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When photographer Peter Turnley was just 20 years old, an acquaintance from the California Office of Economic Opportunity reached out to him with a question. Would he be interested in taking four months off from school in Michigan to come out west, drive around, and take pictures of the state’s poor and working-class populations? An eager Turnley jumped at the chance and ended up spending the summer of 1975 traversing California in his tiny white Volkswagen, doing everything from spending time with migrant farmworkers in the San Joaquin valley to hopping trains with travelers looking for work to chatting up Oaklanders about how they were making ends meet.

But then his OEO contact left mid-project and, while Turnley says he submitted a set of prints to the department, they never ended up seeing the light of day. That will all change Dec. 4, when the pictures — along with others the news photographer has taken in his current hometown, Paris — will go on display at the Leica Gallery in L.A.

Why did California’s OEO think of you for this project back in 1975?

When I was a freshman in college at the University of Michigan, during the winter break, I went back to Fort Wayne, Indiana, which is where I’m from. There was a very progressive mayor in power at that point and he assembled a really interesting group of people in his city government.

When I began photography at the age of 16, I decided to use it to try to change the world, and I particularly admired photographers that had used photography to affect public policy, like the Farm Security Administration photographers in the 1930s, which included people like Dorothea Lange. So I convinced this mayor to hire me to shoot pictures for the city of Fort Wayne on the themes that the city was making policy around.

During that time, I met a woman who was the public affairs officer for the city of Fort Wayne. Unbeknownst to me, two years later she moved out to California and that’s how I got a letter at the end of my sophomore year of college asking me if I would be willing to come out to California to do a four-month road trip to document the lives of the working class and the poor of California. She explained to me that the Office of Economic Opportunity needed to make a report that underlined its efforts in trying to help the the poor of California, and that they they wanted to use these photographs as a way to illustrate that report.

I was given some very basic statistics of pockets of poverty around the state of California, but no other specific direction, and I was promised just enough money to cover fleabag hotels and diner food and gasoline. I was given access to a government darkroom in Sacramento, where occasionally I would go to develop film and make contact sheets and prints, but otherwise, I was out, driving to every corner of the state.

What were your impressions of the state before you came, as someone originally from the Midwest?

I didn’t grow up on a farm [in Indiana] but I knew a little bit about farming and what really struck me when I went out to California was what I think most of the world doesn’t really realize, and that is that [much] of the state is agricultural and rural. In many ways, the San Joaquin Valley felt a whole lot more like Indiana than almost any other place I could imagine.

What did you take away from the project as a whole?

One of the aspects of this body of work that fascinates me and that I guess in some ways I’m very proud of is that one feels in the photography and in the connection with people an almost innocent and authentic view. The pictures are very direct. They’re very human and they really deal with the lives of people, because you’re looking into their eyes and getting close to them.

Another thing that struck me was that because I was dealing particularly with people that were working class or often very poor, that there was something very similar in terms of people’s plight, whether they were living in urban areas or in the countryside. Everyone I met seemed like really decent, good, hard-working people that just wanted a better life for themselves and their family. They wanted to survive with dignity, and I felt that we all owe these people a great sense of debt.

I also remember that when I spent some time with hobos — and I’m not sure if that’s a pejorative word today, but they’re a little different category of people than simply those who are homeless. Hobos were most often men that chose this lifestyle to ride the trains and stop and work in various places. But I remember being in a boxcar with four men and all four were pretty much like everyone else. It was just that their lives had kind of crossed over a line into the margins, just by a thread. And I remember realizing at this young age just how fragile life is, or how close we can be to that line at almost any time.

Something I found striking in these pictures is how little has changed, in some ways. There have always been people working in California’s fields that are underpaid and underappreciated, and in some ways, things have only gotten worse for a lot of that population.

During COVID, I lived in New York City and every day for three months from the very first day of the lockdown, I went out and I walked. I would meet people and I would ask them three questions: What was their name, their age, and how were they making it? And then after three months, I went back to Paris, and I walked the streets there and did the same thing, ultimately making a book of the pictures I took from that time called “A New York-Paris Visual Diary: The Human Face Of Covid-19.”

But the thing that struck me during COVID was that it was the working class of New York that saved all of our lives. There were whole walls of buildings on the Upper West Side that were dark at night because everyone had gone to the Hamptons or left New York, but the people that saved our lives were cashiers, postal workers, FedEx workers, nurses, doctors, medics, ambulance drivers and mostly working-class people. And looking back, I had this hope that maybe when the COVID crisis was over, that we would rectify in a general way how we looked at our society and how we value the people that are actually doing the work in our society, but in actuality, once the lockdown was over, we just went back to being ruled and led by people that have a lot of money. And, really, the well-to-do of California and the rest of the world would never go and pick their own strawberries.

Have you kept in touch with anyone whose picture you took in 1975, or heard from anyone after the fact?

I’ve for sure wondered what happened to all the people in the pictures, but unfortunately over all these years, I’ve never had contact with anyone. It would be absolutely amazing if somebody from that time would come out of the woodwork.

You’ve been a working photographer for over 50 years now, having worked in 90 countries, taking 40 covers for Newsweek, and shooting many of the last century’s most important geopolitical events. Are there moments you still can’t believe you saw, or pictures you can’t believe you took?

Well, just this morning, I signed the prints that will be in this exhibit and they’re really beautiful. They’re made in Paris and they’re traditional silver gelatin prints, beautiful quality. But I held up one of the images from The Other California – 1975, and it was this Okie, a guy that was born during the Dust Bowl in Oklahoma and moved out to California. Looking at that image today, looking in the eyes and the face of this man, I really had the impression that — even though it’s my own photograph — that I was looking at one of Dorothea Lange’s photographs. I’m very proud of the fact that there’s a continuity of that kind of attention to the heart of people’s lives in my work.

In this modern era of digital photography, on the one hand I think it’s wonderful that everyone is making photographs now more than ever before. On the other hand, I think that the world of photography has moved away from real powerful, direct human connection. And to me, that’s what’s most important. I’m a lot more interested in life than I am in photography. I mean, I care a lot about photography. I love beautiful photographs, and I try to take them as well as possible, but what’s most important to me are the themes of life that I photograph and at the center of all that is emotion.

BBC Breakfast announced the death of acclaimed playwright Tom Stoppard at age 88, sharing tributes from King Charles and Queen Camilla

BBC Breakfast was paused as today’s presenter delivered devastating news of a death just minutes into the programme.

During Sunday’s (November 30) episode of the beloved breakfast show, hosts Rachel Burden and Ben Boulos were back on our screens delivering the day’s top headlines from Britain and around the world.

But mere moments into the broadcast, Rachel broke the news of Tom Stoppard‘s passing as she disclosed that the Royal Family were amongst the first to honour his memory.

The cherished playwright, who scooped an Oscar and a Golden Globe for Shakespeare In Love, was 88-years-old when he passed away.

Addressing audiences at home, Rachel announced: “The King and Queen have led tributes to the playwright Tom Stoppard, who has died at the age 88.”, reports the Express.

“They have described him as a ‘dear friend who wore his genius lightly’. Among the awards was an Oscar for the screenplay for the film Shakespeare in Love.”

The programme then switched to a dedicated tribute segment for the legend as entertainment correspondent Guy Lambert reflected on Tom’s extraordinary career.

Returning to the studio, Rachel noted: “Tributes have been pouring in to celebrate the life of Sir Tom Stoppard.”

Just before sharing the King and Queen’s complete statement, the television host remarked: “King Charles and Queen Camilla called him a dear friend.”

United Agents released a statement at the time, expressing: “We are deeply saddened to announce that our beloved client and friend, Tom Stoppard, has died peacefully at home in Dorset, surrounded by his family.

“He will be remembered for his works, for their brilliance and humanity, and for his wit, his irreverence, his generosity of spirit and his profound love of the English language. It was an honour to work with Tom and to know him.”

King Charles paid tribute, stating: “My wife and I are deeply saddened to learn of the death of one of our greatest writers, Sir Tom Stoppard. A dear friend who wore his genius lightly, he could, and did, turn his pen to any subject, challenging, moving and inspiring his audiences, borne from his own personal history.

“We send our most heartfelt sympathy to his beloved family. Let us all take comfort in his immortal line: ‘Look on every exit as being an entrance somewhere else’.”

Sir Tom’s illustrious career in entertainment spanned over six decades, during which he bagged numerous Tony and Olivier awards, as well as the Golden Globe and Academy Award alongside Marc Norman for their 1998 screenplay Shakespeare In Love – featuring fellow Oscar-winner Gwyneth Paltrow.

BBC Breakfast is broadcast daily from 6am on BBC One and iPlayer.

It was not a good day for Dr. Phil.

Phillip McGraw, the genial celebrity psychologist who spent a career calling out the behavior of others and doling out zingers, found himself upbraided by a bankruptcy judge.

Merit Street Media, McGraw’s new network, had filed for bankruptcy protection in July, a little more than a year after he launched the media startup, and then sued its distribution partner, Trinity Broadcasting Network.

During a nearly three-hour hearing in Dallas last month, U.S. Bankruptcy Judge Scott Everett said that he’d “never seen a case” like the Chapter 11 filing McGraw’s company was attempting.

Everett cited evidence indicating McGraw had “violated” a court order by deleting “unflattering” text messages that allegedly described his plan to use the bankruptcy to “wipe out” creditor claims.

“What makes this case unique, unfortunately, is that it has been plagued with the attempted destruction of relevant evidence and less than truthful testimony by some of the key players,” said Everett, alluding to McGraw and his associates in the case.

Everett ruled that Merit Street be liquidated.

Following the hearing, a spokesperson for McGraw’s production company vigorously denied the accusation that he destroyed evidence and said he is appealing the ruling.

“Dr. McGraw’s excellent record of integrity, success and service to millions over two decades speaks for itself,” said Chip Babcock, attorney for McGraw’s production company.

The unraveling of McGraw’s media venture was a gut punch for the celebrity therapist who has assiduously built a reputation — and tremendous personal wealth — as one of the most trusted voices on television. But his fortunes faded amid a dying market for syndicated TV and clashes with a distributor and partner.

After 21 years as host of the successful syndicated talk show “Dr. Phil,” McGraw went out on his own last year. He launched Merit Street Media in Texas, a company that he said would promote “family values” and serve as an antidote to “woke” culture, only to find that his ambitions collided with a new television reality.

Unlike “Dr. Phil,” Merit Street was untethered to the well-oiled machine of Paramount Studios in Los Angeles, where it was filmed, and top-tier distribution partner CBS.

Moreover, the sheer force of McGraw’s personality could not overcome the fact that linear TV is on the wane. Syndicated daytime TV shows are no longer the cash cows they used to be as most viewers consume content through streaming and other digital outlets such as YouTube and TikTok.

“By the time he put this new company together, the ‘Dr. Phil’ era had kind of ended,” said Robert Thompson, director of the Bleier Center for Television and Popular Culture at Syracuse University. “There is a shelf life to these characters and he reached his.”

An Oprah favorite

McGraw rose from clinical psychologist to an American living room staple and self-help guru in the late 1990s after Oprah Winfrey anointed him as her protégé.

Television’s then-reigning queen hired McGraw to prepare for her libel case brought by Texas cattlemen in 1997. They claimed her comments during an episode about mad cow disease disparaged them and caused beef prices to drop.

Winfrey prevailed, but it was McGraw, a former linebacker with the commanding presence of a sheriff from an old-time western, who emerged victorious.

Oprah Winfrey launched “Dr. Phil” after he advised her during her Texas cattlemen’s libel trial in the late 1990s.

(Christopher Smith / Invision / AP)

Much like books, pajama sets and certain chocolate brands, McGraw became one of Oprah’s favorite things. Recast as “Dr. Phil,” she featured him during weekly segments on her hugely popular talk show, starting in 1998. By 2002, a “Dr. Phil” spinoff began airing five days a week, produced by Winfrey’s Harpo Productions.

The show was distributed by CBS Media Ventures and filmed on a soundstage at Paramount studios on Melrose Avenue with a live audience, and it became the de facto voice for home viewers.

McGraw quickly earned a massive following for dispensing advice to cheating spouses, drug addicts, troubled teens, meddling in-laws, infamous criminals and celebrities. He delivered his no-nonsense, often blunt assessments wrapped in folksy Southern sayings such as “No matter how flat you make a pancake, it’s still got two sides.”

For more than two decades, “Dr. Phil” was a top-rated syndicated daytime talk show — 11 of those seasons at No. 1 — garnering 31 Daytime Emmy nominations. He was catapulted to stardom, appearing everywhere from late-night talk shows to sitcom cameos, even a character on “Sesame Street,” Dr. Feel. In 2020, he received a star on Hollywood’s Walk of Fame.

Dr. Phil McGraw with his wife, Robin McGraw, his son Jay McGraw and his wife, Erica Dahm, as well as their two children, London and Avery, at the ceremony celebrating Dr. Phil receiving a star on the Hollywood Walk Of Fame.

(Getty Images)

McGraw leveraged “Dr. Phil” as a launching pad for his ever-growing empire of bestselling books and various ancillary businesses, including a virtual addiction recovery program, a telemedicine app and production company, Stage 29, with his son Jay McGraw that produced shows like daytime’s “The Doctors.”

But as McGraw’s popularity and influence grew, so did the controversies.

The family of Britney Spears criticized him after he visited the troubled pop star when she was hospitalized on a psychiatric hold and issued a news release saying she was “in dire need of both medical and psychological intervention.”

A spokesperson for the Spears family said, “Rather than helping the family’s situation, the celebrity psychologist caused additional damage.”

McGraw later told viewers on his show that “I definitely think if I had it to do over again, I probably wouldn’t make any statement at all. Period.”

Claims of conflict

Questions were also raised that McGraw used his show to promote businesses and products connected to his family and affiliates, sometimes without fully disclosing those ties.

In 2006, McGraw settled a lawsuit for $10.5 million with consumers who alleged that he defrauded them by making false claims about a line of nutritional and weight-loss supplements that he endorsed on “Dr. Phil.”

He faced a Federal Trade Commission investigation into false advertising and the line was eventually discontinued.

McGraw denied the allegations and did not admit to wrongdoing or misrepresentation in the settlement.

“Dr. McGraw’s career stands among the most successful in television history,” Babcock said. “His programs always have been completely transparent, with all brand integrations under full network oversight and full FCC compliance.”

The on-air promotion of McGraw’s family businesses, such as his wife Robin McGraw’s skincare line and lifestyle brand and his son Jay McGraw’s books during “integrations,” also drew scrutiny.

Dr. Phil McGraw and son Jay McGraw.

(Jason LaVeris / FilmMagic)

“Dr. Phil” episodes frequently featured guests suffering from addiction who were often offered the opportunity to check into a treatment facility at the end of the episode.

In 2017, an investigation by STAT News and the Boston Globe alleged that the show highlighted specific treatment facilities in exchange for those recovery programs purchasing various products affiliated with McGraw.

A spokesman for the show had denied the allegations, saying that “any suggestion that appearances on Dr. Phil’s show are linked to the purchase or use of this program is false.”

McGraw’s wattage remained undimmed. He continued to branch into new ventures. He launched a podcast in 2019, “Phil in the Blanks,” and prime-time TV shows like “Bull,” a legal drama on CBS based on his experiences as a trial strategist, and another CBS legal drama, “So Help Me Todd.”

The “Dr. Phil” show has said that since its premiere, it has provided $35 million in resources to its guests after they appeared.

During the last years of “Dr. Phil,” staffers and viewers noticed that programming began to shift away from advising relationships, parenting and money issues to more conservative and cultural issues such as immigration and transgender athletes.

“He took a political slant already, but once COVID hit, [the show] skewed more and more political,” said one former longtime “Dr. Phil” staffer who declined to be named out of fear of retaliation.

During an appearance on Fox News in April 2020, McGraw said that pandemic lockdowns would be more fatal than the virus, drawing a widespread backlash on social media.

McGraw later posted a video saying he supported CDC guidelines but was concerned about the mental health effects of long-term quarantine.

