production

Kicking off the upcoming season at the Mark Taper Forum — which recently celebrated its top-grossing musical ever with “Here Lies Love” — is the world premiere of Zack Zadek’s original musical “The Turning,” a folk thriller set in California’s Sequoia groves.

The show, said Center Theatre Group’s artistic director Snehal Desai as the company announces its 2026-27 slate of performances, has a “very L.A. vibe.”

Next up is a batch of shows meant to provide audiences some comedic relief amid a midterm season that’s sure to sow anxiety: Karen Zacarías’ “Destiny of Desire,” Cole Escola’s “Oh, Mary!” and the family-favorite “Dog Man: The Musical.” Then in the spirit of springtime renewal, thought-provoking plays like “John Proctor Is the Villain” and “Fences” will leave audiences in contemplation before festive summer item “Boop! The Musical” swoops in to lift spirits.

When Desai plans the company’s season lineup, he always surveys the year ahead — literally.

“I look at the calendar a lot as to, where do we think we’re gonna be a year from now? Six to eight months from now?” Desai said in a recent interview at his office in downtown L.A.

Some entries in Center Theatre Group’s upcoming season are scheduled intuitively, like the Mischief Comedy team’s “Christmas Carol Goes Wrong,” running in the thick of the holiday season. But with others, Desai said he orchestrated the lineup to tell a programmatic story, like an artist might order tracks on an album.

As an artistic director, Desai said, he always encourages visitors: “Join us all season, versus just coming for the things you like,” and maybe you’ll be pleasantly surprised.

This year as Desai consulted his calendar, he looked even farther ahead than usual, toward Center Theatre Group’s 60th anniversary season (2027-28) and the L.A. Olympics in 2028.

“We were having conversations of, what are the plays that we want to do or we want to bring back,” Desai said, when the theater company’s associate artistic director Lindsay Allbaugh suggested “Fences,” the final play of August Wilson’s acclaimed Century Cycle to be staged at Center Theatre Group.

“I said, ‘Oh, that’s what we want,’” Desai said, “both to end this season and kick off our 60th.”

The artistic director could not yet confirm who would direct the Pulitzer Prize-winning drama about a former Negro League baseball player and his family navigating life in 1950s segregated Pittsburgh.

Desai, who has not shied away from politically charged material during his tenure at the theater company, said Wilson’s play aligned with his intent this season to platform work “asking who we are as a country and as a community and society.”

“I wanted voices that felt bold and fearless, that were both outspoken and unafraid in a world where, right now, it feels like there’s a lot of things that are trying to stifle us from speaking out or coming together,” he said. To him, presenting “Fiddler on the Roof” in Yiddish is revolutionary, as is “John Proctor Is the Villain’s” dissection of a classic through a feminist lens.

Desai added that he planned to balance that rabble-rousing spirit with productions that leaned more “celebratory and communal” and provided “different ways of having catharsis.”

“Oh, Mary!” offers riotous fun, and “Destiny of Desire” is an homage to an oft-dismissed yet widely consumed medium, the telenovela.

“With ‘Destiny,’ you’re able to take that format of something that people often watch in isolation at home, and enjoy it together,” Desai said.

Regional theater faces a slew of challenges: rising production and personnel costs, post-pandemic audience declines and competition from digital media. The situation has felt particularly bleak in L.A., Desai said, as seeming moments of recovery in the past year or so were squashed by the L.A. wildfires, then last summer’s immigration crackdown and associated civil unrest.

“We just constantly live in this time period that feels like we’re on shifting sands,” Desai said. Nonetheless, the company is finding paths through the desert, including with alternative programming through CTG: FWD.

The CTG: FWD initiative this season will bring “Riverdance 30 – The New Generation,” “Clue” and “The Music Man” to the Ahmanson Theatre, and “Dog Man” to the Kirk Douglas Theatre.

Another strategy Desai said the theater company has employed is heavy investment in new works development, particularly new musical development. New works are time-and resource-intensive, Desai said, but they’re also good investments, offering the best chances at longevity and commercial prospects.

With “The Turning,” Center Theatre Group spotlights an emerging voice that Desai said represents “the future of American theater.”

After Desai was introduced to Zadek’s folksy musical “The Turning,” he said, “I just kept listening to it over and over again. I was like, ‘I can’t wait for the cast recording of this to be on Spotify.’”

The artistic director was also thrilled to find an ultra-rare gem in Zadek’s piece: a truly original story.

“A lot of things are adaptations these days: adaptations of films, of TV shows,” Desai said. “So to get a world premiere musical that is based on its own original concept — that, I found, was really compelling.”

Following back-to-back seasons of directing his own productions, Desai is taking a breather this go-around to focus on broader administrative duties. But he still hopes to be a resource for visiting directors learning how to navigate the “special space” that is the Mark Taper Forum — and its neighbors the Ahmanson Theatre and the Kirk Douglas Theatre, which will get its own season announcement in the spring or early summer.

See the full season, here.

The U.S. Army says it hopes to see production of a finalized version of the next-generation M1E3 Abrams tank begin next year. The exact timeline will depend on the performance of early prototype tanks in testing by operational units, which is slated to kick off later this year.

Brent Ingraham, Assistant Secretary of the Army for Acquisition, Logistics, and Technology, discussed current plans for the M1E3 program with TWZ and other outlets at a media roundtable on the sidelines of the Association of the United States Army’s (AUSA) annual Global Force Symposium yesterday. The Army officially unveiled the first early prototype M1E3 at the Detroit Auto Show in January, which was delivered years ahead of the program’s original schedule.

“That will again be this summer, early fall,” Ingraham said when asked about the schedule for M1E3 early prototypes arriving at so-called Transformation In Contact (TIC) units. These are operational formations that have been given a test role as part of the Army’s larger TIC effort, which is intended to help accelerate the fielding of new and improved capabilities, as well as tactics, techniques, and procedures to go with them.

Beyond that, the central goal for the M1E3 program is “to get to production as fast as possible,” Ingraham continued.

The Army’s top acquisition official added that “it’s going to depend on how well they [the early prototypes] perform,” but that “hopefully” production of the new tanks will then start “in the next 12 months or so.”

It also remains to be seen how the M1E3’s configuration may evolve between now and production start. Whether the next-generation tanks will be entirely new production vehicles is also not entirely clear. The early prototype shown at the Detroit Auto Show featured a substantially reworked hull and now uncrewed turret, but that was clearly still derived from the configuration of the latest M1A2 System Enhancement Package Version 3 (SEPv3) Abram variant. Prime contractor General Dynamics Land Systems had previously rolled out an AbramsX next-generation demonstrator with a much more significantly evolved design.

AbramsX Technology Demonstrator on the Move

That being said, the M1E3 early prototype does differ in a host of other very important ways from the M1A2 SEPv3. At the top of that list is a new hybrid propulsion in place of the fuel-hungry gas turbine found on previous Abrams models. The new propulsion configuration includes a modified Caterpillar C13D six-cylinder diesel engine and an ACT1075LP transmission from SAPA. Army officials have previously said the M1E3 will be between 40 and 50 percent more fuel efficient compared to previous versions.

The M1E3 also has new lightweight tracks from American Rheinmetall and a hydropneumatic suspension system understood to have come from Horstman Group. In a post on X in January, the latter firm noted that switching “to external hydropneumatic suspension” helps “free up crew space by removing torsion bars,” but did not explicitly confirm its involvement in the program. A suspension system of this kind, which has been tested on Abrams in the past, also allows for the hull of the tank to be raised and lowered in ways that can help improve survivability and offer other operational benefits.

