relationship

Jelly Roll is taking a break from performing after a highly publicized split from Bunnie XO.

Last week, the “Save Me” singer paused his Salt Lake City concert to announce the hiatus. “This has truly been a lifetime experience for me,” Jelly Roll told the crowd at the Rice-Eccles Stadium, per Country Now. “And in a couple of nights, I go to Colorado Springs and do my last show for a year or two. I’m fixing to take some time off and heal. Thank you for the opportunity.”

The Grammy Award-winning country star (born Jason DeFord) and “Dumb Blonde” podcaster (Alisa DeFord) finalized their divorce last month after nearly 10 years of marriage.

The country music star filed for divorce from his wife in Tennessee’s Williamson County on May 18, citing irreconcilable differences. The announcement shocked country fans who had followed the couple through podcast appearances and acceptance speeches that painted a rosy picture of the pair’s relationship.

Jelly Roll’s the Little Ass Shed Tour concluded last week in Colorado after two months of shows; he also co-headlined several stadium concerts with Post Malone. The musician released his latest single, “Hands Up,” on June 24, followed by the music video on July 17, which was filmed at San Quentin Rehabilitation Center and incorporated inmates from the facility. Details on a forthcoming album have yet to be released.

Jelly Roll and Bunnie XO were regulars on the podcast circuit and spoke candidly about the ups and downs of their relationship. In Bunnie’s 2026 memoir, “Stripped Down: Unfiltered and Unapologetic,” she wrote about Jelly Roll’s 10-month affair in 2018 and her subsequent emotional unraveling.

The couple also has been open about their struggle with IVF in recent years. In a since-deleted podcast episode, Bunnie XO said the pair still planned to get pregnant post-split.

The creator of “New Girl” has a dark, twisty new show about a … female serial killer?

Since the end of her breakout sitcom, Liz Meriwether has imbued her sharp and charming brand of funny in network comedies like “Single Parents” and “Bless This Mess.” But she’s steadily embraced darker tones in her work — first, with the Emmy-winning Elizabeth Holmes biodrama “The Dropout,” then with last year’s FX miniseries “Dying for Sex,” a delicate dance between laughter and sorrow in its exploration of a woman’s commitment to live her best sexual life following a terminal cancer diagnosis. “Furious,” though, may be her darkest project yet.

Loosely inspired by the 1987 neo-noir “Black Widow,” which starred Theresa Russell as a serial killer who marries and poisons wealthy men for their inheritances, and Debra Winger as the investigator obsessed with tracking her down, the Hulu crime drama deepens the cat-and-mouse dynamic. It follows an FBI rookie and her search for a female serial killer seeking vengeance against the men who abused her as a teenager. And still, it manages to find moments of levity. The first three episodes are currently streaming, with new episodes released every Monday until the finale Aug. 31.

“I’ve just been loving trying different things with my writing,” Meriwether told me during a recent video call. “When this came up, I was like, ‘Oh, wow, a crime thriller, a serial killer show.’ It was so different than what I’d done before. It’s like the shows that I love, so I was excited to try to write one, somewhat naively. It’s funny because I would always roll my eyes a little bit when drama writers thought they could write comedy and then I found myself in the flip side of that being like, ‘Oh, this is so hard.’”

Check out more of my conversation with Meriwether in Guest Spot. And yes, as a devoted “New Girl” re-watcher forever trying to retain my Youths! status, I asked about about the reboot discourse that’s become its own comedy.

Also in this week’s Screen Gab, our writers recommend the return of a detective comedy that has its schoolteacher-turned-self-taught P.I. on another wild adventure and a Spanish-language limited series that takes place during the 1986 World Cup. — Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Diarra Kilpatrick as Diarra Brickland and Shannon Wallace as Chris in Season2 of “Diarra From Detroit.”

(BET / Paramount+)

“Diarra from Detroit” (Paramount+)

Diarra Kilpatrick (“Perry Mason”) created and stars in this smart, sparky mystery as a middle school teacher, also named Diarra, who turns self-described Black Nancy Drew when a man she was dating (Shannon Wallace as Chris) disappears. The new season, which sees the series folded into Paramount+ along with other BET+ series, finds them together again (retrospective spoiler alert: she rescues him at the end of Season 1), with issues — he’s got trauma to navigate, she’s sorting out her identity and desires — and mysteries still to solve, including the identity of the Chief, the city’s Mr. Big. The new season, which feels even more self-assured, picks up old themes of friends and family, as the search for a missing antique desk leads Diarra and friends and accomplices Aja (DomiNque Perry) and Tea (Bryan Terrell Clark) into fanciful new territory, including encounters with Black Freemasons and bikers, the history of Prohibition and a treasure hunt. Local food culture (Superman ice cream, coney dogs, Faygo) gets its due. The mix of suspense, romance and comedy is deft; small details keep the characters surprising and lifelike.— Robert Lloyd

Rafaella Lopez as Barbara, Ian Andrade as Salvador, Aldo Emiliano Navarro as Miguel, Damian Vergara as Tono and Regina Arroyo as Maria in “I’m Not Afraid.”

(Julieta Horak / Netflix)

“I’m Not Afraid” (No Tengo Miedo) (Netflix)

The dilapidated La Esmeralda coffee estate in Mexico’s Veracruz mountains is a lush, beautiful and spooky place — the perfect setting for a kidnap mystery. But in “I’m Not Afraid,” it’s also the wonderfully imperfect backdrop for a compelling tale about friendship and family bonds as seen through the eyes of a child. Set in 1986 during FIFA World Cup fever and a blight that’s ruined the region’s coffee crops, 10-year-old Miguel (played with depth and authenticity by Aldo Emiliano Navarro) first discovers boy captive Felipe (Yago Andreu) hidden and chained in and overgrown area that’s said to be haunted. He’s sure it’s the work of a witch spoken about in local folklore until it’s revealed his beloved parents may have something to do with the abduction. Poverty has driven them and the other families on the estate to make desperate choices. Adapted from Niccolò Ammaniti’s acclaimed novel by Ernesto Contreras (“The Secret of the River”), this six-episode series explores what happens when adults do desperate things in the hope of securing a better future for their children, but it’s the kids who end up saving the day. — Lorraine Ali

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Emmy Rossum as FBI agent Alice Black in “Furious.”

(Sarah Shatz / Disney)

“Furious” feels like a crime story for the Epstein age. The eight-episode psychological thriller stars Emmy Rossum as Alice Black, a troubled rookie FBI agent who left her job as an NYPD detective to escape a violent and traumatic relationship with a fellow cop. She gets enlisted to help track down a female serial killer, played by Lola Petticrew, whose targets are the wealthy men who exploited and trafficked her for sex. But the series isn’t as concerned with its ripped-from-the-headlines relevance. Over video call, creator Liz Meriwether discussed what she was interested in unpacking in TV’s latest addition to the crime drama genre and contributing to the red flag roles played by Jake Lacy. —Y.V.

The series is loosely based on the “Black Widow” film. But how much did current events, specifically stories surrounding Jeffrey Epstein and the powerful men in his orbit, inform what or how you wanted to explore here?

It really did start as a “Black Widow” adaptation. This female serial killer and this female FBI agent in this cat-and-mouse game that has this very weird third act, where they just end up hanging out together on a beach, being friends. I loved that part of it. In the midst of this very exciting female killer-female FBI agent crime movie, there was this story about two women connecting who don’t have anybody else really in their lives to connect with. I dug into that and quickly saw that if the serial killer was just a black widow like she is in the movie, that it wasn’t going to give me enough story for eight episodes. I did a lot of research about real-life female serial killers, which are pretty rare. Female serial killers are almost all victims of horrible violence at different times in their lives. That really got me going, OK, what does it mean if you’re a victim of violence and you start being perpetrator of violence? What are the things that we can forgive and understand, and what are the things that we can’t?

And yes, when I looked out into the wider world and current events and what I was thinking and feeling, I definitely scooped up a lot of a lot of stories that are out there. But it’s not the story of a specific predator. There’s a lot to choose from right now. It should feel relevant. It should have echoes of what’s going on out there. But I wanted the focus to be on these characters, not the men that did these acts.

The parallels between Alice and Catherine — what they each have survived and the different ways they deal with it — come into focus. What were you interested in exploring about the traumatic and lingering effects of abuse through these two women?

Initially, when we were casting Catherine, the question of age came up because all of my writer instincts were like, “Oh well, we need to have Catherine be very young and closer to when she was actually a victim of this predator.” But as I started thinking about it, I was like, I don’t think we’ve seen as many stories about the long-term effects of this violence. There’s no flashbacks in the show. I’m not interested in showing what was done to either one of them [Catherine and Alice]. I really was interested in the aftereffects.

I spoke to a social worker, a psychologist and a trafficking victim, which was one of the hardest conversations I’ve ever had, and also a beautiful conversation. Her name is Jay Benke, and she has an organization that helps people that have been trafficked. She made a really interesting point that stuck with me, which is that when these FBI agents and law enforcement officials build cases, they’re looking at putting the traffickers in jail; they’re not looking at what the people who have been trafficked need for their lives to heal. There’s also an amazing website that a lawyer pointed me to called thelifestory.org, which is videos from different people who’ve been trafficked telling their story — from their childhood, all the way through having been trafficked and then coming out — and it’s in the shape of a circle. Those two resources for me were incredible. On the Alice side of things, we tend to think of the experience of being a [domestic violence] victim as being much more cut and dry than it is for a lot of people. The victim’s relationship with violence and love is very complicated and violence and intimacy can become linked in their brain. It was something that I started to learn about in my research for “Dying for Sex” and continued on with “Furious.”

Lola Petticrew as Catherine in “Furious.”

(Sarah Shatz / Disney)

We see these very girly things, stickers and gemstones, that Catherine holds onto. It reminds us of her emotional or mental stasis.

I don’t know what Lola would say about this, but my thought about the character of Catherine was she was a bit trapped. The choice to go on the path of vengeance feels like a very active choice, but in some ways it’s really limited. It makes your whole life about what happened to you. I feel like Catherine’s story is about breaking out of that trap a little bit, almost trying to give her character a chance to to grow up in some ways. That was definitely a struggle for me going into this because I was like, how am I going to give a serial killer an emotional arc? Catherine is trapped and needs to put the pieces of her memory and her life together in order to move forward.

The thing I love in Episode 3 is the bag that Catherine puts on the bed. That was a big breakthrough for me for Catherine’s character in that her history is something that she’s had to piece together and hold on to, and there’s big gaps in her memory, so she holds on to these material objects in order to just feel like she’s a person. Then in looking at Alice’s character, we felt like she was the opposite in a lot of ways. She had run out of her life with Marshall and [did] not really bring that much. Her whole life is her job; her apartment is really bare.

I don’t mean to sound glib in regard to the subject matter, but you mentioned Marshall, played by Jake Lacy. Why has Jake cornered the market on playing toxic dudes who seem like nice guys?

I haven’t seen “All Her Fault” yet — it’s something that I really need to see. He’s extraordinary in the show [“Furious”], and I had a long conversation with him before he signed on. It’s a very tricky part to play. It was very important to me throughout the process that none of the characters were easily put into bad or good categories — hopefully, we’re constantly making the audience question their feelings and their judgments about people. There’s an incredible documentary called “A Better Man” that is impossible to find. I had to pay like $50 to rent it. It’s this couple that dated when they were in high school, and he was abusive toward her. She got out of the situation, and they’re coming back in their 30s, meeting again and talking about what happened. It’s an unbelievable documentary. I had Jake watch it because I really wanted him to think about Marshall as a human. He really contributed to that, and you can see it in his performance. He’s [Jake’s] a very nice guy.

You know I can’t let you go without mentioning this “New Girl” reboot — or at least the talk of it. It’s become a bit at this point — Lamorne Morris and Jake Johnson pointing fingers at each other. You posted a video on Instagram confessing to sending explicit messages that have caused some tension.

In some ways, I feel like the videos and the interviews and stuff is maybe better than a reboot. If we can see that as the reboot, maybe that would be good for everybody. [The video] came from me getting this question from journalists during the [“Furious”] junket, It was like Hour Eight of the junket, and my brain just disappeared, and I started talking like a stream of consciousness — like I don’t have any more stories to tell or something. And then I went home that night and texted the cast and I was like, “I really messed up the question.” It had been this running joke on our text threads about how they just constantly blame each other, but a lot of the times they blame me like I’m the one that’s like holding up the reboot. I find it so annoying, but then I like answered this question in a horrible way, and then I was like, “Oh, I am going to be the one who has to answer to this.”

If it does happen, it’s going to be a really dark “New Girl” reboot, given the tone of recent projects.

[Laughs] I don’t even know if fans would want what would come out of me at this point.

Last question: What have you’ve watched recently that you’re recommending to everyone?

I love “Taskmaster” [YouTube, Pluto TV]. It’s the thing that brings me joy when I need it and so I always recommend that to everybody — but with the caveat that you have to love British humor. If you love joy and British humor, I highly recommend “Taskmaster.” And Kumail [Nanjiani] was on this last season, which was like really fun.

I’m very behind. “Widow’s Bay” [Apple TV] is No. 1 on my list. I need to watch it. I love Katie [Dippold, the show’s creator] so much.

ICYMI

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A LOVED-UP Pete Wicks has made a rare romantic comment amid his Olivia Attwood relationship – just a week after they went official.

The couple have been trying to keep their relationship under wraps for months, but thrilled fans recently when they finally hard launched their romance.

In the latest episode of his latest Staying Relevant podcast that he co-hosts with best pal Sam Thompson, 33, a smitten Pete, 37, talked about what makes him happy in a relationship.

The usually gruff reality star was asked what his “love languages are”, to which he replied: “Mine I would probably say are physical touch, quality time, and acts of service.”

Co-host Sam then agreed, and said that his was also “physical touch”.

The latest revelation comes just a week after Pete and his girlfriend Olivia, 35, FINALLY went Instagram official.

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Olivia Attwood wades into Lee Andrews mess & shares warning she gave Katie Price

The couple had been keeping fans guessing ever since the beginning of the year, but had been spotted out on several cosy dates.

It came when the former Towie star flew out to Ibiza as Olivia filmed a new series of her show, Bad Boyfriends.

Loved-up Pete then shared a series of black and white shots, which saw them cuddled up together.

In a perfect hard launch, he captioned the snaps with: “I guess someone has to go first…IBIZA” followed by a black heart emoji.

Best pal Sam was quick to comment: “Never thought I’d see the day YOU hard launch!! couldn’t be happier for you brother.”

Their romance started after Olivia revealed she had split from her husband Bradley Dack, 32, at the beginning of the year.

An aide involved in an affair with Gavin Newsom more than 20 years ago, when he was mayor of San Francisco, detailed their relationship and her journey to sobriety in an essay published by Vanity Fair on Tuesday.

Although Ruby Rippey, 54, has spoken previously about her relationship with the now-governor, her first-person essay offers the most intimate description yet of the affair. It comes at a time when Newsom is wrapping up his final year as California governor and considering a presidential run in 2028.

Rippey, who had worked as Newsom’s appointments secretary, was married to Alex Tourk, the then-mayor’s close friend, campaign manager and prior deputy chief of staff, when the affair became public in 2007. Tourk resigned after Rippey told him that she had been sleeping with their boss, she writes.

At the time, Newsom was newly divorced from Kimberly Guilfoyle and he apologized in front of a gaggle of reporters who packed his office for a news conference, admitting “everything you’ve heard and read is true.” Later, he said he was seeking treatment for alcohol abuse.

In the essay, Rippey details that the affair with Newsom happened when she was a new mother and when her drinking, which had been a problem before the relationship, spiraled out of control.

Rippey writes that their relationship began in July 2005 after a wedding at a Napa Valley estate and spanned months, with intermittent sexual encounters until she entered rehab in May 2006.

They met at his penthouse in San Francisco’s Russian Hill neighborhood, at a private back room in a bar in North Beach and at the W Hotel in Los Angeles, she writes.

“We meet and we drink. There is sex, but it isn’t the point. The point is proximity — to power, to being chosen, to feeling newly visible — no longer muted by pregnancy, by new motherhood, by the strain of white-knuckling long stretches of sobriety,” she writes. “It isn’t love. It isn’t romance. It’s intoxication.”

Izzy Gardon, a spokesperson for the governor’s office, said on Tuesday that Newsom acknowledged his role and publicly apologized for the affair nearly two decades ago.

“In the time since, he met his wife, started a family and has focused on serving Californians. He addressed this chapter of his life, including in his memoir, and out of respect for everyone involved, does not have anything further to add,” Gardon said.

The affair occurred while Gavin Newsom was mayor of San Francisco.

