchestra’s post-Dudamel future is shaping up to be quite interesting.

Times contributor Shana Nys Dambrot immersed herself in the world of L.A. galleries to prove that although many high-profile galleries have closed, plenty of new ones are also opening. Here is a handy guide for your next art adventure.

On election day we ran a piece about the possibility of patriotic orchestral music in deeply divided times. Martin Sheen told us why hope is more important than ever.

Former Times classical music critic Mark Swed returned for the first in an ongoing series of monthly columns. Up first: A look at orchestral democracy session across the globe, including one in Boston aided by AI.

The most anticipated play of the season is about to open as “Oh Mary!” heads for the Ahmanson. Ticket sales have been so brisk that Center Theatre Group has already booked the show again for next season.

“Richard Avedon: Hollywood” opens at Gagosian featuring more than 120 iconic photos of of celebrities and other cultural power brokers.

A “Do Not Enter” sign hangs on the fence at the John F. Kennedy Center for the Performing Arts on Sept. 25 in Washington.

(Manuel Balce Ceneta / AP photo)

The Kennedy Center may be closed indefinitely for renovations, but that did not stop its Trump-anointed leaders from announcing who would be recognized at this year’s Kennedy Center Honors — to be held by necessity at the Capital One Arena in Washington, D.C., on Dec. 7. Honorees include singer-songwriter Paul Anka, music producer David Foster, actor Andy Garcia, playwright David Mamet and country singer Barbara Mandrell.

— Jessica Gelt

And last but not least

It’s always fun with Times columnist Mary McNamara writes about Holland Taylor.

ASK most kids if they fancy a trip to an art exhibition and you’re unlikely to get an overly-enthusiastic answer. 

But what if that art exhibition included a ball pit, an enormous bouncy castle and flying balloons? You might suddenly have a mini art critic on your hands. 

Step in the Balloon Museum, which last graced the UK in 2023 with its EmotionAir: Art you can feel exhibition at Old Billingsgate in 2023. 

It’s now back, this time at Immerse London on Excel Waterfront with its latest offering EUPHOЯIA – Art is in the Air. 

The concept of the Balloon Museum is that it’s a new way to experience contemporary art, with large-scale installations created by international artists including Turner Prize winner Martin Creed. 

EUPHOЯIA in particular, invites those artists to use air and inflatable materials “as a contemporary artistic language” that “invites visitors to explore, interact and see the familiar in unexpected ways.” 

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It’s fair to say all of this went entirely over my seven year old’s head on our visit, both literally and figuratively speaking. 

Because while it might be about art, it’s also A LOT of fun. 

Our first stop was a giant glass-walled room filled with enormous balloons that you have to push your way through to reach the end. 

There was also a room filled with large inflatable cubes that we used to build an enormous fort, one with an enormous bed that could fit 20 people and a giant Covid virus-style inflatable, among others. 

But our favourites were the huge ball pit bigger than a ballroom, the most enormous bouncy castle I’ve ever seen – at least 25m in length and filled with inflatables, a balloon whirlwind and a very clever mechanical tree that dropped bubbles filled with smoke. 

Of course, all of this also made for some incredible photo opportunities too. 

We’ve got about a gazillion grinning selfies from our visit – the hallmark of every great Millennial day out.  

So will my son now be requesting a membership to the Tate Modern on his Santa List? Probably not. 

But he will definitely be far more open to my next suggestion of a trip to a gallery… how to explain there won’t be any inflatables to play with once there is another matter altogether. 

Tickets for EUPHOЯIA – Art is in the Air at ExCeL London, Royal Victoria Dock, from £20 for children and £26 for adults, with family tickets from £59.

Hands-on experiences dominate the new Samuel Oschin Air and Space Center, where encountering artifacts that highlight aerospace history is on equal footing with learning about its future.

The many interactive exhibits that dot the new building’s 200,000 square feet of gallery space are geared to entice and educate people of all ages. But kids will be especially intrigued. The center’s leaders, including Science Center President and Chief Executive Jeffrey Rudolph and Ken Phillips, curator of aerospace science, said during a recent tour that in many ways the museum is meant for kids. It’s not a childish place, but it does produce childlike wonder. It’s hard to remain cynical when you’re surrounded by physical evidence of the vast nature of the universe.

The sheer scale of it hits you all at once. It’s easy to get overwhelmed when you step into the museum, with its planes hanging from the ceiling and its rockets jutting through the floors. This list of the best interactive exhibits on offer will help you plan a successful visit in advance. Just be sure to brace yourself for your children’s inevitable wails when you try to pull them away.