“He was very good about getting big stories, but we had no input, and believe me, if we ever wanted to or tried, we’d be just told ‘no,’” said a former executive at CBS, who declined to be named due to the sensitivity of the subject matter.

Starting over in Texas

In 2023, McGraw announced that he was leaving CBS and returning to Texas to launch a new venture and broaden his audience, citing “grave concerns for the American family” and that he was “determined to help restore a clarity of purpose as well as our core values.”

Merit Street built a studio in a former AT&T call center in Fort Worth. Many of the staffers were veterans of “Dr. Phil” or had worked on McGraw-related content and relocated from Los Angeles to Texas.

Dr. Phil and President Trump at the National Day of Prayer event at the White House in May.

(Mandel Ngan / AFP via Getty Images)

The network, whose name was derived from meritocracy (with shades of main street), premiered in April 2024.

“Merit Street Media will be a resource of information and strategies to fight for America and its families, which are under a cultural ‘woke’ assault as never before,” McGraw said in a statement.

McGraw aired “exclusive” interviews with Donald Trump and Robert F. Kennedy Jr. on his flagship, “Dr. Phil Primetime.”

Programming consisted of a slate of news, entertainment and conservative commentary programs with former syndicated television stars Nancy Grace and Steve Harvey, whose Steve Harvey Global had a 5% stake in the company, according to Merit’s bankruptcy filings.

In January, McGraw made headlines when he taped interviews with Trump’s top border policy advisor Tom Homan during controversial immigration raids by ICE agents in Los Angeles.

But Merit struggled to find an audience; only 27,000 viewers tuned into the network weekly during 2024, placing it at 130 out of 153 U.S. channels, according to the Hollywood Reporter.

“It’s totally false to say Merit had bad ratings,” Babcock said. “For a startup, it was like a rocket ship; at one point it passed CNN in the first few months of its existence.”

Merit soon scrapped the live audience for “Dr. Phil Primetime” and eventually production on its original programming came to a halt.

Four months after the network’s debut, the company cut 30% of its staff, including workers who had relocated from Los Angeles.

Facing mounting debts, Merit filed for bankruptcy protection in July, listing liabilities of at least $100 million.

“You could see the writing on the wall,” said the former CBS executive. “Ratings for syndication were dropping.”

While still a household name, McGraw was part of a waning breed of TV syndication stars — Judge Judy, Maury Povich and Ellen DeGeneres among them — whose shows were fast becoming nostalgic relics.

Former McGraw staffers from his CBS days said it appeared that he thought he could simply translate his name recognition and longtime popularity to the new venture, but failed to grasp the new digital media landscape.

“The programming model that he launched in 2024 was more appropriate two decades earlier,” said Syracuse University’s Thompson.

Merit Street faced internal strife as well, according to former staffers and court filings.

Former employees described tensions between Los Angeles transplants and less experienced nonunion crews.

“It was total disorganization,” said one former field producer who had worked for the “Dr. Phil” show and then relocated to Texas to work for Merit Street, who declined to be named out of fear of retribution. “Everyone kept saying this was a startup, and maybe it was. People made decisions but had no idea what they were doing,” the producer added.

A representative of McGraw’s production company conceded the startup had growing pains.

“The company thought they could produce the same quality production with less people,” he said.

Compounding matters, relations between Merit and its business and broadcast partner TBN also soured.

Merit alleged in its lawsuit that TBN provided “comically dysfunctional” technical services, with teleprompters and monitors blacked out during live programs before a studio audience.

The suit further alleged that TBN failed to pay TV distributors and had reneged on its promise to cover $100 million in production services and other costs.

McGraw, through his production company, bankrolled the struggling enterprise from December 2024 to May 2025, lending it $25 million, according to Merit’s lawsuit.

For its part, TBN accused McGraw and his production company Peteski Productions of “fraudulent inducement,” alleging in a countersuit that it had invested $100 million into Merit and that McGraw and Peteski had failed to bring in promised advertising revenue.

TBN said McGraw reached out to the company as a potential replacement for CBS as a distribution partner during the latter half of 2022.

“McGraw specifically represented to TBN that he wanted to change networks because of what he perceived to be CBS’s censorship of the content aired on the ‘Dr. Phil Show.’ As McGraw put it, ‘I don’t want snot-nose lawyers telling me what I can and can’t say on TV,’” the lawsuit states.

Instead, they claimed in their complaint, McGraw and his company engaged in a “fraudulent scheme” to fleece TBN, a not-for-profit corporation.

In a statement to Variety, a spokesperson for McGraw and his production company called TBN’s lawsuit “riddled with provable lies.”

TBN did not respond to a request for comment.

Merit also clashed with another partner: Professional Bull Riders, which in November 2024 canceled its four-year contract with Merit and pulled its content, claiming the company had failed to pay the fees it owed.

Professional Bull Riders claims Merit Street stopped paying its broadcast fees and is owed $181 million.

(Anadolu via Getty Images)

PBR, which later signed with Fox Nation and CBS, alleged in a separate lawsuit that Merit breached their contract and is seeking $181 million.

“We’re glad he’s being held accountable,” said Mark Shapiro, the president and chief operating officer of TKO Group Holdings, parent company of PBR, in a statement to The Times.

“Merit Street agreed to work out its differences with PBR in a confidential proceeding which is ongoing. We were therefore surprised that PBR would publicly accuse us of violating our agreement when the facts are in dispute,” the company said in an earlier statement.

Two weeks after Merit filed for bankruptcy, McGraw announced the launch of another new network, Envoy Media Co., that would include live, “balanced news,” original entertainment programming and “immersive viewer experiences,” as well as original programming from friend and former Merit stakeholder Steve Harvey.

Last month, Envoy struck a distribution deal with Charter Communications.

“Dr. McGraw remains deeply proud of his past work and the millions of people it has reached. He’s now turning that same purpose and energy toward Envoy Media,” Babcock said.

But the Merit legal drama is far from over.

TBN has since alleged that Merit Street filed for bankruptcy in bad faith as a way to secure funding for Envoy.

A spokesperson for Peteski called TBN’s allegation “blatantly false” and said Envoy is independently financed.

Earlier this month, Judge Everett rejected Merit’s motion to pause the company’s liquidation while his ruling is appealed. He cited deleted texts in which McGraw described plans by Merit to file for bankruptcy protection to “wipe out” debts from its main creditors, TBN and PBR.

“Candor to the court is critical,” said Everett during his original ruling, and then declared that Merit Street Media “was as dead as a door nail when the bankruptcy was filed.”

With Thanksgiving in the rearview mirror we are now hurtling toward Christmas, Hanukkah, Kwanzaa and the New Year. December can bring stress, but it also brings the feel-good holiday shows, including “Tinselcolor,” which opens Dec. 2 at CineVita, a 15,000-square-foot double-decker Belgian spiegeltent operated by For the Record, which stages live musical revues of well-known film soundtracks.

Joey McIntyre — the youngest member of the ultra ‘90s boy band, New Kids on the Block — signed on as host of the candy-colored world-premiere extravaganza, which features an eight-piece band and 14 singers performing holiday movie music from 25 film scores including “Home Alone,” “National Lampoon’s Christmas Vacation” and “White Christmas.”

For the Record has been putting on shows for more than 15 years, starting in a small bar and restaurant in Los Feliz and moving up to bigger venues leading to CineVita. Over the years, the company became known for attracting celebrity clientele. Quentin Tarantino and Rosario Dawson attended a performance based on Tarantino’s film scores, and Demi Moore’s daughter, Rumer Willis, once joined the troupe. Moore is now an investor.

In an email, McIntyre wrote that he saw the Tarantino show years ago and loved it.

“I knew the caliber of talent and production that this company puts up, and then I stepped foot into this unparalleled space and almost verbatim said ‘sign me up,’” he wrote. “I’m a theater kid. The venue was like Jessica Rabbit calling me in.”

The unparalleled space McIntyre is referring to contains 3,000 hand-beveled mirrors, hand-cut stained glass windows and carved wood ornamentation. It will be decorated with outsized holiday flair for “Tinselcolor,” but it will also feel cozy.

“The theater holds about 700, but it is so warm and intimate, like you’re in my living room for the holidays,” McIntyre wrote. “Our guests are going to feel that. Our director, Anderson Davis, and the creative team have been super open to making it feel authentic to me and showcasing what I bring to the table.”

Performers joining McIntyre onstage include Brian Justin Crum, who recently played the role of Annas alongside Cynthia Erivo and Adam Lambert in the Hollywood Bowl’s electrifying “Jesus Christ Superstar”; Vintage Trouble frontman Ty Taylor; Cheyenne Isabel Wells, who starred in “Grease: Rise of the Pink Ladies” on Paramount+; and Dionne Gipson from “Found” on NBC and “Haus of Vicious” on BET.

McIntyre noted that he gets to sing the Andy Williams classic, “It’s the Most Wonderful Time of the Year” in full holiday regalia. His favorite holiday movie song of all time, however, is not in the show. That would be “A Brand New Christmas,” which he co-wrote for last year’s Roku Original “Jingle Bell Love.”

His favorite Christmas carol of all time? “O Holy Night.”

“It sits right in my wheelhouse vocally, and it checks all the boxes: heartfelt, classic melody with a pop bluesy accessibility. And you get to ‘fall on your knees’ when you’re performing it,” he wrote.

“Tinselcolor” runs through Dec. 30. After that, McIntyre will head back to Las Vegas to continue the New Kids on the Block residency at Dolby Live at Park MGM, which was extended through 2026 due to high demand.

“We just announced 3 more stints for 2026. We are a blessed bunch of guys. We’ve been able to keep it fresh and exciting over all these years, and the fact that we still had Vegas on the table was something we have really taken advantage of,” McIntyre wrote about the residency. “Our diehards are genuinely blown away, and Vegas is yet another hook for folks who haven’t seen us in a while. And those newbies are loving it too. It feels like a slam dunk all around.”

I’m arts and culture writer Jessica Gelt wishing you a very happy holiday season filled with love, kindness, health and hope. Here’s your arts and culture news for the week.

On our radar

Clockwise from bottom left: Grand Kiev Ballet, American Ballet Theatre and Inland Pacific Ballet.

(Los Angeles Times photo collage; illustrations by Katie Smith / For The Times; photographs from Grand Kyiv Ballet, Cheryl Mann and Marsha McNeely Photography)

Nutcracker roundup
The season of Sugar Plum Fairies is upon us. In last weekend’s holiday preview, Ashley Lee did the legwork gathering intel on productions of the holiday perennial that will be dancing their way across Southern California stages in the coming weeks. From downtown L.A. to the South Bay, Orange County and the Inland Empire, the variety of imaginative interpretations offer something for almost everybody. This week alone sees the openings of Anaheim Ballet’s “Nutcracker” (Friday and Saturday. City National Grove of Anaheim, 2200 E. Katella Ave. anaheimballet.org); American Contemporary Ballet’s “The Nutcracker Suite” (Saturday through Dec. 24. Bank of America Plaza, 333 S. Hope St., downtown L.A. acbdances.com); “Bob Baker’s Nutcracker,” a marionette version of the show (Saturday through Jan. 4. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org); and Debbie Allen Dance Academy’s “The Hot Chocolate Nutcracker,” which subs Mariah Carey and other contemporary artists for Tchaikovsky (Thursday through Dec. 14. Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd. debbieallendanceacademy.com).

What the Dickens!

The cast of “A Christmas Carol” at A Noise Within.

(Craig Schwartz)

Like “The Nutcracker,” the holidays are heavy with varied interpretations of Charles Dickens’ “A Christmas Carol.” Friday night in Anaheim, Chance Theater opens Leslie Bricusse’s “Scrooge! The Musical” (Through Dec. 21. Bette Aitken Theater Arts Center, 5522 E. La Palma Ave. chancetheater.com). Saturday night, two long-standing productions of “A Christmas Carol” make their traditional returns. In Pasadena, Geoff Elliott (who also adapted and co-directs with Julia Rodriguez-Elliott) once again steps into Ebenezer’s slippers for a night of ghostly visitations (Through Dec. 4. A Noise Within, 3352 E. Foothill Blvd. anoisewithin.org).

Richard Doyle in “A Christmas Carol” at South Coast Repertory.

(Robert Huskey)

Meanwhile, down in Orange County, South Coast Repertory celebrates the 45th anniversary of resident dramaturg Jerry Patch’s adaptation (Through Dec. 28. Emmes/Benson Theatre Center, 655 Town Center Drive, Costa Mesa. scr.org). And on Dec. 5, Independent Shakespeare Co.‘s David Melville plays not Scrooge, but the author himself in “A Christmas Carol With Charles Dickens,” a solo storytelling tour-de-force (Through Dec. 22. ISC Studio, Atwater Crossing, 3191 Casitas Ave., Suite 130, Atwater Village. iscla.org).

The week ahead: A curated calendar

FRIDAY
Heisenberg
Paul Eiding and Juls Hoover star in Simon Stephens’ drama about a middle-woman and an older man who meet in a London railway station. Directed by Cameron Watson.
8 p.m. Friday and Saturday; 2 p.m. Sunday, through Dec. 22. Additional show 8 p.m. Dec. 18. Skylight Theatre, 1816 1/2 N. Vermont Ave., Los Feliz. skylighttheatre.org

SATURDAY

Artist Drew Struzan signs his Oscar poster in 2008.

(Mark Mainz / Getty Images)

Drew Struzan Tribute
The American Cinematheque salutes the artist, illustrator and designer who died in October with a triple-feature of films for which he designed the posters: “Back to the Future,” “The Goonies” and “E.T.” Struzan also designed iconic one-sheets for such films as “Star Wars,” “Raiders of the Lost Ark” and “Blade Runner.”
11 a.m. Saturday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com

TUESDAY

Tom Morello at South by Southwest in Austin in 2025.

(Jack Plunkett / Invision / Associated Press)

The REVOLUTION(S) will be Amplified
Musician/activist Tom Morello joins curator Douglas Fogle for a discussion about art, activism, creativity and resistance on the occasion of the exhibition “Corita Kent: The Sorcery of Images.”
7 p.m. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org

THURSDAY
Children of the Winter Kingdom
Orphaned twins escape a circus and encounter a king and his dragon, a wild girl, a crow, a sorceress and an ice spider in a holiday adventure filled with music and puppetry. Written by Adam Dugas & Mary Eileen O’Donnell, directed by Adam Dugas.
8 p.m. Thursdays, Fridays and Saturdays; 2 p.m. Sundays, through Dec. 20. The Actors’ Gang at the Ivy Substation, 9070 Venice Blvd., Culver City. theactorsgang.com

‘Die Heart’
Yippee-ki-yay, Heart lovers! Troubadour Theater Co. revives its holiday musical-comedy synergism of the 1988 Bruce Willis action movie “Die Hard” with the songs of the Wilson sisters. Don’t even think about asking if it’s really a Christmas movie.
Dec. 4 to 21. Colony Theatre, 555 N. Third St., Burbank. troubie.com

A scene from “Putney Swope,” directed by Robert Downey Sr.

(Cinema 5 / Photofest)

Putney Swope
The Academy Museum’s celebration of film preservation kicks off with the world premiere of a new 35mm print of Robert Downey Sr.’s 1969 social satire.
7:30 p.m. Thursday Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Tchaikovsky’s Swan Lake
The Pacific Symphony and pianist Alexandra Dariescu, conducted by Tianyi Liu, perform works by Cassandra Miller, Maurice Ravel and Pyotr Ilyich Tchaikovsky.
8 p.m. Thursday, Friday and Saturday. Renée and Henry Segerstrom Concert Hall, 600 Town Center Drive, Costa Mesa. scfta.org/events

Dispatch: The Butterfly Effect

Liviera Lim as Vivian Fang in “The Butterfly Effect.”

(Charly Charney Cohen)

Young local theater troupe Last Call Theater specializes in interactive, participatory productions, and its latest, “The Butterfly Effect,” is an intimate affair that encourages one-to-one and small group pairings with actors. The show examines past choices and the consequences of changing them. There’s a fantastical bent, as it’s set in a cafe that promises the ability to time travel. The decade-hopping coffee shop backdrop gives the company a chance to play with multiple storylines that touch on L.A. history, from immigrant tales of a family-run business to those often overlooked by our city’s emphasis on celebrity. The production, which opened in mid-November, runs Thursday through Saturday at Stella Coffee and closes Dec 6. ticketleap.events
— Todd Martens

Culture news and the SoCal scene

Robert Therrien‘s “No title (red chapel relief),” 1991, enamel on paper and wood.