(San Francisco Chronicle / Hearst Newspapers)

Newsom faced renewed criticism for the affair during the 2018 governor’s race amid a larger reckoning over sexual misconduct in politics, corporate America and Hollywood. But Rippey has said she doesn’t see herself as a victim of a powerful man.

“Yes, I was a subordinate, but I was also a free-thinking, 33-yr old adult married woman & mother. (I also happened to have an unfortunate inclination towards drinking-to-excess & self-destruction.),” she wrote on Facebook at the time.

She still doesn’t place blame on the governor for what happened, but noted in her essay that in the post-#MeToo era she came to realize that her then-boss had a responsibility to “hold the line.”

“That didn’t happen. But I didn’t stumble into the space left open — I saw a possibility and went for it,” she writes. “Both things are true: I am responsible for what I did. Power does not distribute consequences evenly.”

For Newsom, she writes, the affair is merely a “footnote in a longer arc of ascent. For me, it is the fracture that split my life into before and after.”

In his memoir, “Young Man in a Hurry: A Memoir of Discovery,” published this year, Newsom acknowledges the liaison with Rippey, describing it as “the briefest of affairs.”

He also writes that he admitted the betrayal to Tourk, a detail that Rippey takes issue with in her essay. She says she was the one who first broke the devastating news to her husband via email while she was at her parent’s house in Napa and he was home in San Francisco with their young son.

“But resentment is a luxury I can’t afford,” she writes. “Instead, I return to gratitude, not for the affair, not for the pain I caused Alex, but for the totality of what followed. I required something catastrophic to change direction. Something that made the cost of going back — of drinking again — unthinkable.”

After the affair, Rippey and Tourk divorced but continued to co-parent their son, who is now an adult. She’s been sober for 20 years, she writes, remarried and now has a son with her second husband.

“The damage was mine,” she writes at the conclusion of her essay. “But so is the life rebuilt in its wake.”

Times staff writer Taryn Luna contributed to this report.

OLIVIA Attwood’s plan to beat Pete Wicks’ ‘friends to lovers’ curse has been revealed as the couple’s romance becomes ‘special and serious’.

Pete, 37, has long been close to various high profile women, but it seems his relationship with ITV golden girl Olivia, 35, is far different from the rest.

Pete and Olivia’s eight-year-long friendship has recently developed into a romantic relationship, and there’s a clear sign that she is keen to protect herself from the “friends to lovers to exes” arc that Pete has often become embroiled in.

In a bid to ensure their relationship doesn’t end in the same way as his splits from other high profile women, Olivia has protected herself by doing one key thing.

Olivia hasn’t hard-launched Pete on social media, and is clearly letting him do all the leg work – with her keen to focus on herself, her career and the empire she is building.

Although there have been very subtle hints here and there, like when they went on a staycation together, and when they walked their dogs in the same place – Olivia has been reluctant to reveal, outright, that they are in a relationship.

LOVED UP

Pete Wicks opens up on ‘magical’ holiday with Olivia Attwood after passionate snog

LIV-ING LIFE

Olivia Attwood strips to pink bra & thong as she makes cheeky joke to stylist

Pete hard-launched their relationship on July 16, with Olivia not returning the favour with a blatantly obvious post since.

Unlike Liv, he’s also spoke candidly about his romance – with his pal Sam Thompson on their Staying Relevant podcast.

Last week, Sam cheekily asked Pete: “You were on your holidays?”

“Yes, I hadn’t seen Liv for two and a half weeks, so I went to see Liv,” replied Pete.

He quickly added: “Don’t make this a thing,” with Sam jokingly feigning shock.

“So I went to see Liv, it was wonderful to see her, been two and a half weeks. We had a fabulous time. I have really hurt my back because I was backflipping off boats.

“We went for lovely dinners, we went to clubs, we drank a lot, it was magical in probably the best way to describe it.”

Olivia has however only posted a video on TikTok, which features her and Pete’s dogs being fed on a rooftop, with Pete’s tattooed arm coming into shot momentarily.

She also shared a photo of their dogs together on her Instagram stories, which Pete reposted to his and penned: “Hard launch no.2.”

Speaking to The Sun about Olivia’s decision to keep things as private as possible, a source revealed: “What they have right now is special.

“Because her other relationships have played out so publicly, she’s making a conscious effort to keep it close to her chest.

“She’s aware that in the industry she’s in, people want to know details, but this time she wants to keep something back, to herself.

“It’s serious and a more grown up relationship.”

In contrast, PeteHe has also said rather a lot about Olivia, which is something he would never normally do with girlfriends.

Throughout his several years of fame, Pete has gotten close to a number of stunning reality stars.

In his days on The Only Way Is Essex, Pete was close to Chloe Sims, with them publicly known as “best friends”.

Pete and Ella Rae Wise also had a close bond on Towie, with them even referring to one another as “special friends”.

He also struck up a very close relationship with Maura Higgins, which transitioned from a long-time friendship into a private romance.

But they parted ways after she publicly spoke about their romance while appearing on I’m A Celebrity, and later worried that he might have been “messing around behind her back”.

Meanwhile, Olivia was in a relationship with Bradley Dack for an on-and-off period of 10 years, from when they first met in 2015 until their final split in January 2026.

Olivia and Pete met in 2017 at the Specsavers Awards in London, which was six years before she married Brad.

On the night she and Pete met, they were seated at the same table and spent the entire night chatting and joking around.

They remained friends for years before they launched their radio show, The Sunday Roast, on KISS FM.

But things heated up between them in 2025 when they went on holiday to Ibiza, and people started to get suspicious of their bond.

At the time, photos emerged of Liv and Pete looking close and cuddling on a yacht, which sparked rumours they were more than friends.

It was later revealed, following Olivia’s marriage split, that Bradley had long suspected something.

“He’s suspected things for the past year but she’s always denied it,” a source told The Sun in March 2026.

When cosy pictures of the pair on an Ibiza yacht trip first sparked rumours of something more than friends, Olivia brushed off speculation by saying: “I think it’s to be expected when you’ve got two straight people working together.”

She added at the time: “It happened when I first joined Towie and Pete and I became very close. We spent a lot of time together and there was a rumour mill spinning back then.”

Olivia had always downplayed her friendship with Pete, and even branded him “repulsive” two years before they got together.

Speaking on Olivia’s podcast Olivia’s House with her ex Bradley, the pair discussed some of the listeners’ dilemmas.

One listener shared how they were worried about how their boyfriend was texting one of their female friends every day.

Olivia shared her thoughts on the situation and said: “I am very sceptical about female and male relationships when they are both straight.

“I just feel like one side would always let it be more.

“One exception to this rule is Pete. No because we both find each other repulsive.

“But at the same time, Pete and I are friends. We don’t talk every day.”

She added: “I don’t like it personally.”

Love Island fans have been left furious after dramatic scenes played out between Aidan and Priya and he tried to salvage his relationship with her after his “disrespectful” comment

Love Island fans have been left furious after dramatic scenes played out between Aidan and Priya. The couple had been going strong on the ITV2 reality dating show, but things went awry when Aidan made a comment about his significant other, claiming that she “pounced” on him when they were in bed.

The property broker, 23, came under fire from the public and his fellow contestants for the way he spoke, and swept the board on Wednesday night’s episode during the Graftie Awards, scooping up publicly voted titles of Flirtiest Performance, Plot Twist Award, and Raunchiest Moment.

After it all played out, Priya and Aidan had a heart-to-heart about where they are at as a couple as they went on their first date, with Aidan trying to explain that he doesn’t necessarily have feelings for the business development manager, 25, but still hopes to build some sort of future with her.

Speaking about his comment directly, she told him: “It makes a girl feel a certain type of way… it’s nasty.”

Later on, around the makeup table, the girls tried to persuade Priya that Aidan’s comment was “disrespectful” and opined that he would never have said it if he really did love her.

Taking to X, one fan said: “this series is just a priya humiliation ritual atp, and another said: “Priya… Calm down!”…. SORRY!???? Aidan bro dont piss me off”

A third wrote: “I’m sorry but Priya is not in the wrong. What Asian said is digusting.” A fourth said: “you definitely did deserve them aidan”

Other Islanders, including Jasmine, have accused the couple of being “fake” and viewers certainly had a lot to say about that as well.

One said: “Why can’t we vote couples out? I am so sick of mica and samraj and Aidan and priya they really don’t need any more time in there blowing their own horns saying there still there. ITS CAUSE WE CANT PUBLICLY VOTE.”

Another said: “Jas I like you but Julia’s opinion has f*ck all to do with her wanting to see Aidan and Priya together. We can all see that their connection isn’t real by the way Aidan carries himself. Please REST.”

Another said: “Jasmine wants Aiden’s validation so bad and it’s so disgusting to watch. This is a well educated woman embarrassing herself on live TV for bunch of losers. “

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NEW YORK — The WNBA has grown at an exponential rate during Cathy Engelbert’s tenure as commissioner, a stewardship that at times has been tumultuous during her nearly seven years at the helm.

Engelbert, the second-longest tenured WNBA president or commissioner, helped negotiate a transformative collective bargaining agreement this past spring that gives the WNBA its first core of million-dollar player salaries.

“There’s not a lot of jobs where you can make over 30-plus millionaires instantly, right?” Engelbert said in a phone interview with the Associated Press heading into this weekend’s WNBA All-Star festivities in Chicago. “It just doesn’t exist in most companies, except if you’re like a stock-option company, and your stock does really well. Most of them are under the age of 30 and there are more to come.”

Even with the financial gains, the WNBA’s growth has come amid a strained partnership between the commissioner and players. Engelbert has been criticized for how she has handled various situations, including for being out of touch or not doing enough to help combat social media vitriol.

Engelbert will meet with the executive committee of the players’ union on Tuesday to discuss the recent uptick in online hatred and threats directed toward players.

New York Liberty All-Star Breanna Stewart, vice president of the WNBA players’ union executive committee, said there is a respect for Engelbert among the players, just not much of a relationship.

Her Liberty teammate, Sabrina Ionescu, said she talks more to NBA commissioner Adam Silver than Engelbert.

WNBA business is booming

While the commissioner continues to try and strengthen her relationship with players, the business of the WNBA has thrived.

Engelbert was involved in talks that led to a record media rights deal worth over $3 billion. The league has had record ratings, attendance and team valuations, and will expand to a record 18 teams by 2030.

“We’ve been in hypergrowth mode now for two or three years and companies, if you look back in time, you are not in hypergrowth mode forever,” Engelbert said. “We’re preparing ourselves now for the next version of ourselves, which probably isn’t as hypergrowth.”

From a business standpoint, though, the league has grown, including navigating the coronavirus pandemic that could have crippled the WNBA.

“Give Cathy credit, as she advocated for the season,” Seattle Storm owner Ginny Gilder said. “We had no idea what was going to happen. People had to make decisions. Cathy pushed the Board of Governors to not only have a shortened season, but to fully pay the players. Don’t bicker. We were going to figure out the finances.”

Expansion fees have gone up five-fold over the past few seasons. Golden State paid $50 million to join the league and Cleveland, Detroit and Philadelphia — all joining the league over the next four years — each paid $250 million.

“Look at the financial side in such a short period of time — Cathy with all the work she did and the staff she hired deserves a tremendous amount of credit for that,” Gilder said. “If you look around the league from 2015 to 2020 to now, you know it is a completely new day.”

Valuations of teams were around $5 million to $10 million a decade ago and now the average is around $460 million, Engelbert said.

“When you’re CEO, when you’re commissioner, you’re going to have good days and bad days. But if you just looked at the overall scorecard, you’d have to say we’re doing great,” Washington Mystics owner Ted Leonsis said.

More endorsements for WNBA players

It’s nearly impossible to turn on a major sporting event over the past few years without seeing a WNBA player featured in a commercial. From Gatorade to State Farm, Nike and CarMax, product ads feature some of the league’s top newsmakers, including Caitlin Clark, Angel Reese, A’ja Wilson and Sabrina Ionescu.

Engelbert said when Clark was drafted, it created a “domino effect, because they started seeing the value of putting players in their ads and then separately endorsing the players. I’m really proud of that because when I came to the league, absent a few sneakers ads, I don’t remember any players in spots. Maybe there were a few.”

The commissioner has seen the trend continue with younger players coming into the league, including Paige Bueckers, Azzi Fudd and Olivia Miles.

“Everybody sees the W is here to stay,” the commissioner said.

The commissioner’s future and what’s next for the WNBA

Engelbert deflected questions about her future other than to say she’s turning 62 this year and that was the mandatory retirement age at her old job at Deloitte, where she was the president.

“I haven’t given it a ton of thought. We’ll think about it,” Engelbert said of how long she will stay in her current role, adding she is “focused on the whack-a-mole that is our season. I always tell people don’t focus on me, focus on the rest of my team.

“You always want to leave an organization better than you found it. Internally we’re proud of the team we’ve built.”

Silver said in Las Vegas that he supports what Engelbert is doing.

“I think Cathy continues to do a strong job building that league,” the NBA commissioner said. “We’ll have ongoing discussions about what the future looks like.”

With media rights stable for the next decade as well as labor peace achieved and expansion finished for the immediate future, Engelbert said her list of priorities includes a look at officiating, with WNBA referees finding themselves at the center of questions from frustrated players, coaches and fans. She also wants to help teams with lower attendance improve those numbers, and expand the league’s international footprint.

Feinberg writes for the Associated Press.

SINCE stepping out of the stand-up spotlight, Johnny Vegas has embraced a calmer life running an antiques business – and now his long-term partner is getting involved.

In a new interview, the Benidorm star has opened up about Vikki Jones in a rare glimpse int his love life.

Johnny, 55, has been dating Vikki for three years and says the pair love working together.

He told The Times: “They say never work with your partner, but it’s great. She and Bev make fun of me most of the time.”

Bev is Johnny’s self-described “long-suffering” childhood friend and assistant, who appears alongside him in his Quest series Johnny Vegas’ Little Shop Of Antiques.

Explaining why he rarely speaks about Vikki publicly, Johnny said: “I wasn’t keeping it under cover, but I don’t share much about it on social media.”

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His antiques venture, Vintage Vegas, began as a pop-up shop at Dagfields Craft and Antique Centre near Nantwich, Cheshire.

It featured in his eight-part TV series, which followed Johnny and Bev as they hunted for unusual treasures to sell.

Johnny describe his business venture as “collectable things of all sorts, really.

“I have a very dangerous bit of knowledge on lots of things. I couldn’t tell you about 18th-century furniture or anything, but I have to think I like it and hopefully I have an eye for this stuff.”

The Benidorm star admitted he was initially unsure whether customers would visit just to get a selfie.

He said: “It’ll be an interesting experiment to see if people come in not just to see me.

“We’ll find out if it’s viable down the line when the circus has left town, so to speak. We’re learning as we go. I never thought I’d see myself as a shopkeeper.”

Johnny has also opened up about stepping away from stand-up comedy after years of struggling with nerves.

He said: “Stand-up was great, but it was manic. The nerves took their toll. Never say never, but I just see that as a project that needs to rest.”

Johnny was previously married to Kitty Donnelly from 2002 until 2008, and they share an adult son, Michael.

He wed his second wife, Irish broadcaster Maia Dunphy, in 2011.

The former couple, who share 11-year-old son Tom, announced their separation in 2018 and later briefly reconciled before splitting again.

It feels like the World Cup started only yesterday, but we’re quickly approaching the final between Spain and Argentina on Sunday. Even if soccer isn’t a sport you typically watch, it was hard not to get sucked into the enthusiasm of the game and cheer for the teams, whether you had a connection to a particular country or not. If you’re among the viewers who are going to feel a little melancholy after it’s all over, you’re not alone. Culture critic Mary McNamara has been enthusiastically following the matches, and if you’re feeling more globally minded as a result, she came up with a list of international TV shows to watch when the the World Cup is over.

My colleagues at De Los, who, like many of us, have been watching the matches on Telemundo (I count myself among them), might be following up their World Cup viewing with some episodes of “El Señor de los Cielos,” the network’s long-running series starring veteran Mexican actor Rafael Amaya. The ads for the show have been a constant between timeouts and matches, and I’m intrigued. And I’ll admit the racy ads for “El Turco” also caught my eye — Telemundo knows exactly what it is doing.

And as the global event winds down, if you’re still hankering to watch something sports related, you’re in luck because Netflix released its latest comedy starring Will Ferrell, “The Hawk,” in which the comedic actor plays Lonnie “The Hawk” Hawkins,” the greatest golfer in the world. The series, which Ferrell created with longtime collaborators Harper Steele and Chris Henchy, reunites him with fellow “Saturday Night Live” alums Molly Shannon and Chris Parnell. However, the person you’ll see him most with onscreen is his co-star Fortune Feimster. The stand-up comedian and actor dropped by Guest Spot to chat about the new series, her experience with golf and what it was like to go toe-to-toe with Ferrell, one of her comedy heroes.