And expect lines — these experiences are likely to be in high demand.

HAVANA — The Caribbean island of Nevis has received a financial boost in honor of one of its most famous sons, Alexander Hamilton, who went on to become a founding father of the United States and America’s first treasury secretary.

The U.S. government this month awarded $245,000 to restore the home where some believe Hamilton once lived as the U.S. celebrates its 250th anniversary.

Hamilton was born on Nevis in the mid-18th century and spent his childhood living at his adopted father’s home in Charlestown.

The 17th-century Georgian stone building is now Hamilton House, a museum that houses documents from the famous forefather’s early years and features exhibits honoring other Caribbean personalities. But it has demanded constant repairs: time and salty air have damaged the woodwork.

Nevis Premier Mark Brantley told the Associated Press on Wednesday that he’s grateful for the funds.

“We have tried valiantly as locals to preserve these very important historical monuments,” he said.

Despite Hamilton having lived only the early part of his childhood in Nevis, the premier believes his legacy is inspiring.

“Hamilton is significant because I think it’s a demonstration of what a small island like Nevis, a little dot in the ocean, can contribute to the founding of the greatest nation in the world, the United States,” Brantley said.

The two-story, Georgian stone building that was originally built around 1680 was destroyed by an earthquake in 1840 and was last restored in 1983.

Brantley said the restoration work is important to both the U.S. and Nevis: “Hamilton remains, I think, an iconic figure for us and a figure that we can look at his legacy and inspire our own people to achieve and to know that greatness is available for all of us.”

Far-right President Abelardo de la Espriella says he will wage a ‘counterrevolution’ against cultural institutions.

Colombian President Abelardo de la Espriella has announced he is spearheading a cultural “counterrevolution” that includes removing dozens of exhibits from the National Museum, drawing protests and comparisons to United States President Donald Trump.

De la Espriella, a conservative Trump ally, said last week that he wants to prevent cultural institutions from being taken over by what he calls “atheist social communism”.

Since then, exhibits have been taken down that once addressed the history of social movements, including feminist and LGBTQ+ activism, and Colombia’s political violence.

The changes have sparked protests by civil rights groups, artists and students who have accused the government of censorship and warn that important parts of the country’s history could be erased.

Dozens of demonstrators gathered on Wednesday outside the National Museum in downtown Bogota as riot police guarded its entrance.

“I find it outrageous that they want to erase part of our history,” said Azul Riascos, a history student.

He said the government was promoting a vision of Colombia as exclusively white, Catholic and Spanish-speaking. That image, he explained, excluded Black, Indigenous and LGBTQ+ communities.

Gimena Sanchez-Garzoli, director for the Andes at the Washington Office on Latin America, a research and advocacy organisation, said the Colombian government’s approach reflects a broader trend among Trump allies who are copying US political narratives and strategies.

Trump has been fiercely critical of museums in Washington, particularly those tied to the Smithsonian Institution.

The White House released a report in July branding leaders of the Smithsonian’s National Museum of American History as radical activists and has ordered signs to be installed outside the museum telling visitors that some of the exhibits are inaccurate.

Nearly three months after that order, such signs haven’t been installed. The museum’s director, Anthea Hartig, told Congress that the White House report “does not fairly or accurately characterise the full body of work at the museum”.

Sanchez-Garzoli said Trump’s cooperation with allied Latin American governments on security and counternarcotics efforts also has an ideological dimension.

“These are imported narratives about terrorism and about being ‘woke,’” anthropologist Arturo Sanabria said during Wednesday’s protest, describing the Colombian government’s approach as a form of neocolonial intervention.

Colombia’s Culture Minister Paola Holguin said the government was reviewing and redesigning exhibitions and curatorial practices at other museums overseen by her ministry.

The Foreign Ministry also renamed a courtyard previously honouring an Indigenous leader, describing the change as part of the president’s campaign against “woke” ideology.

“The government is making serious efforts in a cultural battle that probably doesn’t exist,” political scientist Estefania Cardozo said outside the museum. “It is inventing one to erase identities that cannot be erased because they already exist.”

NEXT MONTH the capital is set to get a HUGE new multi-million attraction with never- seen-before areas.

Opening on November 28, the £427million London Museum will be in Smithfield in the General Market.

And the best thing about the new attraction is that it will be completely free to visit.

It will be the world’s largest city museum with three different spaces documenting the past 10,000 years of the capital with over seven million objects on display.

One area will be called ‘Real Time’ and feature a covered street where visitors can explore real time data about different parts of London.

In the second space, ‘Our Time’, will be the centre of the museum with events and activities including immersive theatre.