The M1E3 tank employs an external hydropneumatic suspension system developed by Horstman, a company headquartered in Bath, United Kingdom. A defining feature of this suspension is that it eliminates the need for torsion bars.

This design frees up a significant amount of internal… https://t.co/OPglnoWxxY pic.twitter.com/jQkGj0h7oq

— 笑脸男人 (@lfx160219) January 26, 2026

The M1E3’s crew configuration differs significantly from existing variants, as well. The next-generation tank’s turret is intended to be entirely remotely operated, with the truncated three-person crew (instead of the traditional four) moved down into the front of the hull. The loader role is eliminated, and an autolaoder is set to be utilized instead. Historically, the U.S. military, as well as many Western armed forces, have eschewed autoloaders in their tanks. Soviet and now Russian tank designs, along with Chinese ones, have more typically had this feature. In terms of the M1E3’s main gun, the Army otherwise looks to be sticking with the same 120mm smooth-bore type used on Abrams variants now.

Interestingly, what has been seen so far of the expected crew compartment for the M1E3 is also similar in many broad respects to the design of Russia’s T-14 Armata. Despite having made its public debut in 2015, the T-14 has, at best, seen very limited operational service. In addition, the M1E3’s driver will operate the tank via a controller that looks like one that might come with a video game console, which the Army has said is a deliberate choice.

M1E3 used Fanatec Gaming Controller. Colonel Ryan Howell, Program Lead for the M1E3, said:“It now takes just 30 seconds to train a young soldier to drive that tank—something that used to take us days, even weeks……I’ll share a quote from one of the soldiers who helped us early… https://t.co/6y3VGXmVzU pic.twitter.com/fWNGyZ8AtO

— 笑脸男人 (@lfx160219) January 15, 2026

“It now takes just 30 seconds to train a young soldier to drive that tank – something that used to take us days, even weeks,” Col. Ryan Howell, the program manager for the M1E3, told Fox News back in January in Detroit. “I’ll share a quote from one of the soldiers who helped us early in the process. When we first sat him down at the crew station, he was already in the process of transitioning out of the Army, but he was assisting us by informing key design decisions. He told us, ‘If I had known I could work on a platform like this, I would have stayed in the Army.’”

These various design elements are key to the Army meeting its goals for the overall weight of the M1E3. The service has previously said that it hopes the next-generation tank will tip the scales at around 60 tons. Weight creep has been a major issue for the Abrams since it first entered service in the 1980s, with the latest M1A2 SEPv3 variant coming in at 78 tons.

“This next-generation Abrams is designed to transform how armored units operate globally,” Michelle Link, the Army’s Deputy Capability Program Executive for Ground Combat Platforms, had said in a press release in January. “By streamlining its sustainment needs and increasing deployment speed, the M1E3 Abrams ensures faster movement from ports to the front lines, making it more agile and accessible in any environment.”

In terms of other capabilties, the M1E3 early prototype presented in Detroit had a Leonardo DRS Stabilized Sight System (S3), which features a mix of electro-optical and infrared cameras, and a remote weapon station (RWS) from EOS on top of the turret. The RWS was armed with a 40mm automatic grenade launcher, a 7.62x51mm machine gun, and a Javelin anti-tank guided missile. The M1E3’s complete armament package could still expand, including with the addition of launchers for loitering munitions.

The Army currently says the M1E3 will be fitted with a version of the Israeli-design Iron Fist active protection system (APS). The service is already fielding that APS, which it has now designated as the XM251, on the M2A4E1 variant of the Bradley infantry Fighting Vehicle. It is also expected to be integrated onto 8×8 Stryker wheeled light armored vehicles and the future replacement for the Bradley family, tentatively designated the XM30. Iron Fist’s prime contractor, Elbit Systems, notably just recently disclosed that the system has at least some capability to defeat incoming kamikaze drones, as well as anti-tank guided missiles and other infantry anti-armor. The Army is also now pursuing add-on passive anti-drone armor for existing Abrams tanks and other armored vehicles, which could make its way onto the M1E3.

Iron Fist APS | Active Protection System for Armored Vehicles

In Detroit, other cameras were seen positioned at various points around the M1E3’s hull and turret, providing the crew with what looks to be a distributed vision system. This would allow the crew to ‘see’ through the hull of the tank while sitting nestled under its armor with all the hatches sealed. The camera feeds could be integrated into a helmet-mounted system and paired with augmented reality to create an overlay with various important data.

The next-generation tank is also expected to feature a variety of other advanced systems, including new targeting capabilities and other onboard sensors, as well as a networked communications suite.

The Army clearly expects the M1E3’s design to further evolve, at least to some degree, based on Soldier feedback and other data collected during testing that will start later this year. Time will tell how different the final configuration is from the early prototype the service unveiled in January.

If the core design performs well and the program otherwise keeps to its aggressive schedule, production of the Army next main battle tank could well start next year.

Contact the author: joe@twz.com

California’s economy might see a boost from the state’s expanded film tax credits, but local lawmakers say it’s not enough.

Despite Gov. Gavin Newsom authorizing a $750-million film and TV tax credit program last summer, the impending merger between Paramount and Warner Bros., and the projected budget cuts that are expected to follow, has reignited fears about Hollywood jobs and U.S.-based productions.

“State programs cannot simply substitute for the kind of global, federal and competitive tax incentives that are needed to bring production back to American soil and stop its offshoring,” U.S. Sen. Adam Schiff (D-Calif.) said during a news conference Friday morning.

“We must act, and the urgency could not be greater,” he said. He revealed he is working on a bipartisan federal film incentive proposal that would be competitive with what other countries are offering for film productions.

He said the program isn’t about Hollywood’s stars; it’s about the jobs that productions create, including roles for set designers, carpenters and lighting crews.

“These are the people who make that magic happen. We want to keep those jobs here, and many of us are deeply concerned about what this potential merger will do to those jobs,” Schiff said.

Earlier this week, the California Film Commission revealed that 16 shows had recently received tax credits for filming in the state. The projects represent $871 million in qualified in-state spending and are expected to generate $1.3 billion in economic activity in California. Schiff said the state tax credit has generated more than $29.1 billion in motion picture production wages and supported more than 220,000 jobs.

Even as shows start to see gains in Southern California, Los Angeles film activity was still down 13.2% from July through September when compared with the same period in 2024. The downward trend extends the loss of 42,000 jobs in L.A. between 2022 and 2024, the continued suffering of local sound stages and the offshoring of productions internationally.

“Federal policymakers must act to level the playing field and make the U.S. film and television industry more competitive on the global stage,” said Matthew Loeb, the president of the International Alliance of Theatrical Stage Employees. “A globally competitive labor-based and tax incentive is. For us, production that supplements state incentives is essential to return and maintain film and television jobs in America.”

HBO Max’s medical drama “The Pitt” is filmed at one of Warner Bros. soundstages in Burbank and it’s one of the shows benefiting from California’s tax incentive.

Noah Wyle, the star and executive producer of the show, said during the news conference that “it’s really hard to shoot a TV show in Los Angeles, and it’s really expensive, prohibitively” — so adopting an economic model that allows productions to take full advantage of the California tax incentive was essential to “The Pitt” filming in L.A.

“As an Angeleno with generational roots to this city and as a seasoned member of its creative community, advocacy for Los Angeles-based production is something that is very close to my heart,” Wyle said.

“‘The Pitt’ has blessedly become proof of that speculative concept. I’m happy to report we’ll commence shooting season three this summer, and that a rising tide has indeed lifted all boats in season one under the 3.0 tax program,” he added.