Also in this week’s Screen Gab, our writers recommend a romance horror film that set the internet ablaze earlier this year and a classic British spy series. — Maira Garcia

Turn on

Recommendations from the film and TV experts at The Times

Inde Navarrette stars as Nikki and Michael Johnston as Bear in “Obsession.”

(Focus Features)

“Obsession” (Peacock)

After earning $428 million worldwide at the box office (on a $750,000 budget) and sending shock waves through Hollywood, the cautionary love story in this romance horror film hits streaming. Directed by YouTuber-turned-horror-auteur Curry Barker, the film follows Bear (Michael Johnston), a shy, hapless guy who, after being unable to summon the courage to confess his feelings for friend and co-worker Nikki (Inde Navarrette), dubiously turns to a one-wish willow toy and hopes for her to “love him more than anyone else in the world.” And, well, the results are chilling — in large part due to Navarrette’s ability to go from completely charming to completely frightening with just her face. If you want to understand some of the online discourse the film has ignited — what it says about consent, its plot holes, whether it’s worthy of the hype or just what the heck was up with that walking backward moment — here’s your chance to see what all the fuss is about. — Yvonne Villarreal

Patrick McGoohan stars in the 1967 TV series “The Prisoner.”

(ITC Entertainent)

“The Prisoner” (Criterion Channel)

The 17 episodes of “The Prisoner,” Patrick McGoohan‘s 1967 existentialist, anti-authoritarian, anti-nationalist, mod-a-go-go avant-garde ode to individualism, have been given a deserved berth in the cinematic pantheon that is the Criterion Channel, looking clean and crisp and immediate. Created in an era rife with screen spies — including the one creator-star McGoohan had previously played in the show aired here as “Secret Agent” — its hero is a British operative who resigns his job in the opening credits, only to find himself imprisoned in a fanciful seaside village — a kind of Baroque hilltown impression of a holiday camp. His unidentified jailers believe there must be a darker reason for his resignation and spend the series attempting it to extract it with elaborate charades, gizmos and gadgets, while our hero spends it trying to bring them down and/or escape. (A giant floating white ball provides creepy security.) Unwilling to bend, impossible to break, McGoohan at once upends the James Bond mythos and provides a dashing hero, clever, witty and terribly attractive. — Robert Lloyd

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

In “The Hawk,” Fortune Feimster plays Sam, who becomes the caddie for Lonnie (Ferrell).

(Colleen E. Hayes / Netflix)

“The Hawk” gives us a tour of the golf world through the eyes of the titular Lonnie Hawkins (Ferrell), whose better days in the game appear to be behind him. With his trusty caddie Old Henry (Keith David) by his side, he’s feeling like things are looking up — until Old Henry dies suddenly. Lonnie is heartbroken, but he’s not deterred, choosing to continue his ambitious return to the PGA Tour, leading him to be extremely late to Old Henry’s funeral and making a disastrous entrance.

But who will be his new caddie? Enter Sam, played by Feimster, a drifter Lonnie meets in a Walmart parking lot when he pulls over his tour bus. Sam’s late-model Cadillac is broken down in the parking lot, but that doesn’t get her down. Lonnie and Sam strike up a fast friendship, and before you know it, she’s driving his bus and working as his caddie on the course, encouraging him as he goes up against foes like Golden Fisk (Luke Wilson), Anton (Parnell) and even his own son, Lance (Jimmy Tatro), with whom he has a difficult relationship. Her methods are unusual — Sam doesn’t know much about golf, but their mutual love of fast-casual dining and pickles (a running gag in the show) gets them through.

“I’m excited for people to see another big broad comedy,” she says about “The Hawk.” “You know, we need to laugh. That’s what’s been missing, I think, from our current times is we need some more laughter, some more levity.”

The actor spoke about hers and Ferrell’s onscreen friendship, which has become a real-life friendship thanks to their mutual love of sports, how a silly musical moment in the finale came together and why you might see her and interior designer Jeff Lewis together again soon. — M.G.

I feel like a lot of your comedy has some sensibility of who you are as a person and where you come from — the South. How did you relate to Sam in this series?

The heart of Sam was something I really responded to. I love that this was a really silly, wacky character where I got to show off the broad comedy that I often enjoy doing. But I appreciated the trajectory of the character, that they allowed me to have this range where I got to show emotion and be disappointed and angry and just go through a mix of emotions as an actor. That was a really cool road to get to go down. But I love the heart that she had. And I think that’s something that I try to incorporate in my own life, positivity and cheering people on and that belief in people that they can do it.

How much did you know about golf before taking role?

Not much, honestly, other than a few rounds at Top Golf. [Laughs] I’m a sports gal. I love sports. I played sports my whole life, but for whatever reason, golf was the one sport I did not partake in … I even played college sports. This was the one I didn’t have much knowledge of, but luckily my character did not need any knowledge of golf. It almost was beneficial that I did not know what I was talking about. So when Will’s character needed a club, and I had no clue which one it was, that was all very real.

Do you think the show helps make golf more relatable? Golf is presented as a highbrow sport, but Sam and Lonnie, they’re grounded. He found Sam in a Walmart parking lot.

I definitely think it makes it more palatable for people that aren’t familiar with that world. I think that’s why you start rooting for this character, because he’s the outsider that doesn’t necessarily fit in that world. You kind of like that chaos that he brings to this very posh, very put-together sport. That’s why I think you find a lot of comedy in the juxtaposition of that. Comedy’s all about tension and release, and you have a lot of tension with that stuffy golf world and that competition, and then the release is this fun comedy, ridiculous people, crazy outfits — it’s fun to watch the two worlds collide.

I’m so glad you mentioned crazy outfits because there’s this scene where Sam gets herself a leather suit as a reward. Was it hot to wear?

As a comedian, the suit was incredible because it was so ridiculous. And of course, my character would waste her money on something like that right away instead of being responsible with it and saving it. As an actor, that suit was so, so hot. We were filming in the hottest parts of the Valley of L.A. and they did everything they could to make it not just like … my body sweated every two seconds. It sure was rough at times. But for the look of it all and the comedy of it all, it was worth it.

There’s another great moment, in the finale, where you’re trying to motivate Lonnie and you start singing the Chili’s “Baby Back Ribs” song. Was that in the script?

That was in the script, mainly just because anything song related had to have clearance. But there was a lot of riffing between him and I about fast food restaurants and about restaurants in general, and a lot of that was off the cuff, he and I just talking as people about all the fast food restaurants we love. The Chili’s song is that iconic jingle that everybody knows. We took it very seriously getting to sing it with each other … and we were practicing like, “OK, you take this part,” and he’d be like, “OK, no, you keep going, and then I’ll come in.” It felt like a real musical situation that we were prepping for.

Oh, my God, I need to see that outtake. I would be dying.

Luke [Wilson, who plays Golden Fisk] said he had passed by us practicing, and he said it was such a surreal moment seeing how serious Will and I were taking this song.

Fortune Feimster as Sam and Will Ferrell as Lonnie in “The Hawk.”

(Colleen E. Hayes / Netflix)

Speaking of Will, I went through our archives and you told one of our writers in 2023 that you hoped to one day have a career like Will Ferrell’s. Now you’re starring in a show with him. What was it like working with him, and do you feel like you’re getting closer to that goal?

The experience of working with him was definitely a dream come true — he and Molly Shannon, the fact that I’m with both of them on the show is pretty crazy. I feel like everyone growing up has their “SNL” cast that they are like, “That’s my cast, that’s who I watched every Saturday,” and they were definitely my cast. My early knowledge of comedy comes from them, and I’m sure there’s a big influence of them in my comedy now, having watched them religiously. To now be on a show with the two of them does not feel real at times.

What’s nice is I’d done two movies with Will, like very small parts, and had hoped that that would lead to something more in the future and was so lucky that it did. But we really got to know each other a lot better on this show, obviously, because I was basically his right-hand person the entire show. I would say 85% of what I filmed was with him. We just hit it off right away. Our energies are very similar. We’re very similar in our outlook. Our sensibilities of comedy are very similar.

We became genuine friends. He’ll pick me up and take me to a Lakers game. We just went to the World Cup game together. We definitely have a bond of sports. It’s so cool to not only get to be working with someone I admire so much and a comedy hero, but to now be genuine friends, it’s pretty incredible. I’m so lucky that I’m in that position.

What World Cup game did you guys go to?

We went to USA vs. Turkey here in L.A. He wore his visor that says “Hawk” on it. We kept trying to get the camera guy’s attention because we weren’t sitting in a box. We wanted to be in the mix … with the fans, and so no one expected to see Will sitting there amongst the fans.

After halftime, they go around and show different [celebrities] like, “Leonardo DiCaprio is here.” I said, “Will, the camera guy’s looking at us.” Everyone in our section got really pumped about it. We show up on the Jumbotron, and our whole section starts going nuts. And I’m pointing at Will’s hat, he’s dancing, and we didn’t know that it was also on TV. My phone blew up for like the next 30 minutes because everyone and their mother was watching this soccer game. We ended up inadvertently promoting “The Hawk” on this really big world stage.

What’s a TV series or film that you’ve watched recently that you’re recommending to everyone?

I feel like it’s not something that I have to recommend, so many people know of it, but I really loved “Hacks” [HBO Max], and especially this last season of it, I felt like they wrapped it up so beautifully. Sometimes these shows have this good run, and then they sort of fumble it at the end, and I just thought the way they ended that show really serviced all of their characters in such a great way and highlighted this really beautiful friendship from people of different generations.

What’s your comfort watch, a TV show or film that you love to return to and watch over and over again?

A movie that I could watch no matter what … is “Bridesmaids” [Peacock, Hulu]. That movie never gets old. I just think it’s one of the best comedies. Of course, as a female comedian, I love a group of women doing funny things together. And those particular women are just so incredible. I’ve gotten lucky enough to work with Kristen [Wiig] and Annie [Mumolo] — I did “Barb and Star [Go to Vista Del Mar]” with Kristen and Annie. Even though I was a tiny part of that movie, I can watch that movie over and over again. I just love their sensibilities as writers as well.

I promised my colleague I would ask you one more question, about getting your house renovated by Jeff Lewis on “Flipping Out” and what that was like.

That always cracks me up how many people saw that show. I’m working with him right now. I have a new house that he is helping with at the moment.

I mean, listen, he’s a big personality. There’s a reason why they gave him “Flipping Out” for so many years that he has a radio show now [“Jeff Lewis Live” on SiriusXM], and they’re actually bringing his “Flipping Out” show back [“Still Flipping Out” on Bravo], which I did a little bit of that show as well. But as an interior designer, he definitely has this — he kind of walks into a space and you see him calculate things, like “A Beautiful Mind,” where he’s seeing everything in front of him, and he’s very decisive. I’m very indecisive with interior design. Even though he has this … over-the-top personality, as a designer, he’s so gifted. And when you see his work, you’re like, “Oh, my God, this is incredible.”

Obviously he and I have a funny rapport with each other, but now also doing this house, I feel like I’ve learned even more to the point where I know when to give it back to him a little bit. He likes that little ribbing of each other.

ICYMI

Must-read stories you might have missed

Tom Segura and Christina Pazsitzky have reportedly split.

The comedy power couple are calling it quits after 18 years of marriage, according to TMZ. A source told the outlet that the pair separated a couple of months ago but remain amicable and plan to continue co-hosting their podcast, “Your Mom’s House.”

Reps for Segura and Pazsitzky did not immediately respond to The Times’ request for comment.

Segura, 47, and Pazsitzky, 50, tied the knot in November 2008. Segura told “TigerBelly” podcast in 2018 that he met Pazsitzky while they were both doing open mic nights around Los Angeles. She was in a relationship with someone else (whom she lived with), so Segura and Pazsitzky were just friends. According to Segura, there was no flirtation in the early days, and he treated her with the respect he did any other fellow comic.

“I always thought she was attractive, but she was taken,” he said. “And then I got the call from one of my spies. … They broke up. And I was like, ‘I’m gonna swing in there, see what’s up.’”

According to Segura, he tried to ask Pazsitzky on what he thought was an L.A.-appropriate date — a hike — and she said no. He thought that meant she wasn’t interested in him, when, really, she just wasn’t interested in hiking.

“I called her the next time, and she’s like, ‘Hey, I know this bar you can still smoke at. Do you want to go there?’ And I was like, ‘OK. This is why she doesn’t want to go on a hike.’ So then, yeah, we went on dates and it just continued.”

Both comedians have used their marriage as source material for their comedy routines over the years and discuss their relationship on various podcast appearances, but especially on their own podcast, “Your Mom’s House,” which debuted in 2012.

In 2024, Pazsitzky told The Times that when they launched the podcast “we lived in a crummy two-bedroom apartment, we were newlyweds and we had no money. We got a mixing board, two mics and a computer, and at that point, we slept in one room and used the other room as an office. It bordered this other house where this lady would cook the smelliest food and have aggressive sex.”

“Oh, yeah, she was newly divorced and very performative with orgasms too,” Segura added.

The couple, who have two children, also spoke about their relocation from Los Angeles to Austin, Texas, in search of a slower pace and easier travel while touring. “Our lives are very normal, and we’re grounded family people. At the end of the day, we come home, our kids fart on Tom’s head, and I make dinner.”

Mothers and daughters are often caught in a double bind: biologically kindred yet divided by competing claims on identity and selfhood. In Cay Kim’s debut novel “The Future Perfect”, that bond is tangled by cultural discontinuity.

The novel’s mother has been reared in a South Korean household that places a high value on academic rigor and head-down discipline. She devotes all of her energy to grinding that work ethic into her daughter (Kim’s characters are unnamed), who is shuttled between her native Seoul and Minnesota, and grapples with finding the one true way for her to navigate the world.

I spoke with Kay, a native of Seoul who relocated to the States, about mothers, daughters and the unstoppable power of language.

✍️ Author Chat

Author Cay Kim

(Margaryta Bushkin)

This is your first novel. Did you start writing it in college?

This actually originated from a long poem that I wrote. I didn’t know I was going to turn it into a novel at the time. I just had the idea, the summer before my MFA, to expand each stanza into a chapter. That made the writing process relatively easier for me because it was such a straightforward process. I already had the frame of it.

Even though the novel is grounded in a very specific milieu — that of a child who is ensnared between Korean and American cultures — it’s very much a universal story, of a mother who feels the burden of raising a perfect daughter and is resentful when the daughter rebels against her ministrations.

It’s something that occupies so much of my head space. I wanted the mother to be portrayed as a victim of her society. The way that people choose to parent isn’t something that they learn in a vacuum. She has deep-seated beliefs about suffering and self-abnegation. But there’s a point at which an act of service risks inverting into a selfish act.

A big concept for the mother is endurance.

Exactly. It’s a generational trauma the mother is dealing with. She has had such ingrained beliefs passed down to her, and she’s unable to recognize when her methods result in her own mental and physical splintering, as well as her daughter’s.

Is it a function of the mother’s ego, or some kind of twisted narcissism?

She is putting herself through so much suffering because she believes she is doing the right thing. And there’s an extent to how much you can excuse that self-unawareness.

Yet despite this, the daughter feels tied to her mother, even when they are at loggerheads and she is living thousands of miles away.

The mother is such an integral part of the daughter’s consciousness that severance is impossible. They have a shared history and the daughter wants to share things with her mother, even when they are fighting. When she feels lonely at Stanford, the daughter verbalizes the fact that she has learned loneliness from her mother.

There are a lot of scenes in the novel tied to meals prepared by either the mother or the grandmother.

I do a lot of thinking about how cooking plays a role in our everyday lives. It’s something that people can spend hours preparing, only to have it disappear. It’s her mother’s domain. It is so opposed to the way the father thinks, which is very much tied to capital, to amassing and saving money.

The daughter really comes into herself when she is exposed to American culture.

Minnesota is where she acquires language for the first time. Language is so important to this character. Then she is shuffled back to Korea, and this disjunction is the thing that propels her narrative development. But as the story goes on, the daughter reaches a point where she has such mastery of expression and that is a power she acquires.

“The Future Perfect” is written in a very precise and concise way. What fiction writers do you admire, or who may have served as models?

I love writers whose use of language jolts the mind. My favorite writer of all time is Marguerite Duras. “The Lover” reads so easy but when you pay attention to the language, it’s very precisely engineered. I also love Clarice Lispector, for the way she expresses human spirituality.

