Pete Davidson has officially entered fatherhood, welcoming his first child with British model-actor Elsie Hewitt.
The former “Saturday Night Live” comedian, 32, and his girlfriend, 29, are new parents to a baby girl, Hewitt announced Thursday. “Our perfect angel girl arrived 12/12/2025,” the model captioned her Instagram post.
Hewitt shared scenes from Scottie Rose Hewitt Davidson’s arrival, including their first family selfie, images from the labor room and snaps of her own post-push sushi meal. In her caption, Hewitt described her daughter as “my best work yet.”
“I am absolutely overflowing with love and gratitude and disbelief,” she added.
Davidson apparently had other words to herald the arrival of his first child: “Wu tang forever.”
The pair welcomed their first child after less than a year of dating. Davidson (whose dating history notably includes high-profile relationships with Kim Kardashian and Ariana Grande) was first romantically linked to Hewitt (who previously dated Jason Sudeikis and Benny Blanco) in March when they were seen kissing in Palm Beach, Fla. Two months after making their relationship red carpet official, the couple announced in July they were expecting a little one.
In addition to recovering from labor, Hewitt revealed that she is simultaneously bouncing back from another procedure. In an Instagram story posted Thursday, Hewitt shared a selfie of herself in a pink hoodie with an ice pack around her cheeks as she held onto her daughter’s car seat.
“Who else had to get a wisdom tooth removed directly from the hospital the day after they gave birth,” she captioned the photo.
COPS investigating the deaths of Hollywood director Rob Reiner and his wife have shared more details about the scene that greeted them at the couple’s sprawling home.
Rob Reiner and his wife Michele Singer’s manner of deaths have been ruled a homicideCredit: GettyCops at the scene of the couple’s $13.5 million Brentwood homeCredit: Reuters
Both deaths have been ruled as a homicide by Los Angeles County medical examiners.
And, both died from multiple sharp force injuries. Only one cause of death has been listed on their reports.
Cops on the Los Angeles Board of Police Commissioners spoke briefly about the scene at the $13.5 million Brentwood home.
Dominic Choi said the couple were found in the master bedroom of the home.
“Officers conducted a thorough search of the residence to determine whether there was any additional victims or suspects,” he said.
“No one else was located.”
Los Angeles Fire Department was among the first agencies to rush to the Reiner home.
The first call was made at 3:30pm and a unit was requested to respond to a Code two situation, as per dispatch audio obtained by People.
A code two situation is where trucks respond with lights flashing and no sirens.
This was then upgraded to code three, where crews respond with sirens and flashing lights.
The Reiners died on December 14, according to the medical examiner’s report.
A masseuse called the couple’s 27-year-old daughter, Romy, on Sunday when they weren’t let into the home.
She found her dad’s dead body before suddenly charging out of the home, as reported by the New York Times.
Romy didn’t see her mom’s body before learning that she was also dead.
The legendary career of iconic director Rob Reiner
FAMED actor, director and producer Rob Reiner, 78, died on December 14 alongside his wife Michele Singer, 68, in an apparent homicide.
Here is a look at the prodigious list of achievements the Hollywood powerhouse earned before his tragic and sudden death.