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Around ‘Our Time’ there will also be 13 installations about London, a restaurant and a bookshop, with festivals and markets planned for the future too.

For extra fun, after-hours DJ sessions are also planned for Fridays and Saturdays.

The main gallery will then be known as ‘Past Time’ and can be found underground.

The gallery will take visitors through London’s history with exhibits including the recent ‘Piranhas’ artwork by Banksy as well as older pieces such as Charles I’s execution vest.

Notable other objects that will be on show at the museum will include the swimming trunks worn by Tom Daley for the 2012 London Olympics and Paul Simon from The Clash’s bass guitar, which he smashed on stage.

On the lower level of the museum there will also be a giant six-metre tall window that will let visitors look through to a tunnel where the Thameslink trains pass.

In 2028, the museum will open even more areas inside the Poultry Market building with galleries including ‘Temporary Time’, ‘Imagined Time’ and ‘Deep Time’.

This building will house the museum’s temporary exhibitions, collection stores and learning centre.

In ‘Imagined Time’, there will be a platform hanging beneath the ceiling with different installations reflecting London’s past, present and imagined future.

The General Market first opened in 1883 as a meat market but has remained abandoned for the past 30 years.

The Mayor of London, Sadiq Khan, previously said: “The opening of the new London Museum will be a hugely significant moment both for London and internationally.

“Backed by one of the largest ever cultural investments in our capital, London Museum will attract millions of visitors and Londoners and reinforce our status as the cultural capital of the world.

“London Museum celebrates the past, creates opportunities in the present and will inspire future generations, as we continue to build a better London for everyone.”

In a year chock-full of museum galas, the Academy Museum of Motion Pictures’ Saturday night soiree was especially star-studded.

The sixth annual fundraiser honored Oscar winner Charlize Theron with the Icon Award, filmmaker and composer John Carpenter with the Luminary Award and Academy Award nominee Colman Domingo with the Vantage Award. Theron, who starred this year in presumed best picture frontrunner “The Odyssey,” and Domingo, who appeared in “Disclosure Day” and “Michael,” stole the red carpet spotlight. Other red carpet standouts included Kendall Jenner, Jessica Biel and Teyana Taylor.

The gala, which raised over $14 million for the Academy Museum’s exhibitions, screenings and education programs, also tapped one of the biggest entertainers in the world to perform: Taylor Swift.

Swift’s country ballad “I Knew It, I Knew You” from “Toy Story 5” is an Oscar contender for original song.

The gala was co-chaired by Tom Ford, Robert Rodriguez, Steven Spielberg and Kate Capshaw. The host committee included Jessica Alba; Judd Apatow and Leslie Mann; Autumn Durald Arkapaw; Adrien Brody and Georgina Chapman; Jon M. Chu; Kirsten Dunst; Nicholas Galitzine; Ludwig and Serena Göransson; Regina Hall; Kate Hudson; Jessica Lange; Greta Lee; John Legend and Chrissy Teigen; Rami Malek; Demi Moore; Olivia Munn; Gina Prince-Bythewood; Questlove; Da’Vine Joy Randolph; Seth Rogen and Lauren Miller Rogen; Bird Runningwater; and Teyana Taylor. Chu was a co-chair for last year’s event.

Here are the 10 best looks from the red carpet.

Kendall Jenner

Kendall Jenner was decidedly absent from Sunday’s Victoria’s Secret Fashion Show, but commanded the Academy Museum Gala on Saturday in a black-and-white polka-dotted Valentino gown.

(Emma McIntyre / Getty Images for Academy Museum)

Sabrina Carpenter

Sabrina Carpenter brought a pop of color to the beige carpet in a custom Giorgio Armani Privé gown with side cutouts and crystal tassels cascading down the back.

(Emma McIntyre / Getty Images for Academy Museum)

Jessica Biel

Jessica Biel brought sexy back in a black velvet halter gown with a thigh-high slit.

(Emma McIntyre / Getty Images for Academy Museum)

Alexa Demie

Alexa Demie is a goddess in another standout feather-trimmed look: a mint green custom Chanel gown.

(Emma McIntyre / Getty Images for Academy Museum)

Eiza Gonzalez

Eiza Gonzalez looked timeless in Ralph Lauren.

(Emma McIntyre / Getty Images for Academy Museum)

Kate Hudson

No one does Old Hollywood glamour quite like Kate Hudson, who was radiant in custom Armani Privé.

(Emma McIntyre / Getty Images for Academy Museum)

Taylor Swift

Taylor Swift dazzled in Dior — her best look to date.