Is this book drawn from your life? I ask that only because your protagonist winds up attending Stanford, as you did.

When I first started learning how to write, my teacher always used to say that writing shouldn’t necessarily contain the factual truth, but it should have emotional truth. And I feel like that has been the core of my writing practice throughout my life, and that even for those that don’t think consciously about it, that’s often the case.

This Q&A was edited for length and clarity.

📰 The Week(s) in Books

Country music performer Kenny Chesney sat down with Holly Gleason, the co-author of his new memoir, to talk about writing the book.

(Jill Trunnell)

The state of Ohio is celebrating America’ssemiquincentennial by offering a statewide reading project that features Toni Morrison’s fictional oeuvre, thus providing a vivid alternative history of the country. “Not only does her work re-center African Americans in the story of our country, it also tackles major events from our founding, through slavery, to the impact of Jim Crow, to the great migration and beyond,” Literary Cleveland Executive Director Matt Weinkam tells Leigh Haber.

Chef-Podcaster-Author etc. Eddie Huang has written his first novel, a lightly autobiographical twirl through the foodie-verse called “Come Undone.“ “This book was very much about breaking up with your family to start your own,” he tells Mariella Rudi.

At a time when teen literacy is declining, Rudi polled five high school teachers to find out what books students should be reading now.

Gabrielle Korn’s novel “Long Island Girls” is a Millennial coming-of-age story that drips with Y2K nostalgia and the ways in which youthful optimism and hope can drift into middle-aged cynicism. “One thing I wanted to capture about early adulthood is the constant humiliation,” Korn tells Emily St. Martin. “The thing about being young is that people are so resentful of your youth, but you don’t understand that it’s resentment, you just think everybody hates you.”

📖 Bookstore Faves

The Loved Ones bookshop

(James Alan Duran)

J.C. Gabel, the owner of local book imprint Hat and Beard, has opened a new bookshop called The Loved One, and it already feels like an essential anchor for Historic Filipinotown’s burgeoning cultural scene. The store, which is also a gallery and events space, is expansive (5,000 square feet) and inviting, with patinated hardwood floors and a wall of picture windows that bathes the interior in natural light. I spoke with Gabel about his future plans for his new space.

What is the mission statement of The Loved One?

The Loved One reflects our ongoing commitment to independent publishing, original exhibitions, and the belief that books (and ideas within them) are best experienced in conversation with one another, in-person, whenever possible. In our post-post digital age, the serendipitous nature of organically curating physical objects is, in a sense, the point of the entire operation. We envision The Loved One as a space where everyone can exchange ideas, free from data-mining tech overlords, AI slop and click-bait tomfoolery.

What kind of books are you selling?

We’re going to focus mostly on new books about the visual arts, but we’ll also have several curated tables of fiction and nonfiction organized by subject and publisher, to highlight and promote the work of publishers we admire. Moreover, our genre-based book clubs and live author events — which will run weekly by August — will also influence the titles carried in the shop, too. Lastly, we’re bringing back Big Table, our books and conversation podcast — which we started with Dub Lab during COVID — now that we have a physical space to host and record these conversations.

It’s a very large space. What are your plans for it?

We are really keeping the space as modular as possible so we can change the interior of both storefronts to exhibit art and photography, as well as host author events, artist talks, live music, comedy, book clubs, etc.

You’re also a publisher, with Hat and Beard. How will that tie into The Loved One?

At least half of the arts programming I bring to the table will tie back to Hat and Beard’s original publications; the other half will be curated by Aubrie Wienholt and her team, working in tandem with myself and the H&B family. H&B will, of course, continue to program events all over the city regularly, but it will be nice to have a storefront again for the publishing house. We also intend to sell our rare and limited edition bundles of our books at TLO. There will finally be a physical space where one can come see this work in person before purchasing.

What about Historic Filipinotown? The Loved One is such a cool addition to what is becoming a vital cultural hub for L.A.

We are honored and thrilled to be working out of Historic Filipinotown. So much has opened in and around this neighborhood since COVID. It is a really vibrant community. There is a great camaraderie among all the small businesses in and around our cluster off Temple Street and Glendale Boulevard. Our immediate neighbors, Couplet Coffee and the bar 1642, are both actively involved in our programming monthly: Couplet has sent over a pop-up barista to serve coffee and tea at our literary events, and most of our after-parties are now held at 1642, two doors down.

Some of us are booked and busy six days a week traveling to the Mamanuca Islands of Fiji by way of the current season of “Love Island USA.” But sometimes an escape needs an escape. Peacock has a new beachy series that adapts Elin Hilderbrand’s bestselling 2023 novel, “The Five-Star Weekend.”

Now streaming, the series stars Jennifer Garner as Hollis, a lifestyle influencer grieving the death of her husband who decides to host a getaway to Nantucket with old and new friends — played by Regina Hall, Chloë Sevigny, D’Arcy Carden and Gemma Chan — to try to heal. It’s primarily a story of grief, resilience and female camaraderie. But there are glimmers of romance, too, courtesy of Hollis’ childhood boyfriend Jack, played by Timothy Olyphant. It reunites Olyphant and Garner two decades after they starred in the 2006 romantic comedy “Catch & Release.” And it’s not the only series that features Olyphant this month. He’ll also appear in Apple TV’s “Lucky,” which premieres Wednesday with two episodes, as a con artist father to the titular character (Anya Taylor-Joy). Olyphant stopped by Guest Spot to discuss both series.

But this week didn’t just bring new summer launches. A look back at some of the standout series and performances from the recent season of television arrived Wednesday when 2026 Emmy nominations were announced. HBO Max’s “The Pitt” and “Hacks” led the pack — you can check out the full list of nominees here. But you may have more fun reading what our awards czar Glenn Whipp considered a snub or a surprise — come for his pitch-perfect Taylor Swift-Travis Kelce wedding comparison, stay for his astute observations. We also checked in with some of this year’s nominees: Rhea Seehorn (“Pluribus”), Sepideh Moafi (“The Pitt”) and Matthew Rhys (“Widow’s Bay”). (And, hey, if you’re a fan of “Widow’s Bay,” be sure to check out TV critic Robert Lloyd’s brilliant spotlight on K Callan, who has received well-earned praise for her turn as Ruth, the town’s forgetful secretary with a secret.)

Elsewhere in Screen Gab, our writers recommend two animated series that expand two beloved franchises. One focuses on the early days of your favorite “Adventure Time” duo, Finn the Human and Jake the Dog, the other revisits Marvel’s band of heroic mutants.

Meanwhile, I’ve been on my own nostalgia kick, revisiting episodes of “Tales From the Crypt” on Shudder. That decaying Crypt Keeper’s maniacal laugh, I fear, makes me feel like a kid again. Let’s see how long that lasts. See you next week!

— Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Finn and Jake in “Adventure Time: Side Quests.”

(Cartoon Network Studios)

“Adventure Time: Side Quests” (Disney+, Hulu)

We return to the Land of Ooo in the days when Finn the Human (now voiced by Sasha Knight, Jeremy Shada being almost 30) had not yet turned 13, and the order of the day was to go out and fight things. You’d think reviving a cartoon was easy — just draw the characters, make some similar voices — but we are talking about one of the greatest epics of this century, and I approached this revival with some trepidation. First, I looked to see whether longtime showrunner Adam Muto was still in charge, and he isn’t. But new captain Nate Cash is a veteran of the “Adventure Time” art department, wrote more than 40 episodes of “SpongeBob SquarePants” and was the supervising director on Patrick McHale’s great “Over the Garden Wall,” whose art director Nick Cross is the art director here. The new visual style, which dispenses with the usual outlines and detailing in favor of a sort of painterly Little Golden Book look, is jarring at first, but it grows on you — I mean, I’d buy an “Adventure Time” Little Golden Book — and keeps “Side Quests” from reading like a retread. The stories are good, the new monsters inventive. It’s got spunk. Most importantly, John DiMaggio is back as Jake the Dog, along with Tom Kenny as the Ice King, Olivia Olson as Marceline and Hynden Walch as Princess Bubblegum. Even series creator Pendleton Ward popped in to voice Lumpy Space Princess and write an episode — a seal of approval. — Robert Lloyd

A scene from Season 2 of Marvel’s “X-Men ’97.”

(Marvel)

“X-Men ‘97” (Disney+)

Regardless of whether you attribute it to “fatigue,” it’s no secret that comic book superhero stories have struggled to draw audiences to theaters these last few years. But some of the best offerings of the genre have been on TV. “X-Men ‘97” is a revival of one of my formative media experiences — “X-Men: The Animated Series.” Boasting some returning talent among the cast and creatives, “X-Men ‘97” continues the story of the iconic mutant team as they navigate being superheroes in a world that doesn’t always accept them for who they are. The first season leaned into some signature X-Men themes around tolerance, xenophobia and extremist violence while trying to thwart a superpowered genocidal human-android hybrid that wields an army of killer robots. The second season, which premiered earlier this month, picks up after the cliffhanger that saw members of the X-Men team scattered across time to cross paths with different versions of the powerful supervillain Apocalypse. Expect plenty of action, interpersonal tensions and philosophical dilemmas around destiny and morality. — Tracy Brown

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A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Timothy Olyphant in “Lucky.”

(Jessica Brooks / Apple TV)

Is it even July if Timothy Olyphant isn’t on your screen? Whether you prefer a breezy watch or a grifter thriller, the veteran actor has it covered. In Peacock’s “The Five-Star Weekend,” he plays the cool and charming high school sweetheart who softly orbits the show’s grief-stricken protagonist (Jennifer Garner) as she tries to heal from the death of her husband. The green flags are less obvious with his turn in Apple TV’s crime thriller “Lucky” as John Armstrong, an imprisoned father whose daughter (Anya Taylor-Joy) is on the run after the multimillion-dollar heist he got her caught up in collapses. It has the pair caught between a determined FBI agent (Aunjanue Ellis-Taylor) and the ruthless mob boss (Annette Bening).

And there’s more Olyphant in the pipeline. Production on Season 2 of FX’s “Alien: Earth” is underway. And later this year, he can be seen reprising his “Once Upon a Time in … Hollywood” character James Stacy — the true-life star of late-1960s western show “Lancer” — in David Fincher’s “The Adventures of Cliff Booth.” When does he sleep? When we caught him by phone in mid-June, he assured us he had just completed a lengthy nap. He discussed what it was like sharing screen time with Bening, reuniting with Garner and the small-time sports event that had his attention. — Y.V.

In “Lucky,” you’re playing a con artist who has brought his daughter into a criminal underworld. What did their father-daughter dynamic reveal to you?

There is something compelling about exploring a relationship in which a man has done a lot of damage to his kid without even seemingly knowing it. The idea of hurting your kids is like just the worst nightmare possible. The idea of doing it without even being aware of it makes it even worse. I knew [creator Jonathan] Tropper was behind it all, and he’s an extremely good writer, so I knew it was in good hands with exploring that material in a really elegant way.

You’re known for playing lawmen, but you have also played antagonists — both types of characters are often willing to cross lines or bend rules or sacrifice things to achieve what they see as the greater good. How do you think about those two types of figures?

I do find it compelling exploring the conflict between of feeling like you have to break rules in order to enforce rules and this idea of the original sin. Any interesting character has to be aware they’re capable of sin, except for maybe on “Law & Order,” but for the most part, life is complicated.

In the first two episodes of “Lucky,” your interactions are strictly with Anya and with Annette — both are dynamic performers at different stages in their careers. What stands out to you about sharing scenes with them?

Anya is really impressive because she has a composure and a strength to her that just seems beyond her years. I certainly didn’t have it when I was her age, and I just have a tremendous amount of respect for her and how she handled things on the other side of the camera,. And Annette is just a wonderfully unpredictable actor, take to take. You never see the same thing twice, and you never feel like you’re not playing in the right sandbox. It’s just a honor and a pleasure to work with her.

There’s a moment where Annette put her hand on your cheek — it terrified me.

Can I tell you? Only one take. And I’m smart enough to know, when that she did that, I thought to myself, “This is going to be on TV.”

Let’s also talk about “Five–Star Weekend.” Its focus is not necessarily on romance, but of friendship between women, but you do factor in as a flirtation of sorts for Jennifer Garner’s character. You’ve worked together before in 2006’s “Catch and Release.” How was it to reunite with her for this?

A pleasure. She’s a pro and gave just a wonderful performance in that show. It was easy-peasy working with her. I show up. They gave you a lot of cool things to say, and somebody hands you really cool wardrobe, the acting partner is really good, and so it makes the job pretty simple.

Timothy Olyphant as Jack and Jennifer Garner as Hollis in Peacock’s “The Five-Star Weekend.”

(Greg Gayne / Peacock)

You’re also reprising your “Once Upon a Time in … Hollywood” character James Stacy in David Fincher’s “The Adventures of Cliff Booth.” What’s it like being directed by him? How does he deliver a directing note?

That’s just that experience is really high up on the bucket list, and I just thank my lucky stars I had that opportunity. It was a very special experience.

He gives them [notes] out quite generously, is what he does. He gives you many and often, it’s really unlike anything I’ve experienced. I really enjoyed. It felt like a workout; it was this intense exploration of of the work. I hope I get another opportunity [to work with him]. I’d be thrilled.

You’re beginning production on Season 2 of “Alien: Earth.” What has it been like playing this android with bleached hair and eyebrows in this fictional world? The level of artistry of that set is quite something; I can’t imagine what it’s like being on that set.

It’s essentially child’s play, but sometimes it feels like you’re saying that with capital letters — this falls under that category. So many of the effects are practical, so many of the creatures are practical, so it’s a kick to be around that stuff. It’s a lot of oohing and aahing when you’re working with practical effects. And it’s about something. It’s got something to say. That’s pretty special when those two things come together.

Being on a set with those monsters that I watched as a kid, that I was thrilled watching those movies — to now wake up one day, and you’re part of that, you pinch yourself a little bit.

What can you tease about the new season?

It’s gonna get weird. There’s a lot going on on the surface and under the surface on this one.

Before I let you go, what show has your attention? I know you’ve been busy, so if you can’t tell me what you’ve watched recently, is there something you plan to watch on your long plane ride?

Does the World Cup count? I’ve got the World Cup fever. It’s just one of the greatest sporting events in the world.

Are you primarily rooting for us? Who are you going for?

What do you mean, am I rooting for us?

I mean, when we’re not playing, who are you rooting for?

I root for Brazil. My wife grew up in Brazil, so there’s a lot of Brazilian enthusiasm here in this house. I root too for our people to the north; I’m a fan of the Canadians. I just love that event. I love that it’s all these countries and everything evens out on that grass. It’s pretty great.

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Entertainment power couple Margaret Qualley and Jack Antonoff have reportedly gone their separate ways for now.

“The Substance” and “Maid” star Qualley, 31, and Taylor Swift and Lorde collaborator Antonoff, 42, split and are going through a “rocky” time in their relationship, a source confirmed to People on Wednesday. Neither representatives for Qualley nor Antonoff immediately responded on Wednesday to The Times’ request for comment.

Speculation about the pair’s split began late Tuesday, with internet sleuths noting that Qualley — daughter of actor Andie MacDowell and Paul J. Qualley — apparently scrubbed photos featuring the Bleachers frontman from her Instagram page. Qualley in March shared photos from her A-list marriage to Antonoff to promote his upcoming song “Dirty Wedding Dress,” according to a social media page dedicated to the “Once Upon a Time … in Hollywood” actress. Those intimate black-and-white images are no longer visible on the actor’s page.

Reports of the Qualley-Antonoff split also come less than a week after Antonoff attended Taylor Swift and Travis Kelce’s lavish, but secretive, wedding bash in New York City sans Qualley. In addition to Antonoff, his fashion designer sister Rachel Antonoff and his ex-girlfriend Lena Dunham, models Gigi Hadid and Karlie Kloss, Sabrina Carpenter, Ashanti and Nelly were also in attendance at the Madison Square Garden spectacular.

Notably, Dunham in her latest memoir “Famesick” — released in April — wrote about Antonoff’s alleged romance with a “teen pop star” during their own romance. Many pop fans suspect the pop star, whom Dunham did not identify — to be “Melodrama” artist Lorde. When the rumors of the relationship publicly surfaced in 2018, Antonoff denied “seeing anyone” and dismissed the chatter as “dumb hetero normative gossip.”

Qualley and Antonoff tied the knot in August 2023, a little over a year after they got engaged in May 2022. Their nuptials at Parker’s Garage on Long Beach Island counted Cara Delevingne, Lana Del Rey, then-item Zoë Kravitz and Channing Tatum and Swift among the attendees.