(Christopher Knight / Los Angeles Times)

A place at the (big) table
If you’ve ever visited the Broad, you’re quite familiar with the large table and chairs in its permanent collection that dwarf even the tallest viewer. Times art critic Christopher Knight (who is retiring as of today) calls the Broad’s new exhibition, “Robert Therrien: This Is a Story,” a “smashing retrospective” and one of the year’s best museum solo shows. Therrien, who died at 71 in 2019, was a unique talent who sits comfortably among the most significant L.A. artists since the ‘60s and ‘70s. “Whether he was making a 3D sculpture to stand on the floor, a 2D painting to hang on the wall, or a 3D sculpture attached to a wall like an ancient frieze,” writes Knight, “he managed the same uncanny result — objects where the purely visual and the utterly physical demand equal time.”

Maya Keleher in the national tour of the musical “Suffs.”

(Joan Marcus)

Suffragette City
An all-female and nonbinary cast dramatizes the inspiring story of American women fighting for the right to vote in the musical “Suffs,” playing at the Hollywood Pantages through Dec. 7. Shaina Taub won Tony Awards for its book and score, while also starring as suffragette leader Alice Paul in the Broadway run. In L.A., the national tour’s Maya Keleher “lends alluring warmth to the role,” writes Times theater critic Charles McNulty in his review. “The teamwork of the performers honors the messy yet undeniably effective cooperation of Alice and her freedom fighters — women who changed the world by not staying silent in their prescribed place.”

Viola time
Times music critic Mark Swed noted a recent “fall-harvesting viola bandwagon,” with multiple ensembles spotlighting the humble middle child of stringed instruments played with a bow. “The L.A. Phil began viola week with a Tuesday evening program, ‘Brahms Strings,’ as part of the orchestra’s chamber music series at Walt Disney Concert Hall that included the blazing early First Sextet and late, luminously serene Second Quintet,” wrote Swed. “As part of its chamber music series across the street in the Colburn School’s Zipper Hall, Saturday, [the Los Angeles Chamber Orchestra] coincidentally held ‘A Brahmsian Affair,’ in this case featuring both the sextets.” On Saturday, recent Colburn graduate Lan Cao and current conservatory student Ran Tae performed Korean composer Isang Yun’s 1988 “Contemplation,” for two violas, “played with gripping meditative intensity” during a day-long MOCA seminar on South Korean artist Haegue Yang.

Ray Ushikubo will play a rare 1741 Guarneri “del Gesù” violin at a free concert at the Colburn School on Dec. 3.

(Robert Gauthier / Los Angeles Times)

History in his hands
Ray Ushikubo of San Gabriel, a 24-year-old virtuoso musician, has been selected to play the Playfair violin, an ultra-rare model crafted by the famed luthier Guarneri “del Gesù.” “I’m only 24,” Ushikubo told reporter Emma Madden. “This instrument is from 1741. It’s older than the United States. I can barely comprehend that amount of history. But mostly I feel happiness. And honor. It sounds better than any violin that’s ever been made.” The musician will debut the instrument in a free concert at the Colburn School’s Zipper Hall on Dec. 3.

East L.A. Youth Orchestra gets a reprieve
“After recently announcing major cuts to its youth orchestra, the L.A. Phil has secured additional donor funding to ensure the East L.A. branch of the Youth Orchestra Los Angeles (YOLA) program will continue at full capacity until the end of the school year,” reports The Times’ Cerys Davies. The initial cuts to the programming at the Esteban E. Torres High School site included laying off teaching artists, gutting programs for younger students and reduced practices for older students. The parents of students and members of the local community responded to the cuts by organizing an Instagram campaign and town hall meeting, imploring the L.A. Phil to temporarily preserve the Torres site.

An architectural whodunit
In 2013, Robert Mosher, one of San Diego’s most respected architects, called Keith York, founder of Modern San Diego, a digital archive devoted to the region’s mid-century design, asking to meet for lunch. “I have something I need to tell you,” he said. A revelation at that meeting led York and fellow architecture buff Stephen Buck to investigate the provenance of Balboa Park’s Timken Museum of Art, which opened in 1965. Did two of the biggest names in American design have a hand in it? Sam Lubell has the details on the decades-old mystery.

— Kevin Crust

And last but not least

I give you the 2025 Times holiday gift guide. Even if you don’t see anything on these carefully curated lists that you like, it’s a great inspiration starter.

— Jessica Gelt

Before the sci-fi series “Stranger Things” premiered on Netflix, several traditional studios had already passed on it. Its creators were first-time show runners, unknown young actors were cast in lead roles, and even though the show starred kids, it was not for children.

That was nine years ago.

The 1980s-set show about a monster that wreaks havoc on fictional Hawkins, Ind., hit a chord with Netflix’s global subscribers. “Stranger Things” has since become one of the streamer’s most culturally significant shows, with its fourth season garnering 140.7 million views in its first three months and ranking third among its top English-language series. It was instrumental in growing new branches of business for Netflix, including live events, a Broadway production and inspired brands eager to partner on licensed merchandise. It became a major franchise for the platform, a chance to build a universe around its central characters and create its own version of “Star Wars.”

Rayna Lynn Chacon, 26, from Los Angeles dresses as Eleven from “Stranger Things” during the Netflix x CicLAvia event.

(Kayla Bartkowski / Los Angeles Times)

The show helped build Netflix’s reputation as a place that makes big bets on original ideas and, if it’s a hit, can build a large fandom for such programs with its worldwide subscriber base.

Netflix took a chance on show runner brothers Matt and Ross Duffer. The pair never imagined the series, which held its first premiere in Silver Lake at Mack Sennett Studios, would take off the way it did.

That wasn’t lost on Matt Duffer, who stood on stage at the final season premiere inside the historic TCL Chinese Theatre in Hollywood earlier this month. It was the same place “Star Wars” premiered in 1977.

“For me, as a nerd, this is a dream come true,” Duffer told the audience.

In an interview, Bela Bajaria, the chief content officer at Netflix, lauded the success of the series: “You could take a bet on an original story, and grow it to a major franchise that has massive global appeal.”

Other Netflix shows, like “House of Cards,” have certainly captured the zeitgeist before, but co-CEO Ted Sarandos said he believes “Stranger Things” stands above some previous hits.

“This was a lot closer to a ‘Star Wars’ moment,” Sarandos said speaking on stage at the “Stranger Things” final season premiere in Hollywood earlier this month. “This is a show, and these are characters that move the culture, that spawned live events and consumer products and spinoffs and sequels … Everything from the first episode of the first season to ‘The First Shadow,’ the Broadway show, the origin story of the Upside Down, it has been and continues to be a remarkable addition to entertainment culture.”

The four past seasons of “Stranger Things” made it into Netflix’s Top 10 this past week, Netflix said. From 2020 to the second quarter of 2025, “Stranger Things” earned more than $1 billion in global streaming revenue for Netflix and was responsible for more than 2 million new subscriber acquisitions, according to estimates from Parrot Analytics, which tracks streaming data. Netflix declined to comment on Parrot’s estimates.

“Every single streaming service needs that anchor series that drives customer acquisition and helps define the original programming,” said Brandon Katz, director of insights and content strategy at Greenlight Analytics, adding for Hulu it was “The Handmaid’s Tale” and for Disney+, “The Mandalorian.” “’Stranger Things’ has undoubtedly been that for Netflix. Every few years that it does air, Netflix knows there is a guaranteed high ceiling of acquisition, retention and viewership power,” Katz said.

Participants bike past a Demogorgon sleigh during the Netflix x CicLAvia event.

(Kayla Bartkowski / Los Angeles Times)

“Stranger Things” also helped Netflix expand into licensed goods, with brands eager to partner with the platform. There are themed Eggo breakfast foods, Lego sets and clothing.

The series “has been a catalyst for Netflix to explore all of the ways in which a single entertainment property can be turned into an entire global lifestyle,” said Robert Thompson, director of the Bleier Center for Television and Popular Culture at Syracuse University.

Its popularity has helped other creative collaborators as well.

Artists whose songs were featured on the show climbed the charts. Kate Bush’s “Running Up That Hill” was featured in Season 4 and reached No. 1 on the Billboard Global 200 and No. 4 on the Billboard Hot 100, 37 years after its original release, Netflix said. Metallica’s 1986 song “Master of Puppets” also broke the U.K. Top 30 for the first time after it played during the Season 4 finale, the streamer added.

The series has been recognized with more than 65 awards and 175 nominations. Netflix estimates “Stranger Things” has helped create 8,000 production-related jobs in the U.S. over its five seasons and, since 2015, contributed more than $1.4 billion to U.S. GDP. In California, Netflix estimates the series contributed more than $500 million of GDP.

Netflix is doing a large marketing push with fan events in 28 cities and 21 countries as the series draws to a close. On Sunday, the streamer hosted a bike ride on a stretch of Melrose Avenue in partnership with CicLAvia where 50,000 fans were encouraged to dress in ’80s attire, or as a “Stranger Things” character. On Thursday, a “Stranger Things” float appeared in the Macy’s Thanksgiving Day parade.

The company began a phased release of the final season with four episodes that debuted Wednesday. Another three episodes will land on Christmas Day and a two-hour finale Dec. 31 on Netflix. The finale will also play in more than 350 movie theaters in the U.S. and Canada on Dec. 31 and Jan. 1.

“Stranger Things” fans Kelly Audrain and Jason Serstock said they have been rewatching the show from the beginning to refresh their memories on the whole tale, and were still on Season 2 as of earlier this month. The couple attended the premiere of the last season in Hollywood.

“The whole costuming and everything was so perfect that you just feel like you’re taken back to the ’80s,” 29-year-old Audrain said, who was dressed as “Stranger Things” character Eleven in a pink dress and sporting a mock bloody nose.

Lilia Lupercio, 53, left, Audrey Haluska, 15, center, and Janet Lupercio, 45, right, from Downey pose for a photograph with a “Stranger Things” backdrop.

(Kayla Bartkowski / Los Angeles Times)

Netflix is expanding the show’s universe with the animated series “Stranger Things: Tales from ‘85” next year. In April, Netflix’s “Stranger Things: The First Shadow” stage play hit Broadway. The company has also opened “Stranger Things” pop-up stores, held live experiences and will feature immersive experiences at its Netflix House locations, including “Stranger Things: Escape the Dark” in Dallas. In Las Vegas, Netflix will offer themed foods like Surfer Boy Pizza at its Netflix Bites restaurant.

The Duffers recently told Deadline a spinoff is in the works at Netflix. Bajaria declined to share anything about that but said, “I think the world is really rich and there’s still a lot of story in there.”

But there are challenges ahead. Netflix, seen as the leader in subscription streaming, has had two major flagship series end this year — “Stranger Things” and Korean-language drama “Squid Game.” Analysts say the company will need to keep pumping out popular shows and movies to keep subscribers coming back.

Netflix has successfully expanded its “Squid Game” franchise to include reality competition series “Squid Game: The Challenge,” where more than 95% of watchers also tuned into the scripted series. Other popular franchises like Addams family series “Wednesday,” pirates tale “One Piece” and Regency-era romance “Bridgerton” are ongoing. Netflix’s hit animated movie “KPop Demon Hunters” will get a sequel.

Separately, Netflix placed a bid on parts of Warner Bros. Discovery, with interest in Warner’s Burbank studios and HBO, according to people familiar with the matter. If the acquisition is successful, it would greatly expand Netflix’s library of titles and intellectual property.

While the Duffer brothers still have projects with Netflix, they recently signed a four-year exclusive deal with Paramount for feature films, TV and streaming projects. Some industry observers viewed that as a loss for Netflix.

Omar Chavez, 42, left, and Jenna Chavez, 28, right, from West Hollywood walk past a poster during the Netflix x CicLAvia event.

(Kayla Bartkowski / Los Angeles Times)

“The Duffers are so young, and they’re just really beginning their journey,” said Tom Nunan, a former studio and network executive. “I have no doubt they’ll be pushing out more hits and more of a variety of successes in the future,” he said, adding that the brothers’ work at Paramount could compete with Netflix.

But Bajaria noted that the Duffers still have some projects in the works at Netflix, including sci-fi series “The Boroughs” and horror series “Something Very Bad Is Going to Happen.”

“They’re always gonna be part of the Netflix family and I’m excited we still have more things with them,” Bajaria said.

Times staff writer Meg James contributed to this article.

A fan-favourite presenter returned to Good Morning Britain on Friday after several weeks away

Good Morning Britain fans were delighted as a beloved star made their return to the ITV show on Friday (November 28).

During this morning’s instalment of the popular show, Kate Garraway was accompanied by Rob Rinder as they brought viewers the most recent news stories from Britain and beyond. It signals Rob’s comeback to the programme following a break of several weeks.

They were accompanied in the studio by Charlotte Hawkins, who managed the remainder of the day’s bulletins, whilst Laura Tobin delivered regular weather updates live from Austria.

Upon witnessing Rob’s comeback to the programme, numerous GMB watchers swiftly flocked to social media to express their joy, reports Wales Online.

“Glad to switch on to @robrinder, best presenter on the show, go get ’em Rob,” one viewer posted on X (formerly Twitter), with another commenting: “Brilliant to have Rob Rinder on this morning.”

A third declared, “Yay, Rob’s back!” with another likewise posting: “Nice to see Rob on.”

On today’s show, Rob and Kate discussed Labour’s U-turn on a key pledge for workers after they abandoned a promise to give all employees the right to claim unfair dismissal from their first day of employment. Business groups say it’s a crucial change.

They also anticipated a decision on whether the go-ahead will be given for a nationwide programme to screen millions of men for prostate cancer.

Plus, the duo met the everyday heroes aiming to top the charts, and revealed what could be Britain’s most Christmassy house.

However, ITV viewers couldn’t help but share their complaints minutes in as they didn’t understand why Laura was presenting the weather segment from the Austrian mountains instead of the studio.

“Scores of weather presenters and accompanying TV crews have travelled to Austria to talk about climate change,” one person wrote.

Another added: “Why is Laura in Austria to tell us about the UK weather? I thought we had to watch our carbon footprint?” while a third said: “Laura flew to Austria to discuss climate change on top of a mountain.”

A fourth fan echoed the sentiment, saying: “The show’s climate activist has pointlessly travelled to Austria. Think of the carbon footprint you’ve used, Tobin.”

Good Morning Britain airs weekdays on ITV1 and ITVX at 6am

A BIG Brother star has been spotted working the door of a high-end restaurant in London, almost two decades after he rose to fame on the then-Channel 4 show.

The 44-year-old was seen on the door of upmarket restaurant Aki London on Wednesday as he helped Sharon and Kelly Osbourne leave the venue.

Ziggy Lichman, who appeared on Big Brother back in 2007, appears to have swapped showbusiness for a quieter life as a doorman.

The star was famously in an on/off relationship with housemate Chanelle Hayes.

Then 26 – he placed fourth in the show and enjoyed a short-lived relationship with model Chanelle, splitting shortly after.

He was also known for being part of the boyband Northern Line, which split up in 2000.

BIG MOVES

Major ITV show scrapped from spring schedule just days after spin off was axed

hard launch

Big Brother’s Marcus makes romantic girlfriend PROPOSAL to Elsa

Despite success across TV and music, it appears Ziggy, real name Zac, has shunned fame as he was spotted working at gourmet Japanese restaurant Aki London.

And the new role doesn’t mean Ziggy is far from the spotlight, as he is still brushing shoulders with the A-list at the food hotspot.

On Wednesday evening, Ziggy was seen escorting Sharon and Kelly Osbourne out of Aki.

The outing was Sharon’s first public appearance since her husband, Ozzy Osbourne’s death in July.