(Emma McIntyre / Getty Images for Academy Museum)

Colman Domingo

Honoree Colman Domingo sparkled in a Valentino sequin blazer.

(Emma McIntyre / Getty Images for Academy Museum)

Teyana Taylor

Teyana Taylor turned heads in a robin’s egg blue Schiaparelli bustier dress.

(Emma McIntyre / Getty Images for Academy Museum)

Adria Arjona

Adria Arjona looked elegant in a strapless black dress with a white neckline.

(Emma McIntyre / Getty Images for Academy Museum)

WHEN you picture Wetherspoons, you probably think of cheap pints, even cheaper food, colourful carpets, and a lively Friday night.

But your night out at Spoons doesn’t have to end with an expensive taxi home – with dozens of hotels across the UK and Ireland, the budget pub chain is quietly offering some of the best value city breaks around.

I headed to Dublin to see exactly what a night spent in a Spoons hotel really entails.

Spoiler alert: this particular Spoons hotel feels like staying overnight in a museum, and the rooms are nicer than you might think.

There are 56 Wetherspoons hotels across the UK and Ireland, so I decided to try out a stay at Keaven’s Port, a unique convent-turned-hotel in Dublin.

Keaven’s Port sits on Camden Street, which is where you’ll find crowds of locals out for drinks in Dublin – away from the expensive pints of Temple Bar.

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This well-positioned pub hotel puts you on the same street as popular nightclub The Camden, which you’ll find buzzing on the weekends.

And as for daytime sightseeing, here you’re only a 20-minute walk from popular attractions like Dublin Castle and Trinity College.

Wetherspoons are known for repurposing unique historic buildings including former opera houses, corn exchanges and banks.

Not only does this guarantee some decent square footage for all those restaurant tables (as well as a prime spot in the town centre) but it makes for a pretty unique overnight stay.

This one I found to be particularly unique. Keaven’s Port hotel is made up of eight old Georgian townhouses as well as a chapel.

The collection of buildings used to belong to Ireland’s Little Sisters of the Assumption, a convent established in the 1890’s.

Now, the chapel has been restored and is part of the bar and restaurant area. I must admit, sitting in a confession booth under stained glass with a bowl of chips and a pint is a tad surreal.

Getting to the rooms takes weaving through a series of corridors and lounge areas, each of which are packed with historical artefacts that made this stay feel more like a trip to the museum.

Lining the walls were old dresses and textiles, painted portraits and more belonging to historic residents of Camden Street Upper, as well as information boards telling you all about the history of the building.

One lounge area sees a giant Guinness-style harp, cosy sofas and a chessboard, while another sees antique furniture, Renaissance paintings and a collection of battered books packed with fascinating old stories.

After making your way out of the maze, you’ll reach the main bar and restaurant area (which thankfully has its own entrance, too).

Everything about the restaurant screams Spoons – tiled floors, a very long bar, plenty of high tables with stools as well as booths and larger tables for groups.

Just when you think there’s more than enough space, a spiral staircase decorated with mirrors leads you down to an even larger restaurant, as well as courtyard for the summer beer garden months.

We all know Spoons pubs in the UK offer some great-value deals on food and drink, but can you get good value over in pricy Dublin?

It turns out you can. An Irish spice bag with a soft drink costs €10.50 (£8.86), and a small cooked breakfast is an unbelievable €2.95 (£2.49).

You can grab a pint of Abbott for €2.60 (£2.19), wine by the glass starts from €4.30 (£3.63), and cocktail pitchers from €9.95 (£8.39).

A hot drink will only set you back €1.70 (£1.43), and it’s free refills from then on all day.

But what are the rooms like? Once you make it out of the busy bar area through to the elevators, the noise of the bar soon disappears.

If I’m totally honest, I went in expecting a cramped room with stained furniture and some strange marks on the walls.

Thankfully, I was pleasantly surprised at what I saw when I stepped in.

First of all, these rooms are very spacious. The large double bed had crisp white sheets, and there was plenty of room surrounding it to open up your suitcase.

The spacious desk was laid with the usual tea and coffee facilities. Here you also get posh shortbread biscuits and water cartons decorated with pictures of Irish poet W.B. Yeats (I kept mine as a souvenir).

The bathrooms were pretty glam too with black marble, a large mirror and a surprisingly spacious tub and shower. All in all, not at all bad for the price point.

Inspired by the local history, I did a bit of my own research. Namely, I wanted to know, who actually was St Keaven?

The name supposedly comes from St. Kevin, a sixth-century Christian hermit and saint, with a church named after him in nearby Camden Row.