Qualley and former fun. member Antonoff were first romantically linked in August 2021 when they were spotted kissing while on a date in Brooklyn, People reported. Their relationship gradually entered public consciousness, between Instagram posts, joint appearances at red carpet events and tidbits about their romance in various interviews.

“I am so happy that I found my person,” Qualley told Harpers Bazaar in September 2023. “And it’s real. It’s amazing. It’s the best feeling in the world. I’m so excited and so at ease all at once.”

We did it! America made it to 250 years of existence!

OK, not everyone may be feeling especially celebratory as we hit the semiquincentennial, as culture critic Mary McNamara wrote in her essay this week, but we can still find some solace in wanting to do better and be better. I’ve always believed the arts are a reflection of the heart and soul of a people. And in a country as multicultural and diverse as ours, that can look very many different ways. While it’s true that social media and the internet at large has siloed us, nothing stays the same and, like it or not, change and progress are very much at the root of America’s existence, as is acceptance of different ways of living. What makes this country great are those varied experiences and how art can be an entryway to them.

It’s among the ideas that my colleagues dug into this week as they examined culture through the lens of America’s 250th anniversary, detailing 10 films that capture America in times of profound change, the quintessential American song, artworks that redefine what it is to be American, what literature belongs in the American canon, how playwrights have embraced the country’s diversity and why orchestras have been sitting out this Fourth of July. Television critic Robert Lloyd also wrote about a number of recent series, both historical and satirical, that take a closer look at America’s history (you will learn, laugh, cry or all three).

If that gives you enough inspiration, there are several Fourth of July events to watch over the weekend, including traditions like the “Macy’s 4th of July Fireworks Show,” now in its 50th edition, on NBC, Telemundo and Peacock, and Nathan’s Hot Dog Eating Contest on ESPN and ABC as part of their “Disney Celebrates America” programming. If you’re looking for something fresh, the America250 initiative will be streaming a ball drop from Times Square in New York beginning Friday night, which CNN is also covering via “Independence Eve Live With Anderson & Andy: Celebrating 250,” a New Year’s Eve-style production with Anderson Cooper and Andy Cohen. Similarly, PBS will be broadcasting “A Capitol Fourth: 250th Weekend Celebration” from the U.S. Capitol and from George Washington’s home in Mount Vernon. It will feature performances from the National Symphony Orchestra, Trace Adkins, Patti LaBelle, Kool & The Gang and more.

On Saturday, America250 will stream “America’s Block Party” from the L.A. Memorial Coliseum, which features performances by Chris Stapleton, the Smashing Pumpkins, Chaka Khan and Anthony Ramos. CBS will also air some of those acts on “The Great American Block Party 250,” along with performances from the Washington Monument in Washington, D.C., by the Zac Brown Band, Jon Batiste, Goo Goo Dolls and the War and Treaty (it will also stream on Paramount+).

In keeping with this week’s theme, we’ve also rounded up several series and films that we recommend watching over the long holiday weekend that tell a story about America or Americans in all their glory — imperfect, diverse and unique. Now that’s something to celebrate. — Maira Garcia

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Recommendations from the film and TV experts at The Times

“The Americans” (Hulu)

Matthew Rhys as Philip and Keri Russell as Elizabeth in “The Americans.”

(FX )

This series may seem like an odd choice to recommend during the July 4 holiday, particularly when the main characters are driven by values that are pointedly un-American. The FX series, which concluded its six-season run in 2013, stars real-life couple Keri Russell and Matthew Rhys as Russian spies posing as a suburban couple living in Washington in 1981. Critics celebrated the drama as the couple took on their assignments to undermine the U.S. government while also concealing their true identities from their friendly neighbor — an FBI counterintelligence agent — and their two American-born children. Their journey is further complicated as they grow more attached to American lifestyles and values. Rhys, who is currently stirring up awards season buzz with his lead roles in Apple TV‘s “Widow’s Bay” and Netflix’s “The Beast in Me,” won an Emmy for lead actor in a drama during the show’s final season. Fans of “The Americans” are still shaken by the memory of the devastating series finale. — Greg Braxton

“Spirit of ’76” (VOD)

Jeff McDonald, left, David Cassidy and Steven McDonald in “The Spirit of ’76.”

(Philosophical Research Society)

In this energetic, colorful, low-budget 1990 ode to the bicentennial year, travelers from a colorless 2176 attempt to travel to 1776 to reclaim foundational knowledge lost when “the magnetic storm degaussed all recorded history.” They arrive instead on July 4, 1976, where a different sort of freedom holds sway — freedom to get down, freedom to boogie. It’s a friends-and-family affair, written and directed by Lucas Reiner, with appearances by his brother Rob and father Carl; a story co-authored by Roman Coppola; and costumes by his sister Sofia. David Cassidy and Olivia d‘Abo star as among the visitors from the future; Leif Garrett (like Cassidy, a 1970s TV and pop idol) is a disco-mad lothario. Also on board are Tommy Chong, Barbara Bain, Don Novello, Moon Zappa and performance artists the Kipper Kids as men in black. Julie Brown is a sex worker who has something to say about the Gulf of Tonkin Resolution that will sound distressingly timely. Brothers Jeff and Steve McDonald — from the band Redd Kross, and not playing brothers — are the bike-riding, long-haired, slang-slinging teens who join in to help the time travelers accomplish their mission. One word: tetrahydrozoline. — Robert Lloyd

“The Simpsons” (Disney+, Hulu)

“The Simpsons” has long been an American staple on television.

(The Simpsons © 2025 by 20th Television)

With more than 800 episodes across 37 seasons, “The Simpsons” is basically on track to reaching its own semiquincentennial milestone. Its relevance in today’s landscape may be debated, but the animated series has audaciously and consistently captured the American experience with its piercing satire about societal and cultural events and shifts, as well as its reflections on the frustrations and absurdities of daily life for a middle-class family living in a quintessential American suburb — an ideal that has long stood as a standard of success for generations of Americans and now feels like a fantasy for many who still strive for it. (Insert GIF of Homer disappearing into a shrub here.) It’s one of the most entertaining time capsules of a good chunk of America’s run so far. And hey, there are plenty of July 4 episodes to pre-game, pair with, or distract from your social obligations. — Yvonne Villarreal

“American Movie” (VOD)

Bill Borchardt, left, and Mark Borchardt in the documentary “American Movie.”

(Sony Pictures Classics)

One of the breakout documentaries of the ’90s, Chris Smith’s portrait of aspiring Wisconsin filmmaker Mark Borchardt suggests that if you want to understand America, you could do worse than spend some time in his company. Borchardt has no Hollywood connections, no money and seemingly no realistic path to finishing his low-budget horror movie “Coven” (which he stubbornly insists on pronouncing “COE-ven”). Working the graveyard shift at a cemetery and battling his own drinking, he somehow keeps persuading friends and relatives to help him inch the film toward completion. The movie is often hilarious but it never makes Borchardt the punchline, leaving open the question of whether he’s a genuine outsider artist or simply incapable of recognizing impossible odds. When he starts feeling sorry for himself, he has a way of snapping out of it: “No one has ever, ever paid admission to see an excuse.” As America marks its 250th birthday, with so many of the country’s problems seeming unsolvable, Borchardt reminds us that impossible sometimes just means unfinished. — Josh Rottenberg

“Reservation Dogs” (Hulu, Disney+)

Willie Jack (Paulina Alexis), Elora Danan Postoak (Devery Jacobs), Bear (D’Pharaoh Woon-A-Tai) and Cheese (Lane Factor) in “Reservation Dogs.”

(Shane Brown / FX)

This is perhaps too on the nose, but what is the story of America without Native Americans and Indigenous storytellers? Don’t worry, “Reservation Dogs” is not meant to be a history lesson. A coming-of-age dramedy, the series follows a group of teenagers living in a small town in the Muscogee Nation in rural Oklahoma. Culturally specific and infinitely relatable, the teens are grieving one of their own as they navigate familiar perils of adolescence: future aspirations (or lack thereof), relationships and rivalries, family and more as they grow into who they are meant to be. Created by Sterlin Harjo and Taika Waititi, the show was celebrated for its representational milestones both in front and behind the camera for the entirety of its three season run. But what keeps this show on my perpetual rewatch list is its humor, heart and endless humanity. And Cheese! — Tracy Brown

“Star Trek: Strange New Worlds” (Paramount+)

Una (Rebecca Romijn), Capt. Pike (Anson Mount) and Spock (Ethan Peck) in “Star Trek: Strange New Worlds.”

(Marni Grossman / Paramount+)

Despite being set on a starship traveling through the far reaches of space, “Star Trek” is a quintessentially American show that celebrates very American ideals and aspirations. The franchise depicts a future where good people want to do good, are endlessly curious, believe in justice and diplomacy and strive to maintain peace. They’re also willing to fight for what they believe in. “Strange New Worlds,” though created in our modern streaming times, captures a lot of the spirit and swagger of the original series — and not just because it features some characters that originated there. The show follows Capt. Christopher Pike (Anson Mount) and the crew of the U.S.S. Enterprise as they explore strange new worlds and boldly go where no one has gone before. Pike wields a kind of empathetic, nice dad next door charm and all the capabilities of a decorated starship officer, which makes him a perfect ambassador for his exploratory mission. He’d probably also make a good host of a big Fourth of July backyard bash. — T.B.

“Mo” (Netflix)

Mo Amer in Season 2 of his eponymous Netflix series.

(Eddy Chen / Netflix)

The immigrant experience has been portrayed in a number of films and series over the years — though I’d argue there still aren’t enough. This series created by and starring comedian Mo Amer captures not only the realities of navigating the American immigration system, with its draconian requirements and regulations, but also the experience of multicultural life in the melting pot that is Houston, Texas. Here, Amer plays a fictional version of himself, a Palestinian refugee who is trying to get legal status while encountering personal and professional roadblocks at every turn. It’s funny and melodramatic, occasionally veering into silliness, but it brilliantly highlights the very real struggle of finding your place in the world when you don’t know where you can call home or where you belong (the Spanish saying, ni de aqui, ni de alla, neither from here nor there, applies). And it’s one of the very few humanizing onscreen depictions of the Palestinian American experience. — Maira Garcia

“Pose” (Hulu) and “Fellow Travelers” (Paramount+)

Mj Rodriguez as Blanca and Billy Porter as Pray Tell in “Pose.” (FX)

Tim (Jonathan Bailey) and Hawk (Matt Bomer) in “Fellow Travelers.” (Ben Mark Holzberg / Showtime)

The struggle for gay rights has been a long chapter in American history and in the case of these two series, one depicts it through New York’s ballroom scene and the other through the halls of Washington. “Fellow Travelers,” created by Ron Nyswaner and based on Thomas Mallon’s novel of the same name, depicts the romance between Hawkins “Hawk” Fuller (Matt Bomer) and Timothy “Tim” Laughlin (Jonathan Bailey) beginning in the 1950s during the height of McCarthyism and the Lavender Scare and goes through the decades, culminating with the AIDS crisis of the ‘80s. If you want a good cry this weekend, start here. “Pose,” meanwhile, is at turns celebratory and heartbreaking as it depicts the experience of a group of Black and Latino members of the ball scene in the ‘80s and ‘90s. The series highlights the opulent costumes and performers in drag who would leave it all on the floor for a chance at glory among their peers, but also the interpersonal relationships and challenges faced by trans characters like Blanca (Mj Rodriguez, who scored an Emmy nomination for her performance in 2021), Elektra (Dominique Jackson) and Angel (Indya Moore), as well as gay characters like Pray Tell (the inimitable Billy Porter). Both shows are reminders that LGBTQ+ rights were hard won and that the struggle continues. — M.G.

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Taylor’s 12th album, The Life of a Showgirl, dropped in October 2025, with a flurry of lovestruck lyrics about her now fiancé.

She reminisced about date nights spent on ferris wheels, and dreamt of raising kids in a house with “a driveway with a basketball hoop”. There’s also an entire song about his, ahem, manhood.

On the promo trail, she was peppered with questions about the wedding, but gave away very little, except to tell the BBC’s Graham Norton it wouldn’t be a small affair.

Since those interviews, Team Taylor has gone quiet.

A rumoured wedding date of 13 June 2026 passed without incident. A few days later, a flurry of activity at Swift’s Rhode Island mansion had fans speculating that a bachelorette party was in full swing.

Then the New York Times reported that Swift had hired the entirety of Madison Square Gardens for a mega event just before Independence Day weekend.

According to officials with knowledge of the booking, the plans involve an intimate gathering of about 100 people on Thursday 2 July, followed by a more extravagant celebration with about 1,000 guests the next day.

TV cameras have captured trucks unloading drapes, lights, food and even a “40-inch mirror ball”.

Tabloids are speculating about wedding performers and bridesmaids. – but we’ll only know for sure, when Taylor decides it’s time.

And given that she’s recently been spotted at New York’s Electric Lady recording studios, there’s even speculation that confirmation could come in the form of a wedding song.

Watch this space.

How well do you remember your U.S. history class from high school or college? Did some of the key moments in America’s 250 years of existence involve Larry David playing a founding father? OK, maybe not, but it’s fun to imagine what that would be like. And that’s precisely what David and Jeff Schaffer have done with their new HBO series “Life, Larry and the Pursuit of Unhappiness.”

The series, premiering Friday, is a timely look at some of America’s big moments in history with a comedic twist that will remind viewers of “Curb Your Enthusiasm,” partly because it also features some cast members from the show. The series arrives on the cusp of the 250th anniversary of America’s founding, and offers an alternative history that’s still steeped in facts. Schaffer stopped by Guest Spot to talk about creating the series with David and what it was like to work with former President Obama.

Speaking of laughter, if you like yours with a whole lot of drama, FX dropped the final season of “The Bear” Thursday on Hulu. The series, which premiered in 2022 and made phrases like “cousin,” “yes, chef,” and “every second counts” memorable, ties up a lot of strings for its crew of chefs. Jeremy Allen White and Ayo Edebiri, the actors who were at the center of the show for five seasons, spoke to us about “The Bear” coming to a close, where their characters end up and what it feels like to leave them behind (be forewarned, the interview has lots of spoilers).

The finale feels like a fitting end to one of the best shows of the past decade (so far) — but we won’t say much more. Enjoy each episode like a multi-course meal at a fine-dining restaurant. You’ll want to savor each bite before it’s over.

Also in this week’s Screen Gab, our writers recommend an animated series with monsters and mystery and a documentary about one of America’s greatest bands. I’ll get my flags, fireworks and BBQ supplies ready in the meantime. — Maira Garcia

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Recommendations from the film and TV experts at The Times

Bobby and Romy in Disney+’s “The Doomies.”

(Disney)

“The Doomies” (Disney+)

If you’re missing “Widow’s Bay,” and like cartoons, here’s another tale of monsters loose in a coastal tourist town, with the difference that the town, called “Ouimpre,” is decidedly on the Atlantic coast of northwest France. (It’s a Franglais pun.) There are half-timbered buildings; what used to be a Camembert factory after it was a beret factory; a cafe that serves crepes, not pancakes; and boulangeries, not bakeries. (It’s a French production; Disney encouraged animator Andrés Fernandez to go local.) As in “Stranger Things,” which no one may be missing by now, the protagonists are kids — Romy, who is excitable and impulsive, and Bobby, who is neither — abetted by a formidable female teenage demon slayer and a lighthouse keeper with occult knowledge. The series is energetic, funny and character-driven — even the monsters. The action is well-staged and intense, the color palette moody and evocative, and the design not at all reminiscent of a hundred other cartoons, which makes the show refreshing as well as fun. — Robert Lloyd

Earth, Wind & Fire in HBO’s “Earth, Wind & Fire (To Be Celestial vs. That’s The Weight Of The World)”

(Jeffrey Mayer / HBO)

“Earth, Wind & Fire (To Be Celestial vs. That’s the Weight of the World)” (HBO Max)

Even if you think you don’t know Earth, Wind & Fire, chances are they’ve soundtracked a wedding, bar mitzvah, awkward office party or some other memorable celebration in your life. Somewhere between “Shining Star,” “Let’s Groove” and “September,” the band mastered the art of coaxing three or four generations of a family onto the same dance floor. Questlove’s new documentary explores how that happened. If his recent Sly Stone film examined how genius can curdle into self-destruction, this one asks a different question: How did Earth, Wind & Fire founder Maurice White build something that lasted? Abandoned by his mother as a child, White set out to create not just a band but a family, assembling a sprawling ensemble around a musical and spiritual vision. Questlove is too thoughtful a filmmaker to sand down the rough edges. White emerges as both inspiring and flawed: a gifted bandleader, spiritual seeker and demanding perfectionist whose drive sometimes came at a personal cost. Drawing on interviews with everyone from former bandmates to Stevie Wonder, Lionel Richie and Barack and Michelle Obama, Questlove builds a portrait of White that never shies away from his contradictions. In the process, he shows how White’s fascination with spirituality, Egyptology and the cosmic unknown shaped both the band’s music and mythology. You may occasionally wish the film lingered longer on the performances themselves (for a reminder of what made Earth, Wind & Fire such a formidable live act, start with the 1975 concert album “Gratitude”). But by the end, you have a deeper appreciation for the band’s unlikely feat: turning something so eccentric into something so universal. — Josh Rottenberg

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Larry David in “Life, Larry and the Pursuit of Unhappiness.”