The Osbourne’s are unlikely to be Ziggy’s only famous guests, with the likes of Romeo Beckham and actress Holly Valance spotted there previously.

Back in 2017, it was reported that Ziggy was working on the door of upmarket members club Paper Soho.

He is since thought to have opened two of his own bars across North London, The Shop NW10, a cocktail bar and café, and bar The Wealthy Beggar.

Ziggy is also still in touch with his ex-girlfriend Chanelle, following their joint rise to fame on Big Brother.

Despite being split up for 18 years, the duo remain friends and even appeared on Loose Women together in 2018.

“She’s absolutely smashed it. She’s held her own, had a family, gone through some tough times as you know.

“I still love her to bits, absolutely,” said Ziggy of Chanelle, who continued to pursue a career in the spotlight after the show.

Seasons change. Kids grow up. Monsters evolve. Beloved TV series end.

“Stranger Things’” fifth and final season kicks off Wednesday after a nearly three-and-a-half-year absence. It’s a welcome but bittersweet reunion for fans of the show who’ve spent the last decade watching a gaggle of misfit kids (now teens) weaponize their nerd skills against supernatural and mortal enemies in the fictional town of Hawkins, Ind.

Will (Noah Schnapp), Mike (Finn Wolfhard), Lucas (Caleb McLaughlin), Dustin (Gaten Matarazzo) and Max (Sadie Sink) and their superpowered friend Eleven (Millie Bobby Brown) are now poised for a final battle against their mind-bending nemesis, Vecna, when the season’s Volume 1 arrives with four new episodes; Volume 2 (three episodes) drops Christmas Day, and the finale arrives Dec 31.

I might complain about the staggering of episodes — all timed for a holiday, of course — but the strategy gives sentimental viewers (my hand is raised) a bit more time to emotionally uncouple with the show.

The end of Netflix’s oddball-to-blockbuster series marks the end of an era, and surely the last generational touchstone to come out of series television. Gen Z, which grew up in the dawn of YouTube and, later, the emergence of TikTok, has generally favored short-form content over lengthier productions; however, “Stranger Things” became the exception. Young fans stretched their attention spans, watching entire seasons of a show where episodes might range anywhere from an hour to two hours plus. The Upside Down, a dark, gooey parallel universe of Hawkins, and its predatory demogorgons became part of their middle school vernacular, in the same way that pre-streaming generations used “isms” from their favorite shows: (“Just MacGuyver it, dude”).

“Stranger Things” takes place in the Reagan era, so from its very beginnings parents of Gen Zers could watch the series with their kids while revisiting their own fond and/or torturous memories of growing up in 1980s. My son was in the sixth grade when the show premiered, meaning I was there to confirm that, yes, tragic hairdos, pleated jeans and unchecked bullying were a thing in the ‘80s. But unlike Eleven, we did not have the power to make said bullies pee their pants in public. If only …

The Day-Glo decade still plays a pivotal role when “Stranger Things” returns this week. Look forward to a Tiffany “I Think We’re Alone Now” moment, nods to great bands like the Fall, and a well-timed mention of a flux capacitor. But Hawkins is no MTV dance party. The sleepy town is under a militarized quarantine. It’s for their own protection, and because the government is up to no good, again. Nothing comes in or out of the place without the knowledge of authorities, unless it’s smuggled in by the perpetually scheming Murray (Brett Gelman).

Hopper (David Harbour) and Eleven (Millie Bobby Brown) make their way to the Upside Down. (Netflix)

Max (Sadie Sink) remains comatose as Lucas (Caleb McLaughlin) attempts to reach her. (Netflix)

Last we knew, antagonist Vecna (who takes on many forms) had finally opened the gates to the dandruffy Upside Down, merging it with the real world. It was a violent event, but most of the town folk believed all that shaking and noise was because of an earthquake. Poor souls.

Hawkins’ beloved band of nerds know better. They’ve been doing covert “crawls” with the goal of locating and destroying Vecna before he turns the town, then the world, into an oozy wasteland. Joining the fight are Mike’s older sis Nancy (Natalia Dyer), Will’s big brother Jonathan (Charlie Heaton), friends Steve (Joe Keery) and Robin (Maya Hawke), Will and Jonathan’s mom Joyce Byers (Winona Ryder) and Elle’s adopted father, Jim Hopper (David Harbour). Max is comatose in the hospital. Her consciousness is trapped in Vecna’s mindscape, no matter how much Lucas plays Kate Bush’s “Running Up That Hill” to wake her.

Following multiple attacks on their modest home by demodogs and U.S. agents, the Byers have been living in the basement of Mike’s home with his family, the Wheelers. The unfulfilled Mrs. Wheeler (Cara Buono) has been hitting the sauce and the usually flaccid Mr. Wheeler (Joe Chrest) is finally bothered by something — they’re eating his morning bacon! The youngest Wheeler, Holly (Nell Fisher), is now approaching the age that the core cast of kids were when the series premiered in 2016. And Erica (Priah Ferguson), Lucas’s don’t-mess-with-me little sister who still delivers all the show’s best zingers, is now in Mr. Clarke’s middle school science class.

Elevating the storylines of younger characters helps bridge the age gap created when the core cast of kid actors had the audacity to grow up over the show’s run. Brown was 12 when the show premiered. She’s now 21. Critics have complained that they should not be playing high schoolers. But accepting 22-year-old Wolfhard as a teenage Mike is not a stretch — especially given everything else “Stranger Things” fans have been willing to believe in (“talking” Christmas lights, psychokinetic battles, a nefarious Soviet lab under the mall food court).

There are spoiler embargoes aplenty so there’s a limit to what can be said about the first four new episodes out for review. Suffice to say there’s a mega battle on the horizon. Eleven has been training hard, honing her powers. Now she can fling armored vehicles, leap atop large buildings and bend the toughest of minds with a minimal nosebleed. Dustin is fighting angry, hardened by the death of his Hellfire Club buddy, Eddie Munson (Joseph Quinn). Steve and Jonathan are still competing for Nancy’s attention while her focus is on perfecting her sharpshooting skills. Hopper has a distractingly long beard. And Mrs. Wheeler proves to be a formidable warrior when armed with a jagged, broken wine bottle.

Their original kids’ circumstances haven’t changed all that much, but their outlooks have, making for unpredictable twists in their powers, strengths and alliances.

In the final season of their little show that did, creators the Duffer Brothers (twin siblings Matt and Ross), lean heavily on the interpersonal feuds and friendships between all the aforementioned characters, pairing high-budget action with advancing storylines about folks that fans have come to love. It is, after all, the kids at the center of the story that kept us coming back for more. And it appears they’ll continue to do so, right up to the end.

Hi, and welcome to another edition of Prep Rally. My name is Eric Sondheimer. It’s championship week in high school football. It’s also the 10-year anniversary of one of best and most entertaining high school basketball teams in history — the unbeaten 2015-16 Chino Hills Huskies, led by the Ball brothers

Looking back at greatness

LiAngelo Ball, center, is flanked by his brothers Lonzo, second from left, and LaMelo in 2016.

(Los Angeles Times)

High school basketball fans, sportswriters and coaches had the time of their lives watching the creation of Chino Hills’ 35-0 team from 2015, with brothers Lonzo, LiAngelo and LaMelo Ball in starring roles. They helped entertain and draw so many Oohs and Aahs that they became nationally recognized, along with their always talkative father, LaVar.

The tales of showing up with a lawn chair two hours before a game to make sure you got a seat before the gym sold out are legendary. The talent and chemistry of the Balls, along with Onyeka Okongwu and Eli Scott, was something to behold all the way to Chino Hills winning the state championship in March of 2016 in Sacramento.

Here’s a look back from a sportswriter’s perspective and that of the head coach, Steve Baik.

Keawe Browne (2) celebrates after a blocked Mater Dei field-goal attempt gives Corona Centennial 28-27 win.

(Craig Weston)

Who had Santa Margarita facing Corona Centennial in Friday’s Southern Section Division 1 final at the Rose Bowl? Both teams earned the spot, the first time St. John Bosco or Mater Dei have failed to participate in the championship game since 2012.

Here’s how Centennial beat Mater Dei 28-27 in the semifinals with a blocked field goal at the end of the game.

Santa Margarita took care of business in the other semifinal to defeat Orange Lutheran. The Eagles are surging because of their terrific defense and the threat Trent Mosley offers any time he touches the ball. Here’s the report.

Here’s a look at how Santa Margarita and Centennial cracked the code to create a new championship game.

In Division 2, two league rivals, Los Alamitos and San Clemente, will play for a second time this season on Saturday night at San Clemente.

Here’s this weekend’s championship schedule.

Here’s a look at the top individual performances from last week.

Crenshaw pulled off the win that few expected when the City Section season began last August. The Cougars handed Birmingham its first defeat after 55 consecutive wins over City opponents 12-7 in the City Open Division semifinals. What a coaching job by interim coach Terrence Whitehead. His team will face Carson for the City title on Saturday at L.A. Southwest College. Here’s a look at Crenshaw’s journey this season.

Carson first-year coach William Lowe has his team trying for a 12th City title.

(Nick Koza)

Carson is playing like a No. 1 seed after dominating Garfield in the semifinals. With quarterback Chris Fields’ ability to run or pass, the Colts will have an advantage against a Crenshaw team that hasn’t faced many teams with balanced offenses.

South Gate quarterback Michael Gonzalez tries to console William Smith of Dorsey in an act of sportsmanship after South Gate win.

(Nick Koza)

In Division I, South Gate will take on Marquez on Saturday. South Gate defeated Dorsey in its semifinal and Marquez toppled top-seeded Venice. Here’s a look at South Gate players showing sportsmanship after their game. Dorsey had to play on Monday after playoff game against Eagle Rock had a power blackout. Here’s a look at the Dons’ win.

In Division II, Cleveland rallied for a win over Fairfax and will face San Fernando. Here’s a report. In Division III, Hawkins will play Santee.

Basketball

Brandon McCoy of Sierra Canyon had nine dunks and 25 points in win over JSerra.

(Craig Weston)

The Trinity-Mission League Challenge at Pauley Pavilion produced lots of dunks and competitive games. The best game ended up being the last, with St. John Bosco beating Harvard-Westlake 57-55. Santa Margarita rallied for a 77-73 win over Sherman Oaks Notre Dame behind 28 points from Brayden Kyman. Brandon McCoy had nine dunks in his Sierra Canyon debut, a win over JSerra.

Here’s a look at the games and top performances.

Here’s this week’s top 25 rankings by The Times.

In girls basketball, defending Southern Section Open Division champion Ontarior Christian started with two wins and Kaleena Smith scoring 45 and 35 points.

Redondo Union is hosting a tournament beginning Monday that includes Etiwanda.

Harvard-Westlake unveiled freshman Lucia Khamenia, the sister of Nikolas. Here’s a report.

Legacy of the Kymans

Brayden Kyman of Santa Margarita.

(Eric Sondheimer / Los Angeles Times)

The Kymans have been a sports family for years. Bernie Kyman was a coach and athletic direct. Son Coley starred in football and volleyball at Reseda and Cal State Northridge. His son Jake won a CIF title at Santa Margarita before playing for UCLA basketball.

Now Brayden is a senior basketball player at Santa Margarita. The family is moving to Montana after this season. A look at the impact and legacy of the Kymans.

Girls tennis

The Calabasas High girls tennis team won the Southern Section Division 2 championship.

(Courtesy Calabasas High)

Corona del Mar completed an unbeaten Southern Section girls tennis season with a victory over Portola in the Division 1 championship match. Here’s a report.

Calabasas defeated Harvard-Westlake for the Division 2 title. Here’s a report.

Alexa Guerrero holds the championship plaque as she and her Marshall teammates celebrate their City Section Open Division flag football championship win over Eagle Rock.

(Steve Galluzzo / For The Times)

Marshall has climbed to the top in City Section flag football with a 20-0 win over Eagle Rock in the Open Division final.

Here’s a look at the newest City champions.

Cross country

Irvine senior Summer Wilson won the Southern Section Division 2 cross-country title.

(Steve Galluzzo / For The Times)

On the rain course at Mount San Antonio College, Summer Wilson ran away with the Division 2 championship at the Southern Section cross-country championships. Here’s the report.

The City championships were held at Elysian Park, and Palisades won boys and girls titles. Here’s the report.

The state championships will be held Saturday at Woodward Park in Fresno.

Girls volleyball

Mater Dei, Harvard-Westlake and Cypress won state championships in girls volleyball.

Here’s the report.

Notes . . .

Justin Utupo is out after one season as football coach at Long Beach Poly. The Jackrabbits (5-5) lost six players to ineligibility by the Southern Section and the school administration refused to allow the team to participate in the playoffs. The program has won 20 Southern Section football championships but last won a Division 1 title in 2012 under Raul Lara. Here’s the report. . . .

Aaron Huerta has resigned after one season as football coach at Bishop Alemany. . ..

The CIF state championship football games will be played Dec. 11-12 at Buena Park High, Fullerton High and Saddleback College. . . .

Bo Beatty, the co-head football coach at Bonita, has resigned to return to Azusa Pacific where he was a long-time assistant coach. Steve Bogan is the co-head coach. . . .

Defensive lineman James Moffat of Crespi has committed to UCLA. . . .

Santa Margarita won its third state title in girls golf at Poppy Hills Golf Course. . . .

It was the year of Newport Harbor in boys water polo. The team lost one match all season and avenged its only defeat with a win over Cathedral Catholic in the regional final. . . .

Kacey Norwood has been named interim girls’ lacrosse coach at St. Margaret’s. . . .

JD Hill, a defensive lineman at Mission Viejo, has committed to Washington. . . .

Cooper Javorsky, a lineman from San Juan Hills who decommitted as a UCLA recruit after the firing of DeShaun Foster, has recommitted to the Bruins. . . .

Here’s a report and update on former San Juan Hills linebacker Weston Port and his Mormon mission in Spain. . . .

From the archives: Carson Schwesinger

Former Oaks Christian and UCLA linebacker Carson Schwesinger.

(Damian Dovarganes / Associated Press)

Former Oaks Christian and UCLA linebacker Carson Schwesinger is having a successful rookie season for the Cleveland Browns. After being selected No. 33 overall in the NFL draft, he’s been starting and earning rave reviews.

He went to UCLA as a walk-on and became a star.

Here’s a story from 2021 on Schwesinger walking on at UCLA.

Recommendations

From the Washington Post, a story on a high school football lineman who didn’t know how to put on pads three years ago and became an Oregon recruit.

From the San Diego Union-Tribune, a look at the top high school basketball teams in San Diego.

From NFHS.org, a story of sportsmanship across the country in high school sports.

From the Las Vegas Review Journal, a story on changes in Nevada’s football playoff system that will allow Bishop Gorman only one nonleague game starting in 2026.

Tweets you might have missed

Until next time….

Have a question, comment or something you’d like to see in a future Prep Rally newsletter? Email me at [email protected], and follow me on Twitter at @latsondheimer.

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On a sunny Saturday afternoon last month in Los Angeles, excited fans opted for a dark studio at CBS Television City where a reunion with the beloved Barone family of “Everybody Loves Raymond” would take place. Devotees of the Emmy-winning sitcom gathered for a live taping of a 90-minute 30th anniversary special, airing Monday on CBS.

“This is a bucket list-type thing,” said longtime fan Kim Brazier, who flew in from Gulfport, Miss. “I only watch ‘Everybody Loves Raymond.’ I have it on repeat. I watch it when I’m getting ready in the morning, and it’s kind of my lullaby when I go to bed.”

The popular sitcom, which ran for nine seasons from 1996 to 2005, was known for its hilarious depiction of family dynamics. Ray Romano starred as sportswriter Ray Barone, married to Debra (Patricia Heaton). The couple raised three young children while navigating marital squabbles, awkward parenting moments and constant meddling from Ray’s parents, Marie and Frank (Doris Roberts and Peter Boyle), who lived across the street with Ray’s jealous, downtrodden police officer brother Robert (Brad Garrett).

Inside the reunion, the atmosphere brimmed with nostalgia as Romano and the show’s creator, Phil Rosenthal, hosted the live taping from the living room they once brought into millions of households each week. The set was meticulously recreated for the occasion, including the Barone couch, which Romano now owns and had transported from his home for the occasion.