Little is known about the Irish saint, other than that he appears in Seamus Heaney’s poetry and that he is associated with the glacial valley of Glendalough in nearby County Wicklow.

If you fancy, you can actually take a day trip from Dublin city centre into Glendalough to walk beside its glacial lakes with Wild Rover Tours (from €43). If you want to see some of Ireland’s rolling green hills and sparkling lakes away from the city, I’d highly recommend giving it a try.

But if you’d rather stay in the centre and make the most of the cheap pints in the bar below your room, it’s a great place for pre-drinks before rocking up to The Camden.

Rooms start from €86 (£72) per night, or £36pp based on two sharing. Click here to book.

Prices correct at the time of publication.

MAYA Jama oozed glam in a gothic purple gown with a matching choker as she stepped out at the British Museum Ball.

The Celebrity Traitors star – who is one of BBC host Claudia Winkleman‘s chosen Traitors – flashed a sultry look in her floor length purple frock.

Ruched detail across her torso drew attention to the Love Island anchor’s toned figure while stitched pattern on the skirt added extra style.

Maya stayed her hair into curls and a half-up style, with sections at the front framing her face.

The presenter kept her make-up fresh, with a slick of black eyeliner and pink lipgloss.

According to britishmuseum.org, the swanky evening was “the defining highlight of London’s cultural and social calendar this autumn”.

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It stated: “Conceived as a night where art, history, performance and fashion converge, the Ball will offer a truly unforgettable moment at one of the world’s most iconic institutions”.

The theme of this year’s event was Red and also saw the likes of Mick Jagger and Lesley Manville in attendance.

Recently, we told how Maya had become the fashion queen of Celebrity Traitors with her iconic Honey Monster coat.

We told how she packed 10 designer jackets, worth a total £15,000, for the iconic show.

She donned a £2,570 Saint Laurent trench coat for the launch show and wore the £600 mustard Mongolian sheepskin bolero coat designed by London-based fashion house Agro Studio.

Fans said the colour and huge shoulder pads reminded them of the character introduced to advertise Sugar Puffs — now sold as Honey Monster Wheat Puffs.

Maya kept it on throughout the episode, shot in the Scottish Highlands in May, including a tense Round Table scene.

Now talk has turned to her love-life on the set of the gripping reality series.

Viewers are convinced a romance is bubbling up between Maya and King Kenny just as she recruited him as a third Traitor.

Fans of the show have spotted a few lingering looks between the YouTube star and the broadcaster since the BBC One show launched earlier this month.

The online whispers only intensified when Maya revealed herself to Kenny in the turret after he was recruited on Thursday night’s show.

He lunged forward for an embrace with her — which he didn’t do for fellow Traitor James Acaster.

The recovered Renoir paintings, valued at millions, were stolen in a daring heist at Cagnes-sur-Mer last month.

Two paintings by the French Impressionist artist Pierre-Auguste Renoir that were stolen from a museum in southern France a month ago have been recovered, the town’s mayor said.

“These two paintings are not simply works of art. They are part of our city’s history,” Bryan Masson, the mayor of Cagnes-sur-Mer, near Nice, said on Friday. “Knowing they have been recovered is an immense relief.”

Six people have been arrested in connection with the theft, local authorities said. Masson did not say where the paintings were found or in what condition.

How the theft unfolded

Two thieves broke into the Renoir Museum a little before 6am on September 8, cutting through a fence to enter the grounds, smashing a window and using an electric saw to cut the clips securing the frames, Masson said at the time.

He described them as “well equipped” and “well informed”.

The museum alarm sounded at 5:48am, and municipal police arrived five minutes later, forcing the thieves to flee.

They had taken four paintings, valued by the mayor at about nine million euros ($10.5m).

Two of the stolen works – Renoir’s “Portrait of Madame Pichon” and “Coco Reading” – were later found dropped in the museum garden, the prosecutor’s office said at the time.

The two works that remained missing were “Portrait of Madame Colonna Romano” and “Young Woman at the Well”, the office said.

Police said last month that the thieves were not first-time offenders and had scoped out the premises.

The Marseille prosecutor opened a theft investigation into an organised gang, and the national office for trafficking in cultural goods joined the probe.

A string of museum heists

The museum, opened in 1960, is in the painter’s last home, where he died in 1919.

“This incident should serve as a warning about the protection of our museums,” Masson said after the robbery.

The theft came less than a year after jewels worth about $100m were stolen from the Louvre in Paris in a daylight robbery.

The four suspected robbers have been arrested, but the jewels have not been found.

In August, Italian police said they had recovered paintings by Renoir, Cezanne and Matisse worth more than $10.4m that were stolen from a museum in March.