Director’s Beginnings
Reiner was born in New York City on March 6, 1947, to legendary comedy writer Carl Reiner and singer Estelle Reiner
He studied at the University of California, Los Angeles film school before breaking into the entertainment industry
Hollywood Career
Reiner first found fame as an actor playing Michael “Meathead” Stivic on the iconic sitcom All in the Family from 1971 to 1979
In 1984, he directed his first film This Is Spinal Tap – a mockumentary following a fictional heavy metal band
Reiner went on to direct cult classic films like The Princess Bride in 1987 and When Harry Met Sally… in 1989
Other notable movies made by the director include Misery, The American President, and A Few Good Men, which earned an Academy Award nomination for Best Picture
The production company he co-founded, Castle Rock Entertainment, has also produced hits like Seinfeld and The Shawshank Redemption
Reiner didn’t halt his acting career either, recently starring in The Wolf of Wall Street in 2013 and The Bear in 2025
Personal Life
Reiner married actress Penny Marshall in 1971 and adopted her daughter, Tracy, from a previous marriage. The couple divorced in 1981
He met photographer Michele Singer while shooting When Harry Met Sally
They married in 1989 and had three children: Jake, born 1991, Nick born 1993, and Romy born 1997)
Nick opened up about his struggle with drug addiction in 2016. The movie Becoming Charlie, directed by Reiner, was based on Nick’s story
Reiner was an outspoken Democratic activist and a fierce critic of Donald Trump
Nick was arrested near the Expo/Vermont metro station in the Exposition Park area of Los Angeles at around 9:15pm – around six hours after Romy rushed to the scene.
Around one hour before he was arrested, he bought a Gatorade from an Arco gas station.
He was reportedly fidgety before buying the drink and kept looking behind him.
At the party hosted by Conan O’Brien, Reiner expressed concern for his son’s well-being.
ADDICTION BATTLES
Nick has been candid about his battles with drug addiction.
His stints in rehab facilities began when he was just 15.
Nick, also a producer, co-wrote the 2015 film Being Charlie and the inspiration behind it was his relationship with his dad during his addiction.
Charlie, played by Nick Robinson, becomes addicted to drugs and his dad in the movie urges him to get help.
The movie follows Charlie’s battle as he fails at different rehab programs.
“It was very, very hard going through it the first time, with these painful and difficult highs and lows,” Reiner said.
“And then making the movie dredged it all up again.”
Reiner said making the movie with Nick helped the two become closer.
“I said it to his face. I’ll say it on the air: He was the heart and soul of the film and any time I would get an opportunity to work with him I would do it,” he told NPR.
A court sketch of Nick Reiner wearing a blue suicide vest during his hearingCredit: ReutersNick was seen in a gas station buying a drink – just an hour before he was arrestedCredit: CBS News Los Angeles
“H Is for Hawk” is for the birds. And such majestic creatures they are, holding their own opposite the magnificent Claire Foy (“All of Us Strangers”).
The film, directed by Philippa Lowthorpe and based on Helen Macdonald’s memoir, centers on Foy’s character Helen, devastated by the sudden loss of her father (played by Brendan Gleeson). In her grief, she turns to a childhood interest, falconry, and buys a goshawk. The wilder the bird, the tamer the name; Helen calls her Mabel.
Producer Dede Gardner and Lowthorpe had worked with Foy before (in “Women Talking” and “The Crown,” respectively) and agreed she’d be perfect as Helen. But Mabel was another story entirely.
Lowthorpe tapped Lloyd and Rose Buck, married bird specialists who had worked for decades on natural history documentaries with the likes of David Attenborough. Since they were conveniently located not far from her home in Bristol, England, the three got together to figure out how to make the film work.
Five birds were needed to play the character of Mabel at different points; the main two would have to be raised and trained by the couple long before filming began. Sisters Mabel 1 and Mabel 2 had the bulk of the work. “They’re from the same clutch, but they’re like chalk and cheese in character,” says Lloyd. “Mabel 2 is much shier and has more wildness in her,” so she was used in the nervous bird scenes early on. Mabel 1 was used to fly to and from Foy’s glove, and for much of the action depicting Helen cohabiting with Mabel in her house.
Jess, on loan from a friend in Scotland with a falconry center, was accustomed to people, so she was featured in Mabel’s calmest moments. Juha, the only male and much smaller than the females, was seen only in high aerial shots. And Lottie starred in the hunting scenes, traveling up to 45 miles an hour through the woods to capture her prey.