The show received a 20% tax rebate on many above-the-line costs. The budget for one episode was approximately $6.6 million, so the show received a rebate of about $760,000 per episode. By the end of season one, the production was able to save over $11 million. Wyle estimated that the first season of “The Pitt” contributed around $125 million toward California’s gross domestic product.

Rep. Laura Friedman (D-Glendale), who is working with Schiff on production tax incentives, said that because California is already seeing benefits from the current program, there’s no reason it wouldn’t work nationally. Friedman added that tax incentives are a common practice among many industries in the U.S.

“Hollywood is not asking for special treatment. Whether it is computer chips, the energy sector or pharmaceuticals, this is something that is standard in the United States,” said Friedman. “In terms of our nation, Hollywood and its ability to tell the story of America, it is something worth saving.”

“The best way I can describe it is, it’s an addiction,” says Taylor Frankie Paul.

The star of “The Secret Lives of Mormon Wives” is seated by a window in an empty Starbucks within a downtown Salt Lake City hotel, reflecting on her relationship troubles in an interview Feb. 19. Followers of Paul’s screen life are all too familiar with the drama. Now, others can’t escape knowing about it too.

Days later, a dispute with her on-again, off-again partner would lead to an investigation by police that surfaced in multiple news reports this week, and on Thursday, the release of a video recording of a separate dispute in 2023 would lead to a pause on “The Bachelorette,” her latest starring role on reality TV, three days before it was set to premiere.

Her brush with fame began with #Momtok, as the self-proclaimed founder of the Utah-based group of Mormon moms that spawned the so-called corner of TikTok where they shared choreographed dance videos and light lifestyle content. But in 2022, she rose to notoriety after revealing in a TikTok Live session details about an arrangement she had with her then-husband Tate Paul to pursue intimate relations with other consenting couples (without having extramarital sex); she confessed to violating their agreement by having an emotional affair. The salacious revelation, which became known as the “soft-swinging” scandal, lit up social media and, eventually, led to the creation of Hulu’s breakout hit “The Secret Lives of Mormon Wives.” Much of Paul’s story across the show’s four seasons has revolved around her rocky relationship with Dakota Mortensen, the man she began dating following her divorce.

Dakota Mortensen and Taylor Frankie Paul in a scene from “The Secret Lives of Mormon Wives.” The pair share a 2-year-old son.

(Fred Hayes / Disney)

Even as the show documented the lead-up to Paul becoming the new face of “The Bachelorette,” her biggest screen opportunity yet, the pair’s on-again, off-again dynamic remained as turbulent and confusing as ever, down to the “Mormon Wives” season’s final minutes. A despondent Paul nearly upended the start of production on ABC’S dating series when she missed her flight to Los Angeles after sleeping with Mortensen, who is the father of her youngest son, Ever, the night prior. (She took a later one.)

“I was just still stuck in the cycle,” she says, noting she hasn’t watched the “Mormon Wives” finale. “That’s why I knew I had to leave [to do ‘The Bachelorette’], if that makes sense … I can’t help people understand it because my own brain doesn’t understand it. The only thing I can relate it to is, it is a drug; the toxicity is a drug. It’s always a mind game and I fall for it every time, and I cave and it’s just so dumb. I get exhausted saying it to people because I’m like, ‘I don’t blame you guys. I’m mad at me.’”

The hook of a 31-year-old mother of three trying to find love — who unapologetically wears her troubles on her sleeve — was supposed to be what made her a desirable candidate for the latest crossover experiment to hit Disney’s reality TV universe. But in the week leading up to Sunday’s Season 22 premiere of “The Bachelorette,” reports surfaced detailing allegations of domestic violence involving Paul and Mortensen. Utah’s Draper City Police Department confirmed there is an open investigation involving the pair; a spokesperson for the department declined to share more details amid the ongoing investigation. But according to a person familiar with the situation, allegations were made by both parties involving incidents on Feb. 24 and Feb. 25, less than a week after our interview. No charges have been filed in the case.

Taylor Frankie Paul in a promotional still from ABC’s “The Bachelorette,” now on pause.

(Sami Drasin / Disney)

Paul was previously arrested and charged in 2023 for a separate dispute involving Mortensen, eventually pleading guilty to one count of aggravated assault; other charges were dropped. Part of that incident was documented in the first season of “Mormon Wives.” On Thursday, TMZ published a video of the incident, leading Disney Entertainment Television to hit pause on the planned premiere of “The Bachelorette.” “In light of the newly released video just surfaced today, we have made the decision to not move forward with the new season of ‘The Bachelorette’ at this time, and our focus is on supporting the family,” the statement from Disney read. Whether the season will be released at a later time or be re-edited remains to be seen, according to a person familiar with the matter.

“Taylor is very grateful for ABC’s support as she prioritizes her family’s safety and security,” read a portion of a statement provided by a representative for Paul. The statement went on to say Paul suffered “extensive mental and physical abuse as well as threats of retaliation.”

While Season 5 of “The Secret Lives of Mormon Wives” began production in January, cameras were not following Paul during the time of the recent incidents; Paul was focused on publicity commitments for “The Bachelorette.” Hulu and ABC declined to comment on the ongoing investigation. Mortensen could not be reached for comment. Production on “Mormon Wives” is currently on pause and a decision on Paul’s status as a cast member has not been made, according to a person briefed on the situation.

Paul’s chaotic reality now casts a shadow on both shows. The programming experiment aimed at expanding and blending the audiences of ABC’s veteran dating series and Hulu’s budding answer to the “Real Housewives” franchise now becomes an example of too much of a good thing — in this case, overextending a breakout hit early in its run — and how it can backfire. And it puts a spotlight on the discourse surrounding vetting failures and oversights in reality TV, as well as the compulsion or limits by viewers to rubberneck, particularly by savvy viewers of a genre that thrives on sordid personal drama.

How the ‘Mormon Wives’ crossover took shape

At a time when the traditional television landscape faces steep challenges, accelerated by a radical shift in viewing habits spurred by streaming and social media, Disney has been blurring the lines between its linear and streaming properties — ABC and Hulu — to maximize the reach of its unscripted assets. “Mormon Wives,” which has released four seasons in less than two years, has become a key player in that effort. Earlier this year, two of its cast members, Jen Affleck and Whitney Leavitt, competed against each other on “Dancing With the Stars.” And Paul’s casting as “The Bachelorette” makes her the first heroine who was not a contestant on a previous season of “The Bachelor.”

Prior to the reports about Paul, The Times spoke to Robert Mills, who leads Walt Disney Television Alternative, as well as show producers, about collaboration efforts within the company’s broadcasting universe as a way to expand and reward viewer curiosity.

Mills, a veteran ABC unscripted executive, said it was a way the company can distinguish itself from its competitors, particularly as it seeks to build Hulu’s unscripted slate against streaming rivals with deeper benches. And the possibilities on how to apply it to “Mormon Wives” began the summer ahead of its launch. As “Dancing With the Stars” producers were in the final stretch of casting the show’s 33rd season, Mills says there was talk of having one of the women be a contestant on the competition that fall, to coincide with the new show’s arrival.

“I do remember saying, ‘If it’s not this season, I know we’re going to have somebody next season because you can just feel this,” he says, referring to the energy surrounding “Mormon Wives.” “When the show took off, then it became, ‘OK, now we know we’re doing it.’”