Cast members were brought out one by one throughout the afternoon, each remaining on stage as the panel grew, including Rosenthal’s wife, Monica Horan, who played Robert’s longtime love interest, Amy.

Ray Romano and Phil Rosenthal walking to the stage for the 30th anniversary reunion, which was taped before a live studio audience, just like the series.

(Matthew Taplinger / CBS)

The group reminisced about working with one another and shared their favorite episodes, accompanied by clips on surrounding screens that included a reel of outtakes of funny lines improvised by Romano and Garrett cracking up their fellow castmates. As each segment played, Rosenthal and the cast watched, fully absorbed with smiles across their faces, while the audience sat rapt, revisiting these cherished moments.

A week and a half later, in a Zoom interview with Rosenthal and Romano, the latter reflected on returning to the set. “It was emotional and surreal. At first it felt so strange to be back, like we went back in time,” Romano says. “And then after we were joking and comfortable for a while, it felt like we never left.”

Just like the reunion, the original series was filmed in front of a live studio audience, a conscious choice to capture the energy in the room. “We had me, a comedian, and comedy writers, and we wanted to hear the laughs,” Romano says.

And the laughs were plentiful. Rosenthal told the crowd at the taping that the cast often had to pause after punchlines to let laughter die down. Occasionally, he said, the laughter went on so long it had to be edited out of episodes. The only time the audience wasn’t in stitches was when Romano literally needed them. He once sliced open his hand during a scene where he was cutting cheese; Romano went to the hospital to be sewn up and then returned to finish the episode.

From the stage, Romano recounted the show’s origin story, which dates back to his 1995 stand-up comedy debut on the “Late Show With David Letterman.” His five-minute routine focused on parenting his toddlers and losing his perspective on adult-oriented humor. He noted that the last joke he’d written dated back to when his twin sons were babies — a bit about jingling his car keys to make them laugh — which he physically demonstrated during the appearance. After the “Late Show” crowd laughed, he pushed the bit one step further. “I’m glad you laughed at that,” he said. “If you didn’t, I would’ve had to come down there and rub my nose in your bellies.”

The cast of “Everybody Loves Raymond” during the taping of the finale episode of the series, which aired in May 2005.

(Richard Cartright / CBS / AP)

Meanwhile, Rosenthal, then a writer on ABC’s sitcom “Coach,” was at home with Horan watching Romano’s set. It immediately resonated with the couple. “It made me laugh so hard,” he says. “We had just had a kid, and the material was eminently relatable.”

Two weeks later, when Letterman’s production company offered Romano a development deal, he met with Rosenthal, and the two began shaping the sitcom, blending their sensibilities. Rosenthal says the resulting show became a hybrid of his sitcom experience with Romano’s sensibility that everything must be rooted in truth. “It had to feel real and honest,” Rosenthal says. “And you don’t do anything just to get a laugh. We had a rule in the writers room: ‘Could this happen?’ Are we stretching credibility so far that we break the bond of relatability with the audience?”

They developed the show around their own lives, modeling the Barone children after Romano’s, and incorporating material from his Letterman routine. The character of Robert was based on Romano’s real-life brother, a New York City police officer whose bitter quip when Romano won an award — “Everybody loves Raymond” — became both the show’s title and a line of dialogue his fictional counterpart delivered in the pilot.

Rosenthal contributed his own family inspiration too, basing Ray’s TV mom largely on his mother, with aspects of Romano’s. At the anniversary special, he told the audience with a wink that his mother had always insisted the character was “an exaggeration.”

Phil Rosenthal, left, and Ray Romano on the recreated set of “Everybody Loves Raymond.” (Sonja Flemming / CBS)

Brad Garrett, left, played Ray’s brother and Patricia Heaton, played Debra, Ray’s wife in the series. (Sonja Flemming / CBS)

When it came time for casting, approximately 20 women auditioned to play Ray’s wife, but Heaton nailed it, with a bold choice setting her apart. She was the only actor who actually kissed Romano during the audition, while the rest just mimed it. It wasn’t until the reunion, however, that Heaton learned onstage that she was the only one who’d done so.

The reunion also revealed that Garrett’s casting as Robert was a surprise to Romano. His real brother is shorter than he is, while Garrett is 6 feet 8, prompting Romano to joke that two brothers had been cast at once.

Rosenthal noted that to avoid the appearance of nepotism, he never suggested his wife for the role of Amy. Rather, it was a writer on the show who had put her name forward.

The reunion also honored Boyle and Roberts, who died in 2006 and 2016, respectively. The taping coincided with what would have been Boyle’s 90th birthday, and his wife, Lorraine, was in the audience. Romano shared that Boyle was nothing like his grumpy character Frank. During the first rehearsal, Boyle gave the nervous Romano advice: “It’s just like water. Just let it flow.”

Roberts, meanwhile, was the show’s matriarch on- and off-screen, known for making pots of soup in her dressing room and looking out for the cast. Horan recalled Roberts as professional and protective, pointing out whenever anyone was unwittingly blocking Horan’s light in a shot.

Frank and Marie, played by Peter Boyle and Doris Roberts, were remembered during the reunion special. The taping coincided with what would have been Boyle’s 90th birthday.

(Robert Voets / CBS)

Later in the afternoon came another poignant moment when Madylin Sweeten and younger brother Sullivan Sweeten, who played Ray and Debra’s children, Ally and Michael Barone, joined the panel. Madylin was 5 when the show began, while Sullivan was 16 months old. His twin brother, Sawyer, who also appeared on the show as Michael’s twin, Geoffrey, died by suicide in 2015, just before his 20th birthday.

Speaking about his late brother, Sullivan said that he tries to stay positive by reflecting on his best moments with Sawyer, sharing that most of them happened on the set of the show. Madylin said that she and Sullivan work with the National Suicide Prevention Hotline, noting that most who seek help do survive.

Now 34 and a mom herself, Madylin reflected on growing up on a hit series. At the time, she was too young to fully grasp its importance, revealing that she remembers being upset one year when she couldn’t participate in a school play because she had to be on set. As scenes of the Barone children played above the stage, she wiped away tears at the sight of Sawyer as a child.

It was easy to see what made the cast feel like a real family. Their chemistry filled the studio once again, and their connection endures.

“Imagine spending nine years with people and then staying in touch,” Rosenthal says. “Phil and I see each other all the time,” Romano adds, before Rosenthal chimes in: “Our families vacation together.” They shared that they’d had lunch with the show’s writers earlier that day.

The affection among the cast is matched only by the devotion of the fans who filled the studio. Throughout the taping, the audience erupted in laughter, cheers and applause, a testament to how deeply the show remains embedded in people’s lives. Even 20 years after its finale, everybody still loves Raymond.

“It was the ultimate honor,” Rosenthal says of the enthusiastic fans who showed up for the reunion. “We can die happy that we made something of lasting value.”

Asked why they’ve never considered a reboot, Romano is clear. “This was our legacy, this was our baby, and we wanted to treat it right,” he says. “We wanted to leave on a high note and go out on top, and that’s what we did.”

The Huntington has acquired a rare Civil War-era painting by American master Winslow Homer. “The Sutler’s Tent” was made in 1863 when Homer was traveling with the Union Army as an illustrator for Harper’s Weekly. The title refers to a type of transitory store that sold goods to soldiers when they were out in the field, and the canvas shows a soldier eating bread and cheese while another soldier rests beside him.

The acquisition is the Huntington’s first oil painting by Homer. The museum’s other holdings include his watercolor, “Indians Making Canoes (Montagnais Indians)” (1895), and several prints, including “The Life Line” (1887). The pieces show the artist’s journey from commercial illustrator to celebrated painter.

“The Sutler’s Tent” will be unveiled to the public on Dec. 7 in the Huntington’s Virginia Steele Scott Galleries of American Art. It was acquired through a partnership with the Ahmanson Foundation — which seeks to help boost the notable holdings of the museum — and marks the fifth major acquisition made through the program.

The gift is intended to honor the country’s upcoming semiquincentennial, and will anchor an ongoing reinstallation of the galleries as the Huntington seeks to expand the multicultural narrative of American art. It will also be integral to the Huntington’s “This Land Is …” initiative, which works to examine the country’s history through its metaphorical and literal landscapes as it approaches the 250th anniversary of its founding.

“The Sutler’s Tent” will be placed in conversation with works about the Civil War and Reconstruction, including Eastman Johnson’s “Sugaring Off” (1865), Jean-Baptiste Carpeaux’s “Why Born Enslaved? “(1868, cast 1872), and a signed copy of the Emancipation Proclamation.

“The Ahmanson Foundation’s partnership with The Huntington has allowed us to bring works of profound artistic and historical resonance into our collections and into public view,” said Huntington President Karen R. Lawrence, in a statement. “Winslow Homer’s ‘The Sutler’s Tent’ — a meditation on the experience of war — embodies our mission to connect art, history, and literature in ways that deepen understanding of the American story.”

The Huntington Library is known for its vast scholarly trove of Civil War ephemera. Its United States Military Telegraph archive includes ciphered communications between Abraham Lincoln and the Army command, and soldiers’ letters and diaries. It also holds the James E. Taylor Collection of scrapbooks documenting the war through photographs and newspaper clippings, and two of the most significant known Lincoln archives.

The art museum’s director, Christina Nielsen, said in a statement that the acquisition of “The Sutler’s Tent,” “deepens our representation of the Civil War era and expands the dialogue between our art and library collections. As we look toward the 250th anniversary of the United States, the painting invites reflection on a pivotal chapter in our nation’s history — one that continues to shape the American experience.”

I’m arts and culture writer Jessica Gelt, looking forward to taking a deep dive into all that can be learned about our present from our past. Here’s your arts and culture news for the week.

Dispatch: Pulitzer Prize-winning Times art critic Christopher Knight to retire

Times art critic Christopher Knight.

(Ricardo DeAratanha / Los Angeles Times)

After 45 years, 36 of them at The Times, art critic Christopher Knight is retiring from daily journalism. His final day at The Times is Nov. 28. In 2020, Knight won the Pulitzer Prize for criticism, and was also honored with a Lifetime Achievement Award for Art Journalism from the Dorothea and Leo Rabkin Foundation.

It’s impossible to overstate the loss Knight’s departure represents for the paper and Los Angeles, or what a tireless, generous, inspiring colleague he is. He possesses a quiet, encyclopedic knowledge of art, and in column after column he connected the dots of culture, history, folklore, civics and psychology in razor-sharp assessments of what a piece of art really means, or how a particular exhibition is poised to change the narrative around a longstanding or misguided idea. In short, he is everything a truly excellent critic should be.

He is also endlessly supportive of arts writers like me who look up to him — will always look up to him.

Thank you, Christopher, for all your words.

On our radar

Janai Brugger as Mimi and Oreste Cosimo as Rodolfo in L.A. Opera’s 2025 production of “La Bohème.”

(Cory Weaver)

La Bohème
Giacomo Puccini’s 1896 opera remains one of the most popular works in the Italian canon. Its doomed romanticism among struggling artists in 1830s Paris has a particular appeal to young people and became the inspiration for Jonathan Larson’s musical “Rent.” Lina González-Granados conducts the L.A. Opera orchestra. Brenna Corner directs this revival of the late Herbert Ross’ enduring production.
Saturday through Dec. 14. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org

Roberto González-Monjas conducts the L.A. Phil this weekend at Walt Disney Concert Hall.

(L.A. Phil)

Elgar’s Enigma
Roberto González-Monjas conducts the Los Angeles Philharmonic in a program featuring Erich Wolfgang Korngold’s “Themes and Variations, Op. 42,” Edwin Elgar’s “Enigma Variations, Op. 36,” and cellist Sheku Kanneh-Mason’s performance of the world premiere of an Edmund Finnis concerto. 
8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Robert Therrien, “No title (plaster snowman),” 1982-98, plaster

(Douglas M. Parker Studio)

Robert Therrien: This Is a Story
A quintessential artist’s artist, internationally admired Los Angeles sculptor Robert Therrien (1947-2019) made eccentric objects in two and three dimensions that seem strangely familiar when they are wholly abstract, and strangely abstract when they are instantly recognizable as representations of known things — a tall pillar of giant dinner plates, for example, or a simple little snowman. Often the materials are unusual, like zinc over bronze, buffed plaster or tempera on silver, adding to the sense of mysterious specificity. With more than 120 works spanning five decades, this should be the most compelling museum solo show of the season.
— Christopher Knight
Saturday through April 5, 2026. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org

The week ahead: A curated calendar

FRIDAY
Fall of Freedom
In a unified act of creative resistance, hundreds of galleries, museums, libraries, comedy clubs, theaters, concert halls and individuals across the nation will host exhibitions, performances and public events, asserting the power of free expression to mount a response to escalating authoritarian threats and censorship in the U.S.
Friday and Saturday. There are dozens of local events in Southern California, please check the website for details. falloffreedom.com

¡Cómo el Grinch robó la Navidad!
The Old Globe Theatre will present two performances of the world premiere of a new version of the Dr. Seuss classic with your favorite songs in Spanish. And for the 28th year, the Old Globe will also be doing its traditional holiday musical of “Dr. Seuss’s How the Grinch Stole Christmas!” Nov. 21-28.
7 p.m. Friday; 10 a.m. Saturday. Old Globe Theatre, 1363 Old Globe Way, San Diego. theoldglobe.org

From “The Dying World” by Lauren Tsai.

(Josh White)

The Dying World
Lauren Tsai’s solo exhibition, an installation utilizing drawing, painting, sculpture, puppets and projected stop motion imagery, explores the liminal space between worlds: subject and object, fiction and maker. Final two nights.
6-10 p.m. Friday and Saturday. Hollywood Forever, the Cathedral Mausoleum Courtyard, 6000 Santa Monica Blvd. hollywoodforever.com

Amy Engelhardt in “Impact,” a solo one-act at the Fountain.

(Peter Serocki/peterserockivisuals.com)

Impact
Composer/lyricist/performer Amy Engelhardt’s one-act solo show (with musical accompaniment) probes the 1988 terrorist attack on Pan Am Flight 103 over Lockerbie, Scotland.
8 p.m. Friday and Saturday; 2 p.m. Sunday. The Fountain Theatre, 5060 Fountain Ave., Los Angeles. fountaintheatre.com

SATURDAY
Animal Instinct
Chinese American artist Kristen Liu-Wong’s solo exhibition of vibrant paintings with slightly macabre narratives highlights her varied influences from American folk art, the cartoons she watched as a kid, Japanese erotic art and an appreciation for architecture.
Opening reception, 7-11 p.m. Saturday; noon-6 p.m. Tuesday-Saturday, through Jan. 3, 2026. Corey Helford Gallery, 571 S. Anderson St., Los Angeles. coreyhelfordgallery.com

A Brahmsian Affair
The Los Angeles Chamber Orchestra presents a program featuring two sextets by Brahms, plus the world premiere of Julia Moss’ “(Please Don’t) Look Away.”
7:30 p.m. Saturday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org

Corita Day
Corita Art Center celebrates L.A.’s favorite artist/nun with an afternoon of art activities for all ages, live screen printing by Self Help Graphics, holiday shopping, food, music by KCRW, and a performance by Bob Baker Marionette Theater at 2 p.m. Visitors can also reserve spots from 11 a.m.-6 p.m. to see the exhibitions “Corita Kent: The Sorcery of Images” and “Irregularity: Corita and Immaculate Heart College’s Rule Breaking Designs.”
1-4 p.m. Marciano Art Foundation, 4357 Wilshire Blvd., L.A. marcianoartfoundation.org

Grief Bacon and Other Holiday Treats
Melanie Mayron and Sandra Tsing Loh deliver “old and new humor for trying times.” Part of the Odyssey’s “Thresholds of Invention” series.
8 p.m. Saturday. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

Tom Wesselman, “Bedroom Face,” 1977, color aquatint

(Palm Springs Art Museum)

Mapping the Female Body: Tom Wesselmann and Mickalene Thomas
An unexpected juxtaposition of two very different painters from the end of one century and the beginning of the next is set to consider dissimilar representations of the contemporary female nude. In the 1960s, the famous “Great American Nude” series by Tom Wesselmann (1931-2004) applied commercial advertising techniques to painterly traditions in Western art familiar since the Renaissance. Fifty years later, Mickalene Thomas applies commercial craft techniques to vibrant paintings of queer Black women — a subject previously absent from Western art history. Questions of gender, sexuality and their depictions are the exhibition’s focus.
— Christopher Knight
Through April 6, 2026. Palm Springs Art Museum, 101 Museum Drive. psmuseum.org

Venice Winter Fest
Chill out SoCal-style with artisan markets, hot cocoa, live music, festive bites and interactive winter-themed activities for all ages.
10 a.m.-6 p.m. 12257 Venice Blvd. thevenicefest.com

SUNDAY
Habsburg Harmonies: Haydn, Ligeti, and Brahms
Violinist Martin Beaver, flutist Demarre McGill, cellist Clive Greensmith and pianist Fabio Bidini team up for an evening rooted in Austro-Hungarian musical tradition.
4 p.m. Thayer Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu

TUESDAY
Dungeons & Dragons: The Twenty-Sided Tavern
Three adventurers need your help on an epic quest to save the world in this interactive fantasy inspired by the immensely popular role-playing game.
Through Jan. 4, 2026. The Montálban, 1615 Vine St., Hollywood. broadwayinhollywood.com

Culture news and the SoCal scene

The Palm Springs Art Museum, founded in 1938, has a small board of 22 trustees.