Before filming was set to begin, Foy visited the Bucks for two weeks of intensive falconry training. “That was a crucial moment for the whole project, because unless they’ve taken to Claire and she’s taken to them, I don’t think it could ever have worked,” Lloyd says. “But because she was so amazing, it works. She’s interested, clever, intelligent, but above all she’s just a lovely person, and that’s what they see. You can’t fool them, they’re not silly; they can see if someone’s pretending to like them but they don’t really.”
Foy was delighted to work with the birds and with the Bucks. “They’re incredibly kind people,” she says. “They’re so tender and so beautiful with their birds, and therefore they are with other human beings as well. But also they just threw me in. At the end of the first day I was with Lottie hunting, letting her release off my arm. Learning with the birds was the last piece of the puzzle of Helen and the experience I was going to have, so it became a really profound experience.”
“Claire put her heart and soul into that training,” Lowthorpe says. “She has great physical instincts as well as emotional instincts.”
Everything on set revolved around the hawks’ well-being. Filming took place between October and January, to avoid molting season. Everyone in the crew wore drab, dark colors, because that’s what the birds were used to. Microphones were hidden because the birds didn’t like booms, and most of the crew hid upstairs; even Lowthorpe hid behind a piece of furniture with her monitor. Lloyd or Rose would either hood or remove the scene’s Mabel, and give the all-clear, before the crew could reappear to work between takes.
“I told Charlotte Bruus Christensen, our fantastic DP, we should just film everything,” Lowthorpe recalls. “If you pin it you might kill the flavor of danger or surprise. Claire was so in tune in those scenes, she was able to react in an improvisational way, and she would be in her character at all times during those long, long takes. Like I was capturing the hawks, I was capturing Claire, allowing her to move wherever she wanted.”
“It wasn’t like having another actor who had another agenda or actions or a perspective that they wanted to get across in the scene,” Foy says. “I was along for the ride with these animals.”
When Helen takes Mabel for her first walk around the house, she talks gently to her. “This is my kitchen,” she says. Mabel flaps her wings wildly. “It’s not that bad.” The bird poops. “Oh, thanks very much.”
Mabel becomes both salvation and addiction to Helen. “To feel that alive, chasing a goshawk as it’s hunting, you’re part of this extraordinary experience, which feels spiritual and meaningful,” Foy explains. “I do think that we try to avoid the ugliness of grief at all costs, like that’s something you’re supposed to do alone in a cupboard that isn’t witnessed. We just are so afraid of that expression of it. The journey with Mabel is the most vivid expression of that experience.”
Back home in London, Foy says she intends to visit the Mabels. “Whenever you drive on the motorway in the U.K., you’ve birds of prey everywhere, and now I can identify them,” she says. “I see them everywhere I go. There’s an owl out the back of my house. I feel like I’m constantly looking upwards now.”
No one needs reminding that 2025 began in an L.A. aflame. Musicians didn’t escape the fires, especially in Altadena. Concerts were canceled but then became events of communal healing, a process that continues.
There were further troubling signs. Institutions continued to struggle to bring audiences back to pre-COVID numbers. Major orchestras and opera companies — San Francisco Symphony, Metropolitan Opera, New York Philharmonic, Baltimore Symphony, among them — feared fraught contract negotiations. Government funding for the arts dried up. Censorship, new to modern America, appeared a threat. And a military presence on downtown L.A. streets made trips to the Music Center and elsewhere in DTLA less inviting.
Our picks for this year’s best in arts and entertainment.
Still, classical music’s survival instincts proved reliable. New leaders of L.A.’s arts institutions are bringing vitality to the region, empowering musicians and giving fans hope and optimism. Here are my Los Angeles classical music highlights of 2025.