And while having a cast member compete on “Dancing With the Stars” may, on its own, create a curiosity factor for audiences of both shows, the added layer of having the journey play out on “The Secret Lives of Mormon Wives” had the potential to heighten the story and viewing experience. And why not have two “Mormon Wives” cast members in the same season to see how their competitiveness plays out? So they did.

Dancer Jan Ravnik with partner Jennifer Affleck on “Dancing With the Stars.” (Eric McCandless/Disney)

Mark Ballas and Whitney Leavitt, who reached the semi-finals on the dancing competition series. (Eric McCandless/Disney)

The casting process for “DWTS” was documented in the third season of “Mormon Wives,” with Affleck and Leavitt pitching themselves to ABC executives. And their journey on the competition, including moving their families to Los Angeles and their eventual falling out, is featured in Season 4.

Corporate synergy within the Disney portfolio is nothing new, particularly on “Dancing With the Stars.” Disney Night is a recurring themed episode on the competition show, with contestants dancing to Disney, Pixar and Marvel tunes. And the series has featured stars from “Bachelor” nation before. But navigating the ins and outs of stories that intertwine without overstepping has required nimbleness.

“We basically carved out times where they [the ‘Mormon Wives’ crew] could film rehearsals and we always had a producer present just in case something happened that was dramatically important for our show,” says Conrad Green, the showrunner of “Dancing With the Stars.” “It’s like a gentleman’s agreement — we’re borrowing talent off another show so we have to work together and it works for everyone’s benefit.”

Stretching out a successful series typically leads to spin-offs — and yes, Mills says, those conversations are happening with “Mormon Wives” — at least at the time of the interview. In the meantime, the crossover strategy has become its key feature. Its third season featured the fallout from an explosive crossover with Hulu’s “Vanderpump Villa,” which follows Lisa Vanderpump, a former Bravo star, and her staff at various luxury European estates. MomTok stars Demi Engemann and Jessi Ngatikaura were guests on that show’s second season and got embroiled in drama with staff member Marciano Brunette, who alleges he had intimate connections with both women. The recent fourth season of “Mormon Wives” revisits the crossover, with some of the women’s spouses partaking in their own “Villa” getaway that fuels more drama.

Layla Taylor, left, Jessie Ngatikaura, Mikayla Matthews and Demi Engemann of “The Secret Lives of Mormon Wives” at the castle in “Vanderpump Villa.”

(Andrea Miconi / Disney)

Paul’s casting in “The Bachelor” universe continues the long-running franchise’s efforts to revamp as it ages, to mixed results. In 2021, the franchise cast its first Black male lead; last year, it entered the senior citizen dating space with spin-off “Golden Bachelor.”

After Paul posted a TikTok in June 2025 jokingly announcing her “bid” as a single mother looking for love, members of the company’s publicity department took notice and, before long, discussions began. When the idea to bring on a star outside the franchise was presented to”The Bachelorette” showrunner Scott Teti, he did some homework.

“Of course, I had heard of her — it’s hard not to hear of that name,” he says. “But I had to familiarize myself with it because I hadn’t watched her show. Instantly, you realize how honest and truthful she is, almost to a fault. Although she’s unrelatable in a lot of ways, with the attention she gets from media and social media … she has a layered story that I think is very relatable to a lot of people — being a single mother and not having success in past relationships and still really wanting to find love.”

He adds that though she was a “fish out of water” the first night, she found her way. “She made herself vulnerable and she finally let her walls down and made herself open to being in a relationship, finding someone,” he says. “At the same time, because she is used to doing things her own way, and not really caring what anybody thinks, that is what made it interesting. That is why this season is so big, and there are so many pivotal points in the season that will leave you on the edge of your seat.”

At least that was the plan.

Dressed in beige lounge pants and an oversize T-shirt adorned with mushrooms when we meet, Paul is affable despite her sluggish demeanor as she navigates the schedule demands in this window between “Mormon Wives” Season 4 and her debut as “The Bachelorette.” She pulls out her phone to share a series of TikTok videos that capture what she says is her current mental state — one features a man sarcastically talking about how he’d rather be petty than regulate his emotions. No stranger to finding a wide audience with viral videos, Paul sees the crossovers as “genius marketing.” But also acknowledged their potential challenges to #MomTok.

“I think it’s really cool to see all the different opportunities you can venture off into,” she says. “I think the con of that, with #MomTok, is that with all the opportunities, it kind of spreads us apart. We’re doing our own thing. It could break friendships. You’re getting envious. You get competitive.”

As the cast’s fame and opportunities grow, whether across Disney or outside of it — Leavitt, for example, is starring as Roxie Hart in “Chicago” on Broadway — the way to keep the series interesting is to incorporate all those moments into the show rather than pretend they live outside of it.

“We have not shied away from breaking the fourth wall,” says “Mormon Wives” showrunner Andrea Metz. “We have not shied away from talking about what is really happening with them. And I think that people like that. The trajectory of their fame and their stars rising has been very quick, but it’s also been really exciting.”

And the highs and lows are in full view, as this week proves.

Was she ready for ‘The Bachelorette’?

How all this might impact #MomTok — the power of their clique to withstand the various in-fighting and drama has become a perennial concern each season — is already playing out in the headlines.

Before recent allegations against Paul threatened the outcome of “The Bachelorette,” Paul’s entanglement with Mortensen had already cast doubt for some viewers of both franchises about whether she went into the dating series with any seriousness. The break between wrapping “Mormon Wives” and starting filming on “The Bachelorette” was one day. Paul admits she isn’t sure she was ready for the experience.

“I might not have been ready, but ready is a decision — just do it,” she says. “It was like a rehab, almost. It’s full detox. I had no contact — in no world does it happen with the co-parent. Whether or not I was ready, it was what was so needed for me, at the very least to just get away from it. And I wanted to find someone and love.”

“‘The Bachelorette’ is one of the hardest things I ever did,” she continues, “but also the most amazing things I ever did. I have my kids back home. I’m not just here looking for me. The emotional exhaustion was a lot. I’m dating 20-something guys. I am putting my all into one conversation after the other, every single day, all day. Your brain is just kind of fried.”

Then she considers a question that didn’t feel as prescient then: Does she feel like it broke the cycle she’s had with Mortensen?

“Yeah, I feel like it helped,” she says. “Obviously things — [we’re] within the process of the show, I can’t speak on it yet. But you’ll see it all unravel.”

Anxieties due to war. A culture inhospitable to LGBTQ+ communities. And an underpinning of loneliness and suppressed yearning.

The play “5 Lesbians Eating a Quiche” is set in 1956, but its themes resonate in 2026. The United States is at war. Attacks on gay marriage and other LGBTQ+ rights remain a cornerstone of today’s conservative movement. A reimagining of the 2011 production, one popular with universities and fringe festivals, seeks to further modernize the show in which a morning gathering quickly turns into a stay in a Cold War-era bomb shelter after near nuclear annihilation.

When I arrived at the back room of a Glendale church, I was given a new name. It was clear that “Todd” was not welcome here. “Joan” turned out to be a suitable replacement, and I was immediately asked how my life had been since my husband had died. For on this night I would no longer be occupying the role of a straight white male. Every audience member is asked to take on the persona of a widow, for losing a husband appeared to be a perquisite to enter this meeting of the Susan B. Anthony Society for the Sisters of Gertude Stein.

How did he die, I was asked. “Ski accident,” I blurted out. “Yours?” A camping travesty that led to a bear mauling, I was told. Ad-libbing, in addition to quiche, was on the menu tonight. Metaphors, absurdities and seriousness intermingle in this production from New Forms LA and directed by Marissa Pattullo.