(John Johnson / HBO)

Is Larry David about to be the most entertaining (and crankiest) history teacher America has ever had?

To celebrate the arrival of the nation’s semiquincentennial, the comedian teamed up with Barack and Michelle Obama’s Higher Ground Productions to revisit the truth of our history with some comedic chaos. The result is “Life, Larry and the Pursuit of Unhappiness,” a seven-episode sketch comedy series from the mind of David and his longtime “Curb Your Enthusiasm” collaborator Jeff Schaffer that pairs reenactments of seminal milestones from America’s past with David’s misanthropic humor — or, as its creators dub it, “‘Curb’ in costume.” Subtitled “An Almost History of America,” it features a star-studded roster of actors dressing up in period clothes alongside David, including “Curb’s” Jeff Garlin, J.B. Smoove and Susie Essman, as well as Bill Hader, Kathryn Hahn, Jon Hamm and Jerry Seinfeld. The first episode premieres Friday at 9 p.m. ET/PT on HBO and will stream on HBO Max.

Over a video call, Schaffer discussed the show’s genesis, former President Obama’s improv skills and the British TV series that has him entertained. — Yvonne Villarreal

Tell me about getting into business with the Obamas. Their production company approached Larry. How did it evolve into this?

Larry and President Obama know each other a little bit. They really enjoy each other’s company, or at least Larry enjoys needling Obama, and Obama really enjoys needling Larry. The moment that we all met together to have our first meeting, the first thing Obama does — I’ve never met the president [prior]— he starts just ragging on Larry’s golf game, and how he wears so much sunscreen on the golf course. And Larry just goes to President Obama, “Oh, I’m sorry, my dad’s not from Kenya.” And that’s how it started. They have a great rapport and they wanted to do something special for the 250th [anniversary]. Larry says no to everything — his best friend can be having a premiere of a movie, and Larry will go, “Where is it in Hollywood?” But Larry’s not going, that’s too far. When this came around, Larry was like, “Huh, that’s actually pretty interesting.” He responded right away to the historical nature of it because, as he would say, he’s an American history buff.

The genesis for Larry and I is that we had done a tiny test run of this with that FTX ad for the Super Bowl a few years back. I don’t know, whatever happened to those people — I’m sure they’re fine — but he remembered how much fun he had being in costume. And honestly, I think he forgot how much he hated being in a wig. It’s like childbirth, enough time had passed.

Given the sort of tenor of the times, why does this type of comedic look at America’s history feel like the appropriate way to mark this anniversary?

It’s the 250th and I get that celebrating the country right now may feel like throwing a birthday party for your friend who’s in rehab — he’s all f— up — but we still love him, right? There’s a way to look at the country’s history, warts and all, the two steps forward and the one step back. And I think one of the best ways to do that is through comedy.

Going back to President Obama — what are the negotiations to get him to appear in it? Or was that on the table from the beginning?

Once I saw the two of them interact together, that became my primary mission. We’ll write the sketches, and we’ll do the documentary stuff, we’ll make it all historical and fun, whatever, but we have to get you two on screen together. It was also sort of the promise of the show, too. When I originally talked to Amy Gravitt at HBO about it, I remember I said, “What if I could give you a show that brought together two people half of America loves?”

What was it like directing them in a scene together? He gives the opening remarks at the start of the show.

He is a truly inspiring, amazing human being who also happens to have great comedic timing. He and Larry get into a groove immediately, which is very fun, and it was honestly one of the coolest things I’ve ever done in my life, directing them. The president said, “I guess I like being annoyed by Larry. Once we get together, I start sounding like him.” It’s like Larry’s this black hole of negativity that sucked Obama in for these brief periods of time; it was just fun.

Is he good at improv then on the spot like that?

Yes, he is. He’s got some really funny stuff in the sketch they’re in together that is all him — 100% the president.

Do you have a favorite moment from this first episode — it features the Declaration of Independence, segregation and Rosa Parks.

There’s different things in each of them. The thing that I’m most excited about is when you don’t know what the next one’s going to be, and then when the narration for the little documentary section starts, and it starts talking about Rosa Parks, I can just see [viewers] going, “Oh no …” That’s a great “Curb” feeling. It’s a comedy horror film — “Oh no, don’t do that, oh no.” Then you get sucked in.

We tried really hard to make sure that production-wise, there’s historical accuracy, so it really felt like you were in this moment. Then Larry gets dropped in, and all hell breaks loose. Same thing with World War I — I got to shoot a whole bunch of World War I fighting — and there’s Larry pretending to be dead. One of the things that attracted us to it in the very beginning was the idea of the juxtaposition between these big dramatic moments and then Larry. History is writ large, and Larry writes so small and that dynamic is fun for us.

One of the great things about a show like this — or what’s come before, like “Drunk History” — are the lessons that can be learned. Is there something you learned while filming this series or a takeaway you had in looking back at our history?

There are things I did not know. One of the things that was also enjoyable is being able to talk about modern things in a historical context, even with that phone. We don’t write dialog — we write some, but it’s basically like doing “Curb.” Larry knew that people were going to ask some questions about the phone, but I just was peppering these people with questions about all of the modern stuff, and just watching Larry get angrier and angrier at these people. At a certain point, the membrane of actor, of character to real human being was breached. He was so mad at them, but that’s what making the show is. Actually, at the end of the our shoot, President Obama said to me, “I see how it works. Larry makes the world uncomfortable, and you make sure the world makes Larry uncomfortable.” That’s literally how we make the show.

Would this format work for current historical events? How do you think, 250 years from now, a reboot of this show would tackle something like telling the story of the UFC fight on the White House lawn?

That’s the problem — we’ve entered an era of America parodying itself. It’s insane. One of my good friends, Dave Mandel, used to do a “Veep” and he’s like, “What do you do now?” I think what we tried to do, and you’ll see as you go further into episodes, we try to address a lot of things that are happening right now through a historical lens. So we might be back in colonial times, and we might be back in the ‘50s, but we’re actually talking about something that’s happening right now.

Before I let you go, what is the TV show or movie out right now that you’re telling everyone to watch?

I just started watching “Steve and Alice” [Hulu, Disney+]. It’s so well done; it’s so dark and funny and really engaging.

What’s the comfort show or movie you return to again and again?

I can pretty much put on any “Lord of the Rings” [HBO Max] movie anywhere and not be able to get my butt off the seat.

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June 21 (UPI) — U.S. Vice President JD Vance said the United States is looking “to transform our relationship” with Iran but warned Sunday’s renewed talks in Switzerland wouldn’t bring about an immediate resolution to the war.

Vance was joined by President Donald Trump‘s go-to negotiators in the peace talks — Steve Witkoff and Jared Kushner — in the gathering at the Bürgenstock lakeside resort, CNN reported. Pakistani and Qatari mediators were also in attendance, The New York Times reported.

“Never before has the Iranian and American leadership met at such a high level,” Vance told reporters ahead of the talks.

“What the president has asked us to do is turn over a new leaf to transform our relationship with the people of Iran, and to extend an outstretched hand that says to the people of Iran that if your leadership is willing to give up being a driver of regional instability, if they are willing to give up nuclear weapons ambitions for the long term, then the United States is willing to fundamentally transform our relationship with that country,” he said.

“We’ve already made great progress over just the last few hours, and I expect that we will make additional progress in the hours to come.”

Sunday’s gathering in Switzerland is the latest in a series of negotiations between the two countries — and mediators — to attempt to bring an end to a war that began with U.S. and Israeli strikes on Iran on Feb. 28.

Trump signed a peace agreement with Iran on Wednesday while he was in France for the G7 Summit. The 14-point pact included the immediate cessation of fighting by all sides — including in Lebanon — plans to reopen the Strait of Hormuz and an easing of financial restrictions on Iran.

Iran, however, said it closed the strait again Saturday, accusing Israel of launching a fresh round of strikes on Hezbollah, the Iranian-backed militant group in Lebanon. The strikes killed at least 22 people.

Though the fighting between Israel and Hezbollah has been central to a peace agreement between the United States and Iran, neither of the parties were involved in Sunday’s talks in Switzerland.

Author Harlan Coben, known for gripping thrillers that place ordinary people in extraordinary circumstances, has provided enough source material for book-to-screen adaptations on Netflix that it merits its own landing page. The latest screen translation of his work begins with a parent’s worst nightmare.

“I Will Find You” follows an imprisoned father wrongfully convicted of brutally murdering his son. When he learns his child may still be alive, it sets off a harrowing, twist-filled search for the truth. User discretion is advised as to whether that makes it the perfect binge for the Father’s Day weekend. “I Will Find You” is also the first series in Coben’s partnership with the streamer to take place in the U.S. — other projects have been set in countries across Europe, including the U.K., France and Spain, in four different languages. Coben and showrunner Robert Hull stopped by Guest Spot to discuss the eight-episode series.

Also in this week’s Screen Gab, our streaming recommendations include a series of brief historical videos that honor the 250th anniversary of the Declaration of Independence and a Netflix documentary that revisits Michael Jackson’s 2005 child molestation trial.

And if you’re a fan of “House of the Dragon,” which returns Sunday with its third season, check out coverage from Tracy Brown, our resident expert on all matters related to Targaryen family drama. She assembled a guide to refresh your memory on the events of the second season and spoke with Emma D’Arcy ahead of the new season.

Keep on reading (and watching). See you next week.

—Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

“250 to 250”/@twofiftytotwofifty (YouTube)

In the spirit of the old CBS “Bicentennial Minutes” (the spirit of the old CBS for that matter) — which ran in commercial breaks from July 4, 1974, until Dec. 31, 1976, and featured celebrities telling a story from “200 years ago today” — historian and podcaster Heather Cox Richardson has mounted a series of similarly timed semiquincentennial videos, as “250 to 250.” Narrated by an array of scholars, politicians, activists, public servants and others, its overarching theme is that “the story of America has been one of the constant efforts of Americans — from all races, ethnicities, genders, and abilities — to make real the belief that we are all created equal and have a right to have a say in our democracy.” (It can’t be said too often.) Segments (there are 25 as of this writing) include the Constitutional Convention, the Triangle Shirtwaist Fire, the Erie Canal, the AIDS Memorial Quilt, Man o’ War, Eisenhower’s “D-day: In Case of Failure” statement, Rita Moreno, the Everglades, the Social Security Act, Fannie Lou Hamer, An Wang (the inventor of magnetic core memory), Thomas Paine’s “Common Sense” and L.A. Times reporter Rubén Salazar, killed by a sheriff’s rubber bullet during the 1970 National Chicano Moratorium March Against the Vietnam War. — Robert Lloyd

A still from “Michael Jackson: The Verdict” of Mark Geragos, who briefly served as the singer’s defense attorney.

(Netflix)

“Michael Jackson: The Verdict” (Netflix)

Moviegoers embraced “Michael,” propelling Antoine Fuqua’s film about the global superstar to become the highest-grossing music biography in movie history. But reviewers and others have continued to criticize the absence of references to the child molestation allegations that continually shadowed the singer. Netflix’s documentary “Michael Jackson: The Verdict,” however, brought it into focus. Directed by Nick Green, it chronicles the 2005 child molestation trial that threatened to derail Jackson’s career after a young boy accused him of abuse. The three-part series uses archival footage and new interviews with attorneys involved in the case, journalists, fans and members of Jackson’s inner circle to explore the trial, which sparked international attention, and its aftermath. Although the project is unlikely to affect Jackson’s popularity much, some of the revelations uncovered during the investigation are disturbing. — Greg Braxton

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Sam Worthington as David Burroughs, a wrongfully imprisoned father, in “I Will Find You.”

(Christos Kalohoridis/Netflix)

What would you do to save your child? “I Will Find You” follows David Burroughs (Sam Worthington), a father serving a life sentence for the gruesome killing his toddler son. But when his ex-sister-in-law Rachel Mills (Britt Lower), an out-of-work reporter, presents him with evidence that suggests his young son, Matthew, is still alive, it sets in motion a daring prison escape and a high-stakes rescue mission in search of the truth. And that’s just one of the parent-child dynamics that fuel the series to illustrate, as Coben told us, how most parents are “trying to do what we think is best for our child — and that could lead to greatness or it could lead to disaster.” Over a recent video call, Coben and showrunner Robert Hull discussed the chilling premise and the book moment that was most challenging to bring to screen. Beware of spoilers ahead. — Y.V.

Harlan, Netflix wanted to make this before you even finished the book. How did that shape or intensify your normal writing process? Is it hard to turn off the noise of the pressure that carries?

Coben: Actually, no. In terms of writing the novel, I’ve learned that the worst novels are the ones that you write thinking you’re going to make a great TV series or a movie. If you write a novel going, “Ooh, I can’t wait for it [to be adapted],” it’s going to stink — trust me. My caveat to that is, though, I don’t care about making changes. I don’t have fidelity to the novel. Once I knew it was going to be already a TV series, I made sure I cut off any thoughts of that, and just told Robby, “Your job is going to be to worry about how to adapt whatever I do.” The way it started was Robby and I had met, and we wanted to do something together at Netflix. We wanted to maybe do the first one that was going to be filmed [and take place in the U.S.], and weren’t sure which to do. I pitched the idea to Robby as I started writing the book, and Robby’s eyes lit up. We went to Netflix and [executives] were like which book is this? I’m “Well, it’s not a book yet; it’s a third of a book right now. I’ll finish it while Robby’s working on the pilot and the adaptation.

Robby, what pulled you into this story?

Hull: As a father myself, I would easily give my life to save my children. What would be terrifying is to not have that opportunity. And Harlan created this character [in that situation] — he says very early on in the book, “A father’s job is to protect my son, and I didn’t do that.” He’s [David] living in this spiritual prison, regardless. And in this day and age, to have someone come and say, “Hey, there might be a way for you to correct the past, to change the most horrible thing that’s ever happened to you” — I thought that was just an incredible way to start a story.

Britt Lower as Rachel Mills and Sam Worthington as David Burroughs in “I Will Find You.”

(Netflix)

Was there a moment from the book, or a twist, that was most challenging to bring to screen, or one that you were most excited about?

Hull: It’s actually the same moment: When Rachel comes [to the prison] and shows David the photograph very early on. That is a scene that has to establish who Rachel is, establish her back story, her pathos, her connection to David, introduce the mystery, David’s reaction to the mystery. There is so much going on. You have to check off in three pages and in the hands of possibly actors other than Sam and Britt, that could be a real train wreck of a scene. Sam’s reaction when he first sees that photo is just unmistakably incredible, and you don’t have to write it. He tells you in three or four seconds the last five years of what he’s been through, and the possibility that maybe things can be different just by staring at a photo, which is incredible.

Coben: That’s one of my favorite scenes too. Also the ending, making sure that landed and gave the emotional punch that I wanted and I felt when I was writing the book. I think we delivered it less-was-more there. It closes it and it leaves it, so you can interpret it your own way, and you can bring it. We were thinking, it’d be really interesting to ask people a year from now, “Where do you think those characters are?”

Let’s talk about that part of the ending — so spoiler warning starts here. The book goes more deeply into how Rachel and David’s relationship evolves into a romance by the end. The series is more vague — we see them hold hands. Robby, how did you want that moment to play?

Hull: If you want them to be together and you’re hoping they are, then I’ve done my job right. I actually don’t want to answer that question because the relationship is so complex and so dynamic. Early on, we didn’t want the traditional two-hander, where [it’s] “Oh, now they’re going to fall in love, now they’re going to come together.” No, Rachel’s her own character with her own story and pathos, and at the end, what they’ve been through together, if that moment is the promise of something more, great; if it’s the promise of “look what we’ve been through,” that’s OK too. That’s what I was going for, at least.

Do you think there’s more of David’s story to tell? Would you want a Season 2 to explore what happens next?

Coblen: I’m probably the only writer who will say this: No, not really. I don’t do Season 2’s unless I think they’ll be better than Season 1’s. Let me do new stories instead. This is a complete story to me. Now, if somebody says to me, “I’ve come up with an idea that might work, that could be as compelling as being [in prison] for five years for the murder of your child for the same character? I never say never. I’ve learned that in my career. But we’ll see. I don’t think so.