Coachella phenom of the year
It has been a year of transition for Gustavo Dudamel. The long “Gracias Gustavo” goodbye to the Los Angeles Philharmonic music and artistic director has begun. For its part, the New York Philharmonic, where Dudamel is headed next season, wonders how it can ever top the L.A. Phil visit to Coachella in April. Pop music crowds, 100,000 strong, shouted, “L.A. Phil! L.A. Phil!” and “Gustavo! Gustavo!” Big cheers rang as well at Walt Disney Concert Hall, the Hollywood Bowl and on an Asia tour, particularly for Dudamel’s increasingly rich Mahler performances. In late winter he led an impressive Mahler Grooves festival; the summer brought an exhilarating performance of Mahler’s First Symphony and the fall an extraordinary Second Symphony.
Gustavo Dudamel onstage April 12 at the 2025 Coachella festival in Indio, where he conducted the L.A. Phil.
(Allen J. Schaben / Los Angeles Times)
Orchestral visionary of the year
In his own transitional year, Esa-Pekka Salonen finished an unhappy five-year tenure as music director of a San Francisco Symphony that foolishly failed to share his vision with a startlingly dramatic Mahler Second — known, tellingly, as “The Resurrection.” That was followed three months later by the L.A. Phil announcing it was all in with its transformative former music director and had created a new position of creative director in which he would rethink the role of the symphony orchestra in society. As a preview, Salonen had conducted a revelatory performance of Pierre Boulez’s “Rituel” in the spring, with the L.A. Phil musicians and L.A. Dance Project dancers spilling around the Disney Hall stage.
Dancers from L.A. Dance Project perform as Esa-Pekka Salonen conducts the L.A. Phil in Pierre Boulez’s “Rituel” on May 11 at Walt Disney Concert Hall.
(David Swanson / For The Times)
L.A. opera director of the year, although you’d never know it in L.A.
Peter Sellars was barely home in 2025, although that is certain to change with the return of Salonen. Among his newsworthy projects in New York, France and Italy, a busy Sellars collaborated with Salonen on an unflinching, intense and unforgettable staging of two end-of-life monologues: Schoenberg’s “Erwartung” and, with yet more Mahler, the end of “Das Lied von der Erde.” On opening night, it left a gala audience stunned.
Former L.A. opera director of the year, although you’d never know it in L.A.
L.A.’s next-generation opera revolutionary, Yuval Sharon, bid his own farewell to the city where he founded the experimental company the Industry, and where he became L.A. Phil’s first artist collaborator. He now serves as artistic director of Detroit Opera and has relocated to New York City as he prepares to mount Wagner’s “Tristan und Isolde” at the Metropolitan Opera in March. But Sharon carried L.A. with him in 2025 to the University of Chicago, where he delivered the annual Berlin Family Lectures, and in which he considered opera from an anarchistic point of view, inspired by John Cage. He also staged in Chicago Cage’s “Europera 5,” completing a project he had begun in L.A., where, in collaboration with the L.A. Phil,” he had mounted “Europeras 1 & 2” on a Sony Pictures sound stage.
Uncompromising opera administrator of the year
While serving as interim managing director of Long Beach Opera in 2025, board chair Marjorie Beale put her company on the line by boldly devoting the entire season to the open-ended, deep listening music of the late Pauline Oliveros. While Oliveros worked little in opera and never in a remotely traditional manner, Beale felt the spiritual operatic substance of Oliveros’ work was what the company needed and what the world needs. Inspired, unexpected productions by the company’s artistic director and chief creative officer, James Darrah, and conducted by music director Christopher Rountree were staged in operatic byways (parks and the Queen Mary) as ear-opening, mind expanding experiences. It was a sell-out sensation season that may not have paid the bills, requiring some cutting back for next season as the company catches its breath but Beale has shown what it means to stand for something and why Long Beach Opera matters.
Wilding Wild Up
Along with his Long Beach Opera gig, Rountree is founder and music director of Wild Up, the avant-garde chamber orchestra of virtuoso musicians, all of whom happen to be progressive composers as well. For 15 years, Wild Up has been a crucial component in the grander L.A. vision of orchestral, operatic and dance reinvention. This year it found infectious joy in the music of Julius Eastman; it significantly helped the Martha Graham Dance Company remain relevant, and it began new series at the Nimoy in Westwood and Sierra Madre Playhouse.