Pattullo’s vision for “5 Lesbians Eating a Quiche” ramps up the interactivity, seeking to transform a largely traditional proscenium show, albeit one with a few moments of fourth-wall breaking, into one that is centered around audience participation. Staged in a flex space without a tinge of irony at the Glendale Church of the Brethren, “5 Lesbians,” written by Evan Linder and Andrew Hobgood, has been reconstructed as a largely immersive production, that is one that asks audiences to lean in and interact.

Jessica Damouni’s Ginny Cadbury devouring breakfast in “5 Lesbians Eating a Quiche,” a show that unfolds as a giant metaphor.

(New Forms LA)

While there is a small stage, it is used sparingly. The five-person cast roams the room, sitting at various circular tables to blur the lines between script and improvisation. Typically a svelte 75-minute show, on the night I saw the production it swelled to about two hours, allowing time for drinks, mingling and, of course, the eating of a quiche. Pattullo has added an intermission, with quiches courtesy of Kitchen Mouse and Just What I Kneaded included in the ticket.

For quiche, I was told often, was the primary topic of conversation at the Easter-timed meeting, so much so that it was clear within moments that this was a gathering not of breakfast enthusiasts but of the repressed. The hidden meaning is no secret; it’s in the title of the play.

“It’s a giant metaphor,” Pattullo, 30, says. The show, she adds, “keeps finding ways to make sense with the times, whether it’s Trump being elected, or we’re at war. Or gay marriage. All of those things. A bomb going off and being trapped inside. It speaks to whoever is watching it.”

Pattullo, who splits time building New Forms LA and serving tables at Los Feliz’s Little Dom’s, first discovered the show while in college in the Midwest. It immediately resonated, and Pattullo has been tinkering with ways to perform it live ever since. During the worst of the COVID-19 pandemic, she staged an online version of the show, and debuted it as an immersive production last winter. It’s back for two weekends this month.

“5 Lesbians” makes a relatively smooth transition to the immersive format. Perhaps that’s because the audience, in the script, is cast as attendees of the Susan B. Anthony Society for the Sisters of Gertude Stein’s brunch meeting, whose motto is “no men, no meat, all manners.” For about the first 30 minutes of the show we largely interact with the actors. Dale Prist (Nicole Ohara) has hidden ambitions. Vern Schultz (Chandler Cummings) seems ready for the group to cut its charade. Lulie Stanwyck (Noelle Urbano) is fighting so hard to stay prim and proper that she feels on the verge of bursting.

“I really like to play,” Pattullo says, referencing how “5 Lesbians” lends itself to improvisation. “Some of the girls I think are very ‘stick to the script.’ I’m like, ‘Stray from the script.’ If people come in late, call them out. If people are talking, call them out. You can adjust and improvise in immersive theater. Having a script but being able to break from it, is really fun for me. It tickles me.”

Wren Robin (Emily Yetter), Vern Schultz (Chandler Cummings) and Lulie Stanwyck (Noelle Urbano) protect breakfast in “5 Lesbians Eating a Quiche.”

(New Forms LA)

There’s an underlying tension in the show because it walks a line between silliness and graveness. Ultimately, “5 Lesbians” is about finding joy in dark times, and moments inspire uncomfortable laughter, such as jokes about gay marriage being legal in four years’ time (1960) or Ginny Cadbury (Jessica Damouni) devouring a quiche in a way that leaves nothing to the imagination. But it’s also a show about how stressful moments can bring about vulnerability and community, as the whole church practically exhaled when Wren Robbin (Emily Yetter) finally let her hair down and expressed who she truly was.

“Even when we did it back when I was in college, Trump had just won, so it just feels like it’s keeping relevant,” Pattullo says. The timeliness, she says, makes it such an amusing play to perform.

Pattullo will sometimes, depending on cast availability, take on a role in the show. It’s a chance, she says, to amplify the play’s wackiness, which she believes helps puts audiences at ease and makes its difficult subject matter easier to digest. She tries to create the most outlandish tale possible for when relaying to guests one on one how her husband perished.

“My story was a raccoon attack,” she says. “Because my husband thought the raccoon was behaving with foreign intent, like the raccoon was a spy or something. It was just stupid.”

Or it was evidence of how immersive theater can delight when it deviates from the script.

NBCUniversal is cutting “Access Hollywood” and several other of its daytime talk shows, effectively ending its first-run syndication business as daytime television atrophies.

The company confirmed that “Access Hollywood,” and its counterpart “Access Live,” will be coming to an end in September. The shows, produced in Los Angeles, are currently hosted by Mario Lopez, Kit Hoover, Scott Evans and Zuri Hall.

Talk shows “Karamo” and “The Steve Wilkos Show,” produced out of NBC’s facility in Stamford, Conn., are also shutting down. The programs have already completed their production for the season and will run through the summer.

NBC previously announced that “The Kelly Clarkson Show” is also ending later this year after seven seasons.

“The Steve Wilkos Show” ran for 19 seasons. The host is a former bouncer for “The Jerry Springer Show.”

Francis Berwick, chairman of Bravo and Peacock unscripted, said in a statement that the company will continue to distribute library episodes of its talk programs and network shows such as “Law & Order.” But NBCU’s days of launching series for daytime and the hour before prime time are over.

“NBCUniversal is making changes to our first-run syndication division to better align with the programming preferences of local stations,” Berwick said. “The company will remain active in the distribution of our existing program library and other off-network titles, while winding down production of our first-run shows.”

“Access Hollywood” was first launched by NBC in 1996 as a competitor to CBS Media Ventures’ “Entertainment Tonight.”

First-run syndication allows producers to sell TV shows to stations on a market-by-market basis, instead of distributing them through a single network. This model was a major success for talk show staples such as Oprah Winfrey and Ellen DeGeneres.

But streaming has pulled viewers away from traditional television, as viewers can watch their favorite shows and movies anytime on demand. The audience levels needed to generate enough ad revenue to support first-run programming in daytime no longer exists.

Many TV stations are filling their hours with more local news as daytime talk goes away.

By my count, Philip Glass has written 28 operas, the same number as Verdi. The count is iffy because Glass pushes the boundaries between what we tend to call opera and the fuzzier idea of music theater. His first, “Einstein on the Beach” in 1976 — a collaboration between the composer and the late, innovative theater maker Robert Wilson — is a non-narrative effusion of imagery, movement, music and text, each a brilliantly independent entity that somehow excites a hard-to-pin-down purpose.

His latest (and probably his last, Glass turns 90 this year) is “Circus Days and Nights” — a touching and thrilling opera for a circus and staged at a circus in Mälmo, Sweden, in 2021 — caps a wondrous 45 years of operatic advancement. You would have to go back to Handel’s 42 operas, Mozart’s 22 or Verdi’s oeuvre for operatic equivalence.

Glass’ subject matter varies widely in epochs and ethoses, from ancient Egypt to Walt Disney’s Hollywood. Taken as a whole, these 28 operas reveal how we got to be who we are historically, artistically, spiritually, politically and fancifully, often including more than one of those categories, as in his third opera, “Akhnaten,” which Los Angeles Opera has now remounted at the Dorothy Chandler Pavilion. The instantly recognizable musical style has remained, over the years, consistently abstract and refreshing. It doesn’t tell you how to think, how to feel, even how to understand. It simply grabs your attention; you do the interpreting.