(Lance Gerber / Palm Springs Art Museum)

Speaking of Christopher Knight’s tremendous skills as a critic, did I mention he’s also a phenomenal reporter? In one of his final columns, Knight chronicles the many financial travails of the Palm Springs Art Museum based on internal documents obtained by The Times. “Recent developments have opened a Pandora’s box,” Knight writes of an accounting firm’s annual audit of the museum’s 2024 books. The audit revealed that there is a “reasonable possibility that [the museum’s] internal financial statements are significantly out of whack,” Knight wrote before detailing the fallout leading to a trustees revolt.

Knight also delighted us with a list of “22 essential works of art at the Huntington and the surprising stories behind them.” No one can highlight what should be considered essential viewing at a museum quite like Knight, who takes readers on a virtual tour of the storied San Marino museum and its exquisite holdings, including Sir Joshua Reynolds’ “Portrait of Samuel Johnson (‘Blinking Sam’),” which Knight writes was not favored by its famous subject.

Times theater critic Charles McNulty once again checks in on Broadway, this time with a review of Robert Icke’s “Oedipus,” a modern retelling of Sophocles’ “Oedipus the King.” McNulty notes that the play “must be the buzziest, if not the chicest, Broadway offering of the fall season.”

Cher Alvarez, who reprises her role at the Ahmanson, in “Paranormal Activity” at Chicago Shakespeare Theater.

(Kyle Flubacker)

Closer to home, McNulty reserved high praise for the spooky “Paranormal Activity,” now playing at the Ahmanson Theatre. “I caught myself wondering during the first act, ‘Is this the best staged production of the year?’,” McNulty writes of the show, which is based on the horror film franchise of the same name and just completed a run at Chicago Shakespeare Theater. Director Felix Barrett, playwright Levi Holloway and Tony Award-winning illusion designer Chris Fisher are “masters of misdirection,” McNulty concludes.

McNulty also wrote a news dispatch that Jessica Stone, “a Tony-nominated director (‘Kimberly Akimbo,’ ‘Water for Elephants’), has been named the new artistic director of La Jolla Playhouse, succeeding Christopher Ashley at the helm of one of the nation’s preeminent regional theaters.”

I had a great Zoom call with Shaina Taub about the inspiration behind her musical, “Suffs.” Taub is only the second woman, after Micki Grant, to star in a Broadway musical for which she also wrote the book, music and lyrics. The show is about the women’s suffrage movement leading up to the ratification of the 19th Amendment. It opened earlier this week at the Hollywood Pantages Theatre as part of the show’s inaugural national tour.

Daniel T. Gaitor-Lomack in his studio.

(Daniel Tyree Gaitor-Lomack / Night Gallery, Los Angeles. Photo by Tomasa Calvo.)

Interdisciplinary Los Angeles–based artist Daniel T. Gaitor-Lomack is staging a solo exhibition, “You Can Hate Me Now,” at Night Gallery. This marks the artist’s second solo show at the space. Much of the new work was informed by Gaitor-Lomack’s life in his MacArthur Park neighborhood. A rep for the gallery wrote in an email that Gaitor-Lomack describes the exhibition “as a kind of ceremony, a gathering of ideas and emotions that have been unfolding across his work over the past three years. Guided by intuition and lived experience, he continues to use found and everyday materials to reflect on the innumerable systems of the world around. The exhibition’s title, long held in his mind, frames the presentation as a meditation on anticipation, transformation, and resilience.” The show will be at Night Gallery through Feb. 14.

The Museum of Fine Arts, Boston, has made what it is calling the first-ever restitution of artwork to the descendants of an enslaved artist. The artist, David Drake, was born around 1800 in Edgefield, S.C. He is known for signing his vessels and inscribing them with poetic verses, including one that read, “I wonder where is all my relations.” Fifteen of Drake’s descendants recently traveled to Boston from various states for a ceremony during which MFA returned one of Drake’s stoneware jars to them, and purchased a second back. An L.A.-based attorney named George Fatheree represents Drake’s family and help shepherd the transaction. “This is a day we hoped and prayed for,” said Pauline Baker, the third great-granddaughter of Drake, in a news release. “To see it realized is almost overwhelming. On behalf of our family, we express our deepest gratitude to the Museum of Fine Arts for its courage and integrity. Most importantly, this ceremony restores not just his work, but his humanity.”

A Gustav Klimt painting, “Portrait of Elisabeth Lederer,” recently sold for $236.4 million, including fees, making it the most expensive modern work to be sold at auction. The 71-by-51-inch painting, created between 1914 and 1916, portrays the 20-year-old daughter of the Viennese art collectors who commissioned the work. The portrait was sold during a Sotheby’s auction in New York and was part of the private collection of cosmetics heir Leonard Lauder, who died in June. According to the Washington Post, a 19-minute bidding battle catapulted the painting “far beyond its $150 million estimate, with two bidders competing over the phone via their auction representatives.”

— Jessica Gelt

And last but not least

The unfettered, stand-up kindness of Keanu Reeves has become the stuff of legend thanks to legions of fans who faithfully recount the actor’s good deeds on social media. Most recently, Reeves penned a handwritten letter of gratitude to the FBI after it recovered a stolen Rolex watch used in “John Wick.”

While it was certainly eye-catching to hear a former player so recently of the inner sanctum talk in such a way about the expectations around the side, the comments fed into the debate about Ireland’s current standing in the world game after a decade when they have consistently punched above their weight.

Coming into the month ranked third in the world – Ireland have since fallen to fourth below England – more competitive showings against those around them in the rankings are surely now viewed as a base, not an ambition.

While Ireland have not lost to a side lower than fifth in the present rankings since defeat by Wales in the 2021 Six Nations, Saturday’s loss means they have won just three of their past nine against England, New Zealand, South Africa and France, a run that dates back to the end of the 2023 World Cup and the retirement of talismanic skipper Johnny Sexton.

When considering the victories came against a 14-man France, an England side not then at the level they are now, and thanks to a last-kick drop-goal in South Africa, it all feeds into a concerning trend.

Without stripping the losses of similar context, that the reverses come with an average margin of defeat of 9.5 points feels instructive too.

At present, rather than the worst of the best or best of the rest, Ireland feel in a tier all of their own, still far from flat-track bullies but certainly struggling when expected to make the step up.

They start their 2026 Six Nations against France in Paris and visit England in round three. Between now and those testing February away days, direction of travel will continue to be the dominant theme.

Self-centered news anchor Tulio Triviño and his reporter best friend Juan Carlos Bodoque, who has a gambling problem, have amused audiences for 22 years. Neither has aged a day. That’s because they are hand puppets — a monkey in a suit and a red rabbit in a striped shirt, respectively — at the forefront of the beloved Chilean TV show “31 Minutos.”

First conceived as a children’s program for Chile’s public television, “31 Minutos” debuted in March 2003, and now spans four seasons. A parody of a traditional newscast, the irreverent concept features dozens of peculiar puppets who populate the fictional town of Titirilquén. Their sharply absurdist misadventures and reportages are accompanied by pun-heavy, humorous original songs.

“The Muppets and ‘Sesame Street’ have been great inspirations for us,” says co-creator Pedro Peirano speaking in Spanish from Santiago, Chile, during a recent Zoom interview. “But we mixed that with a more Latin American idiosyncrasy, so it’s familiar but very different.”

Peirano voices and puppeteers Tulio, while Álvaro Díaz, the show’s other co-creator, gives life to Bodoque (who started out as a green toad before taking on his rabbit form). Among their fabric-made pals are Patana, Tulio’s niece who is a duck, field reporter Mario Hugo, a Chihuahua in a suit, and Juanín, a fuzzy white creature with no visible eyes, the newscast’s producer.

“What we set out to do, I don’t know if consciously, was to create characters who are not role models of anything,” says Peirano. “They have their flaws and their virtues; in fact, they have more flaws, especially Tulio, who is a villain, but he’s also the face of the show.”

Over the years, as the show’s popularity grew across Latin America, “31 Minutos” has transcended the small screen and spilled into other formats. Through Aplaplac, their production company, Díaz and Peirano have created “31 Minutos” live shows that tour the region, a theatrically released feature film, and even an ambitious museum exhibit.

This fall, “31 Minutos” sets its sights on the global market with the release of “Calurosa Navidad” (One Hot Christmas), their first special for Prime Video, streaming on Friday. The Spanish-language film comes on the heels of another big moment for the puppet troupe, when they performed some of their hits on NPR’s “Tiny Desk” last month.

Co-creators Álvaro Díaz, left, and Pedro Peirano on the set of “31 Minutos: Calurosa Navidad.” (Sebastian Utreras)

Although “31 Minutos” emerged as kids’ programming, Díaz and Peirano sidestepped expectations for message-driven storylines.

“In Latin America we tend to confuse children’s television with educational television, as if everything has to be an extension of school,” says Díaz. “We wanted to quickly transform it from that into more of a family show.”

The duo met while studying journalism at the Universidad de Chile in the late 1980s, as the country transitioned from a dictatorship to a democracy. It was their compatible humor, a shared interest in film, and a desire to explore a variety of mediums that brought them together.

“We had a lot of free time to develop our interests,” says Díaz. “And you connect through those interests, even more so that’s based on your personality or your origins.”

Before “31 Minutos,” Díaz and Peirano already had experience working in written media and television, so their impulse was to parody the news world they were familiar with.

When first developing the show, which they produced after winning public funding, the puppets appeared somewhat organically, Díaz says, because neither he nor Peirano wanted to be on camera. And since the project was originally geared toward children, it seemed appropriate.

A scene from Prime Video’s “31 Minutos: Calurosa Navidad.” “We believed that by putting puppets in front of the camera — initially very simple puppets — children would immediately identify with them,” says co-creator Álvaro Díaz.

(Amazon MGM Studios)

“We believed that by putting puppets in front of the camera — initially very simple puppets — children would immediately identify with them, and we wouldn’t be forced to emphasize the children’s tone so much,” recalls Díaz. “On the contrary, the puppets were a vehicle that allowed us to tell stories that interested us.”

And while it was Díaz who first suggested puppets, Peirano, who is also a comic book author, was a lifelong fan of Jim Henson and the worlds he created, including more adult fare like “The Dark Crystal.” The first puppets they used were those that Peirano had made as a child. As self-taught puppeteers, Díaz and Peirano honed their craft along the way.

“It’s much cheaper and faster to make puppets and create this fantastical world than to produce animation,” says Peirano. “Puppets have an immediacy that also makes them fun to perform with and to improvise with.”

As is often the case with children’s shows, they needed to incorporate music. Peirano brought along his friend Pablo Ilabaca, the guitarist and composer of Chilean rock band Chancho en Piedra, who tangentially had created tracks that could work for the show.

“He showed us that music, and we immediately felt that the sound of the ’31 Minutos’ was there,” says Díaz. “There was a lo-fi quality about it. It had something candid that didn’t necessarily have an infantile tone but had a lightness. And we could add lyrics to that music.”

The editorial line for the songs was to validate childhood experiences without trying to impart any life lessons, acknowledging those feelings through comedy.

“There is a song called ‘Diente Blanco’ [White Tooth], for example, which is not about the importance of brushing or taking care of your teeth but, rather, about a child saying goodbye to a tooth he was very fond of,” explains Díaz.

As a father of three (who he hopes will eventually take on the show’s mantle), Díaz operates from a conviction that young audiences deserve quality content that’s not patronizing nor simplistic.

“The entertainment options for children in Latin America, and generally everywhere, are very poor,” says Díaz. “It’s mostly about extracting money from parents with disappointing offerings. As kind of a governing principle for ’31 Minutos,’ we want these options to improve.”

“31 Minutos” rapidly became entrenched in Chilean popular culture. Peirano remembers the exact moment when he realized its cross-generational influence.

“I heard someone whistling the show’s theme song, and it wasn’t a child — it was an adult sweeping the street,” he says. “That was the first time I said, ‘How strange, someone is actually watching it!’ ”

Pedro Peirano remembers the moment he realized “31 Minutos” was becoming entrenched in Chilean pop culture. “I heard someone whistling the show’s theme song, and it wasn’t a child — it was an adult sweeping the street,” he says.

(Sebastian Utreras)

For Díaz, it was when he heard the album with the first batch of songs, released about four months after the show’s debut, playing in multiple record stores around Santiago. Not long after that, they saw the first bootleg merchandise: a toy version of Mico, el Micófono, a character that is just a microphone with googly eyes that street vendors could easily replicate.

Internationally, Mexico became a key market for “31 Minutos.” The creators first realized that country’s adoration for the show when an email address where viewers could write to Tulio was flooded with more messages from Mexico than Chile.

A tribute album, “Yo Nunca Vi Television” (I Never Watched Television), where Mexican and Chilean bands reinterpreted songs from “31 Minutos,” was released in 2009. The show’s museum exhibit, “Museo 31,” visited two Mexican cities (Mexico City and Monterrey) between 2024 and 2025 after its time in Santiago at Centro Cultural La Moneda.

Díaz believes that “31 Minutos” benefited from evolving in front of a young audience who accepted the show’s peculiarities at face value. The industry these days, he thinks, demands every narrative choice be justified with substantial meaning.

“You now have to write with an explicit intention and give everything coherence, as if life is a series of very coherent interconnections,” Díaz says. “It’s impossible to make something like ‘31 Minutos’ today.”

That’s especially true, in their eyes, of the U.S. entertainment industry where one must “understand fun down to its smallest detail” even before anything has been produced.

“Much of the fun of making ’31 Minutos’ has to do with spontaneity,” says Díaz.

Nevertheless, their “Tiny Desk” concert and the Christmas special have brought them to their closest proximity yet to American audiences.

To prepare for their “Tiny Desk” performance, which features some of the show’s most emblematic puppets, the “31 Minutos” team re-created the set in Santiago — a famously tight space where bands are sandwiched between a desk and overflowing bookshelves. “We had to reduce the idea of ‘31 minutes’ to 20 minutes in a small space, without lighting, without special effects,” explains Díaz.

Tapping into current events, the running joke of their “Tiny Desk” appearance is that their work visas will expire immediately after performing.

“We didn’t intend to make a political statement, but since we were in the United States, what’s the joke in the air? That they are going to kick us — as Latin Americans, the joke is always that the U.S. wants us out,” says Peirano. “In the end, it still ends up being a commentary, and we included this crocodile puppet [as an immigration agent] because that’s the satirical nature of ‘31 Minutos.’ ”

Meanwhile, making “Calurosa Navidad” for Prime Video fulfilled their goal of entering the streaming realm. Amazon was interested in genre films, and they opted for a Christmas one.