More Pauline
Claire Chase, who has been one of the most influential instigators of the Pauline Oliveros revival, was this year’s Ojai Festival energizer bunny. Her flutes — from piccolo to bass and all in between — and friends became magic makers in this numinous physical and musical landscape. Oliveros’ deep listening and that of other composers of her environmental ilk, particularly the atmospherically ethereal sound worlds of Annea Lockwood, were made for Ojai.
Mark Morris Dance Group performs the world premiere of “Moon” at the Kennedy Center Eisenhower Theater on April 4.
(ximena brunette / xmbphotography)
Saving the Kennedy Center (for a couple of days, anyway)
Choreographer Mark Morris staved off the federal government’s arts wrecking ball by salvaging his latest work, “Moon,” a commission for the Kennedy Center’s Earth to Space festival in April. The institution’s dance team hadn’t yet been fired. And Morris displayed, in this marvelous outer-space dance adventure, that wonder could exist in what had become the most unlikely of places.
Handel Heroine
French harpsichordist and conductor, Emmanuelle Haïm, the latest L.A. Phil artist collaborator, began a three-year Handel festival with a dazzlingly sung and played performance of the oratorio “Triumph of Time and Disillusion.” This study of extravagance and sanctity made Handel seem utterly relevant in his attempt to thwart early 18th century censorship and say something important.
Mehta and MTT
There are no words for what Zubin Mehta and Michael Tilson Thomas have meant for L.A. over the past three-quarters of a century. Native Angeleno and former music director of the San Francisco Symphony, MTT, who suffers from glioblastoma, retired from conducting with an 80th birthday celebration, hosted by the San Francisco Symphony, in a profoundly moving and musically fulfilling exhibition of valedictory resilience. Although Mehta, the L.A. Phil’s 89-year-old conductor emeritus, has canceled concerts that require travel, he took on Bruckner’s massive Eight Symphony with his old band. His movements are limited. He reportedly has difficulty with vision and hearing. Beyond all that, though, an orchestra that knows and loves him brought into existence, especially in the slow movement, an inner Mehta vista that felt like a world unto itself.
Spurs came from behind twice to earn a point at Newcastle United, cruised past Frank’s former club Brentford, then added this convincing 3-0 win against Slavia Prague to this mini-revival.
Before the victory against Brentford, Spurs had played 16 league games at home in 2025, winning only three and losing 10. This is the tide Frank has to turn.
This was not a perfect performance, with too many opportunities given to a mediocre Slavia side, but Spurs were always in control and have now moved to the edge of the top eight place in the Champions League table that guarantees automatic entry into the knockout phase.
In the Champions League context, it was also the perfect response to the 5-3 loss away to holders Paris St-Germain in their last game, in which Spurs actually played well for an hour before being over-powered by sheer quality.
The heavy defeat was something of an outlier in this campaign, with Spurs securing four clean sheets from their six games so far, conceding seven overall.
If Frank is looking for vital signs of progress, he will also detect them in the improved performances of Xavi Simons in his last two games, making one goal and scoring another against Brentford, followed by another significant contribution against Slavia.
He was joined by Mohammed Kudus in providing real threat – and even competition between themselves when Spurs were awarded two second-half penalties.
Before this, Spurs were given huge assistance with their opening goal after 26 minutes, Slavia defender David Sima directing a header past his own keeper Jindrich Stanek with some aplomb after Cristian Romero had flicked on Pedro Porro’s corner.
Spurs’ win was sealed with those two second-half spot-kicks, Simons very keen on taking the first before Kudus assumed responsibility successfully, but then getting his chance later when he was brought down by Igoh Ogbu.
Kudus had, at this time, been replaced by Mathys Tel. Captain Romero handed the ball to Simons, who completed the formalities.