Still, America knows little of Glass’ operatic enormity. The early “portrait” operas — “Einstein,” “Satyagraha” (about Gandhi) and “Akhnaten” (the 14th century BC Egyptian pharaoh) — appear in repertory here and there (meaning mostly in Europe) as do a trio of operas based on Jean Cocteau films. The rest remain little mounted, while several but not all have been recorded. The Metropolitan Opera, for instance, commissioned “The Voyage” in 1992 to celebrate the 500th anniversary of Columbus’ arrival in the Americas, but the epic opera is nowhere to be found in our semisesquicentennial year. It is sadly no longer even thinkable that “Appomattox,” Glass’ revelatory reminder of an America that once honored goodwill negotiation over political self-interest, return to the Kennedy Center, where its final version had its premiere 11 years ago.

L.A. Opera has been better than most American companies in its attention to Glass. It has excellently presented the three portrait operas on its main stage, beginning with “Einstein” in the final and most brilliant revival of the original Wilson staging. The “Satyagraha” and “Akhnaten” revivals have been the designed-to-dazzle inventions of quirky director Phelim McDermott, a co-founder of Impossible, an eccentric British theater company. When new in the last decade, they felt the most arresting productions of these operas since Achim Freyer’s in Stuttgart, Germany, in the early 1980s. Almost every performance at the Dorothy Chandler Pavilion has sold out.

John Holiday as the titular ruler in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.

(Ariana Drehsler / For The Times)

McDermott’s “Akhnaten” got the most attention thanks to breathtaking jugglers and lavish costumes, along with a touch of full-frontal novelty as Akhnaten gets clothed in his kitschy, glittery getup for his inauguration. Glass had chosen the pharaoh because he is thought to have been the first monotheistic ruler.

Akhnaten is revealed in episodes of his life that are not fleshed out but presented as ritual, including the ravishing love duet with his wife, Nefertiti. The revolutionary pharoah builds a great city and reduces spiritual chaos by focusing on a single-minded form of worship. He looks androgenous in portraits, which led Glass to create the role for countertenor.

The sung texts are in ancient languages, and there are no projected song titles. Instead, a narrator gives a somewhat notion of what’s what in the language of the audience, as is Akhnaten’s great aria, a hymn to Aten (god of the sun).

Ultimately, the pharaoh’s prescient spiritual optimism comes in conflict with the all-powerful establishment priests, who kill Akhnaten and Nefertiti. The opera ends with Akhnaten’s son, presumably Tutankhamun, restoring polytheism, and then, once the staging jumps millennia into the future, it’s rediscovered by modern-day tourists. The currency couldn’t be missed Saturday, the Shia cleric and Iran’s supreme leader Ali Khamenei having just been assassinated along with his wife at the start of America’s and Israel’s Iran war.

Sun-Ly Pierce as Nefertiti and John Holiday as Akhnaten in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.

(Ariana Drehsler / For The Times)

In the opera, it so happens, the ghosts of Akhnaten, his wife and mother, have the last word in a glorious trio.

When first performed at L.A. Opera a decade ago, the lavish production, co-produced with English National Opera, helped recover a neglected opera. In the meantime, “Akhnaten” has gone practically mainstream. The Metropolitan Opera, which also mounted McDermott’s production, released it on CD and DVD, winning a Grammy for best opera recording.

Since then, the choreographer Lucinda Childs, veteran of “Einstein on the Beach,” has staged a stunningly chic “Akhnaten” in Nice, France, that is available on YouTube. Last year, director Barrie Kosky created a sensation with his staging at Komische Oper Berlin, which starred American countertenor John Holiday.

Holiday happens to be the Akhnaten in the L.A. Opera revival, and he is magnificent. McDermott had built his production around the gracefully emotive Anthony Roth Costanzo, slight and luminous in voice and build and game for nudity. If Costanzo’s disarming enthusiasm for the role has been significant in mainstreaming “Akhnaten,” Holiday, who is a very different presence, may be the next step.

Although he can be a popularly gregarious crossover performer, here he suggests a ruler of profound, unflappable dignity, rather than vulnerability. His hymn to Aten is an exercise in majesty, an ode not just to the sun but to the expanses in which our solar system circulates.

In general, the singers class up the production. Sun-Ly Pierce as Nefertiti and So Young Park as Queen Tye add allure. The large cast of smaller roles and chorus is excellent. Zachary James returns as both Amenhotep III, Akhnaten’s father, and the engaging narrator who occasionally threatens to get carried away. McDermott had perfectly employed James as the droll animatronic Disneyland Lincoln in his animation-friendly, slightly goofy production of “Perfect American” in Madrid, where the opera premiered. Here McDermott’s inspired staging demonstrated that Glass’ forgiving personal portrait of Walt Disney makes it the quintessential Hollywood opera that no one dares bring to squeamish Hollywood.

Zachary James as Amenhotep III in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.

(Ariana Drehsler / For The Times)

Hollywood, however, is hardly squeamish when it comes to synchronized jugglers. For McDermott, they suggest somber ritual and were, in fact, known in Akhnaten’s Egypt. For the audience, they are a thrill a minute. For Glass, they may take on deeper meaning now that the circus is where he landed 26 operas later.

As for Finnish conductor Dalia Stasevska, making her L.A. opera debut, she keenly keeps score and bounding balls together with cinematic flair. Glass removed violins from the orchestra to achieve a dark, primordial orchestral sound along with pounding percussion. Stasevska finds light, color and action. She conducts for the moment. Picturesque wind instruments suddenly burst forth as if a flock of birds were flying over the pyramids. Solo brass can sound momentous. The percussion pounds like nobody’s business, opening the score up to all the implied emotion and glitter on an over-stuffed stage.

Childs’ exalted use of dance and Kosky’s dazzling theatrical imagination may have moved us into a sleeker, more sophisticated and paradisal Glassian realm, but the sheer passion McDermott and Stasevska bring continues its own attraction.

In the meantime, McDermott has worked with Glass on a theatrical show, “The Tao of Glass,” that has been seen in New York and will run throughout much of the summer in London. In a better world of Glass, it would be running alongside “Akhnaten” at the Ahmanson. But the Labèque sisters will be at Walt Disney Concert Hall at the end of the month with a two-piano program based on Glass’ operatic Cocteau trilogy. Also check out L.A. Opera’s several excellent podcasts on “Ahkhnaten” — the company has quietly become a leader in the medium.

Todd Meadows, a crewmember on one of the fishing vessels featured on the long-running reality series “Deadliest Catch,” has died. He was 25.

Rick Shelford, the captain of the Aleutian Lady, announced in a Monday post on Facebook and Instagram that Meadows died Feb. 25. He called it “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”

“We lost our brother,” Shelford wrote in his lengthy tribute. “Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.

“He worked hard, loved deeply, and brought joy to those around him,” he added. “Todd will forever be part of this boat, this crew, and this brotherhood. Though we lost him far too soon, his legacy will live on through his children and in every memory we carry of him.”

A fundraiser set up in Meadows’ name described the deckhand from Montesano, Wash., as a father to “three amazing little boys” who died “while doing what he loved — crabbing out on Alaskan waters.”

According to the Associated Press, Meadows died after he was reported to have fallen overboard around 170 miles north of Dutch Harbor, Alaska.

“He was recovered unresponsive by the crew approximately ten minutes later,” Chief Petty Officer Travis Magee, a spokesperson with the Coast Guard’s Arctic District, told the AP. The Coast Guard is investigating the incident.

Meadows was a first-year cast member of “Deadliest Catch,” the Discovery Channel reality series that follows crab fishermen navigating the perilous winds and waves of the Bering Sea during the Alaskan king crab and snow crab fishing seasons. The show debuted in 2005. No episodes from Meadows’ season has aired.