Fans of “31 Minutos” will recognize that the story, in which Bodoque has to search for Santa and bring him to heat-stricken Titirilquén; it’s the expansion of a story from an earlier special Christmas episode that later evolved into a Christmas live show. The cheeky charm remains intact, but now it’s going to be accessible to a global audience.

Currently, Peirano splits his time between Santiago and Los Angeles. In the U.S., away from the media empire that “31 Minutos” has built in Latin America, he works as a screenwriter. His credits include the HBO series “Perry Mason.” He’s working on a project for horror outfit Blumhouse with collaborator Mauricio Katz. The two recently signed an exclusive overall deal with Sony Pictures Television.

But don’t expect Tulio or Bodoque to speak English anytime soon or for their adventures to be crafted outside of their South American homeland. Díaz has no desire to leave Chile.

“I live five kilometers from the hospital where I was born. And that’s the farthest I can be,” he says. “Chile is the reality that I understand, and, above all, that nourishes us. I like to travel and go on tour, but I hope things always happen here, with the people we know here.”

Díaz cites director Peter Jackson’s ethos to establishing WETA FX, a world-renowned digital effects company, in his home country of New Zealand instead of moving abroad, as a mindset that resembles their own — in admittedly a smaller scale.

“What we advocate for in ‘31 Minutos’ is artistic excellence from Chile,” Díaz adds. “From Chile to Latin America first, and hopefully from Chile to the world.”

“Suffs,” Shaina Taub’s musical about how women finally secured the right to vote in America, won Tony Awards for its book and score. It lost the best musical race to “The Outsiders,” but the respect it earned when it opened last spring on Broadway made it an unequivocal winner.

The show is having its Los Angeles premiere at the Hollywood Pantages Theatre in a touring production that is smooth and smart. Taub’s work deserves nothing less than an A. The cast is excellent, the staging is graceful and the political message could not be more timely.

The show might not have the crackling vitality of “Hamilton” or the bluesy poignancy of “The Scottsboro Boys.” It’s a good deal more earnest than either of these history-laden musicals. There’s an educational imperative at the heart of “Suffs,” which deals with a subject that has been marginalized in schools and in the collective consciousness.

The 19th Amendment, which gave women the right to vote, was ratified in 1920, a little more than a century ago. The history isn’t so distant yet I’m sure I wasn’t the only one at Wednesday’s opening who was learning about the forceful tactics that helped Alice Paul and her fellow suffragists push their movement over the finish line.

“Suffs,” a musical for the public square, is as informative as it is uplifting. It is above all a moving testament to the power of sisterhood. The struggle for equality continues to face crushing setbacks today, but Taub wants us to remember what can happen when people stand united for a just cause.

Alice (a winning Maya Keleher) doesn’t seem like a rabble-rouser. A bright, well-educated woman with a polite demeanor, she looks like a future teacher of the year more than a radical organizer. But she has an activist’s most essential quality: She won’t take no for an answer. (Keleher lends alluring warmth to the role Taub made her Broadway debut in.)

Marya Grandy and the company of the national tour of “Suffs.”

(Joan Marcus)

She’s rebuffed by Carrie Chapman Catt (Marya Grandy), the president of the National American Woman Suffrage Assn., whose motto (“Let your all-American mother vote”) is the basis for the show’s opening number, “Let Mother Vote” — a distillation of the old-guard approach that has yet to yield women the vote.

Alice wants to organize a march in Washington, D.C., to force the president’s reluctant hand, but Carrie prefers a more genteel strategy. “Miss Paul, if my late great mentor Susan B. Anthony taught me anything, it’s that men are only willing to consider our cause if we present it in a lady-like fashion.

“State by state, slow and steady, until the country’s ready” is, after all, NAWSA’s fundamental creed. But Alice points out that if they continue at this glacial pace they’ll be dead before they can ever cast a vote.

Swinging into action, Alice teams up with her friend Lucy Burns (Gwynne Wood), who worries that they haven’t the experience to take on such a momentous mission. “We’ve never planned a national action before,” she objects at the start of their duet “Find a Way.” But undaunted Alice has the bold idea of recruiting Inez Milholland (played at the opening night performance by Amanda K. Lopez), and a way forward miraculously materializes.

Inez has just the right glamorous public image that Alice thinks will give their march the publicity boost it needs. Studying for the bar exam, Inez is initially reluctant but agrees if she can lead the march on horseback.

This image of Inez on a steed becomes central both to the movement and to director Leigh Silverman’s production, which finds simple yet striking ways of bringing revolutionary change to life. A chorus line of activists wearing suffragist white (kudos to the luminous tact of costume designer Paul Tazewell) eloquently communicates what solidarity can pull off.

Brandi Porter, left, and Jenny Ashman as President Woodrow Wilson in “Suffs.”

(Joan Marcus)

An all-female and nonbinary cast dramatizes this inspiring American story. Taub takes some fictional license with the characters but largely sticks to the record.

Notable allies in Alice’s organization include Ruza Wenclawska (Joyce Meimei Zheng) a Polish-born trade union organizer with a no-nonsense grassroots style, and Doris Stevens (Livvy Marcus), a shy yet undeterred student from Nebraska who becomes the group’s secret weapon secretary.

Ida B. Wells (Danyel Fulton), an early leader in the civil rights movement, takes part in the march but resists being used as a prop in what she calls NAWSA’s “white women convention.” Mary Church Terrell (Trisha Jeffrey), a fellow Black activist, by contrast believes that it’s only through participation that representation can move forward.

President Woodrow Wilson (Jenny Ashman), who makes promises to the suffragists he is hesitant to keep, is a crucial target of Alice’s pressure campaign. Her group’s access to him is aided by Dudley Malone (Brandi Porter), Wilson’s right-hand man, who becomes smitten with Doris.

The score marches ahead in a manner that makes progress seem, if not inevitable, relentless in its pursuit of justice. The songs combine the patriotic exuberance of John Philip Sousa and the American breadth of Broadway composer Stephen Flaherty (“Ragtime”). The note of pop accessibility in Taub’s music and the satiric humor of her lyrics add to the buoyancy. You won’t leave humming a tune, but the overall effect (while ephemeral) is pleasing in the theater.

With the history already determined, the book can’t help resembling at times a civics exhibition. Dramatic tension is hard to come by. Alice and her cohorts suffer grave disappointments and indignities (including a harrowing stint in prison), but the eventual outcome of their struggles is known.

“Suffs” sometimes feels like a history lesson neatly compartmentalized into Important Episodes. There’s a whiff of PBS to the way the musical unfolds. This is cultural programming that’s good for you.

But the teamwork of the performers honors the messy yet undeniably effective cooperation of Alice and her freedom fighters — women who changed the world by not staying silent in their prescribed place.

Saturday Kitchen host Matt Tebbutt apologised after accidentally revealing personal details about his guest star on the BBC show

Matt Tebbutt dropped a huge blunder just minutes into today’s Saturday Kitchen (November 22), accidentally revealing where one of his celebrity guests lives.

The TV chef was joined by comedian and actor Tom Allen, famous for his roles on The Apprentice: You’re Fired, Cooking with the Stars and The Great British Bake Off’s Extra Slice.

He popped up on the ITV show to promote his gardening podcast, Pottering With Tom Allen, telling presenter Matt: “I just thought what the world needs is another podcast.”

He went on: “We keep the bird song in, we keep the church bells in, even aeroplanes going over we leave in.”

Matt then chimed in with a cheeky comment about the background noise, which accidentally gave away where the star calls home, reports the Express.

“Please Matt! Don’t tell people where I live,” Tom shot back, before quipping: “It’s true though it’s a very desirable area,” as giggles filled the studio.

The gaffe sparked a hasty “I’m sorry” from presenter Matt, who quickly added: “I didn’t give out the full address.”

Tom then revealed that his neighbourhood was quite compact, meaning even tiny hints were too much information.

“Well it’s not a very big place so if you are in Chislehurst you’ll see me there,” he revealed before throwing a tongue-in-cheek “So thanks for that” Matt’s way.

As the programme progressed, Matt turned to chef Ravinder Bhogal to ask what was next on the agenda. Yet, he couldn’t help but make another quip about his earlier gaffe.

“Right let’s see what else is on the menu today. Ravinder! Tell everyone where you live,” he jested, sparking more laughter from the cast and crew.

Saturday Kitchen is broadcast on BBC One and iPlayer

In the weeks since federal investigators announced that the devastating Palisades fire was caused by a reignition of a smaller blaze, top Los Angeles Fire Department officials have insisted that they did everything they could to put out the earlier fire.

But The Times has obtained records that call into question the agency’s statements about how thoroughly firefighters mopped up the Jan. 1 Lachman fire in the days before it reignited.

In an interview last month, then-Interim Fire Chief Ronnie Villanueva said that firefighters returned to the burn area on Jan. 3 — due to a report of smoke — and “cold-trailed” an additional time, meaning they used their hands to feel for heat and dug out hot spots.

“We went back over there again. We dug it all out again. We put ladders on it. We did everything that we could do — cold-trail again,” Villanueva told The Times on Oct. 8. “We did all of that.”

A dispatch log obtained by The Times, however, shows that firefighters arrived at the scene that day and quickly reported seeing no smoke. They then canceled the dispatch for another engine that was on the way, clearing the call within 34 minutes. The log does not mention cold trailing. It’s unclear if crews took any other actions during the call, because the LAFD has not answered questions about it.

The Times has made multiple requests for comment to LAFD spokesperson Capt. Erik Scott by email, text and in person, but the agency has refused to explain the discrepancy. Villanueva also did not respond to an emailed request for comment and an interview request.

The conflict between the LAFD’s statements and its own records is likely to intensify frustration and anger among Palisades fire victims over contradictory and incomplete information about what was done to protect their community. With the first anniversary approaching, gaps remain in what the LAFD has told the public about what it did to prepare for and respond to the fire, which killed 12 people and destroyed thousands of homes.

The LAFD’s after-action report on the Palisades fire makes only a cursory reference to the Lachman blaze. Missing from the 70-page document, released last month, are the report of smoke in the area on Jan. 3 and a battalion chief’s decision to pull firefighters out of the scene the day before, even though they warned him that there were signs of remaining hot spots.

The head of the board that oversees the LAFD has maintained that information about the firefighter warnings — or any examination of the Lachman fire — did not belong in the after-action report.

“The after-action review that was presented to the commission is exactly what we asked for,” Genethia Hudley Hayes, president of the Board of Fire Commissioners, said at the board’s meeting on Tuesday. She said the review was only supposed to cover the first 72 hours after the Palisades fire erupted.

“It is not an investigation,” she said. “It should not include things that the newspaper seems to feel like should be included.”

The after-action report detailed missteps in fire officials’ response to the Palisades fire, including major failures in deployment and communications, and made recommendations to prevent the issues from happening again.

Two former LAFD chief officers said the report also should have provided an examination of what might have gone wrong in the mop-up of the Lachman blaze, which investigators believe was deliberately set, as part of its “lessons learned” section.

“A good after-action report documents what happened before the incident,” said former LAFD Battalion Chief Rick Crawford, who retired from the agency last year and is now emergency and crisis management coordinator for the U.S. Capitol. “The after-action report should have gone back all the way to Dec. 31.”

Patrick Butler, a former assistant chief for the LAFD who has worked on several after-action teams, including for the federal government, agreed.

“If you limit an after-action to an artificial timeline, you’re not going to uncover everything you need to learn from,” said Butler, who is the Redondo Beach fire chief.

He noted that the reports shape training and operational improvements for the Fire Department.

“To exclude the Lachman fire from the report gives the appearance of a coverup of foundational facts,” Butler added. “It’s not a harmless oversight. The consequences can be significant and far-reaching.”

The Jan. 3 report of smoke at the Lachman burn area came in shortly before noon, according to a dispatch log of the incident. Firefighters from Fire Station 23 — one of two stations in the Palisades — arrived on the scene about 10 minutes after they were dispatched.

A couple minutes later, they reported “N/S,” or nothing showing, according to the log. A few minutes after that, they canceled the dispatch for an engine from Fire Station 69, the other Palisades station.

The last entry in the log was from 12:20 p.m., indicating that an L.A. County crew was working in the area.

The L.A. County Fire Department said in a statement that the crew was at the scene for less than 30 minutes conducting an “informal ‘lessons learned’ discussion of their actions from the night of the fire.”

“They did not gear up or perform any work while there and they did not see anything of note,” the statement said.

The L.A. County crew left the scene about 12:40 p.m.

The Times previously reported that firefighters were ordered to roll up their hoses and leave the burn area of the Lachman fire on Jan. 2, even though they had complained that the ground was still smoldering and rocks remained hot to the touch. The paper reviewed text messages among three firefighters and a third party, sent in the weeks and months after the fire, in which they discussed the handling of the blaze.

LAFD officials also opted not to use thermal imaging technology to detect lingering hot spots. Despite warnings of extreme winds leading up to Jan. 7, they failed to pre-deploy any engines or firefighters to the burn area — or anywhere in the Palisades.

At least one battalion chief assigned to the LAFD’s risk management section has known for months that crews had complained about hot spots after the Lachman fire. But the department kept that information hidden from the public.

At the Tuesday fire commission meeting, newly appointed Fire Chief Jaime Moore — in an apparent reference to The Times reporting — slammed what he called media efforts to “smear” firefighters who battled the worst fire in city history.

“Something that’s been very frustrating for me as fire chief, and through this process, is to watch my friends in the media smear our name and the work that our firefighters did to combat one of the most intense fires, the Palisades, the wind-driven monstrosity that it was,” Moore, a 30-year LAFD veteran, said on his second day on the job.

He added: “The audacity for people to make comments and say that there’s text messages out there that say that we did not put the fire out, that we did not extinguish the fire. Yet I have yet to see any of those text messages.”

Moore made those remarks despite having been tasked by Mayor Karen Bass with conducting an investigation into The Times report about the LAFD’s response to the Lachman fire.

Bass had requested that Villanueva investigate, saying that “a full understanding … is essential to an accurate accounting of what occurred during the January wildfires.”

Critics have said it would be improper for the LAFD to investigate itself and called for an independent review.

Before the City Council confirmed his appointment as chief, Moore also had called for an outside organization to conduct the inquiry, describing the reports of the firefighters’ warnings on Jan. 2 as alarming.

On Tuesday, he said he would review the LAFD’s response to the Lachman fire.

“I will do as Mayor [Karen] Bass asked, and I will look into the Lachman fire, and we will look at how that was handled, and we will learn from it, and we’ll be better from it,” he said.

A Bass spokesperson said Wednesday that the mayor “has made clear to Chief Moore” that the investigation into the Lachman fire should be conducted by an independent entity.

The LAFD has not responded to a question about who will conduct the probe.

There was a time when KevOnStage was a very literal description of comedian Kevin Fredericks as a hungry comedian looking for stage time. These days, he might as well be called KevOnEverything. You can find him cracking jokes on live comedy tours, TV sketch shows, books, podcasts and just about every social media platform you care about. From books like his 2025 New York Times bestseller “Successful Failure” to his latest podcast, “Not My Best Moment,” the idea has always been about forward momentum to breed a funny brand that, just like his name, continues to stick with a sense of humor that ultimately succeeds at being relatable.

Moving from Washington state to L.A. with his wife and kids to fulfill his comedy dreams, he focused his comedy on the Black church and family life in a way that hadn’t been done before. The result was his breakout success with the show “Churchy” that started as a self-funded series that was picked up by BET and recently ran through its second season. It created a lane for him to expand his content universe with sketch shows like “The Hospital” and “Safe Space” on Tubi that allows him to retain creative control and put on more comedians working with veteran stand-ups like Tahir Moore and Tony Baker. The latter is his podcasting partner in crime whom he’s been touring with on the Bald Brothers comedy tour which wraps up in L.A. at the Wiltern on Sunday. Recently we spoke to KevOnStage about the secret to building his comedy brand — by being everywhere.

This interview was edited for length and clarity.

I love that this is a year where so much is happening for you from so many angles.

It’s wild.

You’re KevOnStage, KevOnPodcasts, KevOnBooks, KevOnTV …

[Laughs] Literally KevOnEverything.