Robby’s like, “but I want a Season 2.”

Hull: The moment he said, “If you can come up with a story better than the one we told …,” I was like, “Oh, guess we’re not doing a Season 2.”

Before I let you go, what have you watched recently that you’re recommending to everyone?

Coben: “Your Friends & Neighbors” [Apple TV] by my pal Jonathan Tropper and my other pal Jon Hamm. I’m proud of the job they’ve done on that show and I’m happy for them.

Hull: “Run Away,” ’Safe,” “Fool Me Once.” [Each are a Coben adaptation for Netflix]. Those are the three I’m digging right now.

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It’s Friday afternoon in North Hollywood and Ziggy Marley is perched on a stool inside his newly built Rebel Lion Studio, tucked in one of the neighborhood’s creative enclaves.

The nine-time Grammy winner is surrounded by a collection of lion figurines, guitars, traditional hand drums and a piano. Along the walls hang two replicas of backdrops his legendary father, Bob Marley, used on tour in the 1970s. The murals, depicting Rastafari icons and Haile Selassie I and Marcus Garvey, were featured in the 2024 biopic “Bob Marley: One Love.”

“These are what we used as the backdrop for the concert scenes. Them spiritual to me,” Marley says in patois as the smell of palo santo dances around the rehearsal space.

Music has been both an inheritance and lifelong pursuit for Marley. From sitting in studio sessions with his father as a child to building a five-decade career of his own, he has remained a curious student of the craft, one willing to challenge convention in search of a deeper meaning. That spirit is evident on “Brightside,” his ninth solo album, which was released on vinyl on April 18 (Record Store Day) and May 1 on streaming.

Rather than recording the eight-track project in 440 Hz, the standard tuning frequency for most modern music, he opted for 432 Hz, a tuning some musicians and theorists believe creates a warmer, more meditative listening experience. He also slowed down his songwriting process, giving each lyric room to carry its message of hope through turbulent times. The album, which may be his most personal yet, also features “Many Mourn for Bob,” the first song he has written directly about his late father.

“I think it shows the next stage that I probably am in,” says Marley, adding that he felt connected to his father on a spiritual level. “We took another step in the relationship, to another place that it’s never been before.”

Ziggy Marley is bringing his “Brightside” tour to the Hollywood Bowl on June 21 alongside reggae star Burning Spear.

(Dania Maxwell / For The Times)

He adds, “When I was doing the song, it kind of came to me like this song could’ve been my father’s song. It could’ve been a song that he wrote.”

The reflective nature of “Brightside” arrives at another pivotal time in Marley’s career. This year marks the 20th anniversary of “Love Is My Religion,” the Grammy-winning album that launched his solo career and crystallized a personal philosophy he still carries today. He is also set to release his sixth children’s book, “True to Myself,” in September.

As we wrap up our conversation, Marley has only a few minutes before Rebel Lion Studio shifts back into work mode. Within minutes, bandmates, background singers and production crew members begin funneling into the space, hauling in stacks of equipment as promotion and preparations continue the “Brightside” tour, which stops at the Hollywood Bowl on June 21.

This interview has been lightly edited for length and clarity.

You recorded your latest album, “Brightside,” here at Rebel Lion Studio, which you designed and built from the ground up. Can you take me back to the beginning of that process and why you wanted to do it?

I grew up around my father and my mother as growing musicians trying to succeed and there was one thing I kept hearing over and over throughout my life: independence. Their whole mission was to be independent. I saw them work and I saw my father build a studio. I saw him have a space where he can do more music and control his own time. That was a dream of mine for a long time, ever since I started doing music because usually we use other people’s studios. I couldn’t have this in my house. It’s too much. It’s a dream come true.

We’re surrounded by two beautiful murals. Is there a particular item that is personal to you?

The murals are replicas of my father’s backdrops that they used. The original artwork is by Neville Garrick, but he helped us re-create them for the Bob Marley movie. These are the murals we used as the backdrop for the concert scenes. They are spiritual to me cause that’s Haile Selassie and Marcus Garvey, two very important beings for us. Inspirational.

On “Brightside,” Ziggy Marley dedicated a song to his father, Bob Marley, for the first time in his career.

(Dania Maxwell / For The Times)

“Brightside” is your ninth solo album. What mindset were you in emotionally and spiritually when you started working on it?

I never thought about making an album, I was just writing songs. You just tap into things in your subconscious that are waiting to become music, I feel like. Then when the time comes for writing songs, the time comes. It’s like a season. Like you have blueberry or orange season. So there’s a season for me when I write songs. Then you say, “All right, let’s make an album then.” But you don’t think about an album before. It’s just an expression or a feeling just to make music, not for any reason but to make it. It happened over a period of years. Ideas and experiences that eventually come out. But closer to the time I [made] the album, I remember writing some of the later songs like “Why Let the World.” It was a song that I wrote because I was feeling down and everything that was happening in the world and the country. Just so much negativity and I just felt like I needed to take a break from it. To recharge yourself. We cannot fight every day. We need to take a break and then get back to it. I needed to teach myself to take some time. It was more of a mental thing than an emotional thing. Stuff I deal with my father, personal life and stuff with my spirituality and my faith. So there’s a lot of me in this record.

“Many Mourn for Bob” is the first song you’ve explicitly written about your father. Your brother, Stephen, is also on the vocals. What surprised you emotionally once that song was finished?

I’m not sure I thought about it like that. The experience of expressing that emotion, it’s a spiritual experience. I think it shows the next stage that I probably am in and even my relationship with my father on that spiritual level. It’s a different place. We took another step in the relationship, to another place that it’s never been before. When I was doing the song, it kind of came to me like this song could’ve been my father’s song. It could’ve been a song that he wrote. That’s how I felt about it. This is partly his song. It’s me and him making this song. This song is his song too.

How has your relationship with grief changed over the years?

It’s more of a comrade, understanding, empathy and having the maturity and the experience to understand what he went through as a man, as a human being. I think that’s what it is, really. A better understanding of what he went through, not the glory. The pain, the mental and emotional state. You’re more than just an idol. You’re more than just a legend. You’re more than just a father. To go deeper than that, so that’s the next level.

Yeah, the skit you used of him saying “I’m just a man from the ghetto” on the song really summarizes that.

That’s the real him. That’s him right there. Even in the tone of his voice, you can hear the real Robert coming out.

Another standout song from the album is “Racism Is a Killa.” One thing that you do well is having a heavy topic, but finding a way to still make it feel hopeful and joyful. Why was it important for you to approach the track this way rather than from a place of anger, heaviness or sounding preachy?

I think it started out preachy and angry, but over time, it kind of evolved and I kind of evolved too ‘cause my own evolution is represented in the music. And you know something, doing that song helped me evolve because I had to think about it differently without the anger. The song made me do that. Like how else can I approach this? It’s inspiration that causes these things. It’s not an intellectual thing. I didn’t do that intellectually. Like over time, something just started coming out of me. I never really thought about it before, but I can see it now.

In the video, which features your daughter, Zuri, you referred to the condition as “Racismosis” in the video and sang about how it can be cured.

It’s kind of like a sickness, a disease. It’s a virus. We can minimize the virus and stop the disease. It’s true. Racism is a killa. This virus can kill ya. Literally kill ya. Spirtually kill ya. Emotionally kill ya. Mentally kill ya. It kill ya in different ways. It kills the victim and it kills the person perpetrating it. It’s killing everyone, but we can cure it though. It starts with the children. I have a friend of mine who said, “Yo, my little son loves this song. He doesn’t want to stop. He says ‘Put on “Racism is a Killa.”’ So that’s where the antidote is starting. The minds of the children. The music with a conscious message gives them the right consciousness that they grow up with. That is how we take our time and lower the spread of the virus.

You recently released an alternate version for “Racism Is a Killa” with Big Boi. How did that collaboration come together and what excited you about working with him?

I’ve loved Big Boi and Outkast from a long time ago. He’s a legend and a strong voice. There’s different layers to it and I feel like Big Boi took it to that other layer. So yeah, we just love Big Boi and I’m going to jump on something he does. [Laughs]

I’d be remiss if I didn’t ask your approach for your album and how you swapped the typical 440 Hz for 432 Hz. Do you remember the first time you heard the music played back that way?

It’s a long journey because for most of my life in music, I’ve tried to be a student. I’ve tried to keep an open mind and learn more and more. With this album, there’s an inspirational side of music and that’s where I lean into most of the time, but as I grew up, I started to understand there’s also a science too. It’s also mathematics. The universe, it’s all mathematics and science, and I shouldn’t shun the science of music just because I think the inspiration is all it should be. I think a part of that was learning that for myself and opening up and saying, “Yo, let me put some science into this.” Frequency. What does frequency do to people? Frequency affects people. Frequency is a weapon. It’s a tool. I’m sure the army has some kind of frequency thing. So frequency is powerful. I wanted to try something different anyway. I want to be different. I want my frequency to be different from the majority of frequencies that’s being played out there, because it’s fun for me to be different.

When I was working on the demos, I was like “Let me try this 432 Hz thing” and I like how it feels for me personally, how I sing on the frequencies. It resonates differently and makes me feel different. We did it and it felt good, and we did it live, and from my point of view, I felt a different energy with the audience too. So all of those experiments led me to the final conclusion to say, “Yeah, let me do the record in 432.” It’s really nice vibes, which the world needs a different frequency. We can use it.

This year marks the 20th anniversary of “Love Is My Religion,” your first solo Grammy-winning album. When you think back to that era of your life, who was Ziggy back then?

A lot was changing because I moved to L.A. during that time.

You got married around that time too, right?

Yeah. I don’t really fight change. I just try to navigate them and figure them out cause sometimes change is hard. There was a lot of change living here, moving around, trying to find a place, music, but then it’s like we are continuously updating ourselves. I’m continually updating. You know how you update your OS. I’m updating my OS. My operating system is being updated throughout my experience in life. There’s always something else out there for me to evolve to. So during that period of my life, “Love Is My Religion” came to me when someone asked me, “What religion are you?” And I just said “Love is my religion.” I never thought about it before, never contemplated it, never even thought of those words together before in my life, and they just came out to me that day. So the album represents a time in my life when I realized there’s a spiritual awakening that I had. “Love Is My Religion” is a spiritual awakening. That’s my thing. That’s who I am. That’s why it’s a milestone.

“If you think you’re going to change this world with music and you’re trying to send a message out there, you have to speak to children,” Ziggy Marley says.

(Dania Maxwell / For The Times)

You’re kicking off the “Brightside” tour this month, which includes a stop at the Hollywood Bowl. What are you most excited about when it comes to bringing this album to people for the first time live?

I’m excited about playing the music. I think it’s about the music. These new songs, they vibrate very highly for me and I’m excited about experiencing and expressing that. And also kind of not doing it for the audience. I don’t want to do it for the audience. I want the audience to experience what I’m experiencing, what I’m expressing. I want them to feel me. I don’t want them to be like “Hey look at me.” [Laughs] There’s still connectivity going on, but I want them to feel the songs the real way. That’s what I’m excited about for people to feel it the way that I feel it.

You even posted the lyrics and told fans to get to practicing, so they can really understand the message.

Yeah. Just reading them for me, I really like the writing I did on this. I also took some time with this too. I was saying to someone that I developed a deeper relationship with the lyrics and the words than I did before. My relationship with the words here are very mature. I feel good about it. That’s why I want people to know the words because words are very important. Words are very important. If you know the words you get a deeper understanding of what I’m talking about and what I’m feeling.

After nearly 50 years of making music, Ziggy Marley built his own studio in North Hollywood called Rebel Lion Studio. He plans to turn it into a multipurpose creative space.

(Dania Maxwell / For The Times)

Look on the bright side is a phrase that people say often, but what do those words mean to you right now?

Sometimes we can get in a place [where] we can’t see the other side of things because we’re so caught up in that one place. Like the cliché, there’s two sides to a story, ya know? The universe is always yin and yang, but there’s always another side of things. But I feel like the way we are being programmed in a way through media and everything, it’s like there’s only one side. Everything is like this, there’s nothing else going on over there that we need to see, we only need to see this. This is all that’s going on in the world. There’s nothing good, there’s nothing nice, there’s no good people, there’s no love. So it’s a realization too. A realization that there’s the other side. Never get to that place where we think it’s just that side alone because we get so much of it. It’s a reminder, I think, for us like “Come on guys.” The thing about it too, sometimes you can feel like — even for me — some people say, “Hey look on the bright side,” some people find that like “Why are you happy? Why you so chirpy?” [Laughs]

That’s true.

I’m proud that I’m on the bright side. I’m living on the bright side, I don’t care. You don’t like me because I’m living on the bright side? You want me to be like you, you want me just live on the dark side with you, right? So it’s like a proudness of being positive and having that outlook in life, and not feeling like you have to [fall to] peer pressure. More positivity in life, not just the negativity. I’m confident in that too. So it’s kind of like that too, you know, like being proud, lifting up that side of me. Yeah, I’m happy to be living on the bright side.

Some people are still processing “Euphoria’s” evolution away from its roots as a gritty drama that explored highly mature and dark teenage experiences to, in its final season, a fever dream-esque look at adulthood that played like a full-blown neo-noir crime thriller. But another show’s creative transformation has taken the stage now.

The third season of AMC’s adaptation of Anne Rice’s “Interview With the Vampire” brings a reset to the captivating world of bloodsuckers. While the first two seasons adapt the original 1976 novel, relying heavily on the recollection of Louis de Pointe du Lac (Jacob Anderson) as he recounts his centuries-long life and romance with Lestat de Lioncourt (Sam Reid) to a journalist, the new season shifts narrative focus and perspective over to Lestat, who transforms into a charismatic frontman of a glam-rock band to publicly set the record straight. As such, the series has been retitled “The Vampire Lestat,” which is the name of Rice’s second novel. For this week’s Guest Spot, I spoke with showrunner Rolin Jones about the show’s rebranding and Reid’s commitment to the musical challenge.

Also in this week’s Screen Gab, TV critic Robert Lloyd steers us away from the usual streaming options to recommend a man’s video journal that documents his quest to travel the world by foot, while culture critic Mary McNamara suggests a new British comedy about codependent BFFs navigating the sort of tricky development that would end most friendships.

Speaking of endings to relationships, it was announced this week that “Doctor Who” showrunner Russell T Davies is exiting the series (again) seven months after Disney+ decided not to continue its partnership with the BBC to distribute the long-running sci-fi series. BBC also announced it will not air the show’s previously announced Christmas special this year. Lloyd, a longtime Whoverse follower, is a voice of calm through it all. He shares his thoughts on why the new questions swirling around the franchise don’t necessarily have to be cause for alarm — evolution is part of the show’s essence, he reminds us. Elsewhere in current events, if you’ve been curious (… sure, that’s the right word!) about the UFC Freedom 250 live event that will unfold in an oversize cage on the White House South Lawn in celebration of Trump’s 80th birthday and the country’s 250th anniversary — and will be streamed live on Paramount+ — check out our explainer about the controversy — and lawsuit — it has sparked.

Now if you’ll excuse me, I have another Matthew Rhys story to read so I can maintain my executive membership in the fan club. See you next week!

— Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

@AlexanderCampbellOfficial (YouTube)

In February 2023, Alexander Campbell, then 27, set out from Sydney to walk west around the world. Currently he is somewhere around Albania, having traversed, among other places, Bangladesh, Nepal, Pakistan, Kazakhstan, Turkey and Bulgaria. He’s been documenting his progress on camera all along the way, but it wasn’t until Day 938, in Georgia, that he began posting the longer, “uneventful” videos that make his channel such a singular, meditative, even hypnotic, form of vicarious travel. Walking alone to the sound of his own footsteps, through sun, rain, sleet, snow and dark of night, over mountains and deserts, through forests and fields, he becomes a character in a peripatetic, nearly one-man show. The occasionally encountered friendly local will warn him about wolves or bears or the hunters who might mistake him for one, though he meets more dogs than people. (He calls them all “Buddy,” warily.) Titles include “I Slept in a Barn Full of Stray Dogs,” “I Got Caught in a Snowstorm With Nowhere to Sleep” and “Something Was Out There in the Forest.”) — Robert Lloyd

Jemaine Clement, left, and Nicola Walker in “Alice and Steve.”