Deadline reported that the show was in production on its 22nd season when the incident occurred, with the Shelford-led Aleutian Lady being the last of the vessels still out at sea at the time. Production has subsequently concluded, per the outlet.

“We are deeply saddened by the tragic passing of Todd Meadows,” a Discovery Channel spokesperson said in a statement that has been widely circulated. “This is a devastating loss, and our hearts are with his loved ones, his crewmates, and the entire fishing community during this incredibly difficult time.”

Meadows is the latest among “Deadliest Catch” cast members who have died. Previous deaths include Phil Harris, a captain of one of the ships featured on the show, who died after suffering a stroke while filming the show’s sixth season in 2010. Todd Kochutin, a crew member of the Patricia Lee, died in 2021 from injuries he sustained while aboard the fishing vessel, according to an obituary. Other cast members have died from substance abuse or natural causes.

QatarEnergy has suspended liquefied natural gas (LNG) production following a drone attack, straining the global LNG market.

On Monday, Iranian drones struck two sites, according to Qatar’s Ministry of Defence: a water tank at a power plant in Mesaieed Industrial City and an energy facility in Ras Laffan belonging to QatarEnergy, the world’s largest LNG producer.

While no casualties were reported, QatarEnergy suspended the production of LNG and other products at the impacted sites for security reasons.

Why did QatarEnergy suspend operations?

The drone attacks hit the Ras Laffan complex, which is home to processing units for liquefied natural gas set to be exported.

The state-owned energy company was forced to declare what is known as force majeure, when a company is freed from contractual obligations in the event of extraordinary circumstances, such as a drone attack, according to Reuters and Bloomberg News, citing people familiar with the matter.

This comes at a time when intensifying sea battles between Iran and the United States, coupled with missiles flying over the region, have effectively choked the Strait of Hormuz, a strategic trade route. At least 150 vessels have dropped anchor, including those carrying LNG, in the strait and surrounding areas, according to Reuters.

Traffic in the strait for both LNG and oil has declined by 86 percent, with roughly 700 ships sitting idle on either side of the passage, according to the Anadolu news agency.

How will this impact the broader global LNG market?

Qatar’s LNG exports represent 20 percent of the global market. With fewer products reaching the market, LNG supply is down, causing prices to surge.

“Definitely an escalation overnight with pressure on energy infra in the Gulf,” said Rachel Ziemba, a senior fellow at the Center for a New American Security, a think tank.

The countries hit the most directly are Asian markets, particularly Bangladesh, India, and Pakistan.

China is the world’s largest importer of natural gas, but it gets the majority of its imports from Australia, accounting for 34 percent of its imports, according to the US Energy Information Administration.

Maksim Sonin, an energy expert at Stanford University’s Center for Fuels of the Future, however, said that while QatarEnergy’s decision would bring “volatility” to energy markets, he wouldn’t describe the situation as a “crisis” just yet.

“We will see near-term volatility in the LNG market, especially if infrastructure in Qatar and other hubs is damaged,” Sonin told Al Jazeera. However, he added, “I do not expect the 2022 gas crisis to repeat in Europe,” referring to the period following Russia’s full-fledged invasion of Ukraine, when many European nations tried to dramatically scale back their dependence on Russian oil and gas.

Which are the world’s largest LNG exporters?

Until 2022, Russia was the world’s biggest exporter of LNG, but its sales have plummeted since its war on Ukraine began.

Now, the US is the world’s largest exporter of LNG, followed by Qatar and Australia.

Will this add pressure on Europe?

While 82 percent of QatarEnergy’s sales are to Asian countries, the halt puts increased pressure on other markets across the globe, too, particularly in Europe.

In effect, a smaller supply of gas will need to meet the same global demand. As a result, gas prices have already started soaring: Benchmark Dutch and British wholesale gas prices soared by almost 50 percent, while benchmark Asian LNG prices jumped almost 39 percent, on Monday after the QatarEnergy announcement.

“Not good if Qatar stays offline for long, of course,” said Ziemba. The only silver lining for Europe: “At least the worst of the winter in Europe may be behind,” Ziemba pointed out.

The European Union’s gas coordination group will meet on Wednesday to assess the impact of the widening conflict in the Middle East, a European Commission spokesperson told Reuters on Monday. The group includes representatives from member state governments. It monitors gas storage and security of supply in the EU, and coordinates response measures during crises.

“This is the very lifeblood of the Qatari economy.” Qatar has announced it is halting liquid natural gas (LNG) production because of Iranian attacks on key facilities. Al Jazeera’s Zein Basravi explains the impact in Doha.

The benchmark European gas price, traded on the Dutch TTF hub, rose by as much as 45% to around €46 per megawatt-hour in early afternoon trading.

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UK natural gas prices also surged, with the NBP benchmark climbing sharply in tandem with continental markets.

High market volatility has driven sharp minute-by-minute swings.

The sharp increase follows US and Israeli strikes on Iran, which have heightened tensions in a region critical to global energy flows.

QatarEnergy announced early Monday afternoon that it had halted liquefied natural gas production linked to the giant North Field gas reservoir following an attack on its facilities, but gave no further details as to the extent of the impact on operations.

Strait of Hormuz disruption raises global concerns

A large proportion of the world’s energy supply comes from the Middle East, and before the announcement from Qatar, the seaborne oil and gas transport was at the centre of market fears.

The Strait of Hormuz, a narrow maritime passage largely controlled by Iran, is one of the world’s most important energy chokepoints for oil and LNG, including exports from Qatar.

Iran has moved to block traffic through the strait following the strikes, raising concerns about supply interruptions.

“In modern history, the Strait of Hormuz has never been actually closed, albeit a temporary slowing of traffic has occurred,” said Maurizio Carulli, global energy analyst at Quilter Cheviot.

He added that “about 20% of global oil supply transits through the Strait of Hormuz and 38% of seaborne crude oil trade.”

Carulli does not expect oil shipping companies to send through their vessels until “the military situation de-escalates”, due to the risk of ship damage or seizures, as well as temporary unavailability of insurance cover.

“Satellite data shows that oil tanker transit had virtually halted over the weekend, a precautionary measure by shipping companies,” he added.

Any sustained disruption could affect LNG shipments from Qatar, which supplies around 12% to 14% of Europe’s LNG imports.

Europe exposed to global competition

While Europe does not rely primarily on Qatari gas, analysts say the indirect impact could still be significant.

If supplies to Asia are disrupted, buyers there may seek alternative cargoes, increasing global competition for LNG.

This would likely push prices higher worldwide, including in Europe.

Qatar, the world’s third-largest LNG exporter after the United States and Australia, has become an increasingly important supplier to Europe since Russia’s invasion of Ukraine in 2022 forced European countries to reduce their dependence on Russian pipeline gas.

Low storage levels increase vulnerability

Europe’s relatively low gas storage levels have added to market anxiety.

Storage across the European Union is currently below 30% capacity as the winter heating season draws to a close, compared with around 40% at the same point last year.

Germany and France, the bloc’s two largest economies, are among the most vulnerable.

Germany’s gas storage facilities were 20.5% full as of Saturday, while France’s stood at 21%, according to data from Gas Infrastructure Europe.

Lower reserves leave countries more vulnerable to supply disruptions and price volatility, particularly if global LNG markets tighten further.

Qatar’s state-run energy firm says it has halted liquefied natural gas production after Iranian attacks, sending gas prices soaring in Europe, as Saudi Arabia announced it was temporarily shutting down some units of the Ras Tanura oil refinery located near the country’s eastern region after a fire broke out following a drone attack.