When did you decide to go from being Kevin Fredericks — working a regular job and doing comedy on the side — to becoming “KevOnStage”?

I was working at the Spanaway [Washington] branch of Key Bank and I was on Twitter. This must have been 2009 — very early on Twitter. And people were just making jokes and people were getting fired [from their jobs over their jokes on Twitter]. People would not like a joke you said, search your name, Google you, find out where you worked and email like your boss, and people were getting fired. And I was like, “I can’t afford to lose my job over some ports take.” So I’m gonna take my full actual government name out of my handle, which was just Kevin Fredericks at the time. And I was like, “I’m Kev and I be on stage.” And that was literally as much thought as I put into it. I was just not trying to be easily found and fired. So I switched my handle to KevOnStage because I was doing stand-up all the time at that time and it stuck. Hindsight being 20/20, I would have just kept Kevin Fredericks, which was my Facebook name, but I think KevOnStage is cool as a moniker. I’m trying to be like Beyoncé, Bono, Sting, Oprah, KevOnStage — one name. People think my actual name is Kevon because of that. If they think that, then I know they found me because of the internet. Which is also fine. As long as people know me, it doesn’t bother me.

KevOnStage with Tony Baker on the Bald Brothers comedy tour.

(Joshua Gonzales )

When did you really find your tribe of comedians in Washington state that you still hang out with today?

In Washington state there was only really like Nate Jackson, he was the only working comedian who was working nationally. In Washington it was me, Nate, Big Irish Jay, a comedian named Terrence — those are the only people that were kind of doing comedy consistently. And then we had the Bay Area Black Comedy Competition, I don’t remember what year it was, and I met Lance Woods, who I’m still cool with. But then when I moved [to L.A.], that’s when I met Tony Baker and Tahir Moore through All Def Comedy. Because I didn’t really do stand-up on stage that much when I first moved to L.A. My wife was like, “we’re not gonna move to L.A. and then you’re on stage four or five nights a week.” And it was hard to get on stage … you have to go and hang out, go to Denny’s and like hang out all night. And [my wife] was not going for it and I had small children who had to go to school. So the majority of the people that I know I met through All Def.

You brought up an interesting point about the lifestyle of comics because it is a lifestyle that doesn’t really agree with everything else for most of the 9-to-5 working world — especially being married and having kids. So how did you then decide to focus more on content creation as a means to perform?

Well, interestingly enough, it started before I moved to L.A. There’s hardly any entertainment opportunities in Washington. There’s very rarely a TV show, even shooting there, much less a show you can actually audition and be on. So what happened was we were doing plays. We’re trying to be like Tyler Perry, David E. Talbert or Je’Caryous Johnson. And we were on our way, but there weren’t enough people in Washington to mount a successful black play — or “urban plays” as people called them. So we did our best, but even if we got 3,000 people, that was only for one night. And we weren’t doing that, by the way. We’re getting like 68 people. So I was watching a lot of YouTube at the time and I was realizing these people have fans everywhere. So I was like, we can do internet comedy and make people laugh on the internet and hopefully we get fans all across the United States. And from the first two videos we did, I was like, forget the play thing, I think the internet is the thing. Just like focus on that. I think we do that, we will build our own audience, and everything will be easier for us.

As far as the ability to own your content and guide however you want, how has that been important for your comedy career?

For me it’s been like, “He who pays says.” Like if you pay for it, you get the final say. So for a long time, it was by default because nobody’s getting paid. I’m just making it and posting it. The first big thing we did that was like really expensive was “Churchy” [on BET]. And there was a lot of [money from previous brand deals] that I saved, a lot of [money from doing] Spectrum commercials that I saved. I made eight episodes of “Churchy.” And shout-out to Jamal Henderson, he helped us meet executives at BET and they bought it. And they couldn’t have any creative control because it was already done.

So that’s kind of a process that we’ve repeated with [my sketch shows] “The Hospital” and “Safe Space.” We pay for it and then license it or partner with a company and make it now. And with Tubi, they’re a little bit different. They let you have creative control, even if they pay for it. They’re like “hey, we trust that you built your audience, you know your audience.” They’re the only platform that I’ve worked with that’s completely like, “we don’t have any say-so, no notes, you don’t have to send us a script, you don’t have to send an edit for approval, we trust you.” And that’s fantastic for me because you get to make it as close to [the original vision] without any impurities as possible.

Now I gotta be honest, when I work with BET, we had amazing executives and they’ve given us a lot of great notes, but they also give you some notes that you don’t agree with that you have to take. And that’s also part of just making things. It’s not a full negative. They also made [the show] better in a lot of different ways. And the one thing that I’m very grateful for with our partners at BET is every note they gave was to make the overall project better and for more people to enjoy it. I am a comedian at heart, so sometimes I’m loyal to the joke to a fault. The executive is like, we gotta tell the best story — so it’s not all bad. A lot of times we hear people bemoan partnering with people, and it has its negatives, but also my TV exec was more experienced than I was at making good TV, so some of their notes were really helpful, and I can carry those with me when I’m making other projects.

“The Hospital” and “Safe Space” are both like sketch shows. What was important about the formats for both shows — one at a hospital, the other on a therapist’s couch — that allow you to find the funny?

Richard Washington, who is a creative exec at KevOn Stage Studios, head of T V and film, and I built the systems and then we allow the people to work within the systems to the best of their personality. So I think the great part about “Safe Space” is the talent. Like you give them a premise, you find the right people, and then they take it and make it funny. “Safe Space” was really the same with “The Hospital.” Like, you know, we hired more sketch writers for the hospital, but Safe Space was more improv than even “The Hospital.” We had some fully written sketches for “The Hospital,” but we didn’t stick to everything exactly. Some are almost all improv. Like comedian CP’s episodes, he’s just riffing. So it’s as close to a stand-up version of content as you can get. And what I mean by stand-up is the audience is sitting there not knowing what the person’s gonna say. And that’s why I think it works.

KevOnStage recording a podcast.

(Mike Folabi)

As a creator of these shows, you often hold the door open for new talent to shine. How does that help your own vision of allowing there to be space for new actors and comedians to come up?

I grew up playing sports and then I went into plays. And with both of those elements, it’s it’s a team environment. You need other people to be successful and you gotta rely on other people to do their thing. With plays, you wanna have the best show possible. And then you put it all together and it’s the best product. And I think that’s the same approach that I take to creation. A lot of comedians, I’ve been told, they won’t take the best comedians. They’ll take people who are OK, but nowhere near as good as them.

Considering you post three to five videos a day, how do you find the time to produce as much content as you do?

So the thing is like this is my job. And I work really hard. I think people compare themselves to me, but they also have a job. Like you’re thinking of “how does he do this?” because you’re thinking of your actual day job. For the most part, I get up and think of funny things to say all day. And the other thing is I don’t spend a lot of time thinking about what I’m gonna do or editing it at all. If something funny happens right now, if I walk out of here and I trip and fall, I’ll probably make a video immediately and within five minutes that video’s gonna be on seven different platforms. So I’m not really precious about what I make. And I feel like people think it’s hard, but this is not hard for me. It’s something I love to do, I create freely out of joy. The guy who runs my doughnut shop who hasn’t taken a day off in 20 years, literally I was talking to him about this. He never takes a day off. Twenty years he’s at that doughnut shop, every night at 8 p.m., he makes doughnut, preparing for the day. Every day at 4 a.m., he comes and bakes them. That is hard. Not to say what I’m making is not hard. It is, but it’s not hard like that. People have hard jobs. I just be silly for two minutes and post it within five minutes. That’s not really hard for me.

“For the most part, I get up and think of funny things to say all day,” says KevOnStage.

(Joshua Gonzales )

I guess you’re not getting cellphone calluses.

Not at all [laughs] … I kind of designed my content to be able to make it easily because I feel like my approach is just inundating you with Kev. Like I want to be unavoidable. Yeah. I want to make content on so many different topics. It’s not even always comedic. I want people to just share you and or have a thought or make you have a thought. Right now I’ve been doing a lot of podcasts. So if you don’t follow me, but you follow for example “The Pivot,” which I did last week and they collab with me, now you’re seeing me on “The Pivot” or Funny Marco or I interviewed Issa Rae for the first episode of [my new podcast] called “Not My Best Moment.” And Issa Rae doesn’t do a whole whole bunch of interviews if she’s not promoting something. So if you’re interested in what Issa has to say, you got to hear me because I asked the question. So people rip my stuff, I’m like, “this is great!” They rip it and post it on threads. This is like as close to getting bootlegged as possible.

That’s what you want.

Yeah, bootleg me! Obviously I’d love to make the money, but it’s like the exposure will become capital or currency later. I just want to be out here so much that you’re eventually like, “All right, what is he talking about?” Because think about how many videos do you see in a day now. Back in the day, we used to have to be like, OK, I want to watch the videos. I’m gonna go to my computer and go to like, I remember before YouTube, I used to go to Break.com and watch videos. It was a thing I did for some time and then I went on about my day. Think about how many videos you consume on a daily basis. … So you gotta really hit ‘em over and over before they make a decision. So that’s why I just wanna flood you. I want you to be like, “Oh, my God, enough!”

Well, add one more to the pile right here.

Yeah, absolutely. Once I saw cameras here [at the L.A. Times studio], I was like, “Yeah, baby, I thought this was just an interview, we got video content, baby. Let’s go!” So yeah, it’s like that’s my approach. Just keep going — a lot.

Angela Rippon, a veteran broadcaster with nearly 60 years of experience, was described as the “dream signing” when she agreed to take part in Strictly Come Dancing in 2023

Angela Rippon — Strictly Come Dancing’s oldest ever contestant — is interested in presenting the BBC flagship show, reports claim.

The veteran broadcaster dazzled viewers with her jaw-dropping high kick when she was a competitor in 2023. She was the eighth celebrity to be eliminated, getting the boot in Blackpool after she and pro partner Kai Widdrington performed American Smooth to Tea For Two by Ella Fitzgerald.

But the former newsreader, who presented the original Come Dancing series between 1988 and 1991, has thrown her hat into the ring to host the much-loved revamp. Claudia Winkleman and Tess Daly are both leaving after the current season, which will reach its finale next month.

When asked about stepping into either of their shoes, Angela, who is 81, said: “If they asked me, of course. It’s a very popular programme. Claudia and Tess have done a fabulous job, but no job is for life.”

READ MORE: Strictly’s George Clarke reveals backstage ‘pressure’ after tense momentREAD MORE: Claudia Winkleman’s favourite chunky rings she wore on The Traitors have 30% off

The shock move would come more than three decades after the BBC’s then-director-general, Lord (John) Birt, told Angela she’d “had her day” when she was a spring chicken aged 50. The Daily Mail says, though, the journalist — who has more than 60 years of experience in broadcasting — would excite fans of the flagship programme.

Speaking this week at the Starry Night Gala supporting the charity Action for Children at The Peninsula London, Angela said the next host must be “someone that will bring the glamour, and just what everyone loves about Strictly”. Indeed, she competed in it — becoming the oldest contestant ever to do so — at the age of 79 in 2023.

Angela, the daughter of a Royal Marine, has had a long and varied career in the media, including her post as Top Gear presenter in the 1970s and, more recently, as host of Holiday Hit Squad with Helen Skelton and Joe Crowley.

And when she was snapped up to take part in Strictly two years ago, one source said: “She is the dream signing. The audience at home will love her, and many of them will remember her from her days hosting the show in its previous incarnation.”

The broadcaster, originally from Plymouth, Devon, has remained close to her Strictly partner, Kai, 30, and the two recently teamed up to launch “Let’s Dance!”, a project designed to inspire people of all ages to experience the joy of dancing.

But, even despite her interest and experience, Angela faces huge competition for either of the Strictly vacancies. Former This Morning presenter Holly Willoughby has been linked with the gig, as has Alan Carr, following his The Celebrity Traitors triumph.

More than a dozen TV shows were awarded production incentives for filming in California, including several that are relocating from other states, such as action series “Mr. and Mrs. Smith” and a reboot of “Baywatch.”

Together, the 17 series are expected to generate $1.2 billion in economic activity for the state. The shows are estimated to employ a collective 5,165 cast and crew members, as well as more than 35,000 background actors.

In total, the shows were awarded about $313 million in tax credits, with season 3 of the post-apocalyptic series “Fallout” receiving the largest credit ($166 million). “Baywatch,” which relocated from Hawaii, was awarded a credit of $21 million, while “Mr. and Mrs. Smith,” returning from New York and Italy, was allocated nearly $80 million. The Netflix show “Forever” got nearly $63 million.

These shows are the second round of TV projects to receive incentive awards under the state’s revamped film and television tax credit program. Approved by state legislators and signed by Gov. Gavin Newsom earlier this year, the new program now has a cap of $750 million, up from $330 million.

Eligibility criteria was also expanded to allow more types of shows to apply.

The changes to the program came after intense lobbying from Hollywood unions, studios and other insiders amid an exodus of filming to other states and countries with more generous production incentives.

“California’s creative economy isn’t just part of who we are — it helps power this state forward,” Newsom said in a statement. “And when we make smart investments like our film tax credit, we’re keeping talent here at home, supporting good-paying union jobs, and strengthening an industry that defines the California brand.”

“Baywatch” executive producer and showrunner Matt Nix noted that the wildfires in January encouraged him to want to film in the Golden State. He said in a statement that the fires nearly destroyed his home, but that the “heroism of the first responders who fought to save our community” inspired him.

“Baywatch was born in Los Angeles,” Nix said. “I’m so glad we can bring it home again.”

WASHINGTON — Washington National Cathedral on Thursday hosts a bipartisan show of respect and remembrance for Dick Cheney, the consequential and polarizing vice president who in later years became an acidic scold of fellow Republican President Trump.

Trump, who has been publicly silent about Cheney’s death Nov. 3, was not invited to the 11 a.m. memorial service.

Two ex-presidents are coming: Republican George W. Bush, who is to eulogize the man who served him as vice president, and Democrat Joe Biden, who once called Cheney “the most dangerous vice president we’ve had probably in American history” but now honors his commitment to his family and to his values.

Daughter Liz Cheney, a former high-ranking House member whose Republican political career was shredded by Trump’s MAGA movement, will join Bush in addressing the gathering at the grand church known as “a spiritual home for the nation.”

Others delivering tributes include Cheney’s longtime cardiologist, Jonathan Reiner; former NBC News correspondent Pete Williams, who was Cheney’s spokesman at the Pentagon; and the former vice president’s grandchildren. Hundreds of guests are expected.

Cheney had lived with heart disease for decades and, after the Bush administration, with a heart transplant. He died at age 84 from complications of pneumonia and cardiac and vascular disease, his family said.

The White House lowered its flags to half-staff after Cheney’s death, as it said the law calls for, but Trump did not issue the presidential proclamation that often accompanies the death of notable figures, nor has he commented publicly on his passing.

The deeply conservative Cheney’s influence in the Bush administration was legendary and, to his critics, tragic.

He advocated for the U.S. invasion of Iraq on the basis of what proved to be faulty intelligence and consistently defended the extraordinary tools of surveillance, detention and inquisition employed in response to the Sept. 11, 2001, attacks. Bush credited him with helping to keep the country safe and stable in a perilous time.

After the 2020 election won by Biden, Liz Cheney served as vice chair of the Democratic-led special House committee that investigated the Jan. 6, 2021, riot at the Capitol. She accused Trump of summoning the violent mob and plunging the nation into “a moment of maximum danger.”

For that, she was stripped of her Republican leadership position and ultimately defeated in a 2022 Republican primary in Wyoming. In a campaign TV ad made for his daughter, Dick Cheney branded Trump a “coward” who “tried to steal the last election using lies and violence to keep himself in power after the voters had rejected him.”

Last year, it did not sit well with Trump when Cheney said he would vote for Democrat Kamala Harris in the presidential election.

Trump told Arab and Muslim voters that Cheney’s support for Harris should give them pause, because he “killed more Arabs than any human being on Earth. He pushed Bush, and they went into the Middle East.”

Woodward writes for the Associated Press.