(Lara Cornell / Hulu)

“Alice and Steve” (Hulu, Disney+)

What would you do if your ex-turned-longtime bestie slept with your 26-year-old daughter? Well, Alice (“The Split’s” Nicola Walker) 100% loses her mind. Sure, during a drunken convo at a bar, she did tell Steve (“Flight of the Conchords’” Jemaine Clement) that he could have any woman he wanted, but she most certainly wasn’t talking about Izzy (Yali Topol Margalith). Having just returned home after breaking up with her boyfriend, Izzy decides that Steve, now bunking down on the sofa, is “strangely hot” enough for a little rebound sex and then a romantic relationship. And Steve, though initially regretful and more than a little shell-shocked, decides this is what he wants too. “I really like her,” he says by way of sheepish explanation. It leaves Alice no choice but to hilariously alternate between screaming and scheming as she tries to put a stop to the proceedings even at the expense of her marriage, her career, her friendship with Steve and her self-respect.

Clement’s sad-sack charm successfully boosts the leap of faith required to keep Steve from becoming an oblivious creep, but the show belongs to Walker. Her Alice becomes a blazing embodiment of the emotional maelstrom inside every woman who is expected to somehow put on a supportive, understanding face no matter how outrageous or impossible the situation. The laughs she elicits are exhalations of shock, recognition and relief. We can’t all ditch the high road for pure, luxurious fury, but it’s mighty fun to watch someone who does. — Mary McNamara

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Sam Reid as Lestat De Lioncourt in “The Vampire Lestat.”

(Sophie Giraud / AMC)

If you thought posting cryptic digs about an ex on your social media accounts as a way to cope with unresolved emotions was petty, this TV vampire may have you beat. The wild new, music-infused season of “The Vampire Lestat” (formerly “Interview With the Vampire”) revolves around Lestat de Lioncourt (Reid) on an elaborate mission to tell his side of the story after his ex-lover, Louis de Pointe du Lac (Anderson) published a scandalous memoir — with the help of journalist — that detailed their turbulent romance. In his bid to control the narrative, Lestat becomes an immortal glam rocker who launches a music tour and enlists the same journalist — newly turned into a vampire — to direct and film a music documentary about his life. The result is a flamboyant seven-episode season that blends rock-opera style performances (the season will feature 20 original songs) with personal reflections from its flashy frontman. As it enters its second week of release on AMC and AMC+, creator and showrunner Rolin Jones spoke over video call recently to discuss the show’s creative pivot and more. — Y.V.

To kick off the new season, there was an immersive premiere concert event at the historic Beacon Theatre in New York City earlier this month. Was that a surreal experience? Did you feel like a music manager?

I have a hard time talking about the work — the selling of the work, all that kind of stuff. I want to finish my edit, and then I want to like disappear at the Arctic. I knew we were doing this and I knew that there were like fans from all over the world flying in for it — some who didn’t have tickets. I knew there were people who had worked on the show from Seasons 1, 2, and 3 who got on a plane, asked for a ticket, and made a pilgrimage there. I was really moved by it. It was about as good as these things can ever be. It felt really beautiful. It felt like Vampire Church. It was pretty cool. And Sam — “surprising” is not the word because I’ve worked with him for a long time — was way better than he should have been. It’s incredible.

In this TV landscape, taking a show and giving it a new title as it enters its third season is a daring move. The series moves focus to the second book in Rice’s oeuvre. And while it continues the story of these characters, at the same time, it feels like a new show. What made you nervous about carrying out that kind of creative transformation? And what was thrilling about it?

We could start with a thrilling part because the idea to be able to go to the people who worked really hard and say, “Hey, let’s rebuild it” — that’s exciting. That part’s cool. The executing part about it is where the terror begins because most worthwhile art — you can call TV art — invariably has to have risk and danger involved in it, otherwise you’re probably performing a magic trick. No offense to magicians. But you want something that when you turn off the TV, you’re not immediately forgetting. The more risk you do, in terms of form, in terms of all that, you want to be able to feel like you can pull it off because, otherwise, they [the audience] have nothing to grasp onto. [And they say,] “You just destroyed this thing we love, how dare you!” But generally speaking, everybody — from the top of the network down to the actors who are doing it — was down for it. Mostly because, if you listen to our fandom, I think they demand it. They’re out there on a limb telling everybody “it’s the greatest TV show, and blah blah blah” and you have to deliver that for them so that they can continually confidently bombard all their friends and neighbors and say, “Watch the show.” There’s nobody who didn’t give everything [to this season]. It was a real collective leap together.

Sam undergoes quite the transformation to make this rock star vampire persona believable. What struck you about how he approached embodying Lestat this season?

I gained 20 pounds in Toronto, and that’s because I kept stuffing my face with bread, and about every three or four times I would have this big sloth of butter on bread, I’d go, “Poor Sam” because I know Sam had not touched a piece of bread. Let’s start there — 0% body fat, the dimensions on the waist. The level of dedication. He was living and breathing every second about the role and about the demands of it — sing songs, and not only sing songs, but go learn to be a musician, and go train with people who have been doing it their whole life so you can fake it. I feel very confident saying this: Anybody who watches this season and Sam’s performance will feel like, at the end, they saw one of the 10 greatest performances in the history of our medium. I think he absolutely disappeared. James Gandolfini did not sing songs, Swearengen [the “Deadwood” character played by Ian McShane] did not sing songs. Mr. White [the “Breaking Bad character played by Bryan Cranston] did not sing songs. I’ll put him [Sam] up against all of them. He’s incredible.

What if he wants to go off and be a rock star now?

He could do it.

Jacob Anderson as Louis De Pointe Du Lac in Season 3 of “The Vampire Lestat.”

(Sophie Giraud / AMC)

You have a rock band posing as vampires fronted by an actual vampire who is the focus of a documentary being directed by a vampire passing as a human. And for all this to work, the band has to be good. What was the challenge of making this fictional band’s stardom believable — the charisma, the presence on stage, the discography? It’s a tall order, in addition to making a compelling TV show.

Anytime you have seen these things, following a band, there’s so many ways it can fall flat. You can do three or four of the things you need to do, and if one of them falls apart, you’re still stuck there, going, “Eh.” We all, who are working on it, love music. We’ve all been in clubs. The first thing we did was remove the stardom for budget reasons, but also for singular storytelling — he decided to do rock ’n’ roll in the year 2025. Some basic building blocks, we need songs. So with [composer and songwriter] Daniel Hart, we bring him into the [writers’] room because it’s not only writing songs, but writing the context about when and where he’s [Reid] singing them. He has to be aware of what we’re doing in the room. We also have to be able to pivot when he has pure inspiration; he can come in with something we’ve never talked about, and go “Boom!” And it’s OK, now what do we do with this song? And quite often this year we restructured episodes because the song was beating our episode. [We had to] hire actors who can play or musicians that can act — and that’s not everybody, so that shrinks that down. Make sure when you’re in the club, or whether you’re singing the song in rehearsal, let us uglify it, embrace the mistake, make it a little dirty. We have a song this year that has some of the most beautiful orchestrations, but because of where it landed in the season and what it talked about, we ended up going with the most stripped down, bare version of it. Don’t worry, you’ll get to hear these beautiful orchestrations [at some point]. [It’s also thinking about] how do you carve out the time you need to shoot it and the playback elements of it, and what sacrifices you have to make on other set pieces that you would normally put in is a lot. But everything from the beginning was with one thing in mind: Do not suck. How can we suck less? Let’s not suck. And we just kept going over and over again with that.

At the end of the first episode we see Lestat reunited with his undead mom, Gabriella, who he has, I think it’s fair to say, an oddly intimate relationship with —

Multifaceted.

And obviously the Louis-Lestat romance is far from being over. What are you interested in exploring within those two dynamics, in particular, moving forward since they’re so central to Lestat?

It becomes immediately about him going, “Let me try to explain this … I might have just repelled 80% of you.” I’m really interested in the viewers who are really off-put by it. I want to see where they’re at by the end of Episode 7, if they trust us. And see what they’re feeling. I guess [some people feel], “Oh, you’re not allowed to do this in the TV world unless you got f— dragons and s—, but all the things that you would have thought [that the network might say], “Don’t do this,” we didn’t really have a lot of those obstacles. There was a lot of trust. The thing with the Lestat character is like it’s probably harder to cuddle up to him like you could Louis. Louis is a Faustian tale; here it’s like a Faustian tale but Elton John’s at the center of it. There’s a series of questions like “Why do you keep doing this to yourself? Why do you keep get trapped into these things?” It’s like going on odyssey, or as Jacob called it, an idiocy, with a character that is exotic and eccentric and contradictory. For us going forward, as we wrote it, every time we fell into the something that felt well-made or cool on a twist or turn level, we found we were very suspicious of it, and we were trying to make alien TV as best we could. So, what do I want? It’s less about exploring those two dynamics, although they’re richly part of this fabric. It was, how can you take them on a magic carpet ride, a very difficult one? The idea is to actually have, by the end, every single person recognize that part of themselves in him. And how can you normalize him over seven episodes? How can you deliver that to an audience?

I know you’ve been super–busy, but what’s the last thing you watched that you found yourself recommending to everyone or something that you were obsessed with right now?

A TV show I’m watching, one that I’m enjoying right now, is “Widow’s Bay” [Apple TV]— that has been very enjoyable. It’s so much fun.

Matthew Rhys’ facial expressions are so good.

Oh, he’s great, and that show just really knows what it is, and is joyfully silly, and has a great atmosphere. It’s one of the most beautifully shot things I’ve seen in a while. I’m not finished yet.

OK, before I let you go, I hope we get a concert out in L.A. at some point.

Wouldn’t that be nice? Where would you put it up? Echoplex?

Maybe the Troubadour.

What about the Greek? That would be nice.

ICYMI

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WASHINGTON — The relationship between President Trump and French President Emmanuel Macron started simply enough, with a handshake, nearly a decade ago.

But even then, there were signs of strain in their relationship — tensions that could be on full display during next week’s G7 summit in France.

Back in 2017, Trump was a brash businessman just elected to America’s most powerful office, and Macron was an upstart politician who had won his race in a landslide. At a NATO summit in Brussels, they clinched hands far longer than most people do when they meet for the first time. Neither seemed to want to be the first to break a grip so tight that it exposed white knuckles.

Nevertheless, a friendship was born. And early on, Macron seemed to be the one European leader with a knack for managing his mercurial, three-decades-older counterpart.

Macron invited the Republican president to join him for Bastille Day celebrations in July 2017, including an Eiffel Tower dinner date with their wives. Trump reciprocated by making Macron the guest of honor the following year at his first White House state dinner, the highest diplomatic honor the United States can extend to an ally.

But by the end of Trump’s first term, the bromance had faded. And in his second term, the leaders now openly trade barbs, disagreeing over tariffs, Ukraine and the Iran war. That dynamic will be scrutinized next week when Trump and the leaders of Britain, Canada, Germany, Italy and Japan join Macron in the French lakeside resort of Evian-les-Bains for the G7 summit.

Trump’s long-simmering frustrations with US allies could be on display

There could be awkward moments between Trump and Macron, as well as among Trump and the other G7 leaders he’s criticized for not joining him in Iran.

“But I also think European leaders are quite professionals when it comes to politics, and in some ways diplomacy at this point, and will maybe see it as an opportunity as well,” Max Bergmann, director of the Europe, Russia, and Eurasia Program at the Center for Strategic and International Studies, said in an interview.

Kurt Volker, a former U.S. ambassador to NATO, said the Trump-Macron relationship has been further complicated by the Iran war and Trump’s complaints “that Europeans weren’t helping, when they hadn’t been consulted, and their interests are very much affected by this.”

“I think that was a negative for Macron,” Volker said.

Trump joined Israel in a war against Iran over its nuclear program back in February without consulting other U.S. allies. He then complained publicly when European countries spurned his requests for their help.

Waning support for Ukraine in its war against Russia from the Trump administration “has really irritated the French,” Volker said. “They feel this is important and we’re not paying attention to it.” Macron invited Ukrainian President Volodymyr Zelenskyy to join the leaders’ discussions on Tuesday.

Macron is the G7 member who has dealt with Trump the longest

In Trump’s first term, Macron appeared confident that he could persuade and influence the U.S. leader, but the relationship increasingly has come to be defined by their disagreements.

Macron now says he is “careful” about Trump’s statements, suggesting he no longer takes them at face value. Their relationship remains cordial as each calls the other “my friend.” But the relationship has also experienced some ups and downs.

As president-elect, Trump attended the reopening of Notre Dame Cathedral in Paris in late 2024 at Macron’s invitation. After Trump began his second term in 2025, Macron was an early Oval Office visitor. The president wrote on social media that he was “delighted” to welcome Macron back to the White House and said the relationship with France has been “very special.”

But at one point during the meeting, the French president publicly corrected Trump after he wrongly suggested that Europe would recover the money it had provided to support Ukraine. With a smile, Macron touched Trump’s forearm and replied, “We provided real money.”

Macron also condemned as “brutal and unfounded” new tariffs that Trump slapped on steel, aluminum and a broader range of European imports in early 2025.

But there have also been some lighter moments mixed with the tensions.

A documentary aired last year on French television showed Macron telling Trump during a phone call that Zelenskyy had agreed to a U.S.-backed ceasefire proposal. Trump replied, “You’re the greatest.”

Macron has often said he can reach Trump directly whenever he needs to — and proved his point during last year’s U.N. General Assembly session in New York. After police officers blocked the French leader from crossing a street because traffic had been halted for Trump’s motorcade, Macron whipped out his cellphone and dialed the U.S. president.

“How are you?” Macron said. “Guess what? I’m waiting in the street because everything is frozen for you!”

‘This is not a show,’ Macron has said about Trump’s NATO ambiguity

Macron has argued that Trump’s “America first” policies bolstered his case for a stronger European defense capability that would lessen reliance on the United States.

In April of this year, as Trump sent mixed signals about Washington’s commitment to NATO after the start of the war in Iran, Macron delivered some of his sharpest criticism of the U.S. president.

“There is too much talk, and it’s going in all directions,” Macron said. “We all need stability, calm and a return to peace. This is not a show.”

“You have to be serious, and when you want to be serious, you don’t say the opposite every day of what you said the day before,” he said.

Trump, while mimicking a French accent, recently has taken to reenacting a conversation he says he had with Macron over drug prices and tariffs. Trump also poked Macron by telling a private luncheon in April that his wife, Brigitte Macron, treats her husband badly. The comments were in a video the White House had posted on its YouTube channel before blocking access.

Macron didn’t see any humor in Trump’s comments. “The remarks I heard were neither elegant nor appropriate,” he said. “They do not deserve a response.”

Still, Macron has tried to accommodate Trump’s schedule to ensure his presence at the summit in Evian-les-Bains, knowing that he has a record of leaving such gatherings early.

Macron originally had set Sunday, which is Trump’s 80th birthday, as the opening day of the summit, but he pushed the start back a day because Trump is celebrating the occasion with a UFC show staged on the White House grounds.

Superville and Corbet write for the Associated Press. Corbet reported from Paris.

FATBOY Slim has opened up about the ‘awkwardness’ he felt with ex Zoe Ball after their divorce, shortly after they reunited to take some new family snaps.

The couple tied the knot in 1999 but their romance wasn’t all smooth sailing, with Zoe admitting to having an affair with DJ Daniel Peppe.

After briefly separating the duo got together again three months later up until their divorce in 2016.

Speaking to Davina McCall on her Begin Again podcast about it Fatboy Slim, real name Norman Cook, shared how ‘awkward’ he felt with Zoe initially after the split as they attempted to co-parent their children Woody and Nelly.

Though overall the star praised the dynamic him and Zoe hold today, saying it might even be better now than when they were a couple.

He said: “Our triumph is to remain really good friends and parents, even though we’re not a couple anymore… 

Read more Fatboy Slim and Zoe

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“It was a bit awkward at first, but then we got this rhythm where… we’re probably actually better than we were when we were a couple.

“You sign on to be parents, that’s for life. 

“You can sign up for marriage and you can get divorced. But you can never stop being parents.”

Norman also praised Zoe for being really good at keeping him “grounded”, noting: “Going through it together was great because, Zoe is a really good teacher, she was really good, really measured and she’s kept me really grounded to earth…”

The podcast chat comes a week after Norman and Zoe reunited to attend a friends wedding over the weekend.

Their daughter Nelly was a bridesmaid at the stunning event that took place at Parnham Park in Dorset.

Zoe posted a series of sweet clips and snaps from the day to her Instagram account.

She wore a cream dress with a slit covered in ruffles, while Norman opted for a handsome grey suit.

In the post’s caption, Zoe penned: “Congratulations Eva & James & Willow

“We love you so much. The most perfect wedding celebration for our dear magic friends.

“Groomsmen, Bridesmaids & a few close folk to celebrate the Wedding.”