“Due to military attacks on QatarEnergy’s operating facilities in Ras Laffan Industrial City and Mesaieed Industrial City in the State of Qatar, QatarEnergy has ceased production of liquefied natural gas (LNG) and associated products,” the world’s largest LNG producer said in a statement on Monday.

Shortly after the announcement, natural gas prices in Europe soared by almost 50 percent.

Earlier, Qatar’s Defence Ministry said the country was attacked by two drones launched from Iran. “One drone targeted a water tank belonging to a power plant in Mesaieed, and the other targeted an energy facility in Ras Laffan Industrial City, belonging to QatarEnergy, without reporting any human casualties,” it said in a statement.

“All damages and losses resulting from the attack will be assessed by the relevant authorities, and an official statement will be issued later,” it added.

The Saudi Ministry of Defence, in reports carried by the state-run Saudi Press Agency (SPA), said two drones had “attempted to attack” the Ras Tanura refinery on Monday morning, and that a “small” fire had broken out after they were intercepted.

Footage verified by Al Jazeera showed plumes of smoke rising from the oil facility, located on Saudi Arabia’s Gulf coast. The ministry said the refinery “sustained limited damage”, but there were no casualties.

Ras Tanura oil refinery, one of the world’s largest oil processing facilities located near the eastern city of Dammam, has a capacity of 550,000 barrels per day. The facility is home to one of the largest refineries in the Middle East and is considered a cornerstone of the kingdom’s energy sector.

The attacks come as oil tankers have been piling up on either side of the Strait of Hormuz, through which about a fifth of the world’s seaborne oil and the bulk of Qatari gas flows.

The maritime disruptions and fears of a prolonged conflict have led to a sharp rise in global oil prices, which will have a significant impact on the global economy.

Iran has been launching retaliatory strikes, mainly targeting Israel and military facilities of the United States across the Middle East, after the US and Israel launched massive air strikes on the country.

In a statement published by SPA, the Saudi Ministry of Energy said some operations had been halted as a “precautionary measure” and that it did not foresee “any impact on the supply of petroleum products to local markets”.

Saudi Arabia had earlier said it would “take all necessary measures to defend its security and protect its territory, citizens, and residents, including the option of responding to the aggression” after Iran targeted the capital Riyadh and the country’s eastern region with strikes over the weekend.

The US, Bahrain, Jordan, Kuwait, Qatar, Saudi Arabia and the United Arab Emirates issued a joint statement on Sunday condemning Iranian attacks across the region and affirming their right to self-defence.

Rob Geist Pinfold, lecturer in defence studies at King’s College London, told Al Jazeera that Iran “knows exactly what it’s doing” by attacking the Gulf countries.

“These countries have less of an appetite for a fight because, at the end of the day, this is not their war. So, Iran is banking that they will want a ceasefire as soon as possible, that they will be pressuring the Trump administration. But we have no signs of that whatsoever so far,” he said.

Pinfold added that there seems to be a “show of force” and “of unity” coming from the Gulf states, at least rhetorically.

“They’re trying to get the message across that they are one and that they are united and that they are resilient,” Pinfold said. “But under the surface, there are profound disagreements here about how to engage with Iran and whether to engage with Iran at all.”

The lovely, funny “American Classic,” premiering Sunday on MGM+, is a love letter to theater, community and community theater. Kevin Kline plays Richard Bean, a narcissistic stage actor. He’s famous enough to be opening on Broadway in “King Lear,” but he has to be pushed onstage and is forgetting lines. After he drunkenly assails a hostile New York Times critic — caught on video, of course — he’s suspended from the play, and his agent (Tony Shalhoub) advises him to get out of town and lay low until the heat’s off, as they used to say in the gangster movies.

Learning that his mother (Jane Alexander, acting royalty, in film clips) has died, Richard heads back to his small Pennsylvania hometown, where his family — all actors, like the Barrymores, but no longer acting — owns a once-celebrated theater. To Richard’s horror, it has, for want of income, become a dinner theater, hosting touring productions of “Nunsense” and “Forever Plaid” instead of the great stage works on which he cut his teeth.

Brother Jon (Jon Tenney), running the kitchen at the theater, is married to Kristen (Laura Linney), Richard’s onetime acting partner, who dated him before her marriage; now she’s the mayor. Their teenage daughter, Miranda (Nell Verlaque) — a name from Shakespeare — does want to act and move to New York, as her mother had before her, but is afraid to tell her parents. Richard’s father, Linus (Len Cariou), is suffering from dementia, though not to the point he won’t actively contribute to the action; every day he comes out again as gay.

Across the eight-episode series, things move from the ridiculous to the sublime. Richard’s attempt to stage his mother’s funeral, with her coffin being lowered from the ceiling, while “Also sprach Zarathustra” plays and smoke billows toward the audience, fortunately comes to naught; but he announces at the ceremony that he’ll direct a production of Thornton Wilder’s 1938 play “Our Town” at the theater, to “restore the soul of this town.” (His big idea is to ignore Wilder’s stage directions, which ask for no curtain, no set and few props, with a “realistic version,” featuring a working soda fountain, rain effects and a horse.) Fate will have other plans for this, and not to give away what in any case should be obvious, the title of the play will also become its ethos, with a cast of amateurs, including Miranda’s jealous boyfriend, Randall (Ajay Friese), and ordinary people standing in for the ordinary people of Wilder’s Grover’s Corners.

The series has a comfortable, cushiony feeling; it’s the sort of show that could have been made as a film in the 1990s, and in which Kline could have starred as easily in his 40s as in his 70s; it has the same relation to reality as “Dave,” in which he played a good-hearted ordinary Joe who takes the place of a lookalike U.S. president. The town is essentially a sunny place, full of mostly sunny people, to all appearances, a typical comedy hamlet. But we’re told it’s distressed, and Mayor Kristen is in transactional cahoots with developer Connor Boyle (Billy Carter), who wants clearance to build a casino on the site of a landmark hotel. (Much of the plot is driven by money — needing it, trading for it, leaving it, losing it.) He also wants his heavily accented, bombshell Russian girlfriend, Nadia (Elise Kibler), to have a part in “Our Town.”

As in the great Canadian comedy “Slings & Arrows,” set at a Shakespeare Festival outside of Toronto, themes and moments and speeches from the play being performed are echoed in the lives of the performers, while the viewer experiences the double magic of watching a fine actor playing an actor playing a part. Kline, of course, is himself an American classic, with a long stage and screen career that encompasses classical drama, romantic and musical comedy and cartoon voiceovers; the series makes room for Richard to perform soliloquies from “Hamlet” and “Henry V,” parts Klein has played onstage. He brings out the sweetness latent in Richard. Linney, who played against her sweetheart image in “Ozark,” is happily back on less deadly ground (though she’s tense and drinks a little). Tenney, who was sweet and funny on “The Closer,” and who we don’t see enough of these days, is sweeter and funnier here, and gets to sing. (All the Beans will sing, except for Linus.)

As a comedy, it is often predicable — you know that things will work out, and some major plot points are as good as inevitable — but it’s the good sort of predictability, where you get what you came for, where you hear the words you want to hear, ones you could never have written yourself. “American Classic” is not out to challenge your world view in any way but wants only to confirm your feelings and in doing so amplify them. Shock effects are fine in their place — and to be sure there are major twists in the plot — but there is a certain release when the thing you’re ready to have happen, happens, whether it brings laughter or tears. Either is welcome.